\)\k/Tv>^^> Ajv^JvH r For My M\isical Friend A Series of Pra.ctica.1 K s s a. y s on Music -At\d Music Culture AUBERTINE WOODWARDVMOOR.E (Auber Forestier) Author of " Echoes frorrv Mist La.rvd," etc. NEW YORK DODGE PUBLISHING COMPANV ISO FIFTH AVENUE [For My Musical Friend. 4] COPYRIGHT IN THE YEAR NINETEEN HUNDRED BY DODGE PUBLISHING CO. Music Library M Contents Kl s j- - I 9 Jt> Preface Purpose of this volume. Musical friend for whom it is intended. Music recognized as the characteristic art-form of modern civilization. Not always rightly comprehended. Its mis- sion. Words of Richard Wagner. Helpful auxiliaries. A wonderful harp. Sources of essays .................................... 17 Mind, Muscle a.rvd Music Rhythm, the underlying principle of life. Statement of a scientist. Noblest offspring of mind and muscle. Intricate action of muscular fibres. Magnificent apparatus the servant of spiritual and intellectual nature. Dancing and poetry. Belief and custom among Hindus and Egyptians. Hebrew Psalmist before the altar. Relic of sacred dancing at Seville. Why the average music pupil fails to play or sing in time. Tattoo method. Drilling a church choir. The rhythmic pulse. Chopin's tempo rubato. Trembling light of Liszt .................... 21 7 For My MusicaJ Friend The Pla.no and Our Girls American home captured by the piano-forte. Vast expenditures on piano study. Is invest- ment wise? How far in accord with laws of health ? Prominent newspaper inquiry and medical testimony. Dangers discovered. Re- sult of stupid practising. Benefit of suitable training. Magnificent means of physical, in- tellectual and spiritual development. Advan- tages of air, exercise and wholesome food. Why health of so many girls who go abroad for study is wrecked. The sordidness against which Plutarch warns. Plato urges driving mind and body together, like a pair of horses. A well balanced, well ordered individual 33 R.a.tior\a.l Methods of Music Study An important factor in human culture. Ac- quaintance with fundamental principles essen- tial to education. Need of comparing methods with those of other branches of learning. What is expected of students of English liter- ature. Helplessness of music students. Technique a means to an end. Emanuel Bach's piano-forte system, based on methods of his father, Sebastian Bach. An ennobling social force. A universal language. To hear, think and write tones. Schumann on writing music. Theory and history of music. 8 Contents Resting on mere mechanism disastrous to the mind. Faculty of which Ruskin tells. Music not meant for genius alone. How to listen to music. Work for public schools. Art only wise when unselfish. Schopenhauer's defini- tion of music 45 The Technique that Endures Why few American women retain their musi- cal skill on to middle life. Technique of the spirit. What Emerson says of difficulties. Province of a musical education. Degrees of musical gifts. Musical germ either stifled or quickened by education. A cruelly mar- tyred instrument. Carl Gaertner's opinion and teaching. Musical atmosphere. Herbert Spencer and music as highest in the hierarchy of arts. Every child can be taught to have and to hold some of its blessings 57 Sight-R.ea.ding in Music After seven or eight years' study cannot read a page without sAimbling. High time to apply advanced pedagogical methods. Reck- less dissipation of force, time and means. Concentration of well-trained faculties needed. Musical course, like life, one long preparation. Only royal road to musical knowledge. How to translate notes into 9 For My Musical Friend tones. Solfege system. Talented Americans abroad fail for want of preparation. Most people endowed with capabilities that may lead to threshold of temple where genius pre- sides 67 How to Memorize Music Schumann on memorizing. Memory a qual- ity comprising many faculties. May become a valuable servant of every normal human be- ing. Strengthened by use, weakened by neg- lect. What Sir Wm. Hamilton says. Words of Quintilian. Law of association. Close your eyes and look within. Carl Gaertner's method. Hans von Biilow when conducting Meiningen orchestra. Anecdote of Erika Lie Nissen. Requisites prescribed by Schumann. Clara Schumann and her father, Fr. Wieck. How to make memory enduring. French philosopher Pascal. Words of Lord Chesterfield 77 The Pianist's Left Hand Hand of man one of the most distinctive characteristics. Unerring exponent of phys- ical and mental conditions. One hand rele- gated to subordinate place. Carlyle, at sev- enty-five. Right-hand mentioned as organ of power in Scriptures and in classic lore. JO Contents Words of Prophet Isaiah. Left-handed people deft-handed. Left-handed marksmen in Judges and Chronicles. Ambidexterity conducive to success. Good piano music makes equal demands on the hands. Father Bach gave play to both. Beethoven expects all ten fingers to obey his behests. Educated hand most perfect instrument by means of which imagination and idealism are translated into fact 89 Touch and Tone in, Piano Playing A professor of music on touch and tone. Good touch lies rather in the brain than in the fingers. Helmholtz spanned gulf between science of acoustics and art of music. Rubin- stein revealed capabilities of the piano-forte. Russian tone-painter. Rubini's voice. Musi- cal touch philosopher's stone in piano-playing. Sebastian Bach's playing. What his son Emanuel taught. Musical instrument of the day. Liszt, the prophet, Chopin, the poet of the piano-forte. Legato of Thalberg. A mas- ter of the keyboard. Von Biilow, a model of classical correctness. The brilliant Pole, Paderewski. Exquisite inner sense of tone- color. Strength combined with lightness requisite 99 H For My Musical Friend How to Study Music Carlyle's farewell to Tyndall. Only by giv- ing yourself royally can the best that is in music be grasped. Value of concentration. Emanuel Bach. Head, heart and hands. Se- bastian Bach on the fingers. To write music from memory. What Schumann calls the highest degree of musicianship. Music poorly learned if a page of notes cannot be easily read. How music shall fulfil its mission 113 When a.nd How to Begin Fancied signs of talent lead a mother to con- sider piano lessons for her child. Bewil- dered by conflicting counsels. Recalls thrum- ming at a neighbor's. Intuitively approaches a truth. Beautiful tone. Important question to settle. Simple test. Not a bad idea to begin with some minor instrument. Choice of teacher. How to avoid making a pupil a slavish de- pendent. A good plan in teaching rudiments. Benefit of a musical education in the lines in- dicated 119 My La.dy and Her Piano Americans proverbially wasteful. Too apt to appropriate outer form, leaving inner sub- stance unheeded. My lady soon loses what 12 Contents was mere surface decoration. In no study so long dependent on teacher as in music. How to avoid this. To make music valuable in the home. A power in the family. What Karl Merz said. Sayings of Martin Luther. Lan- guage of music one of noblest aspiration. Gives strength and fresh zest to life. Chil- dren started and guided aright 129 Time-Keeping in Music Shakespeare on time. Ugliness of false time. Schumann's directions. What time- keeping in music involves. The soul of music. Rhythm. Metre. Movement, or tempo. Audible symmetry. One model of music in Nature. Physical and discriminat- ing sense of rhythm. Uncurbed sentimental- ism neither scholarly nor artistic. Intellec- tual expression without spontaneity unsatisfac- tory. Use and abuse of the metronome. Pernicious count habit. Best preparation for time-keeping. How to develop natural throb of rhythmic pulsation. Time strictness and time freedom. What Dr. Marx says 137 Music a.s Medicine A music bower. Is modern attempt to utilize music in domain of medicine a mere fad? Medicine men of barbarous and semi-civilizec" For My Musical Friend tribes. Beliefs of ancient civilizations. Apollo. Orpheus. Chiron, wisest of Cen- taurs. Hercules. Aesculepius. Homer on music. Galen, Father of Medicine. Plato, as to music and gymnastics. Plutarch's treatise on music. Harmonious order. Music among the Hebrews. Luther on music as means of warfare against the powers of evil. Shakespeare's testimony. Recent re- vival of music as a curative force. New school of healing 145 The Ha.rp a.nd Harpers Long and honorable pedigree. Musical in- strument of religion and prophecy. Vision of the beloved John. New wheel and new harp. Walt Whitman saw hope in the West. City of promise. Poetry not dead. Ancient and modern harp. Egyptian records. Harp of Assyrians and of Israelites. Lyre of Greece. A city sacred to Apollo. Tradition of the Hyperboreans. Druidic harp-lore. Irish legends. Tom Moore and the harp. Among the Welsh. King Alfred. Oxford School of music. Scottish Highlands. Scan- dinavian folk-lore. Icelandic legends. Heimer, Aslaug, Brynhild and Sigurd. The Finns and Wainamoinen. Story of Horand, the Harper, in "Gudrun." Mediaeval harp. 14 Contents Erard's double action. Rose Dartle, in "David Copperfield." Taste fostered by gen- tle nuns. Harp of Chicago. New interest. . 157 Guitar and Ma.ndolin: Their Story and Mission Two faithful servitors of music. Guitar, a delightful introduction to musical education. A three-voiced fugue successfully produced on it. Mandolin furnishes preparation for violin. Beethoven wrote mandolin "Sona- tina" for Krumpholz. Autograph in British Museum. Taste for refined music cultivated by mandolin orchestras. On Egyptian monu- ments. The Ood. Vina of India lauded in Hindu poetry. Sarasvati. Brahma. Nareda. Hindu sitar and rabab. Hardanger fiddle. Hebrew psaltery. The Mahalath. Dorian and a "tempest in a tea-pot." Chinese, Japan- ese, Persians, Arabians, Moors and Span- iards. Boccaccio, Chaucer and Shakespeare. Schools of Carulli and Carcassi. Stradiva- rius. Paganini. Berlioz. Therbo, in "Cyrano de Bergerac." Mandolins of Paro- chia and of Battiste. Various modern instru- ments. Plectrum, or pick. Master works for violin reproduced on mandolin 169 As to the History of Music Dull, lifeless course profitless. True knowl- 15 For Mv Musical Friend edge a powerful factor in understanding music. Most subjective of all arts. In pres- ent form product of our civilization. Prime elements old as humanity. Function of music. Growth of tone language. Guide to human progress. What music gained through Mozart and Beethoven. Complex individuality of nineteenth century needed to ripen music to complex personal art. What twentieth century may accomplish. Opens doors to delightful world of thought. Modern scientific methods. Bursting bonds of isolation. Divine origin ascribed by ancients. What the study makes clear. Schumann's tribute to it. An unquestionable aid in making beautiful and impressive music. 179 Preface THIS volume is a result of lifelong study, observation and reflection. Its purpose is to indicate how the rational methods applied to- day in other branches of learning may be brought to bear on the music lesson, how reck- less waste of time and effort may be avoided, and how music may gain its rightful place as a beneficent influence in daily life. The mu- sical friend for whom it is intended may be found in every home where music has entered, and among all lovers and students of the art. Music, born of mind and muscle, is freely recognized as the characteristic art-form of modern civilization. No one with any claims to culture can afford to be ignorant of it In 17 Prefa.ce common with religion, whose faithful comrade it has ever been, it has not always been rightly comprehended, and has consequently too often failed in its mission to uplift, broaden, .strengthen and sweeten human existence. As it becomes better understood and more truly enjoyed, the blessings it has at its bestowal will be more fully realized. "It is knowledge that is destined to nourish the holy flame of art in its disciples," says Richard Wagner. The search for this knowl- edge is within the province of every earnest person. Without a close acquaintance there can be no appreciation, and the average man and woman, young and old, may at least taste of this appreciation. A helpful auxiliary in the search is that home companion, the piano- forte, the instrument par excellence, by means of which may best be gained some idea of every species of music; but it is not the sole J8 Prefa.ce auxiliary. There are other, in many respects, more satisfying mediums, pre-eminent among them the human voice, the violin and the pipe organ. The listener, as well as the performer on string, wind and other instruments has at his command that wonderful harp of more than a thousand strings, with its delicately refined sounding-board, that lies concealed within the ear of man. By virtue of it music is conveyed to the inmost soul, there arousing thoughts, emotions and aspirations no other force could call into being. The essays in the following pages are de- signed to awaken thoughts along these lines. They are, to a large extent, based on sketches that have been issued, during the past few years, in sundry daily and weekly journals, and have been extensively copied. Essays IV., V., VI., VII., X. and most of Essay VIII. are reproduced, with slight changes, from Harper's Bazar; Essay XV. and a portion of 19 Prefa.ce Essay XI. were printed in the Ladies' World; Essay IX. appeared in the Etude, and Essays XII. and XVI. were written exclusively for the present series. The remaining five essays are remodeled from a group that was given to the public in numerous prominent newspapers, East and West, through the serv- ice of "Maynard's Press Agency" of New York. The privilege of using all that has previously appeared in print is kindly accorded by the various publishers. AUBERTINE WOODWARD MOORE. MADISON,, Wis. 20 FOR. MY MUSICAL FRIEND Mirvd, Mxiscle a^nd Mxisic A MOST important role in all that we hear, feel or see is played by rhythm, or measured movement. It is the underlying principle of life. It is the central force of whatever breathes, moves or has a being. It is the one model music finds in nature. There is a measured movement in the cours- ing of the blood through the veins, in the throbbing and quivering of heart, pulse, mus- cle and nerve. The rush of the waterfall, the ebb and flow of the tide, the sweep of the wind and the swaying of the foliage, all have their rhythmic beat. 2\ For My Mxisical Friend The sense of rhythm in man has been traced to muscular contraction and relaxation. This fact led a wise scientist not long since to make the startling assertion that music had its origin in muscular action, not in the passions. He lost sight of the profound cause for this mus- cular action. Both in man and in the lower animals cer- tain movements accompany certain kinds and degrees of emotion, and the natural gesticula- tions or movements caused by impatience, anger, grief, pain, joy or pleasure have their attendant vocal utterances that are universally recognized as belonging to them. The actions or utterances of pain, for instance, could not possibly be confounded with those of enjoy- ment; nor could a manifestation of wrath be mistaken for one of delight. Behind the agi- tations of the muscles there are the feelings and emotions, which must be viewed as the absolutely indispensable muscular stimuli. The muscles and chords of the vocal appa- ratus expand and contract, like other muscles, in proportion to the intensity of the emotions. 22 Mind, Muscle and Mvisic The manifold cadences of the human voice are the result of the highest muscular and emotional effort. When human fingers pro- duce tones through the medium of keys or strings of some musical instrument, the con- trolling muscles are guided, in their turn, by an unseen inner force. Thus it may safely be asserted that the foundation of humanity's divine art of music lies in muscular action plus its motive power which is seated in that mysterious something that perceives, thinks, feels, remembers, rea- sons, wills and desires, and that we call the mind. Webster defines it as the intellectual or rational faculty in man; the understanding; the power that conceives, judges or reasons; also the entire spiritual nature; the soul. Here we have mind, muscle and music. The noblest offspring of the union of mind and muscle is music. The more advanced the development attained by the spiritual and in- tellectual powers, the more exalted will be the music conceived during their reign. Even as a mechanical exhibition our mus- 23 For My Musica.1 Friend cular fibres in operation would afford a superb spectacle, for bewilderingly intricate actions take place during our most commonplace move- ments. This magnificent physical apparatus is the servant of the complex and varied emo- tions of our spiritual and intellectual nature. The results are far-reaching, and their utmost possibilities are by no means attained. Dancing and poetry, like music, testify to the union of muscular and mental excitement. From time immemorial the important events of life have been celebrated with music and dancing. The more primitive the people the more decided and regular was the rhythmic accentuation employed, and the more marked the preference for instruments of percussion. In the absence of musical instruments, time for the dance was kept by stamping the feet, clap- ping the hands, or striking together wooden clappers. This rhythmic noise, in many in- stances, was supposed also to serve the emi- nently useful purpose of banishing evil spirits. The people of ancient India devoutly be- lieved that Mother Nature, who made the blood 24 Mind, Muscle a.nd Mxisic course through the veins and the pulses thrill with a rhythmic measure, had herself implanted within the soul a supreme sense of rhythmic sound and rhythmic motion. In the Hindu sacred drama, song, instrumental music, danc- ing and scenic effect were equally employed. This may be viewed as a foretaste of our modern musical drama. Swaying movements of the body were sup- posed by various peoples of old to be grateful to deity. Even the learned Egyptian priests trod mystic measures in honor of the sun-god, while addressing to him their songs of prayer and praise, and regarded the dance as the earthly symbol of the course of the heavenly bodies. The Hebrew Psalmist himself danced about the altar, and the dance became a factor in the worship of some Christian sects. The rhythmic motions of the body expressed the religious emotions of the soul, precisely as devout feelings are sometimes expressed in what is known as intoning, or in the rising and falling inflection employed by those whose 25 For My Musica.1 Friend practice it is to speak under the influence of religious exaltation. A curious relic of sacred dancing is still preserved in the great cathedral of Seville. There, three times each year, ten choristers, attired as pages of Philip the Second, dance in front of the altar a stately measure, lasting about half an hour. The clinking of castanets and a three-part hymn, sustained by the orchestra, accompany their movements. If, then, rhythm be inherent in mankind, why does the average music pupil so often fail to play or sing in time? Why is it the most troublesome part of a teacher's task to guide his charges to that exquisite realization of rhythm that leads to the right expression and imparts character to the composition ren- dered ? The reason may readily be explained. The regular recurrence of marked accen- tuation characterizing the dance, the direct out- growth of the physical sense of rhythm, is calculated, if unbroken, to become monotonous to people of mature intelligence, and man's inventive spirit, in due time, began to devise 26 Mind, Muscle e^nd Music sub-accentuations in groups and figures for phrasing and expression. So, with the metrical accent as a basis, there have arisen numberless art or fancy rhythms, the observ- ance of which is essential to a sympathetic in- terpretation of a composition and calls into requisition the interpreter's best faculties. Now, the trouble has been that those engaged in the work of musical instruction have in the majority of cases neglected to cultivate the relationship between the mental discrimina- tion of rhythm and the physical sense. What is called a musical education has too often failed to unite theory and practice, has per- mitted technical drill to lead to mere mechan- ical, soulless practice, and has consequently dulled the native sensibilities, without sharpen- ing the artistic perceptions. Every student of music should, from the be- ginning of his studies, be trained to distinguish each form of rhythm with which he is brought into contact. In making the acquaintance of a new composition it should be analyzed, phrase by phrase, in order that an accurate conception 27 For My MusicaJ Friend of its rhythms may be gained before any at- tempt is made to interpret it. The metrical signature and the tempo or time-measure should first be noted, then the rhythm of the theme or motive, and the rhythms of the various figures based on this, as well as the rhythm of the ac- companiment. This practice affords the true way of arriving at the idea underlying the musical forms and of attaining a comprehen- sion of music as a language. It should be undertaken silently at first, as a pure mental effort, until the various groups are stamped on the inner consciousness, then repeated orally, and finally the rhythmic figures should be beaten with the fingers on a table, or on the knee, as on a drum. A class of children may be trained to fa- miliarity with fundamental rhythms by the clapping or tattoo method. First they can be led to denote dual rhythm by beating strong, weak, strong, weak, etc., and then triple rhythm, by beating strong, weak, weak, etc. After this some of the class may be allowed to beat whole notes, against the half, fourth, 28 FR1KDRICH CHOPIN Mind, Muscle and Mxisic eighth and sixteenth notes of others. Also triplets may be marked against even time. More advanced classes may in the same way gain the mastery over complicated art forms. It is interesting to inspire a group of students to test one another's powers of rhythmic dis- crimination through a series of compositions. Let one beat the theme of a familiar composi- tion on a table, and let the others decide to what composition it belongs. Then let each in turn beat out the more complicated rhythmic figures arising from the theme, and require the others to translate the rhythmic tattoo into notes. Music students taught in this way de- velop keen mental discrimination, and are not likely to lose the rhythmic flow of any part of a composition. One of the surest ways of deadening the perceptions and rendering impossible a dis- criminating mental sense of rhythm is the mis- taken habit of continually counting aloud or tapping the floor with the foot while practis- ing. The audible count has its use in first marking the value of notes, but those who be- 29 For My M\isical Friend come slaves to it acquire in their musical per- formances the same sing-song, rocking, unin- telligent tone children put into their reading when taught to emphasize feet and rhymes rather than sentiment. After fully realizing the metrical beat, it is wise to remember that; metre, movement, rhythms and phrasing con- vey to us the musical idea which we should make our own by earnest study and through quickened intuitions. In drilling a church choir I have often found it necessary to count aloud, or beat the metrical measure until it was grasped by the singers, and then devise sundry ways and means of forcing them to correctness in phrasing. I re- member one soprano, in especial, who was wholly unable to feel, consequently to interpret complicated art rhythms, until I had beaten them, tattoo fashion, on her shoulder. Then they seemed 'to become part of herself, and I had no further trouble in getting her to sing the passages containing them with fair intelligence. "When I look at the notes, or think of them after you have beaten them into me,"she once 30 Mind, Muscle a.nd Music said to me, "they seem to throb through my pulses." That is precisely what the notes and groups of notes with which we have to deal should do. When we can learn to heed the rhythmic pulse within us, and use it as a foundation to build upon, we shall have no difficulty whatever in cultivating a true sense of art rhythm and of music as the higher language of the inner life of our complex being. We can then main- tain our clearness of vision and our mental equilibrium, and make a successful musical performance, whether attempting a strongly accentuated tempo or that tempo rubato of the Pole, Chopin, which Liszt compared to the trembling light resulting from the passage of the sun's rays between the leaves of a tree swayed by the wind. Even in this tempo rubato the idea of the relative value of the notes will never be lost by one properly edu- cated in rhythm. II The Piatno and O\ir Girls THE American home has beeen captured by the piano-forte. The American girl, beyond all others, is involved in the delights and in the dangers to which its dazzling allurements lead. It is not unlikely that our boys, even more than our girls, need the charming home means of passing from the rude materialism of an earthly struggle for existence to the choice treasures of an ideal world that may be drawn from the piano's bank. Nevertheless, it is mainly our girls who occupy themselves with the instrument, actuated by love of music, love of display, or love of pecuniary gain, as the case may be. There is scarcely a family of any pretensions in the land, at least one of whose daughters does not hope to attain some proficiency as 33 The Pia.no and O\ir Girls a piano player. In these days of continually increasing technical demands, even on the amateur, much time, patience, strength and wealth are being expended to attain this pro- ficiency. Almost every community can show a large number of girls who devote several hours each day to piano practise. Is the ex- penditure a wise one? This question is trou- bling many earnest minds. The fact is, the returns are meagre in con- sideration of what might reasonably be ex- pected of the investment. Moreover, it is repeatedly asked how far the exacting require- ments of the piano are in accord with the laws of health, and to what degree the keyboard is responsible for the nervousness, defective sight, and stoop shoulders of the age. A sus- picion is afloat that something is wrong. Thinkers are endeavoring to discover what that something' is. In view of gaining light on so important a subject, the management of a prominent newspaper recently addressed a circular letter to certain eminent medical men, inquiring how 34 For My Musica.1 Friend long a student, in average good health, might practise instrumental music with safety. The piano and our girls were doubtless the chief objects of consideration with the author of the circular. They were apparently upper- most in the minds of the authorities who re- sponded. A consensus of the opinions ex- pressed in the replies will, therefore, harmonize with the present theme. The length of time that could safely be em- ployed, it was stated, depended largely on the age, individual temperament, and general oc- cupations of a student. Girls were thought to have less endurance than boys. It might well have been added that they are apt to have fewer balancing employments, and are more frequently tempted to undue exertions through ambition for social glory. One of the main difficulties was considered to arise from the fact that the piano frequently stands in the dark corner of a room filled with dead air, and either under or over-heated. Bending for- ward and straining the eyes to read the notes, in an improper light and atmosphere, is almost 35 The Piak.no and Our Girls sure to cause defective vision and other phy- sical injuries. Another danger attracting at- tention was the continuous use of the same set of muscles from sitting long in one posi- tion, causing headache, backache and per- manent spinal exhaustion. The danger to a young spine was deemed especially great when the feet were without support, and it was advised that children under ten should not be permitted to practise more than two hours daily, broken into several periods, with plenty of outdoor exercise inter- vening. An adult might be allowed from three to six hours, interrupted in the same way. All our organs and faculties are improved and strengthened by habitual use, not overstepping the limits of endurance; but harm inevitably results from excessive weariness. Inability to lay aside thoughts of work in rest periods, wakefulness at night and lassitude in the morning should promptly be heeded. Appealing to our emotions, music produces fatigue on too close application, more through nervous tension even than through physical 36 For My Musical Friend exertion. The apt pupil is the one who will be found least able to withstand the strain. We need to conserve the health of our children if we would see them successful and happy. Few highly cultured people possess that phy- sical endurance resulting from well-trained bodies on which success in life depends, con- sequently few are eminently successful. One authority, perhaps unwittingly, fur- nishes the key to the problem by stating that children will develop better, both mentally and physically, by engaging in what interests them, and that more evil than good will be accomplished by making a stupid business of practising when mind and heart are not in the work. He advises turning loose the child who has no aptitude for music, and waiting for it to display some natural bent, before be- ginning any course of education. With the last proposition the writer of these pages does not agree. Every child should have at least rudimentary training in either vocal or instrumental music, and unless ham- pered by some insurmountable deficiency will 37 The Pia.no a.nd O\ir Girls thus develop to a greater or less degree an ability to enjoy and appreciate the divine art. Not every one need be expected to devote the same amount of time to the study. It is, however, indeed true that more evil than good will ensue from making a stupid business of practising when the mind and heart lack sympathy with the work. This is pre- cisely what is to be avoided in an intelligent course of music study, and a well advised order of time application. It is a teacher's business to see to it that the work is not stupid, and that heart and mind are thoroughly en- grossed in it. A piano course should not be a dull series of finger gymnastics. More than any other study it should occupy head, heart and body to an equal degree. When a girl is taught the correct position of the hands and fingers it should be explained to her what kind of tone she will be enabled to produce by this position. She should be shown that a wrong position and faulty fin- gering make a tone harsh and rough, and a succession of tones spasmodic and jolting. 38 For My Musical Friend Her ear will then be trained to recognize a beautiful tone, and she will become more and more interested in trying to produce it. Even technical exercises will not seem dreary when applied to so noble a purpose. The pupil should also be taught to observe the modifications of tone caused by the prescribed touches, such as legato, staccato, etc., as well as to note the differences in intervals. When she reaches the scales, she will find abundant sources of interest. She should heed their construction, and come to be so sure of the relative positions of tones and half tones that she can readily build for herself, on any given key, major, minor or chromatic scale. During her scale practise she may become somewhat at home with rhythms by running the scales up and down the keyboard, with varied rhythmic treatment, and according to various metres, or movements. The same plan may be advantageously pursued with chords and broken chords, or arpeggios. By the time pieces are attacked a pupil rightly disciplined will begin to be familiar with the 39 The Pia.no a.r\d O\ir Girls tone-language, and if reasonable precautions' be taken to secure good air and light, there is no more reason why she should injure her eyesight in reading notes than in reading words. There is always more or less strain to the eyes in attempting to read an unfamiliar language. A proper study of music will make it a familiar one. A child should not be expected to sit at the piano more than fifteen minutes at a time, and due provisions should be made for sup- porting the feet. In a very young child this time is sufficient for the day. As the interest deepens and the strength increases the period may be repeated, first once, later two, three or four times daily. At no time should a young girl sit at the piano longer that an hour at a time, indeed, until well-grown, not more than half an hour. With suitable training more musicianly feeling and understanding may be aroused, even in a pupil whose time at the instrument is very limited, than could possibly result from hours of aimless practise while the mind wan- 40 For My MxisicaJ Friend ders all over the universe. Unless a young wo- man purposes to make music her chief occu- pation, either as a public profession or as a home life-employment, two hours daily is ample to devote to the piano. She may spend as much time in addition to this as she pleases, away from her instrument, in studying theory, learning to call up mental tone-images from the printed page of notes, memorizing and writ- ing music, and reading works on the history and philosophy of music. The more she oc- cupies herself in this way, the better it is for her musical growth and general culture. Properly used the piano is a magnificent means of physical, intellectual and spiritual development. It is capable of bringing into play all the faculties at one and the same time. A girl whose emotions are readily stirred should be balanced and steadied by abundant drill in the noblest intellectual music. One of a more phlegmatic temperament might be quickened by wholesome supplies of a more emotional character. Care should be taken to have both hands 41 The Pia.no and Our Girls trained alike. This will tend to equalize the circulation, and the demands on the nerve and brain centres. It is an established fact that the arteries arising from the aorta carry the blood in an appreciably shorter course and in less time to the left hemisphere of the brain than to the right. Consequently the nutrition of the former is more abundant, the vitality more active than the latter, and the right side of the body, which the left brain controls, is more readily responsive on account of its greater nervous stimulus. Much good may be ac- complished by increasing the vigor of the right side of the brain through the use of the left hand. In addition to air and exercise there is some- thing essential to the student which the au- thorities quoted in the beginning of this essay have overlooked. That is good, wholesome food. The history of our girls who go abroad to study music proves the lack of nutritious food to be one of the prime causes of the wrecked health with which they so often re- turn. To eke out her insufficient funds for 42 For My MusicaJ Friend the course, so apt to be of necessity longer than the too often poorly prepared American student had expected, a girl will settle in some cheap boarding-house, and becoming dis- gusted with the food, accustom her stomach to scanty supplies. Invalidism is the inevitable result. Plutarch says there is a sordidness scholars ought to avoid, and that is one that forces them to neglect their bodies, denying these a supply when their work is done. He also utters an earnest plea for suitable rest and relaxation, and reminds his reader how Plato urges that the mind and the body be driven together like a pair of horses. No one better than the girl who plays the piano has the opportunity to employ the mind and body on equal terms. Truly she should become a well-balanced, well-ordered indi- vidual. 43 Ill FL actions! Methods of Mvisic St\idy WHATEVER is desirable and honorable to know is desirable and honorable to know as intelligently as possible. Music when intelli- gently known is capable of becoming so im- portant a factor in human culture that proper training in its fundamental principles should be deemed essential to a well-rounded educa- tion. One of the hopeful signs of the times is the tendency to introduce musical departments into our public institutions of learning. Tradi- tional methods of musical instruction need comparison with the methods applied to other branches of learning, from the kindergarten courses of those of the university. Only when placed on a rational, scientific basis can music study dispense its highest blessings, 45 For My Mxisical Friend A student of English literature is expected to analyze and criticise the lesson assigned to him, and to express, both in spoken and in written words, the ideas therefrom conveyed to him. He would be thought to have made poor use of his opportunities if, at the end of his course, he could simply make brilliant reci- tations of a few literary compositions, without the least comprehension of their meaning and without being so equipped intellectually that he could read and advance further by his own unaided efforts. There are scores of music- students, however, who, after years of labor, under teachers of standing, are unable to analyze a single page of music, and are power- less to advance beyond the work in which they have been drilled, frequently even to keep up what they have acquired, after ceasing to take lessons. It seems most remarkable that this does not excite more widespread comment and dissatisfaction. Striking progress has been made of late in methods of technical training, especially in in- strumental music ; but unfortunately technique 46 R atior\