"time beater." With the advent of the conductor in the rôle of interpreter, such directing became obsolete, and from the early nineteenth century, and particularly as the result of the impetus given the art by the conducting of Mendelssohn, Berlioz, Liszt, and Wagner, the conductor has become an exceedingly important functionary, in these modern days even ranking with the prima donna in operatic performances! It is now the conductor's aim not merely to see that a composition is played correctly and with good ensemble; more than that, the leader of today gives his own version or reading of the composition just as the pianist or violinist does. Instead of being a mere "time beater" he has become an interpreter, and (except in the case of the organist-director of a choir) he attempts to do nothing except so to manipulate his musical forces as to secure an effective performance.
THE PSYCHOLOGICAL BASIS OF CONDUCTINGThe conductor works largely through the instrumentality of instinctive imitation; that is, his methods are founded upon the fact that human beings have an innate tendency to copy the actions of others, often without being conscious that they are doing so. Thus, if one person yawns or coughs, a second person observing him has an instinctive tendency to do likewise. One member of a group is radiant with happiness, and very soon the others catch the infection and are smiling also; a singer at a public performance strains to get a high tone, and instinctively our faces pucker up and our throat muscles become tense, in sympathetic but entirely unconscious imitation. In very much the same way in conducting, the leader sets the tempo,—and is imitated by the musicians under him; he feels a certain emotional thrill in response to the composer's message,—and arouses a similar thrill in the performers; lifts his shoulders as though taking breath,—and causes