The Cecil Whig. [volume] (Elkton, Md.) 1841-current, 1885-10-17
fs,'p. tllo'''. scientific, h's''''''.
MUSIC AS A SOUL ATTRIBUTE.
An Original WING Feature.

of harmonical sounds. This but feebl
l expresses the definition of music. 1t
an attribute of the soul, born of Heaven
combining within it's influence pecula
sweetness, tenderness and fire of hope
JOY, love and faith. The mother, as sh,
, presses her innocent babe to her bosom
and sings her low and sweet lullaby
soothcs it to quiet and happy slumber
Why is it? 1t knows naught of this
world; it is oblivious to all, except the
sweet strains that the soul has heard
before; it understands that, it was giyer
with its birth. and it's little soul drinks
in the heavenly food, as 1T were, of ten.
derness and love from the mothers song
ard it peacefully sleeps. So it grows up
with us in life, to be developed with the
soul for time and eternity. A band of
wind instruments playing music, as it is
called-is not music-it may be scien-
tifice combination of harmonical sounds,
and like the old martial music of the fife
and drum, may incite the body to deeds
of valor by their exciting noise. But it
is far different from the soul-stirring and
Heaven-inspred music that caused the
ancient walls of Jericho to fall. The
soul inspired composer of music tries to
give you the music as he was inspired
with it; he places all the dynamic marks
to lead you correctly, yet he deprives the
soul elements of music of their force of
action; he cannot possibly produce an
effect on the emotions at all to be COM
pared with that which is spontaneously
offered by the soul. He may initiate the
rush of waters, or the sob of despair,
only so distantly and feebly that the
effect of either is well nigh lost, and
even then for such limitations he must
endanger the artistic value of his work,
which is only safe when it is the artists
sole aim and object. The most that the
composer can artistically or legitmately
do, as has been said, to suggest given
emotion by employing in his intellectual
structure such among the physical ele-
ments OF his art as would in state of
complete freedom awaken that given
emotion he may choose such sensous ele-
ments as would inspire melancholy, Joy
or serenity. He may reject any contrary
| element or homogeneous effect, and he
may thus produce what we would call
pathetic, cheerful or solemn piece; but
its pathetic, cheerful or solemn character
depends not upon the intellectual forms
imagined by the composer, but upon the
natural elements of the soul. For in
stance, person may sing for you
'Home, Sweet Home" with major de-
gree of the sensuous or emotional ele-
ments, and it will fail to impress you
with its beauty or feeling. Another may
sing it for you, using the soul elements,
and they will draw your attention; you
will become inspired by soul answering
ing soul, the tears will unbidden start
and course down your face. Tom Moore,
the poet, beyond any other modern
writer, seems to have united more of the
soul characteristics of the bards of old.
He made his own poetry, composed his
own music, and sang his own lays in the
presence of the great and fair. Many of
his melodies have become popular, but
his qualities as singer are known to
| comparatively few. Blackwood says: 81
once had an opportunity of hearing him,
| and it was pleasure have never for
gotten. With thread of voice, Just
sufficient to fill an ordinary drawing
room, and accompanying himself with
few chords on the piano, he sang his own
ballads with such exquisite grace and
finish, such sweetness that he produced
| effects upon his hearers unequaled by
the greatest professors of vocal art"
| Pasta, who heard him once, expressed
her delight with the warmest Italian
favor. Moore modestly disclaimed such
high praise, saying that what he did
could not be called singing" "No,
Mr.. Moore" said the lady, sit is not ex-
actly singing, but it is something great
deal better" 1t was in truth the per-
lection of soul-singing, and it's charm
lay in its delicacy, simplicity, and that
earnestness of utterance and manner.
which showed that every word, every
note came from the soul. Blackwood
asks: "Why do not our singers of to-day
enieavor to charm in a similar manner?
instead of loading our sweetest melodies
with unmeaning lourishes-miscalled
ornaments" And we might add: Why
do not church chors have better singing
more soul-singing-than they do ?
Music seems to be almost lost science,
and is realized by the leading talent of
the country to-day: for instance the Bos-
ton Academy of Music, with DR.. Lowell
Mason at it's head; similar society in
New York, with DR.. Thomas (and a
brother of Lowell Mason) at it's head,
and numerous others in Rochester, Chi
cago, Cleveland and elsewhere are busily
engaged in the promotion and cultiva-
ton of what they term National Art
Singing" and hundreds of those who
claimed to be thorough musicians are
now flocking to these musical conven.
tions to restore, cultivate and elevate a
science that deserves and belongs to a
higher sphere. In choir music we find
the greatest field for reformation and
cultivation. You may select the finest
choir of large city for an example,
where are brought together the finest
voices, highly paid talent, for the di.
rect purpose of securing good church
music. Go and listen to their music
listen to that solo, sung with strong
voice, with some emotion-now low, now
loud, then the high, screeching notes
with flourishes of warbling, accompanied
with similar tiourishes from the organ
with its full compass. Was it music
But, listen. They sing Duet; it LA.
some harmonical sounds; two goot
voices; one seems to be trying to outd(
the other, or testing the power of thei
voices; all else seems lost sight of. TIL,
chorus breaks in upon your ears will
) such terrible force that it startles you
you start bolt upright, your eyes upol
) the ceiling and wonder if that roof i
, safe. A grand noise, indeed! If you coul,
be upOn some mountain ton oyerlookin,