_Musical feeling._ It must be recognized that the love of music is essentially an unanalyzed feeling. Countless people feel the esthetic appeal in music without understanding anything about it. It may be like the notorious puppy love, which is frequently blind, but nevertheless a deep love. This is particularly true in the earlier stages of the development of musical interests. But it is occasionally in evidence in the successful singer on the stage who may be blissfully ignorant of the principles underlying his art, the media he seeks to mold, or the significance of his message. There is much justification for the performer's forgetting what little he knows and indulging in self-expression in a state of abandon in which he deeply feels his message and expects to convey this feeling to the listener. We must distinguish between two attitudes in listening to music and in the performance of music: the critically analytical and the purely emotional. An intelligent musician is capable of both and loves both. In the learning stages he pursues the former attitude primarily until techniques are mastered and habits are formed which operate automatically in the musical situation. This is also the dominant attitude of the music critic. But in seeking the enjoyment of music and in the unified expression of a thing beautiful, the musician takes the other attitude. Paderewski would be hopelessly lost and ineffective if, at the moment of performance, he should be consciously aware of all the art forms of which he is master. The successful performance comes in an inspirational attitude, the semi-ecstatic feeling of the beauty one seeks to convey, a state of forgetfulness of self and concrete facts. Thus music is a language of emotion. Through it the composer and the performer convey their own emotions to the listener. It is a message and a means of communication which enable the performer and the listener to live for moments in the same tonal world of pleasure. Our muse is jealous and seeks to exclude all intruders at the moment of her artistic appeal. _Musical action._ On a par with the intellectual and emotional approach is the role of action in music. Consider for a moment the central place of rhythm. The composer presents a hierarchy of rhythms: the measure rhythm, the phrase rhythm, the sentence rhythm, the movement rhythm, all moving into a unified beautiful artistic structure. The performer takes this as a cue and adds or detracts, as the case may be, by his personal interpretation. Modern psychology has shown that all musical listening is action, a constructive response on the part of the listener.