HOW

TO

STUDY

MUSIC

THE

MACMILLAN

COMPANY

MSW

YORK
"

BOSTON
"

CHICAGO
"

DALLAS

ATLANTA
"

SAN

FRANOSCO

MACMILLAN

"

CO.,

Limited

LONDON
"

BOMBAY
"

CALCUTTA

MBLBOUSNB

THE

MACMILLAN

CO.

OF

CANADA,

Ltd.

TORONTO

HOW

TO

STUDY

MUSIC

BY

CHARLES
ASSOCIATE PROFEBBOB COLUMBIA

H.
OF

FARNSWORTH
MUSIC,
NEW TEACHERS

COLLEGE CITT

UNIVEBSITT,

TOBK

INTEODUCTION

BY

Professor

FRANK
"UTHOB

M.
OF tbaohino

McMURRY

"how

to

study

akd

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1920,

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COMPANY.

Set
up

and

electrotyped.

Published

September,

1930.

287313

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Norinooti

Press
"Berwick 6l Smith Co.

J.

S.

Gushing Norwood,

Co.

Mass.,

U.S.A.

AUTHOR'S

PREFACE

Music
tracts passes

soothes him
; to

the window band him

child when
goes

in

his th6 holds with

cradle;
street

at-

the the

piano bound, spellswing.

of the its in is the

when
or

by,

him its
art

carries then that lose Its of the

along

Why
child

is

it

this for
so

preeminent
many
seems

should

children
to

fascination? drab little and

charm schooboom. between

fade

Ught
in its
common

There
a

often music
or

child^s
to

joy
the head.

in

study
to

the

one

appeals
other worth
to to to

heart And child

perhaps
how Yet
to
to

the the

feet, the
head is

the
a

little the the

a

healthy
should should its

two

approaches
end
"

music

lead lead
to
a

same

its

enjoyment
and

better

imderstanding,

study

better
To this

enjoyment.
aid book. real in such To music of
a

realization the its

true

is

the

purpose

of tween behas of
ried car-

show and

relationship
the

study
the

plan

been music
on

adopted teaching
under The

describing
means

problems

by
the

of

conversations of
a

ordinary
is

conditions

day everymore

life.

home

naturally

much

vi

author's

preface

appropriate
than Both the home
to
an

place
the the

for

illustrating such
of the method

ment treat-

artificial limitations conversational

are

room. schooland

surroimdings
art, the

especially appropriate
is

study

of which
in

rarely
and

cessful sucone

unless that needs for

commenced its

childhood,
a

happy
The for

stimulation home the is thus first

thetic sympa-

social
the

life. cradle the

most

not

only
of

fitting
but

expression
for

music,
the

natural it should be

place
above home make
a

showing
on.

spiritm
be

which
seen

carried that

It will

from method

the and
to

both

the

conversational
were

surroundings dry subject

made it that

chosen

not

merely
because the

attractive, but possible

would is made
to

such

conditions in
a

explain
it write
more a

subject

setting
No
an

make
to

convincing.
musical conversations Often from

attempt
tional educa-

story with
are

moral; stagings
answers

the

merely
and

for
are

the

thought.
that
very

questions
a

introduced
seem

story
but

point
they
sentation repre-

of view
are

would

improbable,
that
a
nearer

justified on
to

the

groimd
have

life would

extended
to

the the

tion narra-

without

adding
consider

anything
the social

problem
life of of

presented.
When of the
we

and
a

musical

average

American

home,
arise for

feeling
future

discouragement

might

the

author's

preface

vii

an

art

nurtured
the home

in

such is of

cradle.

But,
to

nately, fortuIn that cient effi-

itself

coming everyday
the seeds and

school.

the crowd

many

subjects
the school

living
of it
more

hours,

homes that the of wise

are

being
of the of the home music

planted,
music

is

hoped
the

treatment

appreciation,
may

picture
the

what

become

through
in this those

study
may

as

suggested
in

book,
ideas influences

help

teacher will be

applying
most

that

eventually
for better

the well

important
finer music.

living,

as

as

CONTENTS

CHAPTER

I
PAGB

Difficulties Propositions

in

the

Study

of

Music.

Summarizinq
1

........

The way ment The

as

study
to

of

notation
a

is often
of

conducted music and

a

in

such

produce

dislike

misjudg-

of its values.

study
of

of

singing
as
a

is often clever

so

conducted
to

that

it

is
as

thought
a

only

thing

do, rather

than

beautiful

expression.
in

Chorus the

practice

school

is often
as a

so

conducted

that

opportunity
standards.

is considered

recreation

period

without Piano
as

practice

is often

so

done

that

it is thought

of

drudgery
There is
on

without

compensation.
an

frequently
as a sensuous

attitude

towards

music

that mined deter-

looks

it

excitement, fancy,
exhibition music and
as

its value while

only production Producing

great

by

the

individual's
on as

musical

is looked and
in

an

of skill.
a

listening
a

to

family
home.

is

help

making

united

happy

CHAPTER How Listen Music with

Music

II

to

23

is

an

expressive
latter
art must

art,
be

hence

when

employed

poetry
is

the
an

understood.
hence listener. the

Music active Music

of

of the
on

imagination,
part
of

demands

cooperation
is
an

the

the

art

of design,
for

hence

needs
the

ment develop-

the

memory

grasping
ix

design.

CONTENTS

PAGB

The of music is

most

effective

aid

in

order

to

grasp

the

form

is to memorize

the

motives

from

which

music

developed.
The most

effective
of

aid in order
is to
way.

to

grasp to

and

retain its

the

content

music

attempt

describe

mood

in

some

dramatic

CHAPTER

III Awakening Propositions

. .

V
How
FOR

Learn
Music.

Notation

without

Dislike 58

Summarizing how
meter

Showing
the

is

practicaldevice
the

for

deciding
of its

plan

of the

music

and

relative

duration

parts.

Showing design

how

variation
and

in duration
may

is

part

of the of

of the

music

be

determined

by aid

the meter.

Showing
in

how

the the
goes

feelingfor key,
pitch
at

or

tonic, is essential
be

deciding how
anyone

varies

and

may

discovered

by

who how

it

right.
for the
not

Showing
device

the

pitch notation
distance and

singer is
names

for measuring
tones.

the

of

particular Showing
to

how music

analyzing what
better better.

is heard
one

may how

help
to

one

enjoy

by teaching

listen

and

remember

CHAPTER How
A

IV

Child

Should

Learn

to

Sing.

Summarizing
100

Propositions

Why
The

singing
most

to

be

of value

must

be beautiful.
the have voice
an

essential

thing

to make to

beautiful

both

in

singing and
voice
to

speaking is
be

intelligent

respect for what

If the is

is to

uttered.
it needs from

injured
the

careful bad

professional
of inter-

guidance

free

student

habits

CONTENTS

XI

PAGE

ference

with

what

otherwise

would

be

accomplished

naturally.
The
two

forms
to
:

of

emphasis in teaching children

at notation

to

sing appeal
1. 2.

Knowledge Feeling
;

auning
at

and

sight singing.

aiming

good using

song
a

rendering.

Suggested
thus

compromise thought

descriptive notation, interfering with

in the

developing

without

adequate
of the

imaginative

expression

early stages

study.
CHAPTER
V

How
I.

Learn

to

Plat
:

the

Piano.

Stages

op

Study
.

130

Preparation
1. 2. 3. Use

Purpose

to

be
own

accomplished.

of one^s

judgment.
the time to the work
to

Proportioning

be

complished. ac-

II.

Practice 4.

Analysis: piece.

working

on

separate

parts

of the

5.

Drill
to

making
them

study of difficult parts having

to

so

as

do

without

think

about

them. 6.

Synthesis:
will go

uniting the parts mastered together. testing one's

before

so

they

well
:

7.

Application

work, for instance,

others.

by performance

CHAPTER How Learn

to

VI
as

Enjoy

Classical

Well

as

Modern 173

Music I. II. Active

listening : doing something. something.

and

Intelligent listening : knowing

1. Information the
as

to

the

purpose

origin of

composition.

Xn

CONTENTS

PAGl

2.

Acquaintance
the

with

the

leading

motives

of

composition.
idea
of the structure
or

3.

Some

form

of the

composition.
III.

Willingness
formula

to

trust
custom.

to

feeling rather

than

to

and

CHAPTER How
TO

VII

Select

Music.

Summarizing factor of

Propositions
.

207

The The
hence How

determining tendency
need
of

feeling.
to

feeling

be

local

and

personal,

of standards. have
been

these them. power

developed

and

our

attitude

towards
The

of

good
of

art

to

assert

itself like truth

and

goodness.
The

necessity
:

right selection

in

our

musical

opportunities
1.

By

the

hearer

in the

Home,
2.

entertainments,
in

church.

By

those

authority
trustees.

committees, (a) Officials,

(") Presidents, superintendents, principals.

CHAPTER How Make Use

of

VIII

Mpsic

in

the

Family.

Summarizing
243

Propositions

Need
The

of motive

for artistic
art

production.
the

pursuit of
the

directly, like
social
to to
use.

pursuit of

pleasure, fruitless.
Art

expression of
needs
the

impulse.
its
an

The
as

home needs

music
home

express

social

life,
portunity op-

music

supply

adequate

for its effective

CONTENTS

XIU

PAOB

niuBtration

of

the

use

of

music

in

the

home. of
the

1.

Revealing

worthy

consciousness

home.

2.

Causing listening

good
to

production
music. music in

and

intelligent

Showing motives,
events,

value

of

using

school

with characters

similar and

such
thus

as

celebrating
a

worthy
for

giving
initiative

purpose and

all

school

activities,
and

developing
the most

imagination,
for

making

effective

preparation

living.

INTRODUCTION

The choose than

author the ''How the

of

this

book
to

has

been

led
rather he teacher.
of

to

title, ''How
to

Study

Music,"
because than the
account

Teach

Music,"
rather

is

addressing
His
newness;

student
is he is

undertaking
but that it that

difficult,
been the

on

its the

has

stimulated student's and and that

more

by

belief after books

only

method,
future
sent repre-

all,
on

really
must

counts,
more

method

this

point
is

of
so

view.

Teaching
that be

intimately
teachers in

related
any

to

ing, studymight
their with almost

good
to

subject
fully
how

expected
should

understand

quite

pupils
a

study
of adults

that that

subject.
statement

Indeed,
is

majority

axiomatic. There
a

is, however,
Skilled of how

very

little

to

justify
even

such skilled little Not for

conclusion.

teachers,
have

and

trainers about
one

teachers,
their

thought ought
dare
to

very

pupils
would

study.
on

in

thousand the

put
rules

paper

publication

principal
XV

that

should

XVI

INTRODUCTION

guide
of

one

in the

study
The

of any

particular
would be
so

branch crude While

knowledge.
the of author

attempt
would and be

that method
are are

shamed. of

teaching
very

method

studying they
edge knowl-

by

nature

intimately
;

related,

far from of the

identical
one
a

and and

an

extensive

may

be,

usually is, accompanied

of the
are

by Why
reasons;

dense this
one

ignorance
true? of has There the

other.
numerous

is

but

most

important
been considered
Lesson

is

that

instruction in terms

usually
teacher's dealt

only plans

of the

activity. only only

and

ordinarily

have

with

the tions; directhe

teacher's and teacher's

are

questions,
books
on

suggestions,
method
consequence,

with

method.

In
aware

most

ers teachhave discuss

a

hardly
and in

that few of of the

children them learner's

can

method,
instruction
Yet the

very terms

activity.
is
one

pupil's

method which his

of work the
own

of the should

principal things give

attention
;

to

educator method of

and
as

is of his
on

portance im-

largely
It is at least
a

it afiFects that whether the books

pupil.

question
that of in

method

should
rather child of

not

discuss

mainly
the mind

learner's

method
the
center

than would

teacher.
as

Then real

be

held

the
as

educational

effort, rather
to the

than

something
curriculum.

subordinate

teacher

and

to the

INTRODUCTION

XVll

Then

the
so

young

teacher
in order
to

would
shift

not

need

to

struggle
from

hard
to

her

attention

herself

her

pupil.
F. M. McMuRRY.

Teachers March

College,

12, 1920.

"

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"

"" " " "

"

""
" * "

" "

"

"

" "

m "

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" .

"

HOW

TO

STUDY

MUSIC..:::..
''
-

"

"

CHAPTER

"

"

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

Section "I he
on HATE

music," emphatically
the

cried

Jack,

as

entered the

house,
started

threw

his

schoolbooks

couch, and

for the

pantry.
what

His the

mother,
trouble

disturbed, and
was,

wondering
on

questioned him
you

his return.

"Why
"It's and have the
a

do

hate

music?" of
us

sissy kind sing, but

to

thing.

The

girls sing
unless
we

kids

boys don't

to." used
you

"You

sing in the district school

and

thought
"It could but Some and
was

liked fun

it," said his mother. could when shout, and you

make
we

all
;

pitch in together and

here of in the the

the
are
on

tune

hum

eighth grade,

separated.
one

biggest boys stay off I, with

of the
one
some

side

sing bass, while

and

of the

smaller the

boys, sing alto-tenor, as

little kids When
one some

they call it. girls sing

way

Then

soprano.

part is singing

and

another

"

HQ'W.TD
" 4

STUDY

MUSIC

part is
to

another siilj^g

way,

it's all you

can

do

keep 'together, let alone

**"! Biit it sounds

sing.''
"

surely," said his mother,

in the he district school." "it
may

after you

have

".

;:i;6ariied the music

"Well,"
there is
no

finer than

anything finer,but keeps

""/%'you did
"
"

answered,
to up,

be

snap

it, and
and when

the
we

teacher

tellingus
us we are

to

sing

do, she tells

"if
to

singing wrong." think," said

your

"I

should studied could

his and have learn

mother,
learned

you

boys
you

music

read,

sing right and

the

lots of fun." how

to

"Perhaps
we

girlscan
music is

read, but
ing learnhave what You

boys can't," Jack

how
to
many

replied.

"Mother,
don't know

read

sillystuff.

to

do

so
are

fool

things, you
teacher

you

about.
says, to

The

says,

'keep time,'
when
to

and
you

then

'down, left,right, up,' and

get this
same

going, she
is not
not

wants

you

sing

at

the

time."

"Surely that
"But
at you
you you

hard," said his mother.

wants sol.
you

that's
notes up

all; she
say

to

look

the
go go

and when and

on

do, mi,

Sometimes sometimes she will time tell that

you up.

sing them
One the if you have When

and

down is

time

'do' is
on

the
space. note

line, and
And
you

next

'do'

the
one

have
to
we

learned it

just how
and

goes,

unlearn
are

learn something

else.

singing

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

together
the

one

can

make
me

bluff

at

it ; but and

to-day
when
were

teacher the

asked

to

sing

alone
I knew out

tried, all
teacher

boys
it." the

laughed. they looked

they
to

laughing, though
know should she

not

let the

"Why
"Because the
was,

boys laugh?"
me some

asked and

questions about
and where
'

time and

signature,
I had

the the

key,
same

do
so

'

heard
ways
am

thing said
do
was

in

many
guess
a

different
at

that

all I could
to

to

it. but

willing
want

recite be

when

I know
at

thing,
And

I don't fault."
went

to

laughed

when

it isn't my Jack

out

to

forget his
how he had his due The
to

sorrows

in

baseball.
His
younger,

mother and

remembered wondered
was

sung

when like dis-

whether

present
the

of music

not

largely
him. in the

method had

employed
moved
purpose

in

teaching early
the
most

family
the better

into of

town

for fall,

special
school
a

giving
of the for

children

privileges, one opportunity

The the
to

desired
and

being
be

better

hearing
that

studying
the

music. diflficult for schools In

mother

knew

it would

children
enter

coining
that

in from would

ungraded

classes

fit their

needs.

all the
attention

subjects except
had been work

music,
to
see

however,
that the

careful

paid
had

necessary,

prerequisite

been

done, while

in music

HOW

TO

STUDY

MUSIC

Jack

had

been

put

in

the about
no

eighth grade,
its standards
a

knowside.

ing

hardly
in this

anything
there
were

technical of

Evidently

ment requireboy
not
was

subject.
to

As

result, the
he
was

being
As
was

forced
to

attempt

what

pared pre-

do. Brown
sat

Mrs.

thinking humming attending

a

this of the

over,

she little

attracted

by
who
was

the

the first

sister She

Nell,
was

grade.

sitting
curious the
same

before

home

blackboard,
to carry
a

making
tune

marks
time.

and To

trying
her

at

mother's

quiry in-

she *'I the

am

replied, singing
the

Tulip

Song

and

these

are

tulips."
mother

Her

thought
but it

that between
was

there the

was

some

rhythmic
and the resemblance
out
song

connection

syllables
to
see

marks,
to

difficult

the

tulips.
the

Questioning
had used

brought
a a

the for

fact

that

teacher
purposes,

Uttle dash

rhythmic

with
some

each
of had

pi

of the

tL, to
Uke the

making
such
a

way

that

the

marks

looked the
to

row

of

tulips.
instead

This of of had that

interested
attention

children;
that
to

but,

drawing
the drawn

rhythmic
itself

character

tune, and

making

clear, the
so

picture

attention

completely
been
en-

its

rhythmic

illustration

had

tirely forgotten.

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

"What "We little

we

else do

you

do the

in your

music

lesson said

?''

sing

from

blackboard/'
teacher writes
-

the 'one'

girl. "When
when she and and when
we

the
she

writes 'two'
we we

sing do;

sing sing
way.

re;

writes
as

'three'

mi;

sing
wrote

far

as

eight
on

that lines

To-day
spaces.

she

the

numbers

and

I'll show drew

a
'

you."
stafiF and the space the the

She

rough
'two"
on

put
above

"one" and it,

names.

on

the

first line and her

turn

asked In

mother the

to

sing
took

appropriate pointer, and

with
says

mother of the the

Nell

played
these I

the

part

pupil,
teacher

great
I the
can

satisfaction.

"Mother,
better love
to

sing

than do
can

anybody
it."
you

else

in

class.

just

"But "Yes."

sing sing

any

song?"
one."
out
no on
a

"Suppose
She little her

you

me

immediately
tune

started

trivial
in

with between

apparently
the words

connection and the in the of the

any sion expres-

mind of the

melody.
and
as

She
the
as

breathed

middle

of words,

broke

phrases
was
a

melody
in the

by

singing
and

long

there for
songs

air

lungs, only

then
can

gasping sing
ones

new

breath.

"Anybody
the
smart

Uke
can

that, but
get

it's
mi's

that

do,

re,

right,"

said

Nell, with

pride.

'

HOW

TO

STUDY

MUSIC

Her music

mother

felt the

that

her

little

daughter's
that the learn make child those

lacked
valuable.
not

poetic
She

aspects
that
to

music
was

regretted opportunity
had learned But

having
songs

the she

lovely
and

that

in

childhood had

enjoyed
progress at

all her in
age

life.

there

been
Nell

great
was

education;
when the she lack of While there

probably
be
was

the

should

taught
now

technical

matters,
her

which
such
was

embarrassing partiaUy
and

brother.

thoughts
a

convinced

her,

still rather of hers

giving missmart

that, perhaps
matter-of-fact
very

now,

this

little daughter
to

might

need,

much,
be
to

develop
this is

the

poetic aspect
the

of music. *'Can it time that

not

most

pitious pro-

awaken she

and

cultivate she asked her

the

preciatio ap-

that She
was was

lacks?" of

herself. attention

thinking
to

this, when
elder

drawn in with

her
the
a

daughter,
room.

Harriet,
wa^

practicing studying
such She

next

Harriet Work
more see

private certainly
would
go

teacher.
must

under musical.

conditions

be

thought
had
in

she

in and found

what

ress prog-

was' being
who

made. finished

She

her school
manner

daughter, lessons,
at

just
a

her

high
tired
clock
upon

sitting
that

listless and
her little alarm could
rest

the
so

piano, with
her

before it

her,

eyes

constantly.

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

t"

There,

that relief. what

fmishes

that,"

exclaimed

the

girl,with
"

Finishes

"

asked

her

mother. I have
to

"Oh,
them Now and before
ten

those

horrid

scales. before I do

play
else.

minutes
to

anything
on a

I have then I
can

put

fifteen minutes

minutes
on

study piece

twenty

my

new

play

over was

my

old pieces."

Here,
out

certainly,
a

system
maimer.
no

being
The

carried scales in be in
so

in

perfectly
mind the
a

formal had

and

study

evidently
with
new

connection
to
was

the

pupil's

the

difficulties There

come over-

in
case

piece.
calculated have and
to

each
many

simply

certain had

performance
how be
up

for
many to

minutes. the
a

She would of

times
pass

scales

played
and the best

off

minute the

time,
and
to

went

down

ing watchthe ness. busi-

clock

counting
make the

numbers,
of
a

only

aim

being

bad

"Mother,

don't
was

see

why

have

to

take

piano

lessons," complaint.

Harriet's "Most of

rather the
go
to

aging discourwhen have do

girls,
out

they get through

a

their here

studies,
I
over

and
and

good

time, stupid help

to
me

but

have

stay
over.

these don't I have

things,
a

and
my

They
school. this
to

bit that the

with the use?

work do

in

do

all

others
I

and love

besides.

What's

used

to

HOW

TO

STUDY

MUSIC

play before
to

we

came

to

town,
think

but

now

I have
I must

do

these
my

things,
that I

and

just
much

how

hold

fingers,
like

and

play
hate

so

that

isn't

interesting
"But

just

it."
school

you

your

music,
It's
a

don't

you?''
"Oh like
a

yes,
recess.

we

have You

lots
know

of

fun. it isn't
we can

almost

regular
do
thing anywe

study.
we

We

just attend,
want.

and
we

When all of
us

Uke that
can some

the

piece,
read.
the

all of

sing,
the

at

least won't
cut to

Lots

boys
rather

sing
up

and

of

girls
else.
are no

would It is
not
so

than
one

do

anything
that It
or

good

have

subject
in. know
we

you

marked

and whether
so

examined
you

makes
not.

difference school is and

it have of the

The in

large
sometimes

that

divisions class

music,
had

half While

hasn't

note

reading.
that

the

teacher those of

ing is showus

those do

don't have fun.

know,
"

that

know,
Poor

just
mother!

Alas,
her she

her

dream in
town

of

musical
did
not

advantages taUy with

for what

children
was

discovering.
2

Section It
was near

Thanksgiving,
eldest home
on

and
was

that in

ning eve-

Tom,
was

the

boy,
his

who

college,
He had

to

come

vacation.

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

written the

with and how

great

enthusiasm Club. education

that His

he

was

in

Glee

Mandolin

mother,
tory, histhat

knowing

college
and would

illumined

science, college
to

literature, imagined
bear She
a

music in the

similar of

relation the

music in
was

general.

knew

boy's
that of the her

work he
gems

nineteenth-century
familiar writers. with He and

poets;
some

becoming
of the interest

greatest
in

had

told

of and
arouse

his she
a

Tennyson
his best

Browning,
music of would her

thought
love for

surely
the

college

examples
Glee her Club idea
were

loved be-

art.

She
The and

had

never

heard

Concert.
of music
plishing, accom-

discrepancy
what her made

between

younger

children

her

longing
from

especially strong
what her the

to
son

get
was

some

satisfaction

big
ented tal-

doing. boys
home of the she she
was

Realizing college thought

would find

that
were

only
in this when
one

musical Tom member and

not

organization,
came

that that real

of

her

family
That

getting

music
to

merely

technique

preparatory

its it
was

tion. realizawith her

evening,
excitement

therefore,
that she his mandolin.

considerable handsome What

80

watched

boy
she

tune

up

heard

interested what she had

her,

but

it

was

diflFerent from

always

thought

10

HOW

TO

STUDY

MUSIC

fine at

music the

to

be

She

was

especiaUy by
the the

surprised
that

curious The

names

borne

pieces
were

he

played.
with while

instrumental from

pieces

called

"rags'' but,
that
not

titles fresh

variety shows,
go

they

had

rhythmic hunger
sang

and music and

dash
was

interested satisfied.

her,
Then
at

her he the

for

for

her,

she
pressive ex-

laughed
After with

heartily
of that he of

humorous

songs

college Ufe. passed gush,

She of
a

on

to

sentimental
no

songs etry, po-

plenty
or

but

with

genuine
his that it

music.

noticed

that
was

highest
was

recommendation "the sister

were

piece
Even

latest had fresh

on

thing
not

out." of

the of with

high
them. such

school

heard

some

They ugly
to

from the
over

Broadway,
title pages
so

pictures
turn

that would there and asked this

she
not
was

wanted
see
a

them

she that

them. relation and if this

not

She

felt, somehow,
the of the

between

vulgar
songs.

prints
She

the

words

poetry
was

herself could

college parallel
he

music. of

Surely
about

be So

the she

Tennyson
her

^nd

Browning.
is
a

questioned "Yes,''
I

boy
what

music

in college.

answered,
know freaks and of
a

"harmony
it is. it.

taught,
few of is
a

but the 'The

don't

Only
Then of

musical

take

there

History
cinch

Appreciation
course

Music,'
goes

regular

that

everybody

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

11

into

that

wants

to

make music

points.
and

The

fessor pro-

tells them few

more

about

gives
there Glee
my
go

them is

illustrations. fun in
one

But,

Mother,
of the

far

rehearsal all
I year.

Club

than

they
He
a

get

Besides,
better since
you
not

college
into that
"

adviser
course.

thought

had

thought study
I

that

I had

ability,
"

wasn't better

regular
a

stupid,
that

know,
tell. music

had he
I

take that

would all the in the

And that

thought
cared
He but

would
more

get

for, thought

and
me a

too,
to

Glee much

Club.

cautioned

not

spend
with

too

time,
would serious

little fun than

a

the
to

boys
my

be

rather

help

hindrance

work.'* Tom's
was so

father, who pleased

counselor. he
a

had
to

been think

reading
that
not

the

paper, news-

his

boy

had self, him-

wise but

He

was

musical
young

did

not

object
once

to
a

man's

having boy
see

little fun
not

in much

while,
in the the

and

if the did
not

did
any

put

in
to

too

time, he
Glee

objection
Brown her
own

his

being
over

Club. tion situathat

Mrs. of of how Her her

thought family,
when and
was

musical it with She

compared
a

she
to

girl.
and

recalled

they

all used

sing
with the

play
the of her

together.
her

mother's fine

ability voice;
both

piano;

father's
who

skill and

brother,
and

played

piano

violoncello;

12

HOW

TO

STUDY

MUSIC

her
was

sister's

love

of

the ! kind

violin,
"

what

fun

it

playing together
Yet it
to
was

not

the

of

fun Club.

that

was

pealing ap-

her
a

boy

in his

Glee

It seemed
a

to

her

that

"Beethoven
were

Trio''
more

and

bert "Schumere

Song''
the in

something just
as

than

entertainments,
or

are

the

poems

of Browning What
so

lyrics
this
was

of

Tennyson. day,
to

had much

happened
that her

modern

when

improvement
from
She who
were.

supposed
taste

have

taken
was so

place,
ent differ-

children's her own?

in music

could

get
well after in back

Uttle

help from
with him told
own

her

husband,
as

seemed
But had
came

satisfied she her

to

things
of the

they
music

she

had

home,
of had his he

early
old

tions recollecattitude lost So in he that music

him

toward the

music,
stress

which his

entirely
career.

of

professional
to

readily they
with

consented
over

his

wife's

suggestion

talk her
were

the

question brother,
and

of the and if it

family
see were

musical all

if she

things
who

really
was

right, day

old-fashioned.

Thanksgiving dinner,
and of she the
to

brought

her
to

brother

to

determined musical him. His able

to

present
of

the her

problem
four of

experiences

children made

professional study judge

the

music

him

subject,

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

18

while

his his

freedom relation

from
to

the

necessity always
that
one

to

teach
of love
to

kept
and

music than
as a

interest the

rather

that
means

of

forced

regard daily
of method

subject
It into

of from

earning
the

his

bread.

kept
which

him
so

free
many

hobby
cially espe-

teachers,
are

the Mrs. the all that there

stanza

conscientious who

ones,

likely
to

to

fall.

Brown,

wanted

music

follow

Thanksgiving sing together.

the different
to

dinner, suggested
While members be there
were

that

they
tunes

somq

of the

family knew,
the first

seemed of

nothing
to

besides

"America''
and
even

which these
not

they
all

all knew
were tain. cer-

the

words,
This book and

of

necessitated
to go

enough
which

copies proved
found

of

the cult diffi-

same

around,

took

time.
the
to page
was

By family

the

time

and

the and lost.

bers mem-

ready
of the

sing,
whole

the
act

spontaneity
seemed
some

freshness It
was

to

be

quite
of the for

evident

that
were

of

the

family
own

taking

part,
as

not

so

much their

their

enjoyment,
it
some was

to

please
that

mother. should
was

When have

suggested
work,
declared she that made could their the

they
who she

solo

Harriet,
that

studying
a

the

piano,
that fact

hadn't

single piece
the musician

play
uncle others

through.
was a

Moreover, proficient

14

HOW

TO

STUDY

MUSIC

shy

about
at to

attempting
once

individual

work,

as

their

mother wanted withdrew rehearsed

realized.
some

So, seeing Thanksgiving

with
her

that

they
she and

start to
an

fun,

alcove

brother,
-

her

musical

perplexities.
S

Section "Tell the

me,
are

my

children
to

going
and in He

about

it
joy en-

right
music?

way

in Here's

order
my

learn Jack

truly
the
says

boy

eighth
that is

grade,
music

who

says

he

hates for

music.

study
On
more

is

only
other

girls and
Nell

sissies,and
likes off her

silly.
but in is

the

hand,
in
may

music, ability,
in
any

interested what In
we

showing
call
not

doing
what

'stunts,' than
think she has

singing.
idea

fact,
who drum has with

do

music

is. is in

"Harriet,
and but and finds
program
are

high school,
on

loves the

music

used

to

constantly

piano;
in town she full

since
go
on

she

begun
her

to

take

lessons

high

school

studies,
with and
to
a

practice irksome,
of school work. far
as

especially
Her I
can

scales
see,

studies

not
a

done,
definite

so

help her

play

piece, but
result

for is

general technical
she

proficiency.
the
many

The
many

that
of

plays
and

by
so

clock,
of other

so

minutes Her

scales

studies.

high
rather

school
to

music,
an

on

the

hand,

seems

be

hour

of

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

15

recreation
or

than

an

effort

to

gain

musical

skill

appreciation.
"But
my
our

greatest

disappointment
who does
so

is

that

Tom,
the is he in

college boy, history, Broadway

and of has

well in literature

and latest

for

music

examples
while of
we

of he

sensations, and
a

maJdng
knows
our

enjoying

certain
music

kmd
as

music,
valued tressing dissee

nothing
old
home. situation

such

What is that
not

completes
Robert does

this
not

why
from that

care.

I will

selfishly keep
talking
and
all
a on

you
a

away

the
seems

others, just
of little
my
now

now,

subject
but
me.

importance problem
to

to

them,
advise

please
Are
you

think

over

willing
the

give
out to

us

little music

before

children he

go

play?"
went at
once

"Certainly,"
the

said,

and

to

piano.
to

Remembering
estimate
song

his of

sister's
he called

ence referhe

Jack's

music,

said

would Two His

sing

by

Schumann,
musician
in
a

"The

Grenadiers."

reputation
and

as

disarmed mood
to

cism criti-

put
gave

everyone

accept
it

what
be. where

he Even

them,
the

however

classical

might
song,

before

latter

part
of

of

the

the
are

stirring strains

"The

laise" Marseil-

introduced,

everyone,

including Jack,
when this When climax the

was

thoroughly
enthusiasm

interested,
was

and

came,

unbounded.

16

HOW

TO

STUDY

MUSIC

song

ceased
a

everyone movement

called of
a a

for

more.

Then

followed
a

Beethoven

Sonata, Song
out Withpromptu. Im-

Chopin

Mazurka,
and

Mendelssohn
a

Words,
The
was

last,
their

lovely
had stuff

Schubert

music
not

that

uncle

been that classical moved.

playing
all but music Here
tunes

the

uninteresting
had had been been

the
to
was

mother be.

expecting strangely
from the
songs

They

something
the of the the

different and

the

tinkling
written
was a

of

mandolin,
in

for

the

children

schools.

There each her

ence differThe ence differ-

satisfaction made

one

felt. of this the

mother's in kinds music

deUght
the of
was

speak by

pleasure
The that
-

produced
of

different

music. Hke
a

pleasure
eating
a

from

popular
or

chocolate, they
this.
one one

drinking
But heard

soda,
had of

physical
from the
more

sensation. music than made become It

a

the

pleasure

had The

just
his the

in it much beautiful self he

to
was

enjoyment
petty
noble

music and

forget
with
an

individual music akin view

hearing.
found after effect
one a

was

enjoyment
mountain There is
a

that

in

glorious
climb.
to

attained tonic of

hard

bracing,
of

in

Ustening
is
not

this, kind
when music

music,

which the

scious con-

hearing day.

light

and

popular

of the

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

17

Harriet
to

remarked such
not

that

it

took

great
that

talent

produce
could knew that

music,
expect
her
not
common

and similar
own

ordinaryHer ever, how-

people
mother

results.

from this been

was was

experience,
Such

true.

ennobling
to

music Hence

had she the

experience
to

her.

anxious for the

have

her

brother between and

explain
the that

reason

discrepancy
own

musical of her the

experience
childhood.
two

of her

children

After

children and and

had the

gone

out
ones

for

their

play, Harriet, Tom,

around
he had

older

gathered
the music Mrs.

their

uncle been

talked

about At
to

just
in she
you

playing.
went

once,

Brown's

thought
her

back and

the

question
her
query

uppermost
into words

mind,
:

putting

asked remember

"Do
we

what music the of

our

beautiful when
we

times
were

used
;

to

have it feature
not

with
was

children
most

how

main, family

perhaps
life?
my

the And dren chilsorry

joyous
I
are
am

while

complaining musically

because
I

not

talented, home,
had
so

am

not

to

have,

in

my

own

some

of

that

pleasure
we were

in music

that

we

much

of when

young.''
Phil's back
to memory

Uncle
came

of the

their

youthful
times his While

days
of sister

him;
life

deUghtful

their

early

home

together.

18

HOW

TO

STUDY

MUSIC

had
common

been

telKng
interest

how in

she her

felt the

lack he had

of such realized that

was

family,
of the
means

that

it

was

not

only
much been

appreciation
the
to

lacking; but
Ufe The that music modern
up

also had

beautiful of

social

focusing.
was

tendency
the

individuaUsm
Even the meals

breaking
become
Each
so one

family.
instead

had

individual
ate

of social
when he

experiences.
was

by himself,
diflSicult to
at

ready,
gether, to-

that

it
even

was

keep

the

family
Also

the

evening
"

meal.

the

multiplication

of

societies athletic members. remark

to
"

social, religious,
tended
more

philanthropic, and
more

and

to

separate
Curtis's

the first
was

Mr.

in her
as

reply
much

to

his
fort com-

sister's inquiry
as

give
:

he

could

by saying
between

"The older Helen.

to

difference
home

the

present
to your

and

the

life is not
are

peculiar
and

family, tending
these the

There the
are

influences

at

work with
to

dissolve

family,
movements

along
and

influences individual At

tending

give

greater
same

freedom the

opportunity.
for life of
as

the

time
an

necessity family
I know

careful

thought
urgent
so now

for

adequate
ever;

is

more

than in and

and

nothing ability
as
a

effective

cultivating
listen
to

this

life

the

to

produce
group.

music

together
of how

family

Hence,

the

study

to

do

DIFFICULTIES

IN

THE

STUDY

OP

MUSIC

19

this effectively,important

as

it is for
so

our

cal musiwe

enjoyment,
think of its social
you very

becomes

doubly
Mr.
see

when

bearing/'
said for the
I

''What
me are

say,'*
much
; up,

Brown, that,
is
as

ests ''interthe dren chilwe

growing
when
can

family life
young

which

enjoyed
If music
us a common

they
interest

were

disappearing.
toward
I
am

contribute and

anythmg
in

giving
sure

enjoyment,
favor
up

should
Mrs.

be

most

heartily
face her
act

of it.''
an

Brown's

lighted
brother
as our

with she

idea,
:

and

turning "Why
do
us

towards
you not

exclaimed

musical

godfather proposition, opportunity

of
his
own

and He

help

to get better at
was

musical of with

results?"

smiled

the

form

her the

and
for

yet
such

he
a
on

pleased

practical demonstration
music he

theories

teaching.
"let
me me

"First,"
as

said,
to

state

the
we

problems
can see

they

appear

now,

and
you

whether like to Their would

after take
up

consideration
the
matter

would

really
there

seriously."
showed

hearty
be
no

response

that

lack

of support. and affects

comes

"The
in

most
one

subtle that

pervasive
the
taste

influence and the

music,
of

ment judgmusic

everybody,
so

from the
to

we

daily hear;
problem

that how

first listen

and
to

mental fundamusic.

is:

20

HOW

TO

STUDY

MUSIC

^^

Jack in

is almost

swamped
while which

by
Nell is

the

many
are a

diflSi-

culties him

learning notation, music.;

music she of

which has

making
false what
joyment en-

dislike

affecting
what
age,

she

likes the

and
most
a

how

sings, and,
result of
a

is

perhaps ing developof

a

serious instead
to

at

her

bad

good
be

quality
and
our

voice. child and

So, ^How
should third Then
''In

read

notation' could

^How second

sing songs' problems.

turning
order
' "

to

Harriet,

he

continued
out

to to

get
learn

pleasure
to

of

your
'

piano
should

study,
be that shows
to

How

play
while

the the

piano

the

fourth

problem;
school fifth order music' that music
a

little respect
to

your

high
a

music

seems

call
in

forth,
'How
as

that

problem
to

is involved

study
as

in

appreciate
is such
attract

classical

well

modern fact of is

"The the that kinds

there that

difference
us,

in

indicates
perience ex-

there that

difference
a

in

our

musical
our

causes

difference
to

in

tastes.

"It

would and

help keep
we us

us

sympathize getting
in if

with
narrow

each and should

other,
biased consider be

from Uke

in what this
'

music,
The

we

question.
to

problem
so
as

might
have
to
spect re-

put,
not

How

select one's for the

music
own

to
as

only
but

for

feeUng

what

is

good,

also

standards

in

the

art,

DIFFICULTIES

IN

THE

STUDY

OF

MUSIC

21

or

what

those

who

are

best

able

to

judge

sider con-

fine/
"

There

is also 'How

one

point
make

more

I want

to make.

That is the

is,

to

use

of

music/ that 'art I

This shall axt's

as

most

important

suggestion saying,
of It it

offer, for sake/ being

a a

in

spite
of To

of

the

for
save

cannot

conceive life itself.

music is for

part
art.

preeminently
sensuous or thing some-

social

produce
in

even

artistic selfish

enjoyment
that Great
purpose

itself its

implies

prevents
art

having

its most

beautiful wedded
to

efifect.

has
some

always
sort.

been
Music

great

of

making
to

in the social of the

as

home life of home well.

should the

above
not

all be

wedded for the

on

the

home,
Thus

only
the last how

benefit the should

life,but

for
our

effect

music, give

problem
all vital in the and

suggestions
may

showing
made
more

preceding
effective. such How How

ones

be

These
a

problems
as

presented

order,

give
"1.
''

Ust
to to

this

Usten learn

to

music. without ing awaken-

2.
a

notation

dislike How How How

for music.
a

"3.
*'

child learn

should
to

learn the

to

sing.
well

4.

to to

play

piano.
classical
as

*'5.
as
"

learn

to

enjoy

modem
6.

music. How
to

select

music.

22

HOW

TO

STUDY

MUSIC

"

7.

How

to

make interested if

use

of

music in

in

the

family.
these

''If

you
to

are

considering
more

problems
from
I

see

you

can

get

satisfaction

music,
be

both

individually
to

and far

as

family,
able/'

shall

glad

help

you

so

as

am

CHAPTER

II

HOW

TO

LISTEN

TO

MUSIC

Section A
commence

FEW

days
the The

afterwards musical had

Uncle

Phil of

came

to

training
been should the
were

Nell he

and
was

Jack.
to

children how

told listen

that
to

explain
the them would after have
to
see

they
of

music,

and
to

novelty
both.
say

proposition
eager to

appealed
know what Jack

They
and

he said

do. his

The uncle and in

was

first
:

thing

greeting
seen cows

"I have

horses order bother is within

to

listen; hear;
about

they
but
I
we

do

something
we

can't
can't

why

should
what

it;

help

hearing

hearing

tance.'' dis-

The
to

picture
that,
see as

of

the she

cow

listening
behind she her

so

appealed
uncle but
to

Nell

was

still
go

could

her

brother,
antics

commenced the had

to

through
attitude

lively
of This

representing
cow

ing listenin the

the
was

pet
rather

they

country.

disconcerting
in his

Jack,

who,

however,

was

serious
23

contention

24

HOW

TO

STUDY

MUSIC

that

the
one

subject
that

they

were

to

consider from do of do hear

our

was

hardly

needed said his

any

attention

him. all
ears, eyes

''Very true/'
the for
so us as

uncle, ''we
distance
as
we we

sounds
we

within shut
out

hearing
our

can't
to

ears

our

keep

the

sounds

don't

like.

Let

see,

however,
not

if this

is all there
on

is in
way

hearing.
school

If
you

am

mistaken,
corner

your

to

pass

the

of South

and

Green

Streets,
up

where
a

they

have

just
You

commenced

putting
heard other.
of
to
a

large

block. workmen
more

have

certainly
to

the It of and
men

foreign
seemed blackbirds

talking
like the

each

chattering
talk the that

lot

than

intelligent speech
of this do
to

you,

yet it
were
a

was

by
what

means

these

told fine

to

lay

foimdation
you

for heard
was

building.
sounds
you

Evidently
did
not

while hear

all the

really
Jack. these

what

significant.''
"Of the But for
you
course

not,"
isn't of

said that

"I
men

don't
were

know
usmg.

foreign language
music the hear "That fun
a

language;
if you

you
are

just
near

hear

it

it, and

enough,
his uncle's
we

it all." does "Music

seem so

at

first,"was
for is
a

reply.
in At the
a

does
But

exist there

the

pleasure

get in hearing it.

great difference
from it. been

enjoyment
concert,
for

different

people get
haven't

example,

you

HOW

TO

LISTEN

TO

MUSIC

25

bored the

by
older

what

you

have

heard,
it?'' remembered

while

some

of

people enjoyed thought,

where
a

Jack
concert

and

school been of
connected un-

long
so

piano
like
a

piece
it

had

played
have
to

that

seemed

collection
was

stupid
it stop. Yet

soimds
some

that
in the and
the

relief to seemed hands He

audience their

think
a

it very time been the

fine after
at

clapped
and
or

for had

long
often of

player stopped.
heard

church

people
which

speak
to

liking

voluntary, beyond uncle,

his
to

anthem,
endurance.
is

him ''You

seemed

tedious

said see,''

''there

something hearing
as

more

in

listening
^^ne

music

than

merely
It
we are

the
one

sounds,
must

must
a

understand

it, just
does

imderstand follow that

language.
we

not

necessarily
But
to

like

what
we

stand. under-

if it is

good
music

music,
did

likely
that
was

appreciate
trouble the fault

it.^So
the the
of
to

it is quite
you

possible
not

the
not
not

with

like
you

music,

but

because kind of

did

happen
"There

know

that

musical

language.
are,
as

you

know,
that in the that

differences
one

even

in

the
you

kinds hear

of

English
streets

learns.

What of the

in the

rough
which
you
are

parts
the

city is very
uses some

different
and

from

minister that

in
of

church;
your

haven't

noticed

schoolmates

always

using

26

HOW

TO

STUDY

MUSIC

certain
you

words

incorrectly?
when and been the
you

In
proper

fact,
way
not to

haven't seemed
see was

been

corrected and
wrong

difficult what
you
as

could

why
not

had

accustomed

just

good?
other likes been

''In
person

words,
and

the

kind

of

English
kind is It

that

understands
to.

is the

that the

he
same

has

accustomed Some

just

with
or

music.

music
some

is poor, is who and

being being
been

weak

sentimental;
sensible.
to to

good,
have

strong

or

And hear

those weak

accustomed music learn

to to to

sentimental It
seems

like
as

that incorrect

kind. forms

all

right
seem

them, others;
those

of and

speech
sensible
to

while
are

strong
not

music,
will
seem

who
or

accustomed

it,
the

stupid
who often

senseless.'' had
to

Jack,
use

be

corrected
with much

in

of certain
:

words,

remarked

faction satis-

''Then

it is your

family's

fault

if you

don't

speak correctly!" "Partly,"

Haven't
you

said

his

uncle,
that

"but
some

this of

is not the

all.

found

poorer
ones,

children
while the much think

in

school, especially
come

the

brighter
to

they others,
better this

from
to

homes write the

similar and ?

those

of

learn than

speak
Why
from

English
do. you
the
same

do when

others
come

is so,

they

HOW

TO

LISTEN

TO

MUSIC

27

kind

of

homes

as

the

children

that I

keep

on

speaking
Jack
to

incorrectly ?''
over

reflected
one

this

question
who,
where

and

recalled he lived of
was

mind the

of his

chums,

though
most

in

poor

part of the
incorrect other

city,

the far
to

people
ahead

used of and the

to

EngUsh,
in his He

still

pupils
the of

ability
very

both

speak
his
was

write.
of

knew
that

well,
for

from

knowledge
not
was a

boy,

this
or

difference
the

matter
one

accident studious learn

luck,
fellows

boy
when

of
to

those
to

who,
plished accom-

he

set

work

anything,

it. His

uncle
one's from also be

continued

"As
.

English
a

may

be

good because
home,
studied and do where
or

one so

comes

refined

and

cultured
one one

it

may

good
to

because the
way

has

and

paid
A

attention who has

to

speaks
may

writes.
so

person

enjoys good
come

music
a

cause, beis

he accustomed

from

home

he he
may

hear

good
weak music." and

music,
he
has

enjoy

good
and

music between sensible

because

learned

the and

difference

sentimental,
"do
to

strong

"Uncle that don't

Phil,'' asked trying

in
we can

Jack,
learn

you

mean we

by

like

what

like?" the
form
same

"Certainly,
to
use a

way

that

you

learn

correct

of

speech.

It

requires

28

HOW

TO

STUDY

MUSIC

attention,
not
one

of

course,

and
to

one

naturally
and for

should
if

go

on

listening
to
one

weak one's

silly music
it. But

wants

change
should It make is

liking
to

especially,
sensible attention

listen wonderful music

strong
how
a

and

music. will

little
I

such

interesting.
to

will illustrate Then he the

by singing something
Schubert's words. of its with of cried "I the "The While
song,

you.'' King,"i
children
rush

sang

Erl the the

using
could

English
the drift and that element

get

of
so

accompaniment
excited
was

dramatic all their confusion.

character

them,
an

interest

there

also "That's

great,"
the

Jack,
don't
see

filled that listen

with
we

the have

spirit of
to

piece.
his

do

anything
with

special though, uncle,

the

to

to

that." has

"No,"
words "Of and
rest

replied
it to

"that

music

tell you said

story."
is

course,"
a

Jack, "somebody
"

riding,
the after

carrying
of it.

child,
the

I don't
as

quite
ghost

catch
was

It sounds and

if

some

the

child,
"That's

child

died." the ask

practically
let then
me

story,"
you
some

replied

his

uncle.

"Now and

further

questions
see

I will

sing
it
more

the

song

again
you

and have

if you
^
"

don't

enjoy

after

The

Erl King

"

may

be obtained
of Schubert's

through Songs
or

any
as

large music arranged

for

store,

published

in collections

piano.

It is also reproduced

for the

phonograph

and

piano player.

HOW

TO

LISTEN

TO

MUSIC

29

learned
you

to

listen.

You

have
was

just riding,
"

said what

that
in

thought
music
a

somebody
you

the

makes little of

feel

so?"

Their
to

uncle

played
them. After motion felt that

the

accompaniment
Nell
to

help
the

some

hesitation, accompaniment
the ''that

hummed show that

of the it

she

represented
Jack,

riding.
sounds
as

"Yes,''
horse "How
was

said

if

the

cantering.''
many

characters Uncle
I the

are

singing singing
all the had
not

in

the

song?" words,
The

asked but
am

Phil.
same

"I'm
person

all the time?"

children, although
character had been of the this

they
song,

felt

the

dramatic
how

had

thought
tion ques-

brought
of

about.

The

of the them
on

singer's changing
number

characters

started

interesting observations.
Nell,
the
to

"Sometimes," child,
"

replied
you
are

"you
and

are

the
times some-

and the

then
one

father;
get the

who
to

tries

child."
you

am

going

sing
you

the
not

song

to to

again

in

moment.
"

I want

only

answer

this
a

question,
also the

why
of if you fit the

the music
can

composer
to

has

given
"

ferent difbut

kind
to
see

each
me

character,
how he has

tell

made

music

characters."

These
very

questions
from

brought
the

about Both

an

attitude the

different

first.

little

30

HOW

TO

STUDY

MUSIC

people
focused
out

paid
on

better
some

attention definite

because

it

was

problems
music.
to

growing by
Their

of

the

different and
was

characters

presented
listen
He

the

poetry
aim

illustrated
to

by

the

imcle's the
over

get the
of the

children

to

music the

by
song

the

aid

poetic ideas.
children how
were

went

again,

listening for
they
were

the

different and

characters; why
notice

ferent difThis

they
beauties
were

different.

made music when

them that

in the

accompanying
aware

they
the

only
the

vaguely
first his

of Jack
as

hearing
the
were

song
was

time.
son

thought
the
you
out

father sick child's

carrymg

boy
take
as a

and

frStened, ''for when

you
seem

if

the

character,
child
as

to

call the

frightened
you

would,
if you

while
were

when

father

sings,
the

sing
to

soothing
child. And

somebody;
when

trying
ghost
said
''
"

quiet

the

''That,'' King,
and the "When

Uncle

Phil,
music
were

"is

caUed

the

Erl

spirit.
he

sings, the
as

is very

beautiful
coax

tempting,

if he

trying
said

to

the

child." "Isn't the music it

wonderful,"
make

his
seem

uncle,
so

"that and

can

poetry

real

lifelike?" The wanted children him

to
were

greatly
some more

delighted
songs.

and he

sing

But

HOW

TO

LISTEN

TO

MUSIC

31

said,

"I

shall

give
for

you

some

others, listening. point,

soon,

ing showtration illus-

other is
you
are

things only listening

must

about
my
to

This

first

that

is, when
words
so

anything
sure

that hear is the

has

with
as

it, you
to

be the

to

words and

know
you

what
are

music

about,
will

for
you

what

to

listen.
a
a

This

make I

enjoy
sorry

what
to say

you

hear in

great great

deal
many

more.

am

that

concerts

and
to

churches the music

and

Sunday
for hear deal the

schools, people
fun of words habit.
one, to

listen

just
they

it, and
or

don't
not.

care

whether lose
a

the

They
song,

great
or

by
is

that
a

If
you

the will

chorus,
that the

anthem
many
say

good
over

find

it pays words is the

times
go

know

what

that

with
to

the in

music.

This,
how
to

then,
listen.
be
you.
sure

first

thing
music
out

do and

learning
go

Whenever
you

words the
a

together,
can

find

all that
are

words

tell

If the
as
we

words
hear
we

in

foreign language,
or

such

often

in
may

concerts,
find and
out
more

in

talkingthe

machine what the

records,
music

from

title
other

is about

from

sources.'' Section "But

Uncle
2

music
Phil
went

with
on.

words
''

is

only
words

one

kind,"
ful beauti-

Some
any

of the

most to

music

does

not

have

help

us

32

HOW

TO

STUDY

MUSIC

WILD
(WILDER

RIDER
REITER)

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HOW

TO

LISTEN

TO

MUSIC

33

understand
to

what
out

it is about,
a

so

that

we

have

find "I
am

in

different

way.
a

going by
song

to

play
liked of
grown

you

piece only

page

long,
whose This for is

the
you

.composer,
on

Robert

Schumann, day.

Thanksgiving people like

because
to

one

of

group

pieces written

especially
them very

children, though
Children

much. has
to

like

them

Schumann

given them
them. He

something
has
a name

do

when
each
one

listening
of

for

the is
go

little

pieces, that
Instead
then

tells you fun

to

what
see

the the the

am

music
two
name

about, and together.

the

it's great

how
you

of

telling

of
to

piece and
with will

playing
you

it, I
of how
the

going
name

play it first and

will
name

have

think
see

that
your

go

it. resemble

We

will that "The

nearly
Rider."
at

of

composer.''
The
novel The

Then children situation

he
were

played
a

Wild

little

mystified
with
an

the

in which
as

they found

themselves. what exercise

piece sounded,
were

compared
to

they
or

accustomed
it
was

hear, like
short

study;
monotonous.

very

and

almost

seemed

Their
to

uncle that

explained again what they

some
were

they
tllat
or

were

do,
was

"

to sort

imagine
of

the

piece
out
or me

telling

story,
thing some-

acting

something,
how

showing

how

went,
he

somebody

felt.

"Now,"

said, "let

play it agam."

34

HOW

TO

STUDY

MUSIC

Nell sounds "You "It

or a

responded
like
are

with

some

enthusiasm,
real

"It

something

going

fast/'
Uncle A Phil.
man,

getting warm/' going.

a
were

replied
cow?"
now.

is

something
or

What
or

is it?

rabbit,
"It

horse,
on a
or

Both

children can't

the
cow,

track it

Jack be
a

gested, sug-

be

might

horse."

"Is
The

he

walking
were

cantering?" quite
sure

children

that

he

must

be

nmning.
Their uncle "The then said that Schumann called

the

piece, "Play

Wild

Rider."

another,"
a

said

Nell;

"this

is almost

as

good
"I uncle. of and
two

as

guessing game." change

I wiU the
game
on a

will
"

little," said
paper

her

write Then
me a

this

the
two

names

pieces.
can

I'll which

play
name

the
goes

pieces
which other
a

you

tell is

with the

piece. spring
are

One
song.

boat

song
are

and called

While little

they

songs

they
written

really
a

instnunental Felix
to

pieces
Mendelssohn." "The

by

composer

named

He

then and

proceeded
the
easy to you

play

Gondolier's

Song"
"That's
never

"Spring enough,"
music hear his
see

Song."
said that

Jack,
way

"but

I It

listened what

before.

makes

interesting."
"let
can me

"Yes," agaiB,
and

said
you

uncle,
if you

play
out

them

pick

pictures

HOW

TO

LISTEN

TO

MUSIC

85

on

the
to

wall

that

you

would
songs

use

if you wished
you

were

gomg

publish
the them of the don't

these

and
way

tures pictimes some-

for
see

title-pages, the
on

popular
song

songs.

You

know

something
on

from

seeing the
commenced the

picture

the The

page,

you?'' immediately
to room,

children

examine
while The

everything
their uncle of

pictorial about
the
two

played
a

pieces again.
a

photograph by
the

lovely Corot, with

in

figure
was

dancing
chosen and rocked
sea,

water

the

early mist,
^'

by the
Jack liked

little
a

girl for the

a a

Spring Song,"
fisherman
expanse

picture of
waves
on

lone wide

by
the he

gentle
"

of

for

Gondolier's."
hear

The

boy remarked
from the

that

could that

the

whistle

fishing

schooner fisherman "But

this boat

belonged

to, calling the

back.
there's said hear
can no

schooner "but

there," said Nell.

you
can

"No,"
Don't "You
you

Jack,
the

imagine.

whistle?"
whistle in the

hear

the

music,

way," any-

said
"

his uncle.

So

in my

picture

you

can

see

them

dancing,"
said
one

said

Nell, jumping
was an

about
easy one,

to

illustrate.

"That

though,"
you
a

Uncle
was

Phil, "for
a

I had and

already told
the other
can

that
song.

spring
see

song

boat
you

Still

you

how

music

give

something

36

HOW

TO

STUDY

MUSIC

to

think

of; do,

not

in

the

way

grammar

and

arithmetic

but

with

fancy
and without
you
a

and

tion." imagina-

^'Play something
can

else

let

us

see

if

we

tell what ''All

it is about will

any

help."
a

right, I
named
a

play

piece by Chopin,"

Polish he

composer

Frederick

and

played figure
one

waltz

having

little recurrent fast It the

a

running
to

that

whirled
almost

about

enough

make
a

feel

dizzy.
and
then
me

glided
first
was

oflf into

second ''Now "That

strain
can

repeated.
Jack. be

you

give

story for this?"

said
to

is

certainly going some,"

said

"Yes,"
round "What
'A

Nell,
as

"it
as

seems

going
it?

and

round do
you

fast think

it can." the author called

little "Must

dog
have said

chasing
been
a

his

tail.'" said he Jack.

lively dog,"
I
went

"Yes,"
in the "Can
to

Nell, "and
and
then
me

think
at

got

tired

middle
you

it

again."
it is to uncle.
to

tell

of what asked
pay

value their

listen

music "It

this makes

way?"
you

attention

what

you

are

hearing,
like and

and

it's fun with

too,"
dolls. of

answered You
can

Nell. make

"It's believe

playing
have said

all sorts

things happen."
nature

"Yes,"
itself "But
in

Jack, his boyish

to

asserting suggestion.

opposition
is the
use

his

sister's

what

of all this

make-believe?"

HOW

TO

LISTEN

TO

MUSIC

37

"It

is very his

important
uncle.
on

in

listening
the
out

to

music/'
march You
you

replied
that don't
you

"Take

Sousa

heard for do of
a

coming simply
The

of

school. it helps

care

it

because
use

keep
like

step,
that

you?

of

music
to you

is not make

jackknife
use

with

which the fun

something.
out
comes

Its
Now

is fun

just
you

get

of

it.

the

get in step

the

march

because it? that and

you you not

everybody
It

keeps
^skip
;

together,
to

doesn't

is

the
to

and

go'
that
In

the

piece just
you

like

hear it to

everything happens
way,
or

so,

like

happen
to
or

could
I

keep

step

it.
a

this

music of it,

that
you

have

been
want to

playing,
get
you, up

good
march

deal
to you,
or

don't
not

and

it, and
cially espe-

it does

excite
you

yet it pleases
the

when

let

imagination
says, sort go

'makeThis

believe,'
kind
to

as

your

sister

with of

it.

of find
to

music all the

needs

that

make-believe it.
If
you to

pleasure
the
same

that
way

is in
that
any you

listen the then much

your

it in

listen

Sousa

march,
feet it.

without
want to

thought,
you

and

feel your from

go,

will

not

get

Most

of
with

the" fine the

I

music
you

needs hear.

'make-believe'
these have

sounds been

In
we

examples
been

that

have
names

playing,
stories

actually using
as a

and

and

pictures,

help.
you

But

if you find

practice

listening to

such

music

will

by-and-by

38

HOW

TO

STUDY

MUSIC

that that the

stories sometimes

and

pictures
you cannot

are

not
even

necessary state
come

and words
you, you

in
to

strange

make-believes
so

that and the

yet
would In

they
not

seem

true to

interesting
fun of much affects

that

want many

lose

having
expense

them. and in that

fact,

people
music

go

to

trouble

to

hear

that

them

way.''
Section
3

"We

have

spoken
the of words

of

the of
a

importance
song,

of also
to

understanding
of the value instrumental
to

and

'make-believe'
But

in

listening
is the still
more

music.
mean

there this that

even

do.

I don't

by
at

tion imaginathe kind

is not of music but what

always
I
am

work,
to

with
to you

that makes

going
new

play

directly ; especially
to
use

this

sort

of music
us

interesting
memory
see

is that
a

it calls active this.

upon
way.

the
soon

in
reason

very

You

will

the "We

for

have
a

already spoken
The
"

of

music is
way

as

being
gether to-

hke

language.
resembles

way

music the

put

very

much There Some

thoughts
and of is and
very
most

are

put

together.
the number
or

is, first,
kinds
one

important,
have
a

text.

music

of texts, and for These

a

text

spoken
then often

about,
another

developed,
taken
up.

while
texts

is

HOW

TO

LISTEN

TO

MUSIC

39

contrast

with and
want

each then
to

other,
the other.
to you

so

we

like

to

hear music

first that
one

one

But
now,

in the there

play
or

is

only
else

main
grow

text,
out

subject,
or

and

everything
it. It
must

must

of,

fit into
very

be

heard

accurately
remembered
on a

the

first the
no

time
composer

it

comes

in,

and

while This is

rings
It

changes requires
musical remember
as

it. lot of

easy

matter.
a

attention
Unless
you

and

very

good
can

memory.

notice

and the hear

the

text,

you

won't
you

enjoy might
you,

music

you

should,
there

though
that catch there

parts
way

here
that

and
you

pleased
the without

in

the

might
and related. main
you I

minister's

tions illustrato

here

knowing
about
text

what

they

were

"The

feature, then,
must

this

music

is, that
it.

notice

the

and

remember

Now,
The

will

play."
stood
on on

children with
never

either their
a

side

of

their

uncle had When lastied

astonishment dreamed uncle about had

a

faces, for they

of

such

thing
the there

in

music. which
most

the

finished

piece,
was

only
that

minute,
on
a

decided
declared and Nell

disappointment
it
"I
was

both

faces. of tried could

Jack

only
see

jumble
you you

noises,
to

said,
but

don't
see

how fast

do

anything
your

to

how

wiggle

fingers."

40

HOW

TO

STUDY

MUSIC

HOW

TO

LISTEN

TO

MUSIC

41

^"Probably/'
more

replied
in the

Uncle
my

Phil, ''you fingers wiggle you?''

did sound the

were

interested

seeing music,
''And

than And
not

in

listening
to

to

weren't

turning
get
a

Jack,

you,

probably,
would knew whole

the

text.

Naturally noises,
of unless which

it

like little
was

jumble

of
out

you

melody
made. "Before about lived
a

the

piece

playing piece.
time

it It

again
is

let
a

me

tell

you

this

by

composer

who

long
and

ago,

named it
a

Johann

Sebastian Invention.' different

Bach,
This the I

he number

called
one.

'Two-part
You of the
see

is
name

how

is from
to
you.

those You

other

pieces
the 'The

that

played
and

remember

'Boat Wild

Song'
Rider.' is

the This
a

'Spring
name,

Song'
of

and

'Two-part
how
not

Invention,' composition anything

that the

merely
what

description

the

is put of

together, and
the do. The

does

tell you
or

imagination,
reason

make-believe,
is in the and
drawn in the
upper

should fun the

we

for music
in

this is
more

get out

of this

noticing tion imaginaMendelsto

way
as
we

it is made did with

than the
of

using

Schumann
the Invention

See
to

the

preceding
and

diagram
The

scale both

as

duration

pitch.
It appears the
run

initial

figure

part is the
the

text
measure

of the piece.

upside down
of
a

at the note

beginning of
between
same

third

and,
a

with

addition
of two

single

the
occurs

figures,
for the brace.

forms

continuous
at

measures.

The
measure

lower

part

the

beginning

of the

third

of the

third

42

HOW

TO

STUDY

MUSIC

sohn all
same we

pieces, though
want way,

of

course

we

can

imagine
in the of

and
too.
means

play
that
a

with

the in
are

piece
the
two

^Two-part,'
there when duet

name

this
or

piece,
parts,
the
as same

voices, sing
that
ways

in

two

people
means

at

time. tried
at to

'Invention^
see

the the could

gomg

composer

in

how

many

Kttle be
to

subject
worked show combination
to
way

the

beginning
is to in

of
say,

the he

piece
was

in. his

That skill of the

inventing melody. player playing

our

every You

possible
have the of of him. is old the
at easy
a

little

been clever fix

or

ball in

games

and
some

enjoyed

intensely
got
or

which in

out out

succeeded the
man

getting beyond
was

reach So

of

who
of
game

against
interest how
to

in this kind the

music,
and

main

in

watching composer's
little

seeing managed
it all
you

the
use

inventiveness and
I

melody
and fun it

have
assure

good
music if
we

music
no

the

same

time. the in
was

that's

stunt,
the the
me

harder
to

the

the
can

greater
follow ^'Let
over

Ustening
done. this

it,

way

play
over so

little
you
over can

melody
remember
two notes

to

you

and Their

that

it."

uncle with

played
one

the
to
a

measures,
so

pointing
the the sound

hand make

the

that

children

could and the

connection of

between
notes.

appearance

the

HOW

TO

LISTEN

TO

MUSIC

43

"Now
can

then,"
the of

he

said,
to

"see me." did

if each

of

you

hum Neither

little text the

at

children their for

a

it

correctly,
their

and

after
gave

laughing
them
a

slowness,
little
more

uncle

chance the

practice.
both
dren chil-

He

then
were

played

piece again, and

to

surprised
had least

find work

that and in

what
a

seemed

like

mere

rapid finger
at

jumble
that
were

of

sounds

strains

it

quite
"How
text

rational.
many

times these

do
two

you

think

this

little Uncle

comes

in

pages?" times,
Their
not I

asked

Phil. "About Jack. "It

seven

four Nell nodded

or

five
assent.
am

guess,"
uncle

said

smiled.

comes

in,
five

if I

mistaken,
between heard
come

thirtythe the and

times,
or

and

the that that

difference
you

four

times times

have

thirty-seven
you

it does
you

in, shows
lost."

how This

much

of the

game

have

challenged
he said.
I

Jack^s

attention.

"Try uncle, there,

the

it

again,"
"Before
me

do

that," replied
of if
you

his

"let that little

play
may

parts
see

it

here
can

and discover

you

text."
%

"Why,
where it

that

soimds
or

like

it, but Phil;

don't

know

begins

where

it ends." "I
am

"Look

here," said

Uncle

point-

44

HOW

TO

STUDY

MUSIC

ing

to

the of

little

run
a

that

is made

up

by

the
two

addition

only
of the that

single note, melody."

Then reminded could where
you

between he them

repetitions
another
one

played
of the

also child
you

text, but
"Let said

neither
me

tell

why.
notes

show

the look
way
see

are,"
printed
is anything of the

their

uncle,
and

"and
at

Carefully,
was

first at
at

them,
very

then

the

it

the

beginning,
is alike in

and the

if there

that two."

appearance

"Oh,"
except
over
"

said that it

Nell,
is
in

"it's

just
down.

Uke It

the
goes

first,
on

upside
the
same

and Who

over

way."
of that
comes

would where

have the

thought
I will

!" said

Jack.

"That's Uncle
over

invention

in," said
whole the if you

Phil.
very at

"Now

play

the

piece
notes
can

slowly,
same

and

you

watch and
see

and

the the

time

Usten,

follow The

game."
braced while themselves their uncle
to

children. effort

for

the

centrated con-

played

the

invention,
the theme "Isn't

taking
wherever fun?"

special
it
came

pains
in. Nell.

emphasize

that

cried almost

"Why,

there's
in

nothing
piece."

else

but

the

little melody
"Wasn't
to

the old

whole
composer

the ? Now

clever off where

to
you

be

able

do

that

you

go

cannot

HOW

TO

LISTEN

TO

MUSIC

45

see

me

playing
I

or

see

the

music Does

and it

just

listen

while

play

it

again.
now?"

sound

like

jumble
''No,
got
to

of noises
not at

all/' said
the rules fun

Jack. of the of

''But
game

you

have
are

know
to

if you

going
would all in the

get
in
a a

any

out

it.''

"True,
get

sense," replied Uncle

more

Phil; "you
knew follow that

lot

fun the

out

of it if you had
to

rules

that this

composer

writing
be

bright
too

Uttle

piece,
from the

but

would listener.

asking
The
to text

much has

ordinary
more

piece
you,

become

much
you

interesting
learned clever the
turns

simply
are

because
to
you

have

and

able All and

you
are

follow have

it in the

it
pay

takes. attention And

memory

really
what

done
you

is to have

remember how for

heard. and of

see

important appreciating
like the the closest that is and much

attention this
one

sort I

music. been

But

while demand
every

pieces piece
it

have and

playing
all
we

attention worth
memory
as

memory, at

hearing
in order

requires
may

attention
as

that

enjoy

it deserves. "You
see more now

that

listening
First
to

to

music the
must

is very sounds hear for

mean

much
as an

than

merely
order

hearing
of all have music
we

animal music
to

might.
in

good
which

something
I

listen.

By

good

don't

46

HOW

TO

STUDY

MUSIC

music

that kind
many

just
music

you

or

someone

else been for

likes, but by
time.
a

the

of

that

has

enjoyed
a

great
In

intelligent people words,

music
way

long

other

that that
one a

has

proved
proves

its value
to

in

just

the

same

boy
not

be

good
decent

fellow

"

he

is

that that

only
like few

all the

fellows
and don't

like,

but

they
a

right

along

get tired

of after

weeks. else
must

"Besides
we

having
close

good

music,

what

do?''

"Pay
Jack

attention

to

what

we

hear/'

answered added listen

so as

promptly. Nell,
to

"Yes,"
we

"when words
as

we

hear
well
as

song

must

the

to

the

music,
of the "But

to

understand the
you

the

'make-believe' horse." there

are no

music,
what
as

Uke do
a

galloping
do when

words,
"You

in

piano

piece?"
she answered.

still 'make added

you

believe,'"
attention

"Yes,"
"Unless the made
you you

Jack, thinking
pay

of the

examples,
stand underthat what kind

you

can't last

music,
listen

especially
so

the
to

hard

remember

heard." "Those
are

good
I

answers," play
Now
you

said
more

Uncle music will have

up

Phil.
and
to

"Some review
go

day
these and

will

points. play
hard

you

out

enough

to

make

for

Jost

time."

HOW

TO

LISTEN

TO

MUSIC

47

The all lost. that

children the

rushed hour with

out, but
their

not

feeling
had

at

uncle

been

Section The interested

"I
never

4
who had been
an

children's

mother,
once

listener, at
realized of music it

exclaimed: how It

before is.

important
not
our

the

hearing
our

good
but

only

forms of

tastes,

establishes

habits

listening.''
''Very
in this

true,"
respect

replied
is like works and
we

her

brother,
If for
we

"music
stantly con-

literature.

read
on

poor

depending
excitement
not
we

interest
than
a
on

sensationalism and

rather

truth for of
more

beauty,

only
also
In

form bad this

taste

poor

literature, but
and for
to

form

habits is of
we even

reading

listening.
while
use

music

serious, require
at
us

the

necessities
so

daily
are

life able

language
what
not

that

least
even

to

understand if
we

is said like that

a
are

in

good
music
we

literature,
we

do

it, in
while

have heard in

so

little
poor

experience
music
"

after
"

have

for
we

cially espeeven

early

childhood

unable

to

listen music

intelligently.
sounds

Under and

such dull

conditions
instead of

good

stupid

interesting."
"I
am

also

very

much

impressed,"

said

his

48

HOW

TO

STUDY

MUSIC

sister, ''by the

way

you

set

my

children dared
to

to

listening.
such

never

should

have with

try
yet

instrumental
were

pieces

them,
In

and

they
she the
I

intensely
''I
was
so

interested. interested
I used
to

fact,"
that

added,
old

myself,
dislike
a

'Invention'
to

that

when

had

practice it,sounded
he of "so
was

like

fascinating depends
a

gemJ' "Yes,''
the

answered,
view. I

much

on

point

following
their
a

mental fundadren chil"

educational

principle, giving
to

the

something
J

do for
"

with

attention

something
a

to

look rather

setting

problem
them

as

challenge,
it."
you

than

just telling
for his

to

exercise
^

"Have
my

other in

suggestions
asked

interesting
sister. it would them what
re-

children "There
are

music?"
two
more

points
one

that
have

be

well

to

consider the

is to
to

produce,
hear.

and

other

describe
the

they

With

reference

to

first, reproduction,
ones,
an are so

children, especially
interested
mother
or or

little that them the

in

doing

things,
can
or

ingenious
hum,
of

teacher the

have

sing, ments fragthey

should

whistle

tune,

clap

rhythm
what

of fine
are

compositions,
this
purpose

telling good
whole of

from.

For

music
a

be

selected, and
For

seldom

the take

tion. composiof the

instance,

the

first part

HOW

TO

LISTEN

TO

MUSIC

49

slow and

movement

of

Haydn's
which

'

Surprise Symphony
the

'

let

the
tune

children with of

memorize

fascinating They
that
are expected un-

nursery

it starts. little

always

fond crash

Haydn's
of
the

joke, the time,

hold
even

big drum
the
same

makes
must

everybody
never
an

jump.

At
a

one

forget what
instrumental in

task

it is to of
a

in

mind

composition By
the
to

utes five mina

length.

taking
to

little at

time odies melthe

the

and

giving opportunity
of which is

reproduce
is keen

the

composition
take works for

made,

child whole.
are

prepared
A few such

delight in appreciation
in

thoroughly
the

enjoyed
of

sufficient classical other

we

basis music.

much "The

point
This the

is is

to

describe for older

words

what
In

hear.

more

children.

fact, when
a

description is written, it
or even

makes in
same

good high school English

as

college
involves

cise exer-

composition.
the

It

the of

principle
the
to

previous by

point, that
the mind

focusing something
that
your

attention do. Haven't times

or

giving
you

noticed, Helen,
described tend have
to to

the

good
in

you

have

friends,
dinners the
are
B

written

about,
You

fix

themselves
at

your

memory?
the last
out

been

where
ones

funny
of
your to

story

has.
but of

driven if you

before

mind,
one

fortunate

enough

repeat

50

HOW

TO

STUDY

MUSIC

these

stories and

it

then

becomes
or

part
your
we

of call. have

your

repertory
other

more

less

at

In

words,
to

experiences
tend have
or

which become

scribed deof
us,

others that

to

part

while
as

those of The that

been

remembered

only
music

states

pleasant

unpleasant
of this heard

feeling, fade
to
quires re-

away.

application
the the

composition person^s
This

be

fied, personiactivity,
what is

giving
and said. ''For
can

character,

environment.

helps

focus

instance,
it of
an

the

piece
the
a

may

be

gay.

We
a

describe than

as

being

gayety

of

child of
or

rather
a

adult, of
it may

girl rather
be When
sex,

than

boy;
the

still further, and

boisterous,
you

thoughtful

imaginative.
range
a

sider con-

possible
is not

of age, mood of

and

tion, occupa-

there
not

music

that

may

be

paralleled by
does this
to not anyone you
mean

such

description.
that
the
as

This, of
heard

course, meant at

music when

else,but,
are

looking
tain cer-

sunset

clouds which

able
moment
so

to

imagine
others

shapes
with discern This is
you
are

for

agree

resemblances,
of the

you

are

able

to

the
a

moods

music

thus

personified.
for the

very

stimulating
induces
to

exercise
most

imagmood.

.ination,
in
the

and

the

intense

listening
the

effort is
a

catch

and

describe in such

There

creative

element

description

HOW

TO

LISTEN

TO

MUSIC

51

that
same

makes time the

the

eflfort
out

fascinating
our

and

at

the

brings
and

descriptive
of in

powers

along

important

line

developing
our

the

unagination
''These

helps greatly
for

tion. educa-

suggestions
and illustrate
to

guiding
as

attention well
as

by
those
are

reproducing
you
saw
me

describing,
with
in
more

the

children,
to
a

all

intended that of the

help

listening
than

kind

of

music music

demands

does

the

popular

day.
Uncle
cannot

"But,''
remember

continued that
we

Phil, always
;
we more

''we live need

to
on

must

the

plane
deal
us

of the of music

great

composers

great
divert and

of the stimulate
as

lighter sort,
us

than

to

to

noble
a

thoughts

deeds, just
'Five
"

children
like

need 'Mother and

kind

of imaginative
or

literature Little
so

Goose,'
be

the

Peppers,' simple
music

'Alice

in Wonderland'
can

things
of

that heard. which

the

they
So

enjoyed
is
a

without deal
in

effort, when

there

great

light
musical make

should child. of the

"

have The

place
I

the
to

life of is the
two

point
difference kinds

wish

fact of

difference
a

tween be-

these which
creates

kinds the

music for

necessity
side of

two two

of

listening.
may

Either be

these

tions proposihave
seen

overemphasized.
up

You
grown

children

brought

entirely with

people.

62

HOW

TO

STUDY

MUSIC

on

literature seemed that

we

so

far

above

child's that

taste

that

they

like
are

prigs, without
so

ness childish-

fond The

of
,

though taking

this

type
make what
any

is

comparatively
a

rare.

large majority
only

mistake

the

other

way, to

immediately
effort such
at

appeals
careful
in music

them,

without

listening. Those
grow up

receiving
an

training
one-sided
while

with

ingly exceed-

attitude and

towards

the
may

subject;
do
are

and

high school
a

college
far

thing some-

for
to

few, the

large majority
as as

likely worthy

be

hopelessly lost
is concerned."
you

enjoying

music ''Are said

referring
this is

to

music

students?-"

his sister.
a

''Yes, but
those have but
in who

problem
for such

not

limited

to

study
tastes

music,

people

often

their it is also music If

improved entirely
has

through

practice;
interest

for the almost

large public whose

one

is this

of

tion. appreciaby
such

capacity
but the

been

injured music,
of
to

hearing people
ill,and
wholesome

nothing
are,

sensational

from

point of view
and
are, to
care

aesthetics, develop
out my
a

need

attention
taste.

They
weak

to

carry

illustration, too
that form would of do

profit by
a

the tonic

music in the

them

good without
and

help for concentrating

need for

attention.

"The

guidance

help has

become

HOW

TO

LISTEN

TO

MUSIC

53

urgent
of

since

the

great

increase the

in the

possibility
means

producing
and has

music The

in

home

by

of

disks music It

rolls.
gone

opportunity
any to say power

for of

hearing
estimate. the total I

beyond

would

be

difficult

whether
or

influence have of
as

is, at
doubt
power to

present,
that hear realm the with
power

good

bad, though
this be increase considered
as
was

no

eventually
music of
to

our

will

great

in

the in

aesthetics

the

increase
press,

read, due
to

to

the

printing
"You "what with
a

reference

gence." general intelli-

are

making

me

realize," said his sister,

rests
on

responsibility
to

my

shoulders
our
as

reference
I

the

use

made of

of

talking
an

machine.

have

thought
they

it only and
have

strumen inthe
I
as

of children
see
now

entertainment about it
as

let

do that

please
their

with
tastes

it.

is

molding

almost "If

nothing else is.

I could

put

your

suggestions
the I

towards

listening into
more

practice by
instrument
of my

aid

of

nothing
in

than
younger

this

might

develop

the

members that
I have

family that longing for

so

interest much.

in music I
to

been

have do

been this for

expecting
them,
while

schools
I

and

teachers
the
most

neglected
what

effective Worse

means

for accomplishing been

I wanted.

I have still,

allowing this powerful

54

HOW

TO

STUDY

MUSIC

influence
in how

to

be
my

exerted musical

on

the

wrong

side.
am

Yet,
a

spite of
to

training,

at

loss

select

good

material/'

"Suppose,"
this

replied her
up

brother,
one

"we

take

question
in list of of
power

later

as

of

the

important
they
can

problems
get
them
own a

music.

People
to

think which

things

hear

is to

relieve

all

responsibility for
of

exercising their
is to

choosing

wisely, forgetting that

the whole his
own

the

valuable
one

thing really
to

in

matter

induce
In other

exercise
trust

judgment.
as

words, they
medicines."

aids

in music

they
intend

do

patent
"I

see," replied his sister,"you

I shall throw off
to any

don't

that I if

of my better.

responsibility.
Let
me see

shall
I

certainly try

do
your

remember music is with

as an

all of

suggestions.
art

First,
it is
use

that

expressive anything

and

when the
our

employed
words,
to

requiring
should
to

of

such

poetry,
them

we

do

utmost
ing mean-

understand
of the

in order

get

the

music.

Second,
to

that

music

is

an

art
we

that have
says,

appeals
our

the

imagination;
as

unless little miss music

woven

'make-believe,'
active
the

my

girl
the is
an

very

when

listening, we Third,
forms of what that
are

spirit of
art

music.
;

of

design
the
we

beautiful

together,
essential

for that

recognition
remember

which
we

it

is

hear.

HOW

TO

LISTEN

TO

MUSIC

55

Fourth,
tone,
memory
or

the form the

most

effective side of

aid

ii? grasping
is tp
upon

the
to

music,
themes

commit which

leading
in

the
most

composition
effective of the aid

is constructed.

And
the

fifth,the
or

grasping
describe

mood,
it in
some

content

music,

is to

dramatic

way/' "Very
from
to

good,''
Ust the with
that

said
the

her five

brother. heads have

^,^You

see

the with

nothing They
music

do

technical
our

aspect
of

of music.

deal

only

power

enjoying along

by

listening." "Why
should
not
some

capacity
a

these
the

lines serious "For been five work made

be

considered

as

requirement
asked
if the Mrs.

for

study
tested

of
I

music?" feel that with have

Brown.

instance,
at

children
to

had
these

school

reference done
If the
some

points they
in

might

much
teachers

better had

actual that

study
there

there.
was

sure

general musical
would have have been cated, indimuch

e:xperience
their
more

which

these

tests

teaching

would

effective." "That is true! that but Teachers

are now

constantly
of

taught

experience
go
on

is the

basis

tion, instruc-

many

teaching
to

mechanically,
discover the

without basis of the

the of what

slightest attempt they

are so

teaching
much

in the
to

experience
do routine

pupil.

It is

easier

56

HOW

TO

STUDY

MUSIC

work

than

to to not

treat

each needs.

child
In

as

an

individual
our

according
system
the
seems was

his

fact,
such

school

planned

for

service, while
for such the

home,
to

the

most

effective

place

work,
loaded over-

be

neglecting it, expecting

to

schools

do
are

the

whole

training.
better
could be be

tunately For-

teachers for their work.

many
a

being
would

prepared
as

If

mothers

well
a

prepared,
duU service "You his how of

child and

saved

from

mediocrity,
do

society
talents.'' in

enriched

by

the

developed persist
"If I I

rubbing
known done

it what for

in,'' replied
I the do
now,

sister. much of

had

might

have

musical
menced com-

training
plenty
with and
none
more

my

children, long
that music and
way

before

they
were

school, by seeing
of attractive of the

they
of the

hearing
sort,
more

good
to

bad, right

listening
!"

it

in the
are

"We food method sounds leave "I the

to

learning body,"
form

the said

importance
her

of

care

in the and
we

for

the of that

brother,
the the of

"and

conserving
the
nurse

it; yet
food

sights
mind

uneducated he

girls.
"we of
are

think,"
fundamental
as

continued, importance
of all
so
as

agreed
'

on

musical

ence experiHow
'

the
to

basis music

systematic study.
to

to

listen

enjoy
of
a

it most

keenly,
education.

should

be the first

chapter

musical

HOW

TO

LISTEN

TO

MUSIC

57

"We of

are

ready
to

now

to

take

up

the

first

lem prob-

how

study
for
the

notation

without That

ing awaken-

disgust by

subject.
small time

problem
Send him let

is

presented
the if I

your

boy.
soon,

to

studio,
can

some

and

me

see

help

him.^'

CHAPTER

III

HOW

TO

LEARN

NOTATION DISLIKE

WITHOUT MUSIC

AWAKENING

FOR

Section

It

was

arranged
two

that
a

Jack

should and much he

call had

at

the ingly will-

studio

afternoons
as

week,
been

consented,

he

had

attracted

by
One

the

music

at
a

the

Thanksgiving ring
that
to
at

gathering.
the

afternoon
to
on

vigorous
uncle

door
a

bell

announced little and

The

his his

he in

had the

lively

colt
narrow

hands
of

guide

straight

path
came

musical the
room

accomplishment.
with rather
a

boy

into
on

quizzical
what
to

look of him
to

his

face,
he
was

evidently
to

wondering
put

kind
make

ordeal like made

be

through
He and
pected ex-

his
to

hated do

subject. something,

be

was

most

agreeably singing
"Oh,'^
said
to

surprised
him. lad that with
you

when

his

uncle

gested sug-

the
song

enthusiasm,
sang

"sing

that

soldiers'

Thanksgiving

day.''
"Let
''

me

try
see

different don't
58

one,"
like

said it

Uncle
as

Phil,
well."

and

you

if you

just

HOW

TO

LEARN

NOTATION

59

Jack

expected
or

something
a

about
song,

spring
was

or prised sur-

robins,

perhaps
have

love

and in
on

to
song, return

his

uncle Come
''

start to

sailor each

^'0

Johnny,
Old

Hilo/' Come

With
to

of the

phrase, Man,''
a

Johnny,
uncle

Hilo,
to of

Poor

his
The

pretended
and
go

be the

hauling
song
so

on

rope. to

vigor
that

appealed

Jack

without the

knowing
and him
on a

it he

found
in

himself the refrain. used he while

imitating
Then
to

motions told

joining
how
rope,

his uncle while

the and

sailors how

sing

hauling
them

had

heard the

sing

on

sailing
sailors

vessels said

hoisting
work? Did
or

topsail yard.
do
you suppose

"Now,''

his imcle, "why

sing*while
music
in

they
? fields

Is it
you
ever

just
hear

because farmers

they

like the

singing
Jack

the

gangs

of

men

working

onbuUdings?"
was

puzzled.
sang

It

certainly they

was

strange
"Tell soldiers

why
me,

sailors

while his

worked. do

then,"
music

said while

uncle,
are

"why

have

they

marching?"
helps
them "I
to

"Oh,"

said Then

Jack,
his It

"that

keep
why

step."
sailors

face

lit up. them

to

know

sing.
it

helps
music

pull together."
"Can
you

"Exactly,"
what is and in

said

his uncle.
that

tell

me

makes

sailors

pull

together
Jack

soldiers it
was

march

together?"
obvious that

felt that

perfectly

60

HOW

TO

STUDY

MUSIC

music know

did how

help them,
to express

but it.

he

was

perplexed
know after

to

"Well/'
to
so

said
a

Uncle

Phil, "you
one

we

have

listen that
we

to

melody
to
can

sound time
to

the the

other,
whole
way

have
never

take he"r
at
once.

hear
once

tune.
we see

We
a

it all at
And

the

picture all
we

because what
tune
we

music have what of

takes
heard
we are

time in

have

to

connect

the

first part

of

the

with

hearing
tune,
sounds. didn't know

later, or
we

else, instead only

I
to
a

ting getof

the

get
When have the
are

succession the it
was more

unrelated
song, once,

sang

sailors' than
m.

you
to
reason reason

hear

when

refrain able
can

coming
"so

The the
can

why why
to

you

to

do

suggests
soldiers is
so

sailors

pull and

march

music. the sounds

It is because
we
a

music
one

planned
other but
as

that

sing
block

after

the

all fit

together like
of the blocks
are

puzzle
of

game,

instead
in the the

being made
made of time

wood

game,
same

they
size."

lengths,

each

"How

funny !" said Jack.

said the
are.

"Yes,"
have time
song,

his

uncle, "and
you For

as

soon

as

you

heard

tune

know

what
the

all these

lengths
you

instance, in
to

sailors'
the

know of
as

just when
tune

haul, because
time know

pattern
As

the
you

just fits the

the

lengths.
what

long

know

tune,

you

HOW

TO.

LEARN

NOTATION

61

the when

right time
you

is either music
you

to

step

or

to

pull.
you

Now,
of of

make that and

in

school, do
takes

know

anything stepping
Jack
an

do

that

the

place
then

puUing?''
for
a

thought

moment

and "Does
mean

with

inquiring

look, asked, left, right,

up,

the the

beating
same as

time, down,
the

pulling
"That's

of the it!"
up,

sailors?'' his
to go

said has
you
way

uncle. with the

"Your sections

down,
of of the the do.
any

left, right,
tune

and
in the

makes
same

feel that
me

time and

parts

tune

sailors

soldiers makes

"Can difference In
tune

you

tell
you
are

whether
start

it
the

where

with
some

first down? in the

other that

words,
should '0 time
you

there be

places
and
some

down,
Come
to

up?
is

Let's the

try
best

Johnny,
to say

Hilo.'

When

'down'?" said Jack. the

"When
"And "You

pull down,"
do
you

what

do

when
next

'up'

comes?"

get ready

for the said the

tune

pull."
"The four The 'left' and
'

"Exactly
left,right, places
where
you
you

so,"
up, motion

uncle.
means

down,
different down
'

of the

in the
you

of the

tune.

is

step

or

pull,
the
on

and

the

is where

get
can

ready pull, or
wait

for

next,
the
' '

sometimes
times some-

step,
until

'right,'and
is past before

you

the

up

you

pull

or

step again.

62

HOW

TO

STUDY.

MUSIC

''Why
to

do the

you

suppose

your

teacher
says

wants

you

beat

time
as

when

she

'down,
because
you
same

left,
she

right, up,'
wants to

you

sing?
and

Is

it make

be

disagreeable
different
a

try
time?

to
"

think Jack that "Are

of two colored
that

things
his

at

the he
at

little, because
been

remembered least
in

had

idea,
the

part.
tinued con-

they

really
of

two
are

different

things,"
and

his uncle, "or time

that

singing

beating
you
song,

parts

the

same

thing?
in the

Did sailors'

feel
or

they

were

separated
march?" the
up.

the

soldiers'

"No,"
his face
them
as

said

lad, "they
"I
never

are

one."
to

Then think
was
one

lighted

tried

of

going together. singing

said do
next
a

Beating
was

time

thing and

tune

another "what

for me."
are

"Now,"
going
music?"
"I But
must to

Uncle time

Phil,
you

you
new

sing

some

think
was

of

them
to say

as

one." how
the
so as

he
up
one.

unable

down,
to

left,
make

right,
them
"How

should

fit the

music

did
or

you

know

when

to

pull
his

in

the

chantey,
"I

sailors'
to to

song?"

asked said

uncle. "that

listened
me

the

music,"

Jack,

told

when said

pull." uncle;
you

"Yes,"
to

his

"and

so

if you

listen that

the

next

song

sing, and

remember

HOW

TO

LEARN

NOTATION

63

the

down

beat will
to

is the find

one

at

which
tune

you

pull
In and

or

step, you

that

the

will

tell you

just
some

when
tunes
some

beat will

down,
tell
you

left,right, up.
to say

fact,
up,

down

and

wiU

say

down,

right, up/'

^2
1

Two,

three

and

four

time

beats.

"Why
beat before
so

down,

right, up?''
said his
two

asked

Jack. the
are

"Because,"
there the
are

uncle,
beats down

"after that beat

down weak and

only
mark four

next

strong
the and beat of
to go
on

comes,

musicians between the

difference three in three left. and

next

in

beating by
to you

time

part

music,
go

making
the will

second instead

part time
In

right,

the
up,

this

way

remember
to go

have

the
or

hand

ready
part
"I chance in

down tune/' said

some now

the

pulse,

accented

of

the

see,"
to

the

lad. of

"I

hope
next

we

have
we

do for

it the I his
me

time do it." "we

sure

sing
should before

school,
"That's what
go,

I think said Let

you

can

right,"
we

uncle,
make
have
a

test you

learn. that

however,

clear

idea

of

64

HOW

TO

STUDY

MUSIC

what

you

would time.
Do

do
you

about

this

question
the

of

beating
where

remember like in
a

tration illus-

of
one

music's

being
the blocks the

picture puzzle
the

puts

right place,
Music is the

by

noticing the
into
we

way

picture goes? lengths, which

to

is divided
reason are never

equal time
can

why
not

march

it,but
If
to

these

lengths
we

all

accented know is

alike. which
one

they
start
one,
some

were,

would there
one

foot

off with. which is

But the the and with

one

always
to

strong
out

you

have
accent

look

for ; in

pieces
accent,
in
some

strong
in
some

is followed
two

by

one

weak and the

with three in

weak

accents,
before

even comes

weaker

ones,

strong
the

again.
way

Beating
to

time

with
to

hand track
your

is

only

one

help yourself
music that the the time.''
so

keep
make

of all hand

this, and
go

if the

doesn't
two
are

with
use

it, so
to

one

thing, it's
''

no

beat

That's
he

so," joined in Jack,

a

emphatically
face.

that

brought
said

smile

to

his

uncle's "I the

more

"Good,"
have
to

Uncle

Phil.

am

glad
is

you

the
you

point that
feel the
a

beating
time

time

only

help
that

parts

definitely,
be

and
your
some

it is

very

sillybusiness
while

to

swinging
not to

hand

about

singing, if it is
one

purpose.

In
soon as

fact,

should It's like but

drop
harmful

all
a

such

aids

as

possible.

using

crutch,

very

helpful when

needed,

HOW

TO

LEARN

NOTATION

65

when teach the

not

needed.

Some but

good
make

teachers the

do

not

beatmg
tune

time,

student

feel

parts

in other

ways/'
for it he

This
to

explanation pleased Jack,

common
m

appealed
been
was

his

sense,

while seemed
to test

what

had He

doing
all the

school
more

had

childish. his

anxious

knowledge.

Section In
to

the

next

lesson,
that while

his

uncle hand
an

drew
was even

attention

the

fact

the
"

beating
way,

"down,
sounds and

left, right,
that
went

up

in
it
were

the fast
same

with slow. this

tune

sometimes tried
to

sometimes
agam,

They

the watch the

chantey
the of for
tones

trying
went
very

how motion

of
"

the Jack
a

tune
was

with
much
to

the he

hand. found
' '

interested,
Then interested twice
as

new

fact
' '

observe. He
was

they tried
to
see as

Yankee the
tones

Doodle. of the of the

that the

tune

went

fast

motion

hand,

perfectly

larly. regu-

"What with asked "I the

does musical

this remind

you

of in connection of last lesson ?''

puzzle
answered

spoke

Uncle

Phil. Jack beats

know,''
the
squares.

instantly.
of music
way

"You
the

compared regular
goes must

regular
The the

with the

different
on

music

be

picture

the

squares."

66

HOW

TO

STUDY

MUSIC

''

That's is
more

right/' said
than there
one
one

Uncle

Phil, "sometimes
on

there

object
are a

the
of
way

square, squares

and

sometimes

number
same one

covered
there beat
to
one

by
are

object, in the
more

that
to
a

sometimes sometimes

than
are a

tone

and

there

number

of beats

tone.

"That not?''
went

puzzle
on

example
Uncle

works Phil.

well, does
"You have

it ob-

-JLJLj"JLJL
Strons
I

Rhythm

of

Yankee

Doodle polaea
tone

Weak

f^
11

meaanre

of
a

two

each

of

aaarter

doratioii

J
owvuKj
vTe"

J
"

Rhythm

of America
of
a

Stronal Weak

! Weak
J

f
a*

mearore

three

I^

gggij

,,"

quarter

tone

putoee dupatloil

J J. /
I
1

J
M

RhythntofSawanee
A
measure a

River four

P
served
the and
two

I
I

I
I

of

ptdaes
tone

lleachof
signature.

quarter

duration

Illustration

of meter

very

important lengths, called

things
beats,
of the
goes.

in
or

music; pulses,

regular time
the how free
a

flowing motion
this

ing music, showCan

you

particular piece
it

tell

me can

now

how

irregular free design in music

so

be

represented
had

will

fit the

regular

beats?'' Jack he
never

thought
over

of

this problem, it.

and

puzzled

considerably

"What

would

HOW

TO

LEARN

NOTATION

67

show
were

you

that

the
as

sounds fast
goes

of in
most

'Yankee

Doodle'
to your

going
as

twice

proportion
of the

hand

'America'
in

time?

To
"

put
'

it

the

form
'

of

your
two
'

picture puzzle,
sounds but in each
one

Yankee

Doodle while The

'

needs

time of
in

square,

America

needs

most

the the

time. notes?''

question is,how
idea the
a

is this

shown

Suddenly
He had "Does do that with
we

an

flashed musical
to

into

Jack's

mind.
that he

remembered been the such

way

arithmetic

bore

him,
have and

and

said,
to

it is shown and

anything
the
rest

quarters
have in

eighths

of

it

school?" said his uncle. and

are
' '

"Certainly,"
written
in

"'America' Yankee
two
'

is
' ^

in

quarter
and
as

notes

Doodle

eighths,
of

there
in

eighths
went at

in

quarter,
rate

if the
your

tones

America
those

the

hand,
go

then
as

in

'Yankee

Doodle' This music what

would
was

twice

fast." that
the

the
meant

first time

fractions
He

in

had he

anything
had

to

Jack. the

realized
fusing con-

never

before,

that

entire

lot

of

whole,

half, quarter,
the the
rests

eighth,
are

and

sixteenth
were
*

notes, and
to

that

like them, make their

Cromwell,

merely
first The

help

composers dating
from of the
was

Originally,"Nankee
jolly
time

Doodle,"

the time
Yankee

of

played
Army.
a

by English troops
made

in derision

Continental and
is
now

friends

and

adopted,

national

air.

68

HOW

TO

STUDY

MUSIC

musical music. seemed

to

designs
This
a

fit
a

the flood

regular
of

pulse
of

of

the had

threw

light on

what

meaningless
said his

application

arithmetic

music.

'^Now/^
the beat musicians the

uncle, "can

you
way
"

show
you

how should
one,

tell in
over or

print
and
one,

the

time

over,

whether
or

two,
three

three, four;

two;

one,

two,

?^'
a

Again
him,
and

bit the

of

old

experience
"Does the of the

came

back
on

to

boy
with drew

said,
it?"
a

figure
have

the

staff,at
to

the do

beginning

music,

thing some-

His "Do the

uncle
you
mean

staff

on

piece

of

paper.

these

figures?'' he asked, placing

metrical

signature.
Jack. these
two
p.

"Yes,''
"Tell
me

said

what Phil

figures mean," "Why

from
are

tinued con-

Uncle
for

(see

66).

those for

^Yankee

Doodle'

different

those

^America'?"
But Jack him could
not say.

Finally
the
tunes

his

uncle
to

helped
comes."
The
two-meter

by
and

saying, "Sing pick

face
out

over

yourself,

where

the

down

beat

boy's
three of

brightened,
of

for

he

felt

the

rhythm figure of

"Yankee He
"

Doodle"
saw

against
that Doodle the
"

the
upper

"America." the signature in

Yankee

HOW

TO

LEARN

NOTATION

69

was

two, and
"These
must

in that
are

of

'

'America/'
that

three, and
show
you

he how

said,
the

the

figures
his

tunes

go/' uncle,
wanted I have "does the which is alike "If
I

"What lower This

then,'' asked

figure mean
was a

in both
to
to

tunes?" tell the

puzzler. book,
what

size of this "You "What This said

would it."

do?"

would would seemed

measure

I do
a

if I measured

it?"

foolish tell inches

me

question.
how
many

"Why,"
inches

Jack, "you
and how said

would
many

long
the

wide "are
tunes

it is."
you

"Then," telling
each

his

uncle,
of the
many

giving
you
are

me are

measurements
me

when there the

only
If
way

how
I

beats
say

in
was

tune?
one

should six the

book

eight
know "I

and

other,
was?"

would

you

what
can

the

size of the said

you

book

guess,"
would

Jack.
add
to

"What the size?" "Inches.

the

figures
feet."

to

tell

They
said his

couldn't

be "nor said

eight eight
one

"No,"
in these and
to

uncle,
you
two
me

miles. had would

So three
you

tunes,
one

when

beats have beat He

p.

had
to

beats,
what

what

add

tell

the

length

of

the

is?" noticed He
.

the

signatures 3.4,
that

and

2.4

(see
"

66)

remembered

"Yankee

Doodle

70

HOW

TO

STUDY

MUSIC

went
guess

twice flashed
mean

as

fast

as

the

hand. "The lower each

happy
number beat of

in his mind. what kind of

a

must

note

the

hand

goes

to." Uncle both Phil. "And

notes.

"Yes,"
tunes

said
were

in

these The

two

they
in
mean

quarter

lower
must

number then

the the

fractions

of the of the
I
me am

signatures going

length
you
you
come

beat.
to you

"Next
you

time have
we

play

to

and what

show been

whether

really

know The

have of he
to

talking
some

about." music

idea

hearing
was answer
a

pleased
he

Jack, though
would be able

Uttle

fearful

whether

his uncle's

questions.

Section It Jack
some was came

but

few

days
to

later

after

school, that
He uncle

again

the

studio. his

expected

questions,
vigorous

but

instead Chorus"

played

the
"

"Soldiers'

from

Gounod's

Faust."

"Would
you

this
to

be the
at

good
baby
idea
were

piece
to

to

play
he

when asked. that

wish Jack

put

sleep?"

laughed
as

the

and

said, "No,
and

sounds
felt

if soldiers

marching,

they
"it
you

jolly and
is soldiers'
you

victorious."

"That is
a

just
could

what from march

it

is,"
a

said

his

uncle,
Do

chorus

great
to

opera.

suppose

it?"

Jack

thought

HOW

TO

LEARN

NOTATION

71

that
can

he tell

could.
me was

''If you the

to

can

march

to

it,

you

all about

measure,

can't

you?''
his

Jack hands

surprised
with the
tune

find he

that

by making
the

go

easily found
"let this like while soldiers

''one,

two,

three,

four." said his What

"Now,"
another Jack

uncle,
does

me

play
like?" of
were

you

piece.
thought

sound
a

it sounded and the

not

lot

people
not

singing marching piece,

movement

together, gayly
like still could
as

they
in the

previous
to

he

help stepping along.

down it did
or

the
no

it

swung

He

found

diflScultyin getting
but of
on

the

accented fit the

came

beat,
pattern
first

was

perplexed previous
foot and
you

when

not

the
one

one,

for
on

the the about when

came,

accent
next.

then tell
me

"Can't uncle.

that?" the the let other."

us

said

his
or

"You

remember of said the

tune

stepping
other
see

pulling part
you

day,
how

always
down tried
must

dovon? follow and

Now each

these Jafck that

came

steps

again,
be

imimediately
part
of

reaUzed

this

three

time, for the downs

after

two

steps

instead

three,
9

as

in the

march.

"This,"
Chorus'^
1

said from

his

uncle,

"is

the
an

'Pilgrims'
opera high school

'Tannhauser,'
Chorus"
is

by
song

The and

"Pilgrims'
may

published

in

most

books

be obtained

for both

the piano player and

phonograph.

72

HOW

TO

STUDY

MUSIC

Richard
of the

Wagner/'
scene
'*

Then
occurs

he when wanted

described the
to
was

little

that

"Pilgrims*
hear his bits of

Chorus both

is sung.

Jack Not the

pieces again.
stirred with he
not

only
he

tion imaginahis uncle the into

pictures that
could
see

suggested, but
music. but It
was

felt that

just

collection and when

of he

sounds,
wished
was.

they
uncle

were

arranged
tell what

to, he
His this The

could

the "How
start

arrangement

continued,
had

long
of

note

does

'Pilgrims' Chorus' boy

never,

with?" such
a

thought
can

thing
how

before, and
"How

said, "How
you

I tell?"

could desk

tell if I should

ask

you

long that
"I

was?"
measure

should

it."
measure

"What "A

would

you

it with?"

rule." would in order

you to

"What
your

need tell
me

to

have

marked

on

rule

just the

size of the

desk?" "Inches." "Would the inches smiled

a

have Jack.

to

be

all alike?"

"Certainly,"
"Then
to

measure

length
spaces

you
on

would
it.

need Didn't

something
you

with

regular
that in the
to

find

something
and I

went

regularly in the
song,

sailors' song,

soldiers'
you

and
p.

in this

piece that

played

to-day (see

66) ?"

HOW

TO

LEARN

NOTATION

73

''Yes/'
sometimes ''Then
tone

said

the

boy,

"the

steps,
the

or

the
tones

ing beatwere

of time, went

regularly, while
sometimes
to

long and
all you the
'

short/'
me
'

have

tell

about is to
say

the how

first it

in

Pilgrims' Chorus
the beat." said

compares

with it is

"Try Oh,
that "How

again," only
music
two
one

Jack,

"and

let

me

see.

beat
next

long."
sound?" beat the Uncle time. Phil

long
the
gave

is the

played
"I
one

while beats

Jack
to

the

second

note, then

to

the
seem

next."
to

"You off the

have

no

diflScultyin measuring
have listen

sounds." said

"No,"
very

Jack,

"but

you

to

hard."

"That's the
use

true," said
of this
sort

his of in

uncle. work.

"That It
so.

is

just
you

makes Of and do much

to

listen this

and would and but and the

you

get keen

doing
to want

course,

help
you

you

also
not

read
to

write of

music, that; music,

music

might
would
more

you

always
you

want

enjoy
in the This
in

the
more

could

hear it.

you

would the

enjoy
music
goes your

practice listening
up you

in
to

teUing
music

how

and muscle
course,

is like for without

way

getting
a

in
can

the

gymnasium
music
same

game.

Of

enjoy

knowing

anything
flowers

about

it, in the

people enjoy

74

HOW

TO

STUDY

MUSIC

and the birds that The

birds

without who flowers know

knowing
the
see

their
names more

names.

But habits of and

people
and is how

and

always
off

of them,

knowing
went

helps
home

you

in music/' with told had music and his his music mother and three

boy
When the he
or

delighted
he he the
measure,

lesson. about how beats the

he famous

got

pieces

heard,
had how

could four
were.

tell whether beats in

a

long

tones

''Now,
Doodle' the time

Mother,'' he
and
I

said, "you
you

sing 'Yankee
to
measure

will

show

how

of the
was

tune."

His

mother and

delighted with
don't of
see

Jack's that

siasm, enthuyou
are were

said, "I
same

but

doing doing
and

the in

kind What did

thing
makes

that
you

you

school. what said

now.

like

this

hate

you

there?"
"I
see,

"Why,"
thing
to
goes

Jack,
You

understand in school
we

how

the

learned exercises

beat,
did
my

'one, two,
not

three, four,' with

like music,
so

that
make

sound
go

that
we

I could

not

hands
But

right when
Phil
'

had

regular
the
'

music. music all you

was

Uncle
you to go

made

music

and first,

made had

one,

two,
find

three, four,
how the
I
my

and

do

was

to You
to

out

music

making
I
ever

you

go.

see,

Mother,
with
to

don't
mind of."

think before

listened
I
never

music what

to-day.

knew

think

HOW

TO

LEARN

NOTATION

75

A that
went

shrill his Jack. think of

whistle chum He with

was

sounded

outside,
for

the

signal
and mother off

waiting
left much
to

him,
for his

had

to

reference reaUzed the facts had

learning
it made

notation.
a were as

Above difference

all, she
how Jack items of for these

that of them

big
sented. pre-

notation in
to to
were causes

had

school be be

trary arbi-

information which
same were

memorized,
understood

the later.

reasons

Now

facts the

approached
which
duced pro-

through

music,
them
were

so

that

obvious,
the

thus

enlisting
and
not

his

reason

in the

mastering
work both

facts,

only

making
but solve also

interesting and
in the

effective,
power to most

developing
own

pupil
which

the is

his

problems,
that

the
can

important
It seemed
over

training
to

the

school
as

give. thought

this

practical mother,
work,
the that

she

her

children's
to

formal work with At the

treatment

education
a

appeared
matter
use

make

pupils'
memory,

mere

of of
reason

mechanical
as

as same

Uttle time of her

possible.
in her
own

she

realized she

how
was

children
not

inclined did
not

to

do

the

same

thing,
rational
was

because

she but

appreciate
because of the

the

approach,
easier and

simply

other

seemingly

quicker

accomplishment.

76

HOW

TO

STUDY

MUSIC

Section
At
was,

4
first question
work?

Jack's "How
you

next

lesson
your

his uncle's
new

did
a

knowledge
try it?"
"I did have
to
a

Did
.

have

chance
Jack. hard the

to

"Fine/'

replied
as

chance.

I first listened

as

I could

the

music,
when I

looking
was me

out I

for

strong
the
measure

beats,
ones.

and

sure,

filled in
to to tune

weak

This The the

gave

something
I did
was

with.
on,
so

next

thing
was

try it

when
my

school

singing

the

again,
listened the

kept

measuring
tune

going steadily
I
am sure

and in

how

the I could
tone

went.

that
to

chorus for
every

tell what

kind

of note is

write

sung."
"You the

"That
are

fine," replied
towards music. The of music. time

his

uncle.
two

well

started in

mastering

great
call with
pies. occu-

problems
the the metrical

first, musicians
It has that how
a

aspect

to

do

measuring
The the time

of the

the

music
tune

second

shows of the

given
Some
music. and

fits

in with call

meter.

musicians

this

the
with

rhythm
what
we

of

the
measure,

Meter, rhythm,
that the of
to

then, shows
what I want
two you

is measured.
to

There

is

third

problem This,
with foundation

tell you

about

to-day.
you

have,
The
one

will for

give
hard

the is not

music. observe

to-day
to

only
into

hard

but

very

put

notation;

HOW

TO

LEARN

NOTATION

77

SO

give
His

your

best

attention,
different/'
out

and

tell

me

when

play something
uncle
''

started
one

gayly playing
Then but he much

"

Yankee

Doodle
to

with

hand.

commenced

sing
"Same Uncle

it in

another

key,
Jack.

lower.

thing,'' said
Phil the then

picked
on

up

his violin
E

and

fairly

made Jack and

tune

spin
at

the

string.
in the

laughed said,
you

the

jolly change
'Yankee

tune,

"It

is

always uncle,
down "I

Doodle'

wherever

play it."
his
way
sang

"But,"
and
up

said
tones

it with it
so

slow

big
on

low

; I

played
not way

higher
loud
;

the I

piano, played
Still Doesn't

and it
you
on

faster, and
the call it make
or

and
very

then

violin them
any

up

and

fast.

all

'Yankee difference

Doodle.'

whether
fast
or

the slow?"

tone

is low

high,

loud

or

soft,

Jack "I

thought
will

it did. the
same

play

tune

again,

and

duce intro-

the He

same

changes,

but

this time the

differently."
of individual he

then

played, changing
tune.

pitch
it he
tones

tones

in the

Playing
third

again

changed
the and
tune

the
time

accents;

the

time
some so

changed
faster

lengths, making
slower. All

others that

these

altered

the

the

boy
you

laughed.
tell
me

"Can

why

differences

in

low

or

78

HOW

TO

STUDY

MUSIC

high, loud particular

or

soft, fast

or

slow, did
the
tune

not

make the

any

difference and

in

in

first

example,
Jack
same

spoiled it in the
it
over.

second?"
was

thought changes
the

Why

it that

the

when
tune

introduced
made
so

uniformly
ence, little differ-

through

whole

while of the
a

only
made

little introduced such

to
me a

with
of

part

tune

lot

difference?

^'It's his of

hard

answer

put
you

into
a

words,'' said
different kind

uncle.

''Let

give

example.''
He

then and in

took then

up
a

piece

of

paper,

drew

square

circle, and
sizes. ''Do

then the

he sizes
to

repeated
of these do with

them circles the

different
squares

and

have
of

anything
the
are

general "No,"

appearance

design?"
circles and the

said
are

Jack,
all

"one

set

other

set

squares."
be different
or

"Would different
on

they
colored

if I should mark

use

any

ink,
make

if I should
out

them One other

the

sand,
would would what

or

them be

of stone? the

series series Then and makes Jack

always always

circles, and
squares,

be

wouldn't the the circle

they? design,
which
' "

is it that
square

makes

the
you

design, and
'

design
Doodle

always recognize perplexed.

in words what

Yankee It
was

looked
to

seemed
so

sible imposobvious

say

in

facts.

HOW

TO

LEARN

NOTATION

79

His make drew if I

uncle
a

asked,

'^

Suppose
make

startied

out

to

small line

circle, but
out to square

before
a

completing

it

the treated short

large circle, or
one

the and

similarly, making
much and all

side

the

other

longer,
or

would would

they they
^'I Doodle
was

still remain look ?''

circles and

squares, out

different,
said

of

tion propor-

see,''
'

Jack,
the
same

"what
in the the

made first

^Yankee

sound
you

examples,
the
same,

because the

kept
and

proportion proportion
circle and

like

squares you out

one

circles,while
the
a

in the when

second
you

example
started
to
a

changed
to

make in the

small

changed
in

large
is instead

middle.''
; "the

"Good,"
music
but

said his uncle

also of about the the

third

problem
of of time

proportion
proportion
know
to
to

music;
and the
are one

being
that

length
those
tone

of tone
we

you
now

already
it

about, study
us

proportions
of from in
we

are

going
seems

the the

distance other. In order

a

as

of

Musicians
to find

call such

it difference distances

pitch.
need know
we

out

shall
to
as

standard how the of

to

measure

with. in

We
are

want

proportions
time.
re,

pitch
you

used

do

those the
to

Have could

ever

thought
have

whether

do,

mi's

possibly
You

anything having

do

with

proportions?
means

know,

proportion

that

its parts

80

HOW

TO

STUDY

MUSIC

are

related the
was

to

each

other.

What

is

it

that

related

do,
a

re, mi^sf'^

This
was a

new

idea.

Perhaps
how far had

after the

all there
went

way

to

measure as

tones

up

and

down,
of tones.
us

beating

measured

the

length
''Let
can

sing
one

'Yankee

Doodle'
tone

and from

see

if

we

find others

important
their the

which distances.

all
'^

the

take

proportionate
tune

Jack while

hummed his uncle

through,
the

reflectively,
harmonic

strengthened
the chords the in this first tone?"

feeUng
"Does

by giving
it be it
come

softly.
asked else? Jack. You
can

"Might

anywhere
tone to

keep

humming
while
I

yourself, through
at

very

lightly, piano."
"You
were

play

the

tune

the

kept hitting it

over

and then

over

while ended

you
on

playing
"That then the Is the

the

tune,

and

you

it."
must

be

the

tone

from uncle.

which

we

measure
"

others," repUed always

the

his

first tone

measuring
other

tone

"

asked

Jack.
tunes
commence
on

"Sometimes but

tones,
the
way you

they

cannot
tone

go

far

without in without and the

making
same

measuring
that
soon
a

important,
go
or
on

tune

cannot

making making

feel

the

pulse

beat,

you

HOW

TO

LEARN

NOTATION

81

march observe

and

puU
How

with in

its order

swing.
to
on

You tell this how

had

to

carefully
went.

this

pulse

did you

carry

tion?'' observa-

''I noticed when "In the the

how

the
or

tune

made
tones
to

me

feel inside came.'' how

you

puUing
same

marching
you

way

have the

watch

feel in order
tone

to discover tune.

important
call

measuring
note

of

the
or

Musicians of the

this

the

key-note,
He tell Then then what his

tonic,

piece."
and
or
a

tried the uncle the

"America," important
hummed tried but

Jack home

could
tone

easily
was.

little
to

of

"Suwanee first tone it did

tune
a

River,"
as

and

boy
one,

Jtioldthe

the

important right.
he
was

somehow
to

not

work times "You

to you,
or

After
sure

listening
it
was

the

few

the

third "it
you

note.

see,"
do

said watch

his for

uncle,
what
an

isn't

so

hard of

tell if you and

a

feel inside like

a

not

look
me

for

object
other

stick

stone.

Let his

try

some

tunes."

Jack the

in

eagerness
so

was

constantly
Phil
are

getting
and for is

wrong

tones,

Uncle
we

stopped looking
that

explained
not

again, sound,
and will

"What but is

in the

something
try
to

happens
it

inside

of you,
you

if you

find

it before

happens,
because
will be

just

as

likely not
fixed
was on

let it happen,

your

attention, way."
It

something
hard

else,

in the

very

for Jack,

82

HOW

TO

STUDY

MUSIC

when
answer,

he

heard but

new

tune,
to

not

to

jump
Usten

at

an

instead,
the

wait of

and the

until
He

he

recognized
no

key-note
made his

piece.
he

found

diflScultyin discovering
before he his
to

it,if
up. not

waited
''After have
to

patiently
a

mind will

while,'' said
so

uncle, "you

wait
very

long
have

know,
the the

but

now

you

must

be

patient.
found

''We
start
on

key
tones

tone.

Now
up,

let's

it and when Phil

sing
it

right again."
tones

in

order, they
Jack

and

see

comes

in the

This while

did.

Uncle

singing
sounds

counted. "The

eighth
he said.

tone

exactly teacher,
tones you

like the

first

one,"

"That's
commence

right,"
with another
you

said

his

"and
go

if

we

these

eight
tones

and will

right
ing noththat it is after series
tones

up

with that

eight
not

hear

have

heard Or In
we

before, except
if
we

it will the
every
over

sound

higher. only
Then
to

go

down, words,
the

same,

lower.

other

seventh

tone,

commence

again.
have

how learn?" Jack. have is to have

"I

many

different

will you

"Seven,"
"So
how and that such
one

said

all you
go you

to

do

in

order
seven

to

tell

tunes

learn

these

tones,
now."
to
a

of them
said

almost think

learned

"Well,"

Jack,

if I listened

HOW

TO

LEARN

NOTATION

83

tune

carefully enough,
but I
never

could

find

out

the

note, key-

could find the

tell the

others."
you

''If you well for It

can

key-note
the other of
to

can't
tones

very are,

help finding what

that is

six

only

matter

thinking
this
tones.

it out.
you

is, however,
some

diflScult of
us

do the in

unless

have and
are

way

naming
to

Names what
we

words

help

keep

mind used

thinking
of
'^

about.
tones

People
;
some

have have

various them

ways

naming
broke

called

by numbers. "Yes,"
on

in

Jack,
of
use

''Nell

writes

numbers

the

staff and
tones

instead others that

notes." letters. four For

"Yes,
the four
are

instance,
on so

the the

strings give
a, e,

my

violin the
hard used

called
are

by

letters, g, d,

that it is have

strings
to

called

by

these

names.

As

sing

letters

and
set to

numbers,
of
names

teachers

still another
are name

that,
us

because
connect

they
the
"I

convenient and the

sing, help

to

sound."

never

thought
said

do,
"how

re,

mi,
can

was

naming
name

anything,"
soimds?" "You that of

Jack;

you

just

can't

very want

well,"
to

said

his

uncle. the other

"All

teachers
tones

do

is to
"

name

relations

the

to not
tone

each stand that

other,
for
sets any

in

words,
the

'do' but

does for the

particular pitch,
standard for

the

84'

HOW

TO

STUDY

MUSIC

others,
tone.

"

or,
am

as

we

called
to

it
up

before, the
a

home

going
six

take with

similar in
a

naming
relative of the for any

of the These
names, tones

other
names

tones
are

you

little while.

sometimes show and the

called connection
not

because

they

with

each

other,
tell you

do

stand

particular pitch.
"I want very to now,

how
names

long
came an

ago to

and be

how
used.
to

interestingly
very

those

clever
notes

teacher

taught
use

old

pope

sing

from nine

by

the
years

of

these At

names,

almost

hundred

ago.

that

time

they
Each the this

used Une

to

sing
of old him

hymn

to

St. John
on

in Latin.
tone

of the

hymn
the teacher the

began

the line. the when off

above
way
was,

first tone shrewd teach

preceding taught
tune,
he and left

The
pope

to first,
was

the all of

time

thoroughly
except
the

learned,
first
was

each the

Une
first

syllable.
the
re,

For

instance,
Une Une

syllable
with

uty

second the third

menced com-

the mV^

syllable hymn,
the

with

the

syllable
Unes

The

of this
on

written

in the
tones

eighth
of the first of

century,
scale. In

start

successive

the

early

eleventh the
1600

century

the
name

syllable
a

of each scale.

line became About and

to

singing
"si''
most
was

six-tone

added

for the "ut"

seventh
was

tone

later, in

countries,

changed

"do.''

HOW

TO

LEARN

NOTATION

85

ut
re

"

quaent
sonare ra

laxis fibris

fa sol la Johannes

"

muli
ve

tuoriim

"

"

polluti

mi

"

gestomm
Sancte

"

bii reatum

"Oh! from that

to

holy John!
the

cleanse

guilt of polluted lip ;

servants
may

thy

be relaxed

able

sound

again with
the marvels

chords

of

thy deeds

!''

"That's
"

almost said
ut

do,
the
do

re,

miy^' said

Jack. teachers

Exactly/'
the of

uncle;
the started farther old

"later

changed
Guido

to
'

and

teacher, named
this
do,
,

Arezzo,
went
names.

that
any

" iSorl

system,
la with
was

never

than
one

Bi

his

Afterwards

la

added and
you

called have
do

ti,some
do,
re,

calling it
mi, fa, sol,

^i

Sly

^^

4 8

la, ti, do, with

coming
tune? said
xi

in

again.
"

Why
teacher
"I
ti-Tk

do

you

suppose

that
''

old
2

taught
don't

the

^^

know,"
after
i*j.

Jack.
tune
"L

Diagram
scale, was
called the

of the

sometimes
tone

Because

the

thoroughly
the

learned,

the

order

of
no

^*^^"^*

syllables,although
remembered.

they made
There

sense,

could
no use

easily be
in how

would
one

be

learning the they follow

syllables unless
each other."

knew

exactly

86

fiOW

TO

STUDY

MUSIC

'^

That's
on

so/' said
do,
the
re,

Jack.

''I do

get

so

mixed

up

the

mi^s.'^
us

"Then

thing for
out,
isn't

to

do

is to

get them

straightened
"so of
we can use

it," said remembering

all their

Uncle the
use

Phil,
order is to that

them For

for after and

the

tones

only
a name

help the
will show

memory

to

supply
sounds

the

relation
were

of the
an

to

the

note. key-

If you

doing

arithmetic

example
until

and be
you

you
no

could
use

not

multiply correctly, there would

to

in

trying
the have

do

your

example
do

had ?

learned You

multiplication table, would trying

the relation
to
an

there of the order

to

been

example
the
was

musical of the
you

scale, without
names
"

really knowing
very

thing that
tones

help
"I

tell the

of the

to

the

key-note. think," continued trying

we

Uncle
many

Phil, "you

have
once.

been What

to

do
to

too

things
go

at

need the

do

is to from

slower.

Let and

us

separate

names
we

the

sounds,
their the

see

first whether and

on see

can

always know
go

positions
is will the of

where different if
we

they should places

can
on

when staff.

key-note
we

the

Then

connect
measure

these the
In

names

with distances

tones

and
tones

thus
in
our

exact

the
as we

tunes.

other

words,
and
in

just
arith-

know

something
before
we

about work

adding
examples

tracting, sub-

HOW

TO

LEARN

NOTATION

87

metic,
scale

so

we

must
we

know

certain
to

facts
our

about

the

before of
to

really try reading.

the
do.
are

solve You

musical learned and

me

problems already
know the the

note

have

recognize

key-note,
Can
you

you

first name,

tell have

what learned

important

things

that

you

to-day?''
Jack and that the what

remembered
square,

the

illustration '^We

of the have

circle

and
a

said,
tune

learned tween bethe

makes

is the

proportion
distance distances of

its tones,
tones

shown other.

by

the

from

each

Certain the

make
or

certain

tunes, and

playing
no

tune
as

loud

soft,
as

high
'^

or

low,

makes
are

difference the same/' his

long

the

proportions plan
of the

kept
is

Remember,
tune

too,'' said

uncle,

'Hhat from This

sung

the
one

always
the and is

reckoned

important

tone, called
'

key-note. generally
an

note keydo."

is called

one,' Jack,
for of

''Yes,"
made
tone

said

''because
a

old
went

teacher
up song,
one so

his of the

pupil sing
scale

tune

that line of

the

each the of the

the

that

singing
the mi
now

tune

helped
So the how

him
we

to

remember

order
to

tones.

sing
tones

dOy

re,

remember

go." "Capital," going order,

to

said
out

his how

uncle;

"next
you

time know

am

find

accurately
of the

the

not

of the

tones, but

names."

88

HOW

TO

STUDY

MUSIC

Jack
of

went to

oflf
measure

feeling
tones

that
up
or

he and

had down

some

idea

how

by
that the

first he

listening might
that he

for

the

key-note,
tell it in

do, and
most

by

practice

of

tunes

knew. Section
5

At

the

next

lesson for first

Uncle his

Phil

had

small

blackboard
'^

ready
is
on

pupil.
where would
re

If do asked.

the

Hne,

be?

''

he

Jack

almost
to

put
think After

it that

on

the
spaces

next
as

line, then
well
as

happened
were

Knes

used.
with
do

placing
the how With and the first

the

eight
Uncle

successive Phil said

comes
:

tones

on see

Hne,

"Now in
comes

let

us

this order
do
on

of notes first

relation
on

to

do.

the
on

line, mi line,
the

the
upper
same

second,
do
on

sol second would

the
space

third above
true
was on
on

and sol.

the The

thing
other and
mi

be if do
come

with
the

reference second Knes the the mi do sol second other and would
came

to

the
"

lines sol would

upper

line,
above
space

ing followcome on. a on

it, and
above if
we

do

would
came
on

the should
on

line sol

On

hand,
sol would be
on. on

put
spaces

do

space,

come

above,
the
way

while
space

the Think

second well

hne about

above the the

that do

miy soly and

upper

do

change

when

lower

HOW

TO

LEARN

NOTATION

89

changes, question.
''But talked
names,
names

and

see

whether

you

can

answer

this

first

I
at

want

to

review lesson.
as

something
Are
are same

we

about
the of

the
re,

last

the

sound the

do,

mi^s,
sounds of

they
the

called,
way

definite
name

in
one

that and

Charles Tom
to

is the
name

of your
;
or are

friends

is the show the the

same

of another

they
each

names

relationship
way

of tones the
you

to

other,
in that definite of that

in

that makes three

third look

post
at
name a

fence

out

there

post ?

The

niunber

isn't the

post, is it?'*
Jack

puzzled
he did

quite
not

while the

on

this

question,
of the
re,

because
relative
mi
were

grasp

significance
that

names.

He
names

had of

thought

do,

the be

particular sounds,
the
same, very

which his
as

should imcle's

always
the

just
it

and much

from

inquiries,
were

looked of

if

they
but

not

names

particular sounds,
the distance for but
re

that
were

they
from
mean

showed each
any
was

only
other. certain

that

they
could the This

Re,
tone,
of for

instance, merely
from do. had

not tone
was

that
an

the

distance

interesting idea,
all he the
was

the the of

boy

been

trying
relative
spaces

fall
m

to

learn habit

sounds.

Unfortunately
the and

the

memorizing
the in
a

names

in

connection

with
come

lines

upon

which

they

given

90

HOW

TO

STUDY

MUSIC

key,

so

that

when He had stood and

the

key

was

changed
that

he if

was

confused. relative
to must
names

not

thought
for fixed the
went
one

the

for the
not

relationship
a on

of tones

each

other

pitch
staff.
on,

they
"that

also

change
is that

relatively
Uncle like do different make

"How the like

tone

it, then,''
sounds

Phil in

piece
in
a

sounds

another You

entirely sing
or

tone tones

different the

piece ?
same.'' The

the

exactly
the

fact seemed

was

obvious

to

Jack, but
The
mere

tion explanaof

impossible. given
to in

changing
For
on a

the made if he

numbers
no

certain the in

things ordinarily
instance,

difference
seven

things.
a row

had
count
or

apples
them
one,

table,

he

might end,
any
seven were

two,
with

three

from

either

start

anywhere
in
a

one,

without
But

making
here
were names

difference
tones

the
row,

apples.
and the Yet

in
as

do,
if he

re,

mi

used
tone

numbers.

started

from He

any

but this

do, nothing

sounded his uncle.

right. Reaching
in

suggested
"Let's
a

difficulty to
Uncle he
to

try it," said

on

Phil.

to

dish

the told
so,

table,
him and

put
arrange

eight apples
them with of his
are

before
a row.

Jack Jack

and did

went

through
confident "if
we

his

iUus-

tration, feeling quite

"You

reasoning.
these

see," said

Jack,

caUing
any

apples by number,

it does

not

make

differ-

HOW

TO

LEARN

NOTATION

91

ence

where

begin;
seems

but
to

with

the

tones

thing some-

different

happen/'
have before that
you
a

''Yes/'
very

said

his

uncle, ''you
You
squares

peculiar
of

fact.

remember and made

to

in and

the of
was

examples
'Yankee the
we we

the

circles,
these other.
do

Doodle,'
the from what If
way

what

designs
in

way

parts
do
you

fitted
up

each the
a

When

sing
have

right

to

next
row

order,
or a

might
re,

call
names

of tones,
are

scale.

the of

do,

mi

merely
and
tones re,

other an-

numbering
the second

the and
not to

tones,
third be

mi

merely
where than number

mean

in

the

series,then
you

there
commence

ought
to

any one,

difference
any
more

number
you

there
one

would with

be the

where

commenced But with it makes the

to
a

apples.
we

big
them much

difference with
so as

where them
we

begin
not

tones,

because

are

merely numbering
but
we are

to
"

give
we

their
are

order, telling

doing
tances dis-

more,

their

exact

from

each

other.

If I should between

place these

apples
and

with

varying
third
were

spaces

them,
the

for

instance,

if the

and

fourth, and
nearer

seventh than the

eighth apples
and
we

together
to

others,
these

always
that the than

wished distances between

any

indicate

by
these

numbers
were we

between the

apples
then the if
row

smaller commenced
one,
we

others, apple
in

on

other have
to

than

should

rearrange

92

HOW

TO

STUDY

MUSIC

the

apples
the "Do
you

to

make

the

short

distances

come

tween be-

right numbers/' mean/'

the said and certain

Jack, "that
fourth
notes

mi

and from

fa

are

not

just

third
are

do,
do,

but and

that from

they
each

distances

from

other said
we

(see p. 85)?''
Phil.
on

"Exactly,"
"And when
same
"

Uncle
start

do, do
up

we

always sing
down the

these
scale ?

distances

in

going

and

"Certainly, if
This wondered
was a

we

sing the
surprise
did did such
not

scale
to

correctly."
Jack,
and he

great
if he

why,
do

hard know

things while
it. "If
you

singing the
"But
you

scale, he
know

it," said his uncle.

out set

sing the
as

slightest bit
teeth
some
were

of
on

the

way,

feel if I
you

if

your

edge;
the do
a

and

should would the of

sing
think

entirely different
I
was

tone,
order
not

that

changing though
are

of

scale. distances
if any
tune

So

you

see, you

you

think

when of the

hearing
between

beautiful the
tones

tune,
of
you not

distances
not

the would

were

exactly
Most
as

proportionate, people would distance;

the
wrong

know of

it at

once.

think would and

it, however,
say

wrong

they
sound

merely
call it
or a

that

it
In

was

discord.
names,
mean

other

words,
are

the
as

do,

re,

mi,

sound
to

while

they

used

equivalent

numbers,

nqt only the

first,

HOW

TO

LEARN

NOTATION

9S

second,
distance distance distance
to
so use

or

third,
for
the

in

series, but
another another

particular particular particular prefer

each

first, and

for for
the

the the
re,

second,
third.
mi
names

and

Many

teachers

do,
the

instead
connect

of numbers, with

that
a

student due

shall
to

tone

quality

its

peculiar

distance

from

do." Section

"There
you
not

is

one

more

thing
A

that

I want of

to

tell is the

about like and

a

music, to-day. picture

look train that
you
at

piece

music
upon

can

hang
but
a

wall
a
can

at, all of it

once,

it is like
You
at
a

freight
get

passing

the of
can

end

of
a

street.

an

impression
reason

only

few

cars

time. from

The

you

tell 'Yankee the

Doodle'
or

'America' the

is
cars,

that
go

tones,
in
one

in order order

our

illustration 'Yankee

by
in

you

in

Doodle,'
so

and music
is
a

another is

in

'America,'
that
reason

that It
so

always
and

something
that is
as one

is

going. why

motion,
to

it is
a

hard

notice
are

it ; for

in
see

the what the

not

case

of
the

train, when
are on

you

watching
you

to

marks that
to
come

the

first car, after. but

miss did
to

ones care

following anything,
go

If you wanted

notice them

just
you
or

enjoy
have

seeing
to

flying by,
the

wouldn't the order.

bother

about

number

94

HOW

TO

STUDY

MUSIC

You

would
is all in
to to
we

just enjoy
do
in music

seeing
when when

them
we

pass;

and

that

take

pleasure
music

only
so as

the

motion. how

But
to

we

study
write

know observe whether

read how

it and the
tones
or

it, we
one

have

just
train

follow
far

another,
In
cars

close

together
it would

apart.
kind of

watching
that '^What
went

the

be

the

by.'^
use

is the
can

of

studying
is

it,"

said

Jack,

'^if

we

enjoy
your

it without

that?"

"Because

enjoyment replied
of his how

greatly
"In

affected ing learnare

by
in
up

such the

study,"
structure to

uncle.

music,

long the
how

tones

relation and down

very

each
from

other, and
the but and

far
you

they
not

go

first note, also

you

only
it

listen Practice

hard, listening
us

remember. makes
more,

in for
more

remembering
and remember and remember about

possible
and
we

to
we

listen

the

listen So for
us

the the

more

get

out

of music.

learning
to

tones
more.

makes "We

it

possible
talked

enjoy

music and

have

about

proportions
we

tances distell

of them
at to

tones,

and in

why

use
we

names

to

apart,

and,

fact, why
you
go go to

study
I
to want

music
you
some

all. tell
me

Now,
how

before
you
we

home,
work

will have
"I

get

benefitfrom

what

been have down

studying to-day."
got
of
to

"Well,"
to
measure

said the

Jack,
up

learn

how The

and

tones.

HOW

TO

LEARN

NOTATION

95

place
SO

we

measure

from first
tones

is do,
for
a

or me

the
to

key-note,
do when find
one

I suppose
to

the

thing
of

I
out

wish which which

tell the
tone
m

tune
"

is to the

the
rest you. you

tune
are

is do measured." for
to

from

all the for

are

^'Good
how Doodle'
tunes ;
so

Now

the

practical
In
^

tion, ques-

going

tell do? is the

Yankee of the it is the

of

and in
'

'America,'
The

do

first tone
Banner
'

Star-Spangled
can't tell

third,
tone." the

you

by
he

the

position
"Music

the

Then of

continuing, motion,
the
a

said,
the

gives
of the motion when

feeling
and How

like music

passing
the feel
were

train,
stops.
you
on,
are or

when does

stops
make
you

tune

through
as

with had

it,
"

as

if you

going

if you

stopped?" "stopped,
been
you you

"Oh," "Then, skips,

most

said

Jack,
had do

of

course." all sorts be of

the

if you
tone

singing
think

what

would

likely to
not want

make
to

feel

satisfied,as
more

if you

did
some

measure

any

distances,
to,
or

tone

that
tone
one

you

had
we

skipped
have

the

measuring about, tonic, "Do,

the
to

that that
we

already
the

talked
or

is called

key-note,

which of

sing

do?" Jack. need

to

course,"
Then

answered all you and

"Exactly.
your tujie

do

is to the

sing

through,

if it gives you
you
can

feeling
sure

of

stopping

completely

be

pretty

96

HOW

TO

STUDY

MUSIC

that

it is do
come

you

stopped
in the
you

on.

Partial
do

stopping
also
comes

places
in

often

tunes, and
not

places where
your

do

stop.
in
your

But

if you
memory,

get

last tone
you
soon are

and

keep it
the do this

while

thinking
that

tune, tone,
whole
tone

you

will short and

to

pretty tune,
that
away
to

find
to

in

seems

pervade
one,

the the

tune,
seems comes

in

lengthy
this
so

go

from it

do

tone, but
you
are

always
that

back
tune

again,

that
you

feel

the

has
over see

stopped.
all the
if you

When that

by
can

yourself, try
remember,
and

tunes
can

you

pick
had

out

the

doJ^ his mother with had his been asked Jack he

That what he

evening,

when

been

doing

music,
said

described reference
'^

quite fully all that

to

with

measuring
is music

tones.

First, there
to ;

that watch the

one

can

dance
the
of
to

and

march

you

have
you

to

for
rest

accented
the beats
out

beat, for it tells

go.

how

The the
You

second
time

important
is divided
to up

thing is
in the

find

how hear.
tones

music

you your

have the hard of he let

do

this

by measuring
beats. have each
you to

with
a

regular time
one, tones

The
measure

third
the

thing is
distances

for you from wish

can

other. would do." John

Now,

Mother,"
tune

said, "I
me see

sing
Brown's

and

if I

find
'^

She

commenced

to

hum

softly,

HOW

TO

LEARN

NOTATION

97

Body/'

or

''The The
was

Battle first
so

Hymn

of that

the the

Re-

public.'*
nmg tone

boy
do,

thought gently
went

beginit to

he

hummed the

himself,
It
not
was seem

while

his mother
to

through

tune.

very to

hard match ended

keep

this

first tone, for it did

to

in well, and
on
a

his
tone.

surprise "Sing
before

the that the

mother

different
once

last part chorus

comes

of the

tune

more,

just
him

in." the

The chorus

repeated
gave
or

do^s of the his

cue.

last phrase He until asked he

before
her
to
sure

repeat
he had

it two found from

in and

three

times

felt

do. the
was

"Now,
He
to

sing
than Jack

it

through
came

beginning.''
much

found hold

this tone
the
to

easier

first tone able him

to

he work

tried.
out

It greatly
a

pleased music,
the
to

be

such this
"

step in
"

for

it made

feel that work and

subject

hardest show "I

some

in all his school

commenced
reason.

signs

of

rhyme
he for
you

tell you. and

Mother,"
do
tone

said, "it
when
are

makes
not

you

listen

remember,
my

do

keep
tune,
must

repeating
I

while
I
was

singing
for. weak like

the It

forget

the

looking
a

show. Mother,
sounds.
I must

that be the

I have somewhat

memory

for who
over

grandma,
over

keeps
and lot and of

asking
I

same

question
But
so

and
if I

forgets right
tunes
can

away.

I know I you
can

try

get

that

remember

not

have

to

keep asking

to

repeat

it."

98

HOW

TO

STUDY

MUSIC

Jack

went

on

telling his
to

mother

of
out

what the the fun those who

see

advantage
names

it

was

practice finding
"It

of the
memory,

tones

this way. makes

you

improves
more

musical
out

get lots
says
are

of

music;
and
most

for

Uncle

Phil best

that those
I

who
can

listen

remember
out
more

get
we

the don't

of

music.

don't

why
way.

get
the

practice in school
you

this

Lots

of

facts
you

get in
learn

arithmetic,
any

history, and
But

grammar, to

could

time.
you

learning

listen
you

and

remember

what

hear, is something
straight along.
out up

need like

practice in right reading something

muscle
to

It isn't

of

book, but

it is like

getting it, the

For you

your

with the
you

training, and
sooner

it takes

time
more

train,
tage advan-

and

you've

got

have

right along.
every

you
are

can

use

your

knowledge

time

hearing
there
from to

music."

"Quite something everything

music and

true," said

his

mother,
music,

"and

is

peculiar about
else.

different

The

faculty for
it is most
young.

listening
earlier the

remembering
you
are

tivated easily culyou

when
can

The

do

it

the

better. been work what

Almost

all

great

musicians I
to

have
you up

infant hard
you

prodigies musically.
at your

hope
make

will for

music had

so

as

haven't

in

the

lower

grades."

HOW

TO

LEARN

NOTATION

99

"

Don't
do

you

worry/'
most

said

Jack

^'

I know

more

about
The because but

than

of the with
was

fellows

now/'
not

mother
a

smiled

delight,

) only
with

hard because

subject

proving attractive,
was never

also

confidence

coming

intelligence. She
two

realized, as
first,the
must

before, the study

to

important
:

principles in teaching the

that facts be be

of notation

studied,
in actual
must
as

named,
music. be felt

and In
so
as a

used,
other the

experienced
about

words, their real study is study

a

nature

that when

something
or

definite
to

we

bird,
the

learn

how
we

make
in

sled ;
our

second,
are

that

new

things

learn

study
to

selected these

for

practical
what

purposes,
we

and
must

understand both

reasons,

study

be she

and intelligible the value

as

ing. interestof
a

Finally,

realized
not
as

the

analytic study of music,

for

merely
a

means

mastering notation, but

in

very
our

important

help
for
power

widening

and

deepening
through
we

capacity
our

enjoying
of

music,

increasing

grasping what

hear.

CHAPTER

IV

HOW

CHILD

SHOULD

LEARN

TO

SING

Section Jack his her the

meant. to
see

had

done decided and find

a

so

well
to out

with his

his

music Nell

that
to

mother uncle child

take

sister he

whether
of of what

could music

help reallyPhil She had

to

get
The

notion

thought
her that So when
to

going

to

Uncle Nell.
as

about

music she

deUghted
would shine uncle she
was

felt in

confident school.

she her

her

asked

sing
but the and she

something
could title when
not

him,
of

quite
He Goose Jack

wiUing repeated
songs,
^

think
a

anything.
of Mother ''Little

of he

number mentioned that.''

Homer"

said, ''I know

''All She

right, let's hear

started the fourth of
were

you

sing it. excitedly

her

"

off
tune

little

and breath
no

rushed
every
more

through
third notion words she
^

catching
with the

or

word,

apparently thought
than whose

rendering
in
not
in
a

if
ing mean-

the

foreign
know.
Goose

language,

did

Published EUiot.

Mother

Series.

Rhymes

set

to

music

by

J.

W.

100

HOW

CHILD

StjbULD
Uncle

LEARN

TO

SING

101

"Well,"
about?"

said

Phil^i'^'what is
'

this

song

,-'

''Oh/'

she

answered, just
a

about ''it isfi'^t*;

' ' -

thing. any-

It is

song/' uncle, "my yours?"

to
"

"But,"
tell
a

said

her

songs

alWiiys
'*"
-"

story.

Don't

She about "What "He

commenced Jack Horner. about stuck

"

think.

"This

song

is

"

""

him?" in his

thumb

and

pulled
he
was

out

plum.
her.

"Where He

was

he
see

when that
over

he

did

this?" Uttle

asked
peating re-

could

the in

girl
to

the
connections.

words

order

get

the

"Now,"
you say

suggested
the words Mother her and
to

the

teacher,
Jack

"suppose
Horner' book
to
was

of

'Little

me."

The before

Goose

picture
the little

placed
of the the the
a

help recall
a

incidents
ing say-

words,
words

after

practice in
she

without of
"

the

tune,

declaimed in

whole

situation and said

as

Little

Jack

Horner,"
voice.
you

charming "Now,"

effectively modulated
her

uncle, "why
it ? Tell he
"

don't

sing
you

the
are

song

you

talk

first whom

singing about, where

what

was,

what

he

was

doing, and
It
was

happened.
to
see

surprising
was

what
tune
as

an

intelligent
soon
as

phrasing

given

to

the

the

102

HOW

TO

STUPJ

MUSIC

song

was

thoughtV-xif
the

as

story

being
rather words

told,
than
as

through
as a a

topes

of

the

melody,
with

melodiH*'performance
hindrance.
you
a

the

noiiresgential

,^%et'- me taught '.'boy," ,.";".

" '

sing
to smg

song I

that
was

my
a

teacher small
a

me

when Phil.
song,

very

said the

Uncle

He

sang

with

Ught
"

"

"

voice The

lovely folk

''Sleep,Baby,
of the
pure

Sleep.
and

velvety
vowel their mental ''Please

softness

tained sus-

tones,

and

the
on

fine

articulation,
she
claimed, ex-

had

effect

Nell, and

sing it again !''

want
me

"Why
can

do

you

to

sing it again?
the fine little

tell you
was
''

the

story,
with
so

about
many

baby
to

that

born

things
hear

enjoy.

"Oh,''
story,
seems

said know
as

she, "I
that. if I could think

don't But when

see

care

to
you

the

sing it, it baby.

"

almost
you

the is
a

little

"Then

there

difference

tween be-

singing and
"Of

talking?"
said

course,"

she, "singing uncle, "I'll

"

isn't

ing, talk-

singing is fun." "Well,"

you

said

her

repeat

it and

tell

me

why
the had

it is fun.

Again
rendering
of

lovely melody
their effect.

and The

its

adequate
eyes

bright
her is

the

little

girl listener question

showed
came,

attention,

but

when

the

"Why

sing-

HOW

CHILD

SHOULD

LEARN

TO

SING

103

ing
was,

dififerent '^It's
more

from fun." it
me once

talking?''

the

only
said

reply
her it is

''I'll uncle.
more

sing
''Tell
"

more

to
you

you,"

whether

still think

fun. The

tune

was

now

talked in
a

off

somewhat show. like

a

as

one

hears

songs

given said,

variety
sounds when

Nell ing talksang

laughed
it first."

and

"That
as

machine,
the

it isn't

nice

as

you

"Then,
and

difference said Uncle in

a

isn't Phil.
way

between "It that is

talking
is not

singing,"
but liked other. nodded

just

singing,
for
you

singing
one
"

enjoyable,
did
not

kind

of

singing

and

like the Nell A

to
was
new

with

vigor.
about

distinction She had

as

singing
thought

was

coming singing talking,

fine she
a

her.

always
much
as

that
was

singing, evidently only

of do

talking
be

but
not

singing
that

to

really
as

must^
had
vague

all but

talking does,
more,

just learned, feeUng dawning

"

something
this little

and

what
on

something
mind.

might
"Do
you sang

be
you

was member, re-

the her
to
me

said
'

uncle, "how
a

'Little ? And Which

Jack how of

Horner
you
sang ways way

few the think

minutes
first
was

ago

it to do would
you

me

time? the
to

these

better,
some-

or

which

you

prefer

hear

104

HOW

TO

STUDY

MUSIC

body
and

sing it
sang

to

you?

You

said

all the times."

words,

the

tune

correctly both
was

**The

last way did Was what

was
was

much do
to

better/' she said.

make the
you

'^What better?
about There that her
over.

you

last

way

it
you
an were

just

because

thought
showed and it
an

singing?"
uncertain nod that

she uncle

seeking for something

more,

waited face

patiently
suddenly
should had
now
no

for

her

to

think with

Her She that

brightened
how her
a

idea. said and

tone

remembered

teacher
sweet
a

had

they
she she the
must

sing with
notion that of been the

tone,
sweet

though
was,

of what

felt
two

only difference
'^

between Homer"

ways

singing
This

Little in

Jack
nection confidence, con-

have the

something
could
the and and

with and
tone sang,

tone.

brought
not

although
felt

she that

describe
time she

quality, she
the
tune
was

last

sweet
coarse

beautiful, while rough.

"the
reason over was

the

first time

it said
me

was

"Now,"
you

her
to
not

uncle,
remember the
you
way

why
not

wanted
you

sing the

song

because because liked the

did

the
I
sang

story,
it.
you

but You said

you

enjoyed
tune,
I
sang

and

remember
way, you

that, when
understood

it that the
you

not

only
the

all

about made

little
see

baby,
the

but

singing

actually

beautiful

HOW

CHILD

SHOULD

LEARN

TO

SING

105

baby
the and and
me

in

its

fine instead

home. of

That

is them.

just why
It
to
seem

we

sing things
story
at

talking
us

makes

beautiful,
same

makes it

like

hear

it,
true

the We

time
call

makes

it

real. other

such
you

singing
think
to the

beautiful.

Tell Is there

things
on

that

call beautiful.
you

anything
The
are

this table

is beautiful?''
*'

little hand
''

pointed

roses,

"

Those

beautiful.

'^Anything
The
eyes

else?'' wandered
on
a

about

the

room vase on

and the

finally rested mantelpiece. ''Why

don't '"No." "It "and would
to to

Royal
is call scuttle could

Worcester

''That
you

beautiful,"
these

she

said. You

do

beautiful?

call that Yet

a

coal she

beautiful, do you?"
not state
"

why.
said
you

is
I

pretty

hard
you.

question,
How

her

uncle,
it love love
you

will do
at
at to

help
say

do

think
we

that

things
and that
at

which ?
vase,

look look
care

are

probably
roses,

beautiful

You but

the about

don't
or

looking
or

the

coal You

scuttle,
love
at

the look

door
at

mat,
the
at

the

sidewalk.
on

to

blossoms
a

the

trees, and
that

the

stars, and
for you
"

friend

out
"

there

is waiting

the nod
was

big dog.
of
no

A Phil

vigorous
that

the

head
of

satisfied the

Uncle

there

doubt of

acceptance

of this

practical definition

beauty.

106

HOW

TO

STUDY

MUSIC

''Let
reason

us

now

return

to

our

little tunes.
to

The

that
was as

you

wanted because

me

sing

the

lullaby hearing
roses.

again
the But

just
you

you

enjoyed
at

song

enjoy
the
song

looking
with it words
you

the

when kind

I sang

the
was

rough

ing talk-

of the

voice, though
tune

correctly
were

done,
same,
run

and
you

and

the and
on

all the have

way.
roses

only laughed,
if I had
any

would that the

away

kept
use

singing
in

Would

there
on

be the know
use

having
were

standing
You there ''Of would be

table

if

they
them

all wilted? but the would table?''

they
in

were

roses,
on

any

having

course

not," she
unless the

replied.
roses are
are

"Then,
are

beautiful, they they?

would would And
not

not

worth it
were

having,
not
on

that be It

vase,

if

beautiful,
mantel,
in
or

worth

keeping
do
to

the
water

it?

might

put
we

something
it in the

of that

sort, but
The
reason

then
I

should it there the

same

put

pantry.

keep just
to

is because with
we

tiful. it is beauIf
we

It wanted
song
a

is

songs.

just
great
or

say

things, better,
vase.

could the
song

talk

the

deal the

but

is Uke

the

roses,
we

Because and When

to me,
we

ful it is beautidon't
I
care

enjoy
'Little

hearing it,
beautiful. Jack Horner'

for
to

it if it is not

asked did

you

sing
it

you

sing

beautifully at first,or

not?"

HOW

CHILD

SHOULD

LEARN

TO

SING

107

''I

did

not

sing

it

beautifully/'
then of in

said

Nell,

rather ''Was A Nell

if it

sheepishly.
there
any
use

singing
head of

it?"

thoughtful
was was

shake the

the

showed the

that
song,

reaUzing
not

uselessness

beautiful.
you
song,

''What

must your

do

in

school

when

you

are

singing
tune

besides
As

remembering
the her that Uttle

the

and

the her
you

words?''
uncle

pupil saying,
are joyed? en-

hesitated,
"Mustn't

helped
them
so

by they
we

sing
do
we

How

describe

what

enjoy

singing,
"We "Then
to any

or

hearing sung?"
it's

say

beautiful,"
how
to

said

Nell. is

learning
is not
we

sing just

learning singing
is it?

how
songs It

sing
way

beautifully,
worth

and

anything,
songs
so

is

only
we

when
want to

sing
hear

beautifully
that
to

that is

them I

again,
want you
we

singing
go to

worth and order

next

while. tell your

to

Now,
mother

home do
in

what worth

have

make
you

singing
come
we

while,
try
to

and find
"

the
out

time
to

will
or

how

make

it worth

while,
2

beautiful.

Section When what she her had

over

mother learned the

questioned
from her for

Nell
the

as

to

uncle,
she had

child

hesitated

answer,

always

108

HOW

TO

STUDY

MUSIC

thought
she that had

of

learning
she had
not

as

repeating
she
some a

something
now,

memorized,
had

and

realized,
time with the of with her. of the her in

though
she

been
learned

her
way

uncle,
she had

thing
think

been

accustomed
the

to

ing. learnhim She

two

And had made

over

yet
an

long
had and

conversation
upon

impression

thought
ways

what
sung,

happened,
the
two ways

she
sung,

had

uncle

had

and wilted

she
roses

remembered and mother

two

the beautiful

tion illustraroses.

of the Then
'^

the

she

delighted
there of

her
are

by saying,
kinds but
so

Mother,
is

of

singing.
it
rectly, cor-

One

thinking
and the hear it

nothing
is

doing
that Phil

other

singing
Uncle
you

people
that hear that

want

to

again.
It

calls
to way

beautiful
the
you
tune

singing.
over

makes
in
"

want
same

and look
you
at

over,
roses.

the

want

to

"How mother. "When

way
we

did

sing
I
;

to

him?"

asked

her

I first sang,

just
never

sang

the

tune

the

do other of

in

school
way.

thought
Phil

of made

doing
me

it any think said

you

Then
I
was

Uncle

what sounded have

singing
better. him
to

about,
But,

and

he

it

much heard him

Mother,
and

should

sing 'Sleep, Baby,

do it
over

Sleep.'
He said

I wanted

over.

the

reason

why

I wanted

it

again

and

HOW

CHILD

SHOULD

LEARN

TO

SING

109

again
I knew Her

was

because
to

it

was

beautiful.
''

wish

how mother

sing beautifully.
was

delighted
miss had

that awakened

at

last
to

the the

self-satisfied

little the
to

significance of
her

beautiful, and
her

she

pressed
her

daughter

her, and
was

encouraged
do. that
at

by
was

saying that going

When sister her
to

that
her

just what
learn
came

uncle

help
Uncle

to

to

Phil her

evening,
the

his in

expressed

delight
did

change

little

daughter. said, "Nell

there
was

"Yes,'' he
any

not

seem more

to
to tune

have the
rectly; cor-

idea than

that
to

anything
words and
you

song

sing the
after
are

and,
some

all, when
satisfied
if

realize
a

how is
an

teachers

when
were

song

sung

correctly,
and

as

they
do
not

hearing
on

arithmetic of
tone

lesson, and

insist could he

beauty
one pect ex-

articulation, how
else? in
In

anything
"what in
one

fact,"

continued,
and
even

hears

recitals,concerts,
of the of

church,
type,
do

especially music
is

quarteta

choir
to

largely the
these
of
tone

outcome your

desire

something Only
in

clever, like
cases

little
are

daughthinktistic ar-

ter.

the

singers meaning

ing

so

much

quality and
the
sung

so-called

rendering that
the
song
as

real

for which
as
pletely com-

should in

be
your

is lost

quite

daughter's

singing.

How

110

HOW

TO

STUDY

MUSIC

otherwise

could
what

good
are

singers singing
the had

so

regard utterly disabout? Such

steamer

they
one

singers remind
on

of

story
so

of
a

the

the

Wabash
that
every

that

big

whistle

for

its size would

time

it tooted,
so

its propeller
tone duction pro-

stop.
that

They
the
to

get

busy

with the

ideas

for which

production
we

is

supposed

be made

stop flowing, and

to say, to
our

hear

only the
have that
so

toot.

Strange

audiences

adjusted
seem

themselves
to

this the

condition,
more affected unmore

they

consider the
toots

that
can

by language
artistic ''But the music the is. while the

be,

the

effect of

of its
an

song

is realized
we

through
make

beauty
the

rendering,
end be for in

not can-

rendition

itself.
as

A
a

song's musical
part
is the of the basis

beauty beauty
the

must

realized this

song's meaning,
of all of

after

all

expression.
of the be
a

"This voice.

brings

up

question
to

ing speakgreat

Attention In

it would

help

in should

singing.
reinforce is
to

fact, singing and

each How

ing speaking speak-

other, yet the

voice
are

neglected.
the face
a

particular mothers join the family circle

and
a

not

have

child and mother

with

unkempt
one

hands,
chide voice! ladies

yet
child
are

how for
ful care-

rarely

hears
an

indulging in
to

unkempt
ideals of

We and

develop

gentlemen

HOW

CHILD

SHOULD

LEARN

TO

SING

111

among

our

little
go,

people,
yet
we

as

far
are

as

clothes of of

and that
finement, re-

cleanliness which is
"

and
most

careless indication voice. with such

a

the
a

striking
modulated
are

well
some

While better

it

is

true

that

bom

vocal is not

endowment
any

than than
we

others,
other demand

variation

greater
Yet

inequalities among
that

individuals. certain is

all

attain

standards with conduct

most

in such

manners

and

dress. for

Why
the

it that of the

punctilious pains
and
appearance, organ

details of life is His

the of

ing trainsocial

fundamental

utterly neglected?"
sister "Now smiled
you
a
are

little
off

ruefully
on one

and of

claimed, ex-

your

tirades He

about

the

voice
and

!''
on,

laughed,
we are

went
a

"The circle.
are

difficulty
Our vocal
our

is that
habits mother

in

vicious when
we
we

are

formed

learning
school. of

tongue,
are
we

before
to

go

to

Not
our

only

subject
to

the

bad of

examples colds,
strain and

elders, but conditions,

the

accidents

catarrhal
citement ex-

enlarged
in
a

tonsils,
sensitive of vocal that
pass

when

condition,
utterance

all

tending
in

to

form and
we

habits

both second habits

singing
and the

speaking
grow up

become
our

nature,
on

and

bad

to
an

next

generation.
to
escape

It

is

impossible
of the

for

individual

the

influence

112

HOW

TO

STUDY

MUSIC

bad with and

to

example
a

of

his
at

early childhood.
his voice

Still,"

kindly

look

sister, ''if mothers ideals, similar

to

fathers those

could have

have

thay

with

reference
not

well-

manicured before
at

hands, it would
we

be

many
as

tions genera-

should

be

just
as we

much
are

gusted dislected negtion ques-

neglected
So
"

voices,

at
a

hands. of ideals. ''That is

that

it all

comes

to

well what

enough
is the

for

you,"

said

his I

sister, "but
must

practical thing that physical

doctor;
the home conditions Uncle and

do

for Nell?"
out

"Find
are
as

whether
as

the
can

good
if you

they
to

be," said
a

Phil,
then should
so

"even insist
not

have what

call in said

that

is

in

only be
will
way

spoken
that

plainly, but
in

spoken
is the

that
the

there
same

be

pleasure
you

what that well

heard, in
appearance

insist know
come

shall

please.
does

You
not

enough
grace

that

tidiness but

by

the

of

God, sister,
and

by
"It

attention is easy
to to

and
say carry

persistent thought." this," replied his

it out in the life. "
was

"but

difficult of

hurry

excitement Yet had circle she been of

ordinary home
that She there

realized said.
her
own

truth
how

in what in the

remembered friends she

enjoyed
She

ing meet-

those

who

had

refined

voices.

also

HOW

CHILD

SHOULD

LEAKN

TO

SING

113

noticed

that voices

her

mental from The

attitude her

towards

fined re-

differed

attitude she looked while

towards
upon

refined
as

manners.

latter

being

the

result seemed

of
a

breeding,
part
of the

the

fined re-

voice above
or

personality,
She
was

beyond
a

individual

responsibility.
whose knew
she
a

remembered hard
woman

kindly

woman

voice

and of

raspy;

while
whose

she

polished
almost ways alwas

society,
hear made be

motives of the voice. believe

more

mistrusted,
a

in

spite
her her

fact Her that

that

it

pleasure

to

brother's all the tion cultiva-

conversation voice

after
to

might
than
she

found

subject

had

thought.
argument
was
a

If
was,

her

brother's

true,

there

besides bad
vocal

bad
habits

example,

wide

possibility through
healthy un-

of

being

formed

physical might
be
to

and

accidental

causes,

which She aid

solved re-

helped
do all

by

taking
she

thought.
could
to

that

her

daughter.
She decided
to

that
was

one

of visit voice
was

the
the

most

important
and
see

things
whether teacher

do the

to

school her

speaking good.
Here

of the
up

daughter's
above the
bodiment em-

was

person to
as

all others

whom of

Nell wisdom

looked and

ability.
would

The

child
a ceptible sus-

was

in what

the

psychologist
towards the

call

condition

teacher.

If

the

114

HOW

TO

STUDY

MUSIC

teacher's should
than

manner

of speech
to

and

quality
felt been

of tone
more

prove

be

refined, she
would
have

that
won

half vocal
next

the

battle

for

good
The The
to

habits.

morning
of her
the
as

she

went

to

the

school.

magnitude
dawn of
one

teacher's she stood

problem

began
into the the face

upon

looking
of
one
so

faces of her
to

forty little children

little girl. after
the

instead
was

How

this of

teacher

look

different
the

needs

many?
a

If she

could work

keep
she
must

children

busy doing
be do this red be the but

little well/

formal And
up

certainly
not

would

doing

yet,
the

she

only

keep
of
an

endless

reports

and Would

all the it not

tape

educational

system.
as

perfectly
ment confineof
her

natural,
of
seats to

the

little

people
and the
uneasy,

felt

their

classes
to

restraint for
Yet

their voice

and

began
harsh hours

get

become

and

nervous? with

it
one

was

in

the that

golden
these

spent
little of but

this
were

teacher

forty

people

to

get
a

not

only
other and

knowledge

reading
also
a

and
manner

half of

dozen

subjects,
speech.
had that
come

behavior

She

to

the

school would

to-day
be

in

the
to

hope
these

some

attention of

paid
she

aspects
the

training.
strain
to

Instead under and

covered disthe felt

nervous

which she

teacher

was

required

work,

HOW

CHILD

SHOULD

LEARN

TO

SING

115

that voice the school

much

of

the of

matter-of-fact her child

was

and due

unpoetic largely
which
to

quality
unfavorable work

conditions
was

under

her

done.

Very
very

exceptional exceptional
salaries. children

teachers

might
are

do

better, but by
some

people Only
combines She

not

attracted
a

teachers' lover of

once

in both

while

ability and
to to to

fine

voice. with
to
a

returned than
ever

her
pay

home attention

firmer

solve re-

vocal voice. be

habits,
For

and

especially
had work

the

speaking
not

this, she
from the

found, could
and in

well

separated
for
to

attention

necessary

the self, her-

singing
the of
more

voice;

fact,

as

she
in

stated both what

was

controlling
is the
"

motive
:

aspects
we

the

voice

same

to

make This

do
the

beautiful

to

please.
of her that need

fundamental She
grows out

problem
realized of that forms that
as

brother's love
upon

ing. teach-

also social of this the

of

beauty
are

which

based

both
;

language,
social
true

speaking
should of voice

and

singing
be in club

and in

aim end
at

always
work

kept
school. the

view She

planned
of

that

the

woman's and

questions

training, preparation,
the number
to

salary
that be

of

teachers, with
should
up

of

pupils

they

be

obliged

instruct, should

brought

for

discussion.

116

HOW

TO

STUDY

MUSIC

Section That her afternoon Nell

went

to

her

uncle

for

lesson.

''Well/'
to

said

her
Do

uncle, ''what
you

are

we

going
said

learn "How

to-day?
to

remember?'' voice

make

the

beautiful,"
the

Nell

promptly.
what do
we mean

"And beautiful?" After shall

"I
want
am me

by having
she

voice

little hesitation
to

replied,
in
more

"So

we

hear
to
you you

it."

going
which
way

sing

some

tones

two

ways.

Tell

think
want

is the
to

ful, beauti-

which Her it
upper

hear

them."

uncle with
tone

then the and

sang

the

scale

ing softly, vocalizwith

syllables, beginning singing

that
to you
same

the

down. with this the

way I
am

"Now

compare to

going
Then

sing it
he
sang

time."

the

syllables, in
the

the the

same

direction, but
with each

changed
of

quality
Nell.

of

voice

change
sounds do
you

syllable.
said What
ways

"That "What there "The second

funny,"
mean?
two

difference which
I

was

between first
was

the
was

in

sang?"
the

smooth

and

all alike, but

all different."

"Rather

patchy,

wasn't

it?

If

you

were

HOW

CHILD

SHOULD

LEARN

TO

SING

117

making
want to

new

dress
it The kind all

for

your

doll, would
helter

you

have

patched
of tone,
the

all over,
I

skelter, pains
care

with
to to

color?

first time

took

great
I

sing

one

although

took

pronounce

words the

correctly, quality
didn't the did
E
'^

while of the

the
tone

second with

time each Now the

gave

changed

syllable, and
I
want you way

you
to

like

it,

did

you?

sing
I
upper

scale first." of the

downwards,
Uncle treble
not

same

that

Phil clef and

his little
a

pupil
"but the she

got

clear, flute-like

tone.

Now,

too

loud,'' he cautioned,
a

clearly."
voice had

After
to

few

tones

down,
tone

changed
been habit
customed ac-

the

rough
to

chesty
use

that

in

school. she
was

The
one

had
truest

grown

on

her

because her

of the

singers and
her where she had voice the

led

room,

and
on

in the

order

to

make
tones

felt, especially
volume in her of the would habit

lower be her

naturally
of ''did
or

weak,
voice.
to
me

been said kind the of

forcing
you you

''Well,"
all in
It to
as one was

uncle, voice,
in how down.

sing

did

change?"
ever

first time

that
a

she

had

tried realized voice

think
never

quality
before she

scale, and

she her

decidedly
said clear
can

changed
"Let's
you
start

as

came

try
to

it

again,"
sweet,
if you

her

uncle,
that all the

"and
you rest

listen with

the
see

tone

and

make

118

HOW

TO

STUDY

MUSIC

sound
to

Kke
more was

that.

And
as

be
you

particularly
sing lower/'
Uncle of used That Phil.

careful

sing
'^That

softly

better/'
that

said

''Let the

us

try it again, and

names

instead
you
are

singing
to

lable syl-

in
was

school,

let
was

us

sing

loo

for But

each when

tone.
we
so

easier,
we not can-

it not?

sing
that

song
we

sing
to

loo

all the
to

time,

will words
same

have and time.

songs

learn

how
one

sing
for in
a

all the of voice

different
at

yet keep
The

quality

the

best

way

little
way

folks that

is to will

sing

that like
sang to

they
to to

like

make

people
song

hear
you, your

them.

Try

that

cradle
It

'Sleep, Baby,
tone
you

Sleep.'
if you
to.

will

help
this

keep

beautiful
are

think

of the

beautiful cushion
so
as

baby
is
a

singing
that
. . .

Play
are was once

baby,
it to

and

you

singing
pretty

to

put
I

sleep.
the listen

That
to you

good.
and
It

will time the

to

sing
you

song to

again,

this
was

the

tones." had she

ever
was

first time
tone

that

she and

paid
quite

attention

quality,
different and
a

impressed.
were
so were

The

words,
all beads A
now

while

they
alike. of
a

distinct like of

clear,
of

sounded instead
new

They
with
to

string

collection

different
to

objects.
was

idea

reference For

singing

brought Sleep,"
mouth her

her. found

instance, in "Sleep, Baby,

that she
was

she

shutting

HOW

CHILD

SHOULD

LEARN

TO

SING

119

too
not

soon

on

the

first word, she

and
was

that

she
to
out easy

must
mence com-

close

her

lips until
next
was

ready
found

the

word.
not

She the

that

singing
that
to

tune

off-hand,
but
not
over

thing
order feel
over

she make

had

supposed

it was, she had

that

in
to

it beautiful

only
and

beautiful and

herself, but
to

practice
it beautiful. if she

try hard
Her uncle
at

make

knew

that would

could have

have needed

come

to
say

him

first he with

hardly
to

to

anything
to

reference focused

vocalization,
attention
on

but the of

simply
tone

have

her

quality thought,
resulted.

and and

pleasurable
good
vocal attention of but

expression
would

the have such have been

utterance

By
a

and vocal fact

practice
habits that she her

in

singing,
been

basis

good
the and

could had voice decide

started,
in lead

singing trying
to

school her rather

so

straining
made lessons material think
a

by
to

class,
formal
as

him in

give

her

these
not
as

voice her she he

production,
to
was

much make she her

sang

for what What

practice
to

to

of

do
was

when
to

song.

planned
attention

teach fact

her

to

sing
she

with
was

constant not sang,

to

the

that when

just
but

performing
that she it be
a

something
was
so

she
so

telling something
beautiful
to

agreeably,
that it

making
would

with hear

the it.

voice,

pleasure

120

HOW

TO

STUDY

MUSIC

Her

mother,
in the

who
next

had
room,
see

been
now

waiting
came

for in

her and

daughter
said that

she But

would Uncle be
a

that Phil

Nell

practiced
"I

the

scales.

said,
the

doubt
she ency tend-

whether

it would form would

good
tones

plan, for while

natural

might

good
be
to

scale

sing the
would
You

passages

cally, mechani-

because
content

she scale. direct Over

feel

no

expressive continued,
of and
we no our a

in have

a no

know,''

he

''we vocal

conscious

control

cords.
of

forty little muscles produce

the and
tones

network
as
a

nerves

want

reflex
have
an

to

our

feeUng,
formed

where safest

bad
to

habits form
to

been

the

plan is

intelligent and
reflex
tone.

right feeling and

the bad throat habits natural
to to

trust

the

action When with

we

of

produce
formed action

the
an

right
the
remove

have reflex work but such

interference

the

of
to

throat, then
such

have

carefully
it
a

interference;
to
carry

takes

mature

intelligence
has strained work her be that

out

plan.
the is
to

Nell formal

her
I

voice have
on

somewhat,
done the

and

to-day problem.
the

help focus
work

attention

Such tion direc-

might
of
a

done, but
teacher."

only under

careful

His

sister

replied that
to

she

had

heard

the

dren chilthat

sing the scales

the voices sounded

vowels
sweet

in school, and and

quite

pleasant.

HOW

CHILD

SHOULD

LEARN

TO

SING

121

''Yes/' good
to

said

her

brother,
in

''we but

often

hear
seem

vocal
a

exercises

school,
the

they

be

thing apart
are

from

song

singing
I

for

which children then

they

really
the scale

intended.

have
to

heard

sing
a

beautifully
after
you

loo, and
such
a

sing
and

song

directly
tone
same

it with would
were

rough
realize
In
a

strident the
many
one

that

hardly singing.
is the

that

children the

great
to

schools
or

vocal
loo

practice

limited

two

vowels,
result

being

general
this

favorite.
comes

The

is that
on

wherever
a

syllable
tone,
the On

in, especially
effect

tained sus-

the

of

the
out

practice
with
a

tends

to

make

syllable
the
to

stand

different
"I

quaUty.
should

whole,'' good appeal

reflex for

he

continued,
utterance

try
songs to

get
that the

vocal
to

by
throat.

singing
and There
your

the of
to

imagination
the in
on

trust

action
you

will

be

enough
to
songs

do

helping ing singas

daughter
her Uttle

focus

her

attention that

adequately, expression,
I

is,

to

pronunciation
with formal
more

and

without

ing bothera

exercises. awaken involved

may

try

few
to

of the

them,
technical material. His she had

to

her

thought
than
as

problem
"

practice
that vocal de-

sister heard

remembered heedless
her

the scale untrained

many

times

practice by
ear

students.

Even

could

122

HOW

TO

STUDY

MUSIC

tect

that their

they

were

forming
as

as

many

bad and her

habits she
was

by

exercises
to

good

ones,

quite

willing

acquiesce

in

brother's

suggestion.
Section
^'I

4
on

have

so

far

touched

three
to

important sing,"
is
tinued con-

principles

in

teaching
Phil.

Nell

Uncle

''First, singing
with that
we

not

merely doing done;

That
reason

doing
it in
in is

something
a

the love it

voice,
to

but it

such other
we we

way

hear

words,
love
to

doing
hear

beautifully.
and the

why

singing

why

sing

at

all.
we

''Second,
but while voice much
more we

in
are

speaking
not

also
to

use

the the

voice,
ing speakis
are

obliged
as

make
our we

beautiful,
effective
In
on

in if

music,
tones

speech
use

the

attractive.

fact,

success

in

life very voice.

do may

largely
how proved, imthe

depends
"The the

an

effective

speaking
has
to

third and

principle
with'

with be
to

singing

speaking

voice

especially
fact that
our

children,
is
the

due
not

vocal We

apparatus
make

under
tone

voluntary
almost like

control.

desired it.
of tone
to

magic, by

simply
the
a

wishing
ideal
of

This ing havfor

principle emphasizes
a

importance
desire

worthy singing

wish,
and

true
a

both

speaking,

express

HOW

CHILD

SHOULD

LEARN

TO

SING

123

ourselves be

beautifully,
interfere with
hence

for

naturally

they

should bad of

improved magic,
the voice its and

together.
the it
to

Unfortunately,
natural becomes

habits this for

working
necessary

teacher

help
in

the

throat

to

regain
downwards have

freedom;
that
same

watching
the the
not

singing softly
tones
ones

descending
as

shall
;
ing see-

the
that

quality
throat of

upper

the
tone

is each

tightened;
is held and

that

the and

singing
the that

syllable quickly
is
to
so

evenly
and

defining
the

sounds

distinctly

made;
above what of the she

breathing pupil

natural;

all, helping the

wishes
to organs

imagine
that
true

vividly
reflex

express, may

the

singing complex
his

have

guidance
leave,
is
a

in its As brother

performance/'
was

sister

preparing
a

to

her

said, ''Wait
in music

minute

there
I

fourth
to

problem
to you

teaching
that
not

that

want

talk

about,
I

and

is,musical
merely
the beautiful
has
to

intelligence.
musical

By

this

mean,

tellige in-

necessary

for that

expression,
do with
we

but form able

an

intelligence
structure

the
are

and
to

of music

itself ; what

do

by

means

of notation.

''Music
two groups

teachers that
one

might
more
or

be less
we

classified blend have into those and

into each who

song

other.

At their

extreme

give

whole

attention

to

tone

124

HOW

TO

STUDY

MUSIC

singing, and
those
structure
can

at

the their

other whole

extrbme

we

have
to

who of

pay

attention that well side

the

music children

itself,claiming
to

if

they

get the
read
be

know

music

enough
of music

to
can

it from taken in both either attention

notation, the other

care

of

easily.
to

There it

is

enough

truth
to

extremes

make

dangerous
who
a are phasize em-

follow

exclusively;
to tone

Those

first,make
children

strong
ing formearlier easier its effects.

point of the
their
we can

fact

that

little
every

vocal direct work

habits them be

day, and right

more

the the

into

ones,

will

the

a^d

the

lasting
is that

'^Another
easy
to

point good
an

of

importance
in

it

is

get
as

tone,

especially with
song

little
as we

children,
have interest

incident
seen,

singing,
he
can

already
of

when in The

the what

imagination
is

and is

the

child

doing
thus

thoroughly
done
no

aroused.
the
or

work
song,

be

through analysis hand,

it

memorized technical

and

requires
On the who

knowledge.
class
are

other

the

opposing singing

of

teachers

emphasize
that

sight

right in
power

saying
musical sist in-

brings into
thus it is easy
state

play the

of

analysis and
that and that

develops ability. They

for
young

children of

to

nize recog-

the the

differences basis of

pitch and

tion dura-

lie at

sight-singing,and

HOW

CHILD

SHOULD

LEARN

TO

SING

125

that

the

older
more

and

more

self-conscious the
matter

son per-

gets, the
from of such '^The
a

difl"cult becomes.

of the

ing singvalue

notation

Hence

practice early. plan

with of
I

would between
song

suggest
these

is somewhat
two

of

compromise

extremes.

Starting
formation

singing,
vocal should the of

and

making
the
most

the portant im-

good
I

habits

work,
with
to

begin
habit is of

by

ing establishtion atten-

this the

work form and

paying
sung,

what

being

that the
we

is, the
way

pitch they
be

duration

of the

tones,

and

are

grouped
not to

metrically. only
is the
what

Thus

should
the
tone

observing
of

quality
well.
one

of

in relation character
we

being expressed,
as

but

the

the

melody
why
and such

For

instance,
makes
a

should cradle and

grow

notice
song,

melody
a

good
song;
we

another,

good
vations obser-

marchmg
xmtil the could "One of work
:

from

general
more

should
exact

gradually
in

specific
and tion dura-

differences

pitch
with

be

effectively described. however, coming

what of
go upon

cannot,
without
how
to

far
a

this

sort

serious been
are

lem prob-

describe
terms

has

observed.

If the
we

regular
to
we use

notation and

employed, meanings
to

have which

words

signs
of

the

of

cannot

entirely explain

young

children.

The

machinery

notation

itself

126

HOW

TO

STUDY

MUSIC

is the

SO

complex
thing
of
way

that

it not but On the

only
takes other what
we

interferes
an

with

observed,
time. of

unnecessary-

amount
some

hand,

without
tinued con-

describing

notice,

observation should work but

becomes
see

impossible.

prefer

to

the

ordinary
the and both the
same as

ing sight-singgrade,

deferred
for of
tone

to,

say,

fourth

prepared

by

careful

systematic
to

observation and
as

values,
relation and
at to

pitch
sung,

duration,

in

songs

just suggested,
notation
that

the

time

have

the

represents

these
so

tions distincwhen done

not

thoroughly practice
on as
a a

memorized,
commences
as

that
can

in

reading
of of

it

be and

basis
process

experience

reading,
note out.

spelling
should

each
of

''The have

observations
to

tone at

values be

that

referred action. is

first ideal

expressed
hence
municating com-

by

Music

is called
a

motion,
for music.

action

naturally
what
we

simple
notice has
^

means

in
sung,

For

instance,

when in

child

'Ding, dong,
let her and

bell. Pussy's
the she what
way

the

well,'
go

I would

clap
after tell

the thus

syllables
indicated done. made

in the her this

tune,

has

observation,
way,

she
may

has be
in

In
to
Goose

the
that
set

youngest
there
to

pupil
1

observe
Series.

are

Published EUiot.

Mother

Rhjones

music

by

J. W.

HOW

CHILD

SHOULD

LEARN

TO

SING

127

three

distinct of

rates

of

speed
bell' action the

at

which
"

the

lables syl-

^Ding, dong,
a

move

medium,
be
fined con-

slow, and
to

fast.

The with

need
;

not

clapping
on
a

hand

dashes

could with

be the

made

blackboard the
song.

simultaneously
from

singing
^'With
a

of

little
soon

aid

the

teacher,
themes the

the
of

child
a

can

diagram
that The would
same

duration make

simple melody
to state. to

problem
can

easy

principle
pitch.
The could of the

be

applied
down

differences
of

in

up-andbe
plained ex-

movement

the

melody lifting
the

by
or

up-and-down
chalk
on

hand,
such done
tones.

with

blackboard, being
of the

acting
The

and

diagraming
with the between

always singing
the

simultaneously
association and close be that The and
tone

phenomena
must

served obbe
not can-

the

thing

represented
between of this loss of

so

that

the

relationship
It is the

them

lost.

relationship
difl"cult.

makes child reads

the

teaching
learns

notation and
connect

easily
scale with

quarters
but
to

eighths
these in what I
am

intervals,
what

symbols
is
a

they
difl"cult that

stand

for

is sung

decidedly
to

problem.
may

quite wiUing
be able
to

grant
on

children

not

carry
as

the in

ordinary
this
way
as

formal

ing read-

of music

early
all

they would

if, giving

up

attention

to

tone

production

128

HOW

TO

STUDY

MUSIC

and
went

to

the

memorizing
at
a

of

musical
use

gems,

they
ventional con-

directly

mechanical but the

of

the

notation;
I
am

musical the

result

sure

is

so

superior that
spent.
a
^

longer time

it may ^'The
an

take
use

is well of

such
to

descriptive notation
the for
to

as tation, no-

introduction before makes it

process

learning
up

regular appeal
not the in

taking
in

drill

ing, sight singto

a

possible always teaching, only

structure

thought
to memory.

and

merely
habit this

Not the habits and of of

this, but
of

of
way

observing
forms

melodies of

of

observation,
in

noticing
will

differences later be

comparing
value

effects, which
musical

decided
a

tion. appreciafor

Such

preliminary
described Music. for

preparation
in
'^

sight

singing
^

is

fuUy

book
can

entitled
carry

Education the

through
suggestions
of

If you

out

the

observation
a

and

making
you

little

melodies,
the
very

with best

play spirit,
thing
to

will

be

doing
of

lay
your

the

foundation

good

musicianship
sister. of
I

for

little
"I

daughter."
will

try," said
a

his

''It will
me,

ably prob-

help make
not

musician
If

if

it does
you
pro-

of down

my

daughter.
three

understand,
the

laid
*
"

principles concerning
Music,"

Education

through

by

Charles

H. in

Famsworth, 1909.

Teachers

College, Columbia

University,

published

HOW

CHILD

SHOULD

LEARN

TO

SING

129

duction
beautiful

of

tone,

namely,
the

making speaking
voice

the

singing
effective
;

making
to

and,
clear
these

in ideal

order of

accomplish
we

these,
wish
to

having
To

what add for for

express.

you

would

two

more

principles:
the music the

first,
goes
as

practice
a

observing
notation
;

how and

basis

second,
notation

use

of

an

introductory
these utilize with the

descriptive observations, imagination

to

for teacher of

expressing
to

enabling
and the real

the

thought
tion nota-

the

pupil

reference

problem.
"Before
I go, may I

remind

you to

that about

my

big
her

girl,

Harriet,
work?"

is

coming

soon

see

you

piano

CHAPTER

HOW

TO

LEARN

TO

PLAY

THE

PIANO

Section

When
one

Harriet
in I

arrived the
next

at

her

uncle's he
your

studio

afternoon
"If
your

week, rightly,

began
mother that

by-

saying:
told should
me

remember is very

teacher

particular
first,
new

you

practice
then What ?''

systematically,
studies,
reason

technical then this

exercises,
old

then
can

music, give
for

pieces.

you

procedure
The she teacher been
"I

question
had had sufficient. don't
never

quite thought

surprised
of do
so,
a

Harriet,
reason.

for Her

told

her

to

and

that

had

know,"
that
I

she will that do

I

replied. nothing
am

''Perhaps
but

she
my

is

afraid the

play

pieces,
and of the
not

thing
time

most

interested the other

in,
parts

leave lesson.''
very

enough

for

''That's
I

strange,"
all
to

said
was

her for better."

uncle,
the

"for

supposed being

that able

practice

purpose

of

play

pieces
130

HOW

TO

LEABN

TO

PLAY

THE

PIANO

131

^^Oh,
studies "What
went

of course/'
are

she

replied,
one's think her in of

^'but

scales

and

to

improve
you

general technique."
the hunter "and
at

would

who

after

game/'
of

said his

uncle,

spent

the in the

first half

day
deer

shooting
luckless the

things
with

general hope

to

improve
some

his
or

marksmanship,
bird other

that
way

might
half

get in the
of the
or

of the

bullet, and
he his

day

in
or

hunting
whatever

specificallyfor partridges
was

rabbits,
would

expecting
do

to
you

shoot?

Which be

part
the
at

of
more

day's work,

think,
She

satisfactory?" illustration, and

studies
are

laughed
"Scales

the and

he

tinued: con-

not

intended
to

for

general
to

technique. help
I
to

They
better
say

ought
the
a

be that who

planned
follows did and
not

play

piece pupil
in

them.
see

should
reason

that his

the
was

for

technical forward did

not

work,
the

how

it

to
was was

help
about."

him

composition
know This "Then about
a

he he

playing,

really replied,
I
am

what struck
I
am

her

as

new

idea,
not

and

she what
I
am

afraid deal

do

know that

good
would

of the

time

ing." practicthis

"How of

you

like

to

talk Uncle

over

tion ques-

practicing?"
most

said

Phil. in

"After

all, it is the
to

important

thing

learning

play."

132

HOW

TO

STUDY

MUSIC

"I

should
for

like she
was

to

very

much/'
to

Harriet reaUze she

swered, an-

beginning
had insisted
on

that

while certain

her

teacher of had

that certain

put

amount

time

kinds

of her
rected cor-

practice,
about the

and

constantly
of her the
up

cautioned and of had how

position

hands, problem
between

wrong

notes,
never

to

practice
will put
me

had

come

them. Phil.
may

^'Sit down
a new

at

the

piano," said Uncle

you,

"I show

piece before
would
to
go to

and
to

you

how

you

work

learn

it."
^'

Turning
Without

No.
^

28

of

Mendelssohn's that
to

Songs
not

Words,"
it

and he

finding
asked the

she

had

played
She and

before,
out

her rather

practice
when
octave

it.

started

with
notes

easy

prelude,
the
she

played
was

the

accurately,
in the her
upper

but

figure
had and

repeated

difficultyin getting began stumbling

the

hand She

into lost
movement

position
the

badly. compound
and
more were

time
of

feeling, getting
the
meter
as

confused,
if

playing
than
too
a

the
beat

dotted

quarters

they

were

long.
portion pro-

Then,

finding that
to

they
had

long

in she

what confused said

she

been

playing,
do
not

got

still

more

and her
on

finally stopped.
'Vhat I
were

^'Well,"
next?
room

uncle,
as

you

do

Go and

right
you
were

if

in

the

learning
^

the

piece."

See

page

156.

HOW

TO

LEARN

TO

PLAY

THE

PIANO

133

So

she

went,

back
meter

to

the

begimiing,
but

this

time

looking
up

at
one

the of

signature,
She this
some more

not

taking
had the
more

any

the

single problems
started time of in somewhat the

that with

caused
easy

her

trouble.

opening
and baffled
most

phrase,
while her them
some came

fluently,
had in

passages

that

easily, she
the
same

stumbled
way
as

of In

in

much
new

at
so

first. that

fact,
total

mistakes of incorrect

crept

in,
was

the

amount

playing

only slightly finally worked

Then she

less. her

She
way up

persisted, however, through

at

and

the

composition.
creditable

looked she
was

her

uncle, evidently
a

feeling that
exhibition.
I

not

making
he

very

"Now,
at

suppose,''

said, "you
time would for
go

would

look this the

not

the

clock, and
was

if the
you

practicing
back
you

piece
So

not

up,

to

beginning
that
at

and

play

it

over means

again,

would

practicing
the ?
"

repeating
you
can

certain
a

actions
very

piano
that's

until

play

piece

rapidly
suppose

"I

it," she stopped

You

said.
to

"Have the that

mean,
are use

you

ever

think

what

is

of
on

repetition?
the the
page,

know what all what

everything
the
notes

is

just

signs
you

what
to

figures

mean,

strike, don't shesaid,

"

you?"
thatisnot

"Oh,"

enough.

You

might

134

HOW

TO

STUDY

MUSIC

know
at

all about it
so

it, but
you
can

practicing play
what ''what the well

means

ing workknow/'
passage

that

you

''Very
of

good/'
and

he

said,
on

is this second the bar

quarters
You
as

eighths
very

of the
portion pro-

page?

know
to

relative

speed

between

these

notes,

do

you

not?"

"Certainly."
"And

yet

you

did

not

play
"I

them could

right."
not
my

"Well,"
of hand
to

she
at

answered,
once.

think left

everything
had be
to

Just there
same

see was

what
an

do,
at

and the

alto One
one

part
can't ha^

played
of
so

time.
once

think

many
a

things good
deal."

at

unless

practiced
"You

it
are

quite
complex

right.
things

Playing
at

does
same
a

mean

doing
Good will
as

many

the

time. that

practicing
enable
us

means

following
these
as

plan
and

to

do

quickly
as

surely

possible.
do this

You

practice by
to

if you the and

expected

to

simply

playing
over-

piece through
over

from Was
"I

beginning
this don't she
your

end

again.

plan?"
there
was

think

much

plan

about

it,"

replied.
continued
me

"Yet,"
to

her
you
as

teacher, practiced.
as

"you
I want
you

were

show
your

how

to carry

know it out."

plan,

well

the

way

HOW

TO

LEARN

TO

PLAY

THE

PIANO

135

To that
never

plan
she
was

one's

work

was

obviously
think that
It

so

wise had

surprised
how
to up to

to

she

planned
her

practice.
what
her to
say

rather about
a

embarrassed

know into
you

plan,
''To

so

looking
would

uncle's

face, she

said, ''What

do?" her
some

begin
do
my
a

with,"

said for

uncle,
definite
to

"I

would

try
such

to

practicing recital, or
to

purpose,
or as a

as

play
the

friends,
determines it is to

study
choice

of

the

composer.

This
way

the
ticed." prac-

of the

piece

and

be

"But she I

I have

to

practice
she and
is

to

please
it

my

teacher,"
that

replied,
shall be

"and

very

particular
as

correct

play
be
you

she

thinks

right."
"It's of well worth while but
to

held

to

ard stand-

correctness,
to

if

always only,
necessary

play
are so a

piece
you
to

please
to

your

teacher

when

going play
to

get

the

practice
the

as

please yourself?
it from than
upon you

Playing
is.

piece
of

is

interpreting
even more

player's point
poem

view, always

reciting a
your

If you

depend
how
are

teacher's
to

tation, interpreyour
own

going
is
an

develop

judgment?
is my second

This

important practice.
In

matter.

It

point
of
not

in

ing determining furnishto

questions
are

decoration, dress, constantly

at
a

and

you

loss

know

136

HOW

TO

STUDY

MUSIC

what then and and

you

really prefer ?
in order of
taste. to

You find

try
out

one

way you

and

another,
this trains
are

what

like,

exercise
your

your

judgment,
are

educates

How the
most

you

going

to

get what
of
never

perhaps
"

valuable
taste
"

results if you

music

study

judgment

and

practice
idea took she
to

them?''

This

of her

exercising
breath ''but

her

own

judgment

nearly
have

away.

"Oh,''
I

said, by

am

not

an

artist.

learn

trying
by
and

to

play
I
can

like

those
my

who
own

know.

Perhaps
is who

by

play
in

way."
"That
very

well,"
you

he

said,
the the

"if
reasons

doing
that

as

those

know,
actions. imitate
more

learn

govern you

their

If, them,

on

other

hand,
musical tion educa-

merely
of

how

is your than the

not

education
a

intelligent
You

monkey?
for your
to

should

only

find also
your your

out

the

reasons

interpretations, but
music from then little
never

have
own

opportunity point
of Would walk

interpret
and
your

view,

develop
sister been

judgment.
learned
to

have

to

if she

had

allowed

try

it alone?" one's
as as own

Practicing
as

judgment
fingers
in

in

ing, interpret-

well Harriet

one's
a new

performing,
a

struck of fresh

idea, with

possibility

interest.

HOW

TO

LEARN

TO

PLAY

THE

PIANO

137

Uncle both of

Phil these

continued:

''I

appreciate
that
I

that
have and

important
for
own

points
to

made,
the
are use

the
of

purpose

which

practice,
in

one's
not

judgment thought
work. for
to

practicing,
in

points

often

of, yet they should

Another

control
my

all

practical plan
intend
to

point
is to

preliminary
passage

practice
work it.
on

choose

the the the

and In this

estimate

time

necessary I
am

learn

part
go

of
to

plan
yet
make

really getting ready actually

estimate the
as

to

work,
to

not

practicing.
to

In
to

order
out

this

how the

lay

my

time,
to

I notice
see

title of
composer

piece,
it

if there and in its

is one, if the
a

what
not

the
too

intended,
run

piece is
way

long,
get
me some

through
of

sketchy
which
amount

to

notion choose
me

difficulty.
with the will

This
to

helps

to

the
to

passage

start, and
to

enables
to
or

estimate
one

of time

give
of

it.

Of

course,

often
an

underestimate estimate

overestimate,
can

but will

gradually
be formed. ''The
way

what

be

done

reason

for

laying
what

out

your

work
on
an

in

this

is like
you

the know

reason

for
a

living

ance; allowmakes ance allowall your

difference
you
a

it

whether
or

your

father he

gives
says,

definite
pay not

whether
expenses,

'I be moods

will careful

necessary

but
some

to

be

extravagant.'

In

such

confidence

138

HOW

TO

STUDY

MUSIC

works definite after

well

and but

so

does
we

practicing
are

without
at

aims,

if

to

keep
we

it

day
to
we

day,
time. lesson

it is wiser the

to

limit

what

have

spend,
have,

especially

most to

precious
learn
a

thing
for

Having
often
must

piece
is
an

given

helps,
be
our

but
own

that

external if
we are

control.
to

We the
my

masters

reach
'^Thus

freedom third
in
a

of

success.

point
I

is to

plan

to

do

given
then

piece of work
when
I
am

given period
know it has what

of what

time;
has

through,
and for
:

been

accomplished
"

cost.

In

preparing
to

practice, then,
to be

I have

these

points
'^1.

consider
purpose

The

accomplished judgment

in learning

the
''

piece.
The this
use

2.

of

my

own

in

plishing accom-

purpose.
use

^^3.

The

of

my

practice
will be

time

for the the

day,

the of

length
the

of

which
to

determine

choice

passages

learned.''

Section '^Let
next. gave
us see

what

you

would of

be

likely
you
was

to

do

In
me,

the
you

example remember,
you

practice
and

just
about with
to

repetition
followed
you
were

the

only

method

this

little make

intelligence,
mistakes in

for
some

learning
of the

parts

piece

HOW

TO

LEARN

TO

PLAY

THE

PIANO

139

though
parts.

you An

were

learning

correct

notes

in
us

other stand under-

illustration value
your

will

help
Do
a

the when ''Of

so

of

repetition.
was

you

member re-

little sister

baby?''
''She
was

course/'
do
to

Harriet

answered.

cunning." "Well,
you
use
a

remember

when
The

she

was

first little
to

learning
hand lift her kind

spoon?
spoon

chubby
vigor enough
remember make?" "she face and
out.

grasped

the

with do
you

weight,
she into she
seem was

and

the

jerky
the

of motion

she

would

"Yes,"
spoon

replied laughing,
the side
to

punched
once

of

her

I She

thought
did She
not

going
to

put
where

her her
on

eye

knoW

mouth

was.

jabbed
on

her

face, sometimes
But
spoon

one

side, sometimes
long before
her mouth." and she
I

the
carry

other. the

it

was

not to to

she

could "She

straight
one

had
at

just
until is had side

the she
more

thing
did than it
you

do,

kept
suspect

it that

successfully.
do.
If
your

little sister
spoon
at

been

content

with
two
or

landing
three
she
next

the

the

of her

face
you
so

times

and

then

stopped, don't
into the
to

think that the hit

might
time
same

have
she

got

habit,
eat

commenced

she

would

the

place?"
This

preposterous
But she

situation
to

made its

Harriet

laugh.

began

realize

applica-

140

HOW

TO

STUDY

MUSIC

tion times
more,
so

to

her after she

practice.

She
at
a

realized

that
a

many
or

working
had
many

piece

for

week

incorrect that of

ways

of
was

playing only by
and

thoroughly
constant

established watchfulness

it her

the the

teacher,
she that in

greatest
them.

pains
She her
spoon

on

her

part,
to

that realize

could
the

change
handle

began

advantage
to

that her

little sister had

was

learning clumsily
until she

that
never

however satisfied while in

she

managed,
reached
many

she her

was

finally played
were

mouth;
were

her and until

piano
then

practice

mistakes
over

unnoticed
and
over,

incorrectly

they
Uncle

learned "In

incorrectly.
this
many not

practicing
had did

piece,"
do

continued

Phil, "you
therefore what
you you

difficult

things

to

do;
did them
you your

you

try

to

them the
a

all,but
rest

could
wrong. to

correctly,
You

and

of

did

reached

point
third

where of

had

learned

play perhaps
the other
up

two

thirds

piece correctly, and

If you learned had

incorrectly.
you

kept
these

your two

practice
thirds
so

long enough,
well attend that
to

you

then other

attention

enough
that
so

left to

the

third.
had

By
become

time,
well
to

however,
that

the
you

mistakes
had
Do
siderable con-

fixed unlearn

trouble think that this is

them.

you way

wise

and

economical

to work?''

HOW

TO

LEARN

TO

PLAY

THE

PIANO

141

"No,
is
a

of

course

not,
to

Uncle where the

same

Phil. there
are

But
so

what
many

body
to

going
think is

do
at
our

things
"That

of

time?'' he

just

problem,''
some

answered,
have

"your
to

implication played
wrong.

is, that
Do

passages
mean

be

you

this?"
if
one

"Well,"
hard the
person

she
one

replied, "perhaps might

it would take

tried

enough
first
to

play all of them

a

right

time, but
do this."

remarkable

"Being
He and she her

remarkable,
her

then, is the
think that it

only

tial?" essen-

gave

time

to

over

this

question,
if

finally suggested
considered
in the the

might
had

help her
bothered

passage

which

piece she had

has
a

just been
said
one so

playing.
I

"My
one

teacher
at

often

suggested that
she.
many

play
of
to

hand does of at

time," give
but it is

"That,

course,

not once,

things

think

so

stupid playing that

tedious

way."
"I

admit
the

it

might

be

thing

to

do.

Is that "I I
even

only thing?"
at each
passage
one

might look
tried
to

carefully before hand,"

was

play it with
will

the

reply.
"Then the
passage
some

you

admit,"
up

her

uncle

said, "that
of various

is made of which

of difiiculties could be

kinds,

overcome

by

142

HOW

TO

STUDY

MUSIC

simply playing

observing
them he with

them
one

carefully, and
hand
"if
a

others I would has the

some

by
go

first.
passage

further/'

continued,
wide

peculiar difficulty in it, like

over

moving
these them

hand the

the

thumb,
I

or

stretches

between

weak

fingers,
make the
or

would

pick
out

out

difficult
so as

parts, and

exercises

of of

to

practice
the times hand
in
me

particular
stretch of

kind the few

movement

of

fingers, hundreds
minutes. this?'' Can

of
you

comparatively
any
reason

give
"I

for

doing
she,
a

suppose,"

said

brightening
out

with cult diffi-

interest, "that
passages

making gives
one

study
that
so

of the of

the

opportimity
one's that hand
one

doing
learns

it
how

over

so

many

times
passages,

to to

play
think

the

does

not

have

about

them." "Can do in
you

"Good,"
the
"To

he

replied. things playing

to

tell

me

now

important
avoid

practicing?"
because it forms

wrong,

bad

habits,"
"Yes,"

she

answered

quickly.
to

said
way
even

her
one one

uncle, "and
should take

avoid
a

playing
difficult
as a

in

wrong

only
on

part of the
the

piece, or
parts
whole. "In

hand, and
to

drill

before

undertaking

play

the

piece

other
a

words,

one

should
who

be

like the
men

general strategic
all

conducting

campaign
than

attacks his

points first,riather

expose

along

HOW

TO

LEARN

TO

PLAY

THE

PIANO

143

the
you

line.

Did

you

do

anything
the
you

of that
I

sort

when
you your
a

started

practicing
ago

piece
not

gave

little while
ten

Did
to

rather

rush the

httle

soldiers
as

the the

front

without

est slightwere

preparation
meet?" While she

to

difl"culties

they

to

laughed
her

at

the

the illustration,

ishness foolto

of her face. such had her that the What

performance
uncle had

brought
been she wondered She told

color

her

saying

seemed that she that

good
not

common

sense,

thought
had uncle had

of it herself.

realized

teacher her

practically
had

her but her

as

everything
somehow

recommended,

ideas

been with

conveyed perhaps
the the

to

arbitrary
idea for that

commands,
the
not

vague
reasons

pUpil
the

would
to

think

out

them,
is

stopping
last "Will

consider
a

that

such

thinking
to

about

thing
a

pupil

is inclined continued

do.

you
me

take

pencil,"
you

her
to

uncle,

"and this

show

how

would

plan

practice
and

piece?" skipped
out
over

She marked that had

the

easy

beginning
first

the

left hand her. said "the

part of the

figure

troubled
so

"Why "Oh,"
easy

fast?"

her

uncle.
measures are

she

said,

first few

enough."
I would
commence

"But

before

that,"

he

said.

144

HOW

TO

STUDY

MUSIC

She

looked with

at

him

in

surprise.
;

'^

I should

mence com-

the

signature

noting
is in What

both
the
are

key key
the in

and G.

meter.

For does

instance, this
that that mean? would ?
''

of

What

other
-as

likely keys
This
never

probably

come

the

piece progressed
was
a

novel of

suggestion keys
the
as

to

her, for she had

thought
so

being

in groups.

''And should

with
to

movement

of the of it into
These you the

piece.
my

try
at

get the
very

swing

mind
ures meas-

right

the the

beginning.

few clew

and
movement

signature give
whole
come

to

the

for the that will

piece.''
out

''But she

when

you

play it,''
would
be
on

said.

"Yes,"
like ahead do." "But
am

said

her who

uncle,
sent

"but

that

the

general
of his

his

soldiers
to

rushing
out

plan,

in

order

find

what

to

to

hear asked he

the

music

before

mence com-

playing?" "Certainly,"
rather
can,

Harriet.

answered,
most
some

"though
to

it You

is

diflBcult

for form
to

students idea it. of

do.

however,
you

each
were

passage

before read

try
motto

play
on

If you

going
you
mence com-

to

that

the words

wall, would
over

saying
Would whole
you

the

mechanically? meaning
of the

not

rather

grasp

the

first?"

HOW

TO

LEAHN

TO

PLAY

THE

PIANO

145

"Why,
read it

of

course,"

she

said, "you
you

could
what

not
was

smoothly
do

unless

knew

coming."
"How music He
out you

expect

you

are

going

to

read

then?" let her and

as

proceed
the

and

she

went

on

picking
her.
sage, pas"

marking
she uncle
was

things that
on

bothered the final

Just

passing

to

her should in my
"

expressed surprise, remarking,

difficult
to carry
so

find mind.
can

it rather

much

We

reduce
as,

difficulties not

merely by separating
one
we

them,
at
a

for
we

instance, by taking
can

hand have
at

time

; but

also

reduce

what
too at

to
one

pay

attention

to

by

not

taking
whole

much
once

time. This

Why

take
very

that

page

"

seemed where

reasonable, but
we

she

asked,

"Then "Where

shall

stop?"
stop
if you
you
were

would
or

you

trying
read?"
to

to

remember,
"I

repeat
break

something
it
up,

had

should

according

the

thought."
"Where

does

the

first

thought

end

in

this

composition?"
After of the
some

consideration the

she

marked of the

the
song.

end

prelude and
is the

beginning
one?"
over,

"Where She
out

next

tried the end

melody

and

finallypointed

the

of the

first theme.

146

HOW

TO

STUDY

MUSIC

"These,
you at
were

then, laying

are

musical
your

paragraphs,
you

and

if

out

work,

would the
you

look

it not
you up

simply with
had what
to

reference all at had

to once,

to

different
would
too

parts
shorten
many

do
you

but

do

by

not
you

taking
not?'' what

of the

parts
to

at

once,

would

She do than of her

in

began
had

realize
was a

that

finding
more

out

to

practice
she

much

serious the

matter

ever

thought,
when her. she

and had

foolishness
to

procedure
to

started

play

began

dawn

on

"This,
to

then, is the fourth

up

stage
to
or

of

practice,
not

"

break

what what what

you

are

going

play,
the

only

finding
is to well
;

out

the

left hand
the

right hand
are as

do, but
and

particular figures
to cut

besides short

this,
passages

the

length of the
to
any

piece into
so

according
to

its sense,
one

that
a

you

will not that For

have

think
or

at

time is too will

name

of

passage

is too sake
up
as

long
of
a

of

one

that
we

complex. give
would
a

the

convenience
name.

this
you

breaking
suggest
What find

What for

most you

appropriate
do in

such when
pound com-

process?
try
? "We
"

do
out

chemistry
of
a

you

to

the

elements

analyze it," she

first

replied.

"Can

we

call of

this

part

of

practicing

the

process

analyzing?"
"That is
a

good

name,"

he

answered.

HOW

TO

LEABN

TO

PLAY

THE

PIANO

147

^^

Analysis, then,
important
will
come

our

fourth in in
a we

stage, is
actual few will

one

of the
If you
we
we

most you

steps

practice. days
see

again
this have
same

after

have shall
are

thought
need
to
treat to

over,

whether in which

another
passages

stage

the he
to

differently.
to

fore Bea

you

go,"
how will
I
am

said,

"I

want
some me

show these
you

you

little of that
you

practice

of

things
an

analyze. taking
where the the

Let the

give

ample. ex-

diflScult

hand
one
over

ment move-

in
to

transferring

figure
hand

from

octave

another,

passed

the

thumb." He
passage
"

invented
on

little

study by
!" said

repeating

the

each

semitone. Harriet.
out

Isn't that

interesting
your

"Then of
your

you

would
that

have

study

grow

piece be,

way?" not,"
he

"Why
as

replied, "wouldn't
discussed do?" it
not

it prove

to

we

have that

already
we

it, the

most

helpful thing "Yes," study

would it twice be fun she

could "and

said, trying
you

would

make because

the it

as

interesting,
to

only

make

it up,

but
to

because

would

help
said
some

in

learning
"I

play

the

piece." "Now,"
make learn
up

Uncle studies

Phil,
that

hope

you you

will
to
"

will Without

help

how

to

play

this

'Song

Words.'

148

HOW

TO

STUDY

MUSIC

Harriet

went

home,

feeling that
had her.

the

whole

question

of

musical

practice
to

suddenly

come be-

extremely

interesting
Section

3 next

When

she
at

came

for ''How

her

lesson,

her

uncle

inquired
your

once,

did

you

get along with

studies?" succeeded she

in

"I

playing

over

the that each

if I

difficult

passages,"
them
tone

said, ''and

found

played

in

different

keys, taking
it
was a

chromatic in

successively,
passage

great

help

playing
studies

that

in did
not

the

piece.
like "it

But

the

themselves

sound

anything."
would
a

"Probably
to

not," he
as

said,

take

skill
;

make

study keep

attractive mind what

as

composition

but that but

if you

in

the
to

study

is

for,
in I

it is not that

something help
you

pleasant
as

play in itself,
as

it is to
to

much that is

possible
be

learning
don't
see

play something why

how
your

attractive,
not

studies You

could

sidered con-

successful.

see,"
a

he

continued,
or

"learning
a

to

play

difficult
purpose

figure
of

half
a

dozen of in

notes

is for

the
so

forming
the will
passage not to
a

habit
comes

playing them,
the

that

when

piece,
from said the

your

attention

be
duce. procase

taken

away

the last

eflfect you

wish

As of

we

time, it is really
from

relieving

attention

details

so

that

HOW

TO

LEAKN

TO

PLAY

THE

PIANO

149

you

can

concentrate

on

the

more

important
of

essentials

that

really

demand fifth of
a

thought.
stage

''This
If you had would time the
many you

introduces
were

the mistress

practice.
and

the

large
to

house look

complex
do the well work

social if you which of the the did

duties

after,
same

attempted
is

at

the done

to

do

generally
?

by

various would
see

servants

house

An the

eflScient
servants
save

person

plan they
but that for
are

work

for

and
own

that and

it,
not

and

would for

her

time
servants

strength

only
to

directing
plex com-

the

attending required
if the mechanical attend

the
a

many

duties "So in

of

hostess. attention of
same

playing,
with
the

conscious

is

occupied
is
to

details
at

what time

being done,
other
a

it cannot

the
you

important
party
was

problems.
home, hands,
to

If the
you

were

to

have of

at

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entire would
your

conduct

which
to

in

hardly
guests
of attention

expect
without
to

come

downstairs

meet

previously having
all the details When much
to

given
such the think

hours
an

that

ment entertaincame

demands. would attended with the

not

evening
of. could

you

still have
to

But

having
self your-

the

details,
and
as

you

throw into

vigor
itself

enthusiasm
as

making
For ferent difin

event

interesting
one

possible.
guests
would be

only would
from the

each

of your

others, but

they

all be

150

HOW

TO

STUDY

MUSIC

diflferent moods,
be

and
to

your

mind

would
every
meet.

have

to

quick
"So
in

and
a

alert

interpret
you to

sign

that

revealed

situation

for this

playing
your your

'Song
your

Without
two

Words/
eyes, your

you ten

have

servants,
two
your

fingers,
a

feet,
friends

all

combining
your

to

give
If

treat

to
an

by

playing. carefully
are

you,

like
out

eflScient

hostess, have

planned
to

all that have

can

these them

willing
proper

servants

do, and

given

directions
at
on as

and the

drill,you
piano
the
to

sit down

with

confidence attention

and

put
feast

your

whole
as

making possible
awkward trained what
was

of

music It

agreeable
would affair be
some as

your

listeners. middle

very

if in

the
a

of the
so

illto

servant,
to

finger, got
as

confused
your

be It

done would
you

to

require

specific
to

attention.
your your

be had

equivalent
not

telling
trained

friends
servant see,

that

carefuUy
I

beforehand." much better than said

ever

"I

did
"I

before,
never
as

what knew

practice means,''
how

Harriet.
not

much but
go in

was

required,
your

only

to

planning,
so

having

servants

trained

they
"That

can

ahead
we

themselves." have the fifth

is why

important
the work

stage in practice, drill.

for the

Analysis plans
drill

servants;
of

through
and
sure

they

acquire
Un-

habits

rapid

performance.

HOW

TO

LEARN

TO

PLAY

THE

PIANO

151

fortunately,
part
least
are we

this

drill and
so

is

the

least do

interesting
it with the habits

of

practice,

students result

concentration. formed

The and

is that

slowly
clearly and
take
our

poorly.
to
see

If, however,
how
soon

think
can

try

the

hand
effort

the

motions

without the
more

special
not

on

part,
the

testing speed
become time whole
at

hand,
than

only
is
soon
as

by
find
game you
can

increasing
but such of drill

to

what
we

required,

doing
can

it in different
as

keys,

interesting
try
the
see

golf.

Each
your

you

passage

concentrate

self and the

very

if you

beat

your

last

record
to

first trial.
a a

Sometimes
number of of

it is well

allow
to

yourself

definite

repetitions
the

accomplish
and then
see

perfect
near

playing
you
can

fragment
to

how
stunt.

come

accomplishing
drill

the
must

"In motive
a

other in

words,
to

playing
good
be
an

have Such
one,

order
must

produce

results. artificial

motive

necessarily
its
own

planned
drill the for

for

specific They
that

purpose. to

Many
get
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pupils forget
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this.

expect

pleasure

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ing practicfusion, con-

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do
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Because

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get their

fingers
for

to

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habits

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never

work,

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many

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work

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interpret
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well. work

great
from

teachers

separate
so

drill

the

piece

that

final motive

for all the

152

HOW

TO

STUDY

MUSIC

practicing
scales and

is lost, and

the

pupils
without
It

just practice feeling

much need
you

finger
of
see

exercises work.

the

application
rational
prepare to

their first

is

more

just

where

you

drill to
want

for and

the

particular piece
make
up your
own

to
as

play

then

stunts

immediate

motives

for Children

rapid
in their

and

successful
are stantly con-

accomplishment. setting
with what has
a

play
skill.

trials
a

for

You

know The
or

pleasure
to

boy

will throw in
so

stones.

object
within
can

be

hit

many

throws,

certain
to
way

distance.

Similar if of
we

interest
go at

be

given
right

drill and

practice
put
out

only
the

it
a

in the time

our

heads

for

the

artistic

interpretation
of

of

piece

of

music." "I that

never

thought
said the

making
don't

drill

interesting
continued
a

way/'
see

Harriet.
reason,

''You
her

you?" give
better
you

uncle. time

''It is not while learn

you

just
are

to

ant pleasbut
more

practicing,
and

to

make

you

the

passage

quickly."
"I
see

it now,"
purpose

Harriet
and
not

rejoined.
for

"It's

for

practical

amusement."

Section

4
for the sixth

"We

are

now one

ready
that

stage
and

in

practice,

the

follows

analysis

drill.

HOW

TO

LEARN

TO

PLAY

THE

PIANO

153

This

looking
is what

after

details does

and

directing
her has

ants serv-

the think be still

hostess
a

before who

party.
done

Would

you

good
to

hostess

all this would

or

ready

give

an

effective
necessary

party,
on

is there

something
in

further

her

part?"
Harriet turned her
over

her

mind

the and

various recalled

parties
how
were some

that

friends

had

given,

of them,
or

although

elaborately planned,
affairs, while others,
were

more

less
as

stupid costly
or

without what felt the that

being
she when

as

elaborate,

girls
had

called

''just heavenly."
the
answer

She
to

discovered

the

question
the hostess

she and

said, ''Besides
well

having

thing every-

planned
must

arranged
charm

beforehand,
to manage

have

skill and

all her "In

mean

details other that

even

effectively."
words,"
if

said

Uncle took
a

Phil,

"you
as

everything

place
while

it

had

been

planned
needs Now is

beforehand, good
my

really

ful success-

party

generalship
sixth

it

is in

going
do

on.

important
the

stage
What

practice
you

training
would "between
to

in

good
be

generalship.
that work

think

difference,"
was

he

continued,
"

practice ready
in for

analytic
and this

preparing Again
she
and

get

"

following stage, practice

thought
she
over

good
the

generalship?"
she had

parties good

attended,

felt

that

generalship

154

HOW

TO

STUDY

MUSIC

was

the
to

ability
know

to

be when
to

everywhere
to

at

the

same

time,
the

just
and
were

suggest
all

changes

in

program,

guide
as

the

complex
was

things
one
was

that

happening
easy express

if there
on;

but she

simple
not ''I

and
to

thing

going

but

able
I

herself. she

think
to

know,"
A has in

said,

''but

find

it her

diflScult

state.
on,

good

hostess,
of

when

party
She

is is

going
not to

everything
one corner

going together.
the in the
room

seated
one are

talking
of the ''You of the
in in

person,

while

things
and

rest

house have

going

by
he

sixes

sevens."

the

idea,"

said;
a

"the

practice just things

have

good

generalship
of the the but

demands

treatment

opposite
detail the hostess' the think of

analytic stage.
as a

Not

effect
at

whole

is uppermost As
we

mind

this

stage.

called
us

fourth of

stage
this

analytic,
stage
many

it might
as

help

to

sixth the This

synthetic, a
essential

process to

controlling
effect. in

parts in relation

the

whole

is

just
and

as

as

the what

practice
"The

analyzing
to

in details

discovering
go

is necessary

make
a

the

right. they
less

diflBcultywith
this
care

good

many

is that
more
or

leave
to

sixth of

stage

of

practice

take

itself, feeling, as supply

party
while the will

many

hostesses and But the

you

do, that

if

they
the that

entertainment
run

refreshments

itself.

will

admit

mechanically

party

HOW

TO

LEABN

TO

PLAY

THE

PIANO

155

might gives

run

itself,it isn't the kind

the keenest
years

of evening A

that
many-

you

pleasure.
in

great

students
to to

spend

practice, getting ready

them have fail in
to

play, yet
refuse

if you

ask

play, they
both do

have
to

because

they They
and

nothing
the

ready
aspects

play. good
work the

Many practice.

students

of

do

not
never

analytic

thoroughly, synthetic."

they

really approach Harriet,

who had still could "But and been
not

"That's

true

enough,"
of her for years their

said friends and

thought

of

several lessons

taking piano give

pleasure

by

playing.
or

after side of have

all,isn't good generalship,

the

synthetic
it and
some

music, just
not.

gift?

Some that

have
can

Is it

anything
a

be

cultivated?" said asked that first

"Let's her
you

make

practical experiment,"
remember other the let
now us see

uncle.
to

"You
the and
as

piece
me

play
you,

day;
know

put
the
we

before

we

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we

stage
describe with

in

practicing is, let

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to

cannot

things good
"I

are

that

should
or

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reference of

generalship,

the

aspect

practice."
said

"Oh,"

she,

should

want

to

play

it with

expression."
"What Harriet
not too

does

playing
think

with

expression
answer

mean?" that
was

couldn't

of any

general.

156

HOW

TO

STUDY

MUSIC

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HOW

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158

HOW

TO

STUDY

MUSIC

"What is
a

are

the and

parts of
an

song

There

always
is

melody,
the and

accompanmient.
commences,

Generally
there
a

before

melody
often

lude, pre-

after also.
such

the

singer
this

has

finished out With-

there

is

postlude
show

Does

'Song

Words'

parts?"
"here
commences,

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this is where is where
comes

replied,
the
song song

is the

prelude,
and
over

and here

the in."
you

stops

and

where

the

postlude
mood

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song,

find
one

only
way

one

aspect

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to

and
we

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expressing
are

the

mood

could in

say

that

two,

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first mood

the

middle

then

the

recurring?"
"There "Then
are

two

moods,"
you
say

she

replied.
that
one

wouldn't

of

the

important

things in playing with

details all these show
song

expression, in

making
is to
in
a

all the
out to

of your

technique effective,
of the

bring
way

aspects

composition
to

this
as a

relationship
whole? that
we

the

poetic
far
thesis syn-

mood he with

of the

You could

remember,"
not go

continued,
the
;

"I

said

analysis
other this

without
you

involving
would clear
gave not

the think

in

words,

of
on

practicing
the
to

composition
before
you

through
any

analytic
the

basis

thought
material. details of

synthetic
as

treatment
as

of the discovered

same

Rather,

fast

you

the

HOW

TO

LEAKN

TO

PLAY

THE

PIANO

159

what into of
were

you

wished

to
as

do

you

would and

group
or

them

units the

such

phrases
and would

periods,
as

parts
units that and
pressed ex-

composition,
finished
you

as

fast
on

such those

pass

to

followed, constantly larger units,

one

grouping
the whole

into

larger

until

composition
plan.
in

whole would

harmonious be
your

"What

first

grouping

this

composition?"
After this
some

thought,
seems

Harriet have
I
two

replied, "Why,
passages,
one

prelude
up

to

leading
your

to

the

other. first the

think, according
this
;
so one

to

plan,
and of two

should learn
passages,

learn

ascending
that
wave

one,

then

descending
there Then would

stead in-

be

of motion will be
an

up

and

down.

the whole
to

prelude song."
not

effective

introduction

the

"Very
have said

good,"
that
on

he

replied.
You
way

"You would with

could
no

better. in the
same

doubt
song,

keep
then the ideas and

right
up

the

taking

first the relation

to

initial of

strain, then
to

the second,

the
return

these

each

other,
the

then these
;

the
a

first
as

strain, expressing
to

in

such

way

increase

interest that

finally you
form
a

would

so

play
how
are

the

postlude

it would it. be

fittingclose
you
see

for all that

preceded
it would the
position com-

Now,
for
you,

don't when

important

you

analyzing
up

and

breaking

it

into

bits,

to

be

160

HOW

TO

STUDY

MUSIC

constantly reversing
these wholes? in
up

your

procedure
into much

and

ing group-

bits For the

together
you

larger and
as

larger
practice

need

just
effects

uniting
these

separate

that
as

go you

to

make in

larger and
the
you

larger units
themselves.
our name

need

learning
''Don't

units

think of
a

for

this
or

kind

of

practice, practice, thought

Europe
their of
men

that is

good good
care
own

generalship,
one?
not

synthetic
you
ever

Have

with but

what
our

only
as

the

nations
prepare

of

country
and the The

well,

oflGlcers/ to
on

control and sea?

on

guide large
wonderful
success

bodies

land of the

floating
great
is
;

fortresses business

which

estabUshments due
as

have attention
to

gained
to

only
it is
are

partly

to

their due

detail that

quite

much

the

fact of

they

conducted

by good generals
Section
5

industry."

''There is of others. nations

means

is

further

stage

of

piano study playing

practice

that

great
It

importance, corresponds
to

namely,
to

before that

the
own

try

give

to

their and
at

generals, by
engagements.
an

of sham

battles

naval

In

spite of these
has been

attempts
an

practice,
however

ofl"cer has
a

who the

through
So in

actual

campaign

advantage.
may

music,

well

student

marshal

all his

forces

together in

HOW

TO

LEARN

TO

PLAY.

THE

PIANO

161

the
matter

seclusion
to

of

his
a

studio, it is quite another

successful of is

conduct

production
an

under

the

embarrassing
say,

conditions
no

audience. learnt
:

So
until

I would

that

piece
actual

really

it has

been

through
and these because the

the

last four

stages

analysis,
The
to-

drill, synthesis,
reason

performance.
be tell until

why
is

four
we

should
cannot
are

grouped
how

gether
been
.

really
have

successful tested

first the

three trial
one

they

by

of

performance.
consideration of with the
a

"There
to

is,however,
in mind.

further seventh

bear

The

stage
seen,

practice

process

ends,
how

as

we

have

public performance.
success or

Such

playing
and would it

shows the

by

its

failure been

effectively

previous
this

stages
in

have

done,
What

gives practice
you say

self-control.

further Harriet
over.

consideration
took
some

might
time her that

be?"

thinking
the

the

matter

It seemed all the

to

last four in

stages
actual uncle when

covered

points
her

necessary

practice.
asked she asked

Noticing
remembered how she for

hesitation, her
what he his told her

if she

him

he

planned

practice.
said
you

"Oh,
your

yes,"

replied, "you
some

plan
as
a

practice
a
or

definite
to

purpose,

such of it to

learning
friend
or

piece just only

to

give

some

idea

study

the

composer's

style,

the

period

of the

composition."

162

HOW

TO

STUDY

MUSIC

''In do
not

other have

words/'
to

said worked all the aim

her
up

uncle,
for

''all

pieces
formance, per-

be

public

but

they
worth
an

need
amount

testing.
of make what direct time

Some
and

pieces
energy

are

not

that first

such

would

necessary.
you want

The
to

point
the

is to

determine and then This

do

with

piece
end.

the

stages

of
to

practice
exercise

to that

makes and
not

it necessary do

one's

judgment
some

things

alike, but
Uncle different she

always for
Phil's

definite

purpose."
in

ideas
Harriet

put

practice
had three

quite
that
years,

light.
the

supposed
or

if

studied
at

music end

for of

four she

somehow able
to

the

time

would

be

play successfully.
she three

"But,"
for

actually said,
or

"I

have
and
I

been find

ing playmore

four

years,

difiiculty in playing before

did when I
was

people
my

now

than

asked
said her

to

play

first
test
as

piece."
of actual

"Exactly,"
use

uncle,
but

"the

is

just
Not

as

important only
if

in music

in

anything
become
work of the
so

else.

pupils
do
not

teachers
up

impractical
with bad
many

they
reason

check

their One
up
a

the

real

for lack

doing

it.

results

of this

of checking

is that

teachers teach The

believe the result

use

they
of is that

can

give

technique
wards. after-

first and

that

technique they
start

pupils pupils

along

fixed

plan

of work,

although

these

HOW

TO

LEARN

TO

PLAY

THE

PIANO

163

vary

exceedingly
the
to
same

in

talent. of

It

would

be

like

building
reference

kind

foundation that I the

without different often

the
were

superstructure
to

foundations
observed the

support.

have

teachers, especially foreigners, under thoroughly,

not

guise of teaching
whose
much talent
more

give
a

young
structure supergrape-

ladies

would

justify
than the

permanent
laid
If
out
a

arbor,
that

foundation

on

plans
saw

of
to

Woolworth
what he

Building.
gave

teacher
was

it

his

pupils
their

in the

highest
he

degree
would
at

justified by
check
up

natural actual and

to

ability,

his work friends

by

performances, By pupil
the

home,
the

before
every

classmates. have
to

thus realize actual in

making

effort of the

relation

practice
result.

its fruit in

results, a great saving

and know if
energy many

instead

of

waste

time "I

would teachers

who
I have
I
was

would said

be
to

dignant inyou,

they
work.
your

heard think

what that

for

they

would

recommending
would
say;

superficial 'spend
instead aU of

'What!' time

they
scales

merely
your

playing
and the the and

pieces,
gios, arpeg-

first

learning
octave

graded
of

studies,
Cramer,
seems

work,
and
are

pages

Czerny,
doubt who

Taussig,
serious there the

and

rest!' and
I

Their do
not

position

earnest,
many

that have

talented undoubted

students

capacity

and

164

HOW

TO

STUDY

MUSIC

natural foundation

ability in music,
in technical
I
am

and work

that
as

they
solid

need
as

such
super-

practice implies.

not

recommending
and
extent

ficiaUty,but
is done shall

intelligent economy,
bear
In

that that

what

fruit other

to

the

tions condi-

justify.
work
to

words,
for the

have
use

the
to

technical
it is

done,
put,

sujEcient and
not

which
as

be

practice technique
purpose,
"

such,
to

without
start not

definite
out

especially
where

not

in

technical talent
we

training
to

there

is

sufficient ''In this of

make

use

of it.
over

lesson actual
ones.

have

talked
that
you

the the write

four three
me
a

stages

practice
I wish four

follow would

preparatory
sketch

of these and

steps,''he said, "describing

reasons

them,
Don't

giving

the

for

their

exercise. three what

forget also,"
preparatory
the be
to

he

continued,
done
of

"the

stages
purpose

practice:
exercise

first,for
;

practice done,
the
a a

is to be

second, how judgment;

of time the
a

it is to and in
so

the

third, planning
which that
to every

definite definite

allotment

learn

part

of

piece, feeling

day's practice shall give

of

progress."
Section That
6

evening
from she

Harriet's her

mother
in

asked the such

what

she

had

learned

uncle
"we

afternoon.
an

"Oh,"

replied,

had

interest-

HOW

TO

LEARN

TO

PLAY

THE

PIANO

165

ing
to

talk the

about

practice.
that

Mother,
I have

I have
never

come

conclusion

really

practiced/'
Her "A
see

mother

looked
deal of

up

with
I

surprise.
called
was

good
after

what with

practicing, I
what I
was
plish accom-

the would
to

talk

uncle,
and

the

workman

call kill time And I

was

'soldiering'
not

"

just it.

doing things Mother, myself

to

really to thing
time

anything.
is that for not that do

the

funny
all

about

the

excusing
couldn't could
my

accomplishing
I

anything, by saying
and students for do. of

myself
to

wasn't talented lack

seems

musical

expect
I
was

what
my

blaming
and lack If
I go my I
to

of talent
to
me
was now

lack

success,

yet it
of had work

that of

instead
common

of

being

talent
gone

it
to

lack

sense.

work
am

practicing giving
made
a

the
I

way

when would

party,
me

think

success

have

feel

quite
the Don't first
are

talented. Phil

"Uncle
seven

has

asked
in

me

to

make
Here

list of
are.

stages
think
are

practice.
look and

they
last

you

they

businessUke?
the

The four

three what

preparatory,

you

actually
the the
use

do

when
to

practicing.
be

''1.

Decide

purpose

accompUshed

in
"

learning
2. 3.

piece.
of one's one's
own

The

judgment.

"

Planning

practice time.

166

HOW

TO

STUDY

MUSIC

Analysis through, divide

4.

''

when it into
to

you

think

the and

whole choose

its be

parts

particular
'^

difficulties
:

mastered. these

5.

Drill

when

you
easy out
:

practice
"

difficulties
see,

until

they

become

the need

drill, you
of
a

growing
''6. and think '^7. and
"

directly

of the
when
you

piece.

Synthesis
of the

put parts together

whole.

effect

of the
you

Application:
if your
see more

when

play
I have

to

people

see

practice has
and
more

been

successful. failed
not

that
ways

only
after

in

the

first three
too ;
as

of

practicing, play

but

in this last way,

for I have
I
was

practiced piece
to
one

piece, and

just

getting
another.

respectably

I would said
the

begin

'^Mother,''

girl,straightening
her

up

and "it is

looking seriously
very to

into
to

mother's

eyes,

demoralizing things
up.

be

always
a

getting ready
chance much
to

do

and It

never

having
to
me

check of
our
ception ex-

yourself
time

seems

that

is spent of
a

that few

way

in

school, with

the

studies
art.

like

dancing
all and

and the

music,
serious

cooking
studies
are on.

and that

In in
our

fact,

count

standing
not

promotion
checked
on

things
We how

that pass

we

do

really get enough

afifect us,
we

up

examinations

them,
would worth

but
our

far

they really
the these
way

for

instance,

tastes, and
whether

feel, all that

are

show

things

really

HOW

TO

LEARN

TO

PLAY

THE

PIANO

167

while

or

not,

we

have that
we

no

way

of knowing

; while

all the

things

could considered

really, practically by the school

''all your
as

demonstrate,
studies

are

not

of worth."

"Oh,"
studies and
we or measure

replied her mother,

are

academic
poses, purway

introduced
we

purely for cultural

measure

cannot

culture would do

the
in

what

person

music

cooking."
"That
may

be, Mother," always

has
to

Harriet of culture
taste

answered,
as
thing some-

"but

I have

thought
do with

that
It
some

and

feeling. ful thoughtare

is not

exactly doing
in
a more

from things dijfferently

people, but
way;

refined
the cultural

and

and
on

the

way

studies
to
our

carried either
seem

in
or

school

has

nothing
All should that

do

with

taste to want

feeling.
is that
we

teachers
pass
an

try and

examination." Mrs. Brown felt the she did

or

truth
not

of know

her

daughter's
to meet

statement,
it without

yet
more

how

less

compromising
upon

the she
was

foundations

of

an

education

which of the

insisting. This judgment,

education
success
or

development
him

pupil's
own

making by
her

responsible for his

and

testing it himseK
was

proving

its She
at

failure,

startlingly novel.
somewhat herseK

thought

brother consoled

visionary by thinking

times, and

that

168

HOW

TO

STUDY

MUSIC

she the
are

stood

for

what

was

practical.
''What musical work

She

turned

subject by askmg,
to

practical changes
from
your

result
your not

in

your

talk ''I that

with
am

imcle?"

only going
but
to

to

practice
am

in the

ways to
or

he
a

suggested,
little

also chum

planning
and
my
one

give
two

musicale, play
a

my to

other

friends, in
to

order
'

test

practice.
Words
'

am

going

that

Song

Without

by
and

Mendelssohn,
a

little Mazurka That These

by

Chopin, is, if
are

Sketch
does I want

by
not to at

MacDowell.

my

courage

give
be

out. to

three if I I
to
am

pieces
go
to

able
with in
me,

play well, and

the
a

work
to

them them

idea
way to

that
as

going

play
I

such I

give
more

pleasure,
dare I
am

it will help
am

think,
sure

work I

carefully.
do

not

quite
so

whether the

really
think

it,for
to

am

afraid off. that

or are

girlswill
like

trying
is
our

show

"Why sketches,
cooking,
music sketches I wouldn't and it
me a

it.Mother,

we

to

show
of

our our

needlework, friends, but

them? You If she

the
so

result afraid how

me

to

our

to make

before and

know showed

well
a

Jane sketch

plays.
mind

saying
if she

that
at
me

I did

not

like

it,

she

would

only laugh
but

without

minding
a

particle ;
and
to

should
am

play
she like

piece
never

to

I criticized
me

it,I
I

sure

would
to

speak

again.

should

form

'how

to

learn

to

play

the

piano

169

little
we

club

among

my

nearest

friends for the fun

so

that

could

play

to

each
you

other,
suppose
was
on

of the work?"

music The Her "I

your

only.
mother's

Do

it would with

face
was

radiant the

delight.

daughter
think

really plan
to

track.
a

your

play

few

pieces
'^

to

friends
look

is
up

good
the

one/'
is
who

said

she. about

You the

might
three I think

all that
men

interesting

pieces
you

and

composed girls
so

them.

could
not

get
be
you

the

interested
how
to

that
are

they

would
or

thinking
were

of

you

playing,
would

that

trying
music. able
to

show
a

off,but

really enjoy
it would be

your
to

What do

splendid thing
Harriet mother's
her
was

be

this !" her.

to

greatly
and with her

encouraged
she her
went
new

by plans.
to her

enthusiasm,
mother drew of Jack in his facts

upstairs
the

studies, delighted
Her

chair

up in

fire

with She
was

feeling
of

thankfulness and of how much world

heart. he
was

thought becoming
he

interested
as

music,
of the

he

interested
how

in the
was as

about her

him

constantly
to

surprising
and

with

observations of the

pitch

rhythmic
much
as

relations did with

music
to

he

had

heard,
and

he

reference
and

discoveries

about

his stamp
the the

tions, collecmany street

animals,

birds, and happened

he
was
on

interesting things
and

that

playgroimd.

True,

saying nothing

170

HOW

TO

STUDY

MUSIC

compared
say in

to

what

most

people
music.
to
occur

think Gush
to

they
and him

must

connection did
not

with
seem

mentality sentiin relation

to

it.

Melodies

and

harmonies

that

he

heard his him.

were

interesting phenomena,
like felt
to
an

stimulating
about the best

thought
She

any
sure

other that

phenomena
this
was

approach
So vain with and

artistic her

musical

Ufe.

Nell,

youngest

daughter,
to

"

her had
songs
a

senseless
; she

approach
was so

music
of

entirely changed
that she
sang
to

fond

her

her

dolls.
In

Music

had

become made the for

same

part of her

doll

play.
for
her

fact, she had

in much

up

little refrains
way

dolls

that there
were

she
was

made

different

dresses in

them;
yet
musical

while

nothing
her
own

original
her

them,
of

they
all her

all What

application
mother
sang

material.
was

pleased
the
was

most

of
to at

that, when

child
a

her

songs

dolls,
them situation.

there

definite

attempt
to

making
the

appropriately
This it at affected times

expressive
the

meet

quality

of

her

voice, making
The music
express.

extremely
of Harriet than succeeded

musical. toward she could better

changed delighted
Her fondest her
son

attitude
her
more

brother
wish.

had

than When eldest

her

thought
to

turned,

however,
she
was

to

her

and

her

husband,

perplexed.

HOW

TO

LEARN

TO

PLAY

THE

PIANO

171

She
the

thought coming
was

of

having

Uttle

musicale while her

during college
to

spring
home,
to
see

vacation

boy
father
over

at

giving
the

the

opportimity
that had
come

and the

son

change
of

younger

members it over,

the she

family.
was more

But
more

as

she

thought
that This

and
a

convinced
to

it would

not

be

wise

thing
music

do. the
to
a

improved
were

attitude

towards could be

that

children
yoimg

showing*
tender
any

compared
cold and

and

plant.
attempt
any

Any
at

sarcastic
or

remark,

being facetious effort, might

much wondered of

humorous

towards

musical and undo She

own

induce had it
was

seK-consciousness,
been that her

what how

accomplished.
not

only
for

in her there

family
such members the
a

but

also

among

friends,

was

temptation,
of the

particularly
become effort
was

the

prosaic
at

families, to
musical shown

facetious of the

expense

of the talent
Even

others,
the

unless
average.

the

well attitude
to

above

then,

the humor

changed praise.
connection could had
see

from

one

of

patronizing
over

blind
in

As with that
at

she

thought
various
a

the

matter

her where

acquaintances
of the
was

she

member he

family
be of
soon

ability

all marked, undue other these

apt

to

spoilt by
On members
was

the the of

flattery
hand,
families

and

praise
could

relatives. of

she

think musical

whose

talent

172

HOW

TO

STUDY

MUSIC

somewhat made the dared knew

below

par,

who

were

so

constantly
that

object
cultivate from

of

family
the little

jokes
talent

they
had. such

never

they
of

She

personal
the individual her

conversation

cases,

where

longed satisfaction,

to

express

herself
do

just

for

own

but of the

could

never

anything hearing through

if

any

member

family

were

within Thus

distance.

inability
a

to

find

expression
of ness. bittercould her band hus-

there

often What

arose

rankling family
own

feeling gathering
if

beautiful her could

be

arranged
and the
son

in

home,
in

only
the
same

join

with

spirit

as

rest

CHAPTER

VI

HOW

TO

LEARN

TO

ENJOY

CLASSICAL
MUSIC

AS

WELL

AS

MODERN

Section
After school how
to

the

interesting
experienced
the
a

lessons with
she
was

that

our

high
on

girl had

her
more

uncle

study
to

piano,

than

willing
mother

follow talk
out

suggestion
with of
her

made about music. "What

by
how

her she

and

him school
was,

might
Her do
you

get

more

uncle's

first
to

question
get
out

benefit school

expect

of

your

high

music?'' This the Her school she that felt music attitude
was

floored work

her,
as

for

she

had
to two

not any

thought advantage. periods

of

leading
the

towards like that in

music

in

towards this

recreation,
for she

and knew
not
as

justified
was

position,
the but

it

practically

attitude

held,
teachers

only
well. So

by

the

principal,

by

the

she

replied,
in

''I

do

not

know

if there

is any the
rest

advantage
it

the the

subject
other

apart

from

gives

from

recitation
173

periods."

174

HOW

TO

STUDY

MUSIC

"What work?" "If

we

would he asked

give
her.
a

value

to

your

music

could read

have

chorus
we

of those could
a

who

could
our

sing and
music music.
I

music,
and think

improve
of these

reading,
should

learn

lot

beautiful results

both

of

might

be

valuable."
he

"Yes,"
get
such

answered,
is

"the

reason

you

do

not

results
are

because,
into of in
were,

unlike

other

jects, sub-

pupils
to

put

music the

classes school
or

largely
skill be is

fit the serious

convenience advance If for there such is

not

program.

No

knowledge
there would

planned.

requisites pre-

work.

Instead,
form of

even

the
one

pupiFs
forced

taste to

regarded.
the

Every

is

go

through
fit the
a

reading and
art

singing music, when

would this
I

perhaps
needs

another of
some

subject
As

better is

pupils.
in form the of line

purely
see

question
I
can

of school much

organization,
of music

don^t

that

do
any

suggestion.
work "We that
you

Is there
are

other

doing in school?"
time in school
some

have

not

to
us

carry

on

any

other," she said, "but

a

of
are

have
to

organized
meet

little music
once a

club week

and

going

the

teacher
continued
to
our

after school
you

hours.
come

wish,"
talk

she, "that
club
some

would

and

day."
to

"Before

talking

the

others,

should

like

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

175

to

find
your

out

what

value

you

expect

to

receive

from
"I

club."
you

think

have

value

on

the

brain,"

she

said

mischievously.
I
we

"Yes,

have;
insisted and

we

should
on

do

fewer

foolish
return

things
for the

if

getting adequate
we

time

energy

spend.
felt
as

If

the

children
would

in American

schools strike is

do,
do

there
ever

be

the The

biggest

the

world

witnessed. know the work wish what

difficulty
want.

children in

not you

they
with

My

aim
to

asking
of of how that

question
to to

reference make the

you

the think for

value

the you

you,

is to from

benefit

study,

is the

first step Harriet

many

in getting satisfactory results." feh her she

Lagination stimulated.
felt
at

How
at

times

had

rebellious, not
its

the

work ness!
"

required, but
I should

seeming
to

aimless-

like to know

how
the
as

enjoy
one

fine

music,
at

so-called
the

classical

music,
as

kind this
are so

hears

best

concerts,
Some of my

well

very

modern

music. about

friends
I

enthusiastic

such

music,
and then

sometimes

think
seems
as

they
if

are

bluffing;
enjoy
music
to you

again
to

it

they

that able
I
to

I cannot.

I should for

like, anyway,
Don't this
in

be

judge
learn

myseK.

suppose

could so?"

enough

club

to

be

able

do

176

HOW

TO

STUDY

MUSIC

"I

don't

see
m

why

the

club

might
We
can

not

be

great
the the well of

help

this

direction.
to

then the

call

value

you
to

expect

receive

from

club,
as

ability
as

appreciate
or

classical
;
'

music,
the
to

modem club

new

music

and How

subject
learn
to

your

work and

would
new

be

appreciate old
"That's '^It would
to your

music/''

it," was
prepare if
we

her
you

pleased reply.
for talk
to

what
over

might

say
to

club

could

the
sort

points

be The

considered

in

listening
it demands

this

of music.

first is that

concentration
on

and

sympathetic
what

mental it

activity
There

the

part of the
about
three
as

listener; second,
we are

requires knowledge
should be

to

hear. latter

topics under
to

this and with of

head:

information

the

purpose

origin of the
the

composition; themes;
form also
to

acquaintance
some

leading
or

and
the

notion

the

structure

of

composition. important
"Now need
custom

FinaUy,
"

there

is

another
trust to

point,
than
us

wiUingness
formulas the and first It

feeling rather
let for
to

to

customs.

consider
on our

point,
is the

"

the
the

activity
announce

part.
papers
not
come

quite
names

in the

of

the
are

singers and
to

players but
And

the
to

pieces they
hear their interest

play.

people
with
a

favorites that

perform
go to

much
race.

the

same

they

horse

It

is

perfectly

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

177

justifiable
student noted is not of artist the

for

professional
or

musician
to

or

a
a

singing
may

playing
but
to
one.

hear

how

do

things;

this, after

all,

artistic and

approach
than
goes

music.
There

It is the is
thing someor

technical
more

professional
that music."
up

important

the
on

composition
when
we

the

performance
looked

are

truly listening to
Harriet

into

her

uncle's

face

with

inquiry.
"Let
me

he illustrate," in the

continued.
are

'^

You

are

having physics
Do you

high school,
pretty
the of
steam

you

not? how when

remember the inventor

a

the

story about

Watt,
he
was

engine,
the

only
from

boy,
As

observed had

that

escaping
to

steam

the

kettle
a

force

enough
that

lift the he
so

cover?
led to

result the

of such

observation,
has
earth.

was

invent
the

steam

engine
the of lads

revolutionized
have that been

face

of

There
who

must

thousands

had
must

noticed have Nile

phenomenon
in the
same

before.
way
on

Water

boiled
or

the

banks

of the

the

Euphrates,
and Rome

and and

in

the

homes

of the of

ancient

Greece
The
not

throughout
in the
case

centuries.
Watt kettle awakened
was

important
that

thing
was

the the mind

steam

rattling the
which
were

cover,

but

thoughts
as

in Watt's

the

result, and
that

the

application
N

of

the

phenomenon

Watt

178

HOW

TO

STUDY

MUSIC

was

able
that

to

make.

This

is such another of

an

important

point
"You
you

I will

give
the

you

illustration.

are

studying
Newton's

the law

gravitation, and
and of the
the

remember
how

story

of

Newton

the fall

apple:
of of
must

observation

that the

momentous

apple gravitation. apples

fall
of

led

to

statement

law have Yet

of
seen

Thousands before

of

men

fall this

Newton's

time. becomes

the

particular
Newton
occurrence.

apple
ciated appre-

important
the

because of the with

sums

significance
same

"The

is

true

music. of
are

We
money

are

constantly
hear

spending
the

large

to

great
but

performers.
great

They

worth is

ing, hearthe

performance
like
the

only
of

external

phenomenon,
cover

rattling
the

the It
you

kettle
can

and become

the

falling

of and

apple.
to

only

momentous

great
to

in the

degree
you
are

in which

you

are

able

appreciate
and

what "We
a

hear."

going
in
"

to

get

talking
with
to

machine
our

player-piano
his

connection
we

club,''
to
a

said
of

niece,

and

expect

listen

lot

music." "That's

quite right,"
my

said

her

uncle,

"but
music than

remember won't make

illustration.
you

Just

hearing
more

appreciate
or

it any

seeing
the

kettles

boil

apples
of Watt

fall would and

lead

to

great

discoveries

Newton."

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

179

"I
very

don't

see

how said

your

illustration "Watt

helps
and ton New-

us

much/'
were

Harriet.
men.

remarkable that
a

They
lead
to
a

made

simple
results,

thing
and
so

they

observed

great
very

great musician
the

might get
he

different
an

efifect

from
person

music would.

heard
your

than

musical un-

What
we

illustration musical And

in

seems

to to

say

is that much
at to
me

should of music." she

be

order
an

get
look
seem

out

with "It
very

arch

her

uncle,
that that

added,

doesn't much." "You observe

is

helping
"but little

are

right,"
two

he

answered;
a

let

us

these
that the

illustrations while seated

closer.

Suppose
before had done

Watt,
and
most
"

comfortably
kettle
would excitement

fire what

watching
young

the
men

boil,
be

inclined in
some

to

do,
to
a

dreamed

of
or

some

relation

fishing
or a

hunting likely
and
of

expedition;
all, pictured
more

problem

most

in the

rising steam
the discovered

form

face
steam.

tive attrac-

than have
Newton

bubbling
the
on

of the
steam grass

Would

he

engine? looking
men

Imagine
into under
the the

lying
tree;
conditions

the
many

up

apple
same

how

young

would the

have
strenuous

gone

to

the

bother started
I have
so

of

carrying
the

out

thought
reason

by
made

accidental

fall?
in

The

why
to

seK-activity

relation

music

180

HOW

TO

STUDY

MUSIC

prominent
listen
are
'^

in music

my

illustration,
in
a

is that of

so

many-

to

passive
are

kind

way

and

surprised
While

that

they

not say

moved. of the and

that

granting
of both
you

all you these

remarkable natural
was

equipment
endowment,
work and them
.

men

their there

must

admit

at

a an

purposeful will, an
attention
to

activity, an
was

interest,
on

what

going doing
are

around
some

Every

one

is
as

capable
his

of

this in
or

degree, according
So
any

gifts

great
from

small.

listener

to

music, only
he
he

apart
the

all extraordinary

gifts, with
attention
to

simple
is

capacity capable
is classical

of

what
what

is

hearing,

of
our
or

interpreting
first point
to
new

hears.

This, then,
to

in

listening, especially
;
we

music
at

must

meet way,

the

composer

and
to

performers,
pay

least

haK

by being ready
do
in

the

closest
from

attention.
what
you or,

This, however,
would for
that

is not

different
to any

listening
to
once

good

music, play.
a

matter,
at

Shakespeare
that

You kind
a

appreciate
of attention vaudeville
aware

it demands that
are

different

from

given

to

performance.
the different kinds different
so

People
kinds
of

somewhat

of

of attention

demanded
not
so

by
much and
to

literature, but
because
an

in

music;
music
"

partly
demand

classical

modern be

acquaintance
that
many

enjoyed,
not

an

acquaintance

have

had.

This

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

181

brings

me

to

my

second

point,

"

intelligent

listening."
"I

have

been

to
a

concerts," piece by
that
a

said
I
am

Harriet,
sure was

"where
a

I have
work

heard

great

performed
my

great

artist, and it,but

have

I have

tried

best

to

understand bored." is
an

only been

bewildered said
her

and

"True,"
It

uncle, "that
to
see

quite possible. apple

fall
or

is

simple
a

matter

watch

kettle
these

boil;

the

second

remarkable
extent to

thing
which

about

illustrations
was

is the utilized

past

knowledge Listening
problem,
desire
to
one

in

their

connection. is
a

classical composition

complex
determined and

might
make able
to

have the

serious

and

to

most

of

hearing,
out

yet

not

be

get

anything

of it.

"Besides and have make

one

determined
most

desire
what
we

to

understand
we

make
some

the

of

hear,

must

knowledge
desire
most

and

experience
While

that

will

such

effective. universal
are

music various

is

of

the

of

arts, the
on

forms

that
that

it takes

dependent
them. Our

the

zation civiliis the

produces
of
the

music
the

same

as

that Hindus

European,
the

while

music

of
as

the

and and

Chinese,

though
as

quite
ours,

complex

beautifully

developed
to
us.

appears

almost
in
a

incomprehensible
theater and

I have
to

been

Chinese

listened

music

182

HOW

TO

STUDY

MUSIC

with and the

most

intense
more

desire

to

understand

it,
that order
more

have

received

pain
I

than

pleasure from
not

simply efifort,
form and such

because
manner

did

know In far

particular
to

of music.
we

understand

music and the

require
to

than what

good
we

attention hear. It

desire

understand
that
to

is such should

knowledge help
you

the

study

of

appreciation
then,
with with is is
our

gain.
of

"This,
In

second three

point, important study

It is
on

that

intelligence,
connection of if it
I

its

topics.
can

these,
like

serious

be these
your

help

rightly done.
to

topics high
with
to
our

that

should

speak
"I

before

school

music

club."
said and

"Very
the

well,"
teacher
on

Harriet,
have
you

will

arrange
to

invited ^How
to

speak
to

club

the

subject
J jj

of

learn

enjoy classical

music.

Section The
news

of the

the
next

invitation

spread rapidly
recess,
over a

in

school, and
of the club that exercise
noon.

day, during
talked
to

number novel after^

members

the

they

were

enjoy

on

Friday

"What rather "I of the

is athletic

appreciation,
girl.
said the

anyway?"

asked

know,"

mischievous
is

little mimic

party, "appreciation

having

somebody

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

183

sit when

at

the

piano

and

tell how

lovely

you

feel

hearing

music.'' afternoon
to came,

When

Friday

about
to

thirty
talk
to
on

expectant

girlsgathered They
talk
to
were

listen

the

appreciation.
their the teacher teacher the

accustomed In fewer it. And

not
as

have
more

them.
the

fact, the

talked,
better

and

questions
this

he

asked,

they sing

liked

noon afterto

they expected
to

somebody
and

only

talk their

them,

but

to
were

play

well, and
of

eager

minds

full of all sorts

at

anticipations.
group

The
the

speaker
teacher did
not
'

looked made realize

the

demure

while

the
how

introductory minutely
from
was

remarks.
was

He

he

being
to

inspected.
way

Everything,
was

his

shoes

the

his hair

parted,
most
were

assiduously
of the

taken

in.

Perhaps

the which the

important why
Was Some

various their
a

imaginings
minds
man was

floating through
so

wonder married. it all? her

good
there

looking
a

had back

not

tragic
to

story
whose
consent

of

foreign beauty,
would the
not

marriage
? of

parents

give

Meanwhile
a man

he, with

characteristic

stupidity
their
as

lecturing dignified
interest

to

girls,interpreted
appearance

serious

and

external of his
for

the he
so,

significant
was

audience him
was

in
it

what
was on

to

say.

Fortunate known
even

that

for

if he

had

all that

going
unusual

in their

lively minds,

his rather

184

HOW

TO

STUDY

MUSIC

absorption
suflScient He
to

in

his

subject might
him
from
to

not

have

been

save
a

embarrassment.

played
and He them

prelude

get the
and in

action looked doubt

of the
at

piano,
audience.
to

then
was

paused
somewhat Uttle
at

his

whether
or

give

introductory
once.

talk,
musical he

to

commence

playing
directed the first part The of this
star

His

stinct in-

happy
of melodies work

choice, and
Schubert's
that their
was

started

playing
substance the held. of them

the

'^Unfinished make effect. attracted

up

Symphony."
athletic

the
Even

had class
a

of the after

and if any

Stopping
had but have

while,
before.

he A

asked few but

heard
were

this
not

thought thought
here
most

they

had

positive, something
which this

they might
''The
next

heard

else like it.

comes
as

Symphony
is
to

Orchestra, play
of
I

week,

piece
program.
one

the In

important
with
my

number

their find
to

ing talkfits beneclub

niece,
wishes
to

that receive

of from

the this

that is
as

she able

to

be
is

appreciate
called.
How I

classical
presume

music,
this

it

coromonly
rest

is
to

true

of the
me

of you. this

would
as
an

you

Uke

have show If
we

take
we

symphony
learn
to

example

and ?

how

may
we

enjoy
; the

classical

music of my

enjoy,
is that

appreciate beauty

advantage
of

title

it includes

the is

feeling
not

pleasure

without

which

appreciated.

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

185

'^

There

are

two

fundamental

points
first the if you

in

learning
upon upon
me

to

enjoy
the he
I
we

good
knows.

music; does;
I

the and

depends
second,
can

what what what what

listener

wonder
we

tell

mean

by
hear?"
'^

what he
you

do

in connection
to

with niece

said, turning
are

his

Harriet.
to you

While
are

sitting there
the
a

listening
Aren't
way

the

music,

you

doing anything?
same

just enjoying
if you
were

it in much

you

would

smelling
she

flower?'' then
on :

'^Why,
their
a
rose

yes,"

said,
she

and

remembering
^'but if I smell
to
roses me

conversation,
and it makes

went

memories times of
I

come

back with

of of

all the

lovely
then

have

had

pleasant
dances

dinners,
;

beautiful be

dresses, and
not
a

jolly
a

I should

having
rose,

only
great
my
seem

pleasure

from

the

odor

of the

but

deal
memory to

of pleasure of

which

would

come

through
I
rose,

past

experience.
while
a

Though
a

be

doing nothing
is

smelling
deal."

my

mind

really doing
was a

great

'^That
^^

fine

illustration,"
that of
we

he

said.

Your

answer

would

imply
sensation

might
sweet

enjoy
odor

just
of the that

the
rose

physical
and would be

the

so

mentally

tired

and but be

indolent

we

experience
that
memory,
we

nothing

just

the

sensation active and

itself,or
have

might

mentally
and

imagination,
to
our

sympathy

adding

greatly

pleasure.

186

HOW

TO

STUDY

MUSIC

Haven't

you

all received which modest

you

flowers,
have

even

costly
less

and

expensive
than has

ones,
some

given
or

you

ure pleas?''
eye

violet other
a

forget-me-not
his keen

given
that
cover

to

under smiled

circumstances

The
saw

lecturer there in his will flower

little,as

was

considerable

mental

running

to

audience.

'^You of the

admit,
is not also
upon

then,

that

the

enjoyment
on

entirely dependent
what
own

the
you

flower, but
as
a

goes

on

within

consequence
same

of your
with has

mental
In to

activity.
fine
to

The music

is true listener the

music. much
extent.

hearing
in is order
our

the it to The

do This

enjoy point.

fullest

first
to
our

second

point

is in

relation
we

intelligence concerning
anyone
we

what
are we some

hear. of the

Can

tell
to

me

what that

things
enjoy

want

know ?
"

may

better

this
^'

symphony
Would know
you

it

help us,"
of the
of

asked how

one

of

the

girls,
the

^Ho

something
mean

music

is made?'' that

"Do different

instruments

play

parts
was

this the

symphony?"
reply. subject,
the and

''Partly,"
''What

else?" the first

"Why, subject."
A titter

the

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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

187

some

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188

HOW

TO

STUDY

MUSIC

effect
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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

189

Turning
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190

HOW

TO

STUDY

MUSIC

classical number and

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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

191

talent, and
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192

HOW

TO

STUDY

MUSIC

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classical

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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

193

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194

HOW

TO

STUDY

MUSIC

panying
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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

195

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196

HOW

TO

STUDY

MUSIC

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HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

197

will that

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198

HOW

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STUDY

MUSIC

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HOW

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199

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200

HOW

TO

STUDY

MU^IC

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made,

general plan,
and details how is if have
we

great
in

remembering
the beautiful You of the
see

clearly
the

music
a

by.

very
are

important
to

knowledge
what
we

plan
we

remember
seen

hear, and
it is to

already
the its will how

how

important
"The how
to
on

remember. have second

points

we

made,
with

first about three heads sub-

listen, the

intelligent listening, plan

for

constitute
to

an

effective music. music

to

learning
you must

enjoy
that
was

classical classical written

But

remember
music that

is,

after

all,
who

please

people

passed

away

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

201

years

ago.

Meanwhile,
with music

later
tastes

generations
and them

have

followed and the be

changing
created

experiences,
must art.
are sarily neces-

for

different, if
too,
young

music

is

living
who
must

"Then,
to

composers

ing trylike be

express

these

differences

be
must

explorers
ahead of that do.

and those

experimenters.
whose their
tastes

They they they

are

ing; express-

is what what those fits the

at

talent

enables

them
to

to

By
for

they
who

create,
are

help

cover dismusic

now

living the
As the untrained talented of
as

that
cannot

best

present.
once

people write,
of
we

grasp
new

what

this the

music but

is often

spoken
it is that

'music until of back real

future,'
In

really
then

only
music look the

understand

it;
music

it becomes

the
to

present.
classical of the
"

other and

words,
forward

we

to

music

present.
third music

My

topic
and it.

will has

be
to

about do with will

this the be

forwardway
we

looking
feel

towards
you,

I, myself,
my very

unable with

to

help
the of this

for music

from has that

intimacy
such
to
an

it,

older
my
new

become
for
me

expression
to
a

ideals,
music after

learn

enjoy
new

would
one

be
grown

Hke

learning
old. I but
to

language
much

has after

might
it

be
can

interested

careful
as

study,
can,

hardly

speak

to

me

it

later,

you.

202

HOW

TO

STUDY

MUSIC

For for

you,

it is very
new

important
shall
on

that be

your

feeling by
sarily, Necesno room new

the

music

not

prejudiced
music. them of

theories

based these

the have

old in

theories The
come,

for music

the

new.

understanding
if at

this

must

all, through
You of for will

first feeling thus the

preciate apnew

its

form the

and

beauty.

importance opportunity
is
ways
on

giving
favorable
this

music If of
you

every

effect. be
one

the the

music
surest

not to

genuine,
find

will and

it out, towards

if it

is,
it.

will
reason

be
I

the
am

road

enjoying caution,
head
as

The

giving
third
to

you

this

and

calling
'How modern
may

this
to

the

important
classical the
my very

under well
as

learn

enjoy
that

music,*
have in
may

is

success

you

following develop

plan

of

the

study

of

form

your
you

judgments
may

of^music
so customed ac-

along
that

these
to

lines, and
that
may

become

particular
be

structure

of music
further

you

prevented
have be This be
new

from

growth.
"All the
one

the
on new one

points form,
music. that

given equally
the

you,

except
ap-

will

effective

pKed
is the

to

important
most

exception
diflScult
to
veal re-

will
or

manage.

Modern
its

music

does It

not
must

plan
"

and
was

organization.
the
case

be

felt

first,

as

with

all the

past

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

203

music
out

when

it

was

new,

"

before time

we

can

map
a

its structure.
newer

By

the

this

is done,

still
on

music

will

probably
appealed surprised

be

dawning

the This

horizon." frank
statement
were

strongly
to

to
one

the

girls. They
were

have

they them,
be

looking

up

to

as

to

teacher, put
upon

responsibility
and
to

rather admission them their all

than that because

command he would his

own

the

not

able

help

of

ability in-

attracted candor. The there

most

confidence
to
was,

by
ask

its very

They
be such
or

wanted
one

questions.
should that that music and

insistent
a

"Why
the

break the

between classical
or

looks
which
"A

back,
looks
very

music,
music he
or

forward, good
is old
art

modern

?'^
answered.

question,''
more

"While between
our

there the

always
and and
more

less the

conflict tween be-

the the

new, art

break the I
can

old
much for

of

present

day
accoimt

seems

radical.
way
: never race

only
in able
way

it in mankind

this

before

the
to

history change
of The

of

has of

the
and

been
with

its way
as

living,
in

it its

thinking,
effect
to

it has such

the

last

few
is

decades. ginning just beforms have of

ried car-

of

radical itself in and

we

changes
the

show

higher

expression.
us

Traditions
so

customs not

along

that

have

noticed

how

204

HOW

TO

STUDY

MUSIC

diflFerent
we were us

the

new

way

was

from the

that
new us are

to

which
art

accustomed.

Hence and the You children in the those old

has
were

taken the

by surprise, steeped
the of
new.

of

who least the who until

a

most

in

art

pared pre-

for

remember of Israel

ture scripdered wan-

story

the

forty
old

years

wilderness,
away

the
new

generation
had

had

passed
Even

and of

generation
the

developed
land. he kind

capable
Moses

possessing
could
not

promised
though
a new

enter,
took
new

had
of

led

them

so

ably.
the
can

It

leadership
them. the
ones new

for
I

very

kind the

of

work

before

look of the I
not

from

mountain
you

top
will be

at

art to

future,
hope

but

the
may

enter. you

that
to to

this

discussion the
art art

help
past
as

only
also The of the
age

enjoy
grasp

of

the

better, but
well.''
the

the

of the

future

hearty
talk

applause
how

that students when

greeted
of
a

end

showed
to

high school

are

ready
to
as

respond

genuine appeal
and

is

made

their
persons

intelligence, who,
the of tliem after

they
are

are

treated
most

all,
of

the
own

interested A

in few with

problems

their

education. the

gathered questions
club. for

around

speaker
on

further

bearing
to

especially
"What the
most

the

conduct
best

of their
us'

is the musical

thing
out

to do
v

get

value

of it?"

HOW

TO

LEARN

TO

ENJOY

CLASSICAL

MUSIC

205

"Let he of
we

us

just

run

over

our

three

main

points/'

replied, "including
the
can so

the
see

three how

sub-topics specificaUy
them
on

second

point,
them.''

and He

apply
that

wrote

the class

board,
at
once.

they

could

all be

before

the

How

to Learn

to

Enjoy Classical
Music

as

well

as

Modern

I.

By

active

sympathetic

listening,

ing, associat-

imagining.
II.

By

inteUigent listening,requiring
1.

Information

as

to

the

purpose

and

origin
2. 3.

of the remember of

composition.

Ability

to

leading themes.
or

Knowledge
a

structure to trust
custom.

form. rather

III.

By

wiUingness
formula continued three
are are

feeling

than "You
one

and

see,"
and
as

Mr.
not
so

Curtis,
much and second
to

bers "nummatters

for while

study
the

they
It

for

thought
the

action,

three

heads is in

under

point
that work

imply
your

study.
club
can

relation

these the

be
it

helpful by organizing
systematic.
first I would

and

making
you
as

suggest
the
not

that

take the of

the main music but

topic

under

second with

point
the

study,
and

starting,
a

origin
that

making

cal chronologiour
own

sequence,'

commencing
which
you
are

with

music,

with

familiar,

and

206

HOW

TO

STUDY

MUSIC

working
This will

back make

along
your

the work what

development logical,
you

of

music.

leading
best will

by
to

gradual
what convenient be of
you

steps
know for the

from least.

know

This

procedure
which of of
course

be will

illustration,
main features with taken

one

your

work.

^^In

connection

the

more

important
would under wellis

compositions
take the rounded
up

up,

you

naturally
that follow

topics

two

and This

three,
will
The This needs and

same

point. general
it
out

give
next

you

plan.
detail. local

question
be done

to

work

in

must

ac-

cording
talent

to

your

the Don't

material

and do

you at

can

conmaand. Have

try

to

everything
and fill it in

once.

well-rounded can."

plan,

gradually

as

you

CHAPTER

VII

HOW

TO

SELECT

MUSIC

Section
The
ceremony

opening
of it

of

the

front

door

without

the

ringing
be

made

Mrs.

Brown and

surmise her
as

that showed entered "I

might
the

her

brother,
and

face

special pleasure
room. so

welcome

he

am

glad
tell what What
to

that
you

you

have much

come/'
I
are am

said

she,

"I

can't with

how

lighted dein is

the is

children

doing
me now

their
to

music. what

perplexing
and have

know
new

do

for Tom
you

for his father. in

not
new

The
younger

interest members

awakened has
a

the

of
more

the

family
I

only

given
in

each

one

pleasure, but

ure pleasactually

making
to

music
some

together. lovely
and
us

am

beginning
used but
has
to

realize in
our

times

such with

as

we

have
very
to

childhood

home
common

music,
interest and look
son. on

this tended

nearness

separate
she

from

father

The
us as

trouble

is,"

continued,
and

^Hhey

getting

sentimental
207

affected, putting

208

HOW

TO

STUDY

MUSIC

on

musical
as we

airs

just
our seems

to

be

in

the
to to

musical well

ion, fash-

put
of

on

clothes able
we as more

be

dressed. that look

thing everyor

Neither
we
on

them what

conceive

really
their

like
own

are

doing.
normal,
or

They
and

tastes
as

different artificial.
to

less it

affected is

What the said

not

do

you

think

possible

do

under

circumstances?" her

"Well," "they good they

weak
are

brother,

with
to

laugh,
the what

aesthetic
poor

enough They
thus

choose

from hear
to

the
most start

music.

accept
their

often, and

taste,
for the

with,

becomes this

cultivated

trashy.
standard
you
seems

Gradually,
of

type

becomes what is poor

their
to

judgment;
to

hence,

good
comes

them." for his said that better

"Tom this "Won't let's

see

home

spring
Mrs.

vacation
Brown.

Friday
you

afternoon,"
come

to

dinner

evening,

and

if

we

cannot

get
a

ing understand-

of this

matter,

with

good

talk?"

"Very
A few

well, I will," days

fun

her

brother arrived. the

agreed.
After
siderable con-

later, Tom
and

jollity in
the older

early part
of the

of

the left

evening,
the
room

the

younger

members
ones

family
their the for

and the

drew
Brown
reason

chairs chance the

around
to

fire, givmg
the

Mrs.

introduce

important

evenmg's

gathermg.

HOW

TO

SELECT

MUSIC

209

In
"I

rather
we

hesitating
could have

way,

she
some

remarked,
music this

wish

had

evening." '^Why
"What than when can't better Uncle said his
we

have

it now?" could

said
we

Tom.

opportunity
is

have

right

here?"
"I

"Oh,"
as

mother,
of
us
our

wanted

the

music

the "You

expression
wanted

family."
listen
to

to

the

kids,

did

you?"
"No,
make
not
so

much them." said

to

listen

to

them

as

to

music

with

"Mother,"
sounded
the

Tom,

"it

would combined

have with

like

prayer

meeting,
of
a

graduation
He

exercises in mind but

girls'boardingonly
choice the
of
teurish ama-

school."

had

not

performance,
as

the

pieces

well. His mother than with

Mr.
ever

smiled how
to

at

the

remark,
she
was

but

felt from

more

far music.

apart

him

reference
now

Brown
you

joined
the

in

and

said, "Why
and

didn't
I should

have
see

children

play
can

sing?
looked

like to said their

as

what

they
in

do." have and the

"Yes,"
out

his

wife, "you points

would
at
a

would

for much

good
you

playing
for

ing, singgood
I don't

watch

points
propose

of
to

animals

cattle such

show,

and

give

you

any

chance."

210

HOW

TO

STUDY

MUSIC

He

had

intended and about the

a

his
turn

remark the blank

son

as

friendly
taken of
was

overture,

that

reply
felt

had

brought
wonderment.

rather and

expression
she had

Father much
more

evidently
first
were

serious

than

they

at

thought.

Both with

fairly worshiped
a

her,

and

depressed
to

feeling
what have

of

hopeless
wanted,

ability infor

understand that he would

she

each
to

felt

done

anything
in.
we

please
At
^^

her.

this

juncture
are

Uncle kinds

Phil
of

joined
music
;

There

many

choose
to

some

because skill and of

it

gives

an

opportunity technique
are

show
position com-

oflF the

the

player;

of

performance
choose that

the for and the

qualities cal physifaction satis-

admired.

Many
their of
a

music

sensations

rhythm

harmony
the

awaken;

pleasure
choose

resembles
on a

cooling drink
others
an

hot

summer

day.
wish

Again,
to

music
to

because
a

they
in and
a

have

uplift

similar

service

cathedral,
fancies for
a

through
reach
a

which
out to

their other

thoughts
or
a

may moment

worlds,
and while. of music

enjoy
zation reali-

feeling
all such
most

of

freedom

that
^^

life after
not

all is worth kinds

Obviously, equally
who

would

suit Those

well
are

different interested
as a means

preferences.
in the of
former per-

regard

the

music

show-

HOW

TO

SELECT

MUSIC

211

ing
want

oflf.

Those

who

look

for and

the

physical
kick while in the

thrill

sensuous
a

harmony
sufficient stir for their

swinging

melodies,
the last

especially
movement

rhythmic
nerves;

to

class, looking
an

depth

and

sincerity, require
music
you

imaginative
he

appeal
what

in the "while have the

two

itself.
are as

haps," Per-

continued,
you
as

talking
music the

about is

music,
as

in

mind of it
of
are

quite

different the what

you

sides Isn't

Greek
sible pos-

shield

in that

famous
my
are

story.
sister is

just
as

thinking
of,

music

and

what

thinking imply
the that

totally right
?
"

different?" "But
to

doesn't
our we

this

we

have the

make which Tom.

personal preferences
choose music
we

standard
to

by

wish

hear

asked "We answered

must

are

entitled his in the imcle. mind kind childhood musical

In

to

personal
the the have
up.

preferences,"
time
of
we we

"At that
we

same

bear is
from

kind
most

music

prefer
heard
our

frequently
other

In

words,

individual

experience
cases,

determines world
over,

our

preference. experience
to

most poor,

the
must

this lead

is

and
poor

necessarily
When
are we

the that
year

choice

of

music. millions of

consider
every

hundreds
in

of

spent
bad im-

the

satisfaction
to

these how

judgments,

we

begin

realize

212

HOW

TO

STUDY

MUSIC

portant
of
our

is power

attention

to

the

worthy

exercise

of selection. involved side the

"The size of the

more

money

only
of the fact

indicates

the Much

physical
is

question.
that
not

important
taste

only

is

the molded the

of their

those

who

choose that take the their

to

gradually
taste

by

choice, but
that is
are

of is

generation by
what much

to

place
Thus

shaped
one

they
poor

obliged
not

hear.

hears

music,
what
of
to

because but

people
because is
consciously un-

deliberately
a

choose

is
our

poor,

very

large portion
educated

population
it

like had
to

by
no

what

they

hear

daily.
of

They

have them in music

experience
the them

capable
and
no

helping

choose
to

better,
select

education

help

wisely."
Section "What asked much "On do
you
mean a

by
very

'selecting
few

music'?'' have

Tom;
to

"only along
that

people

do the time

line." his imcle

of
go

contrary,"
that the
one

answered,
the
to

"every
offered
to

attraction of
us

music

influences

to

church,
any

the

theater,
to

to

entertainments
or

of

scriptio deof
to

hotels,
express

to

social

functions

any

sort,
kind

we

judgment
attracts

favorable
us.

the

of

music

that

Our

in-

HOW

TO

SELECT

MUSIC

213

terested
music the

presence

is
The

vote

for

the

variety
is

of for

offered.
purpose

music
us

produced
to

of
our

inducing
choice.

be

present
are

cause be-

of under Those
for
are
our

Great

pains
to
care

taken
us.

professional
who

guidance
this music
as

please
very

produce

little

personal
much it
affects
or

judgment
interested
our

such,
our

but

they

very

in

selection,
Thus
one, every-

because
more

presence. not

less, helps
music who
to

only given,
us,

to

determine also the

the
taste

kind of

of those

be

but

follow
ours.

for

their this

choice class of

is

influenced who

by
express

Besides choice of who

people
choice
of

music
express

through
their Think
worst

attendance,

there

are

those

by buying
millions

music that

rolls and this of

runs

disks.

the

into,

and

of

all, the
are

millions

human

beings having
to

whose hear

tastes

being

influenced

by

these "A small

are

selections. second but forced their

very

type

of

choice

is exercised
of

by
decide
munity com-

influential situations the I

class where music

mean

people
they
of the

that

into

by

preferences

they committees,

are

m.

trustees,

music

heads

of

institutions, principals of

schools, municipal positions.

make wise While decisions

and officials,
a

people
well

in

similar
to

few and

are

prepared
of

have

breadth

view

214

HOW

TO

STUDY

MUSIC

enough
are

to

recognize

their

limitations,
said

many-

not.'' "It
seems

to

me,

then,"

Tom,
is

"that 'how

one

of

the

greatest

questions

in music

to

select.'" "You
are

certainly right,"
am

said this

his is

uncle,

"and in the

if I

not

mistaken,
is

involved
you
as
a

question
for of the

that
you

interesting
are

family,
sides

evidently
musical

looking
in

on

different

shield;
and said

other which

words,
causes

prizing
a

different in

aspects

of music,

difference
"That "Before
seems

judgment obvious,"
can

choice." Tom. each

must
we
can

we

understand his from

mean

other's make
agree

position," continued
sure

uncle, "we
a

that
as

we

start
we

basis

upon

to

what

by
and

music." said I

"That doesn't she she

is like

just
my

the

point,"

Tom,
don't

"Mother

music,
I don't is her

fancy
but I

all

admires.

mind,
own

however,

what do "to that who

likes;
he

that

business,
some

object," having
they
don't
If
me,

continued
think

with that

warmth,
the that music those
or

people
like
a

only
and
are

like

is worth what certain worth likes

a

while,
they
kind that

do,
of much

vulgar
and
me.

stupid.

I like

music
to

it pleases If
body some-

it is else

different
can

kind him

of

music,
alone.

that's But I

weU

enough.

leave

HOW

TO

SELECT

MUSIC

215

don't that he

want

him I like

to

come

around
as

and
for
me

tell
as

me

what

is not

good
his that

what

likes '^Do

is for him." I

understand,"
your

said

uncle,
you

'Hhat

you

mean

by
of

statement
any

deny
is

the

possibilitiesof
that the

standards

in For

music,
if this
up

except
so,

personal
is
man

pleasure?
does
not

question
choice

of choice

come

; everyone's

equally good."
winced
a

The
over

young

httle, for
be
"

it flashed

him

that
or

his

principle might
of the
that other in

applied
to

to

Uterature
even,
more

to any

arts,

sports
were

and
or

he less

knew

all these

there which in

formulated While

standards,
he
was

he

himself

recognized.
to

thought
in

wilhng
these

grant

the

possibiUty
music seemed

of

standards

various

human of

activities, the
to

decidedly
force and him thus Not Ufe

subjective
into
to
an

effect

apparently
an

illogical situation
in

form

exception
the wider awakened of the
were

regard
outlook

to

music.

only this, but

and

that him

college
to

study

had

helped
of his

throw and all He

off many standards had

met

hmitations

youth, by

being people
and
was

questioned
whom he inclined
art
so

him.

many

called rather

"musical
to

high-brows,"
at

laugh
ing, claim-

them
at

for least
as

taking
to

their

seriously ;
his The
own

himself,
as

that

musical of

taste

was

good

theirs.

tendency

216

HOW

TO

STUDY

MUSIC

this

attitude
as more

was or

to

lead

him

to

classify
lower his

these
;

people
and

less affected

and
to

pretentious

without of the

recognizing
art.

it,

mate esti-

^'If I understand

you/'
as

said has

his
so

uncle, "your
httle of
you

argument

is that

music
a

external sounds would

existence, being
that
say
are

just
and

combination
pass away,

heard

then

the it

essential

thing
and from

in
as

music

is the
as

feeling
have do
a

which

awakens; anybody
and
say

long
have

you you

pleasurable feeling
see come

the

music,

not to

why

should that
some

the his kind

yours.

right
of

along
comes

because other than

pleasurable
music,

feehng
therefore "There results

from
taste
no

his is that

is better doubt that

among

the the

many

come

in connection

with
of
we

ciation apprein

of the
act

beautiful, that
certain
;
so

pleasure
can

the that has

is the

most

that in

say,

unless
not

pleasure

is awakened

us,

beauty
his
to

been

perceived. emphasis,
different of

But,"
"what

continued
you
seem

uncle

with is

great
a

imply
the ever whatwould

quite
has

matter,

namely:
us

that call

presence

pleasure requires
it for
us

to

awakened

beautiful.
to

This
as

make

it necessary that

accept
in

beautiful,
and be what

objects
vulgar
present,

awaken

pleasure
while the

coarse

people.
the

No;

pleasure
worth

must

valuing,

of

HOW

TO

SELECT

MUSIC

217

awakens

it, must

be

determined

by

other

siderations. con-

''Your
now

position
the fact of them

is

particularly interesting just

a

from
some

that

group

of very
are

advanced

(and
a

able) musicians
not

oflFering
awaken but

form

of music

which

only
and
are

does

not

pleasurable
does these
us cause same

interest

in many

musical

people,
;

positive disgust
advanced this is the that
more

weariness

yet

persons

gravely telhng
latest
masters

that

ultimate what the

and older

thing

in

music,
done The
was

and

have

or

less

imperfect
new

and
composers

faulty!
are

fact

that

many

of these

sincere, learned,
to
account

and

talented, position
the
some

makes
as a

it difl"cult freak
"

for

their
as

of

the

times, especially sculpture, presenting

the forms of and
a

other
extent

arts

painting,
"

to

poetry

are

similar is

phase
true

of

development.
there and is
are

If

contention
music and

that
are

certain

which that

final

absolutely produced comparison might

for

correct,
can

everything
and the classified
new

that

be

judged
then be their the well and
of

by
the
some

with

them,
as

compositions
to
to

just
the

consigned
authors

waste-paper

basket,
care

asylum
is

mentally
other
and
we

deranged.
there
no

''If,on
form
we

the

hand,
the
call

absolute
which
or

of

beauty,
what

channels

through
are more

realize

beauty

less

218

HOW

TO

STUDY

MUSIC

fluctuating, especially
and the of forms of

in

music,

both

tion produc-

composition
determined
structure
are

being largely by
and
to
own

questions
and
a
new

convention
as

custom

usage,

much
are,

the
we

words

of

language

then of

forced their

consider

manifestations
your

art

on

merits,
of

and

contention is the

that

the

feeling
test

ure pleasnear

awakened

ultimate

is very

being

true.

^'Moreover,
artistic

the
"

fact

that much

highly
more

civilized sensitive

and
to

people
than the
we

people
are
"

beauty
music
in the

such
"

as

the

Japanese,

the of

Chinese,
so

Hindu

enjoy
from

sincerely forms
our

totally

different

own,

points genuine intense,

from from take
"

same

direction, showing enjoyment

and worth music
as

that be the

the
as

aesthetic

of

music while
to
"

may

agreeable,
his different

to

Hindu

the that

European
we

his.
as a

So

your

position only
the

cannot

criterion

form

of

the

music

is

justified/'
Section Mrs.
3

Brown,
of her

thinking
children's standards

of

her

life

work,

the

training
them "Does form

desires in

by

making
asked: that

recognize

conduct,

it necessarily of what
we

follow, however,
and hear
or

the

see

cannot

mine deterAre
we

whether

it

is

good

bad?

HOW

TO

SELECT

MUSIC

219

forced
basis Her
us

to

take

our

feelings
her for
a

as

the

all-suflScient

for

choice?" answered

brother
an

by

saying:

"Let

take
you

example; deny
that keen often
your

instance,
many

poetry.
and
very

Would
sincere

great

good
from
a

people
kind Yet
you

get

pleasure
found work
a

vapid
books? shown
poems,

of poetry hasn't that

can

in their
in

hymn-

literature between difference the

there be

is

difference
to

which the

compared
humdrum and this

the of

between and the

doggerel
and in
state

plains
of the is
a

crystalline beauty peak;

in the
a

majesty
difference itself and

mountain real

that

difference

the of

poetry
the

not

merely
Wouldn't
as

person

reading
teens

it?

youngster

just

in

her
some

have

much

emotional fresh the in Is Too

us
as

pleasure in
is the
pen

fervid which

piece
it is

of

poetry,

ink
some

with

printed,
as

from

of

'penny-a-Uner,'
sonnet,
?
"

she

would World let the

reading
Much

Wordsworth's With Us'

'The "Or Doesn't

as as

take

another in all her

on
a

art,

decoration.

maid,
and

cheap

finery,
stated be

feel

self-satisfied her refined

happy

Sunday fact,
accounts

morning by

mistress?
not

In

sheer

pleasure, might
in favor of the Are there
are we

the

cidedly de-

maid for
no

and this

the
reason

youngster

in
to

her
say

teens?

obliged
which

that

formal

aspects

220

HOW

TO

STUDY

MUSIC

determine

differences of

in
must

taste,

and
to

that

the

standard
test

beauty

yield
the

the

practical
that

of

efl"ciency in
felt that this in
some

pleasure

it

awakens?" Tom and

applied especially
his last

to

him still

that

he there '^In

was

ditch,
for him.

but So

thought answered,

was

hope
like
even

he

the

arts

ing, sculpture, paintpoetry,

one

architecture,

and
to

has

something
but music

tangible
is be

make

standi
but
same
a

with,
state

practically nothing
treated asked in the the Uncle sure?"

of

feeling and
'^Are there of the
a

cannot

way."
"Isn't

you

Phil. and
you
as

difference various
as

playing
Don't and

singing nate designot?

on

college boys? being musical,

distinction
or
or

some

others

And

yet

this

is not the

dependent
Aren't
as

musical but
on

dexterity
the
more

on

composition
critical

played,
you

style
than

way

it is done. and

perhaps
here

sensitive
you
are

to

ards standto

with

reference of
up

ferences, dif-

say,

in

the

writing brought
in the that

poetry?"
vivid man's
was

These of and the actual he

illustrations

pictures
mind,
all

experiences
could
not

young

deny

he

making
standards that

distinction "I
am

that
to

his uncle

claimed.
are

willing
he

grant
said.

there "The

of

performance," spend
such
sums

fact

people players

of money

to hear

skilled

HOW

TO

SELECT

MUSIC

221

and

singers shows
is this
:

this. the of

The

point *I make,
which is
comes

ever, howto

that forms

pleasure

us
on

from what

the
our

composition
if

dependent
say
was

college professor would

and form
we

'our
one

environment,'
kind
a

get pleasure
another difference
man

from

of musical different bother

are

and

gets
a

it from

kind, the

is not

thing
"You

to

about.''

quite right," replied his uncle, "in

the

saying
forms
our

that of

pleasure
is

we

take

in

different
on

composition kind, already

of difference the

largely dependent
and
we

musical like have

one

environment,
or

thus of

happen
music.
your

to

another

kind,
this
we

We

discussed
as

fully,

implication being that

accident You
any

lon'g as
worth

like it, the

is not

considering. deny
close
on

grant

possibility of difference, but

due
to

consequences

this
young
more

difference."
man

This

was

getting the
and he
see was an

into

quarters,

still

disconcerted

looking
father's "I while based

up

to

amused

expression
his

on

his

face.

rather
you
on

think," continued
are

uncle, "that

exercising
as can

your

right of choice,
are

form

well be

as

feeling, you
any

ing denyof
you

that music
are

there

value
In

in

types

unfamiliar

to

you.

other
of of

words,

justifying the
to

limitation
your

your

musical

preferences, due

lack

experience and

222

HOW

TO

STUDY

MUSIC

knowledge
facts '^To taken attitude tion
you
a

of

certain
your

forms,
line of

by

denying

the

that

disturb

self-complacency. thought,
to
an

continue what

this

you

have

really
have

amounts

accidental
any ques-

towards

music,
music
your

and

without

unconsciously
of in that
taste

cultivated has

it

by
of

using
such
a

style
twist with

brought
you
are

about
out

that

harmony
an assurance so

the that
you

taste

of your be

mother. if it

With
were

would

laughable
down for in
your

not

serious,
there You facts
are

doubt
any

your

heart

whether
taste.

is

basis

mother^s

modest

enough
and

about

ing accepthowever so-called there that

are

the

of
seem

chemistry
to view. You well

physics,
your

they

may

contradict feel

common-sense

that

scientific individual
moment

truths

so

established
not

your

judgment against
in the the

would

stand that

for
your to

body
But of

of

authority
when it
you

professor represents.
matter
sure
seem

comes

realm
own

beauty,

feel

quite
may
'^

of
to

your

opinions,
with but
can

however

they

disagree
know
you

those that

of established
you
me are

usage.

^^I don't

right,''said
for what
one

Tom;

^'but
I

give

credit
to

thing.
'^That
your

have

not

pretended
in the

like

really did

not, just to be
is the

fashion."
not

hopeful
also

thing,
for the

only
of

about
art

position, but

future

in

HOW

TO

SELECT

MUSIC

223

our

country.
is

large portion
from
cant.

of There

our

tion populais

fairly free

always
'^

hope

for

improvement father, who

under had

such been

conditions.

Tom's much
"

listening with
should strive for
'^

interest,
If what
you

now

joined in, saying:

is true,
we we

say
as

standards
"

in art

do
Mr.

for

truth

in
''

science. But what this

Very
me

true,''replied
formulate
under

Curtis. heads
up

first
we

let have

three

covered

so

far, before
The kind choice kind

taking

tion ques-

of standards.
most

of music

produced
like
most.

often
express

is the this
to

that

people
:

They
"1.

by

Going Buying
The

the

places where
music in disks

such

music

is

performed.
"

2.

such musical

and

rolls.

^^3.

programs

arranged

by

officials and ^^The Ues in the

heads

of institutions. of
our

importance
fact that

making
taste

right choice
result of of
our

is the

musical
we our

experience,
If this but

"

in

other
not

words,

what

hear.

is poor, also

only will it affect

of
are

judgment,
follows
us,

that
tastes

the

generation

that

whose

being formed by
which
and If

by what
''The
test
our same

they hear. question judgments

time it of
a

standard

to at
we

becomes

important,
difficulties.

the

presents
our

choose

what

we

like,

experience

may

have

224

HOW

TO

STUDY

MUSIC

been
we

poor,

making

it bad. because

If

we
we

choose
are our

what it is and

do

not

like, simply
our us me

told
own,

the hence

standard,
influences
seems
a

choice but that

is not Uttle/'
your

''It

to

last

two

points
Mr.

present
Brown. and the
our

vicious

circle,"

remarked
our

''Our choice

experience
determines
of

determines
our

choice,
Isn't like straps?" boot-

experience.
musical
on

improvement
one's self

one's

taste

lifting
Mr.

by

pulling
for

one's

Curtis

smiled,
felt

he
as

realized

that
ing concernas

his

brother-in-law the

about of his

helpless

improvement

musical

taste

the

illustration "It answered.

taste
our

implied.
not
as

is

hopeless
is

as

it

seems,"

he
our

"Under music
as

ordinary

conditions,
settled the
to of

for

unconsciously
as our use

by

daily experience being good

people
among
or

mother
usage

tongue,
of the

bad whom

according
we

the

grow

up. to to

There
matters

is, however,
of
we

especially
very

with

reference

taste,
think

strong
to

tendency
liked.
very

like minds

what
may

ought
our
a

be

Our

thus know
over

affect what
you,
were

feelings change
that of

strongly.
would

You
come

feeling
a an

if, when
told
so

admiring
it
was

precious stone,
imitation. If
I

you
can

tell you

clearly

some

of

the

standards

HOW

TO

SELECT

MUSIC

225

by
in

which
to

to

judge

good
as

music

that
your

you

are

willing
these attitude
up to

accept
standards

them will the

guides,
that

belief
your

gradually

aflfect
measures a

towards them. had offset

as

music

best

to

It
a

is
poor

quite possible for

musical

person up

have
to

bringing
artistic

and

yet
much

this

by

an

conversion, being
before first its

in

the

religious world, beauty

Our
goes
a

by
music

convinced full power what the

we

of the is felt. admire

of the mental

attitude
way

towards

long

in

producing
of great

feeling of admiration.
that
we

It is therefore ourselves
out

importance
upon

think of

clearly

this

question

musical

standards.'^

Section "Let
us

4
standards the beautiful.
are

consider reference

how
to

lished estabOne of

with the it best

proofs of what is,

seems

is

really fine is whether

beautiful
to
us

lasts, that
A
or a

years

hence.

thing of real beauty,

tune,
:

whether
'

it is But
covers

picture

must
one

be

^a

joy forever.
taste

this is not

all

any

individuaPs the word

only
more

lifetime, and
that.
so

'ever'

calls

for

than
seem

The
to

standard
many

beautiful

thing
Even
are

must

generations.
generation
that
seem

this

is not

all, for in each

few
must

there the

only
taste.

comparatively
Our

have

best then

standard

beautiful

226

HOW

TO

STUDY

MUSIC

to

the

largest
time." there Tom.

number

of

such

people

over

the

longest
''Can asked

be

any

such

standard

works?"

"Certainly,"
of the that admired and the "That's hundreds have for the works
true

answered of the
more

Uncle finest
two

Phil;
thousand

"think
race

minds

of the

than of

years

poetry
of

the and

Bible,

of

Homer, "you
pattern
for

Phidias

Praxiteles."

enough,"
expect
such
us,

repUed however,

Tom;
to

certainly
the
art

do

not

of

to-day by
is art
to

ancient

examples,
standards
as

how,

then,

be

expressive of the

times?"
I
am

"Oh," talking
to art

repUed
about
are

his uncle, "the

not to

be

taken would

examples
no

be

imitated, for then

works.
to
our

there
am

be

living
has
are

What with

speaking by
we

about
we

only
test

do

standards If have condition

which do
not

to

judgments.
of
are

like the

what

the

best
we

the in

race no

liked
to

for
pass

longest

time,
on

judgment
not
tinued, con-

the

art

of to-day, tried
out

which, necessarily, has by

time. of

yet

been

This,"
three
out

he

"is
ways

only

the
we

first
can

important
whether second
we

by
like
more

which

try

really
to

beautiful with It has

our

things.
own

The of
we

has and call

do

power

thought might

analysis.
the

to
or

do

with

what

workmanship

structure

of the

beautiful.

HOW

TO

SELECT

MUSIC

227

''Let Tom's
your
we

me

illustrate,"
two

he

said, turning
kinds like. of music For the device

to

father, ''by the

son

that

and the

his

mother

instance,
Glee for Club
ducing pro-

find

usual

college music,
every

typ^j

employing
strong

possible
tend

rhythmical
but

excitement.
to

The
not

harmonies

employed rhythm
for

emphasize
blocks

only

the

to

produce

of little in

strongly opposed feeling

the and realm
green

contrasting effects, with

For

significance.
in vivid

illustration,
masses

of color, it is like
contrast
none

using
to

of red

ea6h

other,

manding de-

almost that values

to

of
were

the

discrimination tints with of related

would

be

required
We which there for

introduced. form in

find,
these

reference works
are

the

musical
same

arranged,
and for
mere

that

is the

lack and

of

keen

discrimination the

subtle
use

variations of it

tions, grada-

same

strong
is like into
a

contrasts
tion concoc-

stimulation.

Or

of
a

highly
of

seasoned flavors is

food

which that the

such while

variety
total

introduced is strong,

the

physical
other music control and

effect is low.

demand

for discrimination "On of

a

the the

hand,
my

we

find

that

the

ter charac-

sister

likes

is marked While

by
effects their cli-

certain

and

restraint.
are are

of
most

harmony

rhythm

introduced,
reserved for

striking expressions

228

HOW

TO

STUDY

MUSIC

maxes,

so

that

to

appreciate
the little in Is of it too music The

the

music, thought,
remember in the claim
to
are

discrimination,

and

ability to
much

required,
kind these of
two

"

factors

evidence
to

first that

music. kinds

appeal

different

planes
The
power,
means

of

experience?
is

first, lacking
and

criminat dis-

extremely
demands

sensuous

physical.

second and of

higher design

discriminating
are more a

the

sensuous some

features and

expressing
an

meaning,
find
position. com-

rather '^To that

than
sum

end

in themselves. head of structure

:

Tip this
with
If the

we

it deals

the

workmanship
is low
or

of the
in

standard
more

this

respect,
in
struction, con-

the

work

will
as

be the work
to

less the
to

slovenly
artist

desire will

of be

who

duces proa

such

attract, produce
rather than
to

sensation,
realize of

or

get

notoriety,
He
as

to

ideals

in his art.
to

will resort

forms

trickery
is bound sometimes
master

get
to

effects show in

easily
work,
is artist

as

possible.
when,
mate consum-

This
as

his

even
a

happens,
of his
us

the

technique.
we

Such been
to

low trifled

ards stand-

make

feel it

have time

with,
what

though
the
matter

often is.
are

takes

discover

"There have

plenty
the

of

examples

of

what

just
for

said

along all lines of creative popular

activity.
of the

Take,

example,

literature

HOW

TO

SELECT

MUSIC

229

day
How

as

it appears
easy

in papers, notice
as

magazines,
the

and

books. in the

it is to
poor

difference with

quality examples
temporary

of !

work

compared
the of

good

The

sensational, poorly constructed,

of
one;

character

sidering, truth-conthe other.

thoughtful
The
same

workmanship
holds
true

distinction and the

not

only

in

literature
arts
as

fine arts, but the with

in the

decorative
papers,

well.

Compare

popular

wall

print goods, furniture,

genuine
and the which ''The entitled
we

examples
has been standard of

where

feeling

for

beauty
of this

expressed, quality

importance
to

by

test

our

judgments
in

is felt.
a

third

head

considering
it draws effect reaction it?

standard,
second attention

is the 'effect,'

complement
for the of

of the

have
to

just discussed,
the

not

work,
What

but

to

of

the is

work shown

upon

us. one

kind

by
what

who is the life ?

is influenced difference and

art

by
in held the

For

instance,
attitude and his

general
Tom

towards mother "You life the tends

by
that

realize, of indulgence
to

course,

in of
a

our

practical
type
as

in

feelings
type.
if
we

certain

develop
and other also music hatred

the
grow

Such

feelings
love
I

jealousy
On the
say

indulge
and the

in them. of

the

hand,
grow

kindliness

good
that

by
certain

indulgence.
type
would

don't

of

mechani-

230

HOW

TO

STUDY

MUSIC

cally
in is in the

tend

to

make influence of the

us

better, for, after

of the effect lies What
one

all, the
do

determining
nature
"

essentially
I
urge

listener. kind less of

this,
tends
to

that

the
or

music

indulges
to
self) one-

(more modify
of the

unconsciously
character it calls

the

through
out.

the
stant con-

quality develop
the

reaction
in

The tends

indulgence
a

frivolous of
our

music

to

frivolous that
us

aspect

natures,
and

while

music

demands make
an

poise
effort
us.

self-control,
it, tends

requiring
to

to

to

grasp

strengthen
'^One who

and has
art of

develop

continually
of the

limited looks often

to

himself
at

to

the
a

sensational

day
How

life from have nal crimi-

similar

point
or

view.

boys
on

been

started,
careers

been

helped

start,

by bad
Their often

Uterature

!
are

True,
not

the
so

plastic directly

arts, and

especially music,
coarse

suggestive.
which is

vulgarity,
under
up
a

however,
of

hidden break

shimmering good
part

sensuousness,

helps
'^

the

one's

nature.

^^Here,"

cried

Tom,
of

laughing,
very

"you

are

making
"I the has It is

the don't

pursuit
mean,"

beauty

serious.''

continued

his

uncle, "that
of
our

expression
not
a a

of the in and

Ughter part life, and

natures

place large

therefore

in of

art. art.

very

important
to

sphere

With

the

increasing tendency

overwork

in

HOW

TO

SELECT

MUSIC

231

modem

the civilization,

play
for

side

of art

is particularly the

important. play
and of when
art

But

I do

object
the whole towards
one

when of the

is substituted one's total

art,
ject subThe it

attitude this

is determined false

from

aspect.
makes
to

position
for
we

that the
are

necessarily
nobler forms of

follows of that
art

impossible
us.

aflfect

Thus
even

deprived
of art. of the

which

fies justiof
to

the

play
he

^^This
art

question
^^of the the

effect

upon

us

our

standards,"
whether

continued,
of interest the it

turning
work

Mr.

Brown,
"

kind

they stimulate,
awakens
our

excitement
or

is

only physical,
selves
so
was as

whether is of

arouses

nobler it is
son

well,

"

importance,
For

though
your

often
not

overlooked.
aware was

instance,

how

the

constant

indulgence
his
of

in

Ught
This One

music

gradually
reference what
to

changing
the
art

whole music.

standard is who

with

exactly
reads

happens
but

in

Kterature. and
most

nothing
of

the
of

light
the

highly

seasoned the

productions
power

day
that is

ally gradu-

loses literature weakened ^'I

a see

concentration
a

good

demands.

Such

reader
'^

mentally

by
the
'^

such

indulgence.
of
Mr.

importance*
answered
art

your

insistence
Brown.

on

standard,
of
are

'^The of

character

the
a

forms,
of the

their total

mode

sentation, pre-

part

influence

of

232

HOW

TO

STUDY

MUSIC

the that that

not

art
as was

work, long
as

so

that his

the

point pleased
not

my

son

raised,
was

music
was

him

it

all
It

necessary, necessary

well
to

taken.

is

only
; he

for also

him be

be

pleased with
with the kinds
race

music

should the
as seen

pleased
of standards the the
my
own

of
has

music

that

experience
in the that of

accepted, suggested.
use

you

have makes

It is thus

individual
race.

of

the

experience
this would hand 'Hhis of

realize of

how

important anarchy guiding

the

is in

profession
did and and
not

law;
the

reign
the

if

we

have he

past,
may,

yet,''
often custom."

continued,
become

influence hand

does

oppressive
Mr.
us

of

dead

"True,''

Curtis all. often It The

not

replied,
trouble
an

"custom is that of

does this the

weigh
custom

upon

is too
in

outgrowth
that

best

the

past.
can a

is obvious in this

only
will

ceptionally ex-

child

country
that

have
velop de-

that

*best'
in

musical
a

environment between works soul Most for and of

us

him and
two

union

his

own or

musical

feeUng
that time
not

good
will

musical be Uke

forms,

so

the he have in

body
not

by only

the do

has

matured.

opportunity
our

hearing
years,

sufficient
we are

good
stantly con-

music

formatiye
to
we
a

but

exposed
so

the
are

contagion naturally

of poor
very

music
we

that

unless

musical
our

are

apt to have

twist

developed

in

taste."

HOW

TO

SELECT

MUSIC

2SS

At
say

this

point Tom
what
we a

joined in.
need musical and
more

''If what than in this

you

is true, for
so

anything
country

else

developing
much

art

is not

teaching
art

forcing people into

as

taking the good

''I
was.

good
a

by regulations, really
to

giving the people.

mistake

art

chance

reach

the
my

see,'' he
I
was

continued,

''where
assertion

right in the anything

in be
not

that

music,
us,

to I

be
was

worth

to

us,

must

please
our

but

mistaken
may I
as

seeing that by

musical
trivial
my

pleasure
music.
taste

perverted
have
my

hearing
to

should train

attempted
of

train

knowledge

the
on

physical
the basis
I

world,
of with
me.

"

by
own

testing and

accepting
in of

my

observations,
to

the
the

way

do

reference
I
we

the

facts before

world

about of

never

reaUzed
as

that

in matters

taste
as we

need in have

much of

training and knowledge. thought

the

discipline

do
I

questions
followed that
we

"If
you

your

correctly,
of the

suggest

train

judgment
that have

beautiful, first, by
the
test

examples second, work,

and

stood and

of of

time;
the
art

by

thought
its

analysis
and effect All
to

observing

spirit
the

workmanship;
on us

third, by
of what
"

noticing
we

and heads

on

others

admire.

three do.

require
we

practice

something

What

need

is

opportunity.''

234

HOW

TO

STUDY

MUSIC

Section

'^Exactly/'
this heads first

said of of of

his

uncle.

'^We under

might
the

treat two

question spoken
consists

opportunity
earher in the individuals felt

evening.
make

The their

who the and

selective show those for

influence what

by

preference they
the
are

they
their

hear;

second, required
and

of
to

who,

by
musical

position,
of

determine

questions.

mean

trustees,
cities.

committees, '^Taking
that the
up

ofiicers the
can

institutions

the selective first,

opportunity
most

hearer

exercise, one
is in
to

of the

portant im-

opportunities
what it would who and
to
are mean

the

home.

Think of dren chil-

the

thousands if

studying
members and
are

music,
of the
to

father, mother,
took

the hear

older
at

family
hard what in

pains
learn

home,

appreciate
so

reasonably
to

the
to

things
do
;

they

trying

always
an

demanding
attempt
and such
to

that

is

played

shall
tone

show

please

execution,
stimulus
relatives of music
a

quality,
be
to

expression.
students for those

What if these forms make

it would could show

preference
their
on

which,
demand

by

serious little
an

nature,
artist's
gem

greater
Not

the
many

powers!
be

only would

artistic children
saw

adequately
to

produced,
and value

but

the

would that

learn

like

it if

they

their

elders

did.

HOW

TO

SELECT

MUSIC

235

"Here in the

is

one

of the of

most

potential
taste.

influences nately, Unfortutakes ing focusof of

to

cultivation what little into

good

listening is done, rarely consideration,

upon

the

art

work whole

but

by

the

attention tends
to

correctness

performance,
young

pervert
case

the is

taste

the that is and

musician.

The

similar

of

the
to

ordinary
aim
at

teaching

of

EngUsh,

which

apt

correct

spelling,punctuation, give hearty approval

even

good
these

writing
results

and
are

to

when the

accomplished,
be

though genuine
the of

thought
of has

expressed
real

vapid.

spark
work,
tion execu-

imagination,

literary feeling in
if the should

little influence
are

petty details
be.
I don't

not
we

as

they

mean

to

say

that
we

shall

encourage

slovenly work,
value of the

but

that

shall

recognize
of the

the

tive imaginatraining,
to

effort. "The
power

home with

for musical reference

however,
has been for effective
taste

especially vastly reproducing opportunity

on

taste,
ments instruAn of those what
now

extended music for

by
the

means

of

mechanically.
cultivation selection choice is
as

depends
direct the influences
to

the

right
The be

by
to

who these

home.
shall the

apparently
themselves,

surrendered because

children

and
rally natu-

of their

immature

tastes

they
and

are

captivated

by

the

showy

sensational

236

HOW

TO

STUDY

MUSIC

music

of

the

day.
and
of

They
are

go

to

stores

to

get

their
who
ever

material
never so

waited

upon

by

clerks

think

offering a composition, be it
is
more

beautiful, that
Newness and

than

six months form their

old. ideals. "Thus

sensationahsm

stream

of

bad homes be
to

influences

is

being
the

directed
of

into who

countless should

by

the

disregard
for selection
to

those

responsible
them in the

opportunities presented
of what is heard. of
I
am

Umiting
relation music about

myself
to

this

question
The home time. "There one's

selection

in of

the

home.
in

great

question
like
to

making
at
some

the

I should

talk

other

is

also

the
in
on

opportunity
connection

to

express

preferences going
does have

with

musical There
some

productions
is

in the

community.
in which

hardly

town

of any
not

importance
sacrifice
a

music
money

lover
to

both

his time

and music

produced
given.

little better
It

than such members the

is

ordinarily

would
were

stimulate

attempts
of

if, when
the

they

made,

the

community

would if

recognize

effort

by going themselves,
others,

possible, and
the the

by
and

sending

encouraging
to

attempt
venture
a

using their
Often

influence such

make

success.

attempts
have

have

failed

cause be-

people who

should

supported

them

HOW

TO

SELECT

MUSIC

237

have
to

not

recognized

the

opportunity
often what is done

presented discourage through

have
perienced ex-

them.

Indeed, they quite by behtthng

what
some

these

attempts
of in the

comparison

they
great

themselves

metropoUs.
of
a

tunately, Unfor-

college men
worst

small this the

community
direction.

are

often ^'I need the

the

sinners

in

hardly
hearer of
a can

speak

of

responsibility
an

which

exercise

by
if

intelUgent by
holding with-

applause

good
a

composition,
even

and

it when is sensational affect if the

work,

given brilUantly,
how and it would

and

trashy.
art

Think recitals their

to

musical would have for

in

concerts,
for

people
and

only
the the

trust

instincts

good

courage

express

them!

Enthusiasm and music How hearer his

'^

sensational who have

fested, is easily manithe

those the

providing
the

of

for
are

pubhc
to

think
to

it is what
unless and

is wanted. honest

they going
his

know

lives up

opportunity
or

expresses

honest There hearer

approval
is another
may

disapproval?
very

large

field in This

which

the

express

himself. music

is in the churches
to
a

church. is looked the the

unwary

Unfortunately,
upon
as

in many

an

enticing bait
than
as

attract

sinner, rather
of the that the which music is
an

part
kind

of of

worship

community.
most

The often
to

approval
is
an

calls forth the

purpose

approval

insult

238

HOW

TO

STUDY

MUSIC

of

the

worship.

The

exhibition

of

fine

voices,
tween bethe

fine

technique,

showy
no

music,

interjected
break that from
up

discourses,
monotony,
souls
can

doubt

helps

and hear
'

it is

quite possible Prayer

and
^

devout
'

Elizabeth^s in church But that

Tanntheir
age cour-

hauser^

given

still

keep
moral

reUgious equihbrium.
to go to
a

it takes makes
some

church

pretense
because
the

in its musical music

a

offerings,and
good
as

this not but

is not

music,
in

because

it isn't

part of the worship.

musical

It would

greatly simplify
if
a

the

question
was

churches shown

genuinely
who hear

religiouspreference
it.
^^

by

those

These in

three
concerts
"

classes and

of

hearers,

"

in and

the in that

home,
the

entertainments,
the

church,

comprise
art.

great

public

supports
'^The
are

musical second

class, by

their

official

positions, They,
yet

practically selecting the

the
a

music

given. might

like have them

first

class,
heads
groups

are

non-professional,
We

great
two

influence.
:
as

classify
uals individ-

under in such

governing first,
trustees,

committees,
of tutions, insti-

executive

bodies;
such
as

and

second,

heads

presidents, superintendents,
teachers. the first class
to

principals, and
''

head
in

Individuals

often

seem

to

think

that, by confessing

ignorance

of

music.

HOW

TO

SELECT

MUSIC

239

they they

are

absolved the kind under

from of

responsibility;
a

yet

allow the

adoption
of music which

policy
be

that

mines deterthe such

to

given
be

and One

conditions

it is

given.
to

policy
so

is to

require the music

the financial

ing, self-supportof the music

that
upon

success

depends
it necessary
to procure

the

intake.
who

This

in

turn

makes
either
are an

for those

give the
music

music

great
or

artists, whose
to

names

advertisement,
a

produce

that

makes
in

ready

and

immediate

appeal.
seldom

People
the is
expense
a

such

executive thus

positions
done
is
to

realize This

justice in-

music.
a

largely
and first bodies

because

music Uke

mostly
what

running

not,

architecture Think

and such

painting, governing
to

charge. might
local Under
to

do

if

they

were

willing
instnunental
soon

encourage

organizations,
such stimulus

both

and be works

vocal

it would

possible
that

give
be

adequate
a

productions advantage
The

of

would '^Our musical

decided
are

to the

community.
centers

cities

rapidly becoming controlUng

when

of

production.
in

motive,
One classic

however,
wonders

what
in
a

is

given is popularity.
a

why,
is the

park concert,
more

production
than follow the

often

heartily applauded
that

vapid
the
to

two-steps

precede
does
not

and have

it,

program-maker
oflfer
a

courage

Uttle

more

good

music.

240

HOW

TO

STUDY

MUSIC

Makers the bhnd idea

to

of

programs

seem

so

obsessed
masses
as

with
to

of the
an

frivohty
fact.

of the It

be

obvious

is in Uke

such

tions condican

that

professional
influence

men

yourself
a

always
you

exercise
your

and
"

it is

pity

that I

ignore
say.

opportunity,
how

your

duty,
when

might

For

shall

people be led
view

its leaders ''This said club

one

have'abrogated
is
a
new

their

responsibiUty?^'
to

and ''for and

surprising
I

me,"
on on

Mr.

Brown,
committee

have

often
I may

been be
now

committees, city
with

I think

that the
"

has

something
music realize that of of in that

to

do

deciding
next
summer.

question of
I did
not

the
I

parks
had that
as

any

responsibihty,
was a

except

seeing
expense

there

wise

proportioning
needs of who the

compared
"Have
you

with
ever

other

city."

thought
asked his said

finally does

decide
"I

the
am

music?" afraid hire the

as

brother. Mr.

not,"
most

Brown;
band
never

"we and let

generally
it do
we are

available I

about had

it

pleases.

thought
But

that if you
to
go

any

further
I
suppose concerts
we

responsibihty.
some
are

right,
these know when when
a

of

us

ought
the
our

when

given, let
show is

bandmaster

are

there, piece

approval
chide
to

notable
is

given,
too

and

him

he

evidently playing

much

the

galleries."

HOW

TO

SELECT

MUSIC

241

'^

Certainly/^
this unless

said
you
to

Mr.

Curtis. unless

'^Who
you
sense see

will that will

do

do,
people

or,

it is

delegated
you

of good

who

help
"there

in

the the

great
second

work

of wise he

selection?''

"Under
is such that the
I
a

head,''

continued,
uals, individothers exercise
programs,
we

large
as

class of very

responsible

presidents, principals, and mentioned, they might

who in seldom school what the

have

influence in the

and
call

providing
musical
we

adequately
laboratory
of of kind
or

might
Of such
to
a

school. in

course,

find from
a

every

person

positions,
weak individuals
their music.
not

wise

foolish

despot,
do
influence

poltroon.

Rarely,
direct them

however,
the

such that better does

adequately
what

position gives
And

for

selecting
need
to

yet

they
in

do

require
common
a

technical
sense,
a

training, only
trust

the
own

exercise

of and

their for

feeling,
in cover, easily dis-

reverence

and standards

respect

standards

music.

These if

they could
cared

they

honestly
with

to,
But

as

they
am

cover dis-

standards
I have

in literature.
you

afraid

bored said

this

long
has

discussion." awakened
me

"No,"
to

his

brother,

"it

that responsibilities
see

I had for
a

little
person

thought
allowance

of.

the

possibility
training,
if he heads

without

technical for the

makes
you

wise have

three

that

given

us

242

HOW

TO

STUDY

MUSIC

with of

reference

to

feeling,
ahead and
to

standards
do

and

vitality
When oflBcial

good

art,

to

go

something.
such the
as an

an

opportunity
he
can

comes

him, help by
"I
am

position,
but

not

only
taste

conmiunity,

improve "Yes,"

his

own

so

doing/' impressed
for the with mination deterdone of

added
of that the it

Tom. word

your

use

'selection,'
will
to

implies

get

things

which one's do."

mere

attention and

the will

improvement
not

own

judgment

taste

necessarily

"Yes,"
you

replied
hke select

his

uncle,
a

"I

have

not

given
for
I

directions how
to

cook-book

recipe
but shown one's far but
I I

ing tellhave

good
ideas assertion that in

music,
and of will the

hope
the

made for
term

clear the active

some

necessity
under the

will in

'selection,'
not

go

making
in the

Ufe
munity com-

happier,

only
well. social

home,
see

as

You
art. I

am

thinking
conceive of

of it

music
in

as

cannot

any

other

way."

CHAPTER

VIII

PURPOSE

IN

THE

USE

OF

MUSIC

'Section
The
use

of

the

words

"music

as

social She mate ultito

art" felt

stimulated
that here

Mrs.

Brown's
was was

thought.
final in and order

perhaps
she

the

thing
make "You "in
as

that
a success

seeking
home.

music

in her
a

have

been

great
for

help/'
and

she

said,
music

suggesting
well realize said shown
our as

right
its

ways

studying

for the about

ua

appreciation
of selection of

selection.
you

importance
the
not
own

what

have You for

just
have

music.

only
the

the

responsibility
based
on

exercising
we

preferences,
in

what vating cultiwell-

feel,

but

also

responsibility
relation other

for
to

these known for

to taste me,

preferences
in for
you

standards;
as we

words,
rather

training
It
seems

train that

knowledge.
have the

however,
when
to
we

implied
way,

that desire and

have in

learned it will
to

right
be

the

walk

necessarily
stimulate

present
sary neces-

strong
effort.

enough

the

243

244

HOW

TO

STUDY

MUSIC

^'

There Is

is

one

question
any
way

more

I would

like
we

to
can

ask:

there the

in

which
use

strengthen
While of
I
see

motive better

for

making
and
to

of music

that

study
tend

appreciation
us use

music

will

naturally
does direction been

make until
you

it

more,

this the

result

not

follow

the have

steps
gested) sug-

in

right
have

(which

made. How
can

Here's
I

just

where

the

rub

comes.

induce
to

anyone,

especially
necessary

my

husband
to

and make
at

son,

take

the

steps
any
as

the the

effort?

They
of the
or

look

on

attempt
a

expression
amusement

beautiful

form and
to

of the make

either
very
a

self-indulgence,
which

seriousness of
a

with
vents pre-

they
them

try
from

success

life

paying
of

any
art.

except
I
want

frivolous them
to

attention

to

matters

feel," she
but and for another worth

continued,
aspect
while
can as

''that the

the and

beautiful the

is

of
a

true,

good,
How,
the in

serious them life

pursuit.
realize of the for
as

instance,
of

make social

that

expression
music the best
are are
we

this be
as

family
food

may

important
its members

developing
and

in

the for

life of their

shelter ''You is what

were as

physical well-being?''
her

right," replied
need
most

brother;
If
we

"that

of

all.

Americans
as

enthusiastic
a

about
or

living
ever

we

are

about

getting

living;

actually being

PURPOSE

IN

THE

USE

OF

MUSIC

245

happy earning
of while

in

our

existence makes

"

the
us
"

way
as we

the
are

ment enjoyabout

of

beauty
the

physical
of added
over

comforts
seem

and much

conveniences
more

life, living would

to many

worth
a

us."
:

He

sat

silent

ment mo-

and "In that made

then

thinking
the the
were

history,
of

it

seems

to

me

great
most

creative effective with

as

periods,
use some
an

when
were

people
when

art,

they
and Wasn't The result

filled
to true

great
aid
in

enthusiasm it. ?

turned this national of the

art

expressing
of Pericles
as

of the that

great
had
over

period
the

life

blossomed Persians
not

the
grew

victory
the the the

vigorously, wondering "So,

what
a new

and
at

world

has

yet

ceased

examples
revival
use was

thg^t it pif)duced.
of made

with

learning
after

in

Italy,

an

effective

of art, because the The

spirit

had of

awakened the dark

long
munity com-

chrysalis period
was

ages!
such wanted The

building
did
as

churches,

public
great
to

halls,
it
an

palaces, giving fetes, taking

in

interest make
was

what

they

that

they
could. of the

as

beautiful that
race.

they
one

result

art

touches

high-water

marks

of the

"Again, England synchronous

the

great
a

Elizabethan

period
of national

in

presented
with
a

blossoming
revival
in

literature feel-

246

HOW

TO

STUDY

MUSIC

ing;

great

things

were

being
about

done These

that

manded de-

adequate
were

expression.

periods They
so

not not

self-conscious
say,

their

arts.

did in the

'Go

to,
let

we
us

have

succeeded
our

well

other

matters,
of

cultivate and and

taste

by
tending at-

study

good

examples
concerts,

reading,
museums!'
to

lectures,
Such
a

dilettante Their their

art

spirit

was

foreign
was

these
one

periods.
side of

enthusiasm interest in

only
In

general
had
not

life.
as

other
as we

words, have,

they

specialized

much from that and

separating things.
It
our

practical things
is this modem

tiful beaumakes

separation
life

so

much

of

ugly
in

teresting." unin-

Mr.

BroWn
in had of

remembered with the

most

that these

his

college epochs,
ments monever

reading
he had

connection
some

great

of student he

enthusiastic "I had

his

days. said, good

"how
art

thought spirit
what

before,"

closely
was

the
to

that

produced
said America itself
so

related lines." nately unfortu-

produced
in

great results
Mr.

in other

''Yes," expressed
growth
found of

Curtis, "though
the

energetic spirit that

in the has in
our

has

strikingly
country

material

our

only

partially
for im-

artistic in

expression
decorations have been

commercial

architecture, example,
that

like

paintings,
in
our

placed

PURPOSE

IN

THE

USE

OF

MUSIC

247

portant

buildings,
also in

in

our

capitols, and
with
our

in

libraries,and
exhibitions. has

connection the

great

Thus,

spirit of
artistic side of
art

the

people
tive crea-

partially found
energy.

the

of its

Our

philosophy
is

is colored We for
cesses suc-

by

our

politics. It
on
our

individualistic.
as
a

still look
sensuous
we

art

merely
and in
art

means

excitement,
have
in

spite of the
works social have and
we

had,

when with

been
munity com-

created

connection

the

expression lag far

world." behind the

just referred
artistic

to,
of

still old

peoples
"aren't

the

"But,"
those who

remarked what lead

our

Tom,
art

you

tradicting con-

teaches,
of taste
say

and
we

what should

in matters
art

do,
aren't

^pursue
you

for
art

art's the

sake'?
means

Instead,
for
ing express-

making

the
"I
we can
a

many-sided
about

ambitions uncle.

of the "I

race?" don't think

am,"
go

replied his making

interest

beautiful
purpose

out things withfor which

genuine
the
Even
or

in the

the
or

thing is made,
as

whether
some

religious, political,
desire
must

expression of
an

of

our

social its the lived who

in-

life.
message
person

easel We

picture
should social
we

have

truth.
our

condemn life who

one

in
to

imperfect
as

only
lived

be

beautiful,
to

would Think

the of

only

be

happy.

the

248

HOW

TO

STUDY

MUSIC

fluence 'The writer than

that

such

small

example
in national

of

art

as

Marseillaise' of this that

song

wields
was

life.

The

moved
come

by
from
a

spirit more
art

which

would this
song

for work

art's of

sake, and
art.

yet
he

is

worthy

"No,"
for

continued,
of make motives how

''what
art
use m

we our

need

most

the

development
how
to

country
to

is to it

learn

of that

art,

connect
our

with

the

big

influence and is

practical life.
is the

Think

extensive

ful power-

great

social

feeling that
for
how

producthis

ing
of

80

many

benefits and
a

the

helpless classes
as

the

community,
With

dumb

yet

spirit is.
we

few
to

brilliant

exceptions,
social
statue

have
to

not

yet learned
to

sing
it

our

ing, feeland

picture it,

put

into

relief.'' "I believe

have
you
are

right," said
my

his
as

sister;
to

"you
to

answered love
for

question
be
our

how
our

increase for the

music, by showing
must

how the But

love

artistic

related lives.

to

great
you

motives
have
am

that
not

influence the make

answered
to

specific question, how

my

going

family

like

music

more?" "Don't asks

you you
you to

see," replied Tom,

do what wanted
you

"Uncle
to
an

Phil when

wished
as

do

said

you

music

expression

PURPOSE

IN

THE

USE

OF

MUSIC

249

of

our

family
and

life. said

laughed funny
at

at

you,

you

member, re-

how

it

would the
way

be;
it

but

was

only looking
and time
not

it from the

might
a

sound

from

spirit

of

ing hav-

good

together/'
his

"Yes,"
your

replied
was

father,

"my

response

to

request
of

also

misconceived.
as a means

was

thinking
the

music

merely
children of

for showing
I

skill the
no

had
the

attained. social
to
see

had
the

evidently
purpose, "I have
am

notion
you
were

feeling, express."
the

that

wanting
that
to

delighted trying
is

you

point
Uncle be talk

been
"

make,"
late
we

replied
I must

Phil.
I

It

growing
that

and
can

going.
over seems

hope, however, problem

that music it is in of the

again
home,
that

this
to
me

of music the

in your

for it the

home

problem
left who in the
mained re-

of the With house.

country

will be

settled." and three

this, he

said it
were
was

good-night late,
so

Though
behind

the

much what

interested had been

the

practical application
that

of

said,

they

went

on

with

the

discussion.

Section "Your
the

2
a

brother relation said

made of

good

point
to

in
a

ing show-

artistic Brown.

activity

living

purpose," "Yes,"

Mr.

replied

his

wife, "and

the

first

point

250

HOW

TO

STUDY

MUSIC

for
our our

us

to

remember should be

is that the

the

social

life
cause

of of

home musical music

stimulating
could conscious

activity.
for

What
us

be of

better

than life?" Tom

means

making
don't
to
on

home

said:

"I

know
me

of
more

anything
than when

that
I

coUege
the
a

spirit sing
game.

hear
at

boys

the

campus,

especially
this music than
in
certs, con-

football

Somehow, joins
feels
moves are one

in

which
more

everybody
artistic because
one

more

the

things

that the

heard

spirit.
see

It

may

not
on

be the "It

as

good

art, but

I don't

why
father,
is How

it isn't

road
seems

towards
to

good
me,"
of view home

art." his "that

said

from

this

point
as

music^
art.

especially simple
be
I

appropriate singing is,

without that talent forms for

the how

and

effectively
Then
very

it

can

done lieve be-

special training! children,

music when
in marked

again,
young,
to

show all other

contrast

of artistic

activity."
Mrs.

"Yes,"
much fine in chamber for
us

replied
music homes! music

Brown,
been written

"think
to

how be
formed per-

has

After means? these

all, isn't
How

that

what it is

absurd musical in
to

to

take and

intimate them

positions com-

have

performed
we

great
them.

halls, and

how

formally

listen

PURPOSE

IN

THE

USE

OF

MUSIC

251

We

hear little

much is

about done of

'saving
towards and

the

home/ music,
one

and the that

gether. to-

yet
most

using
the of
seems
a

social best

all the

arts

would

bring
in

members home the

a

family
to

Music

the for

consist of skill the

largely by
the members towards Here
some

in

practice

attainment motive
a

individual. of the Tom schools the

one

Such into

puts

family

critical

attitude

practicing."
"I have and which heard that
in

joined in,
the

reading

story-telling
was

for

developing
when
a

language,
I
went to

caUed
now

'English' entirely
or

school,
The has
to

is

done

with

social the he the

motive. class is

little reader
come

story-teller in
use

forward
way

and shall These and

are

the

art to

learning
members

in

that class. dead

appeal
members formal

other

of

the
in
a

become
as

critics,not
too
a

manner

many

of
way,

our

teachers

apt
what

to

be, but
is said is the

in

live be

demanding
conduct the stead "Inso

that

should
way
we

effective." should

"That music in of conscious

can

our

homes,"
we

replied
the
to to

his mother. children them

that,
when
of
a

make
we

self-

listen but

that

they
withthe
me.

think

nothing
mistake. old how

try

to

play
was

out way

making
that remember
my

In

fact, this
used he
to
came

teacher often when

affect to

the

252

HOW

TO

STUDY

MUSIC

house

while

was

practicing,
that
I used

he he

would
even

sing
entered takes mis-

out, 'F
the
room.
as

before sharp, little girl,'

It
soon

got
as

so

to

make

I heard

his

footsteps,
when

because he
was

thought
In

of

nothing fact,
I

but think

mistakes he

about.
me

enjoyed

teaching
that
recting cor-

partly
draw
was

because

of made

the him in

superiority
feel.
any way

mistakes him that

it
out to

never

knew the fact

attention
to

to

interpret anything
or

by

thinking

myself,
my
was

that To

might
that

give pleasure
his he autocratic

with demands
me.

music.
the

satisfy
idea had other

only
I I

inspired
him. such
was

in

Fortunately, good
many

influences from

that And

made

what

lacked do

yet, how

children

not

have

portunity opvery
now

My long is, how

"Uncle said

sharp

teacher "the
own

ago,"
to

she

concluded;
in
our us
a

question
home."

get results
Phil "the and
as a

has

giyen
of value

two

good
for social

points,"
ing vitalizlife of this. This
of

Tom,

need the
means

purpose

music,
the Now is
a

of

the

home the

for

accomplishing
to
a

third

question is. How

that will

do

it.

question
over." afraid

require

good

deal

thinking
"I said
are am

I must

leave
go

you
see

to

do

that,"

his mother, all

"and and

and

if the

children

right,"

with

this

she

said

good-

PURPOSE

IN

THE

USE

OF

MUSIC

253

night and
now so

left the
on

men

of the the

family, who
that
new

were

aroused
the for

subject,
they
those

instead

of and

dropping prepared
into

question
one

lit fine

cigars
of them

of

discussions

lasting
so

the

small

hours,

that

both

enjoyed.
Section
-s

After Brown "Your for the

To
as
an

few

vigorous
to

puffs
:

at

his

cigar, good
in
as
a

Mr.

turned uncle value

his makes

son

out
on

pretty

case

the

he

puts

the in

appreciation
or

of
art.

beautiful,
look
at

whether

nature
a

the

question point
of
more

from

social

well

individual

of view
I

presents
had
not

phase

of One
in

the
may

subject
lose

which
than

thought. enjoyment
a

artistic It
.

neglecting
the line from their of

the of

aesthetic life that

we

is

mental fundapower

principle
in

develop
The
me,

our

activities.
comes

old of birds

tration illusing losto

biology
to

to

power

fly

because

they

prefer
he

run

for their "As

I

food.
over

look
seems

my to
me

experiences,''
as

tinued, consame

"it law
my
was

though
case.

the

at

work
in

in

my
was

remember

interest
to
an

literature

developed
think

by
I

ing go-

enthusiastic of

English

teacher, and
I

had

dreams

writing plays.

tried

254

HOW

TO

STUDY

MUSIC

my

hand

at

some

poetry.
and

Anyway,

in

my

college days
with
ever

read

studied than

Shakespeare
else
I

greater
I
was

interest also
I used

anything
or

did. other

more

less
to

interested
opera

in the
concerts
a course

arts.

to

go

the

and

when

I had modem

the
art

chance, and
that

I remember
me

in that and the

I

interested

so

much

found

myself noticing picturesque

at

things

stopping

picture

stores

and
an

ing go-

into

galleries,whenever especially
the first of of
our

had

portunity op-

"Bearing
remember mother and in that and
a

on

social

side,
your

after
I

we

were

married,
best times

had

some

gether to-

the
more

pursuit
than
can

just

such

things.
years
more

But
ago,

was

twenty-five
say

I think

I
years

safely
since
I

that

it is
a

than of school

dozen

opened
did
my

volume law

Shakespeare.
course as
a

Not
short

only
any

stop
have

aesthetic

indulgence,

always
that

regarded
of the law
was

it, but
firm

going
made

in

as

junior partner
to
me

it very

clear
upon

success

dependent
of
my

entirely
on

focusing

every

bit

attention
now

professional
cost
some me

business.

This,
in

see,

has also

not

only pleasure
with
grown

beauty,
into his of

but

of the Tom

finer pleasure in family life."

interest
to

looked had

father's
the "old

face, for he

thinking

PURPOSE

IN

THE

USE

OF

MUSIC

256

''

man

(as he

spoke

of

him

to

the

boys)
In

as

sort

of

money-makmg thought
about have

machme. his father else. and

he

fact, he

had
money

rather
to

preferred making
That he should when
concerts

doing anything
to, and
with seemed such

have he read
to

cared
did
not

pictures

that

had

actually
and him. that with between tried It he
a

Shakespeare
write his
as

enthusiasm,
so a new

poetry,
father
if

unlike

put
felt
new

into
were

light

he

getting acquainted striking

his father
contrast

person.
own

The of

his

idea had

and of the

what
was

that
a

father direct
to
we

just
of

been the
to

saying
force lose of the

himself

proof

illustration for

as

the do "The

tendency
not

capacity
itself in

what

utilize.

problem
mind,"
been

presents

two

ways

to

my

continued for
your
me

his
to

father;
have

"it done

might
some

have of been it the

possible
that

things equally
be that

uncle in
my

suggests,

and
or

successful it would been less

more were

profession;
been
more

might
to

have

worth
my fession, pro-

while

have and

successful of taken these

up
not

in

done

things. entirely
leave
room

If in

time
one

and
kind

vitality
of else. in

pursuit

it On

might
the

for

anything
true
a

other

hand,
of and

it

is

quite
energy,

that certain

the

expenditure
of

nervous

amount

variety

change

256

HOW

TO

STUDY

MUSIC

makes
energy, I
on, at to
was a

it
to

possible, with
reach
a

given
law of

amount

of

higher degree of efficiency.

from
many

must

confess have of of

that been reduced

my

school work

days
done

there
state

hours

efl"ciency, due
interest in induced
not

largely
what So
I

such

lack

variety and
in fact

doing, and
as

by it.

that,
that these
as

busy
I

I was,
not

it does
have

exactly follow
on some

could

carried and done

of

aesthetic

pursuits perhaps
he

not

only
in
my

just

good

but

better

work

fession. pro-

"No what
as

doubt,"
your

continued,
suggests,
been the

"if

had
as

done well

uncle have
I

family
that

would
so

happier;
much

is, if in
my

doing
present
we

had

not

dropped
my

below
as

success assume.

in

profession,
instance,
and
now,

think have
your

may
on

For
to
as

might
with

kept

going
"

concerts

opera very

mother,

not

do

occasionally,
my

just
she could

to

please

her.
me

Knowing
whenever
an

attitude,
can.

avoids
go

asking
now

she

If

with
to

actual

liking for
the value that

the of her

thing, similar
the
own

hers, and
I
can

realize

companionship, enjoyment
my

imagine
more

would

be

than
repay
my

doubled,
me.

and

real

pleasure would
if I had

well
up

"Again,

kept

interest
as
a

in

Shakespeare;

had

introduced

you

boy

PURPOSE

IN

THE

USE

OF

MUSIC

257

to

Shakespeare;
the

if we,

for

instance, had
and that
your
more

read all

together
the

various

comedies

had such
a

had

pleasant

associations
means,

panionship com-

think be much and

you

enjoyment
extensive should
an

of

Shakespeare
vivid
a

would

and
had in

than

it is now, with

have interest
mensely im-

companionship
art my

and have

dramatic
to

which

would rather little

added life.

present spent
a

prosaic
time in
now,

"If
nature

had

enjoying
I

and
not

art,

as

Harriet
so

does the

should hood, childthan stories.

probably climbing
Now and shows she

feel she into

so

much

loss of her better

my

when
up

enjoyed
my

nothing

lap and
more

hearing
interested
in have

is

much
young

in

walks and
panionship com-

drives of

with all

men,

concerts,
lost
my

sorts, that
with her.

I In

other

words,

in the

dropping
social the three times life

the
as

aesthetic, I
well. of but
I

have
not
was

dropped only possible

have

reduced
to

enjoyment
of
over.

life that
my at
own

all

you,

enjoyment
this
more

three of

Looking
that
I

it from lost much

point

view,
the

see

have

than

aesthetic

pleasure.''
said

'^Then,''
worth of

Tom,
aesthetic

"your
would

estimate be
were

of

the

the

largely
not

termined de-

by aesthetic,like
B

things
preservmg

that

really

companionship?''

258

HOW

TO

STUDY

MUSIC

**I

appreciate
his

the "for

point
my

of

your

question/'
seems

said

father,
I
was

statement not to gone

to

imply

that

sorry

have
to

attended
art

concerts,

read
because

Shakespeare,
of the loss

bitions, exhi-

of

companionship
your
not

with But been

your
as

mother,
these social without
my

yourself,
results
some

and would
true

sister.
have
ap-

possible
on

artistic

preciation
my In

part,

was

simply
the could
as

ing implysocial.

artistic

loss,
of lost

when

stating
loss

fact, the
in of

purely

artistic

only
is

be
no

stated
way

terms

pleasure,
the

there in
of

measuring
of be

this.

Hence,
loss

stating
ship comradethe
true

the

degree
would

loss, while
a

controlling influence,
would
to

aesthetic which

attitude

have it the

to

be

present,
these

would for

be,
the

put
of

plainly, doing pleasure

from.

things
in

sake

inherent

their

beauty,
all the

without

analyzing
comes

too

nicely
wise, Otherbe
we
joyed en-

where

pleasure
of and be the

our

pursuit
honest
to

beautiful
not

would
because and but

like

being
such
we

decent,
and its
own

really loved

honest for it
was

decent

behavior

sake,
best

cause beand

thought
the
are,

the

policy

produced
"There I need

best for

'social results.

instance,
he can't

two

persons

whom
a

not
one,

name,''
you

continued

with

smile. his

"About

help thinking

that

PURPOSE

IN

THE

USE

OF

MUSIC

259

punctilious
is He in this With
you

observance

of of

all his

religious
canny

gations obli-

only
is not

an

aspect

ness. selfishhimself
as

only looking
in the who
seems

out to

for
come

world, but
the

world

well.

other,
his done would

equally punctilious,
out

feel that is

carrying
with be
so

of all his love

even

religious loyalty,
were

duties that
no

such done in

and

they happy
it. love
are

if there
to

consequences In

the the and

hereafter love the

to

pay

for the

other the

words,

of

the

true,
of the

of

beautiful,
in this.
In

love be be

good,
the
own

alike for

order
must

genuine,
for their than

love

these be

qualities
that if
we

sake,
"Let

must

disinterested
may
are

rather follow.

for any

practical
me

results

iUustrate:

going
have
some

to

carry
as

out

successful uncle

artistic
we

experiment
shall with life and

such
to

your

suggests,

plan
while worth-

for

an

occasion
event

connected
our

in

family
in
can.
can.

then this

have
event
mean

a as as

genuine

interest
as as we we

celebrating
That

effectively beautifully
is the
same reason

would while
we

So,
is its

the

occasion
at

for the

the

beauty

seek,
for

the
own
our

time for

beauty through

sought
means

its

sake,

only

would

celebration

become desire
to

adequate. celebrate,
be. the This would

Hence,
greater
shows

the
our

greater
desire

our

for

beauty

the

260

HOW

TO

STUDY

MUSIC

necessity for
the sake of

purpose

in

art

besides

that

for

good art."
Section

4
of silence Tom of
a

After with

few

moments

said

animation,
Mother
return

"I

have is to

thought
have
a

good
soon

occasion. after
many in I

birthday spring,
a

from off.

coUege
Let
us

this

not

weeks the form

plan
for
as

celebration her.'' it And

of

musicale
to

gradually warming
in his

the

idea,
us

developed
not

mind,
in have idea Brown

he the

said:

"Let
to

get

only
but

everyone

family
music

do

something, birthday

let

us

some

together.'^
struck but
formance per-

The
Mr.

of

celebrating the
with take
too

considerable

interest,
any to

that

he

should seemed

part

in

musical think of.

grotesque

"

Didn't
were

you

sing college said; "I

was a

songs.

Father, when
for

you

in

college?"
even

"I

did,'' he
that

tried

the

Glee

Club, but
"Never of
our

long time
Tom.
sang

ago."
"I
must

mind,"
songs

said
you

know

some

those books.
songs.
can

that Let While the with

us

still be
one

in
or

meet,
I

and
a

I'll select bluff

at

two

make

the

air,

you

manage

bass." still
more come

And "Look

then

enthusiasm:
down
to

here," he

said, "you

the

PURPOSE

IN

THE

USE

OF

MUSIC

261

college
and
we

in

few find

weeks.
a

will where

get

the

songs
are no a

wiU

piano
over.
or

there
we can

boys
few
can

and

try them
songs

Then

have
you

four-part
take the
can

hymns,
take

in the
to

which

the
way

bass,
the
carry

will is

tenor,
read the

and

from he
can

kid

learning
alto, while
Won't

I know
two

easily
take
can

the

girls
fun! the

the have
can

soprano.
a

that

be and

Sister

few
some

piano
ask

pieces
school

youngsters
"Aren't

sing

of their
to

songs."
to

you

going

your

uncle

do

something?"
The then like

boy said,
to

thought
"I don't

for

few
I

moments

and
we

believe

will;
be and

don't in

mix This in

professionals
is

and
to

amateurs
an

athletics. musicale would Mr. him of

was

just going
of

amateur

honor

Mother,
It

think

we

all do Brown
some so

better

if Uncle

wasn't

there."

agreed.
embarrassment. he

certainly

relieved

the proposiStill, tion did The

not

imique,
to

quite

know
were

what all

attitude

take. of the

suggestions
that

along

the had

line

experiments they
energy

his

brother
test

suggested;
time and
at

might
spent

really
with
a

whether

conscious
not

effort worth that

aesthetic measured

activities

might by
the that that

be

while, they
the tell

simply
So he children

happiness
Tom should

give.
other

agreed
and

262

HOW

TO

STUDY

MUSIC

they
from When
to

were

to

keep
Brown
at
a

the

affair

strict

secret

their

mother. started
a

Mr. Tom

few

weeks
was

later

visit

college, early spring

luscious

just
made

maturing
even

into
most

beauty
have train

that
a

the

prosaic
As in the

mortal

nalian baccha-

feeling. quite
from
an

pulled
of

out,

he

lost the

himself
car

the

beauty
have had
to

the
on some

sights
such
fessional pro-

windows. he would with

Ordinarily

occasion
papers

him,

not

speak
he the

of

the

one

or

two

newspapers, up

and

though
from

would

have and his But he

looked

occasionally
what have
a

window
it
was,

remarked
mind after

beautiful

day

would
his

been

steadily occupied.
with
to

conversation

Mr.

Curtis,

deliberately determined
and

leave
to

all papers

behind the that

give

himseK
a

up

the clear

beauty
conscience
of

of

landscape,
he
was

with

perfectly
out

carrying

the

conditions

the

experiment.
He
as soon

found He

that

he

was

not

feeling just days

on

usual. when horse

recalled

boyhood
in taken house. of and the the the
out

the
old

farm

occasionally
used
near

spring
and The old
nag

the

family
on

to

be the

let loose
memonj to
press ex-

the the

green

of

coltish his

attempts

joy by
his

rearing

kicking brought
movements

smile

to

face, for

of

the

PURPOSE

IN

THE

USE

OF

MUSIC

263

stiff As of that

joints had
grew

been

so

awkward

and

clumsy.

he the

conscious

of

pleasure in the
it made him

sights
realize

lovely
in the

country,
at

his

attempts

expressing
old horse. that

his be

joy,
quite
the
him

pecially esas

celebration, would
of the

clumsy
would

as

the his

capers

Still they
was
sential es-

be

expression, and
This his son's

thing. carrying
be he
a

thought plan; sing the

steadied he old
was

in
to

out

going
as

boy
had

again, and

songs

best

could. He
never seen

Tom

look

happier,
on

or

welcome

him The

with
songs went

greater
had
to

joy, than
selected It
was or

this

visit.

been

and
not two

they
so

immediately
very

practice.
in
a

hard

after

all, and
his old horse

minute

he

had he
at
was

forgotten
not

self-consciousness. but
son

In
young

fact, colt,
two

the

the
were

it

again, and

father

and

like

chums, making stopped

had and
one

discussing what suggestions.

for of

should

be

done,

and

When,
father
of times his

finally, they
felt that life

lunch, the
the best that home he

he

had

already,
a new

the

boy,

had

discovered

friend.

Going
he

that
not

afternoon, he
describe.

had

f'^3lingthat
that been which the

could
man

Nothing
had life in

practical
to

would
he felt

recognize
a

added
he

him,

yet

value

seldom

experienced.

264

HOW

TO

STUDY

MUSIC

Meanwhile,
carried
on

most

enthusiastic the
younger

work members

was

ing beof the

by
the

family.
was

For

first time what it

was

in

her

life,Harriet practice
with would
a

realizing
what that fun

concentrated
to

meant,

work Jack

pose pur-

really
the the

helped.
and alto

steal the
signed as-

away

into

garret

softly sing with

parts
his that musical him
were

syllable

names

to to
as

him. such before

Putting practical
the
use

edge knowlrealize

made of his

never

worth
to

attainments,
He
to

and

added

greatly
song

his he
was

enthusiasm.

practiced the by
to

that

going
in

sing
desire

himself, almost
express

acting it
was

out

his

its
was

spirit, and
so

much attend
to

surprised
in

that
a

there
song.

much
was

to
so

ing sing-

Nell

full

of

enthusiasm
very
usual un-

that

her
was

mother

realized
to

something
on

going
the
were no

happen
of
to

her mothers
some

birthday,
"

and the
But
to

"

with children she had

intuition

that music.
was

going
idea

make
extent

of the

of what

occur.

The assisted home that could

was

day before
in in the be the final

the

birthday,
mother of

kind

neighbor
from the
so

getting the
latter

away

part

the for

afternoon,
the

arrangements

musicale

rehearsed. about

Everyone
the
fun

taking
already

part
ex-

enthusiastic

PURPOSE

IN

THE

USE

OF

MUSIC

265

perienced, though
taken

the

real

event

had

not

yet

place.
Section
5
to

It
went

would
on
m

be
the
as

diflScult mother's she

saw

describe
on

all the and

that day birthson

mind her
songs

evening singing
seemed
the
to

husband

old

college
in
two
man man

together. twenty-five
so

She
years

be

lives

apart.
memory

The

young

seemed of those she

hke

the
;

of the
were

young

early days
could

there realize

moments

when
was

hardly
The back

which

life she
and

really living.
it aU

enthusiasm
many

spmt

of

brought
of

early associations.
this
was

But crudities relation

not

all. of the

In

spite

technical
was

and between

lack

trainmg,

there

performance
gave
out to

and music

the
an

thing
artistic that

expressed
value often is

that

the its

(growing lacking
skill.

of work
songs

sincerity)

in The

representing
were

greater

technical

sung

interestingly and
even

would

have

been
of their number

effective
association

without other

all the

accessories raised of
every

and

interests
was
a

that
true

emotional

effect. There that

as

This
was

given. playing
were,

meaning

in

Harriet's

made

her

pieces interesting.
new

They

they

seemed,

interpretations.

Harriet

266

HOW

TO

STUDY

MUSIC

herself
own

was

surprised
Mrs. little Nell and

and

delighted
Brown

at

her
never

performance.
her
a

had

heard

sing

so

expressively.
a

Jack that

put
would

gusto
have

spirit
to

into

sailor the

song

put
often

shame heard mother there

over-polished drawing-rooms.
that in this of
lations re-

performance
What

in
was were

surprised
celebration interest
to

the

family
musical

elements the

apart
of of the
was

from

personal
She

her

the her

performance. family joy

and
as

had rather

always

thought
and what of
was

being
the

unmusical,
success

double done

of what what

musical
it meant

to

her,

almost

beyond

she

could

bear. The He
new

father's that
to
an

pleasure
he what actual
was

was

hardly
in
an were

less

keen.

found
way
was a

listening
his children
in

entirely
doing.
was

There from of the

was

interest of

what
an

done

musical

point
and different excellence the of
a

view,
the

appreciation
efforts made cold

imaginative
very

expressive
from of former in the

that
for

watching days.
He of the he
gestion sugto

technical
over

thought
and Tom

celebration few months

to

light
Phil's

conversation had
to

ago,

when

decided his

try Uncle
with He

test

theories

reference realized
some

the
on

value his

of wife's

the

beautiful.

that

former

birthdays

costly

PURPOSE

IN

THE

USE

OF

MUSIC

267

present
and that

was

ordered his

to

be

sent

out

from

store,
was

satisfaction

in the

the

celebration
of interested that it had and such of

largely
he
now

measured he

by spend.
was

number What

dollars him

felt
was

could
that here

celebration

had
called

cost

almost

nothing

in

dollars, but
"

for and

something
all this results had

better,
been he side
was

thought
with

effort; urable pleasputting

attended

that debit itself

hardly
of the

dreamed
account.

them The

on

the afifair

something
ever
a

entirely
in

yond bethe

what

they
There he

had
was

experienced family
but it
a

family.
for which

life
had

expressed
never

had exist.

longed
Here

lieved beunder
to

could the

was,

right
attention

surface,
this

needing pleasure.

only

little

give him
Mrs.

Brown's
for

intelligent
to

anticipation
follow it would the be

had celevery

planned
bration*

refreshments

She
to

thought
have of the the

that the

appropriate
school teachers

music
as

teachers
well
as

and her

children, during
each
to
were

brother,
She
was

join

family
how what much
was

refreshments. of her

little

realized
in

guests

interested

take

place, and
to

how the

substantially
success

they evening.

contributing

of the

268

HOW

TO

STUDY

MUSIC

Section
Mr. Curtis
you
to
on

arriving
tried the

said

to

them: that

"I I

judge
The
more

have
you.

experiment
while?'' hand

suggested
than
on

Is it worth his

grasp

of words. the

brother-in-law's The

said

conversation
What
over,

naturally
was

turned and and how

celebration.
done
was

done
uncle

it

was were

talked

and

teachers
^^I
am

keenly

interested.

thoroughly
"that what this
we

convinced,"
we

said than

Mr.
thing any-

Brown,

need

more

else active of

in

hurried, worried,
are

intensely
this
sort

life that for is

leading,
a

is

just
of the

occasion
that

expressing
not

side in

the

inner

nature

expressed
of
we

ordinary
life. this All bration celeand

humdrum the

existence that

everyday
had
a

pleasure
is

have of

from

the

result

little

thought
the
of

planning.
"You

know,"
"it
seems

he

said, turning
to
me

to

school best vate culti-

teachers,

that

one

the
to

things
in

that this

schools

could of

do

would
"

be

spirit
to
our

celebration,
men,
to

celebrations
our

relation in

great

national

events,

fact
to

to

everything
human that

that
I

is of
cannot
more

value,
ceive con-

especially
of

the

spirit.
would do
true

anything
in
young

for

tablishing es-

people

appreciation

PURPOSE

IN

THE

USE

OF

MUSIC

269

of
a

the

worth
"

of
a

great

characters
or
a

than
"

to

have their

celebration

play,

festival

in

honor.
an

It would
not

give the
such

children
up

of the all the but in

school facts
ing carrysome,
"

interest,
connection
out

only in looking
with
persons,

in

the

celebration the forms

and that

in
are
or

producing
to

at

least, of

be

used,

the would

music,

acting, dialogue,
activities
most to

dancing. developing
exercise

This and those

give pupils practice in

out

carrying
powers
we

that train
to
:

want

fancy, imagination,
how
;
a

will;
is

in
come

the
out

ability
before

see

thing

going
of

to

it is done incidentals

ing in thinkthat
are

all
to

the

necessary
a

required
in in

make
on
a

performance
conclusion. work
a

successful; finally,
be much -than from

carrying
"Don't

sustained
to
a

effort, and

bringing the whole

you

think towards

such

would

more

effective

true

education of
ever

merely
with

requiring
a

consideration
of which
are

facts

books, only
? value This

few
rest

connected livion obdon't

come over-

life, the
tends before

graduaUy
about that habits work the

falling into
what
must you

being busy
to

form

be

life's real

begins; work neglected

the result is the

for

which and "What

the

trainmg
so

of

tion imaginaof

will is

essential.
me as

impresses
last

my

experience the

few

months

necessity

270

HOW

TO

STUDY

MUSIC

of

having

social,practical
we

aim

for
a

our

artistic
we

activity.
seem

When

have

such
way
to

purpose
a

to

try

in

right
a new

make
to
me,
our

thing
has

beautiful.

This value in
an

is
of

truth

and

put

the

the

exercise
new

of

artistic

faculties His the

two

entirely
and

light." impressed
were

warmth

earnestness

grade
in

teachers

who

present,
that had
upon

though
taken

they remembered place

school
as

celebrations
that "the
were

looked
last
straw

by
broke

all

the

teachers

that

the

camel's

back." teacher of of

The the the of

first

grade
value

replied by
children.

admittmg
in

great

dramatic

performance
She
a

education the
clearness it.

little life had

spoke

and She

given

to

dramatizing
thought
the the the and

realized which

that^ the
the
one

story

by

executive

skill
was

atization dramof

demanded
most

perhaps
time, she
on

valuable At of

disciplines they
the
same

could

give

children.

described
formances per-

difficulty
Curtis

carrying
to

dramatic routine. rather value such of

in addition Mr. remarked

the that

school it
was

prising sur-

that, after work,

it should be

admitting
done
not

the

the

under

difficult
the of
more

circumstances.

"Why
for the he less

substitute work

important regular

valuable

the

routine?"

asked.

PURPOSE

IN

THE

USE

OF

MUSIC

271

The

teacher

of do of

the
not

upper

grade
that is

replied:
the cational edu-

"You

probably poUcy
the executive had

realize school

the

determined such heads in

by
often

heads;
good
it is
to

while

have

practical experience impossible

look and
to upon

teaching
not
as a

children,
of that turned Uke the

for their

them work
every

to

come

gradually big business

tends
out.
to

sort

introduce

change product
is
out

simplify and
A

unify
or

the lege col-

big high
establishment each
to
some

school for

Ford

ing turnor

automobiles;
attends It
to

department,
aspect
in of

each

teacher,

the

completed
such
a

whole. business
to

greatly helps
eliminate
all book all

running ties peculiariThe

and

emphasize
from what that
as are an a

uniformities. written

prosaic
to

lesson

especially
and

represent
insistence

the the
as

system

requires,
a

the

pupil give possible

from factors business. she

memory

reproduction pecuUarities,
of such "If
we

free

individual in

important
educational

the

ning run-

should such

now,^'
which

continued,
the

troduce "inas

irregularities in
in the

exercises

celebrations,
is
an

personal
the and method

equation
the

important
of
you

factor, and

product
of

work

the

children's
go
an

initiative from the

tion, imaginathe

would
to

Ford

shop

Oriental

bazaar

where

some

272

HOW

TO

STUDY

MUSIC

turbaned be

son

of

the

South
at
a

would

most

likely
or

patiently
and

toiling

piece
with
are

of the

brass,
tional conven-

weaving,

working
his

in

design irregularities that

of
own

partly

pressions ex-

fancy
of

and his

judgment
material. the traveler

and The
as

partly
Eastern
a

the

exigencies
is
It

product
of
art.

bought
has awakens Ford and

by

work

nothing
love machine the do

eflScient in the

about
sessor; pos-

it, except

that while

it the

makes

the

manufacturer because Ford of will

wealthy,
what he
can

possessor

happy,
The into old
a

with

it.

probably
wagon
on

gradually
its

change
the
on

delivery
towards of the

downward but
goes

descent
old

the

scrap

heap;
workman

product

Oriental

increasing
takes the

in value. "The Ford

as

old
our

fashion ideal
seems

for

school

work the

rather like in
to

than

Oriiental There
where As
are

artist; for this

are,

being

efficient.

however,
ideals
as

spots
seem

our

big coimtry gaining

of the
sway.

other

be

long
is

parents
to

and
aU

patrons

schools for and

to

wiUing being
them needs will be the

shirk with
to

responsibility
their

what leave the there

done

children,

blindly
of
an

be

modeled

according machine,
teachers
to

administrative

little

possibility for
form of
our

us

change

spirit or

work."

PURPOSE

IN

THE

USE

OF

MUSIC

273

"You

are

right," replied
the feel for

Mr. child

Curtis. that be

"Art
is made
a

is individualistic, and
to

think

and

himself from
as

will

child else. itself love

to

developed
The in of

differently

everybody
it expresses the
seem

spirit of democracy labor legislation and

uniformity against
in this
our

movements,
do

education,
of the

be

dead

traming
Section

inner

man."

"Oh,
"You

what
must

pessimism!"
bear
in

exclaimed
that

Tom. has

mind

democracy
is
not
us

hardly
on

found feet.

itself Our

yet.

It

squarely
that the

its

professor
were

tells

older Most

democracies of
to

not

truly

democratic.

them
a

applied
and

democratic favored

principles
class.
we

only
have

selected
every

We

accepted
our

class,, and
civilization of which the
tares

cannot

develop
have
grow;

democratic
up
at

until
we are

we

worked

this soil out

to

not,
are

least, until thoroughly

Then
average
we

of
out

special
from
a

privilege
among

rooted shall wiU

or

the

wheat. the
your

have

crop

of
any

grain

where of

be

higher

than desand

fruit
a

Oriental of

Prussian

potism, genius,
The of this

development
as

special faculty
has
never

such whole

the

world

seen." the that outburst

party

laughed
and

at

college hopeful

felt

perhaps

274

HOW

TO

STUDY

MUSIC

after

all this

very

optimism
broke
as

might
in
never over

be

the

ing sav-

grace

of the

country.
here with the

The
statement:

piano

teacher ^^I

realize
has of
a

before, from
this
for bration, celeing callthe

the

way

Harriet
the value

worked

specific motive
effort I have

out

and

concentrating
of the
a

towards

development
worked
on

technique.
that
we

always
aim
to

theory

should

develop
to

the

training first, before

to

attempting
But

give artistic expression

more

this of
can

training.
be

the
more

have that
say

thought
there the

it

recently, the
no

I
we

realize
can

point

at

which

technique clearly

is suflScient.
means as

Every
to

diflScultyovercome
a

ing climbit may

carry

greater height.

Rudimentary
two tones

be, the
with realize it

ability
an

to at

play

should

effort that

artistic

accomplishment.

now,

to

get this artistic expression, stages,

to
some

especially in the
motive
must

earlier

adequate
it forth."
for

be

presented Harriet, please her

my

call love

"Yes,"
and
my

said
wish
to to

"my
some as

Mother affected
as

the desire

way

play

piece
here it
sure

beautifully
asked
some me

I
to

could. learn

If the

my

teacher
to

had
at

piece

play
I
am

ordinary
have
I
so

recital,my
not

motive,

would fear.

been

love, but

something
course,

like but

should
as

have

practiced, of

only

not

PURPOSE

IN

THE

USE

OF

MUSIC

275

to

disgrace myself. motive,'

if I
must

What

you

say

about these

quate ^ade-

understand
not

words,
for what in honor

is that
you

you

have
a

only

love

do, but
you

also
are a

love

for the
your

occasion

of which

doing

work."

^'That's
her
you

very

wise
you
most

observation,"
the

replied
of art,

imcle;
done

"when that

study
of the

history

will find

great things have

some

been

for have love."

the

glorificationof inspired by
had
some

great

occasion,
or

been

spiritual

human The

refreshments of
was

kept busy
now

the while

younger

members

the

family
on.

this

cussion dis-

going
of the

All

felt the the had her whole

so

sity neces-

for The back

some

fitting close
Brown's that she mind

to

affair.

music
to

celebration

brought
musical

Mrs.

early

experiences,
that the

involuntarily suggested
one

group

sing together Acquaintance

beautiful Be

stanza

of All

"Should

Auld in the

Forgot."
the
a

joined
of old

melody, receiving

sentiment

acquaintance
of the
new

significance
with the old

because
that had the made

acquaintance making
because and

united

effort of

music of
a

together
new quaintance ac-

possible;
with of the

themselves,
beautiful
"

through
a

the

preciation ap-

peculiar
of all the

tration minis-

for
most

which

music

seems,

arts,

effective.

276

HOW

TO

STUDY

MUSIC

When treble voice

the

song

was

over,

Jack,

whose

clear that

had its looked "I love

that

crystalline
to

beauty
lower face

just
of the

precedes
man,

change
into

the

octave

his I"

mother's

and

exclaimed,

music

LIBRARY
Suggested Musicians'
French Modem Rano

OF
by
Prof.

PIANO
Clarence
G.

COMPOSITIONS
Hamilton,
of

Wellesley
H.

College.

Library,
Piano

Published
Vol. 2

by

Charles

Ditson.

Music,
Piano and

(Modern
2 Vols.

Compositions). by E. Grieg.
R.

Russian

Music,

Lyrics

Shorter the Music

Compositions
Dramas

Selections

from

of

Wagner

(Otto Singer).
Piano

Classics, by G.
Sonata

3 Vols.

The

Schirmer

Library, published

Schirmer.

Albums,

Vols.

329, 340.
1263.
"

Anthology
Scandinavian
Slav Editions Piano

of Piano

Classics, Vol.
Vols.

Music, Music,

1104-1105.

Vols. the

1109-1110. Music 42.

published by Composers,

Boston Vol.

Co.

American
Italian

Composers,

Vol.

327.

SELECTED

LIST

OF

RECORDS

WITH

PLANATORY EX-

COMMENT

Prepared

by Mr.

Louis

Mohler,

A.M.

Music

for

Younger

Children

Lullaby
This may

Brahms

be

had
and

for

Voice

or

arranged

for

First

and

Second

Violins

Harp.
277

278

HOW

TO

STUDY

MUSIC

The

Bee

Schubert Waltz

Violin, Mavde Violin, Maude

Powell
Powell

Minnie March

Chopin
Piem6

of

the Little

Orchestra

Lead The

Soldiers
music that

justifies its
suggests

title.

It

has

well-ordered
as

rhythm
of lead

mechanical

movement,

the

march

soldiers.

Children's

Toy

Haydn

Symphony
A

composition
the

by

great

master.

Haydn
was

himself

played
We
can

piano the
the
tones

first time

the and

music
a

performed.
viol.
All

hear

of

violin
are

bass
as

the

other
the

instruments

heard

toys;

such

the

cuckoo,

quail, the rattle,and

Toy

the

triangle.

Children's
March This

Currie

music
some

gives

an

impression

of

dolls

marching,

each

playing
Minuet This The
to

instnunent. Beethoven

in G minuet of

Flute, Cello,Harp impels

so

by

its

rhythm
are

to

slow that

gliding walk.
one

ends bow
or

its sections

accented

desires

curtsey.
Mendelssohn
a

Spring Song
Rondino

(On

theme

Violin, Fritz

Kreisler

by Beethoven)
The the Serenade

simple

little theme
as

returns the
name

again

and

again throughout

composition,

implies.
French

Titl

Horn

and

Flute

Largo

"

from

New

Dvofdk

Philharmonic

Orchestra

World

Symphony

LIBRARY

OF

PIANO

COMPOSITIONS

279

It is said of The his

the

composer from
out

got his inspiration for this

part

symphony melody
Read the

reading Longfellow's "Hiawatha." by

the

given
the

English
poem,

Horn

is
"

like which

lullaby.
tells about

part of the
of

"Hiawatha,
on

wigwam

Nokomis

the

shore

of the

lake.
Sweet
and Low
a

Barnby
Rose Nevin

Mighty

Lak'

Music Souvenir
The word
to

for

Older

Children

Drdla

Violin, Music something

that
we

signifies a
a

remembrance,
or

keep

remember

place

person.

Serenade
In the music the

Moszkowski violin

Violin, Zimbalist
us a

sings

to

song

of

night. String
Quartette

Andante

Cantabile

Tschaikowsky

Boston

Op. 4
The first

word,

"Andante,"
means

means

slow

gentle
moves

ment. move-

"Cantabile"
in clear Trdumerei

that

the

melody

along

singing style.
Schumann
wrote
a

Boston

String Qv^artette
that

Schumann

number childhood.

of music
This

compositions
is
one

suggest
known.

scenes

of his

of the

best

Hungarian
No.
5 and

Dances No.
"

Brahms
6

Orchestra

Grande

Valse

from

Glazovmov

Chicago Symphony
Orchestra

the ballet Ru^es

of Love
The of
a

music

is who

chain
came

of waltz from

melodies.

There

is

story

Prince

far to meet
as a

his Princess.

She,

to tease

him, dressed

her

maid

Princess

while

she repre-

280

HOW

TO

STUDY

MUSIC

sented
Prince.

the He

maid. dances real

The
with

first waltz the

melody
Princess

is that
to

of

the

false dances and

now

the

second
to

melody.
the third

The

Princess

before
the

the Prince

Prince and

melody
end the

theme

"

real

Princess

story

to

the the

first theme. Russian

(As danced

by

Ballet

dancers.)

Madrigale
This Moment is short

Simonetti

Chicago Symphony
Orchestra form
of

selection

in the

song.

Musical

Schubert

Chicago Symphony
Orchestra

Schubert
he called that

wrote

number

of

pieces
This

for
one

the is
a

piano wiiich
ody liltingmela

"Moment
stimulates

Musical."
our a

imaginations.
of

It is

picture

of

movement,
Danse The
expresses

perhaps

dance

Nymphs.
Orchestra
gruesome.

Macabre title

Saint-Saens

suggests
a

something
poem

The of

music

in tones The
tunes

called
come

"The
out

Dance of their

Death,"
graves at

by

Casalis.
One

skeletons his

twelve. continues

fiddle

and

the

rest

dance.

This

till dawn. Call

Iroquois Love
A bit

Bentley
Indian
and
two

Ball

of American

music,
Indian Ball

well drums.

sung

and

panied accom-

by
Hiawatha^
ture
s

an

oboe

Depar-

Bentley

(Westward) originally
Saint
sung to

A from
now

song

at the

the

departure

of

traveler Detroit

Sault
stands.

Marie

trading post where

Tribal A

Prayer
very

Omaha
song
or

Bentley
in which
a

Ball dresses ad-

short the

prayer

needy

man

Great

Spirit.

LIBRARY

OF

PIANO

COMPOSITIONS

281

My
A

Bark

Canoe
song

Ojibway
in his

Bentley

Ball

lover's
four

bark

canoe. are

These Overture

short

selections

included

in

one

record.

to the

Opera
Tell
Orchestra Rossini
;

William The
overture

is in four Dawn the

parts

each

has

title.

The This

suggests
over

waking
and

of

day

and

the

rising of the

light

mountains The

lakes.

Storm music
it that
over

Descriptive
storm;
then how

represents
mountains

the

approach
and
trees

of

breaks

and

passes

in the The

distance.

Calm
at

tonal

picture,

midday

over

quiet lak^

among

the

Alps.
Finale

Music,
the Thou The The
song

martial

in

feeling.
Tell has

It recalls
to

to

our

minds

that

story of William
Brilliant music Bird is from
so

do

with

strife in battle. Marie

David
an

Sung
called walks in

by

Barrientos
of Brazil."
;

opera
goes,

"Pearl
a

singer,
of
to
a

the and

story

great forest
attract

the She

bird

its brilliant

plumage

her.

sings

the

bird ; then
Lark the

she

imitates

its song.

Loy Here
The music

the Gentle words in

some

Bishop
are

Sung
those the of

by Melba
The
or

of

song

Shakespeare.
a

parts

suggests

flight of

bird,

the

beauty
Ave

of its song.

Maria

Bach-Gounod

Sung
Violin

by Melba, by Kubelik

This

is

prayer

to

the

Madonna.

282

HOW

TO

STUDY

MUSIC

Overture
mer

to Midsum-

Mendelssohn

Orchestra

Night's
overture

Dream follows After the

The

principal incidents prolonged

follow mock chords
this

of the
we

story
are

by Shakespeare. Fairyland.
hunter's horn

four

in

Kcturesque
; love music
;

parts
;
an a

music: in which
; then

the
we

pageant
to Bottom the

hear
horn

the

donkeys

bray
and
the

allusion

the

of Theseus

dreamy

beauty of

fairy music.
Orchestra

Intermezzo The

Mendelssohn follows
is the

music and
is
a

story of "A
between

Midsiunmer
Two

Night's
and Three. of Herthen
of

Dream,"
There mione

played

Acts

first

part which
finds vein

suggests

the

emotions The music march

when
to
a

she

herself

alone.
we

changes
clowns. Nocturne

lighter

and

have

the

the

Mendelssohn
and all is

Orchestra
mood of

Night,
by the
song

quiet.
used

The

night is suggested
The

instruments

in the

orchestra. The

melodious

is sung

by
are

horns the

and

bassoons.

accompanying
violins.

instruments Valse

clarinets, oboes, and

Brilliante
1

Op.

Chopin

PianOy Josef Hofmann

34y No.
The waltz

introduction theme which

is

flourish

of

brilliant
mood.

tones

and

is sentimental movement

in

This into
a

is followed

by dancmg Hunting

swirling

which

leads

dazzling,

happiness.

Song
the Lark

Mendelssohn

Piano, Josef Hofmann

Piano,
often
hear

Hark, Hark,
liszt but and he used

Schubert-Liszt
that
we

Godowsky
in
a

melody
many

song,

adds

embellishments,

rapid

cadenzas

trills.

LIBRARY

OF

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COMPOSITIONS

283

He
notes

suggests

to

us

the

whirring

"dght

of

the

lark, and

the

of its song.

La

Campanella
The

Paganini-Liszt
the
song

Piano, Godowsky
The

title

means
was

of

bells.
the

first part,

or

introduction,
The with

composed
all

by

violinist, Paganini.
the

peal
the

of

bells is heard
theme.

through

music

mingling

principal
in B

Symphony
Minor Someone restlessness
nearness.

Schubert

Orchestra

(Unfinished)
says

that

the its

music

suggests
distances
to

the

sea

"

its

and
No

quiet;
matter,
any

great

and

intimate
necting con-

it is music

enjoy

without

it with The

explanation.
De Ulsle of the French

Marseillaise

Sung

by

Leon

Rothier

The

stirring music

National

Hymn
be
sung

is

often
in
a

heard,
manner

but that

to

get its full significance it must

reveal
all its

will

fiery eloquence.

The

Star-Spangled

Key

Sung
Cormack Chas.

by John
and Harrison

Mc-

Banner

chorus.
and

chorus
The
to

music unsuited
of this

of
to

our

National

Hjrmn
There convince

is sometimes
are,
us

thought
several

be

its purpose. that will

however,
of the

records
and The

music of the

grandeur

stateliness

words

and

music.

Swan
is
a

Saint-Saens

Played by Pablo
"

Casals
the
companiment ac-

This

picture

in

music
movement

the

melody
the
swan.

suggests
The

slow,. quiet, graceful

suggests
water
over

of

the

undulating

surface

of

the

which

she

moves.

284

HOW

TO

STUDY

MUSIC

Serenade

Schvbert

First

and

Second lin and

Vio-

Harp
of

In

an

arrangement
seems

for these

instruments

the

Serenade

Schubert Orientate
The Orient. violin.

to

gain in interest.
CSsar Cui
tells
us

Violin, Zimbalist
about
a caravan

Russian It is

composer

in

the

really

picture

made

by

the

tones

of the

Funeral

March

of

Saint-Saens
.

Orchestra

Marionette
This and fell, and
we

is

a was

story.
broken

The
;

music its

tells

us

that then

the

Marionette
it away

companions
A

carry

realize of the

their

grief and

understand

the

various
in

incidents

journey.

pleasant burlesque

good

music. Andante
"

from The

Beethoven

Philharmonic

SymOrchestra in the

Fifth Symphony
A

phony
is
a

Symphony
This

great

music

story
from

usually

four
most

parts.
famous
Intermezzo

is the

slow
ever

movement

perhaps

symphony

written.

Wolf -Ferrari

Chicago Symphony
Orchestra

The This

word
music

"Intermezzo"
comes

means

apart
Two and

coming
Three

between*
an

between of the

Acts

of

opera

called Chorus
Ruins The music
movement.

"Jewels

Madonna." Beethoven

of Dervishes of Athens
Dervishes
in the
are

Violin, Heifetz

whirling dancers

of the

Orient.

The their

rhythmic

pattern of its melody

suggests

LIBRARY

OF

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COMPOSITIONS

285

Triumphal

Entrance

Halvorsen

Philharmonic

SymOrchestra of the

of the Bqjaren
In the
or

phony
the

Orient,
the the In

Bojaren
chief

were

the

ruling

men

reahn,
entered acclaim. The

king's

counselors.
were were

Whenever

they
great

king's city they

the

received
dancers and
can

with

procession
much

jugglers.

music

tells this

better

than

we

explain. Symphony
Boston

Prelude

to the

Opera

Wagner

Chicago Symphony

Lohengrin

Orchestra,

Orchestra Grail.
Sir

Like

Sir

Galahad,
tells
us

Lohengrin
the Grail music

was came

Eiiight of the
into
us a

Tennyson
Galahad.
Procession

how

sight before
similar

Wagner of the

in his

tells

story.

Wagner

Chicago Symphony
Orchestra

Knights of the Holy

Grail, in Parsifal
The

Temple

of the

Grail

was was

many

times of the the

the
scene

scene

of
when

great splendor.
all the The

Especially
in

this true
came

knights

procession
it to
us.

to

Grail

service.

music

pictures

MUSIC
En Bateau With of varied tonal

OF

GREATER
Claude

DIFFICULTY

Debussy
outline
in

Orchestra

tracery
color
on a

of

tones,

suggestion
music

delicate
a

and

rhythmic

patterns, the

pictures
Finlandia

boat

lake.

Jean
is
a

Sibelius
for orchestra.
to

Orchestra
The in tones

This

symphonic
of

poem

an

poser, com-

native

Finland,

is said

record

the

286

HOW

TO

STUDY

MUSIC

impressions
absence.

of

an

exile

who

returns

home

after

long

Scheherazade

Rimsky-Korsakow

Orchestra

(Sh6-ha'-ra-za'-da)
Two music Princess I.

numbers of which
in the

of

the

music
one

of of the

symphonic
stories of the

suite, the
beautiful

suggests
"

Arabian

Nights."

Sindbad's
The

Ship.
is the

first record

music, "Sindbad's

Ship"

"

or

his II.

voyage. The
are

Ffite at
in music
us

Bagdad.
city of Bagdad
its title.
a
"

We
and makes

the

it is is
a

an

Oriental dance

city,
which

the

suits of

There

wild

think G

Tarantella.

J^tvdein
Op.
The 25

flatMajor
9

Chopin

Piano
^

Paderewski

No.

word

"Etude"

means

music

study. Flomaley String

QiLartettein C Major

Beethoven

Fugue
A

Quartette
is
as

fugue
theme

interesting because
it is carried

we

catch

ourselves different

noting

the
Th"

through
Robert

by

the

players.
Orchestra

Carnival

Schumann
for the

Schumann of short

composed

this

music

piano.
of

It

sists con-

pieces representing recollections

Seven Pr^ambule
manner.

friends,
for the ment statea

places, and
orchestra.
made waltz in

incidents.

of them is

are

arranged
a

(1)
in

The
a

like

general

dignified

(2) Valse
of
an

Noble,
personage.

grand style, the

music
that

memory

august

(3) Coquette, rhythms

by

its

dainty,

light, changing
music

justifiesthe

word.

(4) Reconnaissance,

LIBRARY

OF

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COMPOSITIONS

287

which

suggests

by

its theme

and

interwoven
a a

color, a cahn rapid

great
ment move-

quiet feeling of devotion.

and
gay

(5) Paganini,
remembrance dance call music. of

mood,

the

artist.
an

(6) Valse, this is beautiful avowal, the bit Come, My

"

(7) Aveu,

that

we

may

"exquisite." Sung by MarceUa

Sembrich

Heart's

Mozart

Delight
era

from

Opof

Marriage

Figaro
I
am

Titania

"

from

Thomas

Sung

by Tetrazzini

the In

Opera Mignon
this opera, there is
acts
a

play
the

within
a

the

play,

and

in this

the

character
song

Felina
in the

part of

Fairy Queen.

This

is her

play.
Verdi

Celeste
the The loved

Alda

"

from

Sung

by Caruso

Opera Alda
hero the of the

story

must

away

to

the

war.

He

has

beautiful

Princess

Aida.

He

sings about

her,

calling her
Nocturne
The

"Heavenly
Minor of

Aida."

in E

Chopin-Auer Chopin
in music. have
no

Violin, Eddy
story
back
of

Brown

Nocturnes
are

them,

they

just poetry

Caprice Basque
A theme

Sarasate
a

Violin, Eddy composition

ways. in

Brown

Caprice is
is

form
a

of

musical

which

repeated in D'Omphale

variety

of whimsical

Le

Rotiet

Saint-Saens

Paris

Conservatory
Orchestra

Symphony Hercules,
to
serve as a

to

prove

his love

to
as

a a

Lydian
woman,

Queen, consented
he

slave.

Dressed

worked

at

the

288

HOW

TO

STUDY

MUSIC

spinning wheel.
of the Prelude
uge to The

The

music wheel.

in

simple

way

gives the

itation im-

spinning
Del-

Saint-Saens

Paris

Conservatory
Orchestra
violin vioUn takes
as a

Symphony
an

After
up

introduction The is music

by the

orchestra,
how entire

the the

its theme. instrument

illustrates

solo The

supported
Jules

by

an

orchestra. Orchestra

Angelas
calls Scenes."
one

Massenet of
one

Massenet

of his This Jules

groups is

turesque compositions, "Picof them.

music

The

FUe is

Bohhne

Massenet in

Orchestra
as

This
Turkish

second

picture

music,

given by Massenet.
VioUn,

March

Beethoven
wrote
were

Heifetz
masque.

Beethoven

once

music

for

pageant
in

or

Many

nationalities

represented
This is the

it, and
for the

each Turks.

had

its characteristic Awake

music. Be-

music

Onaway,
loved The
scene

Coleridge Taylor
Paul

Sung

by

Althouse
from the

Song
of the

is from

Longfellow's
feast.

"Hiawatha"

"

wedding

Ah,

Moon

of My

Lehmann

Sung

by Paul

Althouse

Delight
This The
song

is from
are

cycle called

"In

Persian

Garden."

words Lost

from

the

Rubaiyat

of Omar

Khayyam. Sung by Homer

/ have

My

Gluck

Eurydice
This
song

is from

the

opera

"Orpheus
at the

and

Emydice."
of the

This

is the

lament

of

Orpheus

be^nning

story

"

LIBRARY

OF

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COMPOSITIONS

289

Shadow
The in The
a

Song
song

Meyerbeer
is from
scene

Sung by Galli-Curd
"Dinorah." The heroine

the

opera to

moonlight
Bell

sings
Delibes

her

shadow.

Song
Hindoo The

Sung by
we us

Marie the

Barrientos

In the heroine. ''BeU

story, **Lakm6,"
music itself tells

have

song

by

the the

why

it is called

Song." Grieg Chicago Symphony

Orchestra

Spring

This the
one

is

poem

of

spring.
a

It is sung

by

the it

strings of
but tells,

orchestra. of

It is not and

gay

spring of which
colors.

quiet beauty
Carnival
music
"

delicate

Roman The the

man;

An

Overture
makes horn

by Berlioz
us a

Orchestra
scene a

of the The

record

part of the
song

in

carnival.
of
a

English
of

sings the

of

young
panies accom-

company

entertainers';the
other members Now

guitar
of
we

first

the with him.

soloist,then
The in
a scene

his
see

party join
a

changes.

company

of dancers
Rienzi The The

wild

leaping dance, the Salterello.

Overture music follows

Wagner Bulwer-Lytton's
to overthrow

Orchestra

novel,

''Rienzi." of

plebeians decide
and

the

government

King

Orsini The the

next

place

Papal notary,
out

Rienzi, in his stead.

trumpets
that ends

sound

the voice
;

challenge of the
a

plebeians ;
is
a

stringed instruments
suggests
with
a assurance

prayer prayer

there returns

part
the

the

and

music

vigorous battle
Victor Herbert

hymn.
Philharmonic

American

Fantasy

phony Sym-

Orchestra

290

HOW

TO

STUDY

MUSIC

Fantasy
In

in

music selection

means are

composition
of
a our

of

no

regular
or

form. national

this

several for

patriotic,

songs

; melodies

arranged

large orchestra.

POPULAR

MUSIC

Music

that

is

Easily Concert

Understood:
Programs

from

Many

Melody
Largo

in F

Rvbinstein Handel

Cello, Pablo Cello, Pablo Sung hy Alma

and Louise

Casals Cabals Gluck Homer voices.

Barcarolle Tales
The

"

from

Offeribach

of Hoffmann
music in is intended
a scene

for

soprano

and

contralto and
the

It is sung

representing Venice
canals.

gondola

passing along
Barcarolle

the

Offenbach

Cincinnati

Symphony
Orchestra

The the

music

from
The

the

opera

"Tales

of

Hoflfmann,"
us an

without of
like the

voices.

arrangement

gives rocking

idea

swaying
of
a

barcarolle
on

rhythm,
water.

movement

that

boat

quiet

Danube

Waltzes

Strauss

Cindnnali

Symphony
Orchestra

These and

are

chain

of waltz

themes,

beautiful

in

melody

flow

of

rhythm. Rhap2

Hungarian

Liszt

Orchestra

sody,

No.

Originally, this is arranged

for
a

piano composition, but

It becomes ; it

we a

like it vivid

as

large orchestra.

trayal por-

of Hungarian

Gypsy

melodies

pictures the differ-

LIBRARY

OF

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COMPOSITIONS

291

ent

moods

of these

people,

"

their

love, hate, daring, and

defiance.

Prologue

"

from

the

Leoncavallo

Sung

by Ruff o
Stracdari

or

Opera Pagliacd
The

singer
what
the

comes

before
of the the

the

curtain

and

tells the
At the

ence audi-

story
up

opera

is about. the

close

he he

sings "Ring
is

Curtain,'' and

play begins and

part of it. for the Facto"

Room
turn

Rossini

Sung

by

Titta

Ruffo

from
Barber

the

Opera
Seville
There He

of

is

barber

in the
and

story,
he is in

very

clever

witty fellow.
He

helps

everyone,

great demand.

sings

about

himself.

"It's

Figaro

here, Figaro

there, Figaro

everywhere."
Marche The
a

Slav
march opens
a

Tschaikowsky
with
summons

Orchestra

the

angry to

pounding
battle.
chant the chant

of

drum
over

"

call, a

menace,

Then,
of
a

this

single note, is heard

the

wailing minor

primitive
toned in-

people.

After all

stormy

preparation
orchestral

is again

with

possible
the

sonority.

Mad

Scene

"

from

Donizetti

Sung by

Marie
or

Barrientos

Opera
Lammermoor Toreador^ the The and he

Luda

di

GaUi-Curd
-".

Song from

Bizet

Sung

by Amato

Opera Carmen Toreador,

tells the

bull fighter, is the

hero in

of the the

opera,

about

the

glory of conquest

bull

ring

while

his admirers

applaud

bis song.

292

HOW

TO

STUDY

MUSIC

Mother Ave

Machree

Sung

by John

McCormack

Maria

Schubert-Wilhelrnj

Violin, Heifetz
or

Ysaye sings

The the

melody
to 1812

is the the

Ave

Maria

of Schubert

which

prayer

Madonna.

Overture
The

Tschaikowsky
suggests
had
several incidents his the in the

Orchestra life of Moscow.

;

overture

people.
The

Napoleon
the

pushed
are

campaign
nation
; the army at

near

episodes in
and

music

prayer and

the tory vic-

challenge
;

preparation for battle

the

battle

the

rejoicing as
Air

conquered

retreats.

The

Russian Ballet the

National

is introduced.

of Music

from

Gluck

Philadelphia Symphony
Orchestra

Opera Orpheus
This is the music
or

that
*'

is

played

in

the

scene

called

Elysian
Peer The

Fields^

the

Realm

of Blessed

Spirits."
Orchestra

Gyrd Suite
four
as

Grieg
were

numbers

among

those the

which

Grieg
"Peer

posed com-

incidental
Each in the

music
a

for

drama each

Gynt"
to

by
an

Ibsen. incident

part has
story.

title and

part is suited

Morning
The
sun

rises the

over

the

hills ; the

the
sea.

shadows

are

pushed

aside, and
Hall

mist

lifts from

of the Mountain
in the

King
forest
Trolls. him
; among

Peer,
comes

wandering
the castle

the abuses

mountains,
their

to

of the

He

tality hospihurl

and him down

they dance
the

around

in mad

fury they

moimtain

side.

LIBRARY

OF

PIANO

COMPOSITIONS

293

Ase^s
Peer The

Death

comes

to

his

mother's of
one

cottage

and

finds
over

her

d3ring.
over.

music

consists

motive

repeated

and

Anitra's

Dance

Peer
tent

visits
an

foreign shores.
Chief.

He The

is in

the

desert

in

the for

of

Arabian

girl Anitra

dances

him.

Solveig'sSong

Grieg

Sung

by Galli-Curd
or

Lucy Gates
waits her

Solveig, the
the
return

heroine
to

of Ibsen's his native

story,

"

Peer As

Gynt,"
she

of Peer

country.
song.

is at

wheel,

spinning, Espana
that is

she

sings this
Chabrier

Rhapsody
Music

Orchestra

brilliant There
are

an

impression principal

of

journey
themes and the
:

through
the

Spain.

two

dance

Spanish

Dance, langorous

Jota,
and

fiery and
sentimental.

dashing,

Malaguena,
Ballet
The and

Egyptien
music is

Luigini
interesting because
of its novel

Orchestra

rhythms

peculiar
Duet

mood. the

Final

from

Verdi

Opera
This and under The

A'ida music is the of the

closing
story
are

scene

of

the in

opera.
an

The

hero

heroine the chorus

sealed

air-tight vault
to

temple.
in the

They

sing

their

farewell

earth.
the

temple
fill in
a

service

above

them,
of tone of the

and

orchestra,
the voices

together
of the

background

around

singers in the foreground

picture.

294

HOW

TO

STUDY

MUSIC

The

Tower the

Duet

"

Verdi II

from

Opera

Trovatore of the in the

The he
must

hero die

story has

been
As

imprisoned
he is He
a

in the

tower he

morning.
on comes

troubadour, sings, and

accompanies
heroine of the
to
a

himself

the

guitar.
the

the

story

imder

window. in
a

It is their

farewell
chants

each

other.

The

chorus

distant

church

prayer.

Printed

in the United

States

of America.

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296

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