Omaha daily bee., 1916-02-27

OF Just the kind who would
SA make the very best musical
fans" who are IN their own way
trying TO know more about and en-
Joy the pleasures OF good music
The fact that they are gradually sue
ceeding II attested 20 by the increase
in sales OF semi-olassical music the last
year These are people who have strongly
Inherent the sense OF form. feeling for
symmetry of tune and rhythm. probably
people who have imagination. They
should join with many others who are
working In music in the great game OF
pattern. pattern what IL the pattern"
in the music that they hear A great
many students are devotees OF this game
but more might be. Its first rule In
actual musical study e that Of safety
first stop. look. listen" Stop until one
sees what the idea Of the piece Is; Look
for the pattern OF it's phrases and ipeio-
dies; It's notes. expression and phrahnE.
and, Listen for It's careful intcrpreta tiun.
But one can study out and enjoy nlusi-
cal patterns without actual technical
work II possessed Of taihiag machinss OF
player pianos or II one has S;tier oppor
tunities for listening 10 music.
.
Muaie IA full OF patterns. The Simplest
two or three-note motive IN any kIhi OF
well written composition serves NJ pat
tern 20 he duplicated and supplemeritsd.
and worked out into longer phrases and
melodies to dominate the wh1le comlSosl-
tion. Phrases in their turn. just like the
lines OF poetry become larger pat
terms for like uses. which are ssne-
times repeated. sometimes turned upside
down. or put into other keys or with
other harmonles IN order 20 carry out
the composers musical dsSlgn. Longer
melodies are subject TO similar treatment
or that which is even more varied, sub
jeot TO the skill and Ideas OF the com
poser.
Tho composer has probably built the
whole composition upon the pattern o.
some recognized form. a Asnce. n sonsta
or fugue, for instance. or he may have
tried TO pattern the music acon sonls as
ISOLATION OF ideas drawn from natres
or from mood.
All motives are not alike noi are tie
phrases or melodieN growing out from
them, but II a person can Ieun 10
ANNRHthAN = Al0hN0 ~ NHGf W QAN RleNc
and then in another, likewise answerinS
phrases. and complete with such sem
tences or melodies he is on the hiiyhroad
to keen musical enjoyment. Later ne
may learn the style OF different oOn,-
positions. even TO recognize different
periods In musical development. ana ;he
idiom OF various well known composer ra
ali because he became Interested IN hunt.
Ing out the patterns used in the develop.
ment OF tho music that carae his way.
-
| In ragtime the motive or little nsusicaD
idea Is principally rhythmic. and This Is
repeated without ether material no many
times that ths niind catches II without
much thinking OF close attention Folk
music and chofais have both melody
and rhythm. and in aaS, Of them II Is
easy 20 trace the repetitions and cRdences
(or endings). In q theme and variations
tho theme Is tbs pattern decorated In
different ways by the variations.
Patterns Of Interpretation run through
music Of many kinds. There ere certeir
patterns OF playing short phrasea. lens
phrases. OF increasing OF reducing ths
sound Ia runs. or OF ending phrasNs-
, pattsrns-that arc general and always
, followed. unless distinctly otherwis
marked By the composer. Yet many
teacher does not call attention TO them
and many a student. II his attention q
/ called 20 Il. will learn the one phraai
spoken of that way, but win not pa
II away as a pattern for all future work
} Il is this kind OF work allowed by teach
ers that makes II possible fer man!
] srownups to truthfulIy say. Il studie'
. the piano Tor voice or ether music) 10
, five years. but really do not know [
single thing about music" They studle,
: technio and perhaps pieces as such. bu
J not a. patterns OF musical expression
' II IL n great game. this looking-for-the
pattern game. and one OF the most in
I teresting discoveries It's followers ca
: make IL that they often find music wher
q they thought none could be and find non
4 whore they thought Il was.
q Marguerite Milvilie-Lssmiewska VIII
h viii give piano recital at Browaa
q Hail, Tuesday evening. February %.
e one OF the few artists OF American birt
y who has won continuous and unaualifie
J. success In Europe. Celebrated critics /
l. many OF the foreign capitals have place
ic Nine. Observation-Disclosures In the fors
m most ranks Of living pianlsts. As a
of sistant 10 Leschetizky in Vienna for 81
te years she won an enviAbie reputatio
fe abroad. But IL Is not only as a pianll
VI that Nine. Observation-Disclosures Is know
c. She Is one OF the few women ever az
4, mitted 20 the Royal Anasterschool Z,
" Composition In Berlin Her violin ar
De piano Sonata was awarded a prise
to Paris, and her string quintet will
b. played In San Francisco this season |
e. the celebrated Kneisel quartet she HI
been winning golden praise everywbs
on her present tour. Her recital W
begin at s o'clock on Tuesdsy eyenin