MUSIC IN SCHOOL.
"Become in early years well-informed concerning the extent of the
four voices.
"Try, even with a poor voice, to sing at sight without the aid of an
instrument; from that your ear will constantly improve. In case,
however, that you have a good voice, do not hesitate a moment to
cultivate it; and believe, at the same time, that heaven has granted
you a valuable gift."--_Robert Schumann._[68]
In the previous Talk we learned two very important facts about school
studies. They were these:
I. They are useful.
II. They are useful in proportion to our own (not to anybody else's)
real knowledge of them.
We do not study useless subjects, and it is not from our books, nor
from our teacher that we go through life, making our way. In other
words, the harder we work, the more independent we become; and the
more independent we become, the more power we have to help others.
Now, whatever is true about other school studies is likewise true
about music. It is given to children in school because it is useful,
and because a child can gain power by learning it. Let us see about
this.
To one who does not think deeply, it might seem that if any study in
school is merely ornamental, that study is music. He might say that
all the other studies tend to some practical end in life and business:
that one could not add, nor read, nor transact business, nor write a
letter any more correctly by knowing music. It is only an unthinking
person--_none other_--who would say that.
Of the usefulness of all the school studies we have spoken. We need
only to take a few steps along the pleasant road, about which we have
had so many Talks, and we shall see how much music means in life. To
us it is already plain. Music is a new world, to enter which
cultivates new senses, teaches us to love the beautiful, and makes us
watchful of two of the most important things in life: the thoughts and
the heart. We must have exact thoughts or the music is not made
aright, and the heart may be what it will, music tells all about it.
Therefore, let it be good.
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 entitled
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.