plicated work from memory, automatically turning over leaf after leaf of the score before him as the performance progressed, so that no feeling of uneasiness might enter the minds of the orchestra and singers. Gottschalk, it is said, could play from memory several thousand compositions, including many of the works of Bach. The noted conductor, Vianesi, rarely has the score before him in conducting an opera, knowing every note of many operas from memory.”
It will be seen that two phases of memory must enter into the “memory of music”—the memory of tune and the memory of the notes. The memory of tune of course falls into the class of ear-impressions, and what has been said regarding them is also applicable to this case. The memory of notes falls into the classification of eye-impressions, and the rules of this class of memory applies in this case. As to the cultivation of the memory of tune, the principle advice to be given is that the student take an active interest in all that pertains to the sound of music, and also takes every opportunity for listening to good music, and endeavoring to reproduce it
