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Rh express. On the other hand, he is considerably concerned with the fifth and sixth factors (timbre and phrasing) and has the main responsibility in the last two (tempo and dynamics). This being the case, we shall treat tempo and dynamics first of all, as being the two primary factors of expression with which the conductor is concerned.

Wagner, in his famous essay on conducting, takes the rather radical ground that everything else is dependent upon the proper selection and management of tempo. He says:

"The whole duty of the conductor is comprised in his ability always to indicate the right tempo. His choice of tempi will show whether he understands the piece or not … The true tempo induces correct force and expression."

In another place in the same work he treats the matter further, as follows: (p. 34)

"Obviously the proper pace of a piece of music is determined by the particular character of the rendering it requires. The question therefore comes to this: Does the sustained, the cantilena, predominate, or the rhythmical movement? The conductor should lead accordingly."

It is doubtful whether many modern conductors would entirely agree with Wagner's statement that correct tempo always "induces correct force and expression." Nevertheless tempo is so important that probably no one will quarrel with us if we at least give it first place in the order in which the elements of expression are discussed.

In modern music the composer indicates the tempos of the various movements much more definitely than was true in earlier days, so it would seem as if not nearly so much responsibility rested upon the conductor; and yet there is still a wide difference of opinion among musicians about the matter, and in many cases the