Euterpe; or, The future of artMcColvin, Lionel R. (Lionel Roy)
General
Euterpe; or, The future of art
McColvin, Lionel R. (Lionel Roy)
Art
What effect will this have upon pianoforte music? In the first place,
we shall gradually rid ourselves of misplaced pride in the amateur’s
very limited technical powers. We shall no longer praise So and So
for being able to play Chopin’s _Studies_ after a fashion, but shall
consider him either a fool for wasting his time trying when he could
much more easily enjoy Cortot’s performance of them, or sympathize with
the poverty that prevents his purchasing this mechanical aid. Secondly,
we shall not waste time and kill natural love of music by the dreary
routine of “teaching the piano.” Instead, we shall teach appreciation.
If all the energy spent in acquiring a very inadequate technique were
diverted to the real business of appreciation, we should be a more
musical nation. Thirdly, we shall cease to tolerate the incompetent
player now so often foisted upon us or even sought for want of any
better, and the ostentatious “virtuoso” executant.
Before very long the piano-player will cost no more than an ordinary
piano; in fact the ordinary instrument will no longer be manufactured.
In our schools “piano-playing” will be erased from the curriculum and
classes in appreciation substituted.
But what about non-pianoforte music? There is a big difference. While
the piano-player produces exactly the same kind of musical tone as
the hand-played instrument, the gramophone, or the wireless, does
not reproduce at all exactly the timbre, quality or volume of the
instruments recorded. It provides not the real thing but a substitute,
which, though excellent, can never be entirely satisfactory. We do
not care to assert dogmatically what science will or will not make
possible in the future; at least, however, it is extremely doubtful
that a mechanical violin as adequate as the mechanical piano will ever
be invented. Wind instruments depend less upon human manipulation--the
organ, for instance, is nothing but an imperfect essay in this
direction. This is but idle speculation, however. As a practical
proposition we may say that the perfect mechanical reproduction of
music will be confined to the pianoforte.
Public-domain text, read in full here on John Shaqi.
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