Daily independent. [volume] (Elko, Nev.) 188?-1915, 1890-05-13
THE MISSION OF MUSIC.
Some OF the Essential Elements OF Rich.
ard Wagner's Theory

ara "aSner'S Theory.
Tho first of these is that the mission
in which Wagner labored as contro-
Versalist and composer was a reform of
tho opera-not q reform of music gen-
orally. He was a musical reformer onlv
so far as music is factor in the sum of
the modern opera. Outside of the tho
alter, 1t is true, he exerted a tremen-
dous influence on the development of
the art; but that influence he exerted
only as gifted musician who stood in
tho line of succession with the great
men who widened the boundaries of the
art and struck out new paths for it
lot me say Bach, Hayden, Gluck, Mo-
zart, Beethoven and Schumann.
AS the legitimate successor Of these
kings, he advanced the musical art in
deed; but as a reformer, his activities
were directed not to music in it's abso-
Lutte forms, but to an entirely distinct
and complex-art-form-t opera. The
phrase music of the FUTURE" popularity
attributed to him, was the invention of
the critics; his own phrase which was
thus parodted was 'the art-work of the
future" by which no meant o form of
theatrical entertainment in which
poetry, music, gesture, painting and the
plastic arts were to corporate on o.
basis of complete interdopondence and
common aim, tho inspiring purpose of
all being dramatic expression. Tho
starting point Of his rcformatory Ideas
was that music had usurped a place
which does not belong to it in the lyric
drama. 1t should be a means, and had
become the aim.
AS an aesthetic principle, he contonded
That 1t lies in the nature of music to be
not tho end, but medium of dramatic
expression. He therefore reversed the
old rotations Of librettist and composer
and made music, which can only ad-
dress itself to the emotions and imagina-
ton, dependent for form, spirit and
character on the poetry, which can ap-
peal to reason rs we'll. As q musical
form OF expression, Wagner held that
rhyme is useless, because it implies tho
identity of the consonants succeeding
the Vowels, and those consonants arc
lost because only the vowels can be dwclt
on. The first consonant of word can
not be lost, however, because it is that
which gives physiognomy; and since
repetition makes an agreeable cadence,
no substituted alliteration for rhyme in
tho significant portions of his vorses.
This theory, however, he put into
practice only in ''Tristian und Isolde"
and Der Ring des Nibclungen;" in
"Parsifal" he REQUIRED to rhyme. From
the verso melody thus obtained he de-
sired tho musical melody to spring,
words and music becoming lovingly
merged in each other, zach sacrificing
enough of sellshness TO make tho union
possible. This means that for the sake
of truth Wagner brought defamation
forward al the first and most essential
olemont in dramatic singing. Tho mel
ody, in the sense in which tho word is
generally understood, has to a great ex-
tont been rolegated to tho orchestra,
where 1T Is woven into q great sym
phonic fabric, in which, no loss than one
stage, tho drama is worked out.
In his vocal part the aim IS to achieve
through the music an increased Impress
1Vencss for the poetry, and to this end
he raises it to kind of intensified
speech, which retains as much as posi-.
bic OF tho distinctncss of ordinary dia-
logue, with its emotional capacity raised
to higher power. .-Uarper's Monthly.