The sun., 1916-10-29

''sh ''N'
riished ny the pstuters."
snys SymcnGs IN the third volume Of
nis "keEaissa nee In Ita.y." and wnen
ne frst passion for antiquity had been
'utisfei. II vas given at iast 20 music
Q express IN. soul In all it's manifold
ceiling II completely OF movement.
IN music VIC see the point u departure
ehere art leaves the domain Of myths.
Christian us wei as pagan. and &C.
aiIpies Itself with the .notiorai ac-
tivity Of man zone and for Tvs own
sake.
MELODY ana harmony. disconnected
rom words. are capable of receiving
he most varied .nterpretatioas. so that
he same combinations Of sound ex-
Jress the ecstasies OF earthly AID OF
heavenly love. conveying to the hearer
only that element OF pure passion
which il tire primitive and natural
GROUND material Of either.
They giv. distinct form to moods
V feeling as yet undetermined Of, a.
he lta ;ians put Il. 10 musica e II la
Nf'a ss''h - w "a ~ MI
lei Thir. combined with its indie
1cndence OF all corporeal conditions.
'enders music the true exponent Of
he spirit in its freedom. and there
'ore The essentially modern art"
The spiritual freedom OF music is ,ts
Irvine attribute, at first unpercoived.
The primitive painters were occupied
n preaching religion. II was a long
me before they arrived at the dis
rovery that a human body was some
ming beautiful In itself and worthy Of
heir art aside from all consideration
II eccies!astic dogma or supernsl mys-
cry.
But the painter has always been
compelled 10 publish his ideals through
he medium OF representation. If he
ashes 10 express the emotion OF love
He must paint 4 Juliet or a Nio.a. The
"sllptor has even a smaller range than
The painter. for he is confined to the
tontours or the body the lines Of
he face. The rest OF nature is outside
mis- province.
The writer uf literature must deal
n definite concepts or in statements
of fact. But the composer may de.
~ A'oNNp hHc ICSdSub ~ dly
burden. He may create u piece OF
music which shall make no claim upon
''ne faculties of the hearc- except al
music. II shall ask for no recognition
n the presence of Il message or 9
'pccified significance and shall res,
confidently upon its absolute beauty a.
music and nothing but music.
This Is the supreme independence
IT an art. 1t represents nothing out.
side of itself. IL breaches neither
l'liitarianism nor ethics. It Is tn.
mystic rose Of the human mind. films
nc senses with its exquisite outline
Is n1atchiess color, its ravishing per
June.
But musicians in all the centur!e.
1ave preserved something Of tina
spirit OF servitu6e which ruled must,
when 1t was the handmade Of religion
They have ceased to ask Of
.hat It shall have something to com
nunicate beside its own beauty. Hav
,ng in its childhood acquired a set O
symbols for certain emotions, It ha
peen hidden TO use them to publisl
ceilings belonging to stories. poems
dramas. heroes. demigods. 1t has beef
Urged even to formulate and propagat
philosophical doctrine. to scourge witt
satire and TO c~orroborate history.
But excluding all error. 1t Is at All,
"ate an art which possesses two gran
ma vital offices. the one OF, creatinI
beauty in materials and shapes indie
pendent Of ali else within the broa
scope Of human knowledge and expert
"nce, n the other of singing In II
7eif-created language the passions G
The soul.
What o of us are prone to forge
's hat no matter which process tn
Composer chooses to utilize In any par
'icular work. we have the lralienabl
~ight to demand OF him In the ultl
mate condition that the thing shall b
Ieautiful music per sc and without re
gard to its intended expression.
This doctrine does not exclude I'll
Employment OF harsh sounds or acri
harmonies. Dissonance has belonge
70 the materials Of musical expressi0
rom the earliest tiries. We hay
I~Toad'ned and deepened the might
manned Of harmony upon which me
ody floats like the glorious ship undo
,ull sail. And we have now III o,
common stock OF harmOnies chol
Gombina'ions which the musicians @
-ay, 1900 would have thought ba
harous.
Beauty In music is not a re!terat!o
" sweet conc0rds. 1t Is n perfect
balanced distribution Of the elcmen'
lyric uttsiance, Without contra
mere a hc M "trnnCth. or force,
80 in any Rrt
"t'h'0 'he Ia week we have h;
u'Nrtunu" 20 reflect up,p soma