The paradox of spontaneity: Folk-song, artifice, and the intellectual burden of the composer

“ Art is the product of the human intellect, which has set itself to train and develop what was originally only a natural instinct. In folk-song we have the results of natural instinct itself unconsciously, unreflectively developed through endless centuries. ”

“ At the foundation of all the art of music lies the folk-song—simple melodies which spring up in every country and are easily learned, and pass from one to another until they become current over large extents of territory. The folk-song had its origin, most likely, in the dance ”

“ As folk songs we are wont to designate those lyrics of simple character which, handed down from generation to generation, are the common property of all the people. Every nation, regardless of the degree of its musical intelligence, possesses a stock of such songs, so natural in their simple ingenuity as to disarm the criticism of art, whose rules they follow unconsciously and with perfect concealment of means. Their origin is often lost in the obscurity of tradition and we accept them generally and without question as part and parcel of our racial inheritance. ”

“ As has been said, strength of thought and strength of language are their prevailing characteristics. Their strength of language is that which belongs to the speech of a people when it is fresh and new, and before it has been overlaid with words created for literary purposes and by the introduction of foreign words to give niceties of meaning, and no cultivated language has the same power and directness as that which is the simple expression of the thoughts of the people. ”

“ The element of poetry of the highest kind in these ballads is the strength as well as the simplicity of passion interpreted in language of naked directness and dramatic power. Their stories are mainly those of the bloody tragedies and the violent events and emotions in the lives of a people to whom strife and adventure were an integral part of existence, and whose passions were strong and vigorous, although a proportion of the ballads have an element of rustic humor, and the cycle of those relating to Robin Hood is mainly of this kind. ”

“ The human heart has not lost its strength of feeling nor its power of expression, and modern poetry is greater in its power and wider in its scope than folk-song. But it has lost some of the peculiar strength which comes from simplicity of feeling and overmastering power of passion; and its language, if it has many delicate shades of meaning, which that of a primitive people has not, has lost the clearness and vividness of expression of those whose words are few, but which are the creation of their hearts and not of their intellects. ”

“ The collection and study of folk-song is being pursued with a vigor and a scholarly diligence which promises to leave no corner of the world unransacked, and no people, however simple and savage, neglected, and very valuable treasures of poetry have been and are being collected, which speak to the heart with the native eloquence of unsophisticated feeling and thought, and which give a more accurate knowledge of national temperament and of the stages of the development of the human intellect than any material remains or any historical records. ”

“ That something is the elementary expression of the race—or folk-song. Art music is rooted in folk-song as surely as the tree is rooted in the soil.
Folk-song is the musical expression of the racial genius. Art music is the individual expression of the same genius, plus the personal character of the artist. However distinctive or individual his expression, no composer has been able to divorce himself from the racial genius of which he is a part, any more than a [Pg 278] poet of a nation has been able to rise above the national idiom. 'A creative artist,' says Mr. ”

“ We must always remember that songs of every kind are primarily composed in the spirit of this typical folk-song. Even the most learned composer is spiritually a descendant of the crazy Roumanian peasant woman, and his songs, if they are real songs at all, are of the same spontaneous kind as hers. However much he may be occupied with conscious scholastic principles, if his music does not somehow sing in this natural, artless vein it is but as sounding brass and tinkling cymbal. The impulse to song is the soul of all true songs the world over. ”

“ The highest glory of the folk-song is to express what unites men. The highest glory of the art-song is to express what differentiates men. The folk-song includes; the art-song selects. The folk-song is general; the art-song precise. The folk-song tells of life as man found it; the art-song tells of life as man made it.
Nearly everything that is distinctive of the art-song involves conscious planning. However spontaneous and unrestrained a Lieder singer may appear on the concert platform, there is behind his or her interpretation a whole conscious network of selection and rejection. ”

“ And the restraint which the composer showed in using themes in naked simplicity must be reflected in the delivery of the song by the singer. Conscious restraint is foreign to the spirit of the folk-song, excepting for the universal rule that every work of art must show some reserve power. But in the art-song, artificed as it is with conscious pains, reserve in the singer is a virtue in itself. Unless one feels that every detail of the delivery is firmly under control one has an uneasy sense that the singer may fly off the handle at any moment. ”

“ We can justly say that those folk-songs are greatest which sing of the things that are common to all men in such a way that they can be understood by all men. But in the composition of the art-song precisely the opposite influences are dominant. The composer, if he is to make his mark in the art world, must not write exactly like other composers, but must distinguish his work in some way. He must call attention to himself or his work by writing in a style that is not quite like anybody else’s. ”

“ It is selection and control, they say, which makes any work of art more than a mere daub of color or conglomeration of sounds.
Certainly the biological theories have not satisfactorily explained the second great element in artistic creation—the impulse to refinement. We have seen that once our typical folk-song was invented by the Roumanian peasant woman it could not stay as it was, but had to take new forms, changing continually, and, as we see it, usually for the better. What is it that makes men dissatisfied with a crude, formless melody and desirous of making it regular and organic? ”

“ The great achievements of Spanish genius in the era of its intellectual efflorescence have compelled the intellectual world to study its language and familiarize itself with its literature. And not only have the great works of Cervantes and Calderon and Lope de Yega been studied and criticised, and reproduced in all the cultivated languages of Europe, but the treasures of popular Spanish poetry, with their rich elements of chivalry and romantic passion, have been carefully studied and exemplified by foreign scholars, and been the inspiration of foreign poets and translators. ”

“ The only way in which ancient Celtic poetry can be known and appreciated by the English reader, and have its effect in English literature, is by the presentation of its spirit and atmosphere, its essential elements in local form and color, its characteristic phraseology and tone of thought in English poetry of original power as well as essential faithfulness. ”

“ His work is not great in quantity, and he treasured his inspiration and perfected his workmanship with careful pains. Its result is to give a reproduction of the pervading elements of Irish Celtic poetry in English form with almost absolute perfection, and imbued with a spirit of original genius. In his poems, rather than in Macpherson's Ossian or in the literal translations, will the modern reader find the voice of the ancient Celtic bards speaking to the intelligence of to-day in their own tones without false change and dilution, or the confusion and dimness of an ancient language. ”

“ So there must be the element of reality in their defects before the folk-songs can be accepted as really genuine, and it adds a power and even a literary effect to them, which in its peculiar flavor the most accomplished literary art cannot produce. We seem to hear the speech of living men, to feel the thoughts of simple hearts through the imperfect utterance, and to experience all the flavor of actual and homely life. ”

“ The beginnings of melody are older than the beginnings of language, and spring from a different human impulse. But the fact that folk-songs have words as well as melodies easily leads to confusion of thought; for, at the stage of civilization in which we live, it his become, for the majority of people, more natural to talk than to sing. It is obviously more natural to sing than to talk ”

“ Next to cradle songs, the creations of motherly affection, come the songs of youthful passion, when the instinct of love wakes in the hearts of the young man and the maid; and they sing, also, as naturally and simply as birds do in pairing time. There is often a touching inconsequence in these simple strains, a transcript of nature as it speaks to the heart, and finds almost inarticulate utterance in emotions of joy and sorrow, which is like the warbling of a bird, often ending its trill of gladness with a plaintive note. ”

“ Unless we decide that birds generate their songs within; that they reason and study their singing, we must grant that they hear and imitate from Nature, as human composers do. The process in any case has not to do with intellect and reason, but with sensitiveness and spirit. One does not need to acquire intellect and reasoning, to have inspiration, sensitiveness, and spirit. It is the childlike and spontaneous, the sinless and pure-of-heart that attain to psychic inspiration.
"Have you ever seen at close range the rapt, listening, inspired look of the head of a wild bird in flight? ”

“ The genuine fairy tale created by the vivid and credulous imagination of the uncultivated mind, and the genuine folk-song, the outburst of simple and natural emotion, take a hold upon even the most cultivated intellects as the highest literary art fails to do. The folk-songs of Brittany have this charm as well as their own peculiar provincial flavor; and the very crudeness and imperfection of the Sonniou in M. Luzel's collection have more power than all the elaborate poetry and picturesqueness of M. Yillemarque's Celtic fabrications. ”

“ As regards intellectual work it remains a fact, indeed, that great decisions in the realm of thought and momentous discoveries and solutions of problems are only possible to an individual, working in solitude. But even the group mind is capable of genius in intellectual creation, as is shown above all by language itself, as well as by folk-song, folk-lore and the like. ”

“ The directness and simplicity which are the charm of folk-song and ballad are far more likely to be found in early literature than in that which is produced under conditions which foster self-consciousness. They belong, it is true, to the work [Pg 139] of all really great writers. No man can produce genuinely great art without being completely possessed by the emotions which he expresses; so that for the time being he is not wholly removed from the mood of the primitive singers. ”

“ There is something peculiarly healthy and fresh about folk-songs which one only finds again in the very highest efforts of individual creative genius. They are like flowers that have grown up in virgin forests, nurtured by rain and sunshine, fanned by vigorous breezes and shielded from all the hot-house influences of a morbid civilization. So rich and spontaneous are many of these melodies that they can be thoroughly enjoyed even when sung without harmony or accompaniment, while for advanced classes it is easy to write second and third vocal parts, thus adding to their interest and value. ”

“ On the contrary, it exists in very great quantity and of a high quality, not only as poetry, but as illustrating the character and history of the people. The Breton race is not only a profoundly poetical one, by its pensive, mystic, and deeply religious character, but by its secluded condition apart from the currents of modern education, and its occupations in the gloomy, wind-swept, and rain-beaten fields and on the mysterious and terrifying seas, is particularly subject to the influences which make folk-song a part of its life and the natural expression of its thoughts and emotions. ”

“ But from whatever cause the tendency of the native genius was created, its existence was obvious, and from the very earliest time, since song began to be preserved in written words, the quality and quantity of Scotch folk-poetry and folk-music have been remarkable. The native faculty and the inherited tendency were all present when the spark of an inspiration, involving all the elements of patriotism, daring adventure, personal devotion, despair, and lamentation, gave fire to the genius of national poetry. ”

“ The genius of folk-song and ballad poetry had always been remarkably developed in Scotland, in comparison, at least, with England, and, in spite of many characteristics among the Lowlanders, worldly thrift, bitter and barren bigotry, and a sort of dourness and hardheadedness, not calculated to encourage sentiment and emotion; and the student of racial distinctions may be inclined to attribute it to the influence of Celtic blood and tradition, creating a vein of sensitiveness, tenderness, and susceptibility to the magic of song and music in the strong and hard fabric of the Saxon character. ”

“ The adventures of the English outlaws, of whom Robin Hood, however mythical his actual existence, was the type, were not less stirring and full of the natural elements of poetry than those of the reivers and cattle thieves of the Scottish Border, but the ballads of the former cycle are only full of a vulgar peasant humor, while the latter are illuminated with the light of battle, and have the quarter staff and broken pate in place of the spear and the bleeding breast. ”

“ Literature and art should be wedded together. The careful reader and the keen observer gather up a mental harvest and store it for use. What many conceive to be genius is often but reproduction. Hosts of ideas have passed through the crucible of the author's mind and have been refined by the process, coming forth individualized by the stamp of his personality. He is none the less an originator, a creator; originality is after all but condensed and refined observation.
There is a great deal of nonsense written and credited by the world at large as to the inspiration of authorship. ”

“ It is only the highest intellectual power, what we call genius, that attains to this degree of intensity, making all time and existence its theme, and striving to express its peculiar conception of the world, whether it contemplates life as the subject of poetry or of philosophy. Hence, undisturbed occupation with himself, his own thoughts and works, is a matter of urgent necessity to such a man; solitude is welcome, leisure is the highest good, and everything else is unnecessary, nay, even burdensome. ”

“ Prolonged exile, and mere receptivity have withdrawn the energy from the organs of these people.
It will be noticed that in those cases where art is an enfeebling influence there is always a hiatus between the public and the artist. Let us consider the case of the folk-song as sung by the peasants of Suabia. Such songs are written by one peasant and sung by the next. The author and the singer and the hearer are all one. To the audience the song is life and emotion, social intercourse, love, friendship, the landscape, philosophy, prayer, natural happiness. ”

“ Scott said, that although he had known many men of ordinary abilities who were capable of perfect regularity in their habits, he had never known a man of genius who was so. The popular impression concerning men of genius is very strong in the same sense, but it is well not to attach too much importance to popular impressions concerning men of genius, for the obvious reason that such men come very little under popular observation. When they work it is usually in the most perfect solitude, and even people who live in the same house know very little, really, of their intellectual habits. ”

“ Nothing in intellectual history has ever exceeded the unshakable firmness of purpose with which he dedicated his whole being to the elaboration of the Positive philosophy. He sacrificed everything to it—position, time, health, and all the amusements and opportunities of society. He found that commonplace acquaintances disturbed his work and interfered with his mastery of it, so he resolutely renounced them. Others have done great things in isolation that was not of their own choosing, yet none the less fruitful for them and for mankind. ”

“ Now, if we carefully consider the question we are discussing, we shall in all possibility find that all the gross and vulgar conceptions of life which are formulated into certain products of art, literature, and criticism, emanate from this Bohemian class. Its members do not, we believe, penetrate far into life of any kind, but where they do penetrate they create the vices they perceive, and reflect phenomena in the distorted mirrors of their own moral consciousness. Possessing no religion, they imagine that English life is irreligious. Having no faith, they perceive no faith anywhere. ”

“ If you neglect the sounds it is no ballade; if you neglect the sense—why write it at all? No one is compelled to [Pg li] use these complex forms, but if chosen, their laws must be obeyed to the letter if success is to be attained. The chief pleasure they yield consists in the apparent spontaneity, which is the result of genius, if genius be indeed the art of taking infinite pains; or, if that definition is rejected, they must yet exhibit the art which conceals art, whether by intense care in every minute detail, or a happy faculty for naturally wearing these fetters. ”

“ Of course, this fundamental principle of tuition, that the arrangement of matter and method must correspond with the order of evolution and mode of activity of the faculties—a principle so obviously true, that once stated it seems almost self-evident—has never been wholly disregarded. Teachers have unavoidably made their school-courses coincide with it in some degree, for the simple reason that education is possible only on that condition. Boys were never taught the rule-of-three until after they had learnt addition. ”

“ To continue these suggestions much further, would be to write a detailed treatise on education, which we do not purpose. The foregoing outlines of plans for exercising the perceptions in early childhood, for conducting object-lessons, for teaching drawing and geometry, must be considered simply as illustrations of the method dictated by the general principles previously specified. We believe that on examination they will be found not only to progress from the simple to the complex, from the indefinite to the definite, from the concrete to the abstract, from the empirical to the rational ”

“ As the mind, consisting at first of but few active faculties, has its later-completed faculties successively brought into play, and ultimately comes to have all its faculties in simultaneous action; it follows that our teaching should begin with but few subjects at once, and successively adding to these, should finally carry on all subjects abreast. Not only in its details should education proceed from the simple to the complex, but in its ensemble also.
2. The development of the mind, as all other development, is an advance from the indefinite to the definite. ”

“ He grinds out what music he can, but his little money-box remains ever empty. The wanderer feels the brotherhood between himself and the old man. ‘Play my songs on your grind-organ,’ he asks. People have suggested that this bit of verse must have come very close to Schubert’s heart; for he, too, had made what music he could, he too was alone in the world, and he too found his little money-box always empty.
Of the songs of this cycle at least a third rank with Schubert’s best. ‘The Lindentree,’ with its simple strophic melody, is almost a folk-song among the German people. ”

“ If it is realism, it is realism of the most primitive sort. We should not be misled by the praise of the ‘brook music’ in this cycle. True descriptive music, whether for good or for bad, did not enter song until after Schubert. And we should further remember that, although Schubert was indeed the first great composer of the song-cycle, he never gave the form the unity and inner meaning which was imparted to it by Schumann, and which is typical of it to our minds. ”

“ The folk-song is a naïve product, springing almost unconsciously from the hearts of simple people, and not intended to convey any such definite expression of the meaning of the words as is conveyed in modern songs. While there are specimens [2] of the art song that closely approach the simplicity and beauty of the folk-song, the art song in general is not only of wider range and of wider application to men's thoughts and feelings, but it also has, as an integral part of it, an accompaniment of which the folk-song, in its pure state, is entirely devoid. ”

“ Folk-song, beginning in the prehistoric age of music, has kept pretty much to itself until recent times, and has had a development parallel with art music. From time to time it has served as a reservoir for this art music, opening its treasures richly when the conscious music makers had run dry. ”

“ The important point is that, in England and Ireland at any rate, the folk-song, orally transmitted, has practically evolved as a separate art-form with its own ways and means of expression. And the outstanding feature of the movement is the recognition of this art-form as a thing of beauty, of vitality, and of necessity to the nation. One might make a very fair division of English composers into those who do not use folk-tunes, those who do for cheque-book reasons, and those who do because they must. ”

“ The folk-carol defies imitation. A skilled musician, saturated in the literature of his country's folk-music might, conceivably, make a folk-song without betraying himself; but it seems impossible that he could imitate a popular carol and escape detection.
There is, then, every reason why we should do all that is possible, while there is yet time, to collect and publish our traditional carols; for in them we have a unique possession, a national heritage of inestimable worth. ”

“ The ordinary methods which he would apply to [Pg x] a folk-song break down in the case of a labour-song. Manual actions were the soul of the shanty; eliminate these and you have only the skeleton of what was once a living thing. It is quite possible, I know, to push this line of argument too far, but every one who knows anything about seamanship must feel that a shanty nowadays cannot be other than a pale reflection of what it once was.
That is why I deprecate the spurious authenticity conferred by print upon isolated versions of shanties sung by individual old men. ”

“ A peasant by birth, he retained a certain simplicity of soul in his attitude toward music which seems contradicted by his great technical complexity. He can reproduce not only the simple form of the folk-song, but also its spirit, its naïve literal quality, which takes joy in what a sophisticated person would find common. This quality we find very frequently in his songs. ”

“ If we can answer these questions, we shall know not merely what the instinctive melodies of folk-songs mean, but what all true music means and expresses, and partly, at least we shall understand the unique power which music exerts over human beings, now as in the dim past, when Orpheus was not a singer only, but a magician, when a song was not a melody and words only, but an incantation and charm, a spell. ”