How important Lada’s illustration of the theory of concordance of motion and music is at this time of dancing evolution can be more concretely grasped by the coming generations than by an average dance-lover to-day. It is perspective that gives the true visual impression of a mountain. ‘In the unison of plasticity and music, of the visible with the audible, of the spacial with the temporal, lies the guarantee of that new art which we so ardently desire and so unsuccessfully seek,’ writes a celebrated dance authority. But here comes the question of music, the phonetic image that should guide the choreographic artist. Lada complains that she has a very limited choice of compositions that can be danced. The problem of proper dance music is more serious than one would think. Sibelius’ _Valse Triste_ is perhaps the best sample of dramatic dance music that corresponds perfectly to a dancer’s requirements. MacDowell’s ‘Shadow Dance’ is another gem of this kind. There are quite a few by other composers. The sum is slight. But the dancer can hardly blame the composer alone, for the latter knows only the old ballet, the naturalistic school or folk-dance themes. He has never heard of any other dance music than the one which has been danced, either socially or on the stage. Dancing to music requires short phonetic episodes with sufficient poetic, symbolic or dramatic element, and images clearly depicted in strong rhythmic measure and sufficient background for the story. The more variety of figures, the greater contrasts and the more ‘chapters’ in such a composition, the better for the dancer. The modern decadent, unrhythmic, vague mood music of the radical French and German schools is of little appeal and practically impossible to render in plastic forms. It is the Russian school of music, as also the works of modern Finnish composers, that have all the rich, clear and powerfully vivid magic of the north, and appeal so strongly to a dancer’s imagination. Sibelius’ _En Saga_, a tone-poem for full orchestra, would be the most grateful composition for this purpose had it not been written in the old symphonic form. It belongs to that baffling and unsatisfactory class of symphonic poems to which Sibelius has failed to give a clear literary basis. The music suggests the recital of some old tale in which the heroic and pathetic elements are skillfully blended. The music is vigorous and highly picturesque, but its interest would be greatly enhanced by a more definite program. Again, the same composer’s ‘Lemminkainen’s Home-Faring’ would make an excellent dance for a man dancer, had the composer rearranged it for a smaller orchestra and for dancing. It is an episode from the _Kalevala_. Sibelius’ Fourth Symphony is a composition that could be danced, being based on a series of single episodes of extremely imaginary character. But the score is written for a large symphony orchestra, therefore unpractical for dancing in a general way.