Music as taught in the schools is concerned chiefly with learning to sing. It would seem that some time might profitably be devoted to hearing good music, and learning to form preferences.
The keen satisfaction which comes to the extremely sensitive has been expressed by some of them in words. Schumann said of another musician, “He who has once heard Henselt can never forget his playing; these pieces still haunt my memory like the recollection of a parterre of flowers.” And again, “The veiled enjoyment of music which one does not hear, has something magical in it.” Berlioz has given us this glimpse of his delight: “Last night I dreamt of music, this morning I recalled it all and fell into one of those supernal ecstasies.... Believe me, dear friend, the being who could write such miracles of transcendant melody would be more than mortal.”
Stanton questioned the talented and untalented relatives of musicians as to the rôle played by music in their daily lives. Many showing superior talent reported that music in some form seemed vital to their program of living. It was referred to by them as “a daily relaxation from business,” “a great source of courage, a spiritual tonic,” and as “absolutely paramount.” One person used the word “hunger,” in describing the longing which ensued upon being deprived of music. There may be people capable of such satisfaction in music, that they would choose between bread and music, if hard put to it, not without a struggle.
REFERENCES
Agnew, M.—“The Auditory Imagery of Great Composers”; University of Iowa Studies, 8. Psychological Monographs, 1922.
Bernfield, S.—“Zur Psychologie der Unmusikalischen”; Archives für das gesammte Psychologie, 1915.
Boggs, L.—“Studies in Absolute Pitch”; American Journal of Psychology, 1907.
Copp, E. F.—“Musical Ability”; Journal of Heredity, 1916.
Edgren, J. G.—“Amusie (Musikalische Aphasie)”; Deutsche Zeitschrift für Nervenheilkunde, 1894.
Gatewood, E. L.—“Individual Differences in Finger Reaction”; Psychological Monographs, 1920.