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Music Talks with Children - Thomas Tapper
The Project Gutenberg eBook, Music Talks with Children, by Thomas Tapper
This eBook is for the use of anyone anywhere 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.net
Title: Music Talks with Children
Author: Thomas Tapper
Release Date: December 13, 2004 [eBook #14339]
Language: English
***START OF THE PROJECT GUTENBERG EBOOK MUSIC TALKS WITH CHILDREN***
E-text prepared by David Newman, Keith M. Eckrich, and the Project Gutenberg Online Distributed Proofreading Team
MUSIC TALKS WITH CHILDREN
by
THOMAS TAPPER
Philadelphia
Theodore Presser
1898
"Dear child! dear girl! that walkest with me here,
If thou appear untouched by solemn thought,
Thy nature is not therefore less divine:
* * * * *
God being with thee when we know it not.
—WILLIAM WORDSWORTH.
TO THE CHILDREN AT HOME
"Teach me to live! No idler let me be,
But in Thy service hand and heart employ."
—BAYARD TAYLOR.
PREFACE
A book of this kind, though addressed to children, must necessarily reach them through an older person. The purpose is to suggest a few of the many aspects which music may have even to the mind of a child. If these chapters, or whatever may be logically suggested by them, be actually used as the basis of simple Talks with children, music may become to them more than drill and study. They should know it as an art, full of beauty and of dignity; full of pure thought and abounding in joy. Music with these characteristics is the true music of the heart. Unless music gives true pleasure to the young it may be doubted if it is wisely studied.
Our failure to present music to the young in a manner that interests and holds them is due not so much to the fact that music is too difficult for children, but because the children themselves are too difficult for us. In our ignorance we often withhold the rightful inheritance. We must not forget that the slower adult mind often meets a class of difficulties which are not recognized by the unprejudiced child. It is not infrequent that with the old fears in us we persist in recreating difficulties.
There should be ever present with the teacher the thought that music must be led out of the individuality, not driven into it.
The teacher's knowledge is not a hammer, it is a light.
While it is suggested that these chapters be used as the subject-matter for talks with the children, they may read verbatim if desired. All foot-note references and suggestions are addressed to the older person—the mother or the teacher. There is much in the literature of art that would interest children if given to them discriminatingly.
THOMAS TAPPER.
BOSTON, October 30, 1896
CONTENTS
CHAPTER
PREFACE
I. WHAT THE FACE TELLS
II. WHY WE SHOULD STUDY MUSIC
III. MUSIC IN THE HEART
IV. THE TONES ABOUT US
V. LISTENING
VI. THINKING IN TONE
VII. WHAT WE SEE AND HEAR
VIII. THE CLASSICS
IX. WHAT WE SHOULD PLAY
X. THE LESSON
XI. THE LIGHT ON THE PATH
XII. THE GREATER MASTERS
XIII. THE LESSER MASTERS
XIV. HARMONY AND COUNTERPOINT
XV. MUSIC AND READING
XVI. THE HANDS
XVII. WHAT THE ROMAN LADY SAID
XVIII. THE GLORY OF THE DAY
XIX. THE IDEAL
XX. THE ONE TALENT
XXI. LOVE FOR THE BEAUTIFUL
XXII. IN SCHOOL
XXIII. MUSIC IN SCHOOL
XXIV. HOW ONE THING HELPS ANOTHER
XXV. THE CHILD AT PLAY
APPENDIX
BY THE SAME AUTHOR.
Chats with Music Students; or Talks about Music and Music Life.
A remarkably valuable work. It is made up of talks to students, calculated to make them think; of hints and suggestions which will be of immense assistance to those who are earnestly trying to become proficient in music.
—Boston Transcript.
No other book covers the same broad field which this covers in such a pleasant and inspiring manner.
—The Writer (Boston).
The Music Life and How to Succeed in it.
These ideas are worthy of attention from students and workers in all branches of art, science, and literature, who mean to be serious and earnest.
—Boston Transcript.
Exceedingly valuable because of its broad impartiality in its exposition of truth, its depth of understanding, and, above all, for its earnest desire, manifest in every word, to lead music students to a love for music itself…. It abounds in high artistic thought and insight.
—The Boston Times.
CHAPTER I.
WHAT THE FACE TELLS.
"And the light dwelleth with him."—Daniel II: 22.
Once a master said to a child:
If thou wilt study diligently, learn, and do good unto others, thy face shall be filled with light.
So the child studied busily, learned, and sought how she could do good unto others. And every little while she ran to the glass to see if the light was coming. But at each time she was disappointed. No light was there. Try as faithfully as she would, and look as often as she would, it was always the same.
I do not know if she doubted the master or not; but it is certain she did not know what to make of it. She grieved, and day after day her disappointment grew. At length she could bear it no longer, so she went to the master and said:
"Dear master, I have been so diligent! I have tried to learn and to do good unto others. Yet every time I have sought in my face the light which you promised, it has not been there. No, not a single time."
Now the master listened intently, and watching her face as she spoke, he said:
"Thou poor little one, in this moment, as thou hast spoken to me, thy face has been so filled with light that thou wouldst not believe. And dost thou know why? It is because every word thou hast spoken in this moment has come from thy heart.
"Thou must learn in the first days this lesson: When the thought and the deed are in the heart, then the light is in the face, always, and it is there at no other time. It could not be. And what is in thy heart when thou art before the glass? In that moment hast thou turned away from diligence, and from learning, and from the love of doing good unto others and in thy heart there is left only the poor curiosity to see the light which can never shine when it is sought. Thou canst never see the light of thy own face. For thee that light is forever within, and it will not prosper thy way to want to look upon it. It is only as thou art faithful that this is added unto thee."
Sorrowing yet more than before the little child said:
Master, I do not understand what thou hast said, yet I believe thee; but the wish is yet within me to see the light of my face, if only for once. Thou who art wise, tell me why it is denied me.
And the master made answer:
"It is denied to us all. No one may see the light of his own face. Therefore thou shalt labor daily with diligence that thy light shall shine before others. And if thou wouldst see the light thou shalt cause it to shine in another. That is the greatest of all—to bring forth the light. And to do this, thou shalt of thyself be faithful in all things. By what thou art thou must show diligence, the love for learning, and the desire to do good unto others, even as these things have been taught thee."
CHAPTER II.
WHY WE SHOULD STUDY MUSIC.
Music makes people more gentle and meek, more modest and understanding.
—Martin Luther.[1]
It was this same music lover who said once, Music is the fairest gift of God.
Just these words should be a sufficient answer to the question which we have asked in this Talk, but a little more may make it clearer. Here we are, gathered together to talk about music. We know music is pleasing; to many of us it is even more than a pleasure; of course, it is difficult to get the lessons properly and we must struggle and strive. Often the way seems so rude and stony that we cannot advance. We are hurt, and hot tears of discouragement come, and we sit down dejected feeling it were best never to try again. But even when the tears flow the fastest we feel something within us which makes us listen. We can really hear our thoughts battling to tell us something,—prompted by the heart, we may be sure.
And what is music making our thoughts say?
"Have I not been a pleasure and a comfort to you? Have I not set you to singing and to dancing many and many times? Have I not let you sing your greatest happiness? And am I not ever about you, at home, in school, in church? even in the streets I have never deserted you. Always, always I have made you merry. But this was music you heard. Now you have said you wished to know me yourself; to have me come to dwell in your heart that you might have me understandingly, and because I ask labor of you for this, you sit here with your hot tears in your eyes and not a bit of me present in your heart. Listen! Am I not there? Yes, just a bit. Now more and more, and now will you give me up because I make you work a little?"
Well, we all have just this experience and we always feel ashamed of our discouragements; but even this does not tell us why we should study music. Some people study it because they have to do so; others because they love it. Surely it must be best with those who out of their hearts choose to learn about tones and the messages they tell.
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