Omaha daily bee., 1915-10-03

Il never occurred 90 them 10 think about
Il BY the same token that the ragtime
piece does not last the social achieve
ments Of the ragtime artist do not last
nor lead him anywhere. for his music has
not given him the cultivation Of mind
and ideals which the love Of serious music
begets.
But when one mas progressed TO higher
levels In the art It's social advantage be-
come even greater IN proportion. II one
has attained TO a certain point where he
lie a creditable performer In his line II L.
the open sesame TO many a hospitabie
home. where the Individual IL weicome
az much for himself 80 for his ability.
Here IL the point where the enjoyment Of
concerted music 10 most frequently in
dulged. and many q lifelong friendship IL
formed through an invitation 10 be one
OF a party OF friends who will spend an
evening In music for their own enjoy
rnent.
Any one who has ever tried II can sue
cessfully attest 10 the fun OF sight read
ing parties for two or more instruments
when the ability OF the readers Is about
equal. And the enjoyment Of playing
numbers which all may know, and play
ing them in sympathy with one another
makes for n good feeling and acqusint-
ance more than any other bond Of social
intercourse with which the writer IL ia
miliar.
value Of Listening.
Robert H. schauffler in his charming
story, THE Musical Amateur" says II
takes two TO make music; one 20 per
form. one TO appreciate; the performer IL
the violin string and the listener the re-
sonant body OF the instrument without
the wooden sounding box, the strand OF
sheep's gut would strike iudicrously thin
upon the ear Without the string, the
nuHio would be mute" In speaking Of
the appreciative listeners he gives them
the title Of Creative LISTENERS on the
principle that Just as the "supremely
creative thing about the great composer
IL his ability TO store up emotion on
music paper, and the creative thing about
the great player IL his ability 10 iiberats
this emotion by mlnglinE with II hls own.
10 the creative thing about the great lis
tener Ia his ability 10 saturRte this COM
pick of emotion with his own and return
II to the player in the form OF heightened
inspiration.
There is hardly any one who has done
public musical work OF any sort who hab
not felt this inspiration. and many art
lists accustomed to concert audiences viii
look through the audience and see GER
tain creative" listeners. and sing or play
the whole concert 10 them.
This holds the secret OF such a large
social interest IN music. People who un-
derstand and appreciate certain fine
points in a recital. even though their
other interests are far apart, have a COM
mon bond which hoids them.
Another Beauty of Music.
Music has the advantage OF literature.
IN expressing only abstract Thoughts and
sentiments. while the latter expresses
exact thoughts. Music depends instead
solely upon tonai effects. ana these are
taken up and assimilated by each listener
according TO his special needs. A musical
friend In another city thoroughly disap-
proves OF definite titles even for plano
numbers. He says why not follow the
Idea OF Chopin. and other composers who
merely call them "Preludes." "lEtudes'' or
''Nocturncs." and let the reader dream
into them what he will. instead Of try
ing TO force his imagination by words
and titles.
Musie IL the most intangible Of the arts