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DECEMBER 30,
1922
THE MUSIC TRADE
49
REVIEW
CONDUCTED BY V. D. WALSH
TENDENCY TO CRITICISE 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 news-
paper 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 ma-
terial 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 con-
structive 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 pasf years
and which, no doubt, are to-day still a factor
in community life in some sections. They for-
get, 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 be-
cause 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 farm, 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. In-
variably they do not know their next-door
neighbors, but they all know Constance Tal-
madge, 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 im-
provement, 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 de-
plores 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 Hun-
garian folk songs were thus changed and dec-
orated 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 em-
bodied 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 Schu-
mann'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.
It is the price of progress.
"China tried to limit music to five tones (was
it during the Ming dynasty?) and we smile at
the crudities of Chinese music. Music cannot
rise higher than its source, which is the pop-
ular 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!"
"Dumbells" is a new number recently added
to the catalog of Leo Feist, Inc.
EFFECTIVE JANUARY 1
1923
SPRING STOCK OFFER
DEFORE the end of the month our Spring Stock Offer to the Trade will be mailed. The Sheet Music
Industry is closing a year almost unprecedented; second perhaps only to 1920, in point of pros-
perity. Every indication points to better conditions generally in 1923. We want to contribute to your
share of that increased prosperity.
Our representatives will depart from New York equipped to give personal service. It would be
to each dealer's advantage, immediately upon receipt of the Stock Offer book by mail, to go over his stock
carefully, and thus be in a position to derive the most benefit from the salesman's visit.
We would ask the Trade to consider particularly the excellent sale being enjoyed by Schirmer's
Novelties. Of the publications of the last two years, we have no less than thirty songs, not to mention
other important publications, which are selling remarkably well. With these facts in mind, we ask the
Trade to consider ordering our new issues freely at the special rates of the Stock Offer.
Our advertising campaign will be continued in increased proportions through 1923.
G SCHIRMER, Inc., New York