Songs That Live 1489 



when the spirit of life is so stirred that it bursts from the confines of ordinary speech 

 and rises into harmony. Speech was bom of the mind, but song is a child of the spirit. 

 Then what a pity, when we ought to be rejoicing and uphfting our souls in song, to 

 find that the wells of harmony are being polluted vi-ith a moral poison. We search for 

 reasons. Why are such songs sung? For the slightest and yet for the strongest of 

 reasons. Why does a brids wear a veil? And why does a man have lapels on his 

 coat? Because such things are the style. So, too, with suggestive ragtime songs. 

 They're the style, the latest popular successes. If you don't know them, you're not 

 up to date. It is a mournful commentary upon public manners that our sons and 

 daughters must be in touch with filth in order to be up to date. But it isn't only 

 a mournful commentary. It is a fact. And, as a fact, it's a thing to be faced. 



It is true that most of the cheap and xicious songs originate in cities, 

 but all too quickly they find their way into rural communities and 

 homes. During the last two years many persons have gone over the 

 matter together, have given testimony, and have compared conditions 

 and experiences. From data that have been collected it has been found 

 that for some reason it is true that to-day the }-oung people in the country 

 homes are almost or quite as much exposed to the bhght and contamina- 

 tion of trashy and filthy songs as if their homes were not aloof from and 

 independent of the sources and sites of such songs. The reason for this 

 has been searched for and has been found. Mr. Weston stated it in the 

 part of his article that was quoted. Dr. L. H. Bailey stated it when he 

 once said in speaking to us of the country- that we " are in danger of a 

 cr\-ing foohshness, that of the fear of not being up to date." 



The "fear of not being up to date" in the matter of songs, and the 

 eagerness to have cotmtn.' homes and boys and girls enjoy what purports 

 to be created for the gi\'ing of pleastire as exploited in the city, has set 

 countr\^ people to hasty and indiscriminate buying of " the latest " music. 

 The unworthy type of city music has been adopted, and it has been called 

 representative; the vast amotint of worthy music that is heard at its 

 perfection in the city has been temporarily forgotten. Think of the 

 church music, the operas, s^-mphonies, and oratorios, the concerts and 

 recitals of high grade! Many of these musical entertainments are free 

 to the pubHc and are even organized to be carried free to even- part 

 of the city. Think of the great choral societies, the carefully taught 

 m.usic in high schools and graded schools, the chances for the best of 

 training in ever%' phase of music — all of which tends to shorten the 

 life and the influence of the bad song in the city, even though its spread 

 is universal. 



Better songs in the countn.- home is quietly becoming one of the work- 

 ing texts in many communities of this State. There is not only the desire 

 on the part of people in rural communities to choose between the good and 

 the bad in songs, but there is the ability when thought and care are given 

 to the judging. As proof we are about to quote from letters written by 

 men, women, and children, telling of their appreciation of the theme 

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