Of all forms of the uplift, perhaps the most futile is that which addresses itself to educating the proletariat in music. The theory behind it is that a taste for music is an elevating passion, and that if the great masses of the plain people could be inoculated with it they would cease to herd into the moving-picture theaters, or to listen to Socialists, or to beat their wives and children. The defect in this theory lies in the fact that such a taste, granting it to be elevating, simply cannot be implanted. Either it is born in a man or it is not born in him. If it is, then he will get gratification for it at whatever cost he will hear music if hell freezes over. But if it isn’t, then no amount of education will ever change him he will remain stone deaf until the last sad scene on the gallows.
No child who has this congenital taste ever has to be urged or tempted or taught to love music. It takes to tone inevitably and irresistibly; nothing can restrain it. What is more, it always tries to make music, for the delight in sounds is invariably accompanied by a great desire to make them. I have never encountered an exception to this rule. All genuine music-lovers try to make music. They may do it badly, and even absurdly, but nevertheless they do it. Any man who pretends to a delight in the tone-art and yet has never learned the scale of C major any and every such man is a fraud. The opera-houses of the world are crowded with such liars. You will even find hundreds of them in the concert-halls, though here the suffering they have to undergo to keep up their pretense is almost too much for them to bear. Many of them, true enough, deceive themselves. They are honest in the sense that they credit their own buncombe. But it is buncombe none the less.
H.L. Mencken, “The Allied Arts: On Music-Lovers”, Prejudices: Second Series, 1920.
January 31, 2014
QotD: The love of music
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