The Marietta journal. [volume] (Marietta, Ga.) 1866-1909, 1897-05-20

tor big 3 - Il
!. ! !. !. !. !.
Alter Is 70 paint
the lana 1 wishes 81
a susc kes up the
themsd gft, dreamy
tones, art after the
infnits, need not
words Mat soul,
who pir;t Of
BeetA tal pro-
ductil Rusic, I.
feel IN ulstaI
his 81 Iss.V
terias , vls 8td ou O.
''soft summer ha REALMS
OF fancy, and re ing those
siren isles, forge e or sor>
Md thus our bed sr, when
Rywished to give H foretaste
oflheaven, gave then art divine.
The Arts, says T. = arckitec-
lure. sculpture, betry and
music J" the last, th} lost spirit>
uelle OF them all. NO portray
cold. dead forms; q ing color, hints
at lite, as,tfe earth clotNd 10 living
green poetry pain on the inner eye,
forms instinct With and. shows that
man hasa soul; q the language OF
that soul. MAA
I/gtelow says, ct of man
sits enrnroned visi slHsT forehead,
and in his eye; tb ARf man is written
upon his countena UbuN the soWl reRsls
itself in the voice 'esA God revealed
Himself to the PRO 1et Of Old, in the still
small voice, and liz voice from burning
bush. The soul of m&n is audible, not
visible A sound alone betrays the fow-
ing OF the internal toYntain invisible to
maA." Thus the mother, in accents
sweetest, 20 low, murmuring tones,
soothes her restless child to sleep with her
beautiful slunber song.
OF the two branches of music, vocal or
instrumental, the latter is acknowledged
by eminent authors to be the higher art.
1t il most purely musical; it speaks to the
soul alone; while vocal music, by its ar
ticuiate words, appeals more to the under 4
standing /; and is more easily understood
than instrumental. since the poetry with
which 1t is welded aids in conveying its 4
meaning to the mind. Therefore, song ls
more Datural, and there is more uniyer-
salty in it's effect.
Vocal music includes purely humanlt
as well as artistic principles; Instruments
music is all ar" and requires for its APP
probation much higher esthetic cu!tare.
Eberhard, a German writer, says, THE
parts oil music which act with most force
upon men least instructed in this art, are
first, rhythm and movement; next sound
at length song or melody and in the last
place harmony, which springs from the
very bosom of divinity" Hence in the
| first place, see the tondness of the uncul-
| tivated negro race for the tambouriae,
castinet and banjo, keeping time to them
1 in rhythmic motions of their bodies then
the Strauss values, and Mexican dance
! music, incite the yoxng to trip the light
| fsnta site toe" next comes s0Gnd, and the
trumpet blast. and the roll Of the drum.
with the piercing fife, lead men on to the
conflict CT arms, and incite tnem to deeds
! of Halor, All these forms Of C1rsic act
upon the instincts OF those still upon a
| sensuous plane of lie.
Then higher than these is melody, and
| multitudes are electrified by the voices OF
| Patti, DeVere, Scalchi, Trebelli, and
others, who sway them by their heavenly
| tones, and artistic trills and roulades, and
| the vast audiences give expression to their
delight ia the tumpltous clapping of hands
and waving of handkercheis. Then com
bine these soprano and contrato voices
with the silver.toned tenors, Campanini
and BrignoE, and melodious bassos like
Susini and Janka; we could select FROM
them perfect quartette OF voices to bring
10 view .he eestatic bliss OF hearing all
four parts blended into one harmonious
whole. Harmony exeupi6ed, and in
still richer forms OF harmony, in the do.
main of sacred music, behold the eutuusi-
asm exhibited by vast audience, during !
the great Handel festival 10 London, Eng, |
when his grand choruses from ''The Mes
sah," are rendered by 3, $50 singers with
| he IN rSe nv, n No 1apoad hao hQpnma a |