|Share page||Visit Us On FB|
The publication of a work upon a subject so interesting and so important as Memory, in its connection with Music and Musical Performance, and about which, as far as the author has been able to discover, absolutely no literature exists, seems to call for no apology. But, because it is the first attempt to deal with this subject, because the territory which the author has endeavoured to map out was largely an unexplored one, in the survey of which he has been obliged to make his own high roads, and erect his own sign posts, he therefore wishes to claim the indulgence of his reader, if, in the investigation which he now presumes to offer to those interested in musical education, his foot has slipped, and he has taken, not perhaps one, but many wrong turnings.
The purpose of this work is chiefly twofold. First, it is an inquiry into the various forms of memory employed in piano playing, and the presentation of a theory with regard to the relative extent of the employment of the various forms by different individuals, and whatever be the amount of light or darkness this inquiry may shed upon the subject, the author feels that no earnest and intelligent teacher of the piano can feel altogether uninterested in an attempt, however imperfect and incomplete, to grapple with the unsolved problems which thrust themselves before him at every lesson.
Second, its purpose is to repeat once again, and if possible with stronger emphasis, that oft-told tale that Ear-training, which is largely a cultivation of the musical memory, is THE FACT of all true musical education. Until this is fully recognised and educational and examination schemes modified accordingly, so long will the musical present and future of this country be overshadowed by a dark cloud, which may not affect the flavour of its choicest fruits, but will surely diminish the wealth and richness of its foliage if it does not also mar the beauty and sweetness of its blossoms.