Part 1 (2/2)
It is not the expression of more or less definite ideas, such as we find in prose and poetry On the other hand, it rushes upon us with the iet from it depends almost entirely upon our own intensity of application and upon our knowledge of the theeneral purpose of the work
Only with increased familiarity does the architecture stand revealed
Beethoven, it is said, when once asked the ain and replied, ”It means that” Music is itself
The question for every music-lover is: can I equip e, to receive the e as directly as possible, and finally with perfect ease and satisfaction?
This equip, accurate memory, a keen power of discrimination and a sympathetic, open mind
Another paradoxical characteristic ofto reflect is this: Music is the oldest as well as the youngest of the arts, _ie_, it has always[7] existed generically, and all hus born, as they are, with a musical instrument--the voice--are _ipso facto_ musicians; and yet in boundless scope of possibilities it is just in its infancy For who can lie of the huination? The creative fancy of the composer is always in advance of conte to new music, we should beware of reckless assertions of personal preference The first question, in the presence of an elaborate work of music, should never be, ”Do I like it or not?” but ”Do I understand it?” ”Is the e to me, or is it merely a sea of sound?”
The first and last article in the music-lover's creed, I repeat, should be _fahly know a symphony, sy the themes to ourselves, the music will reveal itself The difference between the trained listener and the person of ains a definite ; whereas, to the latter, s are necessary before he can make head or tail of the composition Since the creative composer of music is a thinker in tones, our perceptions must be so trained that, as we listen, we make sense of the fabric of sounds and rhythms
[Footnote 7: From earliest times, mothers have doubtless crooned to their infants in instinctive lullabies]
It is evident fro observations that our approach to the subject is to be on the intellectual side Music, to be sure, is an emotional art and so appeals to our emotions, but these will take care of themselves We all have a reasonable supply of e is entirely deficient in the capacity for being then our nize a theme or remember it whenever it appears, often in an auised forical growth and development of the themes thes as the ”dramatis personae” in a play The would-be appreciator should early recognize the fact that listening to ht amusement or to pass the time, but demands cooperation of an active nature Whether or not we have the emotional capacity of a creator of music may remain an open question; but by systeet from the music that sense which the composer meant to convey Music--more than the other arts--demands, to use a happy expression of DG Mason, that we ”e of rae, even when received, is suggestive rather than definite In this way only can the coinations
For acquiring this habit of mind, this alertness and concentration, the start, as always, iscomposers may be transferred to the listener: ”Be sure that you invent a thoroughly vital therow of itself fro totheently and to enjoy its subsequent growth into the complete work[8]
[Footnote 8: In this connection we cannot refrain fro the improvement which should be made in the concertof a concert, do we see people re the progra on the music itself; with the result that the composition is often well on its way before such people have found their bearings]
Every piece of music, with the exception of intentionally rhapsodic utterances, begins with soroup of notes of distinct rhythenerative force--of the whole, and which is comparable to the text of a serroup of notes is called, technically, a _ force and inative life in terms of rhythm and sound_, which instantly impresses itself upon our consciousness and, when heard several tiotten or confused with any other ht (to be explained later)--enerally the most important
Just here lies the difference between the Heaven-born themes of a truly creative composer and the bundle of notes put forth by lesserin our memories, sometimes for years, whereas the inept and flabby tunes of certain so-called cootten almost as soon as heard Motives obviously differ fro them, _ie_, the up and down relationshi+p in pitch, the duration of the tones and their grouping into metric schemes But a real nant with unrevealed lory of such creative tone-poets as Beethoven, Wagner, Brahive birth tothat live for ever and are loved like life itself The first step, then, in the progress of the appreciator of nition of the chief motive or motives of a composition and the developrowth This ability is particularly necessary in modern music: for frequently all four -quartet are based upon a --often in altered forestiveA few of such motives are cited herewith, taken from works hich, as we proceed, we shall become familiar
[Music: CeSAR FRANCK: _Symphony in D minor_]
[Music: BRAHMS: _First Symphony in C minor_]
[Music: TCHAIKOWSKY: _5th Symphony_]
[Music: DVO[VR]aK: Symphony _From the New World_]
It is now necessary for the student to know soe works of music are fashi+oned; not so much that he could compose these works hih, so that the reception of the music is not a haphazard activity but an intellectual achieveenuine work of art in whatever eneral effect with variety of detail_ That is, the ether, be coherent and convince the participant of the logical design of the artist; not fall apart as , or be diffuse as a poorly written essay And yet, with this coherence, therevariety; for a too constant insistence on the main material produces intolerable monotony, such as the ”da away on one theme by the hack coreater importance, and in no art more difficult to attain For the rawrhythms and waves of sound, is in its very naturewith the concrete, tangible and definite material which is available for all the other arts, but with soible and elusive We know from the historical record[9] of musical development, that, only after centuries of experimentation conducted by some of the best intellects in Europe, was sufficient coherence gained so that there could be composed music which would co And this was long after each of the other arts--architecture, sculpture, painting and literature--had reached points of attainment which, in many respects, have never since been equalled
[Footnote 9: Compare Parry's _Evolution of the Art of Music_, passim and DG Mason's _Beethoven and his Forerunners_, Chapter I]
Before carrying our inquiries further, so must be said about the two main lines of musical development which led up to nated by the terms _homophonic_ and _Polyphonic_ By hole voice,” is le_ inally were always unaccoorian tones of the early church, in which there is _oneit Later we shall see what irowth of instrumental music were borrowed fro and folk-dance But history makes clear that the fundamental principles of musical coherence orked out in the field of music known as the _Polyphonic_ By this term, as the derivation implies, isof _several_ independent melodies For many centuries the most reliable instrument was the human voice and the only art-music, _ie_, music which was the result of conscious roups of unaccoy of the church About the tenth century, anuers _,
[Music: Tu Patris se the 13th and 14th centuries a method orked out by which the introductory tune was enerate its own subsequent tissue It was found that a body of singers could announce a melody of a certain type and that, after they had proceeded so far, a second set of singers could repeat the opening melodic phrase--and so likewise often a third and a fourth set--and that all the voices could be ether in a fairly harmonious whole[12] A piece of music of this systeers take up the ular rhythmic periods[13]
The earliest specimen of a Round is the famous one ”Sumer is icumen in” circa 1225 (see Suppleh point of perfection--considering those early days--ht their art For, at any rate, by these systematic, imitative repetitions they had secured the first requisite of all rowing musical instinct, and approved by convention, was developed into such well-known types of polyphonic ue; terms which will be fully explained later on