some aspects of chinese music

7/28/2019 Some Aspects of Chinese Music

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THE EVOLUTION OF MUSIC.

d-te.--^.t-.i--f*.-*.>-te.-te.si

many sources, may perhaps be of

f interest to some, and I await j

Jeagerly for the author who hastime and inclination to deal fully

} with this subject. J

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1

8S

i,^.M ,^,,^..^ ^. ,^.,^..^.,^, .^


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t?^te^te^*^te^te^te^*^'*^^'^r?

i !

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aMusic Absolute and

Otherwise

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UCSIC ABSOLUTE AND OTHERWISE.

' Above all, get understanding."

POR purposes of this short paperupon certain phases of musical 1

understanding, let me classifymusic under two

headings viz.,absolute and explicable.

The first dividing must be taken in \'

1

a broad sense, to mean, per-fectly grammatical and idiomatic

music ; mathematically correct inits mechanism, and euphonicallybalanced, over and above any femotional side. The second maybe any feeling, emotion, action,

colour, or combination of these, i

set out musically in such a waythat the brain grasps quickly and fconcisely the meaning, and theemotional spirit is swayed in the

required direction.

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Ml'SlC A11SOLVTK AND OTHEBW1SE.

seemed to think otherwise, as did

"NVagne

others.

"f

Iow, liaving defined my two clas- ^sifications, let me at once say Ithat too strict a line betweenthem is fatal and erroneous tothe proper understanding of anytone literature.

Because a symphony is a symphony,may it mean

nothing,and con-

tain nothing than mere mechani- \cal work? Berlioz seemed tothink otherwise ; Tchaikovsky un- f

deniably did, though some therebe who would tie this emotional

giant down to academic rules. JAnd may we read nothing intothe Ninth Symphony save peer- fless construction? Berlioz again

"NVagner, and as I hope many

May not the great John Sebastianhave been swayed by moods

during the making of his fugues? j

?


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MUSIC ABSOLUTE AND OTHEllWIsE.

itgl ft ^^^ ^^. 1 1 ^^^.-4 I ^^^ t ^^^. t ^^. t ^^^. * > *^^. 1 1 ^^h. 4 I ^^^. t ^^^. t mf

The complete masterpiece may be

jsaid to represent the onward Imarch of Fate, and how power-less and unavailing it is for manto attempt an evasion from its

sweeping, crushing progress.

The opening "Allegretto doloroso"

typical sonata form is thebasis of the whole first movementand foreshadows the tragedy ofthe third, or "Fate," move- /ment. 5

A short phrase of but four barsworks up to harmonic chords onthe dominant, which introduce fthe first phrase in octave chords,

fugally. f

At thispoint

astruggle

is made tocheck the march of fate. Fiercer /and fiercer it rages, till a soft,plaintive argument quells the

strife, rising gradually, as its

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MUSIC ABSOLUTE AND OTHERWISE.

force is felt, until with full dis-

cords it announces a charmingmessage of hope.

This passage, which occurs againlater in the movement, is themost "intimate" Grieg in thewhole sonata. We now come toa most

singularand beautiful

motive, a re-occurrence of the . I

original phrase in the majormode and anon, a syncopatedtempo.

It seems that Fate whispers, she fis not altogether a tragedian,and announcing some coming joy.

A new clause, in 6-8 time, gives usa short glimpse of different lives,

before Fate swings them intoher path. The high, passionateyearning is followed by its reac-

tion of deep melancholy, until

the approach of Fate note the

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MC8IC ABSOLUTE AND OTHERWISE.

crescendo, and ever-increasingrestlessness works the spirit upto pure desperation.

Fate having seized its victim,

passes suavely on to a running,

triplet bass. The jade growsmore presumptuous; and, with a Ifanfare of trumpets, the old

theme comes crashing down in ffugal octaves, twisting the air

through a triplicate maze, and

fights onward, till, in an ex-hausted condition of descendingstaccato chords, she glides into a f

hopeful, peaceful phase beforenoted.

Gradually Fate emerges from this

theme, and taking it on, swellsher train up to two great chords,and then plunges off, "con

fuoco," unchecked and uncheck-able. The movement ends in atremendous passage up and up,

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through, the feeling is more in-stinctive than acknowledged.

The opening melody is just a pure,

The time suddenly changes to 12-8,and a restless mood grows up.Fate gives sudden warnings atthe fourth and eighth bars, theiindercurrent of events gettingmore and more

unsettled,and the

pace quickening.

The original air begins to take onricher harmonies, as the life

103

always triumphant, and is lost ina great Amen, sforzato assai.

The second movement C majoris perhaps the most difficult to J

analyse in words, for though theFate scheme is working all

stinctive than acknowledged.

jsweet life, untouched as yet bythe vagaries of Fate, and still inits first innocence.


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MffilC ABSOLUTE AND OTHERWISE.

grows stronger and more self-re-

liant, till with a great, glad rush

up from the bass, the younglife bursts untried, but nothingdaunted with a song of expectedvictory.

The air grows more complex and

strange rumblings are heard, as

of doubt ; till merely uncertainty

remains, and all the joy of vic-

tory has died out. The move-ment ends with deep, rich, de- fscending chords, like sleep upon

the tired soul ; yet disturbed by Ia strange lurking nightmare of I

distrust, as to the final issue.

The growing sense of an undefeat- 2able Fate in this section of the

sonata must, as I said before, be

felt, rather than described.

The third movement is, without104


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i

^'^-'^-^..-^..^t,-*.,,^.,,-^.,,.^,^

doubt, the crux, the climax, of

the whole sonata.

It opens with a slow and marvel- flously harrowing march, in 3-4

time, commencing piano, workingup to fortissimo, and then sub-

siding again.

Such absolute conviction is carriedin this onward march, that yourealise how futile it is to attemptresistance or evasion.

A second theme follows, soft andplaintive, as though Fate were

sorry for her "brick wall" atti- jftude, but bursts again into a

smouldering anger, and suddenlystops abruptly.

And now how can I describe the fbeauty of the following passage ;

the purity, the aloofness : it is

the song of Providence, who cares105 8


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MIS1C - AU3OI.ITE AND OTHERWISE.

not at all for Fate. After this

exquisite melody, Providence, hei

time notbeing yet,

returns to

silence. r

The Fate march is again heard ad-

vancing, and now proudly sweepson to the end, stopping abruptly,to

signifya

complete masteryof

fthe situation.

The deep intensity and meaning ofthe movement will be readilyunderstood, and very minute I

analysisseems

unnecessary.

The finale is a tone poem, picturingthe triumph of Providence overFate.

The latter flings out a challenge !

Three times it is given out, andthree times it remains un-

answered. Unchallenged, in re-

turn, Fate now whirls off in asort of delirious dance, growing jf

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madder and dizzier, till at lengthshe sinks exhausted for the time,

and the melody dies away in thebass.

Providence now awakens, and setsforth her purpose, as opposed to fany dealings of chance.

The song of Providence, or ratherProvidence herself, pictured in

tone, is heard, repeated in full fharmony. She then, with a loud

flourish, retires, and Fate, angry

and alarmed, advances to the Iattack.

The whole of the last section canbe better imagined than de-

scribed, and indeed the writer Idoubts not that by this long dis-

coursing, much of the imagina- ftive point has been lost.

It has been merely my wish, how- J107


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MfSIC ABSOLUTE AND OTHERWISE.

108

,

DI

ever, to instance a great "abso-

lute" musical creation, capableof "explicable" form, without

suffering deterioration in the

transferment.

Let music be an exact art : let it I

have its grammar and idioms, itsmechanics and

mathematics;but

let feeling and understandingplay through it all, so may webe on our way to understand the /manner of men our great masterswere, and such thoughts as were

theirs.

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VIII

Music and Mood

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MU8IC AND MOOD.

I

\ )

\ )|7 VERYONE with a grain of indi-

viduality in their composition fmust know the feeling of utter

inability to imbue certain tones

jfwith music, whether by playing i

or listening. It may arise fromvarious reasons, chiefly, I think, f

being an intuitive knowledge of

soiled and unfit condition of one's

| "personality," to use one expres- I

sion out of many.*

It is nature's law of protection over

her most precious gifts, and un-

f happy he who forces music in Jdirect revolt against this instinct.

1 Schumann knew this when hewrote : " It is better to rest than

f to play without pleasure or fresh- |ness." A really great pianist,temporarily in this state, was

} in 2


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i

MfSIC AND MOOD.

pressed beyond all boundaries of

good taste to play the BeethovenC sharp minor Sonata. It rosea poor dead outline from the

piano, suffused with a little

humility and much defiance ; thefinal movement was strangelycontorted in this mood, and therestless soul brooded without

anysting of rebellion or gleam of

hope.

The fullest and most perfect moodin which to approach music is

one of thanksgiving.

Such a complete cameo of this state,to my mind, is the D majormarch of " Scipio

"; the sense of

uplifting is extraordinary, and it

might well be used as a kindof preliminary "office" before

playing.

If the spirit is receptive, and the

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MVSIC ANDD MOOD.

-^. - ^.ti-^.-^. i -^.0

mood one of exultation, go andhear, or if you are wonderful

enough, play Schumann's great C imajor Fantasia (Op. 17). It is

perhaps the most exciting thingin the whole of piano literature,and after it is over, just let themood lead where it will, and as-

suredly listen to nothing else.

To properly fulfil in oneself theNinth Symphony, the intellectmust rule the mood, and then, fand only thus will the mood carryone above the intellect at its ownunfettered time. 1

It seems to me that one should go fto hear music in a prepared frame

of mind or not at all. It is

nearly always possible to knowthe programme beforehand, and

by no means inflict an unsympa-thetic creation upon your presentmontal atmosphere. Imagine an

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MV8IC AND MOOD.

Iabsolutely joy-tilled mind, strug-

gling with the"

Pathetique"

symphony, or conceivea

sorrow-torn soul writhing under a Liszt

rhapsody !

Cowper's lines rather aptly describe

the "simpatica" of music: J

There is in souls a sympathy with sounds, jAnd as the mind is pitched, the ear is

pleaded /With melting airs nr martial, brisk or grave,Some chord in unison with what we hear fIs touched within us, and the heart replies-

Has the reader ever experienced asudden jar to the system at the

entry of the E flat Scherzo inChopin's Second Sonata?

The Pole was such a bundle ofmoods himself that he sometimes

sinned against the sense of form :

and yet we know how greatly hevalued the latter, as the man who

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MUSIC AND>IOOD.

J5"~^* "" ' ~ T*^ 't~n T^M *t~> t| i n ^^n-^n n_i M

turned a contemptuous shoulderon Schumann's " Carneval." f* *

One is forced to admit that the4 "mood" of the age has changed; A

and the composition of to-day isa good mental barometer of fthe restlessness and tricked-out

clevernpss of the generation.

Comparison is bad, but one neednot offend by glancing back to

the melody of Mozart, and keep- i

ing in mind the smudged har-

/ mony of certain "moderns." f

f When nerves are racked and tenses blunted fBy some shrill Strauss, melodic stunted ;

f Then find repose from mood thus dark, fIn aunny fugues of J. S. Bach.

!

" ^~^ i

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*'^'^'^^fc-^^fc^fc^fc^H^i^fc > cE

I I

I

Ii

Reflections on Music

and Religion j

ii

i , I


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MUSIC AND RELIGION.

VV7E seem to have wandered farfrom the days when Plato ?

wrote of music as a moral law ; ffrom the days of whole-hearteddevotional plainsong; and from

the days of Bach's inspired life

work. We like our services to bedecorative, artistic and erno- ftional ; our Bach, from the con-

cert-platform, in diluted doses. I

During the growth of musical artthe absolute side has developed as

the root and body of the whole

structure, to the slight over-

shadowing of its initial emotional

character. If this latter is the fstronger influence in a mind,

then, without doubt, that mindis elevated and shown dimly of

the mysteries of heaven ; as Hoggsays, "Slight emblem of the bliss

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REFLECTIONS ON

m

above." But if the former pre-dominates, then the musician be-

comes a fanatic, with no room in

his mind, soul or intellect foraught but his art. The mis-directed talent of Max Nordaustates this idea by saying that : f"

Listening to the music of" Par-

sifal'

has become the religious act

of all those who wish to receivethe communion in musical form."Now these points of view need freconciling, and I fully bclievrthat the problem is solved,neither by compromise iior whole-

hearted advocacy of one or the

other, but by great-minded com-

bination. Can we have a better

example set before us than the

life of Beethoven? Has the world

produced anything greater sym-

phonically or devotionally? The

religious ascetic finds no consola-

tion in a mere work of art, how-

ever noble, if the conscience it

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MUSIC AND RELIGION.

shocked by the absence of the

reality of religion. He will bring f

the charge of perpetual repeti-tion of sacred words in practice,as tending to deaden the spiritual 1

meaning, and introduce exactmathematics into inspired rays- (teries. But the marvellous up-

lifting effect of perfect nmsic, asan aid to devotional thought, is

not to be denied : and, after all,the idea of praise in musical form fis impressed all through the

Scriptures. Again, if music is to

form any part of religious ser-vices, let it be of the highest,

needing much willing practice to fthe glory of God and combiningthe emotional spirit with the best

results of absolute music. I think I

it was George Macdonald who 5summed up the question in these fwords, which we can so aptlyapply to the great Beethoven :

"Content to keep the upper win-121 9


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r

9

REFLECTIONS ON

.^..^..^..^..^..^..^,0

dows of his mind open to the holywinds and pure lights of heaven,and the side windows of tone.... open to the earth, to let /forth upon his fellow men thetenderness and truth those upperinfluences bring forth in any jregion exposed to their opera-

tion."1

am of opinion thatit

^cannot be right to assume thaimusic is merely one of the great-est art-forces of the day, and

j

pass from one constructive de-

velopment to another, without f

some pause for thought as to it>higher effects. It is against the

point as well as useless to namemodern work of religious ten-

dency, but are we to get no higher /than festival productions and

academic chants!' I feel thatBrowning would so thoroughly J

disagree with these sentiments. 5

in so much that a work of fbeauty, in whatever form, is a

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MUSIC AND RELIGION.

constant pledge before heaven of

used talents : and yet I cannot

help throwing out these reflec-tions upon a subject that inter-ests me so deeply.

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X

Spring Song

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Sl'KIXG SONG.

Istart, and J gathered rich-lined

garnets from the bramble hedges ;

wonderful shades ofcolour,

from i

greeny-brown bloods-tones to full,

deep red. j

But as I passed on my way, the joyof new things seix/od upon me.

and 1 all but flung my garnetsfrom me as soiled treasure from /a past year.

j Then the magic road became a smallmountain pass of Switzerland,

and I urged on to the snowyheights showing above me, in

patches between the firs. Here,

as f mounted, little beautiful

sapphires disclosed themselves,

small starry flowers of great love-

liness. The woods smelled of

pine and bursting life, and once

T thought that Pan darted acrossa sun-streaked glade: but maybeit was only a rich-plumed pheasant.

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SPUING SONG.

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.^.f

8 Pit INGSONG.

and saw the plaiius of Greece

lying below me, the mountains all

round, and a tiny clump of arborvita? in a sunny corner of an

emerald field, for all the world flike Marathon.

IIt was sad to touch the road once J

more, though it brought me mydear England again : and pre- fsently T passed a little village

church, surely of all things most

J close to the heart of English I

scenery. Walking up the mossypath to the old black wooden f

Sdoor,

I suddenly knew for whomshould be my topaz treasure.

Surely to-day was the feast of

first-fruits, and what a small re-i turn to Him for such an exquisite

time. And so the little primrose

!

blooms were laid on the porch

step with one word of thank-,when on turning hack toward the

j

13n

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SPRING SONG.

gate I discovered a pearl of pricea tiny snowdrop, nearly hidden

in the long grass ; and I knew, as I

everyone must know sooner or

later, that nothing is ever given fwithout it being returned a

hundredfold.

So have T spent ray first day of

spring, and surely the poet was

right to speak of England as

"nature's fairest garden."

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HUMORESQUE.

JA UNT Sarah would flatter herself

that she was entirely adequateand charming in any conversa- ttioual situation, and though a

most kind heart prompted the fdear lady in all her ways, words

and works, yet there were timeswhen . J

I was studying in London fora musical degree, and being f

quite enormously keen, seldom

took an evening away from mystudies ; when heigh-presto, Aunt ISarah's invitation rushed nit 1

from my primers and contra-puntal communiugs to my fate.A maiden lady of ample meansand huge vitality, of wide J

sympathies without comprehen-sion, and with a reputation for

excellent dinners and amusing jparties, Aunt Sarah had neverthe slightest difficulty in filling /

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HUMORE6QUB.

her house with interesting and

distinguished people: And I hadbeen asked to

come and meetMonsieur Grandton, the eminent

pianist and composer, on the

following Monday evening, forthe benefit of my education and fthe furthering of my worldly

prospects if possible !

The aunt had rather less idea ofmusic than the wood a piano is jmade of, but this was no deter-rent to her sense of social inter-

course should occasion arise ; anl tabove all things did she dislike :

being found at fault, or in any f

way "off the (artistic) line."

Heaven has granted me two smalltalents, music and tact, which T

find of considerable value, the

former as a keen "life-long joy,"and the latter for smoothing the

way over many bad ruts in the I136


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Hl'MORESQTE.

f

-6

pupil, had toiled bravely for two

solid hours, and was rewarded

with: "Hopeless, hopeless, Mr., absolutely no sense of f

rhythm. You have colour -

and with a comical air of kind-

ness and despair,'' but then so

has your face !" The stern,whimsical master shouted with

laughter, which the poor, red,

perspiring student could not re-

sist ; and so these two, with

newly-joined sympathies againtackled the scaly heights of Par-

nassus. So much for the drama-tis persona?, and now to returnto the action of this tiny drama.

Dinner had passed off in a per-fect froth of laughter and con-

versational nothings, and AuntSarah, nothing daunted and

greatly daring, had beggedM. Grandton to play for them. .

Now your virtuoso hates being put

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HUMORESQUE.

through his paces to amuse the

passing moment of a probablyunsympathetic crowd, yet on this

particular occasion lie very

graciously walked to the pianoand seated himself, waiting fora lull in the conversation.

And then he began to play the ex-

quisite little minuet of his own

composing, so well known andbeloved of all, and no choice couldhave been more acceptable.

When the delighted applause haddied down somewhat, my aunthurried up to him: "Oh, athousand thanks, Monsieur,

quite too lovely yes, my favour-

ite tune, Mendelssohn, is it not.Ah, yes, such a great composer, I

prefer him to anyone yes, nearlyall his

'

things.'" Aunt Sarah

always alluded to compositions as

"things." "And would you139


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1 HITMORESQCE.

O

give us just one of your own?

.Mi, how good ofyou."

Grand-

ton was smiling amiably." Now

let me sit down so that I canf listen properly," rattled on the /

Jaunt: "Oh,there's Mrs. Gibson

looking for a seat ; 1 must just

seeto her.

Yes, please go on,"and she darted off to a far corner

f where, for the next ten minutes, /a fevered whispering took placewith Mrs. Gibson. Meanwhilethe great pianist had resumed

his seat and commenced a fami-liar theme, which, after much fsly hiding under various formsof fugue and variation, issuedforth in the full harmonies of

j

Mendelssohn's " WeddingMarch."

After the complete statement, one

heard a queer, unfamiliar to do

in the bass, swelling upwards in

minor chords and swamping thewhole under the rather hack-

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->-fc.

HtMOKESQUE.

neyed funeral march from the"Lieder ohne Worte."

The two motifs were then most

wonderfully woven into a solidstructure of tone, culminatingwith a tremendous passage of

virtuosity right up the keyboard.

Everyone gasped with surprise and

wonder. Aunt Sarah, hearingthe noise stop, had got up andmade for M. Grandton, takingme by the arm as she passed me.

" How most charming quite,quite beautiful, and I always saythat is the best thing you ever

wrote"; and turning to me, she

added:"Now

wasn't Monsieur

a wonderful man to have writtenthat,"

The great man looked sharply atme : Remember he did not know


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UtMOllLsQlE.

: who I was, and I stood abscf lutely speechless, crushed in this f

vast dilemma.

j And then he turned to me with a Itwinkle, and remarked :

'Is it that you like the tempo di

niinuetto'-"

"Indeed, truly, Monsieur, but not

according to Mendelssohn !"

And I shall always maintain that

f M. Grandton's laugh is almost aswonderful as bis playing.

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XII

On Acquiring Music

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^^^^^^^^^^^^^^K-**'^^'-"

ONACQUIRING

MUSIC.

.O

(

I T makes one's heart ache to seethe enormous waste of really 1

good material and talent from

indifferent, and even downright /wicked tuition. The sadness of

hearing the story, "I had all themusic taught out of me as a Ichild," is pathetic, and so appall-ingly common. f*

From the earliest stage, the seeker

after this wonderful emotional Jlever is bound down to pitiful ex-

amples of mathematical dullness, fand scales, which are the hardest

things to play in the world.

Repetition entirely takes anyrhythmic feeling from the music,and it isn't as though we couldall be Paderewski -there's the

wasto.

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ON AtgtIBI.NC SitblC.

a ,^..^.~~~.^I

It fell most wonderfully to my for-tune to have learnt my earliestlev-sons from a fine old

musician,who kept me a year "listening"and "soaking in rhythm," if I

may be allowed the expression.Far from von Billow's "Tech-

nique, Technique, Technique,"

he cried for"

Emotion, Rhythm,Technique": and very rightlytoo, for is not music essentiallyand primarily emotional?

And, after all, a single instrument,

say a piano, is only one of themany facets of the diamond"music"; a very beautiful anda very personal one, but still byno means the finest and not eventhe most emotional : therefore, is

uot listening enormously moreimportant than Clementi? Whenthe seeker is shown visions of a 1wonderful tone land, and helpedto gauge some of its exquisite f

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ON ACQUIRING MUSIC.

mysteries, it follows that whenthe steep ascent, the actual work

he does, commences, he will pressgladly on to gain that kingdomof tone, and willingly fight withthe trials of the early climbing.

How can the poor, dea'f mute Jmusically deaf, and unable to in-terpret the stirrings that it feels

show any enthusiasm at the ibleak outlook and weary road of

studies, knowing nothing of thej|

ultimate end.

I should make it a law r that everypupil did a year's course of lis-

tening before any thought of fapplied study was undertaken ;and then he should acquirerhythm for another three months

or more before the field of personallabour was unrolled before him. /

The pupil must be taught at an

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ON ACQUIRING Ml Ml.

early .stage to differentiate

f between ''emotion," "sensa-

tion " and "

perception."

IEmotion is really a manifested

sensation, and sensation is per-f ception fulfilled.

SirWilliam Hamilton, an old

i Scottish philosopher of the earlynineteenth century, analyses as

follows: "Perception is only a

special kind of knowledge, andsensation is a special kind of

j feeling. Knowledge and feel-ing, perception and sensation,though always co-existent, are

always in the inverse ratio to

each other."

And imagination must he culti-vated: that power which coin-In lies our varied conceptions and

impresses the whole with the

stamp of the supernatural, more I148

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ON ACQUIRING MUSIC.

Iattractive and delightful, ormore grotesque and horrible, asthe case may be. And never letpassion be mistaken for these

sensitive vibrations of the mind.jl

A great English preacher once saidthat "passion is the drunkennessof the mind, and therefore not

always controllable by reason," /and it is just this control whichwill lead the aspirant to the very

heights of intellectual emotion. I

Let us do all we can then for the /beginners, to train their percep-

tion, that they may realise thisintellectual emotion of music at

the right time.

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Printed by Tkf New Tempi* Prns,17 Grant Rod, Croyden.


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some aspects of chinese music

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