Show LISTENERS TO MUSIC DiFFER Amateur to Be Envied Over Oer l Professional Nevin N in c Says Arthur Nevin composer be- be believes be believes that of o the listeners to music the amateur finds greater relaxed enjoyment than tho the pro pro- professional professional pro professional In a recent reee t dIscourse the tho following analysis of his rea rea- rea reasoning rca on this subject Is given There Thero are several ways as of o Jill Jill- lis listening lc- lc toning to music but of ot these several there are arc two two cant cant The Tho professional musician and the amateur Of these two VO the he amateur amateur he who listens with delight to the tout ensemble re- re re result undoubtedly suit sult undoubtedly receives the greater pleasure Let Tat us consider the of the he ho- heno no who Is I dissecting every element that thit Is assembled tor for the complete lit structure ruc- ruc ture turc of a musical composition being be- be beIng be being ing Interpreted we 0 will say eay by bya bya bya a pianist listens with Ith the thc ana ana ana- analytical analytical ear his hla listenIng consists of simultaneous mental follow follow- followIng following Ins follow Ing of thematic construction modulation rhythm sense of pro pro- proportion proportion pro proportion portion and balance When an orchestra Is performing ho be has even more distinguishable sub sub sub- subJects gub leas which he concentrates upon and which arc are beinG recorded through the ea ear car at the tho same moment being shelved so BO to speak somewhere In the mental These orchestral addi additions llona are of a much mon mor mor character to the profession profession- professional al musician TO IJ COLORS Contrary to the piano the or- or orchestra or orchestra chestra with Its varied or of Instruments instrument has endless pos possibilities I- I for tonal coloring through the selection of o different Instrumental instrumental mental mental combinations for lights and shades In fact these instruments Instruments ments mente are ara the tho colors of o a must musi mu musical l- l cal palette from which wh eh h the tha com com- composer composer com composer poser paints hi his tone J picture In- In In Individualizing these selected groups noting the tha Instrument carrying the theme the accompanying accompanying J contrapuntal voices and I their colorings coloring are Involuntary mental activities of the professIonal professional and his listening often be- be becomes be becomes comes a mental labor AI ENVIED The amateur listens In a way that Is enviable Ho Ito listens to the tho complement and avoids vivi vivisection s section Ills His ear Is b not disturbed by any other Interest And at atthe a athe the end of o a musical renderinG he is by far more mentally bene bene- benefited benefited more entertained and In Ii d dmore amore more peaceful state of of mind than the tho professional Instead of tol fol fol lowing towing the phrasings colorings thematic structure and so on he can build fanciful pictures which the mu music mulo lc may suggest ho he listens without thought as to how bow th the colorings are aro obtained but un- un unconsciously unconsciously un unconsciously consciously the shadIngs are mak making ing their Impression and he be re- re relaxes re- re re relaxes axes Into his Individual manner of reception without any distract distract- dl distracting tract tract- In lug ing thought regarding the technical technical cal cal cal- side elde And It Is a most fortunate thing that such Is le the case It Is this amateur listener who makes make the great majority of an audi audi- audience once ence It Is this same sarno amateur to whom we are responsible for the tho support of our large largo orchestras and three fourths of the really Inspired listeners |