Evening star. [volume] (Washington, D.C.) 1854-1972, 1932-12-25
Training the Audience
In Musical Appreciation
COLLEGES, Educa al Circles Developing Increased
Interest and Enjoyment in Music Through New
Courses-The Radio as an Ideal Educator.
By Alice Eversman.

aid i'll the musical understanding
OF what an artist is attempting to
bring out and form a preliminary
study Of what must be looked for
and considered in performance.
In this way, a more thorough
unity between audience and con-
cert performer is assured and a
more helpful attitude on the part
OF the audience is provided.
Now the success of a concert IS
a two-sided responsibility. The
general belief, however, is that it,
is entirely the affair of the artist
and that he must have the power
to enthuse the public no matter
how resistant the public may be
to giving way to enthusiasm and
that this can be done in spite of
their own attitude. The audience
is likely to leave a concert blam-
ing the artist for not holding the
interest and complaining that he
was not up to his usual standard.
They feel aggrleved that they
have not been stirred and cleo
tri1iea end generally sent home
pleased TO be alive.
There is, however, a subtle pSy-
Geological current that connects
those on the platform with those
II the audience and the influence
that runs along that current
plays back and forth between the
two. Every artist knows this feel
of the audience. The effect of
unresponsiveness or apathy is
sometimes SO heavy that it is i'm
possible for him to overcome it.
Again. willingness to cooperate
eXcites an artist to give of his best
and the store house of sentiment
which is the artists endowment
is opened up and all the wealth
Of good things comes pouring out.
After all, that is what is of most
value. Every musician who pre-
sents himself on a concert plat
form is supposed to have the nee
essary technical equipment. A
singer has his voice placed and
knows how to manage his breath.
A pianist has trained his fingers
and understands his pedaling and
a violinist has developed himself
according to his particular school,
What makes for his individuality
is his nusicianship and his own
interprctative concept. If this
flows freely, the artist can surpasS
himself.
For this ideal condition to exist
the audience must do its share.
Unless they can become subjec-
tive and consequently receptive
the artist may fail. Unless they
understand what he must accom-
plish, they cannot judge if it is
being accomplished It is through
the verdict of his listeners that he
not only judges the effect he is
producing, but receives inspira-
ton to exert himself further. to
feel more acutely and give out
more abundantly the talent that
is his.
It is not sufficient that one be
in the proper psychical condition
to respond to the beauty of music
alone. The emotional reaction is
too unreliable and can form no
sure criterion for judgment of the
complicated subject which is
music. The composers idea, his
technical usage. the clearness Of
development, all must have equal
consideration while the spell Of
the interpreters personality is in
f1uencing US. It is not wholly fair
that an artist should spend a life
time in immersing himself in per-
fecting his technical and emo
tional feeling of music and be
called up to give it out before an
unknowing audience The ideal
condition will be when American
audiences are as thoroughly edu-
Gated as are their artists and have
the discriminating judgment to
demand only the best; not solely
the Unborn talent, but the deeper
sense that makes for genius.