Phonograph Monthly Review, Vol. 3, No. 9 (1929-06)

June, 1929 The Phonograph Monthly Review 295 musical equipment that is a universal legacy. I have said that he does not recognize melody and rhythm as such, although he understands and enjoys their simplest manifestations. He neces- sarily judges music, that is, estimates the pleasure it gives him, from its effect as a whole upon him. He makes nd qualifications; he either likes or dislikes a piece and his reaction is an immediate and heartfelt one. The first effect to appeal to him is that of familiarity, putting him at his ease* and freeing him from the uncomfortable idea that he is listening to “classical” or “high- brow” music. The second effect gives him a feel- ing of pleasure. He is moved. He experiences an emotion or chain of emotions. For the aver- age man in the street this sentiment must be the most obvious of sentimentality: Hearts and Flowers, Sonny Boy, My Blue Heaven, or on a little higher scale, the Melody in F, The World is Waiting for the Sunrise, Mendelssohn’s Spring Song, the Schubert Serenade, or Schumann’s Traumerei. The third effect is the stimulant of rhythmic or dynamic intensity, the exciting beat of a good march, above all, the desire to partici- pate by dancing or singing. The simplest res- ponse to this attraction is the tapping of time with one’s feet or hands, or even the swaying of one’s body to the rhythm of the music. A primitive reaction, but a most necessary one, for until the music is actualy felt it can never make an impression. At about this stage of progress a new element enters, one of great educational significance, per- haps the most important of all the secondary musical elements. I refer to that of the dramatic appeal of the music. In the early stages of musi- cal education this drama lies not in the music itself (the conflict between two themes—sonata form, or the evolution of a single germinal theme —fugue), but in the music’s “story” or associa- tions. The most primitive example is the ballad or song-tale, where the music is subordinated almost entirely to a narrative. This type of composition has recently regained its ancient popularity through the extensive release of “Southern,” “Old Time Tune”, or “Hill Billy” records by the various companies. If every other kind of record fails to catch the attention of a musical novice, turn to the releases of Vernon Dalhart, Frank Crummit, Jimmie Rodgers, Marc Williams, Buell Kazee, A1 Craver, et al. Here we have the bare musical essentials, an ultra- simply melody usually based on or cleverly com- pounded of familiar tunes, and a. strongly marked simple rhythm, often made still more emphatic by the use of a guitar or banjo in the accom- paniment. The music—such as it is—serves as the background for the story, the tale of Jesse James or Buffalo Bill, or of contemnorary figures like Lindbergh, Floyd Collins, or Valentino, Cur- rent events like the breaking of the St. Francis Dam, the crime of Edward Hickman, the neace between the Vatican and Rome, the Scopes Trial, etc., are thus celebrated in song. Surprisingly unsophisticated, these records have been sold by the millions, both to those who enjoy them in all seriousness and to those for whom they are an amusing novelty. Tlhe “hill billy” records exhibit the dramatic, story-telling quality in its simplest form. The next stage is the semi-art ballad and “patrol”, “descriptive,” and “novelty” types of instru- mental pieces. Here we have the beginning of program music, and such pieces as Ketelbey’s In a Persian Marketplace, In a Monastery Garden, etc., are particularly valuable. They are all avail- able in a variety of recordings. Some of these records feature solo instruments, the Whirlwind or Brooklet for flute, the Elephant and the Fly for bassoon and piccolo, Rippling Streams for Xylo- phones, etc. Such pieces catch the ear of the novice by the prominent tunefulness and rhythm- ic appeal, and without his being aware carry him a step forward by teaching him to listen for the characteristic color and technical qualities of various instruments. Transcriptions of familiar airs for saxophone, “musical saw”, harmonica, and accordion have similar value on a lower scale, It my seem odd that a “singing saw” or accordion solo should be recommended for musical appre- ciation work, and indeed it is only in certain cases that they should be. But with adults of little or no general education or cultural back- grounds the primary object must be to capture their attention and give them something that they may enjoy. Hearing the familiar everyday instruments they perhaps play themselves and tunes that they have been brought up with, their suspicions are disarmed and unconsciously they begin to learn. Gradually new pieces treated in the familiar manner, or old pieces treated in a new manner are introduced, &nd the process of advance is well on its way. (To be continued. The next instalment will contain a list of “first records.”) *% .*♦ **♦ .*♦ **+.*♦ ♦*. *** »-*♦ +*■* .£* »j» »j* ♦£» ♦j* 1 ! H. ROYER SMITH CO. $ Y I “The World’s Record 1 ! shop” | I I i New Importations Almost J | Every Day | X I f JL * Have you written yet for our new general Y * catalogue? (15c postpaid to any address) ♦♦♦ f X ♦$* 5 * (See Advertisement on Page 317) f t Z Y ?