Chapter IV: The Beauty, Power, and Uses of Music

"The soul lives its best hours when surrounded by melody,
and is drawn towards its home, Paradise, dreaming of its
hymning seraphs who adore with ecstasies that can find
utterance only in song."

"And how can happiness be better expressed than by song or
music? And, if the body and mind are both attuned to a true
enjoyment of their resources, how much more will the moral
nature be refined and educated!"

The cultivation of the art of music has ever followed closely the progress of civilization; and those nations that have attained to the highest state of the latter have most encouraged the growth, and have been most skilled in the creation and performance, of music. Montesquieu avers that "music is the only one of all the arts that does not corrupt the mind." Confucius said, "Wouldst thou know if a people be well governed, if its laws be good or bad? examine the music it practises." Again: another has quite aptly said that

"Music is one of the greatest educators in the world; and
the study of it in its higher departments, such as
composition, harmony, and counterpoint, develops the mind as
much as the study of mathematics or the languages. It
teaches us love, kindness, charity, perseverance, patience,
diligence, promptness, and punctuality."

And a writer in "Chambers's Journal" remarks, that

"In society, where education requires a submission to rule
singing belongs to the domain of art; but, in a primitive
state, all nations have their songs. Musical rhythm drives
away weariness, lessens fatigue, detaches the mind from the
painful realities of life, and braces up the courage to meet
danger. Soldiers march to their war-songs; the laborer
rests, listening to a joyous carol; in the solitary chamber,
the needlewoman accompanies her work with some love-ditty;
and in divine worship the heart is raised above earthly
things by the solemn chant."

Happily for the world, this beautiful art is one, the delightful forms of which nearly all may enjoy, the inspiring, soul-elevating influences of which nearly all may feel. I say, nearly all; because it is a sad truth that there are some persons who have no ear whatever for music, and to whom the harsh, rattling noise of the cart on the stony street affords just as much melody as do the sweetest tones that may issue from a musical instrument. Again: there are those, who, although possessing to some extent a faculty for musical discernment, are yet so much governed by what is called a sense of the "practical" in life as to avoid all opportunity for the enjoyment of melody, considering such indulgence as a waste of precious time. It is, however, pleasant to know that the number of all such persons--who must, I think, be regarded as really unfortunate--is but a small one, and that almost every one has a born capacity for musical appreciation and enjoyment.

It is true that the mighty genius of Mozart and Beethoven soared far above common musical minds. With a love for the noble art of music almost sacred in its intensity, these great composers penetrated far, far into its depths, finding their greatest enjoyment in so doing. Starting with the simpler 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 music. This seemed to him
like a phenomenal phase, and he can only account for it on
the ground that a love of music is inherent in the average
bad boy. He has usually in training a band of twenty pieces:
but he says that this number he could easily augment at any
time to two, three, or even four times as many; for he very
rarely finds a boy that has not a taste for some musical
instrument. The greatest trouble he has yet encountered in
the formation of his bands is the fact, that, as soon as his
pupils become really proficient, they are ready for a
discharge for good conduct, the music possessing such an
influence for good over them as to completely reform
dispositions that would otherwise be incorrigibly bad. Since
he has held the position of music-teacher at the
institution, several boys have been discharged for good and
promising conduct, who have turned their knowledge of music,
acquired within the walls of the industrial school, to
profitable account."

We know that music, either vocal or instrumental, and in many cases the two combined, has for many centuries been considered necessary for the proper worship of God. The harmony that issues in grand and melting tones from the noble organ subdues the heart, and fills it with solemnity, sweetness, and hope: the sacred chant, the prayer or thanksgiving, uttered in melodious song by the choir or by all the congregation,--these cause the sordid world with all its cares and wild passions to be for the while forgotten, and the soul, charged with the influences of divine harmony and most holy aspiration, is lifted to heaven. And so music, with its gentle, its ever-winning power, has constantly been used by the churches to secure the attendance of those who without it had been indifferent. This has been especially the practice of the Roman-Catholic Church for inducing the attendance of Protestants, and is after the custom of olden times, when the Gentiles were thus drawn into the Christian churches, coming at first through motives of curiosity. They were, however, often so captivated by the music as to submit to baptism before departing. In most of our large cities, a considerable number of wealthy Protestants are induced, by the superior musical attractions of Catholic churches, to attend for a while, renting pews, and finally, in some cases, to become members; and Protestant churches, to sustain the interest in their services, and to insure the attendance of members and others, have been obliged to recognize this love among the people for the divine art.

The German race is remarkable for the intelligence, steadiness, and industry of its members, and their love for and cultivation of the art of music,--these latter characteristics prevailing to a most pleasing degree among all classes of the race. Indeed, it is rare to find a German not, in some sense at least, a musician. And in what beneficent uses do they employ the art, especially in their social relations! Their children are inducted into its charming beauties and helpful uses from their very earliest years. Of a steady-going, rather practical life, the Teutonic race yet seeks relief from care, and finds delightful rest and recreation, in united song, or in some other form of pleasing harmony; thus wisely uniting the practical with the poetical in life. How in keeping is a musical love so warm, and a musical proficiency so general, with a nation which has given to the world a Mozart, a Haydn, and a Beethoven!

Most persons have remarked the superior affability, the polish of manners, that distinguishes the people of France. It is also observable that this nation is much devoted to music; that which is produced by their own composers, and most in use by the people, being usually of the graceful, brilliant style. An eminent French writer states, that, for the possession of these pleasing characteristics, this nation is indebted to that ancient order of musicians, the troubadours, whose musical qualities, politeness, and other winning graces, laid the foundation of the same.

It is said that the ancient Egyptians held music in such high esteem that they employed it as a remedial agent, believing it a sure cure for certain kinds of disease. While such a belief--that is, in its entirety--may not be held in modern times, yet this notion of the curative qualities of music does not seem so very fanciful or mysterious after a little reflection. We know that nothing so generally conduces to recovery from sickness as those influences that inspire feelings of cheerfulness, and that serve to divert the mind of the patient from a contemplation of his bodily sufferings,--it being almost a proverb, that "a pain forgot is a pain cured,"--and that one of the chief of such agencies is the soothing, inspiriting charm of music. It is not meant by this, of course, that music is of itself and specifically a cure, but that it may be often employed as a powerful aid in effecting the same. We know, moreover, that this delight-affording art may be profitably used to "minister to a mind diseased," and that its aid is often invoked by those physicians who are most skilful, if not in curing, at least in ameliorating the condition of, persons afflicted with that terrible malady, insanity. Perhaps Saul of olden times, who is said to have been once possessed with an "evil spirit," was then simply insane; and, taking this view of his condition,--which is, after all, the one that seems the more correct,--the statement in the Bible, that David drove away this evil spirit by his skilful playing upon the harp, becomes easy to understand, since the occurrence is thus divested of its miraculous character.

But I must not fail to notice here the remark sometimes made, that the study and practice of music do not always give to those engaged in the same the graces of a true refinement; that even persons highly skilled in the art are sometimes unamiable in manners, and coarse in habits. To this I reply, that no art nor human agency is capable of elevating every character to perfection; and that the exceptions above mentioned become very noticeable, and cause surprise, because of the known good influence upon the heart and mind generally exerted by the study and practice of good music. Besides, all great musical "_stars_" must not be classed with the conscientious, loving student of the art. Some among the former, gifted with phenomenal voices or with rare powers for instrumental performance, having reached, perhaps, with a few easy strides, their high positions, and caring but little for music save as it ministers to their vanity, conceit, or cupidity,--these have missed that gradually unfolding _culture_ of the mind and heart that belongs to the progress of one who conscientiously seeks to know music's manifold beauties, and who with real appreciation for the beautiful in art, _loving music for music's sake_, feels and exhibits in his deportment towards his fellow-men its delightful and elevating power.

And here I cannot forbear to remark, that the musical education of the youth of our country is not being pushed towards that state of _thoroughness_ so necessary to a real comprehension and enjoyment of the art. Nearly all intelligent parents are frequent, and even fulsome, in their praises of music; and, when they speak or write of it, the laudatory exclamation is often brought into use. And yet they seem to be satisfied, generally, when their children obtain, by a mere skimming over its surface, but a peep into the realities and refining beauties of the science; when the favorite daughter in the use of the piano-forte, for instance, becomes only the most wearisome of "thrummers."

"The London World" is none too severe on the "accomplished" young lady of the period, when it says,--

"The ordinary young lady can only play set pieces on the
piano that she has learned at the price of Heaven knows how
many valuable hours' practising. She never remembers any
thing by heart; could not compose two notes to save her
life; and cannot repeat by ear the simplest melody out of an
opera, though she has heard it a hundred times. She is
perfectly ignorant of the history of music; hates classical
works; knows few of the masters' names save Verdi,
Donizetti, Offenbach, and Mozart, the latter only as the
composer of 'Don Giovanni.' Gregorian or Latin chants convey
no especial meaning to her mind: all she can tell you about
them is that they are used in church. As for orchestration,
scoring, and such like, they are only fit matters for
professionals. She will call Wagner horrid, Gounod lovely,
Mendelssohn dull, and Beethoven pretty, without knowing why
she likes or dislikes any thing. She yawns at an oratorio,
is bored at a concert, and only enjoys opera because she
knows everybody that sits in the boxes."

Besides, I think a mistake is made in compelling girls to learn to play only the piano-forte. There are other instruments, for performance upon which many of them have talents. Nor need such performance detract from a graceful, ladylike appearance. I mention, for example, the harp, the violin, and, indeed, all the stringed instruments, and even others. But on this point another says,--

"A recent number of the London 'Queen' contains an article
recommending the violin as an instrument peculiarly
appropriate for the use of ladies. It protests against the
custom of teaching girls to play the piano-forte only,
arguing that they should have a larger field in music. There
is certainly no reason why girls may not gracefully handle
the bow; and it is stated in the article referred to, that
they 'can learn the violin in half the time that boys
can,'--a statement which indicates that a goodly number of
girls somewhere have had the opportunity of learning. In
this age of progress, girls may certainly have a choice of
instruments, and an opportunity to pursue the delightful art
of music in whatever way they choose. If taste or fancy
incline them to wind-instruments, why should they not try
them?"

Mr. Dwight, in his "Journal of Music," very justly and considerately discourses of the utility of violin accomplishment, and the adaptability of the instrument to womanly practice. He says,

"We have always wondered, that in a community where so much
attention is paid to music, and where almost every girl and
boy is taught to thrum the piano, so few acquire, or even
seek to acquire, the art of playing on the violin. The
piano, to be sure, is a more representative instrument,
enabling one pair of hands to grasp the whole harmony of a
composition, or a compendium thereof; but the violin, with
the other members of its family, viola, 'cello, &c., is the
more social instrument, bringing together groups of kindred
spirits who can play in parts, and read together the
quartets, &c., of the greatest masters, or play sonata duos,
trios, &c., with the piano-forte. And the string-instruments
are infinitely the most expressive: their tones lie nearer
to the soul, spring more directly from the human breast.
They are the heart of the whole orchestra, the most
essential part of music, next to the human voice. It is a
graceful, manly, healthy exercise, to play the violin. If it
be very difficult to play it like an artist, so much the
worthier of a manly aspiration. If it is often only vulgar
_fiddling_, it is, on the other hand, with those truly
schooled, the most gentlemanly of instruments. And we
maintain that it is equally the most womanly. We have many
times expressed our interest in female violinists. Who that
has seen and heard Camilla Urso, or Teresa Liebe, or Mr.
Eichberg's accomplished pupil, Persis Bell, could fail to
feel that the violin seemed peculiarly fitted to the female
constitution and capacity? How graceful the attitude and
motions of a young woman skilfully handling the bow! Her
finer sense of touch, her delicate tact, her instinctive
feeling-out of the pure truth of tone, give woman a great
advantage in this art; and the several examples we have had
from time to time in the concerts of the Boston Conservatory
of Music have shown that this was no mere dream."

But the limits of this book will not permit me to go much farther into this alluring subject. I shall therefore close this chapter by a brief reference to those who occupy the really noble positions of teachers of the sublime art of music.

He whose own mind has been illumined and whose own soul has been especially cheered and enlarged by the various contemplations, the studies and conceptions, of art, will not, in fact can not, hide his light for his own selfish enjoyment, but will seek to brighten the way of such as wish to learn its beauty, power, and uses. And how honorable, how enviable, is the mission of such a one as he who imparts to his fellows a knowledge of the beautiful science of music, leading them, through all the delighting, soul-filling forms of melody, into the region of a very fairy-land!

And finally, as giving fitting expression to the estimation in which the true musician is held by all intelligent people, I append this elegant tribute by Dr. Burgh:--

"The physician who heals diseases, and alleviates the anguish of the body, certainly merits a more conspicuous and honorable place; but the musician who eminently soothes our sorrows, and innocently diverts the mind in health, renders his memory deservedly dear to the grateful and refined part of mankind in every civilized nation."