Music Talks with Children Part 10

But music in school brings us to daily tasks in tone. What do we learn? After the difficulties of reading the notes and making the voice responsive are somewhat overcome, we study for greater power in both, the one-, two-, or three-part exercises and songs; the exercises for skill and the songs to apply the skill, and make us acquainted with the music of great masters.

In one Talk, one of the first, we spoke of the major scale. It has eight tones only, and though it has existed for many hundreds of years, no one has yet dreamed of all the wonderful tone-pictures which are contained in it. It is out of it that all the great composers have written their works, and for centuries to come men will find in it beauties great, and pure, and lasting.

As we sing in school, we are learning to put the major scale to some use. It calls upon us in the melodies which it expresses, to be careful that each tone shall be right in length, in pitch, in loudness, in place. We must sing exactly with the others, not offensively loud, nor so softly as to be of no service. And this demands precision of us; and precision demands thought. And if we are singing to gain a better use of voice we must, in every sound we make, have our thoughts exactly upon what we are doing. This is Concentration. If, on the other hand, we are trying our skill on a song, we shall have, in addition, to be careful to give the right expression, to sing not only the tones clearly, but the words, to feel the true sentiment both of the poem and of the music, and to express from our hearts as much of the meaning of poet and composer as we understand. All these things are more particularly required of us if we are singing in parts. The melody must be properly sustained and must not cover the under parts; while the under parts themselves should never intrude upon the melody, nor fail to be a good background for it. The singing of part music is one of the best ways to train the attention--that is, to get Concentration. As we sing our part we must have in mind these things:

I. To keep to it and not be drawn away by another part.

II. To give the part we sing its due prominence.

III. Never to destroy the perfect equality of the parts by unduly hastening or holding back.

IV. To remember that each part is important. The other singers have as much to think of and to do as we have, and they are ent.i.tled to just as much praise.

V. To be alert to take up our part at exactly the right place.

VI. To put the full meaning of the poet and of the composer into every word and tone.

These, after all, are only a few of the things; but from them we may learn this, that to sing (and to play is quite the same) is one of the most delicate tasks we can learn to perform, requiring attention from us in many ways at the same time. Even now the usefulness of music is clear, for the faculties we learn to employ in music form a power that can be applied in anything.

But music has even a greater reward for us than this. It presents to us many kinds of thoughts and pictures,--of bravery, of thoughtfulness, of gaiety, and others without number--and then it demands that we shall study so as to sing them truthfully from our hearts. And when we can do this music is then a joy to us and to others.

Now we see that music, just like the other studies, is useful and gives us the power to do something. And besides its use and power it is, perhaps more than any other study, the greatest means of giving happiness to others. But of that there is yet a word to be said. That shall be our next Talk.

CHAPTER XXIV.

HOW ONE THING HELPS ANOTHER.

"Music washes away from the soul the dust of everyday life."--_Berthold Auerbach._

Just at the end of our Talk about Music in School, I said that music was the most powerful of all the studies for giving joy to others. In this Talk we shall try to learn what the studies do for each other.

Once more--and we must never get tired if the same thought comes again and again--let us remember that music is thought expressed in tone.

Cla.s.sic music is great and strong thought; poor, unworthy music is weak, perhaps wrong or mean thought.

Further, we have learned that thought may be good and pure, and yet that of itself is not sufficient. It must be well expressed. In short, to thought of the right sort we must add knowledge, so that it may be set before others in the right way.

Now, it is true that the more knowledge we have, the more we can do with music. We can put more meaning into it; we can better perform all the exacting duties it demands; we can draw more meaning from its art, and we can see more clearly how great a genius the composer is.

Besides these things, a well-trained mind gets more thoughts from a subject than an untrained mind. Some day you will see this more clearly by observing how much better you will be able to understand your own language by possessing a knowledge of Greek and Latin.

All the school studies have a use, to be sure--a direct use--in giving us something to help us in life in one way and another. But besides this, we get another help from study; namely, the employment of the mind in the right way. For the right way of doing things which are worthy of the heart, gives power and good. It is the wrong way of doing things that causes us trouble. Some studies demand exactness above all this,--like the study of Arithmetic--others a good memory,--like History--others tax many faculties, as we have seen in our Talk about School Music.

Some of the studies are particularly valuable to us at once because they make us _do_. They may be called _doing_ studies. In Arithmetic there is a result, and only one result, to be sought. In Grammar every rule we learn is to be applied in our speech. Manual training demands judgment and the careful use of the hands. Penmanship is a test for the hand, but History is a study touching the memory more than the doing faculty.

School music, you see at once, is a doing study. Not only that, it is full of life, attractive, appealing to the thoughts in many ways, and yet it is a hearty study--by that I mean a study for the heart.

If you have noticed in your piano music the Italian words which are given at the beginning of compositions, you may have thought how expressive most of them are of the heart and of action. They are _doing_ words particularly. _Allegro_ is cheerful; that is its true meaning. It directs us to make the music sound cheerful as we sing it or play it. What for? So that the cheerfulness of the composer shall be for us and for other people. And _Vivace_ is not merely quickly, but vivaciously. Now what does vivacious mean? It means what its root-word _vivere_ means, to live. It is a direction that the music must be full of life; and the true life of happiness and freedom from care is meant. So with _Modcrato_, a doing word which tells us very particularly how to do; namely, not too fast, spoiling it by haste, nor too slowly, so that it seems to drag, but in a particular way, that is, with moderation.

Music takes its place as a _doing_ study; and as we have already discovered, its doing is of many kinds, all requiring care. Singing or playing is doing; reading the notes is doing; studying out the composer's meaning is doing; making others feel it is doing; everything is doing; and _doing_ is true living, _provided it is unselfish_.

Let us see if there is not a simple lesson in all this. To seek it we shall have to say old thoughts over again. Music itself uses the same tones over and over again; it is by doing so that we begin to understand tone a little.

The school studies try the mind; with the tasks increased bit by bit, the mind is made stronger. Thus is Strength gained. By the tasks demanding exactness, the thoughts must not be scattered everywhere, but centered upon the thing to be done. Thus is Concentration gained.

By making the hand work with care and a definite purpose, Skill is gained. By demanding of the thoughts that they must seek out all the qualities of an object, Attention is gained. By placing things and signs for things before us, we are taught to See. By educating us in sounds, we are taught to Listen. When we have a task that admits of a single correct result, we are taught Exactness.

Now, from all we have learned in these Talks about music it must be clear that all these qualities are just what are needed in music:

I. Strength of thought for Real doing.

II. Concentration for Right doing.

III. Skill for Well doing.

IV. Seeing and listening for the cultivation of Attention.

V. Correctness for the Manner of doing.

We sought for a simple lesson. It is this:

Let us learn all we can that is right and worthy for the strengthening of the mind, for the cultivation of the heart, for the good and joy of others; for these things are the spirit of music.

CHAPTER XXV.

THE CHILD AT PLAY.

"When the long day is past, the steps turn homeward."

Once a child played on the sea-sh.o.r.e. The waves sang and the sand shone and the pebbles glistened. There was light everywhere; light from the blue sky, and from the moving water, and from the gleaming pebbles.

The little one, in its happiness, sang with the murmuring sea and played with the stones and the sh.e.l.ls that lay about. Joy was everywhere and the child was filled with it.

But the day pa.s.sed. And the little one grieved in its heart to leave the beautiful place. Delight was there and many rare things that one could play with and enjoy.

The child could not leave them all. Its heart ached to think of them lying there alone by the sea. And it thought:

"I will take the pebbles and the sh.e.l.ls with me and I will try to remember the sunlight and the song of the sea."

So it began to fill its little hands. But it saw that after as many as possible were gathered together there were yet myriads left. And it had to leave them.

Tired and with a sore heart it trudged homeward, its hands filled to overflowing with the pebbles that shone in the sun on the sea-sh.o.r.e.