Evening star. [volume] (Washington, D.C.) 1854-1972, 1952-02-17

sic
:dses Path ToWord
one and Technique
:versman
cision, for every one will be able to
make their own estimate of music
and artists through recordings.
Yet the advantages of the pres
ent era as regards easy acquaint-
ance with music are not utilized to
the fullest. IL they were, much
that cutters up the field would
be eliminated and higher stand-
ards would be the rule. That di-
vergence of ideas Is as strong as
in the time when the concert hall
alone provided opportunities to
hear music is due to the fact that
education in the art does not fol-
low a well thought out plan or
aim for the same standards.
Take the question Of tone pro-
duction, either vocal or instru-
mental. The ideas regarding it
are as varied as the individual,
whether an artist or q listener at
a concert. Everybody believes he
is capable of judging whether a
tone is good or not. The truth is
that tone. the basis. the conveyor.
and the beautifier Of music, is
misunderstood by many, includ-
ing the famous performers be-
fore the public.
Artist Can Judge Himself
Such carelessness in the cultiva-
ton Of tone might be excused in
the early epochs Of music but not
today. Now there is the record
ing machine where, on tape that
can be played repeatedly, an
artist can record his own per-
Torrance and be his own judge
of it's quality. He can listen to
himself with q strangers ear, if
he be both honest and clever, and
hear what the public hears. Not
only can he appraise the quality
of tone, but he can analyze his
effects and learn beforehand
whether they register as he thinks
they do.
The difficulty is no conclave OF
musicians has ever established
what is a good tone. People hear
differently. The trained ear is
more sensitive and more demand
ling. But the knowledge Of the
fundamental medium for pro-
lducing music should be had by
all. There is no reason why, from
the countless recordings by artists
some could not be chosen to
illustrate the point and musicians
and music lovers urged to listen
and listen until the quality OF
sound Is clear to them.
In particular, this should be
the work Of teachers Of all
branches Of music. Ear training
is an important part Of all music
study but the detection Of varying
qualities in tone Is not SO strongly
stressed. It is known fact that
the mind conceives the tone and
retains its picture. Not all minds
have the genius to discover per-
feet tone quality. Musicians. both
singers and instrumentalists, be-
come accustomed to the tone they
produce and like it. It Is. very
difficult to make them release
their tenacious hold on what they
consider is satisfactory in order
to improve it.
Study Made Easier.
The same is true Of technique
and Interpretation. Many models
exist on recordings that should be
studied continually. This does moi
mean that certain ideas should
remain fixed as the ultimate In
perfection. Music cannot dc
without the benefit Of the orig
inal thoughts of its interpreters
and its progress would be retarded
without the constant seeking fol-
finer infections and more com.
lplete revelation by those who per.
form it. The ideas Of today's
artists, however, are inclosed ir
recordings and can be studied
with ease. BY a process Of weed.
ing out. especially II made by
sincere and erudite musicians. q
standard Of the important essen
tials Of music recreation could
be arrived at and serve as q guide
to the music world.
Every kind OF music, every kind
OF artist, can be heard by every
one now. Students and perform
ling musicians can help themselves
Through tape recordings of theil
work. All this science has given
to the music world and the future
Twill bring new developments Of
surprising nature. With such aio
at hand, there is no excuse fol
anything but the best. Science
has not been so kind to any other
TART and gratitude for what is be-
ing done can be expressed in
STEADY improvement in knowledge
and. by a quickeped vision of the
llimitless horizon which music
loffers.
Mary Virginia Riesen, mezzo.
soprano, tEna Manuel, contralto
Dale BuckWalter. baritone, will BIZ
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