Music Trade Review

Issue: 1899 Vol. 28 N. 17

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
It is not what we have been, but what we
are to-day, and what we must be in the fu-
ture is dependent entirely upon our actions
in the living" present. "The great piano firms
whose names are intimately associated with
American musical art cannot afford to
slacken in the slightest their labors in keep-
ing their instruments constantly before
the best music patrons of the country. To
disregard the advantage won by failing to
follow it up is to sacrifice an asset far more
important than the expense involved in
maintaining and creating a still further
prominence for their product.
It is suicidal for any business concern,
however strong, or apparently enjoying an
advanced eminence, to stop advertising, or
to permit their wares to be withdrawn
from certain avenues where they have at-
tained great popularity as well as publicity.
Especially hurtful is this when a great
name, which in itself constitutes a valu-
able trade-mark, is considered. To ignore
these facts and let them slip away from re-
membrance is to destroy one of the chief
props of business.
A STENCIL SUGGESTION.
IT occurs to us that the manufacturers to-
day of reputable pianos who are''also
making instruments in their factory for
dealers will see that in the end this will
lead to business disintegration, not be-
cause there is an element of fraud injected
in the transaction, but for the simple
reason that the manufacturer after years
of labor will find that he has created no
stability whatever to his business. That
instead of having built a valuable trade
mark which is represented in his name,
he has buiti on sand, and that sand is
shifting at the whims of the dealer.
To illustrate: Suppose a manufacturer
in order to keep his wheels busy has ac-
cepted some orders, we will say, from live
different dealers to build a hundred pianos
each for them during the year. Every-
thing moves along steadily until another
manufacturer offers to reproduce the same
instruments for a five dollar note less. The
manufacturer has to meet this price or
quit, as there is no sentiment in the trans-
action. If he meets it, he cuts his profit.
If he doesn't meet it, instead of having a
following for his own instruments in the
respective localities, he has built nothing
substantial. His genuine instrument is
entirely unknown.
How much better it would have been to
have permitted the dealer's order to go by
and better to have impressed upon him the
advisability of selling instruments bearing
the manufacturer's brand. By adhering to
these principles it is the only way that a
manufacturer can build safely and on a
sure foundation, for on any other basis he
is at the mercy of the varying whims of
the dealer instead of creating a valuable
trade mark, which in itself constitutes a
strong asset to his business, he has built no
thing. A manufacturer can start in busi-
ness to-morrow and compete with a legiti-
mate stencil maker on the proposition of
getting the dealer's trade for pianos made
for them.
If manufacturers would look at this
stencil matter in this light, we believe that
there would be a material lessening of the
stencil product. To our minds it is the only
salvation of the manufacturer, that is, if
he wishes to create a property which will
be enduring.
REASONS WHY.
T H E piano trust idea has not gained
ground. One manufacturer remarked
the other day that " trusts which produce
staple articles may succeed with economy
and prudent management, although the
public to-day is rising against the trusts.
It is difficult to believe that a trust will
succeed in which there is a combination of
men who* engage in manufacturing mer-
chandise similar to pianos which are alike
in the main, but yet varied in point of
style, design and other particulars."
There is a good deal of truth in this, for
the manufacturer whose ingenious original-
ity, taste, or other form of ability, is great,
will not be content to see his fellow members
in the combination reap just as much as he
himself does from the exercise of his
higher mental and physical gifts. It is
doubtful if such a combination possesses
the cohesive force to keep together, parti-
cularly when subjected to the kind of com-
petition which would immediately spring
up in this trade.
accurately informed as to the announce-
ment of the department stores which have
added pianos to their list.
In Philadelphia there has been too an
appreciable diminution in the advertising
space used in the columns of the Philadel-
phia papers by the Wanamaker and Gimbel
establishments.
The advertising announcements, how-
ever, of the Philadelphia concerns, continue
to be attractive in make-up and dignified
in expression. There is a strong senti-
ment embodied in them which appeals di-
rectly to the cash purchaser, but there has
been not the slightest suggestion thus far
of cut prices in order to gain the cash pa-
tronage which all merchants are desirous
of obtaining.
To our minds, in order to attract a gen-
erous trade, department store advertising
must contain bargains, as the whole idea
of a department store as associated in the
public mind, rests upon the fundamental
principle of bargains. Remove the idea
that bargains are to be found in depart-
ment stores, and you remove a tremendous
percentage of their trade and if piano bar-
gains are aimounced, what then?
DOTS AND DASHES.
T R A D E paper advertising in order to be
effective, must be intelligently sup-
ported by active work on the part of the
manufacturer. By reason of non-support
a great deal of advertising fails of its re-
sults, because the advertiser expects too
much from a limited outlay of money in
advertising channels without supplement-
ing it by vigorous and intelligent assistance
Behind every trade advertisement there
should be a vitalizing effort to act in con-
junction with the advantage which the in-
dustrial publication is giving to the busi-
ness. A manufacturer who is hungry for
green fields and pastures new, should
bring to bear intelligent co-operation with
THE "D. C." SITUATION.
'"THERE has been a noticeable decline in his favorite trade publication.
the department store piano advertis-
ing in New York. A consultation of the T A K E up all the leading magazines and
advertising columns of the local press will
you are sure to find there in a promi-
demonstrate the proof of this statement. nent place the advertisement of Vose &
During the past week not one of all the Sons. Vose & Sons in this way, perhaps,
department stores has spent one penny for more than any other manufacturers have
piano advertising.
given intelligent assistance to their dealers
What are the deductions which we shall in every part of America. They have ex-
draw from this action on the part of the pended vast sums of money in advertising
for the home trade, all of which has
department stores?
The natural one is that they have not resulted in business, first to the local agent
found, thus far, that branch of the business and through him to Vose & Sons.
sufficiently responsive to warrant great
We have seen in our recent travels over
outlays at this particular juncture.
America numerous illustrations where
We are watching this movement care- dealers have named hundreds of inquiries
fully, and we shall refer to the matter each sent them by the famous Boston house in
week, so that the distant trade may be reply to their advertisements in the maga-
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
8
zines and periodicals. These have been
referred to the local agents from whose
territory the inquiries came.
ij.Sueh work on the part of manufacturers
must surely be appreciated by dealers and
this accounts in a large degree for the
intense loyalty which exists everywhere
for the Vose product.
\X IK now and then note exhibitions of ex-
otic frothiness on the part of the
Annex editor towards the stencil question.
On this whole subject he has always acted
the conscienceless and conceited hypocrite.
The idea of attacking some obscure dealer
who is handling stencil pianos is absurd.
Asjong as stencil pianos are manufactured,
dealers will continue to handle them. You
cannot purify a stream unless you attack
the source.
The Review has always condemned the
illegitimate stencil as a fraud upon the pur-
chasing public, but held that the legitimate
stencil while opening the door to misrepre-
sentation, was purely a matter of business
between the dealer and manufacturer, and
th-itt the latter in the course of time would
see that it was to his material advantage to
discontinue that particular line of his bus-
iness. The man who builds pianos for
every dealer is building nothing fa^him-
self: His business structure is of thA.rriost
flimsy character, and may be demolished
by riew competition to-morrow.
"This cannot be truthfully said of firms
whose wares have a marketable value.
The value of an asset which lies in the
good will or trade mark of an institution
is'always to be considered as embodying
rnaterial and permanent worth.
Hilton Piano to Cuba and China.
Captain Burbee, U. S. Military Com-
mandant at Campe Chula, Cuba, has writ-
ten from the Cosmos Club, a military
organization of U. S. officers at that place,
to the Milton Piano Co., thanking them
for having shipped an ordered instrument
promptly, and acknowledging its safe ar-
rival. Incidentally, he says that the
members of the club are delighted with
the piano sent.
• Another letter received at the Milton
factory- orders four instruments for im-
mediate shipment to Tientsin, China. One
Milton piano is already installed at Tient-
sin and the additional orders are from
friends of the possessor. Since the first
shipment of Milton pianos to the Gmibel
waferooms, Philadelphia, many sales have
been made.
The business of A. B. Clark of Fair-
mont, Mjnn., will hereafter be conducted
under the firm name of A. B. Clark & Co.,
a half interest having been sold. They
recently nioved into larger quarters.
THE MUSIC TRADE REVIEW
Prof. Gate's Discoveries.
WILL BE ABLE TO CONSTRUCT AN INSTRUMENT
THAT WILL PRODUCE MUSIC NEVER
DREAMED OF HITHERTO.
That there is a distinct relation between
emotions and musical notes has long been
recognized, and thus the line of investiga-
tion already described merges naturally
into some very remarkable experiments in
regard to music. Professor Elmer Gates,
the distinguished scientist declares that he
will be able to construct an instrument
that will produce such music as has never
been dreamed of in the world hitherto. It
will represent and comprise the effects of
all instruments now known, as well as of
many others never devised.
He says;
"When Music, heavenly maid, was young,
she was full of discords and imperfections
which, now that she is nearing her mar-
riage with science, should be dropped for
the more perfect emotional expression de-
manded by the purer, truer and better
music of the future."
It was discovered long ago by the famous
German, Von Helmholtz, that the emo-
tional qualities of music depend upon what
are called the "overtones" or "harmonics."
You cause a wire to vibrate, say, at the
rate of sixteen times a second, and it gives
forth a note. At the same time, however,
certain portions of the wire may actually
be vibrating thirty-two times a second,
sixty-four times a second, and so on, thus
producing the overtones. For every fun-
damental note there are at least fourteen
of these overtones. Those of them which
represent the lower numbers of vibrations
produce in the music solemn, mournful
and majestic effects. The middle over-
tones give effects that are a mixture, as of
smiles veiled by tears, while the harmonics
of high vibratory rates are joyous and gay.
In a piano the same fundamental tones
and the same overtones are employed for
playing a dirge as for a "coon song" or
other joyous melody. There is no modi-
fication of the harmonics to adapt them for
the expression of suitable emotion—an
obvious absurdity, as anyone may see. If
it were practicable to produce the funda-
mental tones pure and simple, and to as-
sociate with them the overtones, such of
them as were wanted, in any arrangement
that might be demanded, effects could be
obtained which are wholly beyond the
reach of the present-day piano, or of any
other musical instrument now known.
This, however, is exactly what will be ac-
complished by the instrument which Pro-
fessor Gates has devised. Each funda-
mental- tone is struck by itself, and like-
wise each of the harmonics belonging to
that tone. With the aid of a proper arrange-
ment of stops, apiece of music performed
on it may begin with sadness and wind up
with laughter, thus obtaining a new kind
of musical climax.
Helmholtz said that the power of music
to express emotion depends upon the over-
tones. This has long been recognized as
proved beyond question, and it is well un-
derstood by musicians to-day that the low
harmonics are those of mournfulness and
solemnity, and that the high harmonics
are those of joy. Well, then, Professor
Gates proposes for the first time to utilize
this knowledge by applying it in a practi-
cal way for the production of musical ef-
fects. The music of the future will be a
music of the emotions; it will touch the
human heart as no music hitherto has ever
done. With its aid a skilled composer will
be able to play upon the emotions of a
throng of auditors as upon a harp, rousing
them to patriotic fervor, drawing from
them their tears, or plunging them, if he
so chooses, into agonies of despair.
Professor Gates has found that most hu-
man voices, even the best, have in them
only about one-half of the overtones which
are so necessary to the emotional quality
in music. He has discovered that this con-
dition of affairs maybe greatly improved
by a certain process of training the emo-
tions of the singer, who, by encouraging
the experience of tender emotions, aesthetic
emotions, and various other kinds of moral
emotions, produces in his or her brain alter-
ations of structure that bring into the voice
harmonics which previously it did not pos-
sess. This is termed by Professor Gates
the '' psychology of acoustics." The method
adopted for "practising" emotions is very
interesting, but there is not space here for
a detailed description of it.
T-fee musicians of former days used a
lower standard of pitch than that now
adopted, and this sometimes makes their
compositions sound wrong when played on
a modern piano or organ. The new in-
strument devised by Professor Gates will
render it possible to play any piece at any
standard of pitch, and thus the music of
the old composers may be interpreted as
they meant it to be. It seems probable
that there is a certain definite pitch which
is best adapted to each piece of music, and
for the true music of the future it may be
requisite to shift the pitch for every piece.
Indeed, different parts of the same piece
may need different standards of pitch. The
gradual shifting of the pitch from lower to
higher while playing a piece produces a
wonderful new species of climax, which,
until one has heard it, one cannot even
imagine.
Busy Bothner.
Business matters are moving merrily
along at the factories of Geo. Bothner.
Both branches—actions and moldings—are
kept hard at work on actual orders. Many
of the new Bothner molding patrons de-
clare that they use the Bothner moldings
because they get better results at less cost,
and with greater promptitude than ever
before in their experience.
The Los Angeles Pipe Organ Co.'s plant
at Los Angeles, Cal., was totally destroyed
by fire last week. The loss is-estimated-at
$6,opo, insurance, $4,300..
J. B. Theiry & Co., piano dealers, of
Millwaul^ee, Wis., inaugurated a special
sale this week previous to extensive altera-,
tions in their establishment.

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