The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1903-02-01
as p PROFESSION.
WHAT THE OPERATC STAGE OFFERS TO-DAY.
BY ANNIE W. PATTERSON.

In this. the first Of a series of articles about
music, Annie w. Patterson. an ~EnGlishwoman.
approaches her subject from a British viewpoint.
Her suggestions and opinions are. however. IN
most particulars applicable &c conditions In the
| United States. She first considers the practical
side of a musical training.
| Money-making has become a necessity of
existence. We must either have this useful
1t ourselves.
| Toll or talent, or both combined. are
hence. from one point of view which cannot
be overlooked. directed toward one definite
end. They must be utilized as a means Of
subsistence; in other words, as a way
whereby money may he made.
Art for arts sake Is a beautiful idea in
the abstract. but even this delightful pur-
suit cannot be successfully or comfortably
followed out without the wherewithal."
The poet, the painter, the musician must
first be housed. clothed and fed-even II but
after an Indifferent fashion-if their talents
have fair scope for exercise.
Food, raiment and shelter cost money; to
some less, to others more.
Whereupon has arisen the strenuous need.
especially where independent means-money
agafn-are not forthcoming, that art. as well
as mechanical occupations, should furnish a
source of livelihood. This Is a stern fact.
which even the most enthusiastic and those
of the loftiest principle cannot contrOvert.
But there is a good and a bad way of
doing everything. In spite of the sneers
of the pessimist let us still hold fast to the
truth of the old adage, Honesty Is the best
policy"
Members Of the medical. the legal. the
art. and even the clerical professions must
make money to live.
Let them strive to do so with "a clear
conscience to the best of their ability
and honestly in she sight of God and man.
Mortal enterprise must herewith be con-
tent. Thus far must the spirit yield 20
the requirements of the flesh.
Most professions. people say, are over
crowded nowadays. The truth is that, al
though mediocrity abounds, there is always
plenty of room "at the top for the truly
gifted and expert. Talent, of varying de-
grees. may be plentiful, but genius is as
scarce as it ever was.
This is especially the case with music. 1t
has also often been alleged that. In choos-
ing a profession. each should always fol-
low the bent of his inclination.
Tastes may be cultivated to a certain eN-
tent, but it is still indisputable that the
artist Is born and not made. This, again.
particularly applies to the musician. SO.
in selecting music as a profession the young
aspirant should be very careful.
a mere fondness for "the concord of sweet
sounds" must not be mistaken for the fer
vor of natural aptitude. ear and gift.
Personal vanity and the ambition to shine
as a public performer may not be con-
founded with that longing to- excel at a
given propensity, the love for which is part
of ones very being.
Thus. the singer must have the voice to
start with: the composer requires the power
of original melodic thought even the would
be teacher of music needs more than per-
sonal education If he or she succeed as an
instructor-the true professor of music must
be one ito the manner born
THE MUSICAL EAR.
Upon the matter of 1.-THE musical ear" we
might say much, but there are so many
theories abroad upon the subject. and the
matter itself is. as yet, so wrapt in mys-
terry, that 1t would be futile to discuss
what, so far. passes the comprehension of
man.
Who, for instance can explain why some,
born with perfect physical hearing. keen
mental perception and a love and appreci-
alton of all that Is beautiful in art and ma
ture. are still devoid of what Is known as
a musical ear? Others. again. partially
deaf. from birth or through accident. revel
in the sound gamut and are powerfully sem
sitive to what is known as timbre: /. e..
tone color, as exemplified by the difference
in sound between a flute and an oboe.
In the face of these inexplicable facts We
are dumb. Else we fondly imagine a sixth
sense which perceives with the spirit and
the understanding rather than through the
material channels of ear and eye. Or. may |
be. we realize that the great-scale of vibra-
ton. or movement of molecules. embraces
heat, light. electricity. and even life In its
compass as well as sound. and that GER
tain sections of that mighty Music of Move |
ment are more sympathetically assimilated
some natures than by others.
Allowing then-though without attempting |
to explain its presence. for even heredity
cannot account for it-that the musical ear
exists in an individual. and that with 1t is |
combined the innate wish and faculty to eX- !
eel IN the art of music. a young person of
either sex thus imbued is we'll justified in
selecting the AIRS Divina as n profession
whereby a living may be made. !
At this stage one must endeavor to find !
out how. and at what period of ones exist