New-York tribune., 1921-10-22
Too Much Jazz
Not Only in Music, but in Painting
Sculpture and Poetry

oCulpture ana Poetry
10 the Editor of The Tribune.
Sir: ITO Discourage Jazz" was the
1ellcltous headline which I found a
short time ago in "The Atlantic CITY
Daily Press; and coming from that
particular place it was all the more
encouraging. If somebody in the city
which might be stigmatized as the very
home of jazz had made it duty to
discourage that deadly carcature of
music appropriately known by brazen
name he should certainly be praised as
a friend of art and Of morals,
The article proved to be an interview
with Louis Colmans, violinist formerly
an instructor in music at the Univer-
sity of Brussels. His proposed manner
of discouraging Jazz is to offer freely
en- opportunity for the youth of At
lantic City to learn good music by form
ing young peoples orchestra of 100
members. which he hopes will acquire
high rank among musical organiza-
tions. A place has been provided for
his classes and the plan bids fair to
prosper
1t was Mr.. Colmans's ideas that spe-
cially interested me- He said:
II wish to discourage a taste for
Jazz that is unfortunately too COM
mon in the youth of this country.
Jazz is not music I wouldn't plav
&c 7
refined outlook on life among the
young folks. 1t gives them a false
viewpoint.
81 will later encourage the young
people to study good literature With
taste for the best music and the
best literature they will have taken
long strides toward the paths that
are best in life. Jazz will never ac-
complish that. Jazz has no refining
influence. Jazz is mistake in Amer
lean life. AS an American citizen 7
deplore it; as musician | Ioathe it,"
The significance Of these remarks is
not confined to music. We have Jazz
to-day also in painting, sculpture and
poetry, and assuredly in dress. But
that is not my subject. What we call
jazz is the return to savagery. 1t is
elemental and hysterical. 1t is frenzy
excited by the pounding Of tom toms;
1T is distortion, abandon, grotesquere
Literally "a tale told by an idiot, full
of sound and fury. and signifying
nothing"
1t antedates the war. In graphic
art it began with Aubrey Beardsley,
who may have had genius for line,
but who drew, not human beings, but
devils. It eliminated in cubism, post
imprcssionsm and other manifesto
tions Of insincerity and diabolism. Its
figures have not now even the vitality
Of DEVILS they have dwindled to fea-
turcless things like BARRIERS blocks,
totems and primitive idols, which
those who make them have the i'm
pudcnce to represent as symbolic con-
ccptions of things human. The beauti-
full white flame OF sculpture has suf-
fercd like degradation. This is visi-
BILE jazz; and manifestly it "cometh
Of evil
Jazz in poetry is the hardest to fight,
since poetry has the widest field of
expression and is most subtle in it's
propaganda of distorted ideas. Free
verse was only mild beginning; the
deliberate cult of the mean and gro
tesque is the end, Much of it is mere
fashlight imagery; and its votaries
are seeking not art but notoriety.
Jazz has permeated the soil of all
the arts, like burrowng corruption.
Much of the modern music which is
not literally Jazz is infected with the
spirit Of jazz. The immoral in art is
not the lusty frankness of medieval
days. it is rather conscious and de-
liberate lowering of the standards Of
beauty and goodness.
Music, OF course, is essentially in
corruptib)e, but when senseless howl
ing and banging are offered us under
the name of music, and young people
dance to this mad rhythm, the dance
becomes mere savagery. and we have
the dreadful developments which of
late years have offended our souls.
MARION COUTHOUY SMITH.
New York Oct 20 1921