‘Gestures and attitudes of the body complete, animate and enliven any rhythmic music written simply and naturally without special regard to tone, and, just as in painting there exist side by side a school of the nude and a school of the landscape, so in music there may be developed, side by side, plastic music and music pure and simple. In the school of landscape painting emotion is created entirely by combinations of moving light and by the rhythms thus caused. In the school of the nude, which pictures the many shades of expression of the human body, the artist tries to show the human soul as expressed by physical forms, enlivened by the emotions of the moment, and at the same time the characteristics suitable to the individual and the race, such as they appear through momentary physical modifications. ‘At the present day plastic stage music is not interpreted at all, for dramatic singers, stage managers and conductors do not understand the relation existing between gesture and music, and the absolute ignorance regarding plastic expression which characterizes the lyric actors of our day is a real profanation of scenic musical art. Not only are singers allowed to walk and gesticulate on the stage without paying any attention to the time, but also no shade of expression, dynamic or motor, of the orchestra--crescendo, decrescendo, accelerando, ralletando--finds in their gestures adequate realization. By this I mean the kind of wholly instinctive transformation of sound movements into bodily movements such as my method teaches.’ II