Music and Musicians.

New Zealand Graphic, Volume XXVI, Issue XII, 23 March 1901, Page 533

Music and Musicians.

By

PEDAGOGUE.

Questions and Answers. Our musical readers are Invited to send in question! for this department. Please write them on one side of the paper only, and not with other things on the aaaaa sheet. In every case the writers full address must be given, or the questions will receive no attention. Ia no ease will the writer's name be printed to the questions in “The Graphla either initials or nom de plume will be used. Questions that have no general Interest to musicians will not receive attention. Address all communications to Ped auouvE, " Graphic " Office.

Ques. Musical Student, Epsom.—Can you give me the names of one or two good works on the Analysis of Musical Form!

Ans. “ Theory of Interpretation,” by A. J. Goodrich, and by the same author, “ Musical Analysis ”; “ Analysis of Form,” Dr. Hanliug; “ How to Understand Music,” W. S. B. Matthews. Particulars of price, publisher, and contents of these and other works on Musical Form will be found in “ The Pianist's A.B.C. Primer and Guide,” W. H. Webbe.

Ques. C.S., Onehunga. —I cannot ascertain the name of the secretary of the R.A.M. and R.C.M. Associated Board examinations Can you please inform me?

Ans. We have ascertained from the Sydney centre of this Board that Mr. J. Bouskill, of Symond Street, has consented to act as Local Representative for this rear.

Ques. F.M., Grafton Road.—(a) Is there a staccato touch on the piano obtainable by bending in the tips of the fingers? (b) What is the most effective staccato touch in playing soft accompaniments? Ans. (a) The finger staccato touch.— The finger, to play staccato, must strike the note very rapidly, with the point of the finger very slightly directed to the palms of the hands, the hands being kept steady as though plucking a string. Considerable bending of the finger would be altogether wrong.

(b) For single notes, the finger staccato; for chords, hand staccato. These touches are fully, explained and practical illustrations given in Dr. Mason's celebrated work, “Touch and Technique.” You will also find the touches exempliefied in the recently published work, “ The Pianist’s A.B.C. Primer and Guide,” by W. 11. Webbe. Observations of a Music Teacher. ' Parents should never be too hasty in condemning any new piece the teacher may have given the pupil. The “ best ” music usually sounds better the more one hears it, while poor music always sounds worse. Parents sometimes discourage the pupil from learning a really good piece by saying they do not like it when the pupil has it only half learned. This is a great mistake. Give the pupil a chance to master the piece, and in most cases the parents will find it much better than they had thought.

The music teacher is often asked to play at public entertainments, it may be for charity or otherwise, but in any case he is expected to give his services. Some people seem to think that because Mr. B. is a music teacher the only thing required of themselves is to “ press the button ” and “ he ” will do the rest. Now, if Mr. 8., is a successful teacher his time will be mostly taken up by his pupils, sp that he will have very little time to devote to practice (and no sensible person will play in public without practice). If he should play at all the entertainments he is called upon to play at, he would necessarily be obliged to devote several hours each day in preparing music for these occasions. For this reason a person cannot be a concert pianist and a successful teacher at the same time.

To profitably employ his time so as to make the best of it, to get the very best results, should be the aim of every music student, not matter what particular branch of music study he may be pursuing. The best of the mind and strength must be given to study; patience and perseverance must be cultivated. There ia

no particular short cut in art. It is a very long but interesting road to travel before that acme of finished excellence is reached which enables one to be designated by the often misapplied epithet, artist.

Another thing: one to be really successful must love—absolutely love—his work and the beautiful in art. Wherever art has flourished best, the people have become kuowu for their appreciation and for the production of works; perhaps we should call them thought works, because they have recognised art as worthy of the attention, and study not only themselves as individuals, but as a whole nation. We then as individuals, whether students or masters (we should, however, always be the closest of students, no matter what knowledge we may possess) must give our labour the most devoted care, that nothing is so hurried as to be slipshod or uncertain, for art is comparatively of slow growth, and one thing must be thoroughly well done and properly assimilated before entering upon the next. People have said to me: Oh, I would give anything to play like that, or like so and so, when they won’t even give three or four hours a day to conscientious study on recognised artistic principles whereby to attain such proficiency, even when, as in many cases, they may have an abundance of time to devote to such an object. Work is the needful thing, plenty of careful, conscientious work, and if this is patiently adhered to, artistic results must inevitably follow, or the work has been misapplied or talent is wholly- wanting. The best teaching cannot, make a brilliant musical performer without the earnest co-operation of the pupil. As some one has said, the teacher shows the pupils what to do, but the doing depends entirely upon themselves. If the teacher has directed correctly, we may naturally expect steady improvement until maturity is reached. Otherwise not. There are certain fundamental, natural rules which govern the technic of all arts as well as musical art. . Unless these natural laws are understood and logically worked out until all effort for effect, is unconscious natural effort, the highest, most beautiful, and finished performance is utterly and positively impossible. Music is an elevating, noble study, but, unhappily, many talents are ruined because their work is so often misdirected and conducted on wrong principles of study, and those who only reach mediocrity might, under other and different methods, which have been proven over and over again by great virtuosi, have developed into performers of sterling and artistic merit. Much depends on the master. He must have special natural talent for teaching; in fact, it must always be with him a passion. He must love his work, must have patience and great knowledge of his subject, and on other subjects bearing directly or indirectly upon it, have the power to stimulate his pupil to do his utmost, that nothing short of perfection must be aimed at. He should make his pupil feel at ease when in his presence, and that he is friend as well as master. Sympathy must exist between them; the pupil must have perfect confidence in the master, or else that master is not suited to him. The pupil must also feel and know that his teacher has a personal interest in him, interest in his artistic success and in his musical life, and then a great teacher will get great and painstaking work from his pupil, and thus lead him forward and onward to that goal which must be reached before he can be called rightly an artist and a Cultivated musician. ‘ ' You students who intend to make music your life work, ponder over these things and give the best of your strength and intellect to your study, whieh requires to be systematic and regular, and then, only

then, all things being equal, will yog achieve that degree of artistic excef lence which is possible and whli-h may be yours. , o O o o o Miss Clara Butt, the English contralto, is prevented by illness from fulfilling her engagements in America and Australia. o O O O ft Mrs Howie (Te Kanji Pai) is now on her way to London, having left Dunedin the week before last. O ft ft O ft Mua Alice Hollander's two concerts in Auckland last week were well patronised, and the young singer earned great praise. Undoubtedly she has a fine robust contralto, with no small power of expression. Her admirers expect extraordinary things of her, and it would be rash to say that they pitch their expeotatioas too high. Music and Poetry.

Sing, poets, as ye list, of fields, of flowers Of changing seasons with their brilliant round Of keen delights, or themes still more profound— Where soul through sense transmutes this world of ours. There is a life intense beyond your powers Of utterance, which the ear alone has found In the aerial fields of rhythmic sound— The inviolate pathways and air-woven bowers Built by entwining melodies and chords. Ah, could I find some correspondent sign Matching- such wondrous art with fitting; words! But vain the task. Within his hallowed shrine Apollo veils his face. No muse records In human speech such mysteries divine. C. P. CHANCH.