The Manitowoc pilot. [volume] (Manitowoc, Wis.) 1859-1932, 1902-06-19
Find the interest nd 6 per cent on
Educational Value OF Music.
Continued }


Then in conclusion he says: IF the
probability Of these corollaries be ad-
mitted, then music must take iank as
the highest OF the fine arts-as the one
which, more than any other, ministers
TO human welfare.
Now, "a to the development OF this
emotional language in the individual
We know that music has strange pow
er over us Who is there that has not
been stirred by the human voice, that
has not felt new and scarcely
stood emotions, stirred within us by
some wonderful singerY Unfortunately
tie voices are rare which possess this
power, and those singers who have 1t
There are not many PATHS, or Jenny
Linds What il it in their voices that
speaks straight 10 the hearts Of their
hearers 1t il not their marvellous
command Of the technique Of the voice,
for many singers have tlawless and ex-
duisite voices, considered ~ instruments,
who yet leave one absolutely unrespon-
sive 10 their singing. Mr.. Tomlins
claims that this quality Of voice need
not be the exclusive property of artists,
but il within the reach Of every one.
He discovered its presence in his singing
society in Chicago some years ago. In
some peculiar circumstances they un-
dertoOk 30 get up three days music
festival on few weeks notice, and
were obliged 10 learn in that time, tho
whole Of the oratorio of St Paul and n
number of difficult choruses from Han
del There was no time for ordinary
routine rehearsals, and the whole society
gave themselves into the hands of their
director, and were rehearsed AZ all times
and lsons, the men at their luncheon,
hour the women in the afternoon. and
the whole society in the evening Such
enthusiasm and excitement prevailed IA
to carry the thing through with the
greatest success. The unusual feature
Of the performance was the remarkable
tone quality that was obtained. Theo-
dore Thomas had never heard It's like
before. 1T lives" said he, 1T seems
TO have pulse This was enough for
Mr. Tomlins
II knew he writes, that this liv-
ing. pulsinR essential tone waE the
substance and the only real substance,
Of artistic voice, and that it could exist,
and in large measure be- developed,
without the details Of elaborate vocal
ism, Just a. those details could be Oh.
tanned without II This experience con,
firmed my previous impression that the
artistic yirtuosO tone, which in the past
has characterized the singing of only
the favored few who were considered to
BE- gifted with heaven born voices, was
really "A common inheritance impaired
no doubt by the vocal sins Of our an.
cestors but not extinct aud capable Of
development boy means Of very simple
exercises
But Mr. Tomlins found It imposribl,
10 obtain from his singing society in
general what be had got from them
under strong excitement. He spent So
yeral years Of experiment az a teacher
and still failed 10 get the results h,
aimed for lie did discover, however
that the failure was due to self-cou
seriousness 10 the physical assertion o.
the singers Then he turned % TIA,
children, Here was less Of self con
sclousness and readiness to lend them
selves IN play 10 almost any condition
However, after two years work will
them, he was still dissatisfied with ia,
results He had been striving 10 re
emotional singing from them and ha,
harped upon that a. basis for yoic,
formation. There was measure o