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The Project Gutenberg eBook of The art of music,
Vol. 04 (of 14)
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: The art of music, Vol. 04 (of 14)

Music in America

Editor: Daniel Gregory Mason

W. Dermot Darby
Arthur Farwell
Leland Hall
Edward Burlingame Hill
César Saerchinger

Release date: January 2, 2024 [eBook #72599]

Language: English

Original publication: New York: National Society of Music, 1915

Credits: Andrés V. Galia, Jude Eylander and the Online

Distributed Proofreading Team at https://www.pgdp.net
(This file was produced from images generously made
available by The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK THE ART OF

MUSIC, VOL. 04 (OF 14) ***
 TRANSCRIBER'S NOTES
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the previous character.

The musical files for the musical examples

discussed in the book have been provided by
Jude Eylander. Those examples can be heard by
clicking on the [Listen] tab. This is only possible in
the HTML version of the book. The scores that
appear in the original book have been included as
“jpg” images.

In some cases the scores that were used to

generate the music files differ slightly from the
original scores. Those differences are due to
modifications that were made by the Music
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accurately on modern musical transcribing
programs. These scores are included as PNG
images, and can be seen by clicking on the [PNG]
tag in the HTML version of the book.

Obvious punctuation and other printing errors

have been corrected.
New original cover art included with this eBook is
granted to the public domain.
THE ART OF MUSIC
 The Art of Music
A Comprehensive Library of Information
for Music Lovers and Musicians

Editor-in-Chief

DANIEL GREGORY MASON

Columbia University

Associate Editors

EDWARD B. HILL LELAND HALL

Harvard University Past Professor, Univ. of
Wisconsin

Managing Editor

CÉSAR SAERCHINGER
Modern Music Society of New York

In Fourteen Volumes
Profusely Illustrated
 NEW YORK
THE NATIONAL SOCIETY OF MUSIC
Edward Alexander MacDowell

After a photo from life

THE ART OF MUSIC: VOLUME FOUR

Music in America
Department Editors:

ARTHUR FARWELL
AND

W. DERMOT DARBY

Introduction by

ARTHUR FARWELL

Associate Editor 'Musical America'

Formerly Lecturer on Music, Cornell University, and
Supervisor of Municipal Concerts, City of New York
 NEW YORK
THE NATIONAL SOCIETY OF MUSIC
 Copyright, 1915, by
THE NATIONAL SOCIETY OF MUSIC, Inc.
[All Rights Reserved]
MUSIC IN AMERICA
 INTRODUCTION

Prophecy, not history, is the most truly important concern of music in

America. What a new world, with new processes and new ideals, will
do with the tractable and still unformed art of music; what will arise
from the contact of this art with our unprecedented democracy—
these are the questions of deepest import in our musical life in the
United States. The past has consisted chiefly of a tasting of the
musical art and traditions of the old world. The present is divided
between imitation of the old and searching for the new, both in
quality and application. The fruitage of our national musical life is still
for the future. Intense as are the activities of the present, they are
still merely the preparation of the soil for a future growth the nature
and extent of which we can only guess at to-day. The stream of
musical evolution in America, in the present transitional period, is
rapidly overflowing its wonted banks, and passing the boundaries of
the traditional musical world. The many are striving to obtain that
which has been the exclusive possession of the few, and in this
endeavor are not only extending, but also actually transforming the
art. The paramount issues change with the passing of the seasons.
One imported European sensation gives way to another. The
problem of the true basis of American music dissolves overnight, and
gives way to the problem of the specific evaluation of individual
composers, whatsoever their tendency. The questions of the narrow
concert world dwindle before the greater question of a broad musical
administration for the people. We stand, in fact, in a state of chaos
with respect of musical activities and ideals, and only the clearest
thinkers are able to catch the truer and larger drift of the national
evolution, or effectively direct it. Too many persons are ready to
suppose that the issues of music in America lie wholly within the
scope of purely musical considerations, and that they do not depend,
as is actually the case in certain important respects, upon the nature
of the national ideals and tendencies. The national need will
condition the supply, and the more truly and deeply a national need
is fulfilled, the more vital will be the result. For this reason it is
important that the general national condition with respect of music be
carefully studied, and that misconceptions and theories be
relinquished in favor of a knowledge of facts.

If now we set out to glance over the circumstances which have

eventually brought about the present condition of music in America,
we find that this history, taken in its largest outlines, has a threefold
aspect, the features of which may be roughly termed appreciation,
creation, and administration. The degree in which the new world has
grasped and understood the facts of musical development in the old
must constitute a chief factor in any consideration of its musical
evolution, and this subject will naturally include a reference to
musical culture in America. The second general division of the
subject relates to American composers and the creative musical
output of the nation. The matter of the appreciation of this output will
best be touched upon in connection with this aspect of the subject.
With the question of administration we approach a phase of the
subject which has of late assumed momentous proportions, touching
directly, as it does, the great question of the relation of music to the
people—the reaction of democracy to the art of music. The divisions
of Appreciation and Administration are, of course, very closely
related, and some chapters, such as that on Education, embody both
aspects in almost equal degree. Hence the line cannot be very
sharply drawn. Our sequence of chapters, while emphasizing the
three aspects here set forth, has therefore been arranged with a
view to presenting as continuous a story as possible. The chapters
reviewing the creative activities of American composers have
accordingly been placed together at the end of the volume.
We can not deeply consider the matter of the appreciation of the
musical art of the old world by the new, without coming to the
realization that it is complete. This, it must be recognized, is a matter
which does not ultimately depend upon the numerical extent of the
appreciators, but upon the quality of appreciation existing within the
nation. Were this not so, we could not affirm the existence of a
complete appreciation of its musical art by any nation of the world. In
the broad sense in which we must necessarily speak in dealing only
with the major facts of civilization and evolution, we may say that
German musical art is appreciated by the German nation, even if
only here or there someone is found who understands precisely the
principles of Beethoven's form, or Wagner's harmony. In the practical
progress of the world it is general acceptance and use, together with
a sufficient artistic appreciation, technical and otherwise, on the part
of certain individuals, which constitutes national appreciation of art.
The knowledge and action of such preëminent individuals qualify the
appreciative life of the nation. The evolution of the world to-day
resides in the evolution of the progressive thought of individuals.
Such thought outdistances the slower mental operations of the
mass, which is nevertheless drawn along into ever new sets of
changing conditions, through the modern development of the means
of communication and the corresponding rapidity of both material
and spiritual advance.

Such conditions of appreciation exist in a signal manner in the

America of to-day. It is the simplest and most obvious of facts that
there is a general acceptance and use of European musical art, old
and new, throughout the 'musical world' of America. The relation of
that 'musical world' to the whole population will be considered later. It
is equally obvious to the qualified observer that no point of European
musical art is without its thorough-going students and appreciators,
and ardent conservators, in America. From Bach and Haydn, nay,
from the Gregorian chant, the Greek enharmonic, the Oriental scale,
down through every intermediate period and personality to the
present day of Stravinsky and Schönberg, every phase of musical
history and life has its students and its champions in the new world.
America has, in truth, summed up the musical life of the ages and
reflects it daily in the multitudinous activities of her musical world.
The quality of American appreciation has one advantage of the
greatest significance over that of any other land, in that it is without
national or racial prejudice. Being without history or unity, with
respect of race, the American people are without a racial folk-song,
and hence are bound by no ancient racial sympathy or habit to a
particular fundamental conception of the character of music. German
music, French, Russian, Bohemian, Scandinavian, Italian—all are
accepted with equal eagerness and sympathy. In America the
world's music falls on fresh ears, with the result that a catholicity of
taste prevails such as is to be found in no other land, and with the
further result that a unique and broadly inclusive national impression
of musical character in general has been gained. This in turn is
leading to a national creative musical output which, if it has not
converged upon any one distinctive national character, is, on the
other hand, wholly free from dependence upon the traditional
character of the music of any other nation, and could have been
produced by no other nation.

The upshot of the status of American appreciation of musical art is

that, although the work of more extensively familiarizing the
population with the world's music must continue, the evolution,
broadly, of America as an appreciative nation has been fulfilled, and
it can from now on find no true musical progress except as a creative
nation. Not only has it studied, at home and abroad, all that the
outside world has produced, but it has now thoroughly studied the
various phases of aboriginal music which exist upon its own soil. The
national life has passed beyond its school days and entered the
period where it has no alternative but to face judgment as a
musically productive nation with legitimate pretensions to maturity.

In view of the intense musical interest and eagerness of the

American people, of the vigorous and very rapidly expanding
development of musical life in the United States since the Civil War,
and the enormous sums which the nation spends annually for
musical education, both at home and abroad, it would be irrational to
expect anything less than the results above indicated. Musical
education, which has played so vast a part in this development,
shares, nevertheless, the general chaotic condition of American
musical life. The absence of a National Academy of Music leaves the
country still without any official standard of musical education,
although high ideals and thorough courses are maintained in the
music departments of the larger universities. There are several
independent musical academies and conservatories of high
standing, with a sufficiently broad and well ordered curriculum, and
an unnumbered mass of nondescript music schools innocent of all
normal standards. The same scale, from the highest excellence to
downright charlatanism, is to be found in the field of private
instruction, and one of the greatest educational problems which the
nation faces is to bring some element of standardization into this
field. This is a matter for state action, and in several states a
movement is well under way for the licensing of music teachers. The
development of music in the public schools, well grounded in the
early part of the last century, has of late years been pushed with
vigor and intelligence, and has led to unprecedented studies in the
adaptation of music to the child, as well as to the composition of a
great quantity of new and appropriate children's songs of excellent
quality. The chief difficulty with national musical progress through the
public schools lies in the fact that such a minute proportion of public
school scholars go to high school and college, most of them losing
all contact with musical education before reaching an age when their
interest in it can be firmly established. This circumstance is now
happily being continually more widely met from extra-educational
quarters, in the present movement for music for the people through
various channels to be referred to later. Professional educators are
inclined to lay too much stress on school education as a means of
developing appreciation in the mass, forgetting that the time must
come when the chief musical training of the people, with respect of
their ultimate enjoyment of music, must consist in a general public
hearing of music of the highest order.

In centres of highly refined musical culture, America, from East to

West, is not lacking. An aristocracy of musical appreciation has
followed upon the establishment of symphonic and chamber music