Such has been the development of the elements of symphonic music. The processes I have described are the natural processes of an art which is continually striving for wider and deeper expression. And, speaking humanly, it is not too much to say that within ourselves there should take place a complete analogue to that development and to those processes. The connection between ourselves and the sounds may graduate all the way from complete unconsciousness of their significance (even though we hear all the sounds clearly) to that state wherein they strike fire in our souls, and there passes between the imagination of the composer and our own that spark of undying fire which illumines our whole being. For in the last analysis it is not so much the music that communicates itself as it is the soul of the composer reaching us over whatever stretch of time. He who creates beauty is immortal. Is not this what we seek? Is not this the object of all beauty everywhere? Is it not always trying us to see if we are in tune?--as, indeed, everything else is: labor, love, objects, knowledge, religion--all these await our answer. But I should not leave this part of my subject without setting forth the relation between these elements of symphonic music and the orchestral instruments by means of which they find expression. I do not wish to attempt here any account of orchestration, as such, but rather to point out that in symphonic music it is by the quality of tone that the essence of an idea is conveyed. The tone of the instrument is like the inflection of the voice in speaking, wherein the truth is conveyed although you speak an untruth. An oath might be a prayer but for the inflection.