The talking machine world (Jan-June 1919)

May 15, 1919 THE TALKING MACHINE WORLD 61 Featuring the Musical Possibilities of the Talking ]VIachine Wmiam Braid white [Note. — This is the twenty-sixth of a series of articles on the general subject of the musical possibilities of the talking machine. The aim of the series is to develop these VHDSsibilities from all angles, thus opening up fields for sales expansion oftentimes neglected wholly or in part — Editor.] MUSIC, RELIGION AND THE "TALKER" The rigid minded reader may wonder whether the order of the words in the above title is as it should be; but the precise place of religion in what follows can better be determined by the reader when he has been able to find out what I have in mind. He may be surprised; he will not, I am sure, be shocked. A good deal of rather loose thought has expended itself on the place of music in the church; and there are still those who take the position of the Scottish Puritans of the seventeenth and eighteenth centuries, that the organ is a "kist of whustles" which the "deil himsel" delights to blow. There are still country kirks in Scotland and meeting houses in remote hamlets in our own South and Midwest where the attitude towards music reminds one of the story of the deaf and rich old English lady staying at the laird's house in a far-away part of the Highlands. She was taken on the Sabbath to the nearest kirk, an "Auld Licht" house of worship according to the strictest tenets. Entering and sitting down, she took out her long speaking tube, adjusted it to her ear and composed herself for the opening of the service. Her entrance had attracted notice and her maneuvers with the speaking trumpet still more. The principal elder approached. Fixing her with a basilisk glare he sternly regarded the suspicious tube. Then, "Wumman," he thundered, "take notice. Ane toot an' y'er oot!" The Modem Church But our modern churches have thought things out in a very different manner. Or at least their practice has become that of utilizing the. value of music to any possible extent within their financial and personal means. The worst trouble with church music is that its reference to the subject matter of Christian service is so little defined. The organ is a noble instrument and cannot be surpassed for the duty of leading congregational singing. But merely to be a leader of congregational singing is not a very important duty for an instrument of so much complexity and musical power as the modern organ. This instrument ought to be the means through which the attention of the congregation may be centered at appropriate moments upon the beauties and truths of religion. But this bridge brings up the question of suitable music, of organ playing and of choir singing. All these are important and many of them are, as regards most small churches, quite insoluble. Evangelical Music A very simple service like that of the Evangelical churches in general would seem to require mainly good solo music before and after, with singing by the congregation. But there is an interval always which can only be filled up rightly with music, and where the not very expert organist always falls down. Bad organ playing and bad solo singing are apparently deeply rooted in the Evangelical church system, but it is hard to see why this state of affairs should not be at least improved. The supply of good organists is beneath the demand, but the main reason for this is in the disinclination or inability of congregations to pay adequate salaries. Hence church music is too often gloomy or trivial, unworthy alike of the organ and of its player. Nor can it be said that the church singing question is in much better condition. It is no easier or cheaper to get good singers than to get good organists, and the cause of music suffers just as much from the trivialities which are perpetrated in the name of religion through bad singing and playing in church as does the cause of religion itself; and that is saying a good deal. I may be entirely wrong, but I cannot see why a record of Clara Butt singing "O Rest in the Lord," or of Evan Williams doing "Comfort Ye My People" and "Every Valley Shall Be Exalted," is not a whole lot better for the midservice solo than the warblings of a poorly trained singer on the platform or in the gallery of the church. As far as that goes, organ music has been recorded, although the numbers are so far very few. But why on earth is not the record of a magnificent string quartet better than the bad playing of an amateur organist? And why, for that matter, is not the fine record of an orchestra in a splendid movement from a great symphony just as much better? There are a number of fine quartet and orchestra records of just the right sort for church services and it only requires a study of the catalog to obtain them. Sunday School Work Now church work in these days is always more or less institutional. The Sunday school work we all know and then there are the many clubs and societies which meet in the church buildings somewhere. All these need and have constant use for good music. The talking machine is the very thing for them. Here, in fact, the argument need not be elaborated at all. Anybody can see the whole thing for himself. But in regard to the introduction of the talking machine into the church itself, one can readily see that many objections will at once be voiced, The conservative element will immediately suggest that something irreverent is being put forward, but it is really very difficult to see why the talking machine is any worse in this respect than the organ or than the other instruments which from time to time make their way into the churches. Demonstrations Will Overcome Objections The objection which can best be urged is perhaps that the mechanical work of putting on and removing a record would detract from the solemnity of the service, but here again the difficulty is more apparent than real. Is anything worse than the attitudinizing of a solo singer? Again, why cannot the operation be hidden from sight of the congregation? Now, of course, if the talking machine dealer can see anything in the considerations set forth here he will also see at once that here is a case which calls aloud for personal demonstration. It is something which most emphatically must be "sold" to the prospective customer. In a word, the congregation must certainly be caused to see that the innovation is appropriate as well as musically fitting. It is hardly to be expected, indeed, that the dealer will be able to go after church patronage in this way through any adv€rtised campaign, for no one knows until he has tried how delicate a task it is to tackle anybody's religious convictions in a matter relating to the introduction of a new idea. But there is no doubt that in every community of any size there will be found one or more clergymen of open and enterprising temper, who will listen to the proposal of substituting good music, suitable and fine, no matter how presented, for music which, no matter how suitable and well intended, is quite incompetently and therefore quite unsuitably executed. Such men are always to be found, and when they are found their acquaintance should be cultivated, for they are the pioneers who will enter the new field and become its cultivators. What I have said here represents only the presentation of what I know is a practical and promising idea. I do not say that it can be put into practice without preparatory work. I do not claim that its merits will gain it an immediate hearing. I do not say that there are no practical difficulties to be overcome in adapting it to the use of the Christian Church. But I simply ask, "Can you say that talking machine music is unsuitable, as music, for the use of the church?" To this very pertinent question the answer must be in the negative, and that is all I ask. If the answer is in the negative, then the idea is a good idea. The field exists; and it is ready for cultivation. The object of these articles is to show hitherto unknown or untouched fields for expansion of the talking machine trade, based on. examinations of its musical possibilities. I aim to stimulate thought, and am always ready to defend my position. Tone Arm and Reproducer Beware of unscrupulous infringers. We intend to protect our rights and our customers by prosecuting all infringers. No Springs Nor Weights To Adjust Made in Four Lengths Plays any Make Record Perfectly Its appearance alone, when attached to your phonograph, will greatly enhance the selling value of your machines, both to the trade as well as to the ultimate purchaser, and when it has been demonstrated on all of the different types and brands of records, the tonal quality of its reproduction will appeal to the most critical musician. "Designed by an artist and manufactured by a master mechanic," is the apt verdict of a veteran in the phonograph industry. We are in position to supply the needs of a few more high-class phonograph manufacturers, and to guarantee prompt shipments. Write us for prices and descriptive circular THE EMPIRE PHONO PARTS COMPANY Sales Office: 425 So. Wabash Ave., CHICAGO, ILL. Factory: CLEVELAND, OHIO Address all inquiries to Chicago Office