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MUSIC NOTES.
/7\s (i Long, Long Way 1o Tippcr
ary.
As I left Memorial tliis evening
I heard a boy's voice break fortb
into Tippcrary. On it came, from
King Hall down to Arclidale and
was joined by oilier voices. I'pon
arriving at Founders I f2lll and my
own room I was again attracted
by the song. This time a girl's
voice in the corridor. Then an
otlier voice from a room. And 011
down the hall, another. Last week
in Philadelphia, I happened into
the ninsic department, of Wana
niaker's store. It is 110 exaggera
tion to say tliiit the copies of Tip
pcrary stood, piled one upon the
other, live feet high. The show
window of Presser, one of the
largest publishing houses in the
country, was lined on all sides
with the Tippcrary song. None of
the usual classics displayed. None
of the season's novelties. Only
Tippcrary.
(iranted that the world (the
lOnglish speaking world) is sing
ing Tippcrary. Let us not accept
that without a spirit of interest
and inquiry why it is so. Some
things are inexplicable— and the
popularity of certain songs is one
of them. Hut in the case of this
song, 1 believe a moment's thought
will help us to account for its im
mense vogue, and also make us
more intelligent in our estimation
of so-called popular songs.
We must know in the first place
that Tippcrary is a inarching song
of the British soldiers. Those who
know English musicians and the
ideal of English music can fancy
English musicians regretting that
the taste of their own British sol
dier is so low! It is to them per
haps a little degrading that their
soldiers should prefer a music
hall song to a more imposing song
structure, such as the Marseillaise
or Waclit am lthcin.
Personally, I think Tippcrarij
is a little masterpiece in its way.
lis time —cheery, fascinating,
even funny—is so natural Hint
four simple chords make up the
entire accompaniment. Some per
sons may contend that il is har
monically poor and weak for this
very reason. Others, like myself,
listen in wonder to the result ob
tained with such simple means.
Those of you who can play a sim
pie cadence, that is, the four pri
mary chords in any key have as
much harmony at your command
as had Hie composer of Ti/tprrari/.
Think of that! Can you make so
good a song? Schubert used
scarcely more harmony than these
four simple chords in those songs
of his which the world proclaims
as the greatest ever written. Why
cannot we with the same means at
our command do something equal
ly as good? If so-called "musical
culture" consists of technical un
derstanding and grasp, there is no
THE GUILFORDIAN
reason why we should not. But
alas! it is not musical culture tljat
makes a song like Tipper a rij. It
is too bad to have to record that
culture in music often neglects
why psychologists call "(lie hu
man equation," and of course, in
music, as in literature or any oili
er art, that is Ihe only thing thai
matters.
It must he born in mind that
I here is such a thing as an uncul
tured musician as well as a cul
tured musician; and that the lin
es! product of the cultured mu
sician pales besides that of the
uncultured musician if il lacks
this hitman element. In other
words if it cannot be made the
vehicle of the emotions of the mul
titude, a song may be, it appears,
theoretically correct and psycho
logically wrong. The composer
who lacks the psychological some
thing which attracts the sympa
thy of his hearers in general, is a
failure, no matter how theoreti
cally perfect his work may be. On
the other hand a highly cultured
musician gets a certain amount of
pleasure from line style and great
skill even though the human ap
peal is small.
Of course, you know that the
English have no rag-time songs.
And that this song is, therefore
very unlike the present-day Eng
lish popular song. It is evidently
the immediate product of the
American war-song, and rag-time
song. However that may be, lam
certain that men like Mozart and
Schubert would delight in this
song. With all its rollicking hu
mor there is no touch of vulgarity.
Its rhythmic design is far more
clever than the usual rag-time
song; its sentiment is wholesome;
and how perfectly the composer
has caught the musical equivalent
of the phrase "long, long way to
Tipperary!"
I venture to think it a piece of
good luck that when war broke
out, this song, an ideal marching
tune for the British soldier, was
in the air. It is the embodiment
of the careless, jocular spirit in
which the British soldier .sheathes
liis nerves and which is so incom
prehensible and distressing to con
tinental seriousness. J. L. ]{.
SCIENCE CLUB.
The Joseph Moore Science (Mub
held its regular meeting on Wed
nesday evening, .January L'Tth.
There being no business to come
before the club, Mr. Downing, who
had charge of the meeting con
tinued his discussion of the theorv
of electrolytic dissociation. lie
viewing the main points of Ar
rhenius' theory, he then took up
the electron theory of matter and
showed how it correlated with the
previous theory in explaining the
facts of electrolysis. In conclu
sion, he compared this theory with
the older one of Clausius.
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