The farmer and mechanic. [volume] (Raleigh, N.C.) 18??-19??, 1914-01-20
MUSlC-TKE UNIVERSAL
MEANS OF EXPRESSION
BY DAVID NAMES.

the director OF the Music School Set
Element in East Third street. where
thousands OF poor boys and girls are
taught that Music, first OF au, is not
a trade or profession. but "A TeanA OF
expression for every one of us."1
Ii ! could choose my vocation in
life and could>do as l pleased I would
elect to go about these United States
talking with the fathers and mothers
about the DEVELOPMENT OF music
anong the children. | would like to
be at the head of a movement design
ed TO see that music or the love of
music should not he crushed out o.
the child life.
] believe with Tolstoi who says.
Music, first OF ali, is moi, a trade or
a profession, but a means OF expires
sion for every one of us" The term
means of expression"~may be misun-
derstood, and I shall Try 10 explain il
by going back and showing what il
has meant in the development OF art
from the very early times.
When the Pagan of OLD, fashioned
with faltering fingers the idols Of wood
and stone which were the highest ex-
preston Of his contemporary art. his
adjoining eyes were fixed on something
far Notwithstanding not tt the
earth, to which he wanted TO pour out
his very soul, and as one looks at
these relics-the Pagan idols and the
totem poles Of the Alaskan Indians.
for example, one feels behind the
crude material expression the worship
Of something higher,
The pyramids were reared 10 the
ancient kings Of Egypt because these
kings were, in popular belief, the
earthly representatives of the AL
mighty and bore the stamp Of Divine
power, and it is to this spirit of eter-
nal truth thai the are a
tribute.
A long time after that came the ef-
forts Of the Greeks and the Romans to
express alteration OF their developing
ideals, and then vas the birth Of real.
ly great art.
And to Israel with the recognition
Of the Spiritual Light came some
thing SO illuminating. SO fiery. so MARI
Vicious that not in stone or paint or
| music could this be adequately ex-
, pressed. 1t wa a light SO binding,
q flame so enduring, that spiritual re
: Hgion began in its cradle. /.
: With Christianity and the Catholic
faith came the rituals and men rear~
ed marvellous M enduring monu.
ments Of stone to house their ideals
; and constructed wonderful organs to
! sound Gods praises, instead Of the
, ancient harp n tfmbrels. Then
music, as we know it today, was born.
; Inspired by their faith, the old Italian
masters composed in pure alteration
, music which Will never die.
q Never q thought Of gain oppressed
: these men whose hearts worshipped
while their hands wrought in all pu-
rity the enduring artistics monuments.
5 1t was sometime after this, when ap-
: probation Of what had been thus pro-
8 duced grew, that the followers OF
these simple and true men began TO
: see the chance Of personal gain, and
S the attacks of the CONNER
cfal spirit began to weaker and spoil
t the artistic product. And We have
t fgone on making captive to the lower
IS commercial end this wonderful art
that should only speak divine truth.
There is, however, q fine profession
j., alism in music, for which there is legi-
= innate excuse and need. The finest
to my mind, is that of the inspired
teacher. You know very well that
when YOU have seen something beauti-
> ful-a wonderful sunset or something
* equally glorious and inspiring-your
= first impulse is to call some one to
:. share it with you.
\ Now in the search for truth in
=. music, we see these visions, and W
,es want others to see them, and we are
: unhappy that the vision is denied sc
many.
To study music SO rs TO be able te
rs play IN concert is not love for music a
IT all, but the seeing of a trade witt
a. your musical instrument for a tool.
L Is it not best for your children ts
n love their music as they love YOU
1t is a part of the same thile-the
love of emusic and the love Of you
: Both must be pure. Would Won hay.
put their love for you on d none,
basis?
- h / would like to do is to raisa
=. the art Of music from o professional
to an amateur basis. Our curren
idea that music is at its best when it j,
- Professionalism amateur music il
NJ had ynncic-iC tyn;111 cP tho prcc1-
80 age, which tries TO see all values IL
money terms. The modern notion tina
a few should be set apart and special
lied to perform the worlds music 70
1T is childish and transitoFy. IN tn.
is Middle Ages, for instance, a few lea FL
It. ed men were Urof~essionatzed Ia n,
1t the worlds writing for Il. Not ever
be one learns 10 read and Mri1e Simnl,