MAN’S MUSICAL FEET

Hawera Star, Volume XLVI, 18 December 1926, Page 11

MAN’S MUSICAL FEET

BODY’S RHYTHMIC CENTRE

A T a recent concert in New York, given by a famous jazz band, an observer watched the feet of the audience during the spirited rendition of a particularly rhythmic number. Lri nine out of I', -uses the feet were tappingin time to the music. The pedal movements were not; audible, in most cases they wore so slight :ls to be hardly noticeable. Hut- the unquestionable reaction was there. It is common knowledge that the most musically sensitive part of the human body is the foot. Countless experiments have demonstrated this fact. Even among savage races, who know nothing of music in the cultivated sense, the rhythm of the tomtom drum, the bamboo flute, or the other elemental musical Instruments is kept with the feet. Scientists have puzzled over this. Why should the feet, rather than the hand, for instance, be the most musically sensitive parts of the body? Dancing is music translated into terms of motion rather than sound. The perfect rhythm produced by the feet of a clever dog or tap-dancer could be dupliv, rated, musicians say, by the hands. Even musicians, in the Very act of playing music, frequently accompany themselves with their feet, and don’t even know they' are doing it. Pedal reactions to music, therefore, scientists decided, were purely sub-conscious.

Further experiments were made which proved that the feet not only reacted to musical impressions, but were a decided factor in their production. A saxophone player was used for such an experiment. He was asked to play a number and did so. The observers noticed that his feet were just as busy as his lips and fingers. Then they tied his feet up securely, so that he could not move them, and he was asked to play the same number again. He did so, and thfre was apparently no difference in the way ho played the piece. Apparently the feet were not absolutely essential to the proper rendition of the number. But he explained: “My feet were moving all the time, under the ropes. If my feet were cut off I couldn’t play with any sort of tempo. ’ ’

The reason for the phenomenon is physiological rather than .psychological. It explains why the records of music show instances of deaf composers, blind virtuosi, armless musicians, dumb piano-players, but never a single instance of a music-maker without feet. It explains xvhy armies use regimental bands. The soul-stirring strains of military marches are written, not for the hearts and souls of the soldiers, but for their feet. It explains why jazz musicians, whose sense of tempo is extraordinarily develop d, have, as a rule, sensitive “musical’’ feet.