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Speaker 1: How to remember music. Like all of the other faculties

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of the mind, that of music or tune is manifested

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in varying degrees by different individuals. To some, music seems

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to be almost instinctively grasped, while to others it is

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acquired only by great effort and much labor. To some,

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harmony is natural and in harmony a matter of repulsion,

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while others fail to recognize the difference between the two.

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Except in extreme cases. Some seem to be the very

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soul of music, while others have no conception of what

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the soul of music may be. Then there is manifested

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the different phases of the knowledge of music. Some play

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correctly by ear, but are clumsy and inefficient when it

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comes to playing by note. Others play very correctly in

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a mechanical manner, but failed to retain the memory of

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music which they have heard. It is indeed a good

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musician who combines within himself or herself both of the

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two last mentioned faculties, the ear perception of music and

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the ability to execute correctly from notes. There are many

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cases of record in which extraordinary powers of memory of

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music have been manifested. Fuller relates the following instances of

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this particular phase of memory. Carolyn, the greatest of Irish bards,

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once met a noted musician and challenged him to a

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test of their respective musical abilities. The DeFi was accepted,

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and Carolyn's rival played on his violin one of Vivaldi's

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most difficult concertos. On the conclusion of the performance, Caroline,

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who had never heard the piece before, took his harp

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and played the concerto through from beginning to end without

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making a single error. His rival thereupon yielded the palm.

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Thoroughly satisfied of Carol and superiority as well, he might be.

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Beethoven could retain in his memory any musical composition, however complex,

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that he had listened to, and could reproduce most of it.

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He could play from memory every one of the compositions

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in Bach's well tempered Clavichord, there being forty eight preludes

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and the same number of figures, which, in intricacy of

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movement and difficulty of execution, are almost unexampled, as each

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of these compositions is written in the most abstruse style

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of counterpoint. Mozart, at four years of age, could remember

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note for note elaborate solos and concertos which he had heard.

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He could learn a minuet in half an hour, and

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and even composed short pieces at that early age. At six,

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he was able to compose without the aid of an instrument,

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and continued to advance rapidly in musical memory and knowledge.

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When fourteen years old, he went to Rome. In Holy

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Week at the Sistine Chapel was performed each day a

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Legre's Misserare, the score of which Mozart wished to obtain,

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but he learned that no copies were allowed to be made.

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He listened attentively to the performance, at the conclusion of

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which he wrote the whole score from memory without an error.

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Another time, Mozart was engaged to contribute an original composition

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to be formed by a noted violinist and himself at

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Vienna before the Emperor Joseph. On. Arriving at the appointed place,

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Mozart discovered that he had forgotten to bring his part.

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Nothing dismayed, he placed a blank sheet of paper before

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him and played his part through from memory without a mistake.

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When the opera of Don Giovanni was first performed, there

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was no time to copy the score for the harpsichord,

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but Mozart was equal to the occasion. He conducted the

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entire opera and played the harpsichord accompaniment to the songs

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and choruses without a note before him. There are many

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well attested instances of Mendelssohn's remarkable musical memory. He once

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gave a grand concert in London, at which his overture

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to Midsummer Night's Dream was produced. There was only one

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copy of the full score, which was taken charge of

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by the organist of Saint Paul's Cathedral, who unfortunately left

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it in a Hackney coach, whereupon Mendelssohn wrote out another

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score memory without an error. At another time, when about

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to direct a public performance of Bach's Passion Music, he found,

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on mounting the conductor's platform that instead of the score

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of the work to be performed, that of another composition

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had been brought by mistake. Without hesitation, Mendelssohn successfully conducted

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this complicated work from memory, automatically turning over leaf after

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leaf of the score before him as the performance progressed,

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so that no feeling of uneasiness might enter the minds

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of the orchestra and singers. Gotschalk, it is said, could

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play for memory several thousand compositions, including many of the

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works of Bach. The noted conductor Vannessi rarely has the

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score before him in conducting an opera. Knowing every note

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of many operas from memory, it will be seen that

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two phases of memory must enter into the memory of music,

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the memory of tune and the memory of the notes.

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The memory of tune, of course, falls into the class

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of ear impressions, and what has been said regarding them

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is also applicable to this case. The memory of notes

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falls into the classification of eye impressions, and the rules

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of this class of memory applies in this case. As

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to the cultivation of the memory of tune, the principal

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advice to be given is that the student take an

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active interest in all that pertains to the sound of music,

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and also takes every opportunity for listening to good music

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and endeavoring to reproduce it in the imagination or memory.

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Endeavor to enter into the spirit of the music until

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it becomes a part of yourself. Rest not content with

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merely hearing it, but lend yourself to a feeling of

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its meaning. The more the music means to you, the

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more easily you will remember it. The plan followed by

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many students, particularly those of vocal music, is to have

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a few bars of a piece played over to them

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several times until they are able to hummet correctly. Then

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a few more are added, and then a few more,

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and so on. Each edition must be reviewed in connection

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with that which was learned before, so that the chain

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of association may be kept unbroken. The principle is the

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same as the child learning his ABC, he remembers B

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because it follows a. By this constant edition of just

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a little bit more, accompanied by frequent reviews, long and

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difficult pieces may be memorized. The memory of notes may

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be developed by the method above named the method of

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learning a few bars well, and then adding a few more,

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and frequently reviewing as far as you have learned, forging

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the links of association as you go along by frequent practice.

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The method being entirely that of eye impression, and subject

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to its rules. You must observe the idea of visualization,

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that is, learning each bar until you can see it

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in your mind's eye as you proceed. But in this,

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as in many other ie impressions, you will find that

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you will be greatly aided by your memory of the

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sound of the notes in addition to their appearance. Try

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to associate the two as much as possible, so that

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when you see a note, you will hear the sound

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of it, and when you hear a note sounded, you

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will see it as it appears on the score. This

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combining of the impressions of both sight and sound will

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give you the benefit of the double sense impression, which

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results in doubling your memory efficiency. In addition to visualizing

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the notes themselves, the student should add the appearance of

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the various symbols denoting the key, the time, the movement, expression,

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et cetera, so that he may hum the air from

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the visualized notes with expression and with correct interpretation. Changes

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of key, time, or movement should be carefully noted in

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the memorization of the notes. Memorize the feeling of that

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particular portion of the score, that you may not only

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see and hear it, but also feel that which you

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are recalling. We would advise the student to practice memorizing

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simple songs at first, for various reasons. One of these

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reasons is that these songs lend themselves readily to memorizing,

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and the chain of easy association is usually maintained throughout.

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In this phase of memory, as in all others, we

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add the advice to take interest, bestow attention, and practice

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and exercise as often as possible. You may have tired

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of these words, but they constitute the main principles of

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the development of a retentive memory. Things must be impressed

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upon the memory before they may be recalled. This should

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be remembered in every consideration of the subject.