Читать книгу The Educational Writings of Richard Mulcaster - Richard Mulcaster - Страница 41

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Music completes the list of elementary subjects, and is divided into two parts—the cultivation of the voice, and the practice of an instrument, the former resembling reading, as it produces to the ear what is seen by the eye, the latter resembling writing, as it imitates the voice. Both should be begun early, while the voice and the muscles are still pliable to training. Singing has the advantage of being less costly than the study of an instrument in regard to the necessary provision. As to the value of Music, there can be no room for doubt; indeed, it seems to have been sent as a solace from heaven for the sorrows of earth. Some men think it is over sweet, and should be either dispensed with altogether, or at least not much practised. For my own part I cannot forbear to place it among the most valuable means in the upbringing of the young, and in this opinion I have the support of all the best authorities of antiquity. There are so many arguments in favour of the art; it is so ancient, so honourable, so universal, so highly valued in all times and places, alike in Church services and otherwise; it is such a calmer of passion, such a powerful influence on the mind, that I must stay my hand in writing about it, lest being fairly embarked I should be unable to stop. It will be enough for me to say of Music that it is in accordance with national custom, that it is very comforting to the wearied mind, that it is a means of persuasion which all must appreciate who delight in the proportions of number, that it is best and most easily learned in childhood, when it can do least harm, that its harmonies could not have such power to stir emotion if they had not some close natural affinity to the constitution of the body and soul of man, and that we see and read the wonderful effects it has had in the cure of desperate diseases. And yet with all its claims it arouses distrust in some quarters, even in honest and well-disposed natures that are too much inclined to sternness. They, however, will probably alter their opinion, if they will consider more deeply what Music is in its true nature, or if they come to discuss the matter with those who take a sounder view, or more certainly still if the art in its best form has a favourable chance of appealing to their listening ears. The science itself hath naturally great power to probe and sway the inclination of the mind to this or that emotion, through the properties of number in which it consists. It also gives great delight through its harmonies, to which the moods of the hearers respond. It is for this that some disapprove of it, holding that it provokes too much to vain pleasures, and lays the mind open to the entry of light thoughts. And to some also it seems harmful on religious grounds, because it carrieth away the ear with the sweetness of the melody, and bewitcheth the mind with a siren’s sound, seducing it from those pleasures wherein it ought to dwell, into fantasies of harmony, and withdrawing it from virtuous thoughts to strange and wandering devices. A sufficient answer to all this is that in respect of a thing that may be, and was meant to be, properly used, it is no just ground against it that it may also be abused. Music will not harm thee if thy behaviour be good, and thy intention honest; it will not betray thee if thy ears can take it in and interpret it aright. Receive it in a proper spirit, and it will serve thee to good purpose. If thy manners be bad, or thy judgment corrupt, it is not music alone which thou dost abuse, nor canst thou clear thyself of the blame that belongs to thy character by casting it on Music. It is thou that hast abused her, and not she thee. And why should those who can use it rightly forego their own good because of a few peevish people who can never be pleased?

The training in Music, as in all other faculties, has a special eye to these three points:—the child himself, who is to learn; the matter itself, which he is to learn; and the instrument itself, on which he is to learn. I will so deal with the first and the last heads, that is, in regard to the child and the instrument, that neither of them shall lack whatever is needful, either for framing the child’s voice, or exercising his fingers, or choosing his lessons, or tuning his instrument. For in the voice there is a proper pitch, where it is neither over nor under-strained, but delicately brought to its best condition, to last out well, and rise or fall within due compass, and so that it may become tunable and pleasant to hear. And in the training of the fingers also, there is regard to be had, both that the child strike the notes clearly, so as not to spoil the sound, and that his fingers run with certainty and lightness, so as to avoid indistinct execution. Of these the first commonly falls out through too much haste in the young learner, who is ever longing to press forward; the second fault comes of the master himself, who does not consider the natural dexterity and order of development in the joints, for if this is rightly attended to, the fingers easily become flexible and master difficulties of execution without pain. As for the matter of music, which the child is to learn, I would set down by what means and degrees, and by what lessons, a boy who is to be brought up to sing may and ought to proceed regularly from the first term of art, and the first note in sound, until he shall be able without any frequent or serious failure to sing his part in prick-song, either by himself at first while he is inexperienced, or with others for good practice afterwards. For I take so much to be enough for an Elementary institution, which can only introduce the subject, though it must follow the right principle, and I postpone the study of composition and harmony till further knowledge and maturity are attained, when the whole body of music will demand attention. And yet since the child must always be advancing in that direction, I would set him down to rules of composition and harmony, which will make him better able to judge of singing, just as in language he who is accustomed to write can best judge of a writer. Concerning the virginals and the lute, which two instruments I have chosen because of the full music uttered by them and the variety of execution they require, I would also set down as many chosen lessons for both as shall bring the young learner to play reasonably well on them, though not at first sight, whether by the ear or by the book, always provided that prick-song go before playing.