The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1934-01-16

not only freedom from bourgeois as
SOciatiOns but also technical original
ity or freshness" Freedom from
bourgeois associations, 1t is quite
generally admitted that music &C
quires the power Of definite meaning
only through prolonged use in one
given connection. Thus. religious nau-
sic Of whatever kind, specific pieces
tsuch as the Battle Hymn OF the
Republic" with the words OF Soh-
dsrity Forever') or even resemblance
to religious styles should be avoided,
as should also the music Of leisure
class entertainment and dissipation.
Music Of a militant nature should
avoid pCmp0t1s triviality and senti-
mentality Revolutionary music should
have emotional drive" and "lift' and
be optimistic, not morbid. There is
a certain undenisble intellectual sat
isfaction IN good music that should
be earnestly sought. The best music
comes from the union, not the strife
las so much bourgeois music does
OF heart and head. Not too much en-
phasis should be placed upon sen
suous appeal, for this tends 10 lull
the listeners into luxurious day
dreams that foster inaction and ac-
/ ceptance of things as they are. Songs
should arouse and maintain the viii
to victory.
1t is essential that the music OF
workers songs as well as their words
should be revolutionary in character.
Often we hear strong words mega
| lived by weak tunes. We must be
careful TO avoid being long-winded Of
| cheap, both In serious and in gay
music. Humorous and saurical treat
ments are good provided the intent
is absolutely clear. Not all folk-tunes
are suitable to the revolutionary
movement Many Of them are com
I placent, melancholy, defeatist-origi-
nally intended to make slaves endure
their lot-pretty, but not the stuff for
a militant proletariat to feed upon.
Folk-music that shows clearly
spirit Of resentment toward oppres-
sion or vigorous resistance 10 1t are
valuable.
! Ali Of these traits have their tech
nical means OF expression in music.
I Church music has its sonibre and
/ Flooding measure, its narrow touaI
/ range, its final cadences Of absolute
rest In the truths" of dogma. Senti-
/ mentality is usually recognizable in
the use Of stereotyped formulas Of
1 melody, harmony and rhythm. Mel
anchcly is often conveyed by broken
! and indecisiye phrases, falling nelo-
die lines slow tempos and vague but
/ pleasing" haTmonies. Optimism is
Shown by vigorous and well-nlarked
accents, ascending melodi5 lines, de-
termined continuity toward detectives
/ OF surprise and daring
Technical freshness is difficult to
speak about in an unteohnical way.
1t usually means that some new COM
bination OF old devices has been
achieved or that some unusual new
material has been employed. Com
posers must realize, Of course; that
only comparatively slight departures
from conventional idioms can be
risked in mass song writing for the
I present. More can be dared in part
writing for chorus. There are some
indications that workers choruses
are ready for more technical novel
ties than has hitherto been thought
possible. In view of the vast amount
of new resources added to music by
the bourgeois experimenters Of the
last 80 years. it is tempting to test
these indications for what theyg rare
worth.
1t is not to be expected that. Amer
lean workers songs or instrumental
music in The year 1884 viii make use
Of more than few of the new re-
sources. The American worker lives
in bourgeois state and has bourgeois
tastes in music as in most other
things. If he does not like the music
arranged or composed for him, he
will not sing or listen to it. The nu-
sic he will sing and like will be pre-
doninantly bourgeois in character
but can contain some departures from
conventional bourgeois styleS-enorgh
at least, eventually 70 distinguish his
music from that of the decaying hour
geois SOciety-tin-pan alley, revival
meeting and politically controlled
school-room. 1t may be only an oc-
casional off-accent, wide skip, irragu-
| lar phrase, tart harmony lor some
such thing. Some people viii natar-
ally demand more: Others less
There is still some room for coca
sional parodies of old songs such as
Pie in the Sky" and Soup but not
for many Of them. The revolutionary
movement will have its own music.
We shall keep as much as we like
of the old but build better. i1t1oY1 II