Persistent observance of them will
inevitably quicken the artistic sense. The rules to which they have
given rise are for the most part simple and easily explained. For
obvious reasons, all musical interpretation is expected to imitate song
as closely as possible. The human voice, the primitive musical
instrument, in moments of excitement, ascends to a higher pitch,
increasing in intensity of tone as it sweeps upward. Consequently every
progression from lower to higher tones, whether played or sung, demands
a crescendo unless some plainly denoted characteristic of the music
calls for different treatment. A descending passage, as a return to
tranquillity, requires a decrescendo.
"The outpouring of a feeling toward its object, whether to the endless
heavens, or forth into the boundless world, or toward a definite,
limited goal, resembles the surging, the pressing onward of a flood,"
said the great teacher, Dr. Adolph Kullak. "Reversely, that feeling
which draws its object into itself has a more tranquillizing movement,
that especially when the possession of the object is assured, appeases
itself in equable onward flow toward the goal of a normal state of
satisfaction.
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