For Every Music Lover Part 1

For Every Music Lover.

by Aubertine Woodward Moore.

Preface

We cannot gain experience by being brought into contact with the experiences of others, nor can we know music by reading about it. Only by taking it into our hearts and homes, by admitting it to our intimate companions.h.i.+p, can we approach a knowledge of the art that has enriched so many lives, even though it has never yet completely fulfilled its function. At the same time, every music lover is helped to new ideas, inspired to fresh efforts, by suggestions and statements from those who have themselves had deep experiences in their search for the inner sanctuary of the Temple of Art.

Musicians have been too much inclined to treat their art as something to be exclusively appropriated by a favored cla.s.s of men and women, and are themselves greatly to blame for its mistaken isolation. True, music has its privileged cla.s.s. To this belongs the mind of creative genius that can formulate in tones the universal pa.s.sions, the eternal verities of the soul. In it may also be numbered those gifted beings whose interpretative powers peculiarly adapt them to spread abroad the utterances of genius. Precisely in the same way religion has its prophets and its ministers. Music, as well as religion, is meant for everyone, and the business of its ministers and teachers is to convey to all the message of its prophets.

The nineteenth century was the period of achievement. There is every reason to believe that the twentieth century will be the period of still n.o.bler achievement, beyond all in the realm of the spirit. Then will music find its most splendid opportunity, and in our own free soil it will yield its richest fruitage. Amid the favorable conditions of liberty it will flourish to the utmost, and will come to afford blessed relief from the pressure of materialism. During the era we are entering no unworthy teacher will be permitted to trifle with the unfolding musical instincts of childhood. The study of music will take an honored place in the curriculum of every school, academy, college and university, as an essential factor in culture. Then music among us will come to reflect our deepest, truest consciousness, the American world-view.

It is with a desire to stimulate thought and incite to action that the present volume has been prepared for every music lover. The essays contained in it have not previously appeared in print. They are composed to a large extent of materials used by the author in her lectures and informal talks on music and its history. That her readers may be led to seek further acquaintance with the divine art is her earnest wish.

Many thanks are due L. C. Page & Company, of Boston, for kind permission to use the portrait of Corelli, from their "Famous Violinists," by Henry C. Lahee.

AUBERTINE WOODWARD MOORE.

MADISON, WIS.

FOR EVERY MUSIC LOVER

I

The Origin and Function of Music

One of the most interesting of the many interesting stories of our civilization is the story of Music. It affords an intimate knowledge of the inner life of man as manifested in different epochs of the world's history. He who has failed to follow it has failed to comprehend the n.o.blest phenomena of human progress.

Mythology and legendary lore abound in delightful traditions in regard to the birth of music. The untutored philosophers of primitive humanity and the learned philosophers of ancient civilizations alike strove to solve the sweet, elusive mystery surrounding the art. Through the myths and legends based on their speculations runs a suggestion of divine origin.

The Egyptians of old saw in their sublime G.o.d, Osiris, and his ideal spouse, Isis, the authors of music. Among the Hindus it was regarded as a priceless gift from the great G.o.d Brahma, who was its creator and whose peerless consort, Sarasvati, was its guardian. Poetic fancies in these lines permeate the early literature of diverse peoples.

This is not surprising. Abundant testimony proves that the existence of music is coeval with that of mankind; that it is based on the modulations of the human voice and the agitations of the human muscles and nerves caused by the infinite variations of the spiritual and emotional sensations, needs and aspirations of humanity; that it has grown with man's growth, developed with man's development, and that its origin is as divine as that of man.

[Ill.u.s.tration: MOZART]

The inevitable dualism which Emerson found bisecting all nature appears also in music, which is both spiritual and material. The spiritual part of music appeals to the spiritual part of man, addressing each heart according to the cravings and capacities of each. The material part of music may be compared to the body in which man's spirit is housed. It is the vehicle which conveys the message of music from soul to soul through the medium of the human ear with its matchless harp of nerve-fibres and its splendid sounding-board, the eardrum.

Music is the mirror which most perfectly reflects man's inner being and the essence of all things. Ruskin saw clearly that he alone can love art well who loves better what art mirrors. This may especially be applied to music, which offers, as a Beethoven has said, a more lofty revelation than all wisdom and philosophy.

Having no model in nature, being neither an imitation of any actual object, nor a repet.i.tion of anything experienced, music stands alone among the arts. It represents the real thing, as Schopenhauer has it, the thing itself, not the mere semblance. Were we able to give a thoroughly satisfactory explanation of music, he declares, we should have the true philosophy of the universe.

"Music is a kind of inarticulate, unfathomable speech, which leads us to the edge of the Infinite, and impels us for a moment to gaze into it,"

exclaimed Carlyle. Wagner found in music the conscious language of feeling, that which enn.o.bles the sensual and realizes the spiritual.

"Music is the harmonious voice of creation, an echo of the invisible world, one note of the divine concord which the entire universe is destined one day to sound," wrote Mazzini. Literature is rich in n.o.ble definitions of the divine art.

From a matter of fact standpoint music consists of a vast concourse of tones which are its raw materials and bear within themselves the possibility of being moulded into form. Utterances and actions ill.u.s.trating these raw materials are common to all living creatures. A dog, reiterating short barks of joy, or giving vent to prolonged howls of distress, is actuated by an impulse similar to that of the human infant as it uplifts its voice to express its small emotions. The sounds uttered by primeval man as the direct expression of his emotions were unquestionably of a like nature.

The tendency to manifest feeling by means of sound is universally admitted, and sound, freighted with feeling, is peculiarly exciting to human beings. The agitations of a mob may be increased by the emotional tones of its prime movers, and we all know that the power of an orator depends more on his skill in handling his voice than on what he says.

A craving for sympathy exists in all animate beings. It is strong in mankind and becomes peculiarly intense in the type known as artistic.

The fulness of his own emotions compels the musician to utterance. To strike a sympathetic chord in other sensitive b.r.e.a.s.t.s it becomes necessary to devise forms of expression that may be unmistakably intelligible.

Out of such elements the tone-language has grown, precisely as the word-language grew out of men's early attempts to communicate facts to one another. Its story records a slow, painstaking building up of principles to control its raw materials; for music, as we understand it, cannot exist without some kind of design. Vague sounds produce vague, fleeting impressions. Definiteness in tonal relations and rhythmic plan is requisite to produce a defined, enduring impression. In primitive states of music rhythmic sounds were heard, defined by the pulses but with little or no change of pitch, and sounds varying in pitch without regularity of impulse. A high degree of intellectuality was reached before our modern scales were evolved from long-continued attempts at making well-balanced successions of sounds. As musical art advanced rhythm and melodic expression became united.

The study of the origin, function and evolution of music, according to modern scientific methods, is a matter of comparatively recent date. As late as 1835 a French writer of the history of music expressed profound regret that he had been unable to determine when music was invented, or to discover the inventor's name. It was his opinion that musical man had profited largely from the voices of the feathered tribes. He seriously a.s.serted that the duck had evidently furnished a model for the clarionet and oboe, and Sir Chanticleer for the trumpet. An entire chapter of his book he devoted to surmises concerning the "Music before the Flood." The poor man felt himself superior to the poetic fancies of the ancients, which at least foreshadowed the Truth, but had found no firm ground on which to stand.

Much finer were the instincts of Capellmeister Wolfgang Kasper, Prince of Waldthurn, whose historical treatise on Music appeared in Dresden in 1690. He boldly declared the author of music to be the good G.o.d himself, who fas.h.i.+oned the air to transmit musical sounds, the ear to receive them, the soul of man to throb with emotions demanding utterance, and all nature to be filled with sources of inspiration. The good Capellmeister was in close touch with the Truth.

It was in 1835, the same year that the French writer mentioned offered his wild speculations, that Herbert Spencer, from the standpoint of a scientist, produced his essay on the "Origin and Function of Music,"

which has proved invaluable in arousing discriminating thought in these lines. Many years elapsed before its worth to musicians was realized.

To-day it is widely known and far-reaching in its influence.

In those inner agitations which cause muscular expansion and contraction, and find expression in the inflections and cadences of the voice, Herbert Spencer saw the foundations of music. He unhesitatingly defined it as emotional speech, the language of the feelings, whose function was to increase the sympathies and broaden the horizon of mankind. Besides frankly placing music at the head of the fine arts, he declared that those sensations of unexperienced felicity it arouses, those impressions of an unknown, ideal existence it calls forth, may be regarded as a prophecy to the fulfilment of which music is itself partly instrumental. Our strange capacity for being affected by melody and harmony cannot but imply that it is possible to realize the delights they suggest. On these suppositions might be comprehended the power and significance of music which must otherwise remain a mystery. The progress of musical culture, he thought, could not be too much applauded as a n.o.ble means of ministering to human welfare. Mr. Spencer's theory has of late led to much controversy. Its author has been censured for setting forth no explanation of the place of harmony in modern music, and for not realizing what a musical composition is. In his last volume, "Facts and Comments," which contains many valuable thoughts not previously published, he declares that his critics have obviously confounded the origin of a thing and that which originates from it.

"Here we have a striking example of the way in which an hypothesis is made to appear untenable by representing it as being something which it does not profess to be," he says. "I gave an account of the origin of music, and now I am blamed because my conception of the origin of music does not include a conception of music as fully developed. If to some one who said that an oak comes from an acorn it were replied that he had manifestly never seen an oak, since an acorn contains no trace of all its complexities of form and structure, the reply would not be thought a rational one;" but he believes it would be quite as rational as to suppose he had not realized what a musical composition is because his theory of the origin of music says nothing about the characteristics of an overture or a quartet.

Of the music of primeval man we can form an estimate from the music of still existing uncivilized races. As the vocabulary of their speech is limited, so the notes of their music are few, but expressive gestures and modulations of the voice supplement both. With advancing civilization the emotions of which the human heart are capable become more complex and demand larger means of expression. Some belief in the healing, helpful, uplifting power of music has always prevailed. It remains for independent, practical, modern man to present the art to the world as a thing of law and order, whose ineffable beauty and beneficence may reach the lives of the average man and woman.

Without the growth of the individual, music cannot grow; without freedom of thought, neither the language of tones nor that of words can gain full, free utterance. Freedom is essential to the life of the indwelling spirit. Wherever the flow of thought and fancy is impeded, or the energies of the individual held in check, there music is cramped. In China, where conditions have crushed spiritual and intellectual liberty, the art remains to this day in a crude rhythmical or percussion state, although it was early honored as the gift of superior beings. The Chinese philosopher detected a grand world music in the harmonious order of the heavens and the earth, and wrote voluminous works on musical theory. When it came to putting this into practice tones were combined in a pedantic fas.h.i.+on.

In all ages and climes music has ministered to religion and education.

The sacred Vedas bear testimony to the high place it held in Hindu wors.h.i.+p and life. Proud records of stone reveal its dignified role in the civilization of Egypt, where Plato stated there had existed ten thousand years before his day music that could only have emanated from G.o.ds or G.o.dlike men. The art was taught by the temple priests, and the education of no young person was complete without a knowledge of it.

Egyptian musical culture impressed itself on the Greeks, and also on the Israelites, whose tone-language gained warmth and coloring from various Oriental sources. Hebrew scriptures abound in tributes to the worth of music which was intimately related to the political life, mental consciousness and national sentiment of the Children of Israel. Through music they approached the unseen King of kings with the plaintive outpourings of their grief-laden hearts and with their joyful hymns of praise and thanksgiving.

From the polished Greeks we gained a basis for the scientific laws governing our musical art. The splendid music of which we read in ancient writings has for the most part vanished with the lives it enriched. Relegated to the guardians.h.i.+p of exclusive cla.s.ses its most sacred secrets were kept from the people, and it could not possibly have attained the expansion we know.

Music has been called the handmaiden of Christianity, but may more appropriately be designated its loyal helpmeet. Whatever synagogue or other melodies may have first served to voice the sentiments kindled by the Gospel of Glad Tidings it was inevitable that the new religious thought should seek and find new musical expression.

In shaping a ritual for general use, an accompaniment of suitable music had to be considered. The fathers of the church const.i.tuted themselves also the guides of music. Those forms which give symmetry and proportion to the outward structure of the tonal art were pruned and polished under ecclesiastical surveillance until spontaneity was endangered. Happily in the spirit of Christianity is that which ever proves a remedy for the mistakes of law-givers. The religion that inculcates respect for the individual has furthered the advance of music and of spirituality.

Beyond the confines of the church was another musical growth, springing up by the wayside and in remote places. Folk-music it is called, and it gives untrammeled utterance to human longings, human grief and despair, and human wondering over the mysteries of life, death and the great Beyond. Untutored people had always found vent in this kind of music for pent-up feelings, and the folk-music of the Christian world, during the Crusades, gained a new element in the fragments of Oriental melody transplanted into its midst. In time, through the combined wisdom of gifted composers and large-minded ecclesiastical rulers, the music of the church and the music of the people became united, and modern music was born.

Architecture, painting, sculpture and poetry possess practical proofs of their past achievements and on these their present endeavors are builded. Modern music has been compelled to be the architect of its own fortunes. It is the one new art of our era, and, as the youngest in the family of arts, it has but recently reached a high state of development.

During those eleven Christian centuries, from the latter part of the fourth century, when the corner-stone for our musical system was laid, until the wonderful exploration period of the fifteenth was well advanced, the masters of music were absorbed in controlling the elements of their art. Since then event has crowded upon event with rapidly increasing ratio. During the past two centuries the progress of the art has been like a tale in fairyland. We now possess a magnificent musical vocabulary, a splendid musical literature, yet so accustomed are we to grand treasure-troves we perhaps prize them no more than the meagre stores of the past were prized.

Music is often mentioned in literature as a means of discipline, inspiration and refreshment. We read in Homer that Achilles was instructed in the art that he might learn to moderate his pa.s.sions; Pythagoras, father of Musical Science, counseled his disciples to refresh themselves at the fount of music before retiring to their couches at night in order to restore the inner harmony of their souls, and to seek strength in the morning from the same source. Plato taught that music is as essential to the mind as air is to the body, and that children should be familiarized with harmonies and rhythms that they might be more gentle, harmonious and rhythmical, consequently better fitted for speech and action.

"Song brings of itself a cheerfulness that wakes the heart to joy,"

exclaimed Euripides, and certain it is a large measure of joy surrounds those who live in an atmosphere of music. It has a magic wand that lifts man beyond the petty worries of his existence. "Music is a shower-bath of the soul," said Schopenhauer, "was.h.i.+ng away all that is impure." Or as Auerbach put it: "Music washes from the soul the dust of everyday life."