Evening star., 1937-04-17

nearC ana NINA CIldG we OVERLOOK JlllS'
very determining factor in a proper
development of music, whether as an
individual or collectively as COM
munity. The present day output Of
musical composition, and also the
character of its presentation, make
one still more conscious Of the i'm
portant part that the nerves play in
the production of music.
Occasionally nervous temperaments
have given great masterpieces to pos
tenty, but these individuals are eX-
ceptions, and whenever their work is
mentioned their nervous desirability is
also commented upon until one can
not but feel that had they been bet
ter balanced their talent would have
produced still finer results.
Today, in the hectic atmosphere in
which we all live, this question of
branch of art and none more seriously
than music. The claim has always
been that music should represent the
era and the conditions OF life, and
surely we cannot complain that the
present type Of composition does not
do just that. But what will be the
end and what will be the gain? Are
we progressing or are we running
into an impasse that will require a
complete revision Of our method of
thought and feeling, if we would not
stunt the growth Of music on from
the point to which the great genluses
Of music have brought it?
MOST of the older generation,
AVA when they take time for it,
shake their heads over the speed of
the present day way of living, but
feeling themselves powerless to stem
the torrent, try to adjust themselves
to the modish trend This is ex-
cellent from every point of view ex-
cept that Of art. Just few hearings
of the newest music or glimpse at
the newest book or painting and one
must be conscious that something is
wrong in the guiding motive behind
the creation.
II one has the opportunity to ana
fyze, it will be quite simply seen that
the nervous tension of life today, the
constant demand for the bizarre as
stimulant for jaded nerves, the lack
of desire to take time for patient
working out of problems, and the cult
that to be individual one must repudi-
ate the established form, is the basis
OF everything that is done today in
music. These pernicious influences
have entered into the student body,
the professional and the creative
spheres of music. The result will
either be a final burst of supreme
inspiration as an unhealthy climax
to nervous strain or complete dead
ening of all effort when the satura-
ton point is reached.
Certainly the most serious effect
of this wrong tendency is reflected in
the type of music being written and
accepted today. We are fortunate in
having opportunities in Washington
to hear what the so-called modern
school is putting out, but, except for
being able to keep abreast Of the
times, that is the extent Of the profit.
Most conscientious musicians have
sense of responsibility toward modern
music, feeling that in some way they
ought to like it, and thinking that it
should be encouraged, since poten-
tiaI genius may be hidden in their
midst. But are we quite clear and
honest in our reception Of this music,
and are We not being too kind in
agreeing to be tortured with the weird
sounds produced under the sacred
name Of music.
Now and then one can acknowledge