,,t]p&] ,,t]p&] or ,,music ,,& ,,! ,,future ,,by ,,edw>d ,j4 ,,d5t ,illu/ration ,new ,york ,e4 ,p4 ,,dutton ,,company #fha ,fif? ,av5ue ,publi%$1 #aibg ,,by ,e4 ,p4 ,,dutton ,,company ,all rights res]v$ ,,pr9t$ ,,9 ,,! ,,unit$ ,,/ates ,,( ,,am]ica ,all anci5t writ]s :o m5tion ! progressive /ate ( music 9 ,greece1 are unanim\s 9 celebrat+ ! tal5ts ( ,,t]p&]4 ,sev]al writ]s tell u t he add$ ?ree /r+s to ! lyre1 :i* be=e 8 "t _h b f\r4 ,plut>*1 9 8 8,laconic ,in/itutions10 in=ms u t ,t]p&] 0 f9$ by ! ,ephori = 8 innovations4 ,h[ev]1 9 8 ,dialogue on ,music1 he likewise tells u t ! same musician appeas$ a s$ition at ,sp>ta1 among ! same p1 by ! p]suasive /ra9s :i* he sung & play$ to !m ^u t occasion4 ,!re seems no o!r way ( reconcil+ ^! two acc\nts1 ?an by suppos+ t he _h1 by degrees1 ref9$ ! public ta/e1 or deprav$ 8 own to ! level ( 8 he>]s4,,burney4 ,,t]p&] ,i ,9 ! e>ly ye>s ( ! pres5t c5tury a c]ta9 le>n$ & cultivat$ musician1 !n ab\t eighty ye>s ( age1 0 he>d to say1 z he came out f a conc]t at :i* works by ,debussy _h be5 play$3 8,well1 if ?is is ! #8music ( ! future1' ,i'm v glad ,i %an't live to he> x60 ,debussy has pass$ ov] to ! classics s9ce !n1 b !re are /ill pl5ty ( music-lov]s1 _m ( !m1 too1 n m ?an middle-ag$ at ! mo/1 :o feel appreh5sive ab\t ! future ( music4 ,:]ev] !y turn1 !re seems to be complete *aos4 ,! music ( ! pres5t day is = !m an un5d+ succession ( hide\s noises4 ,!re are "s :o1 rememb]+ t 9 _! own lifetime !y h pass$ ?r\gh p]iods :5 ev5 ,brahms & ,wagn]1 ,ri*>d ,/rauss & ,cs> ,franck seem$ un9telligible1 are yet resolv$ n to be baffl$ by ,s*nb]g & ,/rav9sky4 ,!y /udy contempor>y music ) p]haps little pleasure1 b ) passionate int]e/ & curiosity4 ,yet !y are inevitably consci\s ( difficulties :i* d n appe> to h confront$ !m be=e4 ,!y c see 9 ! music ( ! e>ly tw5tie? c5tury "s cle> cont9uance ( ! classical tradition2 9 ! lat] music !y c f9d no?+ t gives !m ev5 a fa9t hope ( be+ able to und]/& x"s day if n n[4 ,!y f9d !mselves 9 ! position ( a man :o sets out to le>n a language :i* has no connection ) ! ,indo-,european /ock4 ,x is bad en\gh to h to ma/] a new alphabet2 "o may possibly1 by d9t ( /r5u\s ef=t1 commit to memory a vocabul>y ( words :i* be> n ! remote/ resemblance to any 9 ,fr5* or ,g]man1 ,lat9 or ,greek2 b :5 x comes to tackl+ an entirely /range sy/em ( syntax = ! expression ( unfamili> ideas1 ! m9d revolts & ! /ud5t asks :e!r all ?is j>gon c really h any significance at all4 ,& ! /ud5t ( mod]n music is made /ill m sceptical by ! fact t ! musicians :om he respects among ! app>5t initiates are seldom 9 any agreem5t z to :i* ( ! v>i\s conflict+ sy/ems ( music is to be reg>d$ z ! expression ( ! true fai?4 ,c y tell me1 he asks1 (t5 ) g5u9e humility1 ( "o liv+ compos] :om y :olehe>t$ly accept z a great creative g5ius1 9 ! way 9 :i* y once accept$ ,bee?ov51 or ,brahms1 or ,wagn]1 z ! case might be8 ,! h>d5$ critic hesitates1 names t5tatively ?is or t musician,no1 replies ! o!r firmly2 !re seems to be no "o :om y c "n )\t "s qualification4 ,& to scepticism he adds fe>4 ,! new music1 he beg9s to feel1 requires n m]ely a new & unaccu/om$ intellectual ef=t3 x dem&s a new outlook on life altoge!r4 ,x may affect & di/urb fundam5tal pr9ciples su* z mo/ p pref] to leave unt\*$4 ,x may be 9 tru? :at ! old fogeys ( ! pa/ h always said ( x3 x may be 8positively dang]\s40 ,let u consid] our fundam5tal pr9ciples4 ,let u =get = a mom5t all ?is contempor>y turmoil & ask ourselves :at is hone/ly our attitude to ! classics t we rev]e4 ,music1 x has (t5 be5 said1 appeals to u 9 ?ree ways4 ,x affects u fir/ by ! m]e s5su\s beauty ( s\nd2 z we become m famili> ) ! art1 x works ^u our emotions1 & f9ally we le>n to contemplate x intellectually4 ,la musique e/ l'art de p5s] avec les sons4 ,to ! musician :o has be5 br\ght up on ! classics ?is def9ition ( ,comb>ieu's sums up 8 mo/ complete exp]i5ce4 ,! ?ree =ms ( appeal summ>ily describ$ above divide li/5]s conv5i5tly into ?ree categories1 b x is a v r\gh division1 & ! same p]son may at any "o "t ( 8 life & exp]i5ce f9d himself 9 any "o ( ! ?ree gr\ps accord+ to ! p>ticul> "w :i* he may be he>+4 ,b x may be safely said t ! l>ge majority ( ^? :om we c call music-lov]s belong to ! class = :om ! appeal ( music is ma9ly or exclusively emotional4 ,! fir/ gr\p1 ^? :o are affect$ only by ! physical quality ( musical s\nd1 may be disreg>d$ "h4 ,& x mu/ be rememb]$ t any "o :o is suffici5tly musical to enjoy :at we colloquially call 8a tune10 h[ev] simple1 has at lea/ ! g]m ( intellectual appreciation2 he recognizes t a tune has a def9ite rhy?mical %ape & a def9ite tonality1 ev5 if he is n able to say s 9 te*nical language4 ,b mo/ p1 :5 !y li/5 to music1 d n want to be bo!r$ ) =mal analysis2 !y want to h _! emotions ar\s$4 ,! analysis ( _! musical exp]i5ces is a v complicat$ matt] & f> beyond ! scope ( ?is book4 ,!re are _m p :o fe> t if !y acquir$ a k ( ! /ructural pr9ciples ( music !y w\ld lose all _! pleasure 9 x4 ,!y are confirm$ 9 ?is belief by f9d+ t p]sons :o are le>n$ 9 ! sci5ce ( music und\bt$ly lose pleasure 9 mu* t satisfies ! emotional requirem5ts ( ! un9itiat$1 & may 9 "s cases appe> to h lo/ pleasure 9 he>+ any music at all4 ,! fe> is gr\ndless4 ,! "* & quality ( ! pleasure may *ange1 & und\bt$ly does *ange z a result ( rip5+ & decay+ age2 b no "o1 ev5 among ^? :o dete/ all mod]n music1 h[ev] sadly he may say si vieillesse p\rrait1 w\ld admit aft] p]sonal exp]i5ce t ! ess5tial joy ( music 0 de/roy$ by k4 ,9 default ( k1 ! 8emotional0 gr\p ( music-lov]s1 eag]ly desir+ to f9d "s significance 9 ! music :i* !y he>1 (t5 try to translate x into "s o!r language ) :i* !y are m famili>4 ,"s li/5]s ma9ta9 t music gives !m positive s5sations ( col\r4 ,!re are _m :o 9 li/5+ to music consci\sly con/ruct pictorial images4 ,o!rs w seek to int]pret x z mean+ some?+ t c\ld be express$ 9 t]ms ( lit]ature4 ,exp]im5ts h g5]ally %[n t :5 a numb] ( li/5]s are ask$ to give _! impressions ( ! same piece ( music agreem5t h>dly ev] goes fur!r ?an to su* vague indications ( "* z ! compos] himself might give 9 8 conv5tional ,italian directions = p]=mance1 except 9 cases :]e ! compos] has delib]ately set out to evoke "s lit]>y or pictorial image or has employ$ "s well-worn conv5tional device = ! awak5+ ( famili> associations4 ,! psy*ological process ( musical creation has hi!rto elud$ all sci5tific rese>*4 ,no satisfactory result c be obta9$ f comp>+ ! record$ utt]ances ( ! compos]s !mselves z to :at induc$ ! composition ( _! works or :at !y int5d$ to express 9 !m4 ,p :o are incl9$ to int]pret ! music :i* !y he> 9 lit]>y or pictorial t]ms are naturally attract$ by def9itely descriptive music1 & readily produce evid5ce 9 support ( ! !ory t all compos]s set out to write music ) a delib]ately descriptive int5t4 ,b ! hi/ory ( music %[s u cle>ly t delib]ately descriptive music r>ely /&s ! te/ ( "t4 ,!re are pl5ty ( examples to be f\nd ( ackn[l$g$ great compos]s su* z ,byrd1 ,purcell1 ,ba*1 ,h&el1 ,haydn1 & ,bee?ov51 :o h n[ & !n set out to be descriptive2 & 9 almo/ e case we feel t _! descriptive music is on a f> l[] level ?an _! non-descriptive music4 ,inde$1 9 _m cases x is pa9fully ridicul\s bo? z pure music & z description4 ,if x c be sav$ at all1 x is only by conc5trat+ att5tion on its purely musical aspect4 ,! tra9$ musician is cont5t to take music z music & no?+ else4 ,x is a logical & reasonable language1 al?\gh x _c be translat$ into words4 ,writ]s on pa9t+ seem n[ to be pretty g5]ally agre$ t ! 8/ory0 ( a picture has no?+ to d ) its value z a "w ( art2 t dep5ds ^u l9e & col\r alone4 ,x is ne>ly half a c5tury s9ce ,walt] ,pat] wrote t 8all art con/antly aspires t[>ds ! condition ( music40 ,x 0 yet a g5]ation e>li] t ,hanslick put =w>d 8 !ory ( musical beauty4 ,t !ory ( 8ab/ract music0 did n satisfy ! age ( ,wagn] & ,liszt2 b al?\gh ,hanslick fail$ to "w out 8 !ory z fully z he might h done1 its fur!r implications h come to be accept$ ) surpris+ cordiality by a g5]ation ( musicians ^: art w\ld probably h fill$ ,hanslick himself ) ! mo/ unspeakable horror4 ,music expresses itself & no?+ else4 ,a "w may be dramatic1 illu/rative1 or ev5 descriptive 9 c]ta9 aspects2 b unless x is intelligible simply z music alone1 con/ruct$ on its own purely musical pr9ciples1 ap>t f all ext]nal consid]ations1 x mu/ fall %ort ( p]fection z a "w ( musical art4 ,,ii ,^? :o h be5 br\ght up on ! music ( ,ba*1 ,bee?ov51 & ,brahms c readily accept ?is !ory ( musical /hetics4 ,x is em95tly satisfactory z an int]pretation ( all t we commonly call classical music4 ,!re are _m p :o d n want to li/5 to any o!r k9d ( music4 ,!y h he>d ( great names 9 ! days be=e ,ba*1 b !y are easily incl9$ to take ! view t su* compos]s z ,purcell & ! eld] ,sc>latti 7 m]ely ! necess>y =]unn]s :o prep>$ ! way2 t ,pale/r9a 0 an exceptional & unacc\ntable expression ( a peculi>ly exalt$ age ( religi\s belief1 & t any "o belong+ to an e>li] date c be dismiss$ z a primitive int]e/+ only to ! antiqu>y4 ,b at ! pres5t day ! antiqu>ies are com+ into _! own4 ,bo? 9 ,engl& & abroad !re is a vigor\s revival ( int]e/ 9 ! music ( ! c5turies be=e ,ba*4 ,aft] long ye>s ( du/y rese>* ! antiqu>ies h at la/ begun to conv9ce a y\ng] g5]ation t a great deal ( ?is s-call$ primitive music c be giv5 life 9 p]=mance1 & p]=mance has %[n t x has a surpris+ly vivid p[] ( appeal+ to ! emotions ( mod]n he>]s4 ,lead]s ( contempor>y music inde$ are cle>ly feel+ t pre-classical & ev5 m$iaeval music has 9 _m cases a m intimate aff9ity ) t ( our own day ?an ! music ( ! la/ two hundr$ ye>s4 ,x has ev5 come to ex]cise a def9ite & admitt$ influ5ce on ! te*nique ( mod]n composition4 ,to dissect out ! causes & effects ( ?is t5d5cy w\ld be a complicat$ & difficult task = :i* !re is no space "h4 ,b !re is "o po9t :i* is a matt] ( common k to ! tra9$ musician1 & ! g5]al musical public is probably m or less aw>e ( x ?\gh unable to expla9 x 9 te*nical language4 ,f ! ye> #afjj to ! ye> #aijj1 r\ghly speak+1 all ,we/]n music is bas$ on ! same fundam5tal pr9ciple ( tonality4 ,all music is compos$ 9 a key4 ,"o note is adopt$ z a c5tre4 ,! rema9+ notes ( ! octave are br\ght into v>i\s cle>ly def9$ relation%ips to x4 ,!y may fur!r be arrang$ 9 gr\ps1 s\nd$ simultane\sly1 kn[n z *ords4 ,ea* ( ^! *ords has its own fix$ arrangem5t & its fix$ relation%ip to ! c5tre4 ,:at has be5 done = "o note ( ! octave may be done 9 exactly ! same way = any o!r1 =m+ :at we call ! key ( t note4 ,! musician may %ift f "o key to ano!r 9 ! c\rse ( 8 "w1 b x is und]/ood t he mu/ make 8 ma9 key cle> & def9ite at ! outset & mu/ re-e/abli% x aga9 ) equal decision at ! end4 ,9 ! e>ly ye>s ( ! sev5te5? c5tury ! ef=ts ( musicians 7 direct$ *iefly to e/abli%+ "o key cle>ly & t[>ds ! tra9+ ( audi5ces to grasp ! fir/ pr9ciples ( ! sy/em4 ,z !y became m & m accu/om$ to ! sy/em ! compos]s 7 able to ext5d & elaborate x4 ,! int]relations ( notes & *ords became increas+ly subtle & delicate f ! days ( ,montev]di to ^? ( ,wagn]2 b ! fundam5tal key-sy/em & ! rhy?mical sy/em :i* is insep>able f x rema9$ always precisely ! same4 ,! language ( music develop$ /eadily & rationally j z ! ,engli% language has develop$ f ,%akespe>e to ,sw9burne4 ,x is no wond] !n t mo/ musicians reg>d$ its f\ndations z inde/ructible4 ,its gramm> 0 codifi$ by ,rameau e>ly 9 ! eighte5? c5tury1 & lat] !ori/s saw no reason to repudiate ! ma9 pr9ciples ( ,rameau's doctr9e4 ,9 ! passionate /atel9ess ( ,rameau's own music1 9 ! gigantic dignity ( ,h&el1 9 ! g5ial ,gemtli*keit ( ,ba*1 we see ! same lucid & logical precision ( language4 ,x 0 only natural t eighte5? c5tury criticism %\ld reg>d ! music ( e>li] c5turies z crude & b>b>\s4 ,! n9ete5? c5tury approa*$ ! old] music ) a m p5etrat+ s5se ( s*ol>%ip1 b c\ld n help read+ x 9 ! same _s4 ,an age ( antiqu>ian rese>* inevitably t5d$ to consid] its discov]ies z hi/orical docum5ts to be exam9$ 9 ! dry light ( !ory r ?an z ! expressions ( int5sely passionate humanity4 ,! music ( ! ,middle ,ages & ! ,r5aissance 0 int]pret$ accord+ to ! sy/em ( ,rameau1 = no o!r sy/em c\ld be conceiv$4 ,if "u ^! conditions x fail$ to make any emotional appeal1 t did n matt]3 rev]5ce = antiquity disc\rag$ ! unveil+ ( passion4 ,,iii ,! developm5t ( all k9ds ( hi/orical /udies dur+ ! pa/ half-c5tury has caus$ a wide & by no means le>n$ public to take a ke5 int]e/ 9 ! life ( ! pa/ & 9 its arti/ic expression4 ,we c no long] quietly accept ! doctr9e t music began ) ,ba*1 or ev5z ,victor ,hugo sugge/$) ,pale/r9a4 ,! ar*itecture1 sculpture & pa9t+ ( ! remote c5turies1 z well z _! poetry1 br+ ! anci5t & m$iaeval _w vividly be=e our eyes & m9ds4 ,we _c help see+ t music mu/ h be5 no less important 9 ! lives ( our ance/ors ?an x is 9 our own2 inde$1 x (t5 seems t 9 ^? f>-away times ! art ( music ex]cis$ an ev5 m cog5t influ5ce ?an x does n[4 ,h[ c x be1 we ask1 t p s /rangely susceptible to ! p[] ( s\nd & at ! same "t s consummately accompli%$ 9 ! o!r arts %\ld h left beh9d !m an art ( music :i* we c only reg>d z crude & primitive8 ,if we attempt to consid] ?is "q s]i\sly we %all soon f9d t we are confront$ ) fundam5tal problems ( /hetics4 ,fir/ ( all we mu/ rid ourselves ( ! habit ( reg>d+ music z some?+ pr9t$ on pap] :i* c be play$ on ! pian(orte4 ,mod]n civilization easily leads u to take x = grant$ t :atev] has be5 writt5 d[n or pr9t$ is cle>ly fix$ & record$ = all "t4 ,b ! real music is n t :i* is writt5 d[n3 x is ! s\nds :i* are made by ^? :o p]=m x4 ,a physician _c cure 8 pati5t m]ely by giv+ him prescriptions to read4 ,! writt5 notes1 ev5 ^? ( our own day1 require imag9ative int]pretation2 !y require1 too1 an int]pretation bas$ on tradition & exp]i5ce4 ,complicat$ z x is1 our contempor>y notation is v inadequate1 al?\gh we ( to-day are ?or\ghly accu/om$ to ! practice ( convey+ in=mation by writt5 signs4 ,x is only natural t 9 c5turies :5 v few p 7 able to read or write words at all ! notation ( music %\ld h pres5t$ /ill great] difficulty4 ,we c see f e>ly docum5ts su* z ! ecclesia/ical manuscripts ( ! t5? c5tury t if music 0 writt5 d[n x 0 n 9 ord] t complete /rang]s %\ld be able to read x cle>ly & accurately at sight1 b m]ely to s]ve z a rem9d] to ! s+] ( :at he _h already committ$ to memory by e>4 ,! records ( ! o!r arts are solid mat]ial facts1 ?+s ( wood1 metal or /one :i* are always be=e our eyes4 ,! music t 0 contempor>y ) !m has disappe>$ into sil5ce1 b t does n necess>ily prove t x 0 n wor? pres]v+4 ,yet we may well ask ourselves ano!r "q3 is any art wor? pres]v+8 ,f ! hi/orian's po9t ( view ev]y?+ is wor? pres]v+ z a hi/orical docum5t2 b if we judge works ( art f a purely /hetic /&po9t c we hone/ly say t ! art ( ! pa/ has any value = u8 ,directors ( museums & gall]ies may p]haps be %ock$ at s h]etical a "q4 ,b if1 z s _m art-critics h sugge/$1 music is ! ideal type ( art we may legitimately approa* ! subject f a musical po9t ( view 9 pref]5ce to a pictorial "o4 ,! records ( ! o!r arts are solid mat]ial facts3 temples & ca!drals1 /atues1 panels1 canvases4 ,comp>$ ) a symphony t may la/ an h\r 9 p]=mance1 !y are almo/ to be consid]$ inde/ructible & et]nal4 ,if on he>+ ! symphony we f9d t x gives u no pleasure1 x is soon ov]1 & we ne$ nev] he> x aga94 ,once ! ca!dral has be5 put up1 x is m tr\ble ?an x is wor? to take x away aga94 ,a second g5]ation may ?9k x hide\s1 a ?ird takes no notice ( x1 a f\r? v5]ates its antiquity1 yet ano!r decides to f9d x beautiful4 ,! /atue or ! picture meets ) a simil> fate1 b z x is less bulky1 x c at lea/ be sold1 b\ght & sold aga94 ,x may acquire value z a r>ity1 = e mat]ial "w ( art is unique1 :]eas a piece ( music c be reproduc$ z _m times & 9 z _m diff]5t places z we *oose4 ,! own] ( a picture by ,titian possesses prop]ty :i* is 8 & 8 alone4 ,he might say ! same ( an autograph manuscript by ,bee?ov52 b he _c possess ! symphony itselft belongs to ! _w at l>ge4 ,! autograph may fet* a ?\s& p\nds at auction1 b x is no m ?an a piece ( dirty pap]4 ,y c he> ! symphony play$ = a %ill+4 ,! fundam5tal "q at issue is ?isis a "w ( art a complete & f9ite ?+1 beautiful :5 x left its mak]'s h&1 beautiful n[ & = ev]1 or is x frankly transitory1 a mom5t>y expression ( a mom5t>y exp]i5ce1 speak+ z a rule only to ^? :o belong to ! same g5]ation8 ,! art deal] & ! museum director naturally take ! fir/ view4 ,if y h paid "s huge sum = a picture1 y may hesitate to burn x z soon z y are tir$ ( x4 ,y mu/ at lea/ g on pret5d+ to admire x4 ,& s9ce mat]ial works ( art are always be=e u1 x is natural t philosoph]s %\ld h />t$ to con/ruct _! arti/ic !ories f an ar*itectural or pictorial po9t ( view4 ,x is p]haps inevitable t ! criticism ( music %\ld borr[ phrases f t ( ! pla/ic arts1 because music is an art s entirely complete 9 itself t x has nev] yet evolv$ an adequate vocabul>y ( te*nical t]ms1 let alone a vocabul>y 9 :i* its nature c be describ$ to ! non-te*nical read]4 ,b al?\gh !re may be some?+ to be said = ,goe!'s fam\s comp>ison ( ar*itecture to 8froz5 music10 x is ) poetry r ?an ) ! pla/ic arts t music m legitimately may seek aff9ity4 ,lit]>y critics h nev] yet succe$$ 9 def9+ :at poetry is2 b we c at any rate say t :at di/+ui%es poetry f a /atem5t ( ! same idea 9 prose is *iefly ! pres5ce ( qualities :i* are common bo? to poetry & to music4 ,x has be5 cle>ly %[n1 = in/ance1 t ! lyric poetry ( classical ,greece employ$ devices ( con/ruction :i* are curi\sly simil> to ^? ( ,bee?ov54 ,habit induces u to imag9e t ! value ( ,bee?ov5's music dep5ds on our conv5tional scale & ! h>monies d]iv$ f x2 b ?\gh we are b\nd to admit t e arti/ is limit$ by ! peculi> qualities ( 8 mat]ials1 :e!r !y be words1 m>ble or musical s\nds1 we "k t !y _c be turn$ to arti/ic acc\nt unless he has *os5 !m1 imp]fect z !y are1 to s]ve him 9 ! expression ( some?+ conceiv$ 9 8 imag9ationsome?+ ( :i* he himself is def9itely aw>e al?\gh he _c communicate x to o!rs )\t ?is mat]ial pres5tation4 ,t :i* is common to poetry & music is n a metaphysical figm5t4 ,x may (t5 elude analysis2 b at pres5t x has h>dly be5 inve/igat$ sci5tifically4 ,x ought to be possible to f9d out a great deal m ab\t x1 & to f9d out a great deal m ab\t :at con/itutes ! 8poetical0 qualityto use ! epi!t 9 a famili> if n v accurate s5se( musical int]pretation1 = ^! ?+s are problems ( actual physical s\nd4 ,! close connection betwe5 music & poetry w\ld inde$ be m imm$iately app>5t if p ( to-day _h n acquir$ a di/ort$ view ( poetry by read+ x 9 sil5ce in/ead ( recit+ x al\d4 ,*eap pr9t+ & popul> education h giv5 read]spoets too1 p]hapsan entirely false set ( values4 ,p talk ( ! beauties ( ,greek poetry2 h[ c !y h any idea ( !m :5 ! mo/ le>n$ s*ol>s admit t nobody kn[s h[ classical ,greek ought to be pron\nc$8 ,!y are 9 ! same position z a musician ( ! future might be if he /udi$ ! scores ( ,bee?ov5 )\t any idea ( :at a tone or a semitone 04 ,!y "k :at ! words mean1 b !y are 9 mu* ! same case z ! man :o sees no?+ 9 a picture beyond ! /ory :i* x tells4 ,?is preoccupation ) ! 8/ory01 natural & inevitable z x is1 has dom9at$ ! :ole conception ( art2 x has ev5 contam9at$ ! conception ( music4 ,x is necess>y to draw att5tion to x "h1 because x con/antly di/racts ! att5tion f ! fact t all ! arts are 9 a p]petual /ate ( *ange4 ,we see ! human =m repres5t$ 9 ! pla/ic arts & are inevitably tempt$ to judge !m accord+ to _! skill 9 repres5t+ x fai?fully4 ,we read ab\t ! common exp]i5ces ( human life 9 poetry1 we accept translations f o!r languages )\t demur1 & take pleasure 9 ! s5se ( human cont9uity4 ,! /ability ( mat]ial works ( art gives u a false idea ( /hetic p]man5ce2 we are easily induc$ to take an analog\s view ( poetry4 ,b 9 actual fact language1 :i* is ! mat]ial ( poetry1 is 9 con/ant flux2 we are s well aw>e ( t fact t we h almo/ ceas$ to notice x4 ,language *anges because x is1 if n ! mo/ imm$iate1 at lea/ ! mo/ useful1 ( our means ( expression4 ,! mo/ imm$iate means ( arti/ic expression is music1 & consequ5tly music is ( all ! arts ! mo/ subject to *ange1 p]haps ! mo/ subtle1 c]ta9ly ! mo/ transitory4 ,,iv ,! art ( music und]goes *ange1 z does language1 because x adapts itself to ! expression ( *ang+ views ( life4 8,ev]y?+ new10 says ,fraz]1 8is apt to excite ! awe & dread ( ! savage40 ,! active & explor+ temp]am5t seeks new exp]i5ces intellectual z well z physical2 ! temp]am5t t is s$5t>y & passive %elt]s itself beh9d :at is already well e/abli%$4 ,x dreads novelty & dreads x p>ticul>ly 9 musict is1 if x is susceptible to music at all= ! v reason t music is ! mo/ imm$iate means ( express+ inn]mo/ exp]i5ces su* z mank9d (t5 fe>s to express 9 ! m easily mis9t]pret$ m$ium ( words4 ,music has at all times be5 /rangely associat$ ) fe>4 ,f ! e>lie/ days x 0 ! conf$]ate ( magic & religion4 ,ev5 9 classical ,greece x 0 reg>d$ z a ?+ ( dang] if n kept "u ! sev]e/ control4 ,sir ,h5ry ,had[ has po9t$ out t 9 ! :ole ( classical ,greek lit]ature !re is n a ^w ( :at we c call musical criticism1 t is1 criticism ( music simply z an art 9 itself4 ,b al?\gh morali/s discuss$ x f a /rictly e?ical po9t ( view1 _! v fe> ( x %[s h[ p[]ful mu/ h be5 its influ5ce on ^? :o enjoy$ x4 ,! abs5ce ( critical writ+s does n necess>ily imply an abs5ce ( arti/ic feel+ or arti/ic discrim9ation4 ,x is a matt] ( common k t ! ,greek ^w = 8music0 cov]$ a f> wid] field ?an ! ^w does to-day4 ,music 0 to ! ,greeks practically insep>able f poetry1 s t we f9d on ! "o h& t _! poetry absorbs mu* ( ! inv5tive skill :i* we n[ consid] to be m appropriate to music1 & on ! o!r h& t music comes 9 = a good deal ( ! e?ical c5sure :i* is m likely to be due to ! poetry4 ,=tunately arti/s h at all times be5 reluctant to submit to ! tyranny ( morali/s4 ,al?\gh practical exp]i5ce may =ce u to admit t ! p]petual *ange to :i* music has be5 subject$ dur+ ! c\rse ( c5turies makes x impossible = u to arrive ev5 aft] prolong$ /udy ( docum5ts at a complete und]/&+ ( ! art ( ! remot] pa/1 x is nev]!less int]e/+ to make ! attempt = ! sake ( deep5+ hi/orical k4 ,if we _c ent] into ! life ( our ance/ors )\t /udy+ _! arts z well z _! politics1 we mu/ c]ta9ly pay z c>eful an att5tion to _! music z we d to _! ar*itecture or _! pa9t+4 ,! hi/orians ( music h only rec5tly begun to set =? 9 a t5tative way ! evolution ( musical =ms4 ,!y h paid little or no att5tion to ! v>y+ relations ( music to ! o!r arts & to life 9 g5]al4 ,nor h !y consid]$ s]i\sly ! hi/ory ( musical appreciation4 ,b if we are to und]/& ! significance ( music at v>i\s p]iods x is obvi\sly ( int]e/ to discov] at :at date music began to be reg>d$ z an indep5d5t artindep5d5t1 t is1 n m]ely ( poetry1 b also ( magic1 religion or e?ics4 ,& ?is w fur!r lead u to ! closely connect$ "q ( its v>y+ psy*ological appeal4 ,! r\gh division1 sugge/$ 9 a previ\s *apt]1 ( t appeal into ! ?ree aspects1 physical1 emotional & intellectual1 w at lea/ s]ve to provide u ) an exp]im5tal basis4 ,if we f9d x unsatisfactory we %all at lea/ hope to make our m9ds cle>] z to its real nature 9 ! process ( submitt+ x to a hi/orical te/4 ,!re is1 too1 ano!r well-kn[n classification ( arti/ic exp]i5ce "u ! adjectives 8,dionysiac0 & 8,apoll9ian40 ,! latt] co9cides1 if ,i und]/& x aright1 m or less ) :at ,i h call$ ! 8intellectual0 appreciation ( music2 b ! 8,dionysiac0 view ( music seems to require m se>*+ analysis4 ,x is cle> t ! ,dionysiac view ( music mu/ be v mu* ! old]1 z well z ! common]1 ( ! two4 ,! remot5ess ( ,greek art ( all k9ds has caus$ mo/ p to reg>d x 9 a v *illy light1 al?\gh mod]n ar*ology has gone "s way t[>ds correct+ ?is view4 ,b x is highly probable t ev5 to ! m intellectual ( ,greek music-lov]s music 7us+ ! ^w 9 our normal s5se7 0 m frankly a matt] ( physical s5sation ?an cultivat$ musicians1 at any rate 9 ,engl&1 w\ld will+ly admit x to be = !mselves4 ,x 0 pre-em95tly vocal1 & z ! ,greeks 7 a ,m$it]ranean p ) a v cle> & concrete outlook on life1 its appeal to !m might be m reasonably comp>$ ) t ( op]a to ,s\? ,italians4 ,to p vividly consci\s ( all physical ?+s s++ naturally implies int5sification ( ! p]sonalityinclud+ ! physical p]sonality( ! s+]4 ,?is w acc\nt = ,plato's intimate conjunction ( music ) bodily conditions & 8 consequ5t appreh5sion ( its possible dang] to morals4 ,evid5tly1 too1 ! associational appeal ( music 0 !n already recogniz$ & delib]ately exploit$ by compos]s1 ?\gh "h x is difficult to sep>ate cle>ly musical f purely rhy?mical & poetical associations4 ,! ,romans seem to h reg>d$ music m]ely z an amusem5t4 ,!re are pl5ty ( p 9 all c\ntries to-day1 ev5 9 ,g]many itself1 :o take ! ,roman view ( music4 ,x does n necess>ily preclude ! view ( music z an art by ^? :o practise x = ! m]e amusem5t ( o!rs1 al?\gh x t5ds to l[] /&>ds because x inevitably enc\rages comm]cialism4 ,among ! e>ly ,*ri/ians we at once p]ceive a return to ! fe> ( music z a dang]\s ?+4 ,x c\ld only be tol]at$ z ! 8h&maid ( ! ,*ur*02 b ?\gh t doctr9e is /ill be+ prea*$1 musicians h rebell$ m & m resolutely aga9/ ! acceptance ( ! ancill>y position4 ,/4 ,augu/9e's fam\s description ( ! effect t music _h on him %[s h[ appreh5sive he 0 le/ music %\ld become a m pot5t influ5ce ?an dogma4 ,o!rs1 less s5sitively susceptible to ! voice ( music ?an ,augu/9e1 speak ( x z a ?+ purely subs]vi5t4 ,! mo/ illum9at+ phrase is t ( ,/4 ,basil :o comp>es ! use ( music 9 association ) doctr9e to ! physician's use ( honey to disguise ! unpleasant ta/e ( 8 m$ic9es4 ,yet x is cle> t dur+ ! fir/ ?\s& ye>s ( ! ,*ri/ian era !re 0 develop$ 9 ! %ad[ ( ! ,*ur* an art ( music :i* 0 highly sophi/icat$ & self-consci\s4 ,! ecclesia/ical view ( music _h at lea/ ?is to be said = x1 t x caus$ music to be writt5 d[n4 ,x _h = ritual reasons to be def9itely fix$ 9 an au?oritative record1 :]eas ! music ( ! pr(ane _w1 compos$ = ! delight ( ! mom5t1 0 n record$ & has !re=e be5 lo/ = ev]4 ,v ,! m$iaeval developm5t ( musical notation has an important be>+ on ! hi/ory ( music z an art4 ,x br\ght music into direct contact ) ! graphic arts & mu/ h help$ to sugge/ t ! melodies writt5 9 a book 7 no less beautiful & no less p]man5t ?an ! pictures :i* illu/rat$ ! text4 ,! monks :o inv5t$ notation 9 ord] to pres]ve liturgical music intact & uncorrupt$ f ! va9 errors ( s9ful man did z a matt] ( fact !reby provide him ) ! means ( develop+ 8 error sci5tifically4 ,x occurr$ to someone t secul> music c\ld be record$ 9 notes z well z sacr$4 ,! alphabet ceas$ to be practically a monopoly ( ! ,*ur*4 ,! social /atus ( ! musician rose z soon z notation made x cle> t ! composition ( a piece ( music c\ld be a ?+ ap>t f its p]=mance4 ,:5 music c be read f notes its he>]s inevitably beg9 to realize t ! individual p]=m] has no exclusive prop]ty 9 x4 ,8 voice may h lo/ none ( its ?rill1 b ! li/5] kn[s n[ t int]pretation is n ! same ?+ z spontane\s creation4 ,if a song or a dance tune is ?\ght wor? ! tr\ble ( writ+ out1 x means t x is held to be wor? pres]v+4 ,! musician :o made x beg9s to take rank ) ! le>n$ cl]k in/ead ( be+ class$ ) tumbl]s & acrobats1 rogues & vagabonds4 ,! cultur$ amateur makes 8 appe>ance 9 ! ages ( *ivalry4 ,music1 consid]$ z a f9e art1 belongs to ! privileg$ classes alone4 ,no d\bt ! illit]ate p _h _! songs & dances1 b ! ord]$ progress ( musical developm5t 0 ( necessity c>ri$ on ma9ly by ^? :o c\ld read & write4 ,x is 9 ?is p]iod t ! musical /yles ( ,ea/ & ,we/ are %>ply diff]5tiat$ by ! discov]y ( ! pr9ciple ( h>mony4 ,h>mony1 ! simultane\s s\nd+ ( two or m diff]5t notes1 is s indisp5sable a "p ( music to-day t _m p f9d x almo/ impossible to conceive ( an art ( music bas$ on melody alone4 ,! mo/ unle>n$ are s accu/om$ to ! s\nds ( h>monic music t al?\gh _! natural in/9ct incl9es !m fir/ t[>ds pure melody x may be d\bt$ :e!r !y c recall an ord9>y tune )\t at lea/ "s vague half-consci\s recollection ( a h>monic basis to x4 ,?is suspicion is confirm$ by ! fact t _m tunes h become widely popul> 9 :i* ! melody has at mom5ts no significance ap>t f ! und]ly+ h>monies4 ,! e>ly hi/ory ( h>monic exp]im5t is /ill a matt] ( controv]sy2 b :e!r x came f ! ,ne!rl&s1 f ,engl& or f ,sc&9avia1 x und\bt$ly orig9at$ 9 ! ,nor? ( ,europe1 & = sev]al g5]ations ! *ief focus ( musical developm5t 0 c5tr$ 9 ,fl&]s4 ,?is geographical factor has its significance4 ,melodic music is individuali/ic1 h>mony is co-op]ative4 ,:5 two voices s+ diff]5t notes simultane\sly 9 a piece ( music1 !y are oblig$ to %[ a c]ta9 consid]ation = "o ano!r4 ,9 ! fir/ place !y mu/ n try to %\t ea* o!r d[n4 ,secondly1 !y mu/ agree to accept "s common sy/em ( rhy?m & pace1 if !re is to be ord]$ pr9ciple ( consonance betwe5 !m4 ,& if _! music is to be pleas+ 9 its g5]al effect1 !y mu/ accommodate _! voices "o to ! o!r s t !y bl5d agreeably4 ,ea* ( ^! po9ts involves a c]ta9 self-sacrifice & subord9ation ( ! individual to ! community :i* is fundam5tally irksome to ! ,m$it]ranean temp]am5t4 ,! di/9ction betwe5 compos] & p]=m] becomes %>p] ?an ev]4 ,! hi/ory ( musical composition f ! "t ( ,sum] is icum5 9 7#abfj7 to t ( ,josqu9 des ,prs 7c4 #adde-aeba7 %[s ! p]si/5t ef=t ( musicians to curb ! recalcitrant indep5d5ce ( ! individual p>ts 9 ! int]e/s ( h>mony & ord]4 ,! writ+ d[n ( music no d\bt help$ consid]ably t[>ds ?is4 ,! tradition ( extempor>y s++1 ev5 9 h>mony1 0 kept up = a v long "t1 b x is obvi\s t awkw>dnesses :i* might be ov]look$ at a s+le impromptu p]=mance w\ld be submitt$ to criticism & correction :5 !y _h be5 set d[n on pap]4 ,! ,ne!rl& s*ool ( ! fifte5? c5tury devot$ mu* /udy to intricate te*nical devices1 & we see "h ! mo/ conspicu\s example 9 e>ly times ( music 9 :i* emotion is completely sacrific$ to me*anical +5uity4 ,x ne$ h>dly be said t ?is elaborate art 0 employ$ exclusively 9 ! s]vice ( ! ,*ur*4 ,! extreme examples ( x c h>dly h af=d$ any li/5] ! opportunity ( enjoy+ ! s5su\s pleasure ( s\nd1 ei!r 9 s+le voices or 9 ! comb9ations ( its h>mony4 ,nor c we imag9e t x 0 a type ( music :i* evok$ associative images4 ,a product ( ! intellect x c]ta9ly 02 b ,apollo mu/ h be5 z little responsible = its inspiration z ,dionysus4 ,x 0 discipl9e2 & at any rate its pov]ty ( melodic inv5tion1 its passionless indiff]5ce to s5su\s beauty & its rigid ob$i5ce to rule may h repres5t$ ! ?ree mona/ic virtues4 ,,vi ,yet "s ( ! v compos]s :o devot$ _! "t to ! solution1 or con/ruction1 ( su* futile puzzles 7 !mselves pione]s ( :at we c call mod]n1 z oppos$ to m$iaeval1 music4 ,) ,josqu9 ! ,r5aissance 9 music may be said to beg94 ,8 s5se ( h>mony might be comp>$ ) ! dawn+ s5se ( p]spective 9 pa9t+4 ,! true hi/ory ( ! "p play$ by music dur+ ! ,r5aissance has yet to be writt54 ,"h only a few sali5t po9ts c be t\*$ ^u4 ,! inv5tion ( pr9t+ br\ght music )9 ! rea* ( a f> wid] circle4 ,! cultivat$ amateur comes m & m into notice4 ,! lead]s ( music 9 ! e>li] p]iod 7 /ill ! ,ne!rl&]s4 ,!y ov]ran ,italy & came into contact ) ,italian poets4 ,! (fspr+ ( ?is union 0 ! madrigal4 ,! output ( secul> music f ! presses ( ,italy 0 enorm\s1 & x 0 soon imitat$ 9 o!r c\ntries4 ,music 0 /ill to a l>ge ext5t "u ! patronage ( pr9ces1 b in/ead ( be+ a r>e luxury = ! enhancem5t ( c\rtly spl5d\r x became a univ]sal ornam5t & pleasure ( all cultur$ society4 ,?is is especially obs]vable 9 ,elizabe?an ,engl&4 ,:at is important to realize ab\t ! secul> music ( ! sixte5? c5tury is t music 0 no long] ! monopoly ( a close corporation ( pr(essional musicians 9 :i* ! di/9ction betwe5 compos] & p]=m] 0 v indef9ite2 x 0 writt5 v l>gely ) full consci\sness ( ! enjoym5t :i* ord9>y p c\ld d]ive f ! actual practice ( x4 ,z music becomes m & m "o ( ! normal delights ( cultur$ life1 x becomes less & less ( a my/]y & m ( a consci\s art4 ,josqu9 & 8 s*ool _h laid ! firm f\ndations ( ! classical language ( music4 ,if we take a long view ( ! hi/ory ( ! art f anci5t times to ! pres5t day1 conc5trat+ our att5tion ma9ly on secul> music1 :i* obvi\sly expresses ! g5u9e musical feel+s ( mank9d1 r ?an on *ur* music1 :i* 9 spite ( ! natural impulse ( compos]s has always be5 subject to anti-arti/ic re/rictions ( /yle1 we %all be conv9c$ t ! revolution associat$ ) ! "n ( ,montev]di & ! beg9n+s ( op]a 0 a small matt] comp>$ ) ! e/abli%m5t ( ! h>monic sy/em a c5tury & a half e>li]4 ,! ecclesia/ical compos]s _h und\bt$ly made important contributions to te*nique4 ,= "o ?+1 ! m]e l5g? ( ! works requir$ gave !m space 9 :i* to "w out _! te*nical devices completely4 ,secul> music1 ) its swift] int]play ( emotion1 requir$ a m compress$ /yle1 an art ( vivid sugge/ion r ?an ( exhau/ive discussion4 ,f ! beg9n+ ( ! sixte5? c5tury onw>ds music moves gradually fa/] & fa/]4 ,its developm5t assumes 9 ! li/5] a k ( :at has gone be=e4 ,madrigals 7 arrang$ = ! lute1 j z n[adays op]as are arrang$ = ! pian(orte4 ,a good deal _h to be left out 9 ! process ( arrangem5t1 b "s acqua9tance ) ! orig9al might reasonably be presuppos$4 ,music ?us develops z an art ( associative sugge/ion4 ,naturalism plays its "p1 probably "u ! influ5ce ( naturali/ic pa9t+4 ,(t5 en\gh ! results are ridicul\s1 b ! g5]al effect1 view$ at ! di/ance ( "t1 0 to enri* ! musical language4 ,! intimate association ( music ) poetry sometimes l$ ! musician into dang]\s pa?s4 ,an int]e/+ contra/ is exhibit$ by ,byrd & ,m>5zio4 ,! ,italian is vividly descriptive & illu/rative2 only 8 /rong s5se ( key prev5ts 8 "w f becom+ fragm5t>y & disjo9t$ z he foll[s e sugge/ion ( 8 poet4 ,byrd is nev] lit]>y2 he is p]haps ! greate/ pure musician ( ! :ole age4 ,he repres5ts ! p]fect ,apoll9ian type1 ,m>5zio ! ,dionysiac1 & x is odd to f9d ! ,m$it]ranean romantic & ! ,nor!rn] classical4 ,,vii ,! appetite = music increases 9 ! sev5te5? c5tury & ! developm5t ( musical drama br+s ! comm]cial aspect into prom95ce4 ,x is ! age ( ! !atrical & rhetorical /yle4 ,x is an age ( spe$4 ,!re 0 little music pr9t$1 b mu* circulat$ 9 manuscript4 ,?is does n mean t ! g5]al output 0 less ?an be=e4 ,! manuscripts are mu* m easily legible ?an ! pr9t+ f type2 only engrav+1 r>ely practis$ outside ,engl&1 c rival !m4 ,x is ! c5tury ( 8figur$ bass10 a sy/em ( notation :i* enabl$ a compos] to write d[n a m]e outl9e ( 8 accompanim5ts1 leav+ !m to be fill$ up extempore by ! play]4 ,x sav$ "t 9 composition1 "t 9 writ+ out2 copy+ by h& took less "t ?an type-sett+1 & !re 0 no ne$ to multiply copies to any great ext5t4 ,by ! "t t ! copyi/ has made "o ! compos] has produc$ ano!r "w1 & 8 public want ! v late/4 ,"o ( ! ?+s t /rikes u 9 ! sev5te5? & eighte5? c5turies is ! incr$ible f]tility ( compos]s4 ,op]as1 cantatas1 qu>tets or symphoniesx is no?+ unusual to f9d compos]s reckon+ !m 9 hundr$s4 ,& we _c dismiss ?is copi\s output ) contempt4 ,x is easy en\gh to say t "o "w s\nds v mu* l ano!r1 & t ev5 ! greate/ m5 h _! mom5ts ( dullness2 b ev5 = p :o h n specializ$ 9 antiqu>ian /udies !re is a va/ quantity ( ?is music :i* /ill seems to h p[] to /ir ! emotions4 ,x mu/ h be5 compos$ 9 a hurry1 p]=m$ 9 a hurry & ?r[n away 9 a hurry2 x is a m>vel t at ?is di/ance ( "t we c /ill feel t ev5 if we d n want to he> x (t5 we are /ill glad to he> x once4 ,! agitat$ rhetoric ( ! sev5te5? c5tury becomes 9 ! eighte5? a conv5tion ( gr&iloqu5ce4 ,! intellectual basis ( ! classical key-sy/em proves to be a f\ndation ^u :i* /ructures ( extraord9>y massiv5ess & dignity c be re>$4 ,! imm5se productivity ( ! age 0 only made possible by ! frank acceptance ( conv5tion1 ev5 9 ! case ( ^? r>e compos]s l ,dom5ico ,sc>latti & ,haydn :o sy/ematically made fun ( x4 ,?is acceptance ( conv5tion 0 /abiliz$ by ! fact t !re _h be5 "t = ! long accumulation ( tradition4 ,! con/ant dem& = new music 0 9 no way inconsi/5t ) ! pres]vation ( tradition2 x 0 pres]v$ n s mu* by ! practical revival ( old music z by ! absorption ( its /yle into :at 0 contempor>y4 ,x is significant t ! eighte5? c5tury m>k$ ! beg9n+ ( ! /udy ( musical hi/ory4 ,,viii ,x is dur+ ! eighte5? c5tury t ! classical symphony becomes a p[] t c\ld s]i\sly ?reat5 ! supremacy ( vocal & dramatic music4 ,! *ief c5tres ( symphonic activity are ^? places :]e nor!rn & s\!rn musical culture met,vi5na1 ,mannheim1 & 9 a less] degree ,p>is4 ,x 0 9 ! nor? t ! prep>atory "w _h be5 done long be=e1 9 ! music meet+s at ,ox=d & 9 ! ,collegium musicum ( ,g]man univ]sities4 ,t movem5t t[>ds in/rum5tal music 0 l>gely due to ! amateurs4 ,x mu/ n be =gott5 t ! or*e/ra ( ,pr9ce ,e/]hazy = :i* ,haydn compos$ symphonies 0 made up ma9ly f ! dome/ic s]vants ( ! h\sehold4 ,! ,cons]vatoire at ,vi5na 0 f\nd$ by amateurs 9 ord] to provide !m ) help 9 _! own private p]=mances4 ,! symphony1 along ) ! /r+ qu>tet & ! sonata = h>psi*ord or pian(orte1 0 ! means ( transf]r+ ! musical expression ( ! ,italian op]a to ! homes ( p :o _h no opportunity ( ent]+ an ,italian !atre4 ,! op]atic aria became idealiz$ & transfigur$ 9 ! process j z a hundr$ ye>s lat] ! op]atic melodies ( ,bell9i 7 transfigur$ 9 ,*op9's nocturnes4 ,! spiritual result may be look$ at 9 two ways1 accord+ to our temp]am5t & our po9t ( view4 ,we may say t ?is transf]5ce conveys music to a high] /hetic plane 9 t x removes x f ! direct contact ) physical human p]sonality to a region ( sugge/ion1 association & evocation4 ,or we may say t 9 los+ ?is direct contact we are los+ t\* ) reality1 t we are s5tim5taliz+ ! art until we pref] pret5ce to tru?4 ,x is at ?is /age ( musical hi/ory t ! fundam5tal /hetic problem becomes acute1 al?\gh x mu/ h exi/$ = c5turies be=eh&4 ,t ! problem 0 felt to be acute at ! mom5t is %[n by ! appe>ance 9 #agej ( ,baumg>t5's /hetik1 :i* 0 ! />t+-po9t ( mod]n /hetic philosophy4 ,x has (t5 be5 said t 9 ! eighte5? c5tury ! musician _h no o!r function ?an to accompany ! clatt] ( di%es at pr9cely d9n]-tables4 ,ev5 if ?is 7 /rictly true "o might at lea/ reply t 9 ?is respect ! ari/ocracy ( ! eighte5? c5tury did m = ! art ( music ?an _! desc5dants4 ,! music ( t p]iod may h be5 conv5tional1 c\rtly & design$ to give pleasure2 b if s1 its fre$om f empt9ess1 vulg>ity & triviality is a/oni%+4 ,*ur* & ,/ate may h delib]ately enc\rag$ ! 8light-he>t$ gaiety ( ! ,vi5nese0 9 ord] to di/ract _! ?\ghts f ! m s]i\s problems ( politics2 b music 9 ^? days 0 at any rate /ill an art1 n a m]e comm]cial product4 ,at ! same "t ! pr9t+ presses 7 active4 ,a symphony might h be5 compos$ = ! ent]ta9m5t ( a pr9ce1 b z soon z x 0 pr9t$ x became accessible to audi5ces outside ! ari/ocratic circle4 ,x 0 an age ( 8s5sibility02 f9e feel+s1 sighs & te>s 7 all ! fa%ion4 ,music beg9swe c see x 9 ,c\p]91 9 ,boc*]9i1 9 ,moz>t tooto display ! quality ( ref9em5t1 a quality :i* 9 a lat] g5]ation 0 to h a disa/r\s effect on ! vitality ( ! art4 ,,ix ,! out/&+ *>act]i/ic ( ! n9ete5? c5tury is its moral f]v\r4 ,! religi\s preoccupation ( ,victorian ,engl& is only a small "p ( ?is age ( aspiration4 ,9 mo/ c\ntries ( ,europe philosophy1 sci5ce1 lit]ature1 art1 & social life be> witness to ! e?ical passion1 ev5 9 ! cases ( ! mo/ indignant revolt aga9/ x4 ,x dom9ates music f ! "t ( ,bee?ov5 onw>ds2 & ev5 n[ x is n entirely ext9ct 9 ! musical _w4 ,! _s ( ! ,fr5* ,revolution trans=m$ ! musician f a lackey to a prophet4 ,moz>t 0 cut (f j z he _h record$ 8 vision ( ! new age 9 ,! ,magic ,flute4 ,bee?ov5 proclaims x 9 ! ,*oral ,fantasia & illum9ates x /ill m int5sely 9 ,fidelio1 9 ! ,*oral ,symphony1 ! ,missa ,solemnis & ! la/ qu>tets4 ,"o _c class ,bee?ov5 ) ! ,romantics any m ?an ,kant or ,goe!4 ,romanticism /ood n = enlight5m5t b = ! reaction aga9/ x4 ,! ,romantics 7 l m5 :o aft] an e>?quake return to ! ru9s ( _! city to see :at !y c recov] f !m4 ,x 0 n always _! own prop]ty t !y recov]$4 ,! ari/ocrats _h lo/ _! mat]ial privilege1 b !y 7 /ill det]m9$ to rema9 a class ap>t4 ,! ,ca?olic revival1 on ! ,cont95t ev5 m ?an 9 ,engl&1 0 ! ass]tion ( ari/ocracy z a moral pr9ciple4 ,x affect$ music ap>t f ! music t 0 def9itely liturgical because x br\ght ab\t a revival ( int]e/ 9 ,pale/r9a comp>able to ! revival ( int]e/ 9 ,dante4 ,! emancipation ( ! arti/ f feudal s]vitude enc\rag$ him to assume some?+ ( ! privilege ( ! ari/ocracy4 ,! typical figure ( ?is movem5t is ,pagan9i1 f :om are desc5d$ ,liszt & a multitude ( m9or musicians :o made x _! life-"w to play ! prophet 9 public4 ,! me*anical developm5ts ( ! new c5tury contribut$ to ! developm5t ( ! new outlook on music4 ,z travell+ became easi] & music-pr9t+ *eap] conc]ts increas$ 9 numb] & increas+ newspap]s gave !m increas+ publicity4 8,seid ums*lung51 ,million560 sang ,bee?ov51 & ! millions 7 embrac$1 ?\gh p]haps n q 9 ! way 9 :i* ,s*ill] & he _h int5d$4 ,! mod]n musician is (t5 tempt$ to see no?+ 9 ! art ( ! pa/ c5tury b pret5ti\sness4 ,x is n altoge!r j to accuse ! c5tury ( megalomania4 ,isolat$ musicians1 su* z ,liszt1 ,b]lioz & ,wagn]1 7 c]ta9ly possess$ ) ! idea ( _! own greatness4 ,"o might say ! same ( ,bee?ov5 himself2 b 9 ,bee?ov5's case ! consci\sness ( 8 own greatness 0 insep>able f a deep feel+ ( humility & an ov]:elm+ s5se ( duty4 ,bee?ov5 0 no respect] ( p]sons1 b he _h ! philosoph]'s intuition ( 8 relation to humanity & ( humanity's relation to ! univ]se4 ,und\bt$ly _m arti/s ( ! n9ete5? c5tury 7 /imulat$ by 8 example to attempt works on a ne$lessly colossal scale1 especially 9 ,g]many1 :]e metaphysical /udies h always influ5c$ a circle t ext5d$ f> beyond ! pr(ess$ philosoph]s4 ,an e?ical view ( music became m & m /rongly m>k$ 9 ,g]many2 dur+ ! latt] half ( ! c5tury x made itself felt 9 ,engl&1 & to a slight] ext5t ev5 9 ,france4 ,by ! end ( ! c5tury !re 0 a v def9ite t5d5cy to reg>d music z a =m ( free religi\s wor%ip1 express+ & /imulat+ my/ical exp]i5ce = temp]am5ts :i* c\ld no long] be satisfi$ by dogmatic !ology4 ,x ,x is at all times difficult to draw a l9e betwe5 religi\s exaltation & rhetorical pret5ti\sness4 ,a consid]ation ( ! te*nical means ( expression 9 music may help u to cle> our m9ds4 ,s9ce ! middle ( ! fifte5? c5tury music has exhibit$ a p]petual /ruggle betwe5 c\nt]po9t & h>mony1 betwe5 :at are sometimes call$ ! horizontal & v]tical t5d5cies ( ! art4 ,! horizontal conception ( music is1 z all musicians "k1 ! prim>y musical in/9ct to s+ & to elaborate ! art by ! comb9ation ( voices ea* s++ its own indep5d5tly expressive l9e & a*iev+ fur!r emotional =ce by ! ord]$ cla% ( dissonance4 ,! v]tical conception _c really be sep>at$ entirely f ! horizontal1 = x has gr[n out ( x4 ,x d]ives its emotional =ce f ! assumption ( p]iodic /resses1 & ! /udy ( h>mony is !re=e insep>able f t ( rhy?m4 ,x is regul> rhy?m :i* gives diff]5t k9ds ( *ords _! /hetic & ! quasi-logical values4 ,melody repres5ts individuality & c\nt]po9t ! int]action & conflict ( individualities4 ,h>mony repres5ts ! community z a :ole "u ! direction ( ! m9d :i* has creat$ ! music4 ,x is !re=e natural t z music comes to be associat$ ) communal feel+ on a l>ge scale1 ) su* ideas1 = in/ance1 z ! univ]sal bro!rhood ( man1 x %\ld t5d to become m & m pr$om9antly v]tical 9 me?od4 ,! ord9>y music-lov] c realize ?is f 8 recollections ( ,ba* & ,h&el4 ,ba*'s music is ma9ly horizontal 9 t5d5cy4 ,x is music = small gr\ps ( p]=m]s1 seldom suit$ to int]pretation by l>ge bodies4 ,h&el's music1 9 :i* ! v]tical me?od is f> m conspicu\s1 ga9s r ?an loses by ! multiplication ( voices & in/rum5ts1 & = ?is reason ,h&el is to mo/ ,engli%m5 ! ideal compos] = occasions ( national c]emony4 ,! emotional effect is int5sifi$ by ! actual increase ( s\nd & along ) ?is by ! rhy?mical unanimity ( ! *orus or or*e/ra4 ,! ord9>y man seems to be curi\sly susceptible to emotion at ! sight ( sev]al hundr$ p do+ exactly ! same ?+ at "o mom5t1 z 9 milit>y & gymna/ic displays1 ev5 ?\gh ! movem5ts execut$ may be n 9 ! lea/ int]e/+ 9 !mselves4 ,! communal feel+ :i* is at ! back ( mo/ ( ! music ( ! n9ete5? c5tury f9ds its te*nical expression 9 blocks ( *ords & 9 /rongly acc5tuat$ rhy?ms4 ,a typical example is ! !me :i* op5s ! f9ale ( ,bee?ov5's ,c m9or symphony4 ,loh5gr9 & ,elijah are full ( in/ances4 ,9 "s cases ! impression may be no m ?an mom5t>y1 a m]e two or ?ree *ords1 b ! trick makes its effect4 ,x becomes too obvi\sly a trick 9 ! h&s ( ,liszt4 ,z a piani/ he c\ld n help be+ attract$ by x4 ,! me*anism ( ! pian(orte suits full *ords bett] ?an ! complication ( c\nt]po9t1 & ! p]cussive action ( itself exagg]ates rhy?mical /resses4 ,x 0 ! ideal in/rum5t = ,liszt's gr& h]oic mann]4 ,! pian(orte 0 ! amateur's in/rum5t z well z ! virtuoso's4 ,! n9ete5? c5tury is ! age ( ! amateur piani/4 ,music became ! pleasure ( ! ris+ middle class1 = ^: dome/ic consumption an endless flood ( polite & agreeable music 0 pr9t$ aft] ! examples set by ,m5delssohn & ,s*umann4 ,:atev] ! pres5t age may ?9k ( ^? two compos]s x c safely be said t no musicians h ev] be5 reg>d$ by ! g5]al musical public ) s widespread & s he>tfelt an affection4 ,:oev] easily recalls ! l9es ,z = "s de> famili> /ra9 ,untir'd we ask1 & ask aga94 ,ev]1 9 its melodi\s /ore1 ,f9d+ a spell unhe>d be=e mu/ surely connect !m 9 imm$iate memory ) ! ,sc5es ( ,*ildhood or ! ,songs )\t ,words4 ,x us$ (t5 to be said ( ,m5delssohn t 8he _h no?+ to say1 b said x l a g5tleman40 ,to t ,i may add ! obs]vation ( "o ( my own tea*]s3 8,:5 ,m5delssohn c\ldn't ?9k ( any?+ else to say1 he said 8 pray]s40 ,is x surpris+ t ! ,engl& ( ,?ack]ay ador$ him8 ,to ,m5delssohn & ,s*umann we owe ! fa%ion ( :at us$ to be call$ 8*>act]i/ic pieces0quasi-pictorial exploitations ( c]ta9 idioms :i* at once e/abli%$ !mselves z univ]sally recognizable conv5tions bo? ( te*nique & ( s5tim5tall ^? 8hunt+ songs10 8sp9n+ songs10 b>c>olles1 cradle songs1 w$d+ m>*es & fun]al m>*es4 ,at ?is di/ance ( "t !y may h ! *>m ( old-_w ref9em5t4 ,b consid]$ hi/orically1 :at !y br\ght into music 0 a multitude ( ins9c]e cli*s4 ,m5delssohn & ,s*umann are !mselves rememb]$ = _! v g5u9e m]its4 ,! /yle :i* !y repres5t$ 0 absorb$ into ! "w ( foll[]s :om x is equally impossible to =get z well z into t ( ! innum]able hundr$s ( purely comm]cial compos]s4 ,romantic cli* rea*$ its apo!osis 9 ! symphonic mon/rosities ( ,gu/av ,mahl]4 ,b betwe5 ,m5delssohn & ,mahl] !re came o!rswor?y 9 "s ways ( our deepe/ & s9c]e/ respect:o f _! own high s]i\sness became victims ( ! impressive platitude4 ,e?ical f]v\r l$ !m only too fatally into rev]5t pomposity4 ,all ?is false s5tim5t 0 diffus$ univ]sally by ! pian(orte2 n m]ely by ! enorm\s multiplication ( in/rum5ts & ( p]=m]s !reon1 b by ! intr9sic ac\/ical "* ( ! in/rum5t itself4 ,= ! s\nd ( ! pian(orte _c press onw>ds l t ( ! voice1 ! w9d in/rum5t or ! viol94 ,t is :y 8horizontal0 music is 9 reality impossible to x2 ! mo/ x c d is to recall ! memory ( some?+ he>d be=e4 ,x c d ?is ) extraord9>y subtlety4 ,! sudd5 impact ( ! hamm] on ! /r+ gives x ev5 9 its mo/ delicate mom5ts a f> cle>] articulation ?an ! voice or ! s++ in/rum5ts4 ,its :ole art is an art ( evasion1 illusion & association4 ,x 0 ! ideal in/rum5t = ! romantic temp]am5t4 ,x sugge/$ melody1 x int5sifi$ h>mony2 x falsifi$ ! values ( bo?4 ,! pian(orte naturally attract$ intellig5t musicians ( all grades because x seem$ to place ! :ole ( music )9 ! grasp ( two h&s4 ,s++ came to be reg>d$ z some?+ almo/ vulg>1 ! m s s9ce nature has n always di/ribut$ voices & bra9s 9 equal proportions4 ,z ! e?ical view ( music deep5$1 musicians ( s]i\s int5tion turn$ m to ! /r+$ in/rum5ts ?an to ! human voice4 ,! in/rum5ts c\ld d s mu* m1 !y c\ld run ab\t fa/]1 !y _h 9 practice a clean] accuracy ( intonation & a m ext5d$ compass4 ,x 0 easy to =get t aft] all !y 7 no?+ m ?an in/rum5ts1 & inde$ ! v fact t !y 7 in/rum5ts seem$ to give !m a magical "* t appeal$ my/]i\sly to ! romantic m9d4 ,,xi ,pr(essor ,weissmann has well po9t$ out t 9 ! romantic days ! or*e/ra dom9at$ music because x 0 made to repres5t ! unse5 sup]natural =ces aga9/ :i* m]e humanity /ruggl$ 9 va94 ,& ! or*e/ra appeal$ to _m sides ( human temp]am5t4 ,x 0 ! appropriate in/rum5t ( an age ( ma*9]y1 & me*anical inv5tion rapidly increas$ its p[]s4 ,x appeal$ to ! megalomania ( c]ta9 types ( g5ius1 z well z to ! philosophical wor%ipp] ( ! inf9ite4 ,x appeal$ to ! pla9 man by its discipl9e1 by its pres5tation ( a numb] ( nameless individuals do+ ! same ?+ at ! same mom5t1 & 9 lat] daysn[1 p]haps1 m ?an ev] be=eby ! sight ( ?is huge =ce controll$ & direct$ by ! app>5t inspiration ( ! virtuoso conductor4 ,! great s+]s1 ! few :o h rea*$ ! highe/ summits ( fame1 h always wield$ an incomp>able p[] ov] _! he>]s4 ,b t v elem5t ( p]sonality :i* gives ! supreme s+] 8 greatness di/racts ! li/5] on any level b ! highe/4 ,p]sonality is a caprici\s ?+1 & 9 s++1 m ?an 9 any o!r =m ( music1 ! li/5]'s judgm5t is liable to be di/ort$ by temp]am5tal consid]ations :i* h no?+ to d ) art4 ,9 ! case ( ! in/rum5tali/ !y c be m easily set aside4 ,p]sonality is :at human nature values m ?an any?+ else 9 ! arti/4 ,we see x at its pla9e/ :5 a s+] faces an unsophi/icat$ public2 :5 ! public is less simple-m9d$ & inexp]i5c$1 :5 ! music put be=e x is less direct & imm$iate 9 its expression1 ! judgm5t ( p]sonality may be mislead+1 & may easily mislead arti/ic judgm5t4 ,a vigor\s p]sonality may delude ! public into accept+ bad music z good2 c]ta9 types ( music1 on ! o!r h&1 may falsify ! judgm5t ( p]sonality4 ,^! /atem5ts repres5t m]ely ! obvi\s extremes2 :at mu/ be rememb]$ is t ?is int]action may v>y subtly f mom5t to mom5t ev5 dur+ ! c\rse ( "o piece ( music4 ,! multi=m appeal ( or*e/ral music bewild]s ev5 ^? :o delib]ately li/5 to x 9 an analytical frame ( m9d4 ,! difficulty is complicat$ by ! luxuriant gr[?1 dur+ ! la/ hundr$ ye>s1 ( :at is call$ 8programme-music0music t sets out to describe or illu/rate "s idea t c be express$1 & (t5 bett] express$1 9 a lit]>y or pictorial =m4 ,to dissect out & trace ! hi/ory ( all ! means ( emotional /imulus 9 su* mod]n or*e/ral music z has become g5]ally popul>su* names z ,wagn]1 ,t*aikovsky1 ,ri*>d ,/rauss1 ,elg> & ,scriab9 w give a suffici5t idea ( ! categoryw\ld require a :ole volume ( highly te*nical analysis4 ,=tunately !re are _m music-lov]s :o h he>d en\gh music to grasp intuitively1 if vaguely1 c]ta9 pr9ciples1 conv5tions & te*nical me?ods :i* !y are unable to describe 9 words4 ,!y w recognize h[ 8picturesqu5ess0 is a*iev$ by ! exploitation ( conv5tional idioms3 h[ ^! idioms evoke associations n m]ely ) ?+s outside music1 b f> m widely ) ! recollection ( music ( pa/ g5]ations z famili> to !m z x 0 to ! compos] :o exploits x4 ,!y w recognize conv5tions ( s\nd )\t s5se/r+s ( notes t p]haps once _h musical value b h n[ become m]e =mul1 ru%+ w9ds & ro>+ waves 8full ( s\nd & fury1 & signify+ no?+40 ,!y w\ld h le>n$ also1 "o hopes1 to mi/ru/ ! compos]s :o delude _! audi5ces1 p]haps delude !mselves too1 ) a %imm]+ veil ( indet]m9ate h>monies1 & to mi/ru/ no less ^? :o ) an aggressive air ( s9c]ity & directness assume ! solemn pose ( my/]y & *ivalry4 ,,xii ,^? :o live on ! outskirts ( ! _w ( music may say t !y _c get z mu* ( x z !y desire2 ^? :o are 9 ! mid/ ( x are pa9fully aw>e t !y _c escape ! ov]:elm+ flood4 ,! comm]cialization ( music has l$ to ov]production4 ,?is is app>5t en\gh 9 ,engl&1 :]e comm]cialization has fo/]$ ! spawn+ ( a ?or\ghly degrad$ type2 9 ,g]many ! ov]-production has be5 a great] dang] because ! va/ complexity ( ! musical indu/ry has enc\rag$ respectable m$iocrity4 ,x is n to be wond]$ t pl5ty ( musicians w\ld be glad to make a clean sweep ( all ! music ( ! pa/ & />t fre% f ! beg9n+4 ,we _c2 x is a hopeless delusion4 ,ev5 if we c\ld make ! clean sweep1 we are /ill m5 ( ! tw5tie? c5tury2 we _c return1 = j "o aspect ( our lives & t p]haps ! mo/ direct & imm$iate1 to primitive savag]y4 ,civilization has =c$ u to rememb] :at we ought 9 ! nature ( ?+s to h =gott54 ,comm]cialism has always be5 only too glad to ?r[ du/ 9 our eyes ) ! pret5ce ( culture4 ,we tell p t !y ought to "k & love _! musical classics4 ,be+ out ( copyright1 !y c be repr9t$ *eaply4 ,tea*]s f9d x lea/ tr\blesome to tea* :at !y h always taught2 conc]t-giv]s play :at !y h always play$x is ! safe/ ?+ & requires ! lea/ rehe>sal & /udy4 ,! casual li/5] loves ! 8de> famili> /ra940 ,x is n z if p knew _! classics intimately 9 a s*ol>ly way4 ,& ! s*ol> is easily tempt$ into false judgm5ts "u ! it* = rese>*4 ,old music has its int]e/ = ! musical anatomi/1 b f an arti/ic po9t ( view mo/ ( x is mu* bett] =gott54 ,!re are "s :o sadly deplore ! popul>ization ( ! classics on ! gr\nd t !y risk be+ desecrat$4 ,:y n8 ,if "s unlett]$ p]son goes into a c9ema1 he>s a fragm5t ( ! ,unf9i%$ ,symphony = ! fir/ "t & receives a new ?rill1 surely x is all to ! good1 at any rate = him4 ,if o!rs feel t ! vulg> associations ( ! c9ema h de/roy$ ! music's beauty = !m1 let !m h done ) x1 ?r[ x away z a worn-out ?+ & turn to some?+ else4 ,we may reasonably say t p :o are ! prey ( _! unwill+ associations1 unable to view a "w ( art ) deta*m5t1 d n des]ve to exp]i5ce arti/ic enjoym5t2 b at ! same "t we %\ld d well to admit frankly t music :i* _c survive mom5t>y degradation 7& all ?+s connect$ ) music are & mu/ be m]ely mom5t>y7 is n wor? pres]v+ & reproduc+4 ,:5 we consid] ! inn]mo/ nature ( music x is surpris+ t any ( x %\ld survive = m ?an a g5]ation4 ,"s has surviv$ = less1 "s = f> m2 b t is no reason :y x %\ld survive = ev]4 ,occasionally "s "w ( a remot] age is exhum$ & seems to h a new significance = u aft] hav+ be5 =gott5 = c5turies4 ,b its significance is :at our own age puts into x4 ,t is "o ( ! advantages ( deal+ 9 ! art ( ! pa/2 we c d :at we l ) x4 ,! art ( ! pres5t1 if x has any vitality1 compels u to submit our m9ds to itself4 ,! pres5t age revolts f ! music ( ! pa/ c5tury because ( its ins9c]ity & pret5ti\sness4 ,musicians ( ! old] g5]ation w repudiate ?is *>ge ) indignation4 ,! criticism is inde$ a v summ>y "o1 & ! man ( to-day1 if press$ ) cross-que/ion+1 may probably be induc$ to admit a good _m s+le exceptions to 8 univ]sal condemnation4 ,b te*nical analysis w %[ t !re is a s\nd] basis = mod]n criticism ?an m]e caprice ( y\?ful iconoclasm4 ,! weal? ( h>monic res\rce :i* ! n9ete5? c5tury built up 0 d]iv$1 z has be5 %[n1 to a l>ge ext5t f associations1 "s extra-musical1 "s intra-musical1 "s d]iv$ f lit]>y or pictorial ideas1 "s dep5d+ on recollections ( previ\s music4 ,^! two categories int]act on ea* o!r aga9 & aga91 s t x is n easy to sep>ate !m out cle>ly4 ,l a sy/em ( monet>y weal?1 ! weal? ( we/]n music has become l>gely a pap] curr5cy & ) ! realization ( ?is fact values h 9 _m cases become sudd5ly depreciat$4 ,x may be urg$ t music z an art has d]iv$ enorm\s b5efit f ! t5d5cy to wid5 ! scope ( its significance1 f its clos] alliance ) o!r intellectual activities & f ! deep5+ conviction ( its e?ical influ5ce4 ,is x n *ildi%1 x may be ask$1 = u delib]ately to ?r[ away all t we h ga9$ & rev]t to a condition ( music 9 :i* x %all be at be/ a m]e ent]ta9m5t or possibly no m ?an a physiological /imulus ( dang]\s passions8 ,! l(ty idealism ( ,bee?ov5 & c]ta9 ( ^? :o came aft] him1 bo? compos]s & int]pret]s1 is a ?+ :i* we _c possibly d5y or ignore2 b we may ju/ly "q :e!r ! arti/ic expression ( x is /ill conv9c+ to mod]n e>s4 ,t noble & vision>y idealism1 9 its ard5t insi/5ce on ! spiritual1 t5d$ m & m to sugge/ t ! reality ( music lay n s mu* 9 ! actual s\nds p]ceiv$ by ! physical e> z 9 ! relations betwe5 !m1 9 s\ndsor r 9 relations betwe5 s\ndsnev] actually he>d at all1 b induc$ 9 ! p]ceptive faculty by association4 ,! works ( ,bee?ov5's ?ird p]iod (t5 seem to lead u into a metaphysical labyr9?4 ,b philosophical language is apt to deg5]ate into a j>gon1 & philosophical music1 :5 x is ! product ( less] m9ds ?an ,bee?ov5's1 into platitud9\s rigm>ole4 8,fiddle1 we "k1 is diddle3 & diddle1 we take x1 is dee40 ,sw9burne's p>ody has its musical application too4 ,! classical key-sy/em ( ,rameau & ,ba* e/abli%$ a tradition t 0 academic 9 ! mo/ hon\rable s5se ( ! ^w4 ,x won too mu* respect4 ,x _h ! symmetrical logic ( ! h]oic c\plet 9 poetry4 ,we c see h[ 9 lit]ature ! au/]e rev]5ce = ! great academic tradition inevitably petrifies poetry into :at discreet review]s call 8s*ol>ly v]se40 ,music foll[$ an analog\s c\rse4 ,by ! irony ( fate ! music ( ! la/ c5tury1 :5 x 0 design$ to edify1 has become vapid & t$i\s2 :at has surviv$1 qua9tly artificial ?\gh its fre%ness may be1 is ! music t 0 made only = ephem]al ent]ta9m5t4 ,la ,belle ,hlne has outliv$ ,les ,batitudes4 ,,xiii ,x is q untrue to say t ! music ( to-day is pr$om9antly frivol\s4 ,! mod]n compos] might well reply t ev5 = ^? :o cl+ to ! ideals ( ! pa/ !re are pl5ty ( old-_w frivolities t h triumph$ ov] _! contempor>y solemnities4 ,! devotees ( ,haydn1 ,moz>t & ,cim>osa easily =get t all ^! ?ree wrote music ( deeply s]i\s "* & t x 0 *iefly _! s]i\s music :i* won ! respect ( _! own audi5ces4 ,!re is n ev5 any?+ new 9 ! mod]n compos]'s occasional habit ( mak+ a fool ( 8 critics4 ,b ! jokes ( ! old compos]s1 l ^? ( ,ari/ophanes1 (t5 require ! elucidation ( le>n$ comm5tators1 :]eas 9 our own day ! newspap]s provide ! ne$ful comm5t>y1 sometimes be=e ! musician makes 8 joke4 ,! 8v]bal hmorrhage0z x has be5 appropriately call$( musical j\rnalism is responsible = mo/ ( ! delib]ate sill9ess rec5tly p]petrat$ by compos]s1 :o 9 ^! days are fully alive to ! value ( publicity4 ,music ( ?is type is z ephem]al z ! criticism :i* x is design$ to provoke4 ,at ! same "t x is p]fectly reasonable t mod]n compos]s %\ld occupy !mselves 9 an arti/ic _s ) mod]n dance-=ms4 ,!y may well take _! place 9 musical hi/ory j z ! waltz1 ! m9uet1 ! pavan & ! galli>d h done4 ,weakness ( inspiration is m evid5t 9 ! t5d5cy to play mod]n tricks ) old =ms & old /yles4 ,! %am antique suite ( n9ete5?-c5tury draw+-room music is "o ( ! products ( ! pa/ :i* are n[ b5ea? ev5 ridicule2 ! contempor>y practice ( tak+ a !me :i* sugge/s "s commonplace ( ,ba* or ,haydn & treat+ x to a developm5t :i* sugge/s an or*e/ra ( amateurs read+ at sight f badly copi$ p>ts may fulfil "s useful function 9 mak+ ! idolatry ( ! classics ridicul\s1 b z contribut+ to ! expression ( contempor>y ?\ght its value is purely negative4 ,!re is en\gh criticism ( music already )\t t :i* is writt5 9 notes4 ,x is natural en\gh t "y compos]s %\ld wi% to %ock ! respectable & x is v good = ! respectable to be %ock$4 ,music :i* is int5tionally de/ructive may help to cle> ! gr\nd & sweep away "s ( ! romantic rubbi% t /ill encumb]s ! m9ds ( u :o li/54 ,b ! compos]s mu/ be c>eful n to =get t ! li/5]s w be only too glad to return to ! fle%pots ( s5tim5tality if ! prophets ( ! new g5]ation c give !m no?+ b emetics ) :i* to assuage _! hung]4 ,a *>act]i/ic ( mod]n music :i* (t5 baffles ! li/5] ( an old] g5]ation is its abruptness4 ,!re are v>i\s causes :i* contribute to ?is4 ,abruptness ( expression is *>act]i/ic ( our "t2 x is ! m>k ( our spee* z well z ( our music4 ,abruptness is (t5 delib]ately assum$ by compos]s z a prote/p]haps sup]flu\saga9/ ! c]emonial =malities ( ! old] music4 ,x is sometimes ev5 a new =m ( s5tim5talism1 a cult ( ! my/]i\sly fragm5t>y1 a cont9uation ( ! example set once or twice by ,s*umann4 ,& 9 v _m cases x is due to ! examples ( ! pa9t]s1 :o h little scruples ab\t exhibit+ sket*es :i* are /udies ( p>ticul> te*nical problems4 ,a great deal ( mod]n music is sket*y = ! simple reason t a great _m new te*nical problems h aris5 & x is bo? int]e/+ & necess>y to make /udies ( !m 9 isolation4 ,! publication ( su* /udies may (t5 help o!r p to und]/& :at ! arti/ is try+ to a*ieve1 :e!r 9 pa9t or 9 s\nds4 ,x is ! museum habit & ! a/ut5ess ( ! picture-deal] :i* h comb9$ to make ! public attribute to ^! ?+s an exagg]at$ value1 = f9ancial values easily become confus$ ) moral ones4 ,9 ! case ( musical /udies ( ?is type x is p]haps m (t5 ! compos] :o atta*es ! exagg]at$ value & ! public t is disappo9t$ at n obta9+ x4 ,! mo/ frequ5t accusation br\ght aga9/ mod]n music is t x is devoid ( melody4 ,x is an accusation :i* has be5 made = at lea/ a hundr$ ye>s4 ,:5 x is made to-day ! mod]n musician may po9t out t _m ( ! mo/ advanc$ tea*]s ( composition insi/ on _! pupils practis+ ! composition ( real indep5d5t melodies1 t is1 ( melodies :i* d n dep5d on an impli$ h>mony4 ,! ord9>y lov] ( melody is h>dly capable ( realiz+ :at ?is means1 & ! mo/ gift$ pupils g5]ally f9d x an unexpect$ly sev]e discipl9e4 ,:at ! pla9 man und]/&s by a tune is a melody 9 simple & obvi\s rhy?m2 & he is by n[ s accu/om$ to ! classical key-sy/em t its conv5tional /resses automatically sugge/ev5 if only half consci\sly! conv5tional h>monic relations1 ) ! result t he is q will+ to accept z a tune a succession ( notes :i* 9 reality is (t5 mean+less :5 consid]$ z a pure melody4 ,our popul> hymn-books w provide pl5ty ( examples4 ,! rejection ( ! classical key-sy/em makes ?is type ( melody impossible1 & "o ( ! *ief reasons :y ! pres5t age has reject$ ! classical key-sy/em is because x is seek+ new & m supple rhy?ms = its melodic l9e4 ,ano!r fav\rite accusation1 express$ 9 diff]5t ways by diff]5t p1 & to mo/ p curi\sly difficult ( expression1 may be g5]ally =mulat$ by say+ t mod]n music is devoid ( feel+1 or ev5 t x /imulates & appeals to feel+s :i* are unpleasant or ev5 morally repugnant4 ,my attempt to put ?is *>ge into a few words is unreasonable1 ,i admit1 b ,i ?9k x m or less repres5ts ! attitude ( a l>ge numb] ( p ^: conduct is guid$ m frequ5tly by good feel+ ?an by consci\s reason+4 ,su* p feel in/9ctively t music1 m ?an any?+ else1 is or ought to be a matt] ( in/9ctive feel+4 ,z music-lov]s1 !y are exactly ! p :o are mo/ completely "u ! spell ( association4 ,b z ,i h already attempt$ to %[1 x is j ?is tyranny ( association aga9/ :i* ! lead]s ( new movem5ts mo/ en]getically rebel4 ,9 "t !y or _! successors w accumulate a new /ore ( associations2 = ! pres5t !y are compell$ & inde$ anxi\s to d )\t !m altoge!r4 ,if ! old] li/5]s p]si/ 9 atta*+ unpleasant associations to ! new music1 x is ! li/5]s' own fault2 x is !y :o by =ce ( habit provide ^? associations out ( _! own good feel+4 ,,xiv ,x is by no means ! fir/ "t t musicians h tri$ to 8return to nature10 b ! difficulty ( go+ back to a /ate ( primitive savag]y presumably becomes great] z civilization becomes m elaborate4 ,! en?ronem5t ( idiocy may = a mom5t be amus+ b x soon becomes tiresome2 ^! two fav\rite epi!ts ( musical j\rnalism are n )\t _! appropriat5ess4 ,nev]!less x is only common s5se frankly to face ! fact t music is made up 9 ! fir/ in/ance ( physical s\nds4 ,! metaphysical attitude t[>ds music has giv5 u ! la/ qu>tets ( ,bee?ov51 b 9 ! g5]al practice ( music x has done mu* to l[] our /&>ds ( p]=mance1 especially 9 ! matt] ( s++2 inde$ among s+]s :o h des]v$ly obta9$ a reputation = high musician%ip & intellig5ce ^? purely vocal qualities on :i* ! emotional p[] ( ! voice 9 ! fir/ in/ance dep5ds are 9 all c\ntries only too (t5 conspicu\s by _! abs5ce4 ,in/rum5tal music has be5 affect$ h>dly less4 ,x is difficult = ! musician :o has be5 tra9$ on ! classical sy/em to adapt himself to ?is new po9t ( view4 ,he feels inevitably t he is be+ ask$ to l[] 8 intellectual /&>ds4 ,he has built !m up by ! application ( a lifetime2 !y h br\ght him 8 mo/ preci\s exp]i5ces & he feels t to des]t !m is an act ( disloyalty to 8 mo/ *]i%$ ideals4 ,x is "o ( ! consolations ( increas+ ye>s t our intellectual appreciations are deep5$2 at any rate we l to ?9k s4 ,b we h regretfully to admit t increas+ ye>s are apt to br+ a blunt$ s5se ( emotional values4 ,our direct impressions are less vivid1 our capacity = en?usiasm %r9ks4 ,be=e x is altoge!r too late1 be=e we lose all s5sitive response to ! /imulus ( musical s\nd1 x may p]haps be wise to relax our au/]ity ( pr9ciple & all[ ourselves to enjoy ! prim>y pleasure ( s\nd z we once did nak$ & una%am$4 ,x might yet be ! beg9n+ ( a g5u9ely new & delightful exp]i5ce if we w\ld risk ! adv5ture4 ,all art1 aft] all1 is an adv5ture4 ,9 ! art ( ! pa/ ! ?+s :i* directly move our /hetic emotions are ! mom5ts ( adv5ture1 ! mom5ts at :i* we jo9 ! arti/ 9 p]ceiv+ intuitively & directly some?+ :i* we "k to be arti/ically true & beautiful al?\gh x is n consi/5t ) ! conv5tional pr9ciples on :i* ! art is bas$4 ,z culture rip5s & art becomes a recogniz$ & def9ite "p ( our spiritual life1 conv5tions are codifi$ & sy/ematiz$4 ,9 music ! classical key sy/em provides u ) an obvi\s example4 ,we acquire ! habit ( apply+ our intellectual & reason+ faculties to x4 ,b our /hetic emotions are n /irr$ until we are ?r[n into contact ) ! irrational4 ,! irrational 9 ?is case does n imply utt] intellectual *aos & an>*y any m ?an x does 9 ma!matics or metaphysics4 ,! ma!matician p]ceives a new tru? intuitively by an act ( imag9ation1 b x is ( no use to him until he c prove x by reason2 yet reason is ( no use to him unless he has creative imag9ation z well4 ,?is imag9ative plunge into ! irrational is :at produces a numb] ( common & elem5t>y physical pleasures1 su* z ! *ild's fir/ attempt to walk & su* div]sions z swimm+1 rid+ a bicycle & fly+1 al?\gh all ^! processes v soon become rational & inde$ automatic4 ,we h analog\s adv5tures 9 ! _w ( art f ! beg9n+4 ,we may say t music is to spee* z swimm+ is to walk+4 ,! m9d v soon regul>izes ! new exp]i5ces1 b ! fasc9ation ( ! arts is t !y are always (f]+ u ! *ance ( fur!r ones4 ,we d n enjoy music z an art until we h le>n$ to appreciate x rationally2 b at ! same "t x _c give u a real /hetic emotion unless x confronts u =cibly ) a fur!r irrational elem5t4 ,x is ?is irrational reaction :i* causes u /ill to be /irr$ by ! music ( ! pa/4 ,we li/5 to a qu>tet ( ,moz>t2 we recognize a famili> conv5tion1 we are easily set back into a pa/ cultural p]iod 9 :i* ,moz>t's language 0 ! language ( ! day4 ,we und]/& e phrase1 & we may ev5 run ! risk ( be+ bor$4 ,sudd5ly ,moz>t does some?+ :i* ! av]age music-mak] ( 8 day w\ld n h done2 we are ?r[n (f our rational balance1 we h to appreh5d directly & intuitively4 ,our m9ds h to make "s unfamili> movem5t j z our bodies may 9 c]ta9 circum/ances h to make "s movem5t incompatible ) normal equilibrium4 ,9 ! case ( bodily movem5ts practical exp]i5ce & a k ( ma!matics may subsequ5tly %[ t ?is unfamili> movem5t is really j z reasonable z walk+4 ,some?+ ( ! same k9d happ5s 9 our arti/ic exp]i5ce too4 ,ev5 ,moz>t may cease to int]e/ u4 ,! once unfamili> exp]i5ce becomes automatic1 ! new h>mony becomes a cli*4 ,!re ne$ n really be any?+ s v t]rify+ ab\t ! ab&onm5t ( ! classical sy/em4 ,aft] all1 we c always g back to x :5 we feel incl9$1 j z we may take up ,dante & return to m$iaeval a/ronomy4 ,! lurk+ fe> :i* besets u is p]haps t if we ab&on$ ourselves to ! arti/ic adv5ture ( mod]n music we might f9d1 n m]ely t we did n p>ticul>ly enjoy x1 b t someh[ x _h made x impossible = u to g back :olehe>t$ly to ! music ( our y\?4 ,x is impossible4 ,ev]ybody has to ask himself ! "q & answ] x = himself hone/lyam ,i ready & ke5 to face fre% intellectual adv5tures8 ,z age increases1 increas+ vanity has to be tak5 into acc\nt4 ,we eld]ly p are easily prone to deceive ourselves & to ?9k t we c conv9ce o!rs ( ! doctr9e t connoisseur%ip is an adequate sub/itute = direct enjoym5t4 ,,xv ,"s ( ! compos]s ( ! pres5t day appe> to be pursu+ adv5ture 9 a def9itely intellectual _s comp>able almo/ to t ( ! m$iaeval ,ne!rl&]s4 ,_! admir]s (t5 seem to be some:at at a loss to exp\nd _! music to ! un9itiat$4 ,!y draw our att5tion to v>i\s te*nical +5uities & !y insi/1 no d\bt ju/ly1 on ! entire s9c]ity ( ! compos]s4 ,z reg>ds s9c]ity1 x is a virtue ) :i* art has no conc]n4 ,z reg>ds te*nical +5uities1 we h le>n$ too _m lessons f ! pa/4 ,!re are _m devices :i* look q amus+ on pap]1 b :i* 9 practical p]=mance pass unnotic$4 ,to ?is ! compos] may reasonably reply t ! p]ception & enjoym5t ( te*nical +5uities 9 p]=mance is a matt] ( practice & exp]i5ce2 !re is no reason :y he %\ld compose music = fools4 ,+5uity is by no means a quality to be despis$2 !re are innum]able mom5ts 9 ! works ( ,purcell1 ,ba* & ,moz>t at :i* te*nical +5uity has br\ght ab\t "s peculi>ly poignant expression ( beauty4 ,con/ructive skill& ?is is :at is really meant by ! musician's te*nical ^w =mis :at makes music an art2 & con/ructive skill has to be atta9$ by /udy & exp]im5t4 ,x is desirable too t li/5]s %\ld be tra9$ 9 its appreciation1 n s mu* by books & lectures z by ! actual exp]i5ce ( he>+4 ,! compos]s to :om ,i h allud$ assume 9 _! he>]s a long exp]i5ce ( music 9 g5]al & also some?+ ( t habit ( m9d previ\sly m5tion$ :i* t5ds to reg>d music less z a s]ies ( actual s\nds ?an z a s]ies ( relations betwe5 s\nds4 ,x may be call$ a ma!matical conception ( music1 &1 l ma!matics1 x soon comes to deal ) irrational quantities4 ,x is an int]e/+ "q h[ f> ! human m9d c advance 9 ?is direction4 ,to c]ta9 temp]am5ts music ( ?is type is def9itely repulsive2 b !y (t5 feel no less repulsion t[>ds ma!matics & philosophy1 /udies :i* h be5 closely associat$ ) music f v e>ly times4 ,we mu/ h[ev] bew>e ( be+ misl$ by sup]ficial criticism into suppos+ t ! und]/&+ ( su* musical complexities requires a practical k ( ma!matical or philosophical te*nicalities4 ,9 ! sci5tific /udy ( musical /hetics !re ultimately arise problems :i* br+ all ?ree bran*es ( le>n+ into contact2 b 9 common practice !y d n affect ei!r ! compos] or ! li/5]4 ,!re are writ]s on music :o make use ( a philosophical j>gon to conceal _! incapacity = cle> ?9k+2 b ! truly philosophical habit ( m9d aims1 if b ) r>e success1 at lucidity4 ,! practical value ( ?is 8ma!matical0 sy/em ( composition lies n s mu* 9 its employm5t ( te*nical devices :i* 7 practis$ "s five hundr$ ye>s ago1 z 9 its new me?od ( h&l+ !m4 ,x 0 a great mom5t 9 ! hi/ory ( music :5 someone fir/ discov]$ t two diff]5t tunes c\ld be sung simultane\sly & !reby produce h>mony4 ,! arti/ic result ( ?is proce$+ dep5d$ on two factors :i* _h to be br\ght into relation! int]e/ ( ea* tune consid]$ by itself1 t is1 ! driv+ =ce :i* made x p]ceptible z a cont9u\s tune1 &1 secondly1 ! satisfaction d]iv$ f ! consonance ( ! two voices :]e x happ5$ to occur4 ,at "o p]iod ! int]e/ ( ! tune pr$om9at$1 at ano!r x 0 sacrific$ to ! int]e/ ( consonance4 ,bo? int]e/s are h[ev] subject to *anges ( value 9 ! c\rse ( "t4 ,x is cle> en\gh t su* compos]s z ,purcell1 ,ba* & ,moz>t 7 deeply int]e/$ 9 ! problem ( exploit+ ^! two int]e/s1 & ( f9d+ out h[ f> ! driv+ =ce ( a tune c\ld induce ! li/5] to put up ) dissonant h>mony4 ,we c see n[1 at ?is di/ance ( "t1 t !y positively increas$ ! value ( ! h>monic int]e/ by ! way 9 :i* !y delib]ately tortur$ ! e> ( ! s5sitive li/5] ( _! own "t4 ,our e>s h become n less b m s5sitive to dissonance1 m able at any rate to discrim9ate betwe5 v>ieties ( x4 ,b1 z ,i h already indicat$1 ?is preoccupation ) h>mony & ) relations betwe5 s\nds has l$ to an indiff]5ce t[>ds ! actual s\nds !mselves1 & ! loss ( int]e/ 9 ! actual s\nds has c]ta9ly br\ght ) x a dim9i%$ appreciation ( melody4 ,?is is cle>1 n f ! compla9ts direct$ aga9/ ! unmelodi\sness ( mod]n music1 b f ! common inability to appreciate ! emotional =ce ( melody z x 0 conceiv$ by compos]s ( two hundr$ ye>s ago & m1 compos]s :o und\bt$ly 7 int5sely preoccupi$ ) pure melodic expression4 ,c]ta9 mod]n compos]s are devot+ !mselves to ! same fundam5tal problem t int]e/$ ,purcell1 ,ba* & ,moz>th[ f> ! inh]5t =ce ( melody c c>ry ! li/5] ov] ! ob/acles ( dissonance4 ,x is n = me to attempt to measure ! =ce ( ! actual melodies :i* !y write4 ,?is =ce1 too1 is curi\sly complicat$ by problems involv+ v>i\s qualities ( s\nd4 ,! h>%ness ( a dissonance may be mitigat$ or aggravat$ accord+ to ! in/rum5ts :i* produce x1 & mod]n musicians are devot+ mu* c>e to ! m9ut] %ades ( :at are sometimes call$ 8col\r-values40 ,! "n is mislead+1 l all expressions :i* tempt ! read] to apply to music ! critical me?ods appropriate to pa9t+4 ,x has be5 sugge/$ t music is n[ mov+ t[>ds a phase 9 :i* 8col\r-values0 w be ! pr9cipal means ( expression4 ,! exp]im5t may be tri$1 & x may well contribute some?+ useful t[>ds ! /ock ( arti/ic mat]ial4 ,:at ?is movem5t really signifies is no?+ m ?an a subtilization ( already recogniz$ h>monic values1 = f ! po9t ( view ( ac\/ics x is impossible to draw any cle> di/9ction betwe5 :at is p]ceiv$ z a 8tone-col\r0 & :at is p]ceiv$ z a 8*ord40 ,,xvi ,! me*anical inv5tions ( rec5t ye>s h provid$ u ) increas$ facilities = ! diffusion ( music4 ,! pres5t era may come to be reg>d$ z simil> 9 hi/orical importance to ^? :i* fir/ b5efit$ by ! inv5tion ( ! /ave & by ! inv5tion ( music-pr9t+4 ,to "s ext5t ^! *anges repres5t m]ely ! adaptation ( practical conditions to ! increase 9 population4 ,b :]eas ! inv5tion ( ! /ave & ! inv5tion ( music-pr9t+ mu/ 9 all probability h increas$ ! numb] ( p]sons :o c\ld read music at sight1 ! mod]n reproductive ma*9]y _c d m ?an increase ! numb] ( ^? :o conf9e !mselves to li/5+4 ,x rema9s to be se5 :at proportion ( ^? :o acquire ! habit ( li/5+ w be /imulat$ to le>n some?+ ( ! art ( p]=m+4 ,we he> mu* ( ! en?usiasm = music among/ 8! masses40 ,app>5tly !y are n[ s++ ,ba*1 :]eas _! gr&p>5ts sang ,h&el2 does x make mu* diff]5ce8 ,x is said t mod]n music has lo/ contact ) 8! p40 ,_h x ev] any contact ) !m1 if by 8! p0 is meant ^? ^: musical education is n m ?an elem5t>y8 ,by all means let u d our utmo/ to raise ! /&>d ( musical education 9 all classes ( society2 b we _c get away f ! fact t at all p]iods ( musical hi/ory ! music :i* really made t hi/ory 0 9 its own day ! possession only ( a limit$ circle ( highly cultivat$ en?usia/s4 ,?is is inevitable4 ,! mom5t we recognize music to be an art & n m]ely ! in/rum5t ( magic we h to apply our intellectual faculties to ! und]/&+ ( x4 ,ar*itects & pa9t]s compla9 bitt]ly en\gh ( ! public's unwill+ness to meet !m halfway4 ,= ! musician ! case is /ill worse2 ! practical difficulty ( grasp+ a piece ( music 9 ! transitory mom5t ( p]=mance is "o reason1 & ano!r is ! int5sity ) :i* musical s\nds act ^u human emotions4 ,x is small wond] if l>ge numb]s ( p /ill reg>d music z almo/ magical4 ,x is ! remnant ( ^! primitive beliefs :i* leads s _m s]i\s-m9d$ & o!rwise reasonable p]sons to take an appreh5sive view ( mod]n music1 ev5 ?\gh !y may consid] !mselves m enlight5$ ?an ^? :o view ! music ( all ages ) moral appreh5sion4 ,! dang]1 if x exi/s n[1 has always exi/$2 p h always fe>$ t :i* !y d n und]/&4 8,x is difficult10 says ,dr4 ,burney ( ,plato1 8to refra9 f numb]+ ?is philosoph]1 toge!r ) ,ari/otle1 ,ari/ox5us & ,plut>*1 ?\gh su* illu/ri\s *>act]s1 &1 9 o!r p>ticul>s1 su* excell5t writ]s1 among ! musical ,grumbl]s & ,croak]s ( antiquity4 ,!y all equally lam5t ! loss ( good music1 )\t consid]+ t e age _h1 probably1 done ! same1 :e!r "r or wrong1 f ! beg9n+ ( ! _w2 always ?r[+ musical p]fection into times remote f _! own1 z a ?+ nev] to be kn[n b by tradition4 ,! ,gold5 ,age _h n its "n f ^? :o liv$ 9 x40 99 99 99 99 99 ,transcrib]'s ,notes3 ,text 9 italics is enclos$ by und]scores 7italics74 ,punctuation & spell+ inaccuracies 7 sil5tly correct$4 ,ar*aic & v>iable spell+ has be5 pres]v$4 ,v>iations 9 hyph5ation & comp\nd words h be5 pres]v$4