The talking machine world (Jan-June 1923)

134 (World of Music) THE TALKING MACHINE WORLD January 15, 1923 Jusl a ill . tie blue, Just lil . tie t''"^. I™ J"S' a lit . tie blue for you 'ust dMtle Blue (Ogleri ^an JJ/siyne's name on a song is the sign of a ^ure-fire Niir. Waltz Dal lad c/EROME H. REMICK flcCO. new vork-Chicago Detroit TENDENCY TO CRITICIZE MUSIC OF MODERN COMPOSERS Alfred Walker Shows That the Appropriation of Standard Classical Numbers, Which Are Given a Modern Musical Dress, Has Ever Existed, for Music Is a Living, Growing Art Some months back there was a tendency on the part of those who value personal newspaper publicity to get their quota of space by denouncing modern music and terming it jazz. The tide in that direction evidently has turned; probably the newspaper editors felt that their subscribers had been surfeited with such material and that there was no longer a response. At any rate, in recent weeks, there have come to the defense of modern music many people of importance, musicians and singers of note, critics and authorities. It must be said for these latter that their messages are of the constructive kind, are thoughtful, based upon knowledge and in time should prove of value. The old method of denouncing all modern music as jazz, crying loudly for its elimination and not offering anything substantial to take its place, spent itself through its very inability to form a substantial foundation upon which what is termed better music could be built. Many propagandists against modern music would have the nation return to the folk songs of the type prevalent in Europe in past years and which, no doubt, are to-day still a factor in community life in some sections. They forget, however, that folk songs were, and are, songs of a particular period to meet the needs of the life of their time and are of value because they are inspired by such need. Naturally, in America, we cannot go back to the far periods possible in Europe. There is, however, in America proof of the reason and value and the very necessity of songs of the folk type, such as our negro melodies and the lighter melodies of some of our mountain country and the popular songs of the old West. In this mechanical age it is practically im possible for folk songs to have the attraction that it was possible for them to achieve in days gone by. The community life of older cities, which was part farin, part shopkeepers and part land owners of better class, practically is no more. To-day the life of the cities in working hours is given over mostly to manufacture and the necessary business adjuncts. The cities themselves are congested and the larger of them get their community life from the movies. Invariably they do not know their next-door neighbors, but they all know Constance Talmadge, the movie star. Modern music, therefore, is a response to the demand of the present day. It is not probably as picturesque or as romantic as folk songs of long ago, but it is -filling the need and filling it in a modern way. There is room for improvement, but this cannot be forced and we cannot return to that which is passe. The following letter to the editor of the New York Times was recently written by Alfred Walker, who is a well-trained musician, and it carries a message worthy of consideration: "Richard Aldrich in last Sunday's Times deplores the tendency of topical songwriters to 'jazz' the melodies of the masters. Mr. Aldrich should not despair, for 'twas ever thus. The dishing up of a melody to please the taste of the day always has been, is, and always will be, done while a taste for things exists. "Dr. Hubert Parry shows how the old Hungarian folk songs were thus changed and decorated by the gypsy fiddlers. Joseph Haydn and even Beethoven, to say nothing of Brahms and Liszt, used the methods of those same Hungarian gypsies. Bach and Handel both took popular melodies of their day and embodied them in their works in the manner of their day. '.'When I was a student at the Royal Academy of Music in London in the 70's there were piano teachers who had objected to Robert Schumann's music but a few years before. "Music is a living, growing art, constantly developing. These jazz people are just trying for new methods of expression. Their doings are necessarily crude and often rather coarse, but so are the outer fringes of any other art. "China tried to limit music to five tones (was it during the Ming dj'nasty?) and we smile at the crudities of Chinese music. Music cannot rise higher than its source, which is the popular taste of the day. "Far worse than jazz, to me, is this mawkish sentimentality of these solo violinists. What a contrast to the vitality and splendid spontaneity of Joseph Joachim and men of his day!" IRVING BERLIN, INC., BUYS "IVY" Plan to Feature Number in a Big Way — Already Popular in the West Some weeks back the scouts of the Irving Berlin organization discovered that there was quite popular in Chicago a song called "Ivy" (Cling to Me). Negotiations for the purchase of the number were immediately and successfully carried out and the result is that Irving Berlin, Inc., has added this song to its catalog. During the month of January the professional and band and orchestra departments of the Berlin organization will feature this number in addition to the acknowledged successes of the catalog, "Homesick" and "Open Up Your Arms" (My Alabamy). Paul Whiteman, in collaboration with Marshall Neilan and Ferdy Grofe, has written a new song entitled "Wonderful One." It is of the waltz variety and was originally introduced at the Trianon in Chicago. Ill M DOWN IN MARYLAND Waterson, Berlin 6^ Snyder. Cq STRAND TNEATRE BLDG. NEW YORK