THE SONG-MAKERS.

Hokitika Guardian, 22 May 1924, Page 1

THE SONG-MAKERS.

(By V. J. in a Sydney Paper)

A song that sings its way into the heart of the world is a rare production. Rare in proportion to the number launched annually on the song market. Yet the world is as eager in these days to welcome the song it wants as it has ever been. It is quite impossible for any person, the most experienced critic, or music publisher included, to forecast the success or failure of a promising song at the outset. Great expectations have waned into bitter disappointment so often in the publishing trade that the publisher’s chances of “hacking a winner” are even more hazardous than those ol - the punters on the turf. Pompey (the public) turns his thumb up or down, and that settles the matter. Pompey, collectively considered, is a barbarian in the classical art. llis knowledge of harmonic principles, technique, theory, or the laws that govern the construction of melodious sounds is iiifinitismal. He is conscious only that a certain song has stirred some mysterious fount in his being, and tliaj he experiences a new and delightful sensation wholly due to the combination of words and melody contained in that particular song. He wants to hear it again and again, llis - desire is insatiable. He must own that song. So off goes Pompey, his wife, daughters, sisters, cousins, and aunts in pursuit ot that song. They visit the music shops, and the sales list soon registers Pompey s approval. The successful song is seldom the fruit of a great and prolonged effort. It t(lines, to quote Scripture, “like a thief in tiic night,” steals 'ijirougli (lie windows of conscious thought when the composer is off guard, but not too slumberous to lay "hands on the vagabond inspiration.

Two essential factors in the making of a popular song are recognised by most critics—heart interest and melody. The life of a song depends largely ~i! the words. Modern songs, in liiost eases, have a very brief existence because there is no life, ot ton no sense in (be words. Ibis applies mainly to the jazz variety. In conversation with a leading professor ol music recently I was surprised to hear his condemnation of such popular old favourites as "Home Sweet Home” and "Abide with Ale.” From his pedestal of knowledge there are. no doubt, faults of construction to he found in each antique gem that crown’s tins earth’s diadem of song-lore. But who would not exchange flawless perfection bound by art’s controling lingers for the pulsating warmth of an inspired song message straight, from the heart of nature?

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