The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-01-24
TO UNDERSTAND MUSIC
SOME INSTRUCTIONS TO THOSE WHO
ARE NOT MUSIC LOVERS.
But If They Can Get Enlightenment
b. Following Directions They
Are Remarkable Persons.
Springfield Republican.

Springfield KepuDllcan
w. j. Henderson. tho capable musical
writer of the New York Times. is some
what si-eptical in regard to the genuine
ness of the prevailing fashion for music,
and thinks that in many cases "affecta-
ton for music should be read for "affec-
ton" However this may be. and it is an
unpleasant thing to have to charge anyone
with hypocrisy. his point should be en-
pkasized, That those who do not care for
music ought to have the courage to say so.
1t is disgrace not to care for music.
or for poetry, or for novels, or for the
theater. Why should anyone suppose that
ii is? Yet Mr. Henderson says that Ito
note the attitude of the so~called music
lovers would think that only those
who had melodic hysteria were tit to be
sought as acquaintances. And SO there
grows up class of persons who sit i'm ST.
lent endurance Of they know not what In
order that they may have the friendship
or distant approval of those who seem 20
understand what TO them is Incompetence
sble''
This does injustice, however, TO the large
class of people who try to enjoy music,
not because they wish TO stand well with
their friends. but because they feel that
there is a world OF pleasure from which
they are debarred, but which may be
opened to them if they sit long enough
i'm the concert room. This attitude is far
from unworthy, though it is often unwisc-
ly adhered to. The fact may as well De
confronted that a considerable part of the
race have not the temperament which hts
them to enjoy music. They may be tone
deaf, though the defect is not so common
as is popularity supposed. More frequently
the lack is simply due to an intellectual
ana emotional makeup, which is not
afIected by melody, and ii is useless to
seek further for explanation. Can we
say why one person is moved to an ecstasy
by the magic of Shakspeares line:
Bare ruined choirs, where late the sweet
birds sang,
while another person of equal intelligence,
refinement and culture finds it simply dull
and embarrassing? No more can we say
why one person is captivated by the tone
of violin, cello clarinet. while to an
other it is merely the scraping of rosined
NO MEANING TO THEM.
And yet it is probable that many people
get no good from their concert-going be-
cause they attend in a wrong frame of
as though it were an exhibition of fire.
works and they had nothing to do but to
sit still and be dazzled When a brilliant
virtuoso goes skyrocketing about with
double thirds of the piano. or ricochet bow
ings and left-hand pizzicato on the violin,
they are indeed dazzled for the moment
but they have made no progress toward
understanding music, and a great sonata
pores them as much as ever. The trouble
is that they forget tLat intellectual CO.
operation is needed on their part: that for
which is built up in lofty patterns is like
listening TO poem in a strange langua ee
Pleasing tonal effects may strike the ear
IKE unintellisible rhymes. but the mean
Ing eludes the mind. Now the child who is
reared In a musical family comes to under
stand the musical language spontaneously
just as a child in a German family under
stands German. The adult not favored
route. 1t is probably never too late 10
learn TO enjoy music, but the method i'm
later life must be somewhat different.
Inc truth with many unframed concert
SoeFs, is mat Icy do not know what to
look for. Mr.. Henderson says:
now the truth is that of those who
thihk thcy understand music the percent
ase which really does know to what it is
listening is so small that not even a free
piano recital could get an audience out of
1T. Most of these so-called music lovers do
not know the first principles of the art of
music. They never get any further than
the sensuous side of the thing They hear
the pretty sounds and these tickle their
ears. What the artistic mind of the COM
poser has wrought for their delectation
they never discover They are of the num-
Der OF those who, having ears. hear no..
Or the elements of design, Of the harmonic
grouping of the component parts of n mus
ical edihce, they are utterly ignorant. Upon
this string the present writer harms nov
lie he
on which the whole chord of musical cul-
ture must rest Listening? Yes. and per-
forming TOP Why, it would amaze the
reader to learn how little professional
musicians know of the artistic side of their
art. Nine out OF every ten of them sec
only its technics. The esthetic idea which
mes behind the structure of composition
Is lost TO the average musician
He adds that one reason for the excel
lence OF the Boston symphony Orchestra is
the large proportion of its members who
have artistic insight.
TRY TO GRASP.
But other more serious-minded hearers
who are not content with mere tickling of
the ears and try to grasp some inner mean
ing in music which may justify them in de-
voting time and effort to its comprehension
are sorely baflled because they do not
know what to look for, or look for the
wrong thing. They expect music to tell
them story. something definite something
that they can carry away with them"
They hear a sonata and ask a musician
what it means, what the composer was
trying to express by H. The musician
probably shrugs his shoulders and turns
the conversation to an easier channel. And
the strenuous beginner goes away feeling
that hearing music is like listening to nurs-
cry rhymes OF the
Dickery. dickery dock,
The mouse ran up the clock
variety, or looking at paintings that were
mere color schemes, with no picture Read
Charles Lambs delightful Chapter on
Ears" and you will find this state of mind
most wildly set forth by music hater
Now. the unmusical person who wishes
to become q music lover, and the transition
is often Quite feasible. ought To bear in
mind few fundamental points. In the
first place, music must be divided into
three general classes
First-Music with words.
Second-Descriptive music without words
programme Tnusic.)
Thirds-Absolute music without words
In vocal music the words announce a sem
timent which the music reinforces and
heightens This is the main reason why
songs are more popular than instrumental
music. The unmusical hearer has satisfied
the natural craving to know what Ii is
about In descriptive instrumental music
the same end is served in "a degree by n
programme" which the music follows 1t
popular brass band selections describing
trip abroad. the whistle OF the steamer the
ciatter of machinery. the passing of pro-
cessioas. etc. ar a clever biz of tone paint
ing like Saint-Saens's Dance OF Death or
Omphale's Spinning Wheel" Thefnnumer-
1n1 81 ME