MUSIC by Frederick Griggs

Pacific Press Publishing Company · Oakland, California · Dec 25, 1901

FromSigns of the Times, Vol. 27, No. 52.

MUSIC

By Frederick Griggs

THE study of sound leads directly to that of music. The difference between noise and music is in vibration. Noise is disagreeable and music agreeable. Generally a rapid succession of vibrations of the same sort produces a pleasant sensation upon the ear, while a confused mingling of vibrations of various kinds produces the opposite, an unpleasant sensation. Notice this on a railway car. The regular succession of the same sort of sounds as the car passes over the rails is pleasing. But when the brakes are applied, or when the car is rapidly rounding a curve and the wheels strike against the rails at irregular intervals, the effect is not pleasing.

We may say, then, that a musical tone is produced by a succession of rapid vibrations and a noise by irregular and non-periodic vibrations. “Nothing can be imagined more purely a noise or less musical than the rim of a cab wheel rubbing against a projecting stone. Yet if a regularly repeated succession of such jolts takes place, the result is a soft, deep musical sound that will bear comparison with the notes derived from a more sentimental source. The report from a cork when drawn from a bottle is anything but musical. But with a sufficient number of properly tuned bottles, a skilful performer could by merely withdrawing the corks easily evoke a simple melody that every one would recognize.”

Probably everything has a musical note or key of its own. This is certainly true of hard bodies such as sticks, tables, dishes, stones, etc. This can be determined by striking any of these bodies with another hard substance. They will give a distinct key if there are no loose parts connected with them.

Musical sounds differ in loudness, pitch, and quality. Loudness of tone depends upon three things: the length, or amplitude, of the vibration, the density of the air in which the sound is produced, and the distance of the ear from the sound. To observe the length of the vibration, strike a tuning-fork, and hold a piece of paper so that it will touch the side of the fork near the end of the prongs. A quick succession of taps is heard. Each tap results from a vibration. If the paper and fork are held in stationary position, it will be noticed that the taps cease, but the tone continues tho decreasing in loudness. This is because the length of the vibrations has decreased.

Pull lightly one of the strings of the Æolin harp, and notice the sound. Now pull heavily, and notice the difference. The reason the sound is louder is because the amplitude, or length, of vibration has increased.

Pitch depends upon the number of vibrations in a given time. Quality of tone is that difference which enables us to distinguish between tones of the same pitch and intensity or loudness when they are played on different instruments or sung by different persons. The same tone played on two violins will so differ in quality as to make one instrument very much more valuable than the other.

So much with reference to the mechanical features of music. It is all I can say in this connection, as I wish to consider music in its general effect. But it will amply pay parents to get some good text-book on physics, and study the subject with children, as there is so much that is not only of interest, but of practical worth.

Music is the universal language of the world. In all parts and among all peoples its effects are much the same. This is so in a physical sense because the rythm of its vibration is universal, and in a mental and spiritual sense because this rythm appeals directly to the soul. Music often is not appreciated for its worth. Musicians often revel in the art, even to worshiping it; but fail to go beyond the pleasurable sensations produced by it. It is a means of culture; but not until it is handled in a spirit of reverence will it develop the powers and accomplish the object which the Creator designed. God is the creator of music as much as of light and magnetism. Its laws are as clearly defined and as firmly fixed as those of any science. It was not designed as a plaything, and should not be so regarded, tho it is often used for that alone. Next to religion itself, music is one of the greatest civilizing agencies of the world; that is, when it is rightly used. There is inborn in all men a love for song. Wherever religion holds sway, there music is a study. From Genesis to Revelation the Holy Word is filled with allusions to music. There is no other art which receives this prominence.

Music is the love-language of the soul. As the love of God is immeasurable, so music and its power can never be fathomed. Every one should make a study of music from the Bible. I can call attention to only two or three passages to emphasize the fact that the Lord uses it as a means of communication in dealing with man. In the fifth chapter of Second Chronicles we have a description of one of the grand choruses of the Levites in their songs of worship. It was while they sang and praised the Lord, ‘for He is good, for His mercy endureth forever,’ that the glory of the Lord filled the house. This special manifestation of His glory and power might have occurred during any other exercise of worship, but He chose to exhibit it during song. It was while the minstrel played that the hand of the Lord came upon Saul and he was quieted. The miracle of the falling of the walls of Jericho occurred during the shout of victory and the playing upon instruments of music. The Lord might have performed this miracle at a time when there were no musical sounds, but He was pleased to involve the use of the musical instruments in it. One can not make a close study of the Bible on this point without being impressed that here is a science in which God has especially manifested Himself.

But of what particular value is this to parents?—Much every way. Soul development is of the utmost importance, and I do not think that one can have the highest soul development who does not cultivate a love for music. Luther in his blunt language declares that the devil hates music, and he calls all who love not song “blockheads, who ought to be treated to the bawling of donkeys, the barking of dogs, and the squealing of pigs.” He goes so far as to call music “the transfigured daughter of heaven.” Many parents can sing but little it is true; but by the exercise of the little ability which they have, they will find that this faculty can be developed as well as any other. Not only can the faculty be developed, but the love for music can be cultivated as well. Most parents do not sing enough to their little children. Part of each day’s training should consist of song. There are, to-day, not only the grand sacred hymns which children love, but a great abundance of simple child songs of nature which appeal to them very directly, and which parents can learn and enjoy with their children. If they can not sing with their children from a natural love of music, they should do it from a sense of duty, and they will find the love coming to them. The children thus become to parents the blessing which God wishes them to be, and they in turn fill the world with song. There is to be music in heaven, and our homes are to be emblems of heaven. So there must be music in them—there can not be too much if it is good music.

“The world is full of wondrous song; We pause to hearken, and we hear: Forever sounding far or near, Those sweet vibrations, soft or strong; Yet sweeter sounds, and far more dear Than to the outward sense appear, That ring upon the inward ear, The loved old songs of home.”

And I add, heaven and home. “Let everything that hath breath praise the Lord.”

So. Lancaster, Mass FREDERICK GRIGGS.