The sun. [volume] (New York [N.Y.]) 1833-1916, 1877-10-21
ADJUSTMENTS.
The rhysicni Bnsi. Of Vocal Art.

-
OF soursn. you eau readily guess why enter
tain this belief They wrote me letters about
the artclc. taking me, doubtless for another Il.
G.. W needing cpsiolary correction and stimu-
ation.
Judge from some of these letters that the
writer's have been living in the belief that vocal
music Is a spiritual cmanation and not physi-
cal endeavor. and that a woman who sings
merely exercises her spirit and distributes her
emotions.
Itis almost rude TO dissipatc the ETHEREAL iu-
sion and Insist upon IL that the dvinest canta-
trice depends upon her muscles no less than
does the more aerial lady who Jumps through
tho paper banners with no other vocal effort
than houp Ia But I am afraid that H. what
shall have to do This looking down prima
donna = throat is probably as ungrucious as the
traditional act Of looking gift horse In the
mouth. II Ia far peasanter to fancy that she
sings Us she firts and loves because she can't
help 1t. and without any interposition Of organic
means. And yet vocal music cannot be made
without 1eshly organs.
suggested. rs YOU know. II you read the
article. that perhaps climate ana social environ
ment. no less than heredity had some limiting
influence upon the voices OF American women
inasmuch as they are notably alike in their
ehaste. Unconditional quality.
This idea was. think a little more startling
thnn the other. For TO tell the truth. the sing
ers had never been thought Of as belonging to a
race or as affected by physiological laws.
But capped the climax when said that our
best singers have more intellectual than vital
power. and treated Mlss Thursby as repre-
sentative vocalist. who exhibited in her temuer-
ament and method that which Is characteristic
Of her rnce
The United States mail hes shown me that
this article was read by intelligent people. who
did not clearly understand II. but who were
more deeply interested in ii than they could
possibly be- in column Of eulogy or abuse.
am greatly tickled that this should be so.
for perceive In II the unerring instinct Of the
public. which instinct is virtually an acknow-
edgment that the application Of elemental
truths to Miss Thursby. or to any artist what.
ever Is Of more consequence to her than the
most brilliant laudation or the most earnest
detraction.
Further than this. fatter myself that the
conclusion In any honest readers mind will be
that criticism. Ike the ar; II deals with. Is OF
weight and value only us 1t uses the passing
manifestations Of personal talent as the indices
OF general progress and enduring truth.
On the whole. the popular complaint against
current criticism is well founded but II Is mis-
directed. 1t is evelled at those writer's whose
opinions worthless. which Is a great waste
OF honest contempt 1t should be directed at
those who. having no opinion. take up so much
OF the worlds space and time In acknowledge
ing IT,
Special ignorance In musical matters is often
est shown where there IS special pretension.
For instance. have before me a musical week
ly. and in its criticism OF Miss Thursby find
the following amazing example Of erudition.
1uF ~ lint So k.x 81,
out telling. and evc".s in stnccato runs. Now.
the peculiar quality of a run IL to have a num-
running. Whereas the staccaio is the very re.
versed proceeiing-thc hacking OF every note
by Itself. the exact contrary VI a run.
This paragraph exhibit rs the statement Of
a musical editor. Within the compass OF six
lines he betrays the most interruptions disre-
gard OF the truth and the most abject ignorance
| Of the simplest primary facts Of music.
| In the first plnce. THE sun never said that
Miss Thursby sang without feeling. But that
involves a question Of yeracity Read the Sen
article. Falsehoods do not attract the attention
in musical w.eklies that musical ignorance
solicts.
This writer does not know that n run. eiymo-
| logically and unsteady means a passage or
movement Of voice or Instrument over q mum.
| Der Of notes. He says that the notes themselves
run legato after each other ana that the staccato
| IL the reversed proceedng-hat is, a number Of
notes that do not come after each other. Any
school miss who has been six months In a
primary school can tell this musical editor that
ie1dtO and stdccd,o are added directions con-
cerning the manner OF running. and that the
datonic or natural scale is run in all conser-
vatoriee in both ways-that is 10 say. the notes
may be vocalized with gliding effort. or they
may be aspirated distinctly and separately To
say that a run Is only run when IL is legato Is
| 70 say that n waltz Is not q movement unless you
have on white vest.
But this kind Of special and demonstrative
! ignorance Is happily rare. II emanates from a
-weeyil class Of critics who ore considered
very poor writer's by the musicians and cxecra-
! bic musicians by the writer's. They correspond
In the outskirts Of music to the undercothes
critics who infest the edges Of the drama.
| Those gay young men who save satin pro-
erammes for reference. and describe for the
rural newspapers the petticoats. the poodles.
and the late suppers Of the astral celebrities"
Itelieve that Thursby. Ike Abbott. can read
them rs she rams.
To return: care less for being nisrepresent-
ed than do for being misunderstood. Ny re-
mark TINT our best singers have more intel
| letual than vital power touched upon q truth
| that no one denies. but that is not generally
com rehended.
Let me- see II can formulate ny mpres-
sions. 80 that they will be Ineligible. Song Is
audible emotion conforming to certain stand
ards Of taste Emotion is Of threelod nature
1t may be:
l. Feeling or sensation.
2 Thought or reflection.
8 Love or affection.
And this class itlcation implies that there ex-
lists in man three distinct principles Of being
They are |. vital or sensitive principle. by
virtue Of which he feels. 2. 4 mental or reflect
i've principle. by which he thinks 3. A moral
or MI Give principle. by which he loves
But although II is impossible 10 determine the
limits Of energy. design. and will In the indi-
vldual. or 10 tell whore one coordinate principle
ends and the other begins. 1t ia quite possible Il
ascertain which prcdominates and is most ef-
ie'tive ia the life and development Of the man
because each emotion has its appropriate mo.
ton and method Of evolution and expresses
Itself in the Organization In obedience TO a uni.
yersal law. No one ever mistakes the vital en-.
erg"tic. aggressive man for the reflective intro.
spectlve man One Is expansive and seeks tc
impress himself upon external nature The