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THE
MUSIC TRADE
end of the business. These are the men who fail to comprehend
that advertising is not an expense, but an investment—and a mighty
profitable one when properly prepared so that it attracts and inter-
ests the public. And the advertising need not be direct either,
for there are hundreds of indirect ways, all of which properly
comes under the heading of publicity, whereby business is benefited.
The other day the head of a big national concern was visiting
the office of one of the editors of Printers' Ink, and noticing on
his desk a list of such titles as "Price Maintenance," "Dealers'
Work," "Letter Campaigns," etc., asked: "What have these sub-
jects to do with advertising?" He seemed to think that advertising
was the preparation of suitable copy for periodicals and circulars.
He was seemingly not aware of the evolution of the last few years,
by which the attention of advertising men has been turned from
the consideration of such subjects as copy and mediums to the
entire range of subjects comprehended in the science of merchan-
dising. The man to-day who has no interest in window work, in
sampling methods, in distribution, dealers' methods, etc., is not in
the band wagon of progress. The national man here referred to,
remarked the Little Schoolmaster, was something like that head of
a large Eastern store who, when asked if he would not care to have
his department heads and principal salesmen hear a noted big-store
advertising and sales manager speak, said that he did not see that
a discussion of advertising and sales plans would mean anything
to his people. He could not be made to see, either, that any good
would come of stimulating them to think out good advertising
suggestions or effective sales plans. The advertising man was
paid to do that! Another merchant in the same city, responding
to the same invitation, said that if there was a single department
head in his store who wasn't interested in hearing such a talk he
would be interested in knowing who that man was.
D
EVELOPMENTS during the past year emphasize the tre-
mendous growth in popularity of the player-piano. The
output of these instruments has exceeded expectations, and this is
due in a large measure to the increased attention given to the per-
fection of their manufacture, to the end that they should be simple
of operation and effective in results. This is particularly true of
those products popularly designated automatic, or coin-operated,
players.
The technical forces connected with the creation and pro-
duction of these instruments have really achieved wonders in de-
veloping their perfection to its present standard, and althougn
automatically operated they give thousands of people musically
inclined a large degree of satisfaction and pleasure.
The purchasing public has evidently appreciated the efforts
made by the manufacturers of automatic player-pianos, for the
growth in demand for these instruments during the past two years,
particularly during 1911, has exceeded the most sanguine expecta-
tions.
Dealers who have taken the agency for these instruments, and
brought their merits to the attention of the special people to whom
they appeal, have worked up a most profitable line of business.
The terms of sale are such that practically the instruments pay
for themselves, hence the matter of sales is comparatively easy.
The greatest work, of course, is to develop prospects and
enthuse them to the point of becoming interested in the automatic
player-piano. The popularity of these instruments in public re-
sorts of all kinds is such that very few can afford to overlook the
automatic player-piano as a trade stimulator and entertainer in any
establishment.
The manufacturers who are giving serious thought to the
production of instruments of real merit—substantial, reliable,
products—are overwhelmed with business, and this is one of the
important affiliated lines in the player-piano field that promises big
results both for the manufacturer and the dealer this year.
Too much praise cannot be given the manufacturers of the
automatic player-piano for the great improvements evident in the
perfection of the action and the control of the music roll, and the
great artistic taste displayed in the designing of piano cases.
C
AN players be successfully sold by men who chiefly devote
themselves to the selling of straight pianos? The question is
not without a large and practical interest. Those houses which
have made a success of the player business have specialized from
REVIEW
Legal Questions Answered for the
Benefit of Review Readers
questions, which have direct bearing on music
trade affairs, will be answered free of charge.
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^Matter intended for this Department should be
addressed plainly, Legal Department, The Music
Trade Review.
the very first. And it is hardly to be doubted that a similar state
of affairs may be found in any line of business where technical and
other considerations give to one kind of commodity a value or a
public appeal different from that which is given to another.
Specialization, in fact, is not alone logical, but also indispensa-
ble if the best efforts of a man are to be given to his business.
The appeal of the piano, as against that of the player, is of a type
requiring one sort of attack, one sort of persuasion, while con-
trariwise the appeal which wins player sales is actually almost dia-
metrically different.
Both instruments are pianos, but the straight instrument is
sold on the basis of its utility as a means for enabling someone to
learn to conquer its technic, or to put into practical use a technic
already acquired. The player is sold on the basis of its utility as
dispensing with the otherwise necessary performer. And natu-
rally, the point of view is in each case quite different. Not only
so, but the method of appeal is dissimilar in each case. In fact, a
type of mind is required for successfully selling player-pianos,
quite different from, and generally superior to, that which suffices
for the disposal of ordinary instruments.
W
HEN, however, it is impossible for a house to maintain an
entirely separate department for the sale of player-pianos,
it is at least generally possible to obtain the services of one man
who alone shall have charge of the demonstration of players and
the sale of roll music. Ridiculous as the public attitude toward
the refinements of playing may be, it is nevertheless manifestly
foolish to bank too much on this and to assume in consequence
that nobody appreciates, cares for, or wants to be able to imitate,
good playing.
To put a salesman in as a demonstrator who knows nothing,
and cares less, for either music or its-rendering through the player-
piano, is to put a trust in public indifference and ignorance which
may succeed for a time, but cannot be recommended as a policy.
Whether the public has, or has not, any definite and settled ideas
on the subject of playing music, at least there can be no harm in
taking care that when we do play we shall play well. Certainly no
one who is not tone deaf—and very few people are—prefers that
what he hears shall be well performed. This is a point by no
means well enough recognized by many piano merchants through-
out the country. It is apparent that those who are giving the
player-piano, its sale and exploitation, special consideration, are
transacting an increasing volume of business.
H
AROLD BAUER, whose recitals have been among the sea-
son's most enjoyable ones, made a remark the other day
which is worth quoting: "Some students," he said, "sit down before
the keyboard to 'play' the piano precisely as though they were going
to play a game of cards. They have learned certain rules govern-
ing the game, and they do not dare disobey these rules. They
think of rules rather than of the ultimate result—the music itself.
The idiom of the Italian language is appropriate here. The Italians
do not say, T play the piano,' but rather 'I sound the piano.'
(Suono il pianoforte.) If we had a little more 'sounding' of the
piano, that is, producing real musical effects, and a little less play-
ing on ivory keys, the playing of our students would be more in-
teresting."