The Carbon advocate. [volume] (Lehighton, Pa.) 1872-1924, 1892-10-15
MUSICAL CULTURE.
WELL MEANING HINTS, cut NOT
TOO KIND FOR, TILE AMATEUR.

WELL MEANING HINTS, cut NOT
TOO KIND FOR, TdE AMATEUR.
Music Is Hon'ioidal and suicidai 1t De-
YOURS Its own children and Stays
Itself e. Radical Changes Concerning
Instruments and Sex.
As speech to thonght. as pictorial art
90 external nature, IS practical music to
music the element Aud for this out
ward and audible art form music is de-
pendent ON human mediums. and those
human mediums require a certain prepa-
ration TO fit them for the reception aud
the transmission Of their message. To
some people, in whose natures musical
sympathy is strong, this preparation
comes easily and almost unconsciously.
But the great majority need kind Of
acclimatization before they can breathe
and move freely in an element more or
less strange to them, aud this acclima-
tization is what we know NJ musical
culture"
Most people have some latent musical
faculty, and this is capable Of develop
ment. The notion has at any rate died
out that it was eifemiuate for man 10
play the piano. and impossible for
woman to play the violin. It is not so
long since, in the upper Glasses no girls
education was considered even approxi-
mately complete without q largo a1nount
of piano forte drill music ID shall not
be called-whilc q certain proficiency in
this respect was too often held to atone
for the absence Of all other culture.
The violin ON the other hand was
held to be good only for men; perhaps
we should restrict the term and say for
fiddlers. Boys now and then learned n
little Of the instrument mt school--a
knowledge soon to be dropped and for
gotten The difference now scarcely
needs TO be pointed out. Boys and girls
in numbers, and not few who are no
longer boys or girls, are learning TO play
on tho violin and other stringed instru-
monis. The discovery has been made
that, though virtuoso must begin early,
it is not necessary to practice half the
day at four or five years old in order to
be a good useful player at twenty
Ensemble classes and school Orches-
tras show that on our amateurs the truth
is ut last dawning that unlimited solo
performance is not the ultimate aim of
all music training; that while only a
gifted few can attain 10 high individual
excellence and finish, the combination
of many atoms of good, too small to be
of any use singly, may result in an eff
feet which is not only good, but great,
SO long as music, not self display, is the
object sought after.
1t may be roundly stated as general
truth that musical study proclaims itself
on the housetops. without ceasing for an
instant to assert itself in the garret, in the
basement and at sundry intermediate
points. Tho students friends assist at
every stage of his progress; they are in
voluntary and mostly unwilling partici-
pators in his difficulties, his perseverance,
his triumph and his despair, Well for
them if two or three such dramas are not
going on in the house at once, to say
nothing Of probable pulfs of melody and
harmony from next door or over the way.
That the character Of musical practice
is far superior to what it used TO be ayails
these helpless ones but little.
To them it is an insignificant fact,
compared with the fact that for every
victim Of coercion who formerly pound
ed a wiry piano for "a couple of hours a
day there now arc dozen students Of
various instruments and singers galore,
all practicing away for dearlife. Should
any link be missing in the continuous
chain Of sound, it is filed mp by barrel
organs, street bands, wandering ballad
singers, solos ON the whistle and other
peripatetic instruments,
Good, very good, no luubt. The mu-
sical crusader looks on the work and
congratulaies himself, There must be
means to all end. Music requires ma
chinery, aud the machinery for music is
being brought into n most forward state
Of efficiency. But tho music itself,
whence in the future is that to GOMEZ
The "enra9cd composer and his troubles
have long been IA favoIite theme for the
efforts of humorists. Yet the fact thus
comically represented is no joke, and in
the present condition of things it threat
ems to resume ugly proportions,
Music is homicidal, suicidal. 1t de-
yours its own children and Stays itself.
Silence, the absence or cessation Of
musical sound, is an absolute necessity
for musical thought. But putting on
one side the troubles of composers. who
after all are comparatively few and far
between, The born poor things! TO be
Ishmaels, their hand against every
man and every mans hand against
them, what on the rest Of the world is
the effect of this unceasing, often incon-
gruous sonndf 1t Is easier to complain
than to cure, and far easier to point out
these evils than to suggest any effective
remedy for them.
If architects and builders would take
| into consideration the diffusion Of noise,
and would do something 20 make walls
and partitions music proof, it would be
much. There are continental towns
both in France and Germany where
practicing is prohibited by law, except
at certain stated hours. For a large
and enviahlo portion of mankind the
remedy against the evil lies in getting
used 10 musical sound, and so uncon-
scious of it, Nineteenth Century.