Omaha daily bee. (Omaha [Neb.]) 187?-1922, 1917-01-14
!. MUSICI
Z - - -SE,

ute feel that we had learned much
about the language ii we had just
been taught the pronunciation OF the
words and had learned to recite sew
! eral little poems or prose selection
according to certain rules of accent or
infection.
II . mother would not teach her
child to express himself correctly in
language until he could recite Ham
let's Soliloquy," with proper shading
or expression. every one would be
talking about.it and think that mother
mentally unbalanced. Yet many
mother and many teacher has
frowncd upon and discouraged the
shy little musician. who has tried his
hand~at making up a song or little
piecc, and sent him to practicing tech
nica exercises, on an instrument in
stead II then he could be simply and
carefully taught how best to make up
his little melodies, or where they did
not sound well, and his work could
be continued in learning how to play
and how the world had learned was
the best way to write things to make
them sound We'll, how much more he
would know and how happy he would
be. In Europe before the present
great conflict, much more attention is
paid to theoretical work than III the
United States.
Mozart, studied counterpart at the
age Of 3 years, and his carly attempts
show frequent corrections by his
master. The life history of most Of
the great ones show theoretical work
proceeding from early youth. Mozart
was especially gifted. as were many
Of the others, but there was some
thing in il for them all to learn.
1t would not be necessary for
everyone to take up theory for the
purpose OF being great composer,
any more than when all the children
who write little stories and essays in
school do it because they expect to
be great writer's.
The love OF good music would be
| spread much more, rapidly, If those
who study an instrument, instead Of
studying four or five years without
theory, would supplement it instead
with two or three years of good care
full training right along with it. Their
reading OF music would be improved
through the familiarity with promi-
nent chords, that would be gained,
and memorizing would be greatly SIM
plihed for the same reason.
| sEkn., @in,,xk ,a,t,,,,.> ,,,n., r,n ,pI
pieces OF themselves may be forgot
ten, the truths of music will remain,
for they will have been learned, and
their values appreciated. Truth in any
form is learned much more thoroughly
from ones >own experience, than
from any number OF outside in
| stances,
In the learning and understanding
of music as everything, personal ex
perience is the greatest teacher, and
in counterpart, one learns the truths
Of melody. in harmony of chords, and
in form OF construction of the whole.
But here. as in every branch
! Of music, care should be, taken in the
,election Of teacher, for in theory
more than i'll any other branch, the
teaching demands thorough mu-
stefan. =
The coming OF the Flonzaley string
quartet in conjunction with Miss
Corinne Paulson, local pianist, to the
Brandeis theater on Tuesday even
ing, January 80, will be a notable
musical event. These artists will ap-
pear under the auspices of the Tues
day Morning Musical club, an or
ganization which has been instrument
tai in bringing to Omaha much mu-
steal talent The Flonzaleys are we'll
known here. "Flonzaley" means
"brooklet," and is the name of the
estate ON Lake Geneva (Switzerland)
belonging to the late E. ]. De Cop
pet OF New York, wealthy music
lover, who founded the quartet in
1905, He wished to form a perma-
nent organization which should give
all its time to the exacting demand
of quartet playing.
For three years they privately for
Mr.. De Coppet or for charity. When
they first appeared in public they
created an instant sensation, Until
the sudden death Of Mr.. De Goppet
last year they played for him every
winter in New York and every sum-
mer in Switzerland, when they
worked in the open among the trees