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Rh that the ability to see things in a humorous light (which very frequently means merely seeing them in true perspective) has helped many a man to avoid wasting nervous energy upon insignificant occurrences, while the lack of this ability has caused more trouble among all sorts of people (and particularly, it seems to me, among musicians) than any other single thing.

Some player or singer is either over-arduous or a bit sleepy during the first stages of rehearsing a new composition, and makes a wrong entrance, perhaps during a pause just before the climacteric point. The occurrence is really funny and the other performers are inclined to smile or snicker, but our serious conductor quells the outbreak with a scowl. The humorous leader, on the other hand, sees the occurrence as the performers do, joins in the laugh that is raised at the expense of the offender, and the rehearsal goes on with renewed spirit.

An instrumental performer makes a bad tone, and the conductor laughs at him, saying it sounds like a wolf howling or an ass braying. If the remark is accompanied by a smile, the performer straightens up and tries to overcome the fault; but if the comment is made with a snarl there is a tightening up of muscles, an increased tension of the nerves, and the performer is more than likely to do worse the next time.

There is a difference of opinion between the conductor and some performer about fingering or bowing, phrasing or interpretation, and a quarrel seems imminent; but the conductor refuses to take the matter too seriously, and, having ample authority for his own viewpoint, proceeds as he has begun, later on talking it over with the performer, and perhaps giving him a reason for his opinion.

Humor is thus seen to have the same effect upon a body of musicians as oil applied to machinery, and