Scan 20
Musical Courier 1895-12-11: Vol 31 Iss 823, 1895
52 lines. Read by computer on 27 September 2026. Printed page 21. See the scan on archive.org.
1parts of the body to vibrate in certain definite ways, thus generating certain definite emotions or states of mind. But a particular emotion or state of mind, which can be produced indirectly in several other ways, can be produced directly by music when the sound vibrations affect the nerves in the same manner as those vibrations that were caused by the mind during that particular emotion or state of mind. The reading of a poem may produce a certain emotion, say that of joy, but if we analyze it we find that this emotion is affected in an indirect way. Each word must first pass through the optic nerves, then (combined) it must be perceived in phrases; finally, the intellect must absorb the meaning of these phrases, the sum of which produces the sense of joy.
3It may be argued that emotions generated by music are not more direct than emotions produced by reading, as the former are obliged to pass through the ear in much the same order as the latter pass through the eye. But the case is not analogous; for the last are caused by a kind of reflex action generated by the activity of the mind itself, while the first are produced directly, without previously passing through the intellect, while the mind continues passive. We can get a clearer idea of this by reversing the process. If we read without trying to realize the meaning of the words and sentences (which nevertheless are passing through the optic nerves), we shall experience no emotion whatever. On the contrary, if we listen to music and try to realize analytically the construction of harmonies, the symmetry of musical phrases, or attempt to find out whether the composer had a certain definite thought in his mind at the time of writing, &c., we may be positive that we shall experience little or no emotion. Consequently the greater the activity of the intellect the keener will be the enjoyment of reading, lectures, acting, and all similar recreations, and the more complete the passivity and receptivity of the mind the more intense will be the enjoyment of music.
5It is evident that emotions generated by music (other things being equal) are more vivid than emotions produced by other causes; for the intellect being passive, there is nothing to distract the mind and thus weaken the intensity. But a still weightier reason is that they are produced directly from the outside, while the others are produced indirectly from the outside, the intellect being their immediate cause. Between these exterior and interior impulses or vivid and faint impressions there exists the same difference as between an actual occurrence and the idea of this occurrence, or as between objective reality and thought.
7Due probably to this vigor and vividness of music, many people ascribe to it qualities entirely outside its domain. The most popular of such errors is that so-called descriptive music can convey to the mind in a definite way, as if written in so many words, the exact image of the thing it is supposed to represent. No sane composer would claim this for any of his works. All he aims at is to excite emotions analogous to those produced by the realities he attempts to illustrate. I am well aware that a good many noises, such as the rumbling of thunder, voices of animals, &c., can be imitated quite satisfactorily; but noticing how they are produced, we find that they are simply tricks and have nothing to do with music. Thunder is generally imitated by pounding the big drum or by making discord among the low tones of an organ; and animal voices are mostly represented by some apparatus made especially for that purpose.
9Most of these noises have no pitch, and, except by rhythm, cannot blend with music. The voices of only certain ones among the song birds can be imitated by regular musical instruments, and the obvious reason for this is that they come under the same category; so that in this case it is nothing else than one musical instrument imitating another. This, then, proves that there is a great distinction between the language of the intellect and that of the emotions; but though the former is more definite and exact, it is also more limited and material than the latter; for music can express emotions so spiritual that they are far beyond the reach of both language and thought. In other words, music belongs to the spiritual world; for it is the only thing in this material existence which can express an objective reality, the most exalted spiritual sentiment. There are moments when the soul communicates with the Higher Self, the one and only pure spirit when the harmony of its being throbs in unison with Universal Harmony, of which it forms an infinitesimal part, and it is such sublime harmony which transcendental geniuses, like Beethoven and Wagner, have faithfully represented in many of their compositions. None can deny that experiences of this order are purely spiritual, for they bear absolutely no resemblance to anything in the material world, but, this admitted, we are forced to admit the same concerning the art which can reproduce them.
11Music, then, has no analogy on the material plane of existence, and it is the only art which is absolutely original and creative. Painters, sculptors, and writers may be said in a general way to create, but analyzing the matter we find that they take all their material from the visible universe.
13A painter may draw an ideal landscape and fill it with all sorts of fantastic animals; but if we examine one of these monstrosities we shall find that though we have never before seen such a creature, yet the several parts of its construction are very familiar to us. The artist has created nothing, he has simply composed this nightmare by combining the head of an alligator, the body of a serpent, the wings of a bat, and the talons of an eagle. Let us try to imagine a color entirely different from any we have seen and we shall then fully realize the utter impossibility of creating anything absolutely original in these lines of art. Turning now to the writer, we find him in the same predicament.
15He works with words, but words are only symbols for real or imaginary objects, and they fail to make any mental picture the moment they are used to express anything purely spiritual. If they do convey an impression it is because they are misconceived, and everyone will then have a different understanding, according to the varied imagination. The words "essence of God," or "disembodied spirits," cannot produce any adequate ideas, as the mind can find no objects corresponding to them from which it can form its images. But the words "God" and "spirit" may convey plenty of meaning if we represent in our minds, not the essence of these conceptions (which is an impossibility), but some of their attributes which appear in the material world and can be perceived through the senses.
17It is now sufficiently demonstrated that the author is as dependent upon the objective world for his material as the painter, and though language can powerfully help to arouse spirituality and sublime aspirations it can never, like music, produce them directly or present them adequately. The great difference is, the writer describes his emotions, while the composer gives the emotions themselves. He puts down the tones and harmonies exactly as they ring in his mind when he creates them; so that when his composition is performed they become objective realities. The other arts are all (in a certain sense) imitative, since they have their basis in the visible world whence they are absorbed and assimilated by the mind; but we shall look in vain for the origin of music anywhere else but in the very depths of our own being. It has no counterpart in nature and resembles absolutely nothing in the material world. It proceeds directly from the soul and goes directly to the soul—is, in fact, creation.
19CARL LE VINSEN,
20124 East Forty-fourth street, New York City.
21(To be continued.)
23Milan.—La Scala will open with Saint-Saëns' Henri VIII., and Sonzogno's Teatro Lirico will give Cipollini's Ninon de Lenclos.
25MRS. CORINNE MOORE-LAWSON,
26SOPRANO.
27Concert, Oratorio … … and Song Recitals.
28For Dates and Terms apply to
29LEON MARGULIES' CONCERT BUREAU,
30C. L. GRAFF,
31Business Manager. Carnegie Hall, New York.
33Mrs. J. WILLIAMS MACY,
34CONTRALTO.
35Concert, Oratorio … … and Musicales.
36For Dates and Terms address
37LEON MARGULIES' CONCERT BUREAU,
38C. L. GRAFF,
39Business Manager. CARNEGIE HALL.
41CONVENTION MUSIC HALL,
42WASHINGTON, D. C.
43The Largest and Most Complete
44MUSIC AND LECTURE HALL
45South of New York.
463,500 Folding Chairs. Entirely Lighted by Electricity.
47Stage equipped with Scenery and Foot and Border Lights.
48The Stage and Proscenium Arch being portable, the Hall can be reduced to a seating capacity of 2,300.
49TO BE HAD ON SHARING TERMS, OR RENTED.
50All communications to
51DAVID TOWERS, Manager.
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