The San Francisco call., 1904-04-27
MEN ananMA1YERS In
THE ECRErZ lie WORLD
MOVES

Of tonal forms. succession. tonal beau
ties and tonal moods. IL is a question
cf hearing them sympathetically and
clearly. OF playing them in the same
way and Of feeling them in their mean
ing and strength. You can raise crop
Of tones and a growth of tone power
only by planting seed OF like character.
No music. no music-think.
Thus ii happens that young teachers
who draw a diploma or certificate as
an incident of a years tuition find
themselves less instructed than they
supposed. and, above all and most ia
tai for ease IL business. they have
never so much as heard Of the prin-
ciples of musical pedagogy. They do
not have an idea Of what II is they
wish to accomplish in the pupils be-
yond simply TO make them play" The
what and the how Of the playing, the
two essential things. are as yet be-
yond them. The school ought to have
seen TO that. Il is like turning out
doctors who have never given attention
TO materia medica or the symptoms Of
disease.
Ii is not the part Of this discussion
10 supplement the omissions Of the GER
tifieating schools, but at least we may
say something. The first and main
thing in music teaching. toward which
every lesson has to work, is music
Now. music consists Of two something's.
although many persons have but one
Of them. There is first something act
ually sounding and to be heard Even
in hearing we hear much beyond what
frf1xr 4rr7a
Is heard as it actually sounds, and is
felt according 10 what we imagine to
be its place in key. That is, we ex-
pect il to lead TO something else, and
when this expectation takes on truly
musical form (as the result Of hered-
ity and training) We call it musical
feeling. Then by insensible shades this
nimbus Of expectation appertaining to
the actual hearing of tone combina-
tions passes over into something else.
Our mood changes with the music. As
Walt Whitman says. the music is what
'awakens within us when we are re-
minded by the instruments" The mu-
sic in fact is both-that which sounds.
and that which awakens by reason of
the sounding.
From this point of view music is an
other Of those marvels we find so num-
erous in modern science. Just as when
the thousand miles of iron wire thrills
throughout its whole length by a cur
rent of electricity so delicate that it
can be taken upon the tongue without
harm: and the sheet-irOn diaphragm Of
the telephone transmits the vibration
waves TO the wire. while a similar
4 @.-Tr..
those vibrations and recreates them
again into speech; just so in music the
tone combinations Of Beethoven,
awakened. it may be by nervous irri-
tations or ecstacies. when taken prop
erly into our century later ears, have
the power to awaken in US again the
mood and the spirit Of Beethoven in
the moment Of composing. And in this
enjoyment of the music there are al
ways two equal factors-the pleasure
in the sounds and the SUGGESTIONS of
sounds and the change Of state in the
hearer as a result of sound-waves
which have gone straight inward to the
soul of the man and there effected
changes and inspirations of mood. 1t
is a legitimate pleasure, for music is
the great and universal art form of
our times. II contains body of
strength and beauty surprising that Of
painting-surpassing even that Of lit
erature. The real motive in those
forms of composition we dignity by the
term literature is elevation of soul and
spirit and music accomplishes these
things more easily and directly. and
also in vastly more manifold manners.
Hence the foundation of music teach
ing is to lay a foundation for musical
hearing Gear training). for musical feel
ing (sympathetically hearing) and for
musical intelligence Ito recognize
strength and beauty of design. To
these three we add, as a part of the
same. the musical hand. the automatic
hand to reproduce upon the keyboard
/ every shade of the musical thought.
Then we have musical education, and
IL the hand is good enough and the
spirit high enough. and the ear strong
enough. we may have an artist.
I There are certain business aspects of
the profession which need to be con-
sidered. The first of these is the
proper standard of qualification, which
ought to be relatively the same for a
/ Young man as when to college educa-
ton he adds the technical school. This
means frst-class teaching, good talent
and hard study. at the end of which
the young man should be good player,
a fine musician. a man Of musical taste
and of cultivated personality.
For carrying on the profession salts
factorily a young man should have a
studio and give all his lessons there;
II need not be downtown, but prefer
ably in a residence district. What one
loses by the distance Of some possible
patrons is made up by the nearness
| OF a sufficiently large public. This en-
abIes him to give school children les
sons after school.