. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. crime againstmusic which influenced him to recant much of his years-long public praise of Wagner—after a single eveningspent under the spell of the exquisite and varied rhythmsof Bizet. Latterly Wagner had paralyzed his reasoningfaculties; he declared that Bizets rhythms and pure melo-dies instantly resuscitated his constructive powers. In our modern adaptation of t
. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. crime againstmusic which influenced him to recant much of his years-long public praise of Wagner—after a single eveningspent under the spell of the exquisite and varied rhythmsof Bizet. Latterly Wagner had paralyzed his reasoningfaculties; he declared that Bizets rhythms and pure melo-dies instantly resuscitated his constructive powers. In our modern adaptation of the ancient Greekideal in dancing, music supplies us with never-failingsources of inspiration. It opens our natures to percep-tion of the beautiful, enriches our faculty of imagery,compels movements of grace and meaning, molds ourbodies into expressions of its own forms of beauty uponwhich our chastened conscious minds play with all thevirtuosity we can command. By way of fair exchange, consider what we give tomusic. The greatest composers have turned to the con- 8eventy-fioe Children in spontaneous reaction to the influence of a single^ chord of music,yet instinctively fusing their interpretations into a harmonious Music: Twin Sister of the Dance ventional, artificial ballet for themes and exists a large volume of music thus conceived, andthrough it all you seem to see pirouettes on painfullypointed toes, rigidly corseted waists and meaninglessmechanical smiles. The music created under the influ-ence of our dancing, the volume of which is steadily in-creasing, reveals no such ugly skeletons; it is as gracefuland charming and spontaneous as are the gracious qual-ities of Nature herself. Right here it seems well to point out, in its relationto classic dancing, a discovery about music which wehave applied with the happiest results—results which arefundamental in their value, and which the minutiae of anarbitrary and rigid technique are powerless to pr
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
