Evening times-Republican. [volume] (Marshalltown, Iowa) 1890-1923, 1901-08-31
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FOR SUNDAY READING.
All Sorts OF Opinions.
TRAITS AS REFLECTED
BY MUSIC

+ - = - y " SSS>S1s>STSNS OBSERVATION-DISCLOSURES
NATIONAL TRAITS AS REFLECTED
BY MUSIC.
Nationalism is easily recognized In
music, but to what is it due and how is
II described? In studying the evolution
OF the art of music, is 1t possible to de-
Gus nations have severally contributed
and what influence each has had on the
complete modern product?
These questions are put and answered
by Prof. Hugh A. Clarke. Of the Univer-
sity of Pennsylvania. in volume Of es-
says entitled Highways and Byways of
Music" The most Interesting and sug-
| gestive of the essays are The Teutonic
Element in Music and Modern Ten
denotes in Music In the first-named
essay it is pointed out that nationalism
In music is a comparatively recent de-
velopment. During the period of the old
classical school, says Professor Clarke.
the art-music exhibited no national
traits. A madrigal, or a motel, or a
fugue by an Italian composer differed
in no respect from a like composition by
a German or Englishman or Fleming.
| Natioralism has made its way with re-
|
phasized its presence 80 strongly that
now German. Italian. French and Eng
! fish music differ as widely as, and even
! more widely than, the manners and
moral qualities of these peoples. Whence
these differences, and how are they ex-
pressed? Professor Clarke says: .In
searching for the origin Of this nation
alism We must turn to the folk MUSIC
n no nil, a.. H..
songs and dance tunes, natural growths,
innocent of musical learning.
Professor Clarke proceeds to set forth
popular music of the various peoples, as
| follows:
ITO begin with the Italian, the popu-
lar music of Italy is characterized by
smooth, graceful melody. by intense
passion. or by its opposite extreme, Lam
guor. 1t indicates temperament in
which quick, strong passion is combined
with keen sense of and admiration for
sensuous beauty, but when not moved
by passion it is too languId for sustained
effort. This temperament presents jus.
the right conditions to make Italy the
Ecradle of dramatic music, with its rapid
/ variations of mood. it's passion and ac-
!
/ beautiful by the ever-flowing stream of
exquisite melody.
ION the other hand, the Frenchman,
gifted with keen appreciation of style
always terse and delicate in his work
is as epigrammatic in his music as in his
4 literature: and it is Impossible that a
style chiefly characterized by neatness
and tenderness should ever develop into
1 IL f..,. m. So
poised perfectness that give such a
charm to a chansor or a genre compost
ton of Couperin can not be stretched to
cover a symphony Even in opera the
indigenous French form is series of
delicately cut and polished Jewels
strung together like beads on neck,
lace.
lit is easier to characterize Germay
lfolk-musc by negatives than by posi-
4 tives. 1t is entirely wanting in the
Estrenuou. passion and soft melodious-
'Iress of the Italian on the one hand and
the neat precision and savoir-faire of
the French on the other. 1t is quiet and
self-contained. passion is tempered by
reason, Imagination is controlled by re-
Election. 1t is the reflex of the tempera-
ment of sedate, thoughtful race. given
to high thinking and plain people;
people to whom art is as serious mat
ter as right living. German music is en-
tirely lacking in the catchy quality of
the brilliant French or sensuous Italian
music. but these superficial qualities are
more than compensated for by purity
land earnestness that make it haunt the
memory long after others have lost
their charm''
I English music is a blend mixture of
French and German characteristics.
There is a class of English songs that
has no counterpart anywhere, however
songs of broad. good-humored jovi-
| ality, rather course at times. but full of
| a quaint humor. No Celtic people has
developed an art-music, altho no people
is more passionately fond of music or
possess a more beautiful folk-music
The reason is found in 1.-The impulsive
mercurial temperament of the Celt, cas-
lily moved. but never long constant to
one emotion, and utterly wanting in the
patience necessary for ong-continued
effort. This is Just the temperament for
the production of melodies covering the
widest range of emotion, unmatchable
for beauty. or pathos, or gaiety. or ar
dor-melodies on which the constraint of
form would act like frost on summer
flowers" The Scotch genius is essen
| tally lyrical. The Scotch temperament
| is dramatically opposite to that of the
Celt. The Scotch are intense. but reti-
cent and self-restraired. When feeling
must overflow, the outlet is the short
lyric; then the habitual reticence reas-
serts itself, and there is no desire to
continue the expression of the emotion.
In view of these differences, Professor
Clarke holds, the part played by the
Teuton may be defined. 1t is the Ger
mans who have raised music from the
low plane of sensuous pleasure and Civ
Ell it an ethical Specification. ii instru-
mental and operate music Germany is
supreme, tho Italy invented the sonata.
the greatest of musical forms, which
has given us the symphony.
Professor Clarke believes that the
German art-form is essential to all
great compositions, tho better form
may be discovered in the future. An
advocate of true nationalism in music.
he yet objects to the dragging in OF
plantation Melodies or other songs for
the sake of local COLOR Dvorak's
American symphony he declares to be
the "apotheosis of a minstrel show"
AT THE CHURCHES.