The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1900-01-31
TO UNDERSTAND MUSIC
SOME INSTRUCTIONS TO THOSE WHO
ARE NOT MUSIC LOVERS.
But IL They Can Get Enlightenment
by Following Directions They
Are Remarkable Persons.
Springfield Republican.

W. j. Henderson, the capable musical
writer of the New York Times, is some
what sl,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 1t is
unpleasant thing TO have TO charge anyone
with hypocrisy his point should be en-
phasized, that those who do not care for
music ought to have the courage to say so.
1t Is no disgrace not to care for music.
or for poetry, or for novels, or for the
theater. Why should anyone suppose that
1t is? Yet Mr. Henderson says that ito
note the attitude of the so-called music
lovers one would think that only those
who had melodic hysteria were fit to be
sought asl acquaintance. And so there
grows up class of persons who sit in ST.
lent endurance of they know not what in
order that they may have the friendship
or distant approval of those who secm
understand what to them is Incompetent
sible"
This does injustice, however, to the large
class of people who try to enjoy music,
not because they wish to stand we'll with
their friends, but because they feel that
there is world of pleasure from which
they are debarred. but which may be
opened to them If they sit long enough
from unworthy, though it is often unwise-
ly adhered to. The fact may as well be
confronted that n considerable part of the
race have not the temperament which fits
them to enjoy music. They may be tone
11nf
as is popularity supposed. More frequently
the lack Is simply due to an intellectual
and emotional makeup, which is not
affected by melody, and it is useless to
seek further for an explanation. Can we
say why one person is moved to an ecstasy
by the magic of Shakspeare's line:
Bare ruined choirs. where late the sweet
birds sang,
while another person of equal intelligence
refinement and culture finds it simply dull
and uninteresting? No more can we say
why one person is captivated by the tone
or a violin, cello or clarinet. while to an
other 1t is merely the scraping of rosined
horsehair over catgut, or the squeaking
of reed.
NO MEANING TO THEM.
And yet 1t is probable that many people
get no good from their concert-going be-
cause they attend in a wrong frame of
mind. They go to a musical performance
as though 1t 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,
put they have made no progress toward
understanding music, and a great sonata
bores them as much as ever. The trouble
forget fIQ inf 81
operation is needed on their part; that for
an unframed nearer to listen to music
which is built up in lofty patterns is like
listening TO poem in a strange languaSe
Pleasing tonal effects may strike the ear.
ike unintelltgfble 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 spontaneolislv
just as child in German family under
stands German. The adult not favored
must attain the same end by different
route. II is probably never too late to
learn TO enjoy music, but the method in
later life must be somewhat different.
The truth with many unframed concert
goers, is that icy do not know what to
look for. Mr.. Henderson says:
Now the truth is that of those who
think they understand music the percent
age 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
It, Most of these so-called music lovers do
not know the first principles of the art of
music. They never get any further than
me 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-
per OF those who, having ears, hear MOI.
Or the elements of design. of the harmonic
grouping of the component parts of a mus
fcal edifice, they are utterly ignorant Jypon
TINS string the present writer harps per-
haps to WEAKNESS, but il is the one string
which Whnla 81
ture must rest. Listening? Yes, and per-
forming. too. Why, 1t 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 see
only its technics. The esthetic idea which
lies 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 baffied 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 sonata and ask a musician
what 1t means, what the composer was
trying TO express by it. 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 a music hater
Now. the unmusical person who wishes
| TO become a music lover, and the transition
| is often quite feasible. ought to bear in
mind few fundamental points. Ia the
| first place, music must be divided into
| three general classes
First-Music with words.
Second-Descriptive music without words
programme music)
Third--Absolute music without words
In vocal music the words announce a sem
tinent which the music reinforces and
heightens. This Is the main reason why
songs are more popular than instrumental
| music The unmusical nearer has satisfied
| the natural craving TO know what 1T is
about" In descriptive instrumental music
! the same end is served in a degree by n
| programme which the music follows. 1t
may be such crude programme in the
| popular brass band selections describing a
| trip abroad. the whistle of the steamer the
| clatter OF machinery. the passing of pro-
cessiOnS etc, or a clever bit of tone paint
! ing like Saint-Saens's Dance OF Death" or
| Omphale's spinning Wheel" The innumer-
able storm pieces are examples of this sort
Such music may be OF high intrinsic value