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Beyond this, however, very little preparation is necessary; especially the study of lists of Leitmotive should be avoided, since they give a totally wrong conception of the music. We cannot study an edifice by looking at the bricks of which it is built.
In Rheingold, for example, some twelve or fifteen motives if we count only those of well-marked contours, and which are used in definite dramatic association can be distinguished; whereas in the whole of Tristan there are of such Leitmotive in the narrowest sense not more than three or four. The treatment is also very different.
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