The farmer and mechanic. [volume] (Raleigh, N.C.) 1877-1885, 1879-03-27

an equal amount of brain labor t. go
through, merely to obtain a very SUBJ
ordinate position in his profession.
Nothing but love of music could
sus ain the D! OCCASIONAL musical stu
dent, enticing ami fascinating him by
continually unfolding beauties. I'M
agine "A member of an cperatic Orches-
ira, playing a pant however subo di-
nate, in an opera,-a piece of music,
so to speak, of several hours Duration,
embrace z, fir m the Overture to the
Fiuale, every variety of time. e1ecu-
ton, compass and key in expression
of every conceivable mood of the
mind now solemn, now comic, mar
tial, gay, sentimental, happy, tragic,
calm, furious, &c sometimes work. ing
with "might and MAN." ar on, resting
for several minutes aud then coming
in with a short, explosive note, which
must not be introduced the hundredth
part of a second too early or too late,
at the hazard Of a reputation damned 3!
He must play with ut once faltering
in any particular. Those meLtll anti
poles, vivid Imagination and Obser-
Walton, calculation and comparison,
must be in full play simultaneously !;
he annOt even move In a tacit pas
z If it should distract his attention
lest his calculations ShOuld be upset
by the enchanting and ever changing
harmonies f1oa ing arOurd him, mixing
and interfering with his own RESPONSE
bilitles. Some u may say, they
have reh arsals tue, one for each
op.ra, but not to harm parts: each
must translate his part as tiuently at
first sight as if he had p'acticed it a
&C. 60 80, H. -,--
pose of %attaining perfect symmetry in
the "tout ensemble" 1. e., the whole
as if done by one For instance, in a
gradual increase of the volume of
sound from PIP to If. Chat is from
almost inaudible sound to the oppo
site extreme of loudness), all must
swell evenly together not ore iota Of
premature force in attaining the
climax must be fel5 in any one part.
And even in this n simple feature in
style there are many varieties its
lie 9Th may be n measure or one
huudred. or any intermediate length,
each requiri & a different AID just de-
gree of increase of force and so also
IN diminishing from If TO PIP. Any
one can learn IN a minute and recOliect
what such signs mean, bur / requires
long attention and practice in weight
and comparison. (only to be acquired
in good schools) to be able at any time
from Presto, to La go, to produce IN
which will be unit. rm and just.
L viii close this paper by lela' ing an
incident which may appear to real
musicians too absurd to notice but
first it is a fact second it sheds light
on the perverted ideas, thae those
uninitiated in the study OF music hold
relative to the art.
some time ago. a mus Cal charlatan
was Ding through the Country giving
concerts with q band Of negro boys
nom 10 TO IA years old, advertising
them as first-class musicians. He had.
in a Year c. trained them Ca d beat n
them) to play a few simple pieces. In
proof of their being musicians, he
directed the attention of the audiences
to the fact that they had music Def re
them and piayed from notes Now
this, as | told him. is TIE easiest and
indeed the ONLY w to teach even
them, or such as them. Thy sool
learn to sound he few heads of notes
on the staff indicating the pitch of
sound their value or length Is hum
med Or Ilayed for them till, through
thalr time and tune ard not through
their reason. they earn their SIN pie
parts. The same tedious process has
to be gone through in each Toll wing
little pi, ce. A knowledge of one, in
his way. throws no Iigrt on another;
so a baud of this klud. viewed must
cal,y, is very similar to a barrel organ.
Ii the simp e t piece of music had
been placed befor, them, as | offered
to do, but was refus d permission. it
is doubtful if any one of them c ,uld
have moved correctly from the ii st
note to the second
| hope the day is not distant when
every one, Of capacity, will be taught
music TO some available extent. at
least, lot only for the pleasure it will
yield them, but hat they may bs
thu enabled to distinguish the real
musician from a parody on the same.
In no other art do the mrrest tiff s
pass as m%er,tOrious in the mnds of he
mass of people. Any child or imbeciie
car commit a short. simple piece of
ruyme 10 memory from heari e it
fir quently repeated with the thr "a
of d beating, III some cases, ii not
sool Learn ed; and in other cas- S a
promise Of reward as soon IS NJ
lied; but the most i'll terota or UNI
thinking list ners, even when ig Ocant
of the mOdus eperdndi by which the
child or "lmbexilc learn d to sprout its
piece or pi' ces of rhyme, wou d never
dream of S ying that he or she" ,hus
became a poef, or thus show ed , ma
tural and p cuiiar g, MUS for poetry
and literatu e.
The rolli. G OF wheat fields S ems to
be auvisab t as early as the ground is
cry enough to permit There may be
certain a. ndltl Ms IN " hlch IL w III not
pay to roll wheat in the spr,rg. but on