Music and Its Masters — Context and Discussion

The Rhetoric of Musical Evolution

Boise's narrative is driven by a metaphor of progress: music evolves from 'shadowy' origins through a series of 'eras,' each marked by a 'high-priest.' This hierarchical framing is most explicit in Chapter VI, which asks 'Who is to be our seventh high-priest?'—a question that assumes a linear, almost religious succession of genius. The author's language shifts between technical description (Schumann's 'broken rhythms and dissonant compounds') and sweeping judgment ('the most remarkable,' 'without a rival').

Notably, Boise's pace varies with his subject. Early chapters on ancient music and biblical references move quickly, covering centuries in a few pages. But when he reaches the 19th century, the prose slows to accommodate extended analyses of individual works, such as Schumann's quintet or piano concerto. This uneven pacing suggests that Boise's true interest lies not in comprehensive history but in establishing a canon of German masters, with Wagner as the culmination.

National Character and Musical Judgment

Boise frequently attributes musical traits to national character, a common trope in 19th-century music criticism. France, he writes, produced 'quick perceptions' and 'deft and dainty' art, but its people are 'emotionally volatile' and prefer music that 'does not require them to think earnestly.' In contrast, German composers like Schumann and Beethoven are treated as thinkers and philosophers. This national lens shapes the book's structure: after a general historical overview, Boise devotes separate sections to each nation's contributions, evaluating them against an implicit German standard.

The author's language becomes notably more engaged when discussing German figures. Schumann is described as 'the first composer to feel and apply the immense, expressive resources inherent in rhythm,' a claim that positions him as a pioneer. Meanwhile, French composers are dismissed as 'few who have attained to more than passing fame.' This bias is not merely aesthetic but structural: the book's argument for musical progress depends on the superiority of the German tradition.

Voice and Authority in the Preface

Boise's preface reveals his didactic intent: 'I have endeavored through showing the true nature of music, and the conditions that are essential to its growth in breadth and significance, to incite amateurs to a more respectful consideration of its claims.' The word 'incite' is telling—Boise sees himself as a reformer, correcting the public's insufficient reverence for music. His tone throughout is that of a lecturer who expects to be heeded, rarely qualifying his assertions.

This authoritative voice is reinforced by the book's physical presentation: the front matter includes a full-page advertisement for a companion volume by Philip H. Goepp, 'Symphonies and Their Meaning,' suggesting that Boise's work was part of a series aimed at the same educated audience. The preface's address to 'amateurs' implies a readership of non-specialists who need guidance, and Boise's confident judgments—such as calling Schumann's piano concerto 'without a rival'—serve to establish his credibility as a guide.

Readers approaching this book should be aware that Boise's history is not neutral but argumentative, shaped by a clear preference for German Romanticism and a belief in music's moral and intellectual seriousness. The excerpts suggest that the most rewarding sections are those on Schumann and Wagner, where the author's analytical focus sharpens. For a fuller understanding of the period's musical debates, one might compare Boise's judgments with those of his contemporaries, such as Eduard Hanslick or George Bernard Shaw.

I keep thinking about how Boise saw composers as high-priests, music as something almost sacred, yet his book feels so earnest and plain-spoken. It made me remember the gentler guidance in How to Listen to Music, 7th ed. Hints and Suggestions to Untaught Lovers of the Art — Context and Discussion, which spoke to me as a beginner, not a devotee. That old kindness stays with me.