THE MUSICAL MOVEMENT.
'num MILLAR is among the social reformers of the day. There was at one time a disposition to measure his labours too exclu- sively by the technical rules of musical criticism : flaws were detected in his crowds of pupils; it was discovered that he did not teach singing, but only reading, at sight ; fault was found with the public show of comparatively small results. But it must be confessed that the technical was too limited a view for such a subject. The question was, not how music could best be taught, but how "the millions" and music could best be brought together. The system required was, not only that best suited for teaching any given pupil to sing, but rather that which was best suited for including all pupils, of whatsoever class and in whatsoever number. For such a purpose the course of training fitted to a Mario would have been as unsuited as the measure of Mario's trim figure would suit the purposes of an army-clothier. Nor was the system all: there needed in the mover something like that union of ingenuous enthusiasm and adaptability to the conventions of "society," that] gay spirit and steadfast pur- pose, that tact at animating to a refined pleasure with the keen eye to set duties, that cheerful alacrity with the dogged perse- verance in what often seemed thankless labour, which are so ap- parent in Mr. Hullah's character. It needed no ordinary man to win the confidence of Bishops and working men, of Privy Coun- cil and private families, of schoolmasters and young fellows about town. It wanted a broad manner, as well as a broad system, to make that universal appeal to all classes in our heterogeneous community. But it has been done. You see the reason when you see the man. He brings something of the military spirit into musical discipline : clear as crystal, smart, gay, peremptory, kindly, he is the very leader to bring up the scattered, impatient, lagging forces of a dilettante chorus. And he has performed his task. He has introduced music to the English people. He musters choruses like armies ; and nearly as well drilled,—such as that at Exeter Hall on Wednes- day night. Wherever you go, almost in the squalidest as well as in the finest streets, you may hear part-singing and a practical enjoyment of the classic compositions. We repeat, that it would be a great mistake to estimate this result merely by technical rules. The people are not only learn- ing the practice of singing, but they are becoming familiarized with one of those arts which most discipline the mind. Music is the symmetrical expression of feeling : its exercise tends, by inverse action, to produce a tender and disciplined state of the feelings. Nor only so : a susceptibility to the influence of one art helps to bring the mind within the influence of art generally, --in other words, of "good taste"; that great influence which is most powerful in enforcing social discipline ; which makes the broad distinction—the only valid distinction—between the "up- per and the " lower " classes. A curious distinction is observed between different classes of miners in the same regions—the coal- miners and the lead-miners, as in Derbyshire : the colliers, al- ways begrimed, are low in their tastes, squalid, and improvident ; the lead-miners are cleanly, frugal, decent. Cleanliness gives them a sight of the dignity of human nature, and they are dis- posed to support it in other things. What that does negatively-, art does positively : the cultivator of art is not only habituated, while at his exercise, to a disciplined state of the mind and feel- ings, but he is naturally inclined to make other things, other acts and circumstances, accord. Art gives him not only a sense of enjoyment, but of power : it is pleasant to enjoy music—no less pleasant to be conscious of personal skill—nor at all less to be conscious that you are actively furthering an influence which moves and elevates mankind.
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