Radio Broadcast (Nov 1926-Apr 1927)

NOVEMBER, 1926 DECRIES JAZZING OF CLASSICS 47 his watch from his pocket he turned the stem wind, which was loose, back several minutes. AMONG the radio programs we receive regularly is that of the Compagnie Francaise de Radiophonie, Paris. (The printed program we mean!) Just by way of giving this department a ritzy and cosmopolitan air, here's a typical evening program: 3321 EMISSION 20 H. Resultats des courses — cours des cafes du Havre — cours des Matieres grasses — cours des farines — des bles de Chicago — cours des sucres — des laines — des cuivres — cours de cloture des cotons de New York — Informations Havas — ■ cours des caout choucs — du plomb. 20 H. 30 — Radio concert de Gala, organise par les Grands Magasins Du Printemps. The 20:30 o'clock concert is an indirect advertising offering and is sponsored by different organizations on each successive night — such as department stores, theatres, manufacturers, newspapers, magazines, etc. \A /CAP having discontinued broadcasting, . " ' wrc is now operating at full time on the wavelength it formerly shared with the other Washington station. Wire lines now connect wrc with both weaf and wjz, in New York, and its programs are arranged with features from both of the Metropolitan stations, together with musical and educational events of the Capital. AN INTERESTING feature of the fall and **• winter schedule of wbal will be a series of American Composer programs. The programs will not all beorchestral, but will more frequently feature a solo instrument. Frederick R. Huber, director of the station, aims to enlist the aid of the composer whose work is to be featured, requesting him to supervise the program and to perform certain of his favorite compositions on his own chosen instrument. Among those in the front rank of American musical achievement to whom invitations will be extended are: Charles W. Cadman, Deems Taylor, Henry Hadley, Walter A. Kramer, John Alden Carpenter, and Rudolf Friml. PACTORS contributing to successful radio broadcasts are outlined in a newly published list of microphone instructions now being distributed to singers, speakers, and piano accompanists at KOA. Programs start on the minute. Coughing, sneezing, clearing the throat, scraping the feet and other disturbances in the studios are annoying to listeners. The microphone is so sensitive that the slightest commotion may be transmitted to the unseen audience. Therefore, when the announcer calls, 'quiet everybody!' kindly comply. Do not begin singing or playing until the announcer gives the signal. Unless you have memorized your music, be prepared with an extra copy, as you do not stand near the piano when singing. Do not be perturbed if the announcer motions for you to move nearer the microphone or withdraw, while singing. Very loud„singing or playing is objectionable as it detracts from successful broadcasting, often producing a shattered effect. The best choral effects are obtained when each person sings in a subdued manner. To pianists: Too much loud pedal spoils the rendition. The top of the piano should be left down as the best broadcasting is accomplished when the instrument is closed. T^OM McNAMARA, former gridiron star, A coach, and sports writer is again broadcasting a course of radio football instruction at koa, Denver — which must mean that last year's series attracted enough interest to justify the continuance. Lessons are broadcast every Monday, Wednesday, and Friday evening at 8:15 o'clock, mountain standard time, and are intended for college and high school players, parents, beginners and athletic instructors. McNamara is head coach of Regis college at Denver. WBAL has added to its features a dance orchestra which is being heard on Monday and Thursday nights, and which, in keeping with wbal's policies, is of the slightly high-brow variety. John I. Lederer, its conductor, has some original views on dance music and stoutly maintains that such does not have to be jazzy to be alluring and rhythmic. "This idea that a lot of noise is necessary to get pep and snap into dance music is a false conception," he says. "The most alluring dance music in the world can be soft and snappy, full of rhythm and syncopation, and yet without any undue noise. I know I get the best results by using the best of the popular dance music, especially those wonderfully syncopated selections from the leading musical comedies. In fact, dance music of this sort I have found to be much more generally liked than the sort that shrieks and wails. Rhythm and syncopation do not necessarily have to be combined with mere noise; in fact, they are far more likely to be found in music that is quietly tuneful and melodious than in any other sort of music." Mr. Lederer also decries the idea of taking the old masters and arranging their compositions to the popular idea of dance music. "I think it's a desecration to take the lovely music of, say, 'Faust,' and produce it in dance form. One always connects that sort of music with genius, and with so much dance music being written, it seems almost sacrilegious to rearrange the works of such writers for this purpose." With his last point we do not find ourself in entire agreement. We admit it is an abuse to lift a "classical" piece in its entirety and simply butcher its time to make a dance piece of it. But we see no great harm done in lifting a theme or two from the classics and bending them to the purposes of jazz. For after all, these themes are as often as not public property, and were originally "stolen" from some previous source by the classic composer. What a jazz composer, and a master such as Brahms, can "say" with the same snatch of tune, constitute two such entirely different things that neither one can conceivably affect the virtue of the other. THE Hazeltine Corporation reports a profit of $65,474 during tne first half of 1926, after deducting Federal taxes. The total dividend per share for the current year now amounts to one dollar. Communications Help! Help! Tell Us Which Is Right? We Aim to Please! Benton Harbor Michigan. Sir: . . . and why don't you occasionally write something we'd like to read about? You are making the department deader than a doornail and you rarely if ever express an opinion anyone with common sense could agree with. Bertram Weber. Rye, New York Sir: I have just finished reading your " Listeners Point of View" and I just want to tell you how much I always enjoy this always interesting section of the Radio Broadcast. It is more interesting and entertaining with every issue. N. M. Cooke HOW THE BASTILE FALLS FOR THE RADIO A view in an English radio studio, the fall of the Bastile and some of the stirring events of the French Revolution were reproduced. The quaint and curious devices shown here were responsible for the successful illusion of the historic occasion