The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-12-04
POTPOURRI PAPERS.
BY FRANCIS L. RAwsoN.
Fourth Paper !

Allowing that there are many times
when mu>ic is used improperly, as a re-
lief to embarrassment or to fill a niche.
when there is nothing people can say,
and when its performance is entirely
mechanical and a mere form, without
any heartiness whatsoever ; allowing, al
SO, that this use (having added to it poor
tunes and still poorer perform+rs) has
had hardening effect, which has caused
its legitimate use to lose much of its true
meaning and POTENCY, still its functions
are the same as ever, and the feelings
which demand expression have an exist
ence in the human heart. These
thoughts suggest that every one who
possesses an ordinary mind, and the
emotions of average humanity, should
have certain amount of musical cul-
ture, both as listeners and performers !;
Which IN turn creates demand for
music teachers, and. as humanity is
raised higher in the direction of its orig
inal intent, the demand will be increased
both for number and quality of teachers.
1t is also suggested that the way ofreach-
ing the masses is through their accus-
toned educational channels, and that
there must be better means devised
than exist at present for reaching those
outside of schools Music of all kinds
has conventionally organized forms,
which are termed tunes. 1t is in teach
ing these tunes, with and without words.
and which vary in length, completely,
profundity and form, almost without
enumeration and classification, and in
helping persons acquire the ability to
perform them, that the music teachers
work mainly consists. Or, in CARRYING
out the simile before used, this is the
product or merchandise of which he is
the legalized carrier. It is towards this
tune teaching, and how to perform them,
as centre, that all his efforts must tend !:
hence all promulgations of theory, mere
ly as such, is a subversion of efforts
from the accomplishment of certain
ends, to the objects and incidents by the
way. He teaches by note, that the peo-
pie may sing t,taacs. He teaches them
music-reading, that they may play ta,,aes.
lie teaches harmony and composition.
that they may better understand. per
form and compose tunes He teaches
cultivation of the voice, of the hands
and feet, that they may correctly and
properly sing and play tunes. He teach
es quality of tone and expression, that
tunes may be performed consistently
with their meaning. These tunes are.
as 1t were, essays upon certain themes.
or, IN other words, they are the express
sion of emotional thought or ideas.
which take form and shape in accord
ance with conventional rules and this
language. when it really does express
something, and is not a mere arrange
ment or collection Of sounds without
reference to thought, and is properly
interpreted, win convey. certainly, to
the reader or nearer the thought of the |
author. Thus, considering music Ian |
guage, it Is comparatively easy, bv |
taking as parallel the spoken or writ |
ten language of thought and desire, to
understand that tunes may be more or |
less profound be longer or shorter !:
and be more or less complex and COM
pound. Also to infer from the subdiyi-
sion of essays into paragraphs, SEN
fences, phrases, clauses, words, syllables |
and letters, that there is likely to bel
as there is-a similar subdivision oil
tunes, and that they have their written
representation in musical language. 1t
is evident, also, that while a teacher
may teach and people may learn tunes,
IS they learn to speak, and read and |
write without definite knowledge of
grammar, yet there IS an appreciation
If the power and relation of tones.
whether said knowledge can be express