Omaha daily bee., 1914-11-08
nv uENRIErrA VI. REEs.
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Ig@ENI


from time 90 time by local
ISC(Ef.lS or visiting artists7
49, The amount OF good 81 does
anyone depends entirely upon the amount
OF appreciation and attention the person
who attends puts into 1t, let us con-
slider the great general class Of people
first. which includes the tired business
man." the dilettantc style Of woman
and a number OF others who would like
20 hear good music. but who devote very
little time to the practical study Of 70.
These people enjoy II from very diff
ferent view than the educated musical
listener but sometimes they get just a.
much enjoyment out Of II as he. They
like the brilliant work. the top tones Of
the tenor. the low tones OF the contralto
and the long-sustalned notes OF the singer
when it seems he never will run out of
breath. They have few preconceived
ideas. love 10 be amazed and delight In
many parts OF the program where little
IS demanded. while many OF the finer
points where the supreme art OF the pei
former is displayed they pass mno-
ticed They do not enjoy piano or violin
recitals as much az the vocal. because
their cars are not used TO the tone quail
ity OF the instruments and they tire OF It.
But II ono OF this class will go every
time he has chance TO hear great visit
ing artists or worthy local ones, and nj
ways listen for long. high notes or what
ever else he will. Just 30 he listens Tor
something, he will gradually find him
self hearing other things he likes NJ well
and he slowly passes out OF his class into
tho class Of apprecatlve listeners who are
usually people who have been brought up
in "A musical household Of those with fine,
natural musical ears, who are capable OF
hearing more than one part, and those
who belong "a that ever increasing COM
pany who have developed their taste by
means OF tho finest records and the
phonograph. These people always hear
all that they can. and enjoy the differ
Ont fine points. according 10 their In
dividual standards. Each time they at
tend a concert they try to find more
beauties IN the compositions, and they
always, go 70 hear the best artists. be-
cause the best artists are the clearest
mediums for the amount of music In the
work OF tho composer. Many time
they win enjoy classic number when
interpreted with an the intensity and
art OF great virtuoso, which they
were unable to hear Alright when
in the hands OF some less skillful
amateur The beauty OF a high class con-
cert IL that the artists usually present
classical music. both ancient and modern.
in such n way that II doesn't sound like
classical music. This involves variety
OF meanings in tho word classical" But
when well done Il all sounds so beauti-
fuily simple and Is simply beautiful that
no one would know & was fin of
thought In the Interpretation.
Then among the concert goers are the
students. the teachers. and the musical
amateurs. A pupil can see In bold re-
lief Tn the work OF some master many
things which his teacher has been trying
70 impress upon him. lie can sec little
OF the finish above the structure, OF his
art. and II will inspire him 10 redoubled
efforts IL saves musical amateurs from
taking too firm a hold upon the notion
that they are finished artists incapable
OF improving upon their own perfection.
Many n time when they hear some spe-
ciai favorite subtiy interpreted I'm all
its beauty before them. Il gives them
uuite jolt TO compare II with their
own. IL inspires the teacher 20 work
harder TO bring out the best IN his pupils
and Il gives him an enjoyable period
when he hears music interpreted as he
likes 20 hear II, with a sureness OF tech
Me. and an artistic taste that IL both
convincing and individual. II people APP
proaeh concert or recital with humil-
lily In their souls, with desire 10 hear
AZ much as possible. ana with a detor-
mination 70 concentrate upon their lis
fening powers TO the exclusion OF the
pecuiiaritieR OF the rest OF the audience
they will always find something about
the music TO enjoy, Too many times tho
attention wanders 10 the woman I'm front
with the airy plume. who shows that she
understands rhythm by keeping time 10
the music with her head-until the time
changes and throws her Off. Sometimes
u rs attracted by tho noisy amateur
who whispers comments audibly
throughout the selection, with consid-
cradle head bobhlng. or shaking as the
oecasion requires. Sometime tho pecu-
3iarities of the artist cause one 10 watch
rather than listen Sometimes tho atten-
lion wanders afar 10 subjects far from
fhe world around them and they forget
that they are missing some OF IN.
beauties OF sound which they have as
sembled TO hear. Sometimes delicate
ones not approaching their opportunities
10 learn how TO become good listeners bv
doing the above. as soon as the music
starts remember how near they are 10
quick consumption or bronchitis. and
every few minutes emit a little unneees-
fary cough. which reminds others Of
their same condition. and proves con-
ciusiTeiy that they have not their minds
upon the music. Did you ever notice
that when the singer or player does sone
especially startling thing the desultorv
coushins I'm the audience entirely ceases
or II you attend an intensely dramatic
play that the Performance is never
fnarred by as much as a pln8ropr Ana
merely because the entire audience a
Swing ITS entire attention 10 listening
and appreciating
occasionally even az the finest con-
certs some In the audientA win re,nar,-
Ter how late they have been up for a
T." night and by sitting stm ana NOT
placing their attention upon the music
or anywhere else. they soon pesmerizo
themselves into little furtive catnans
This Is not always the fault Of lacl, ~
uttcntiou. however a. 1o..,, 49, a.. y