Excerpt from Creative Technique: For Artists in General, and Pianists in Particular I have chosen the title Creative Technique, to define that quality of performance in which music is temperamentally interpreted, and to distinguish it from that more familiar form in which the creative faculties are dormant or lacking. For obvious reasons, factors which create diversity of style find place in systems which reduce technique to a method. In thus prescribing for the many, such systems in reality prescribe for ne, at least they can never wholly fulfil the needs of the artist. It is t my wish on this account to prejudice the modern scientific approach to technique. Present-day pedagogy owes much to the pioneers of this method, but system is perfect and position final. While this work is t intended as an indictment of the trend of modern teaching (for whatever the authority of our training, we are bound ultimately to accept the scientific principle), it is entirely ather matter to accept as final a formula of touch, however derived, which excludes the vital factors of temperament and individuality. For this reason I am opposed to that complacent attitude (especially prevalent to-day) which is content with the inherent limitations of such a position. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art techlogy to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.