Time may well be called the pulse of music. Upon some occasions the
pulse beats more rapidly than others. It is incumbent on the interpreter
of music to ascertain the harmonic and other causes which determine the
tempo of a musical composition, as well as those which make slight
variations from it admissible. Among other points to be noted is the
fact that sudden transition from repose to restless activity calls for
an accelerando, while the reverse requires a rallentando.

It is absolutely imperative for one who would interpret music to
cultivate the memory. The musician who cannot play or sing without notes
is compelled to expend a large amount of mental activity on reading
these, and will find it difficult to heed the manifold requirements of
musical expression and delivery, of which a few hints have here been
given. A musical composition is never thoroughly understood until it has
been intelligently memorized. One who can play or sing without notes is
as free as a bird to soar aloft in the blue ether of musical
imagination.

[Illustration: FRANZ LISZT]

Every interpreter of music longs for appreciative listeners, and young
musicians, in especial, often lament the lack of these. It is well to
remember that the genuine musical artist is able to create an atmosphere
whose influences may compel an average audience to sympathetic
listening. A good plan for the artist is to be surrounded in fancy with
an audience having sensitively attuned ears, intellectual minds, and
warm, throbbing hearts. Music played in private before such an imaginary
audience will gain in quality, and when repeated before an actual public
will hold that public captive.