The Kalispell bee. [volume] (Kalispell, Mont.) 1900-192?, 1902-10-17

1t has a system quite it's own,
And ticks for me to hear
Whether another little clock
Is far away or near.
feel the tiny pendulum
Go throbbing to and fro,
Sometimes it's like to run away,
Sometimes It's faint and slow.
And when it ticks so loud and fast
1t browns the whole world out,
Oh, then l know that other clock
Is near, beyond a doubt
But when I scarce believe it goes,
So faint it's time beats are,
The slow. dark minutes crawl like
snails-
The clock is very far;
And if that other should run down,
My little clock, I know,
Would faint--and farmland fainter
tick,
Then gently cease to go.
o
Of all the fine arts music has had
the hardest existence. Years, de-
cades and centuries passed without
recognition being given to music, and
without the esteem of the educated
part of the people. True, there has
ii all
steal art, which has kept it alive, and
gradually grown in brilliancy until it
has forced the interest of all classes.
1t can hardly be said that music as
an art, has kept pace in growth with
poetry, sculpture and painting. The
growth of literary culture has also
far surpassed that of music. 1t has
been the habit OF the majority of the
population to look upon music as a
sort of pastime and it has not receiv-
ed the consideration justly it's due.
Through the pages of ancient his
tory recording the development of the
human mind we hear music casually
spoken of. In olden times musicians
were considered useless idlers, who
pleased people more or less by their
performances, but, VINO added moth
ing to the world either mental or
material, and it was considered a
misfortune for any one to be a must
clan
To the Greeks we are indebted foi
the first form of musical notation
and the first formulation of harmonic
construction. True these forms
were crude, the material was limited
and the musician of the present day
is interested in those forms only as
they are incidents in the growth OF
musical art through the centuries.
Leaving out the centuries proceed
ing the fifteenth as having little OF
interr st to the modern musician, we
will look to Italy curing the fifteenth
and sixteenth centuries, for the be
ginning of what has now become the
modern school of composition. Next
were the German musicians, and, tax
ing up the ideas of the Italian com
posers, the Germans developed anG
added to them, until the highest
form of musical art kaoWn to the
world was evolved From Germany
came the great handel to England
where ne made his home many years
There he wrote great oratorio'
which are immortal and man. Other
compositions of greater or les.
scope. 1t is to the influence of Han
del that musical art in England
owes practically it's existence.
When the Puritan Fathers came tt
America they brought with them
more or less of the musical traditions
they had become familiar with il
their own country and it is to thi
very fact that it has been possible
for music to reach its present prout
position in our country During tn
early part of the life of the Englisl
colonies in America, the art of musi
was almost lost. This was due to OF
preston and suppression. Outside o
its use in church ervices it was no
considered at all, and it was not unit
after the revolutionary war and tn
OpShdShNO vi CIlC NOiOnlCo Ad
been gained that the influence of tn
musicians of Europe began to max
itself felt in the new world Must
in New England during the first hal
the nineteenth century received bu
little On engagement, and it was onl
when the influence of visiting artist
of Europe began to make itself fel
that the real art of music began t
be recognized. From that time O.
we have had the best musicians fror
the old world visit the United State
and present compositions of the grea
classical masters to the American
public.
Il ~ Il