The enjoyment and understanding of music are dominated in a most curious way by the prestige of the masterpiece. Neither the theatre nor the cinema nor poetry nor narrative fiction pays allegiance to its ideal of excellence in the tyrannical way that music does. They recognize no unbridgeable chasm between “great work” and the rest of production. Even the world of art painting, though it is no less a victim than that of music to Appreciation rackets based on the concept of gilt-edged quality, is more penetrable to reason in this regard, since such values, or the pretenses about them advanced by investing collectors and museums, are more easily unmasked as efforts to influence market prices. But music in our time (and in our country) seems to be committed to the idea that first-class work in composition is separable from the rest of music-writing by a distinction as radical as that recognized in theology between the elect and the damned. Or at the very least as rigorous an exclusion from glory as that which formerly marked the difference between Mrs. Astor’s Four Hundred and the rest of the human race. This snobbish definition of excellence is opposed to the classical concept of a Republic of Letters. It reposes, rather, on the theocratic idea that inspiration is less a privilege of the private citizen than of the ordained prophet. Its weakness lies in the fact that music, though it serves most becomingly as religion’s handmaiden, is not a religion. Music does not deal in general ideas of morality or salvation. It is an art. It expresses private sentiments through skill and sincerity, both of which last are a privilege, a duty, indeed, of the private citizen, and no monopoly of the prophetically inclined.

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