Music and Some Highly Musical People. James M. Trotter
forms of the art left by their predecessors, they deepened, they broadened and varied those forms; while, with every intricacy created, they experienced the sweetest of pleasure. And one of the most fitting tributes that can be paid to these and others of the noble masters of harmony is beautifully embodied in the lines of Rogers:—
| "The soul of music slumbers in the shell Till waked and kindled by the master's spell." |
But this far-reaching art, with all its difficult forms to awaken and enchain the interest, and to inspire the love of the man of genius or the ambitious student of æsthetics, has also those more simple ones for the delight of the humbler mind. Even the babe that lies in its mother's arms has within the yet narrow confines of its new-born soul the germ of musical sympathy. Often, when it is in a state of disquiet, its mother sings to it a simple, pretty song. Soon the crying ceases; the little eyes brighten with a delighted interest; the charm of music is working. The mother continues the touching "lullaby," and anon finds that her tender charge, with the pleasing sounds of melody gently ringing in its ears to the last, has been soothed into dreamland. Indeed, the power of music to touch the heart, to fill the soul, lies oftenest in those tones that are comprised in its least difficult melodies. Nothing is truer than that music, so beneficent in its influence, is meant for the comprehension, enjoyment, and improvement of all; and that it should never be regarded as an all-mysterious art, the charming domain of which only the gifted few are to enter. Whoever can distinguish musical sounds from their reverse, is, in degree at least, a musician; and whether such a one may enlarge his faculty for musical discernment and enjoyment depends only upon the extent of his observations, or rather upon the amount and kind of his study.
As elsewhere remarked, some time has elapsed since the music-loving world has been called to the contemplation of any great, new revelation in harmony. Meanwhile devotees of the divine art have generally been so much employed in endeavors to properly interpret the sublime works left for their study and enjoyment by the great composers of the past, that they have had neither time nor desire to seek for newer creations. For nearly all seem convinced that what is most needed now is, not new music, but that the masses of the people should possess an intelligent appreciation of, and warm love for, the best of that which is already at hand; and as an intelligent, heartfelt religious faith is needed to carry light and happiness alike into the homes of the highly-favored and the lowly, so is the beauty-shedding art of music—a close ally of that faith—needed to cheer, to soothe their hearts, and to develop in the minds of all God's children a love for that which may be fitly called the "true, beautiful, and good." Associating music with the very highest form of happiness, one of the older poets imagines this beautiful scene in heaven:—
| "Their golden harps they took, Harps ever tuned, that glittering by their side Like quivers hung, and with preamble sweet Of charming symphony they introduce Their sacred song, and waken raptures high No voice exempt, no voice but well could join Melodious part, such concord is in heaven." |
But I shall now more particularly invite the reader to a consideration of a few among the many forms in which the beauty, the power, and good uses of music are exemplified, and of the advantages to be derived from its conscientious study.
It may be noticed, that, in those towns and cities containing a preponderance of cultivated people, theatres do not flourish to the same extent as in neighborhoods where the reverse is true. The reason is obvious: cultured people have attractive and generally musical homes, and are thus made, to a great extent, independent of the amusements afforded in public places. This I mention, not to decry the theatre, which, I hold, has its appropriate, and, under proper conditions, educational and refining uses. In fact, the theatre (in which is performed the legitimate drama) would seem to be in certain respects a necessity, affording as it does occasional change of scene, and ministering to that desire for relaxation and amusement so naturally, so invariably felt by those persons who have not, in a true sense, homes. Nevertheless, our firesides should be made to compete with, nay, to far surpass in attractiveness, all places of public amusement; for it is very much better that the employments and entertainments of our homes should charm and retain their members, than that these should be sought for outside their, in some respects, sacred confines. The reasons for this are so apparent to the thoughtful, that they need not be greatly enlarged upon. Briefly, then, in the home is safety: over its members are extended the protecting wings of guardian angels; while without are often snares and danger, either in palpable forms, or in those hidden by the glittering, the alluring disguises which are so often thrown over vice. On this very subject with what truth and directness Cotton speaks, when he says—
| "If solid happiness we prize, Within our breasts this jewel lies; And they are fools that roam. The world has nothing to bestow: From our own selves our joys must flow, And that dear hut, our home!" |
Nor need I dwell at great length upon the delights and benefits afforded the members of families whose leisure is given to the study and practice of an art so ennobling as music. How charming are those homes in which it is, in its purest style, cultivated! what refinement reigns therein! and what a gentle yet potent aid it is in parental government! The allurements to outside and often harmful pleasures lose their power over the children of that household in which music's engaging, magic influence holds delightful, elevating sway. And then at times, when instruments and voices mingle in a "concord of sweet sounds," how delightful is the effect, how serenely beautiful is the scene! Often have I, when passing in the evening a dwelling from which floated out upon the air the notes of tuneful voices, accompanied by the piano-forte or some other instrument, paused to listen, lingering long, the ear so ravished by the sweet sounds as to cause me to stand almost spell-bound, and to remain under music's magic influence even after its charming sounds had died away.
| "The music in my heart I bore Long after it was heard no more." |
To the great aid afforded them by music in government, the teachers in our common schools can testify. Often a turbulent school, swayed by youthful passions, or wearied by monotonous study into a state of painful unrest, has been stilled, calmed, and refreshed by the singing of a song—an indulgence in the enjoyment of its melody affording delightful relaxation, and also awaking to life that better, that poetic sentiment that abides in every soul. The writer readily recalls his own experience as a teacher in gently enforcing lessons in polite deportment among his pupils by the aid of music. The exercises of each session of his school were always begun and ended with song; while sometimes, for reasons previously mentioned, books were laid aside, and all joined in singing, even during a part of the time usually devoted to study. By such procedure (the songs were of the simplest kind, and without the adding charm of instrumental accompaniment), even the most unruly pupils were generally induced to yield to the softening influences of "magic numbers and persuasive sound." In regard to the influence wielded over the mind and heart by songs, an eminent writer thus speaks: "Songs have at all times, and in all places, afforded amusement and consolation to mankind: every passion in the human breast has been vented in song; and the most savage as well as the most civilized inhabitants of the earth have encouraged these effusions." The following description of the effects of music at a reform-school is quite interesting in this connection. It is clipped from a recent number of "The Boston Transcript."
"A reporter of 'The San Francisco Chronicle,' who recently visited the industrial school, was very much impressed by what he saw and learned there concerning not only the taming, but the reforming and refining influence of a 'concord of sweet sounds.' Attached to the institution is a music-teacher, who has at all times in active training a number of boys, who perform on the various instruments that make up a brass band. This teacher, who is an intelligent German, and to all appearances an able instructor, testifies to the wonderful efficacy of music in softening the rugged nature of the boys, who are sent to school usually because they are uncontrollable by their parents or guardians. He says he has noticed the singular fact, that boys whose aversion to learning was so great that they could not or would not acquire even a knowledge of their 'a, b, abs,' took hold with evident relish of the comparatively difficult study of theoretical music, and in a very short space of time mastered the notes sufficiently to be able to read a tolerably hard score or piece of