Article March 22, 1913 Issue

SINGING WITH THE SPIRIT

WALTER E. YOUNG.

Through the increasing study and practise of Christian Science, mortal thought is undergoing a gradual change of base in its reasoning with respect to every form of human activity and occupation. As a clearer understanding of God and man's relation to Him is gained, there comes to the individual a purification of sense; he is actuated by better motives and aims, has a keener, more intelligent desire for improvement along all lines of human betterment. Music has always played a very active and prominent part in human affairs, and when we realize what a far-reaching influence it exercises among all the people, we can readily see that a system of thought which inculcates a right apprehension of spiritual truth, which points ever to the one spiritual cause, must sooner or later beneficially affect all who are interested in music, whether as composer, performer, or listener.

While appreciating the work of the great past masters of music, their sincere desire to give to the world a high, fine thought, musically expressed, we cannot ignore the fact that incidentally they have portrayed, and as graphically as possible, all the weaknesses, sorrows, miseries, and even hates of human experience, together with its nobler impulses. Only here and there have they risen above the trammels of mortal sense and given us that which is permanently uplifting, which more nearly approaches to inspiration, which is born of a glimpse of Truth. To this extent their music has been free from mortal limitations and sensual appeal; it is fluent and spontaneous, the true improvisation. Mrs. Eddy has beautifully expressed the freedom and power given us when we listen responsively to the voice of Truth. "Spirit, God," she writes, "is heard when the senses are silent. ... The influence or action of Soul confers a freedom, which explains the phenomena of improvisation and the fervor of untutored lips" (Science and Health, p. 89).

It is clear that the musical expression of thought must necessarily improve as humanity gains a correct knowledge of what constitutes the harmony of divine Mind and its manifold manifestations. The demand for music which portrays the sordid conditions of human experience will then decrease, be replaced by the activities of desire for spiritual good; men will seek for holiness of thought, normally and ideally expressed. By many it is considered the duty of the interpreter of a musical work to reproduce the effects which the composer sought to secure, and he is thus drawn wittingly or otherwise into a partnership with the composer in so far as this result is achieved. Thus it would appear that a good start in the line of improvement might first of all be made with the composer. In the measure that his concept is spiritual, his compositions will tend to refine and ennoble, as well as delight human sense, to bring hope and cheer, prove a vital, far-reaching benediction to all. The interpreter also, who approximates this same altitude of thought, will find his rendition correspondingly improved, and when this advance is also participated in by the hearer, unity will have been attained, the quality of both supply and demand will have been elevated, and the world will have risen higher in its apprehension and enjoyment of music.

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