Spirit and Music Part 1

Spirit and Music.

by H. Ernest Hunt.

CHAPTER I

THE SPIRIT OF MUSIC

"Art is the Manifestation of the Spiritual by means of the Material"

Newlandsmith

Music is a part of life. It is not merely an accomplishment or a hobby, nor yet a means of relaxation from the strenuous business of earning a living. It is not an addendum or an excrescence: it is an actual part of the fabric of life itself. The object of these pages will be to show how closely Music, and indeed Art in general, has woven itself into the pattern of our lives, and how intimately it may influence and fas.h.i.+on the design.

The structural basis of Music is vibration. Sound comes to us in the guise of air-waves, which impinge upon the drum of the ear. The nerve-impulse thus aroused is conveyed to the brain, and there translated into sound. Strictly speaking there is thus no sound until the brain translates the message, while if the machinery of the ear be too dull to answer to the vibration the sound simply does not exist for us. Beyond doubt the world is full of sounds that we cannot hear and of sights that we never see, for of the whole range of vibration our senses permit us to garner but the veriest fragment--a few notes here of sound, and a brief range there of sight, out of the whole vast scale of vibrant Nature.

There are sounds which are musical, and others that are raucous and mere noise. The difference lies in the fact that harsh sounds are compounded of irregular vibrations, while the essence of Music is that its waves are rhythmic and follow each other in ordered swing. Rhythm is thus the primary manifestation of Music: but equally so it is the basic characteristic of everything in life. We learn that in Nature there is nothing still and inert, but that everything is in incessant motion.

There is no such thing as solid matter. The man of Science resolved matter into atoms, and now these atoms themselves are found to be as miniature universes. Round a central sun, termed a Proton, whirl a number of electrons in rhythmic motion and incessant swing. And these electrons and protons--what are they? Something in the nature of charges of electricity, positive and negative. So where is now our seeming-solid matter?

When this knowledge informs our outlook we see that all that lives, moves: and even that which never seems to move, lives also in continual rhythm and response. The eternal hills are vibrant to the eye of science, and the very stones are pulsing with the joy of life. The countryside sings, and there is the beat of rhythm not merely in our hearts but in every particle of our body. Stillness is a delusion, and immobility a fiction of the senses. Life is movement and activity, and rigidity and stiffness come more near to what we understand as death.

Yet even in death there is no stillness, there is but a change in the form of activity. The body is no longer alive as an organised community, but in its individual cells: the activity is the liveliness of decomposition. Thus all the world expresses life, and expresses it in a rhythm in which law and order reign supreme, and in which a sweet and sane regularity is the ordinance.

Regular rhythm involves accent. Whether or no there be any such emphasis as a thing in itself, the listening ear supplies it to meet a need. When we attend to a clock ticking, the tick-tock, tick-tock, however even it may sound at first, soon resolves itself into a rhythm with the accent on either the tick or the tock. So does the beat of an engine, or the hum of a railway train, merge itself into some definite sound picture, with the accent for relief that the ear demands. Thus out of rhythm grows very naturally an accentuation which gives balance, structure, and form. We start with the little units--the ticks and the tocks--and we build something bigger by grouping these together. This is a principle which we may see running through the activities of life in a thousand forms.

Bricks are made to pattern and thus possess a rhythm of their own, but when they are laid in courses they merge their individual rhythm into the ordered lines of the courses. These again may be comprehended in larger units of arches, b.u.t.tresses, and stories: and all these again will be grouped and contained in this or that style of architecture. So, too, Music may begin with notes and tones, but accent quickly groups these into larger units to satisfy the senses in their demand for balance and proportion. Thus by increasing the size of our unit we build the rhythm of form and lay the foundation for the further development of the Art.

Since Nature is regular, from the beating of our own hearts to the swing of universes in the heavens, therefore engrained in our very selves is this claim for ordered progression, balance, and sustained sequence.

When we attain this, whether in Music or otherwise, we derive a measure of restfulness and satisfaction and we gain a sense of completeness. Any work of Art should leave us with this conviction, that nothing could be added or left out without marring the perfect proportion of the whole.

"Jazz," whether in Music or in any other direction, gives just the very opposite effect, marring the sense of proportion and distorting the feeling of satisfaction. It exists as a testimony to a morbid dissatisfaction with life, it gives emphasis to the unbalanced and neurotic. The true beauty of Art--as of Music--consists on the contrary of this larger rhythm which makes for wholesomeness and proportion, which achieves at once the rest and the satisfaction that the soul craves. Its wholesomeness is health, which again is ease. Its reverse is disease: and when Music becomes mere noise and discord it is the same as when beauty becomes ugliness and health vanishes in sickness.

The second element of Music is melody, and this corresponds to the outline in Nature. Things have their shapes and their forms, even as our very lives consist of ups and downs, varied with occasional runs along the level. The country has its outlines, its hills that rise and climb, its valleys that fall and fade. There is the even line of the horizon, topped by the swelling clouds: there are curves and sweeps in the swaying of trees and gra.s.ses, in the flight of birds, and in the grace of the human form. It is significant that Nature's handiwork so abounds in curves, whilst that of man is fas.h.i.+oned so much upon straight lines with consequent sharp points and angles. Is it not obvious that Art has had but scanty share in designing our towns and manufactories? Right angles, no doubt, stand for utility in a commercial age, but Nature with her longer purview has little use for them and prefers a more rounded way of progress. Nature inspires, but not in square-cut periods. It is a safe plan to turn to Nature, as to the diagram of G.o.d, if we find ourselves in any doubt as to the way.

"Let your air be good, and your composition will be so likewise, and will a.s.suredly delight," says tuneful Father Haydn, and Music's outline in melody limns, as does that of Nature, the beauty of her design. It speaks of wood or stream, of billowed sky, and now of sombre shadow. It ripples in dainty dance, or tumbles down in cascades of joy. Music's melody vies with the drive and bl.u.s.ter of the wind, sobbing and sighing, whistling round corners and playing pranks. Then, maybe, it sinks to silence, and the white mist creeps up: and now there is no melody, no outline, but just the one still sameness over all.

We live in a three dimensional world, and in its length, breadth, and solidity do we disport ourselves. Music also has its three-fold manner of expression, its rhythm, its melody, and now its harmony. The rhythm is for balance, the melody for the outline, while the harmony const.i.tutes the texture. Here again in other directions we may trace the same essentials: there is a texture of colouring, a style in Literature, and an appropriate technique for harmony in every branch of Art, just as there is an harmonic scheme in Music. This may be airy, light, and gossamer, or turgid and obscure: it may be commonplace or ponderous.

Like Nature, it may have a thousand or a myriad shades to mirror as many moods and tenses. It may have the misty filminess of steam, the limpid deeps of water, or the cold weight and icy dullness of pompous ignorance.

See how Nature harmoniously groups her colour scheme, with a master hand ensuring that nothing shall clash or be inappropriate. Into this scheme she introduces the song of birds and the sighing of the breeze, with perhaps in the dull distance the roar of the sea growling away and refusing to be driven from its obstinate pedal ba.s.s. Into our life she brings affection rose-colour, and for openness and truth the blue of the sky. She paints hatred dark, and pa.s.sion fiery. Energy she portrays as red, and purity white. Could we but see ourselves in this colour-scheme we should realise that, like G.o.d's fresh air, all should be clear and bright, but we ourselves pollute the design with the smoke of our own desires.

So the musician to-day takes the theme that has been given to him by the high G.o.ds, for "the idea in embryo comes from a Higher Power"[1] and paints in and accompanies it with such harmonies as his soul may sound and his technique record. He has Nature for pattern, and he may do what he will so long as, Nature-like, there is life expressing itself.

Everything in the world stands for something, as even the hills stand for pulsing life. As within, so without: the outer semblance is never the real thing, but ever stands as a mirror to the inner. The bird sings, but he is ever expressing his soul in song: it is only the human singer who can utter sounds without significance. Music is never mere notes, never sound alone, but always the outer form as the expression and unfoldment of something deeper. Rhythm, melody, and harmony are simply the three-fold means of expression, both of the musician and of Mother Nature. Of the two, Nature makes the better Music, being closer to the heart of G.o.d.

[Note 1: Macpherson. "Music and its Appreciation."]

CHAPTER II

THE PLACE OF MUSIC IN LIFE

"Music is not merely a matter for the cultured: it is inextricably bound up in the bundle of common life"

_Scholes_

Music, as we have seen, is implanted in the very nature of things, and it is as deeply embedded in our lives. Was there ever a time when no man sang? As a matter of evolutionary accuracy, yes, there probably was such a time. But, looking at it in a commonsense way the answer is No. To-day we find that savages and aborigines, who are still in the childhood stage of evolution, are immensely susceptible to the sway of rhythm, and in their weird dances to the beating of the Tom-toms accompany their antics with a crooning or chanting, which no doubt to them stands in the place of song.

Was there ever a mother who did not croon to her fretful child, and who did not rock her babe to sleep with rhythmic lullaby? Song spans the gap from mother Eve to the mother of to-day: the song may vary, though the emotion of the mother-love remains the same. This crooning, with its element of soothing monotony, it is interesting to note is distinctly hypnotic in its effect, for the sleep of hypnosis is definitely induced by monotonous stimulation of any of the senses. The rocking and crooning on the part of the mother are quite akin, though unconsciously so, to the approved scientific methods. It is also curious that the nature of the monotonous stimulation does not seem to matter very much, for there is a case on record where a doctor hypnotised a patient by reciting to him in a low voice a few verses of "The Walrus and the Carpenter." The psycho-a.n.a.lysts would probably say that the patient went to sleep in self-defence. We can well remember how we were lulled to sleep in earliest days to the following somewhat fearsome and original words sung to the tune of a popular hymn:--

"Bye, bye, bye, bye, Horse, pig, cow, sheep, Rhinoceros, donkey, cat: Dog, d.i.c.kie, hippopotamus, Black-beetle, spider, rat."

From which it appears evident that the actual words used as a soporific allow considerable lat.i.tude of choice.

No doubt Pan piped, and the Nymphs danced to his music in their woodland groves, much as the poor kiddies in the slums and alleys of our smoke-ridden towns dance to-day when the Italian organ man comes round with his instrument. The melody and rhythm float out and call to the music lying hid in their hearts, and their self responds. Something within them demands instant expression, and they forget their slums in dancing their merry measure, till the music stops and the Italian pa.s.ses on to raise Fairyland in the next slum. Music has given them a glimpse of something outside their dull and prosaic surroundings, it has touched their hearts with a glamour which is a glint of spiritual suns.h.i.+ne in a drab world.

It was our privilege a dozen years or more ago to have a small share in the active work of the Art Studies a.s.sociation of Liverpool. This organisation, due to the zeal of the Director of Education, existed for the purpose of introducing the joys of Music to the children of the various elementary schools. Concerts of different types were given for their benefit in their own schoolrooms in the evenings, and as admittance could not be given to all it was considered a privilege to be able to attend. The pathos stills echoes in mind when we recall how some of these children, boys and girls, would trudge out in the wet evenings, often ill-nourished and insufficiently clad, to taste the joys of music. Never was there any question of attention, for they were eagerness personified, and it seemed as if they found there something that their souls had missed. Too little do we realise that food and clothing do not suffice us, young or old. We cannot live by bread alone: our stomachs may be full and our souls empty. The spiritual side of our nature demands sustenance and, as in the case of these hungry and often wet little school children, it is the province of Music to minister to that need. "A love of music is worth any amount of five-finger exercises, and the capacity to enjoy a Symphony is beyond all examination certificates."[2]

[Note 2: "Everyman and his Music." Scholes.]

A bra.s.s band will fill a whole street with glamour, and the normal person finds it quite impossible to be out of step with the rhythm of the march. Watch the way in which, as the Pied Piper of Hamelin drew the children after him, the band draws the elders to the window and the children to the street: the appeal is never in vain. Marching in time with the music tired feet forget their weariness, and new strength comes from the reserves of the greater self, liberated at the unspoken appeal of melody and rhythm. The Salvation Army with its sometimes quite excellent bra.s.s bands ever attracts a crowd of interested listeners.

Their enthusiasm is quite as real as, and perhaps even more real than, that of a fas.h.i.+onable audience in the Queen's Hall: more real, because if the Salvation Army fails to please it is always possible to walk away. If a person is bored at the Queen's Hall a lack of moral courage will probably detain him to the end of the performance. There is magic in a bugle call, there are whole volumes of countryside history in a posthorn's blast as the four-horse coach swings past. The beat of the drum and the shrill pipe of the fifes carry a "come-along" atmosphere with them, and if we fail to answer the call it is most likely with a lingering feeling of regret that the days of adventure for us are past and gone.

All this is the incidental music of the highways and byways, but as a perennial stimulant for the emotions we call for Music's aid in many circ.u.mstances. Does not the villain of the piece enter and take the stage to a suggestively diabolic tremolo in the orchestra, and is not the lovemaking also conducted to an appropriately sensuous accompaniment, sufficiently subdued, to keep the emotions susceptible and fluid? Could the villain enter with the same eclat to a stony silence, or the lovemaking thrill in the same way without the moral support of a few well-chosen harmonies? It may be that in heightening the emotional element we correspondingly diminish the appeal to the intelligence, and thus render ourselves less critical both of stage-villainy and of fict.i.tious lovemaking.

Nothing can be accomplished without music of some sort. We must have it in our churches and our chapels, in our moving pictures, in schools, at banquets and dinners, and in the restaurants. Could any bride feel the same satisfaction in walking down the silent aisle of the church, after the most important ceremony in the world, as if the organ were pealing out its good wishes in Mendelssohn's Wedding March? Oh NO. Music we must have, for it has wedded itself to all our pomp and ceremony, and if we may not have it in any other guise we must at least end up with "Auld Lang Syne" or "For he's a jolly good fe-e-ellow," or at any rate the National Anthem.

In the robust and plain-speaking days of old Pepys our forbears took their Musick seriously. There was less of the gadding about that fills the time to-day, and much of the melody was perforce home-made. Any educated person was expected to be able to take his part in a glee at sight, and some of the music was none too easy at that. The contrast with the present lamentable lack of sight-reading ability is most marked. The number of people who could do the same to-day is, in comparison, small. We have not made progress in this direction, indeed we have fallen back. But we have multiplied our choirs and our choral societies, our Musical Festivals with their compet.i.tions have taken solid root, training in musical work is now more widespread than ever before, and these considerations have served, and are serving, to make music more and more a part of the national life.

Sometimes indeed we happen upon music in unexpected quarters. One of the most impressive scenes that comes to mind is an occasion during the Great War--in which music played so valiant a part in sustaining the morale of combatants and non-combatants alike--when, drawn up on the departure platform of a Metropolitan railway station, in full kit and in two long ranks, was a number of Welsh Guards. They were singing some song in two parts, and while the one half sustained the melody the others were rolling out a fine contrapuntal accompaniment with full, resonant, and sonorous tone. The effect was quite remarkable. Song heartens us when weary and helps the miles to slip past even though the ditty be but "Tipperary" or "John Brown's body." In the emergency someone will strike up a ditty or a hymn and at once the human spirit and Will revive their native courage: did not the t.i.tanic sink to the strains of the hymn "Lead, kindly Light," sung by a group of those who were facing death, and faced it with song upon their lips?

We have music in our heritage, we have Folk Songs by land and Chanties that smack of the seas: in these there lies a wealth of melody and sentiment of which we have made too little. But it is entirely charming to see the way in which small children in the schools will sing these songs with complete natural verve and appreciation. "Oh, no John, no John, No" will be rendered with that Art which only springs from artlessness. Surely it is to the young that we must look if the love of music is to be fostered and encouraged in the coming years. "Let the rising generation become thoroughly well acquainted with the best Musical works through the medium of concert-lectures, the mechanical piano-player, munic.i.p.al, hotel, and garden concerts. Let them follow up their knowledge with reading about Musicians' lives, work, and influence. Throughout all this instruction--and from the very first--let them become acquainted with the elements of musical theory, both in their minds and also as exemplified on the pianoforte keyboard: and when all this has been done we shall have a cultivated musical public--a public that is able to discriminate between the good and the bad, the true and the false art."[3] This may perhaps be the counsel of perfection of an enthusiast, but progress lies more along the lines of appreciation of music than in the personal performance of it. There are thousands who are able to appreciate the technical mastery of an instrument to every one who can accomplish it. Music as taught at present in the non-elementary schools is largely a snare and a delusion.

A few are turned out with a musicianly equipment, largely in spite of the system rather than by its aid, but the vast majority have little more than a smattering of musical knowledge and a mediocre standard of executive ability as the result of years of study. But the growth of the artistic soul is not accomplished through the fingers, and indeed it is not infrequently strangled at birth by five-finger exercises.

[Note 3: Newlandsmith. "The Temple of Art."]

Yet we are waking up. Music already occupies an una.s.sailable position in our daily activities, it will presently occupy a still greater place.

Nothing is still, and least of all does Art remain fixed. The whole world is awakening to a new standard of values, for we have at length discovered the impossibility of running civilisation on purely materialistic lines. The inner side of things is becoming manifest, and a measure of spiritual insight is being vouchsafed to us: therefore all those things which minister to the spiritual will be increased in our regard. Of these Music is certainly not the least. "Religion, love, and Music, are they not the three-fold expression of the same fact, the need of expansion under which every n.o.ble soul labours?"[4] So the Art of the future may be expected to ally itself with religion, on the side of spirit, for the battle royal against the forces of an outworn materialism. The end is not by any means yet, but the issue is certain: and we ourselves to-day may play the more valiant part in the moulding of the years to be if we realise to the full, not only what Music is and the part it plays in life, but also the fine possibilities that lie hidden in the future.

[Note 4: Balzac.]

CHAPTER III

THE EXPRESSION OF LIFE