A Few Hints On Music

Of the mauy Mlacies that exist m the public mind concerning music, there is one, that though common and deep-seated, seeinscapable of correction, if the difficulty were fairly stated. It is that what is called by dsitinctively musical people, 'good music,' or 'the best,1 is to most persons unmeaning and u'interesting. Even educated musician8 are proue to believe that to the ordinary listener, music ia its higher forms is a sealed casket. Brilliant and beautiful as the outside may appear by reason of the decoración of art, it still attains only the place and brief attention of a pretty article of ornament. What if one declares there is wealth of beauty and inexhustible possibilities of pleasure locked up in a música! composition, until the key is found, where is the good? And the key, say many, can only be possessed by one versed in the art itself. Nov thia is in a measure true of some kinds of composi tion, but as a general statement it is a false riew of what is either superciliously or sneeringly styled "classical musie." The term is avoided by most people as inseparable from this misconception. Classical music is, broadly, the best productions of the best jeriod. Now to say that such music is incapable of being made intellifrible to ordinary people is a gross libel on human capacity, and 8rises not frora the inherent obscurity of good music, but is usually the result of unskillful, not to say stupid, performance. Because part ot the more technical characteristics oL a creation escape one, is no reason for turning a deaf ear to the whole of it. To every good work, whether in music or any other arf, there is always something to appeal to every attentivemind. That this is true in the realal of tone will be evident if we examine the more patent sources of pleasure that are open to the auditors at a concert of the " best music." Tney will be found varied enough to engage the interest of every thoughtful and receptive hearer, the character and degree of pleasure being dependent on the capacity and culture of the individual. By far the most general and strongest source of pleasure derived trom muic lies in the rhythm and measured flow of the time. There is hardly a human being who is not susceptible to the effect of repe8ted and regularly recurring sounds or movements. Originating in the dance and march. this sense of rhythm has been handed down in these primitive movements, and through the medium of poetry and music has been stripped of more and more of its physical character, till now the ability to "keep time" has to be learned or recovered by many persons, before they can appiy it to their musical efforts. But the recognition and enjoyment of the mare simple effects of rhythm are universal, and need only to be clearly expressed by the performer to be caught up and appreciated by the hearer. The simple giouping of two, three, or four beats under one accent has been made the basis of more and more complex divisions until amongnorthern, warm-blooded peoples, the subject of rhythm alone requires special and prolonged study to master it. But in every good author's writings, no matter what his eccentncities, the main and primitive element, regular, strongly marked accent, is never long absent. Another souroe of enjoyment is the recognition of melody merely as such. Many persons of little culture display eireat quicknesB in following and retaining the principal airs of a composition. This power brings great delight in its exercise and can be greaíly increased by attention and use. Another class of hearers derive a more distinctively intellectual pleasure in noticing and anticipating repeated or contrasted themes which appear from time to time with more or lees prominence. The musical form of a piece made evident by the order and treatment of these themes, or melodies, brings into activity ior its recognition very lively attention, good memory, and nice discrimination. Considerable knowledge and study of music is neceEsary to avail oneself of this power. But a more restricted number in every audience are able to receive in addition to the above impressions, an exaltation of the emotional nature whicb, for the time being, raises them into a new world of thought and feeling, quickens the imagination, sharpens evjery habitual power, and expanda the whole being. Just how this is brought about by simultaneousand successive tones conveyed by air frora instrument to ear, is a question not to be ïntroduced here for complete answer. It is due in part to the association of certain emotions or suceessions of emotions with the ideas or experiencee which gave them rise. When the music is familiar, past associations arise and add to the general impression. This is a part of the power which national songs exert oyer all sorts of people who are animated by a common principie or cause. What old soldier does not feel his blood tingle in his veins at the sound of some air to which he has marched to battle ? What sensitive soul, seated in the crowd at the opera, is not well nigh overeóme by the flood of thought and emotion called up by a familiar scène listened to years ago under other and happier circumgtances ? When the imagination is quick and responsive, even new musió will start a train of thought or suggest an experience, or picture a ecene, and clothe all in a misty vesture of emotion. To these three principal modes of active enjoyment on the part of the hearer may be added the agreeable effect of graceful movements, and that personal power which an artist may poseess by reason of character and the conscious mastery ot the situation. Now these pleasures to be had in the hearing of music, are open to the majority of people sensitive to beauty in any form. Some of them will certainly appeal to the average attendant upon public entertainments. It only remairs to provide the player who can fulfill all the coudtions necessary to give others such ecjoyment, and musical art is vindicated from the charge of being merely a display of pedantic skill and knowledge. Supposing a performer whose every movement, while graceful and pleasing, is expressive of power and repose; whose sense of rhythm is so keen as never to lose its outward expression in fjrce and ghading, whose memory and exeoution are able to retain and speak out every nicaty ot masical thoughf, yet holding as in a sphere the grand whole whieh inspired the author; imagine such a player and then add a character and intellect capahle of infusing into the beautiful forms and harmonies, a hutnanizing idea, that brings all under the sway of remembered emotion, and what can exceed the power of the resulc on those who listen ! When these qualities are present they are feit. There is no mistaking an aotr who liveg in his assumed cnaracter, neiiher can there be any escape from the sway of a pianist or violinist or singer, a part ot whose life is thus lived over ayain in a few moments of intense and b-autiful activity. ■ Find such an interprater and the works of the great tone ma-ters may be trusted to perform their uphfting, qaickening and renning mUeion.