The Emporia news. [volume] (Emporia, Kan.) 1859-1881, 1872-11-08
MUSIC.

If there is any one thing in
which we are specially degenerat-
ing it is in music. Now do not
tell any one who visited the recent
Jubilee that we said so, for we
have no desire to quarrel, or be
quarreled with; our only object in
saying anything about it at all is
to call the attention of parents
who are called upon to pay a con-
siderable sum of money each quar-
ter to teachers Of music, to few
facts: Watch most players and
singers and YOU will observe that
they expect and receive criticisms
only upon the style of their per-
Torrance. We are compelled to
assert, and our field of observa-
ton has not been a narrow one,
that, SO far as we have observed,
by far the greater portion of must
cal teachers devote almost their
entire attention to the mechanical
part of their work. In instrument
tai music the great aim seems to
be to handle the hands and person
after certain stereotyped models;
in vocal music, to attain to fixed
fieNibility OF voice; in both to teach
the ear to observe the utmost ac-
curacy OF time. Now no one sup
poses that an easy carriage, grace
full movements, flexible voice, and
time are not desirable.
They are But let it be remem-
bered that these are the secondary
objects of q musical education, its
primary object, the object for
which God implanted the faculty
to produce musical sounds in our
souls, is to give q deeper, fuller
expression to our profounder emo
tions than can be done with ordi- |
nary language.
Not unfrequently our finest |
hymns are rendered entirely non
effective because choirs will insist |
in singing them to tunes totally |
untitled to express the sublime |
thought of the poet, while their
manner indicates that they expect
20 be commended for their style.
Not one asks, did we not give for
,ible utterance to the thought of
he writer? The usual remark is
after this sort: Do
rou not think it would have been
better for Miss so-and-so if she
lad sung with n little more vol
lme? So with instrumental music.
Melissa seats herself to render
some composition of one of the
grand masters. We listen atten-
lively. We observe that the posi-
ion of her person and the manner
# playing are beyond criticism.
The time is faultless. But when
he finishes we feel relieved.
Something was lacking. We have
lad no new knowledge conveyed
nto our souls. No notes are re-
aimed in floating echoes as con-
tant reminders of their soul
tirring power.
Elvira seats herself at the same
instrument and passes her hand
long the keys. We listen, we
now not why; every key seems to
ave found voice. We do not
now whether the lady COMFORTS
erself in accordance with estab-
lshed rules or not. Indeed, we
re sure she does not observe the
ime marked in the margin. We
70 not stop to admire her hands |
S they pass SO easily from one
art of the board to another.
)ur first wonder is how n human
Ieart could conceive such sublime
horghts, and our second, how
me human heart can so fully
,rasp the emotions of another, or
iaving grasped, be able to give
hem such vivid expression in
ound only.
Employ for teachers of music,
hen, such persons as are able to,
nd who do teach that the first
.reat object of music is to educate
he soul; while the, training of
dice and fingers is but . means
o this end.