The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1883-12-20

| AdPiu'y OshNAo 'hs'~s
pates their wants and experiences. And,
as precedents are thus looked for in States
where the subject Of inquiry is most fire.
quentlv handled and the inconvenience OF
error Is greatest, one seems to be justified
in dwelling as long as / have upon case
which now passes to the forefront OF au-
! thorities, and erects a noble landmark In
the history Of law. HOWARD K. BAYNE.
Nep York city, December 8, 1888.
How is Music Studied Among Us:
| 10 the Editor of the Dispatch:
To the above question We should like a
candid answer from some one who knows.
There is no doubt as to music being stu
died. Every city Of any responsibility has
its music-teachers. and those who "take,"
as it is called, from this or that one, are
enough in number to make many legions.
We only wish that music OF the genuine
kind were indeed more "taking" thing
with all. To say that music Is being stu
died is, however, too sweeping an asser-
ton, IL by "study" we mean an earnest
application OF the mind to any given SUBJ
ject. In many instances the learning Of
this art, and especially plano-forte play
ing, Is confined to the eyes and the finger
tips, the ear occasionally condescending to
ofiiciate, and under this form 1t hardly de-
serves the dignifed name OF "study," al
though we are happy In the knowledge
that there are exceptions. But be this
as 1t may, admitting that there
Is no lack OF competent teachers and
talented pupils, willing to work, Is the re-
suit Of al their efforts in proportion to the
time spent on tbemy Do these pupils.
after several years OF uninterrupted In
struction, stand on a higher plane, not
merely Of musical but Of moral and in-
tellectual development, as result OF their
musical studies, than they did at the be.
ginning? OF ten young ladies in society
who attempt TO play the piano you could
scarcely be sure to find one who Is able TO
play intelliCently a movement from so
nata, or even to follow critically the per-
Torrance OF 1t by another. I'VE do not
speak Of boys or young men in connection
with music, as 30 few OF them in this
country, and especially in the South, think
any art worthy" OF their notice.
Neither do we think that you could among
those same ten pick out two who can
phrase a Chopin Nocturne so az 10 give
the same pleasure 10 cultivated listener
read with correct observance OF punctua-
ton, rhythm, and intonatlon. But these
young ladies, without claiming to be " beau
tiiul readers" would in nine cases ont OF
ten probably deserve that title more than
the other one. They would be insulted by
an insinuation that they have not read any
OF Shakespeare's works, or other great
writers, and vet there are many Of these
20 nfQntstcp WIN dn nnf hQCftafa N annfosQ
their Ignorance OF Beethoven, Mozart,
or other great tone-masters,
and even to express their adherence OF
their works.
And here it is that the cause is to be
found for the very low and superficial state
Of musical culture in our midst--namely,
the insufficient use Of high order OF mu-
sic In the education OF the young. Would
parents send their children to a school
where dime-novels and railroad-literature
formed the staple OF textbooks. We think
not. And yet many children and older pu-
pills are made TO play nothing hut "dime-
novels" In music besides their exercises.
On such material how can one expect that
after a certain number OF years they will
be on a fair way 10 become good musicians,
either as amateurs or PROFESSIONALS Instead
Of that, many come TO L stand-stll, where
further progress seems almost impossible, |
and, discouraged, they step by step allow
what might have been to them a refining |
and entertaining agriculture TO drop out OF |
their individual lives.
Much is said about the musical atmos- |
phere Of Europe. Why cannot such be |
created in our midst, by slow degrees |
tho it NAV be? Europe he's not always |
had IL; it is because it's society has come |
to acknowledge and TO encourage what Is |
noble and true in music. We can do that |
here also. Americans have hearts, and |
that Is the first condition to appreciate a
high order OF music; and the brains are |
not wanting. We wish that people would |
stop talking so much about "scentific"
music, when they mean something else.
Did Beethoven write his sonatas and SYM
phonies merely by the aid OF sciencey That |
would have been very insufficient indeed
70 give expression to the emotions Of a
great heart like his. A work OF art must
have an outward form, be II music, paint.
ng, sculpture, or poetry, and for this the aid |
of science is indispensable; but why should
We try TO force within the cold formaity Of
science strains and melodies, like those OF
Beethoven and Chopin. which sometimes
seem as though they had been written in
heir very hearts blood, and the express
'ions OF whose sorrows and Joys only need
to be felt and understood. II
people would only listen to them more
Nith their hearts and brains than they gen.
'rslly do we should hear less and less of
ne outery against classic" or "sclen-
iIG music, az II Is unfortunately called.
We DO not wish to be understood to say
hat children ought to be put iuto studying
5eethovsn's sonatas or other great works,
'ut there Is great deal Of good music,
asy 10 execute and to understand, even d
or beginners, by the use OF which their {
nl9ds as well as technic may be gradually
nd healthfully developed until they will /
naiiy come 10 understand and enjoy all I
hat Is good In art, thereby ennobling them
elyeg Nrxo,, r.. \