That is to say, in an audience listening to rag-time there are always a few who enjoy the music in a Beethoven way--for what there is of real value in it. While in an audience listening to a Beethoven symphony there are always a goodly number, often a big majority, who enjoy it in a rag-time way--just the emotional reaction, without knowing a thing about the music. There are two entirely distinct enjoyments of the same composition--the purely intellectual and the purely emotional. There may be a mingling of the two, but as a rule what one gains the other loses. The man who follows the score, is familiar with the different interpretations of this and that leader, whose ear catches every failure by any part of the orchestra to respond, and so on, and so on--that man is constantly holding his emotional response subject to his intellectual appreciation. What is a fine performance to most of the audience may be a very indifferent performance to him. True, when the performance is so fine it carries him off his feet, then he gets an enjoyment--intellectual and emotional--far finer than the enjoyment experienced by others. In a sense, he is the one man worth playing for. But while it is a fine thing to both understand and enjoy, understanding is not essential to enjoyment in the purely emotional sense--to the enjoyment most people feel when listening to music. The voice of a street singer borne in upon the night air, even the sound of a hurdy-gurdy, pleases, though we do not [Illustration: SOUSA CARDOZA Leap of the Rabbit ] know the song or the air. There is a species of pleasure in not knowing that is dissipated when we recall or are told. Many of our enjoyments are more than half dreamy. Is it not true that the dreamy element is essential to purely emotional enjoyment? I confess to a very ignorant enjoyment of music. If I am at a concert I do not like to be told what it is all about. I enjoy good music without knowing or caring why, and I like to hear it without being seated where I am more than half-hypnotized by the rhythmical movements of the orchestra, especially the fascinating bowing of the violins. * * * * * What is true of the enjoyment of music should be true of the enjoyment of painting. But with painting, most people insist upon understanding. They will listen to Patti without knowing her language, but they will not look at a painting unless they know the painter’s language. * * * * * Why not accept at their face value all pictures that are beautiful in line and color, without bothering about their meaning? Perhaps they have no meaning beyond the vagrant fancy of the artist.