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THE MUSIC TRADE REVIEW
THE PLAYER-PIANISTS' DEPARTMENT
lit is in every way eminently desirable that a publication
which undertakes to give so much space and so authoritative
a treatment to the great player industry, as does The Re-
view, should not neglect what is after all the real excuse
for the player's existence, namely, the music that is evoked
from it. Recognizing the extraordinary importance of do-
ing everything possible to spread more widely appreciation
and love for music among player-pianists, The Review's
Player Section for the present month contains below, and
will in future regularly contain, a department devoted to
the musical interests of player-pianists and of the player-
piano. Each month one musical article of general interest
will appear, together with useful hints, notes and comments.
This is in addition to the regular sub-section of the Player
Section, which analyzes the monthly issues of music rolls.
Professional demonstrators, salesmen and player-pianists of
every degree will find each month on the "Player-Pianist's"
page of the Player Section much valuable information. And
the Editor of the Player Section will at all times be glad
to answer inquiries on any and all musical player matters.]
WANTED—A NEW CONCEPTION.
Second Article.
We have said that "we must find a way of mak-
ing the structure and design of music intelligible
to people whose sole avenue of access to the art
lies through their ears—and we must find these
means without venturing upon any elaborate or
difficult study." The reasons which have ltd us
to believe that some rational conception of music
must be made the more or less common property
of all who obtain their musical expression through
the player-piano, and which have also led us to
believe that this conception must be in effect new,
have been set forth with some exactness in the
first article of this series. Those, therefore, who
desire to inquire more particularly into our rea-
sons are invited to consult the article in question.
Our present object is to discuss the conditions
themselves, not our reasons for their existence.
And the very first thing that we are therefore
called upon to ask ourselves is: What are the
exact feelings with which the average person ap-
proaches the hearing of music? What is the na-
ture of the mental processes which the average
man sustains in hearing any form of musical
expression?
Now, it seems pretty obvious that the distin-
guishing characteristic of popular musical appre-
ciation is a certain incoherence. The average per-
son thinks of a piece of music as a series of
agreeable sounds, which he can, after some slight
effort of attention, weld together in his mind as
a series of related sense impressions; unless, in-
deed, he be of that peculiar mental type which
suffers from what we call '"tone deafness." So
far, at least, as concerns the very simplest forms
of musical expression, it is undoubtedly true that
a majority of us can, as we say, "carry a tune" in
our heads. When, however, the relations between
the sounds which make up the tune cease to be
of the very simplest, the mental resultant of the
sense impressions becomes less and less definite.
It is a curious fact that the relationship between
musical tones is more definite in our minds as the
mathematical proportions or ratios between the
vibration numbers of those tones are simpler. A
simple tune, therefore, which remains within the
limits of the diatonic scale, and the supporting
•harmonies of which are founded upon simple
triads, provide a succession of simple ratios which
the least educated human ear readily grasps.
When, however, a tune ceases to be simple, but
on the contrary contains intervals of a more re-
mote and less familiar nature, it to all intentions
and purposes ceases to be a tune at all, so far as
Concerns the mental attitude of the average man.
The average man, in other words, can understand
the A B C of musical expression, but he is no
more capable, generally speaking, of appreciating
higher forms of expression and more subtly de-
veloped melodic ideas, than a child in the primary
school is capable of appreciating Browning's
poetry. The child in the First Reader is acquir-
ing the A B C of English literature. But only
through cultivation of his mind and continual
practice will he become able to appreciate higher
forms of literary expression. Highly developed
forms of musical expression are in similar case, propaganda until we have first determined exactly
but it is by no means proper to suppose, as the
what it is we have to say. We must first, in fact,
average man does, that a melody is not a melody
make sure that we know exactly what we mean to
simply because it is not elementary. Neverthe-
tell the public about music.
less, the fact remains that the average man does
Ever since the human mind has been able to
think this, and that his mental impressions be- give some consideration to the matter of express-
come more and more incoherent,. and less and
ing its opinions and its feelings in the most effec-
less bound together by any strong nexus of re-
tive manner, there have been growing up slowly
lation, the further he departs from the elementary
various distinct forms of expression. The
in music. What is true of melodic appreciation
sense of beauty has reproduced itself in
is even more true of that subtler appreciation
painting and sculpture; the dramatic sense
which is required for the proper understanding
has become embodied in tragedy, and the
of harmonic music. An appreciation of harmony
yearnings of the mind toward the infinite
is less common than a feeling for melody, for the
have brought forth systems of metaphysics. . In
reason that appreciation of harmonic beauty re-
each case there has been an exhaustive and ordered
quires a more highly developed sense for the rela-
attempt to express human feeling, devotion or
tions of musical tones.
opinion, through some medium which shall pre-
serve a record thereof. The fine arts have grown
It is proper for us, therefore, to say that to the
up, therefore, little by little, until they have be-
average person even the lower degrees of musi-
cal appreciation are by no means as common as come recognized and respectable elements of
human activity. The art of music doubtless had
they might be. While a rudimentary sense of tone
beginnings as humble as may well be imagined.
relation is doubtless almost universal, it is also
In fact, it is more than probable that the earliest
true that this sense is in every way most elemen-
music was no more than the instinctive evocation
tary and tends entirely to cease its functions as
of agreeable sounds without either form or co-
soon as it is called upon to judge between tone
herence. With the growth, however, of the human
relations which are in any way complex.
mind in ability to think deeply, the art of music
Popular Feeling About Music.
began to assume form and shape, and gradually
Incoherence, then, and an imperfect sense of
took upon itself a coherence and formality not in
tone relation form the mental equipment of most
people with regard to the appreciation of music. any principle different from the similar qualities
which have pervaded the other arts, and which are
Unfortunate as this state of affairs is, however,
its disadvantages are increased by the fact that necessary to the existence of any art in an ordered
lack of the machinery for appreciation tends to and intelligible aspect.
bring about a settled opinion to the effect that
The Production of Intelligent Music.
music is something of no account. Anybody who
Now, for reasons doubtless connected with its
has ever read Charles Lamb's essay on "Ears" peculiarly intangible nature, the simple and indeed
may be able to understand how an exquisite sense
necessary idea of ordered form and structure in
of beauty in literature may be accompanied not
music seems to be the one idea that is least appre-
only with absolute sterility in musical feeling, but
ciated by the average human being to-day. Yet
also with a definite and very positive misunder-
of all possible elementary facts which we must tell
standing of the whole meaning which properly
the public about music, this fact stands pre-emi-
attaches to music as an art. To Lamb, music
nent. The slightest attention is sufficient to make
was a series of agreeable sounds. If these sounds
us realize that without some sort of formal struc-
were arranged in very simple arrangements with
ture music would be merely a series of unrelated
endless repetitions of one phrase, : he could assimi-
sounds—nor is it less easy to see that music, in
late them into one tune. But the very moment
fact, is more utterly dependent upon form than
that this simplicity was replaced by the slightest
any other means of expression. The other arts
efforts toward complexity, all ideas of form or
work through media which can be grasped by the
indeed of logical planning vanished, and left be-
eye as a whole, as painting or sculpture, or which
hind nothing but the feeling that his mind had
through the medium of printing can be retained in
been stretched out "on a rack of flowers." It
a permanent form, as literature. Music, however,
was sweet, but it was also torturing. In just the
can only be brought to life through the ear. It must
same way, other writers have told us, that the
bf. heard. And not only is this so, but music can
warbling of a bird was to them sweeter music
only be heard in successive portions. We cannot
than all the symphonies of Beethoven.
Here,
hear all the tones of a piece of music simultane-
again, we have an instance of utter misconcep-
ously, as we see all the details of a picture at a
tion. It never seems to have occurred to these
glance. If all the sounds which comprise a piece
people that music is not merely a trick of pinning
of music were evoked simultaneously, there no
together agreeable sounds, but is a definite form
longer would be any music. Hence, we must de-
of expression, exactly as definite as painting or
pend upon memory to hold together the elements
poetry, but infinitely more subtle, and in very
of a piece of music as these are presented to us
truth infinitely more natural to the human mind. in successive intervals of time.
A good example of this absurdity is to be found
Obviously, therefore, form and formal structure
in Ruskin's "Modern Painters."
are absolutely necessary to the production of in-
Such, then, are the popular feelings about music.
telligible music. The more clearly that form is set
How are we to impart to the public a better state
forth, the more likely are we to be able to appre-
of mind?
ciate the artistic or emotional worth of a piece
Most obviously, the thing that we have to do is
of music. By form can only be meant the ar-
to substitute in the public mind a rational for an
rangement of various musical sounds in such a way
irrational idea—a coherent for an incoherrent con- as to give an impression of unity and coherence.
ception. If to do this were merely a matter of
This, then, is the first great truth which we
setting forth the truth in simple and non-technical
must recognize and which we must endeavor to im-
language, the task would be comparatively light.
press upon those whom we are trying to interest
If, in fact, we merely had to state the facts and
in the meaning of music.
could be sure that the public would listen to what
If we can make people understand clearly the
we had to say, we certainly should not have to
necessity for form and structure, we shall have
complain of a very difficult work. In truth, how-
gone a long way toward executing our design.
ever, the mere setting forth of the facts is but a
We must make people understand that any kind of
small element in the problem. The more impor-
music whatsoever is equally subject to the laws of
tant difficulty is to get the public to listen to us form, and that alike with the simplest tune and
and follow our teaching. Yet it is obvious that we
the most elaborate musical work which can be con-
cannot undertake consideration of the necessary ceived, these laws necessarily and always prevail.