Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
JUNE 9,
1923
THE
MUSIC
TRADE
REVIEW
149
Comments of the Man on the Street
Standard Publishers Have Experienced Remarkable Business in Past Year—The Credit for Music Advance-
ment Work—What One Sheet Music Dealer Has Accomplished in This Direction—Popular Music in
the Legitimate Store—Progress Made in Window Display—Simultaneous Mechanical Releases
The season just closed has been another re-
markable one for standard publishers. The
past few years have seen a steady increase in
volume of consumption of standard issues of
all kinds, particularly teaching pieces. In this
branch of the music business there have been,
in fact, no depressed periods for several years
and this situation is all the more remarkable
when all influences are considered, including
those which are at times said to be competitive
factors.
The more prominent of the standard publish-
ing houses have not only taken advantage of
the increased interest in good music, but have
included in their publicity plans arrangements
for holding this new interest and extending it,
if possible.
There can be no doubt that a very substantial
portion of this development in music interest
should be credited to the National Bureau for
the Advancement of Music. The work of this
organization has been under way for several
years and, benefiting by its past experiences, its
present plans are, undoubtedly, bringing sub-
stantial results in several directions. Indeed,
the maximum of returns on its present efforts
will be felt in years to come.
Concert and Concert Artists
Again the greater credit fon the dissemina-
tion of music of the better sort must be given
to the higher-class photoplay houses. Their
programs, while quite comprehensive, are ar-
ranged to attract the largest crowds. They are
also arranged to please those crowds after they
are attracted. On the other hand, while there
is no dearth of orchestras of the better sort,
including symphony and philharmonic, they,
seemingly, still cater exclusively to those of
musical education or who, in some manner, are
gifted or are by nature lured to the sources of
the best music. The programs, however, of
the various societies behind such latter organ-
izations are all too much of a sameness. There
is not enough variety to increase interest and
the same people, seemingly, are, year after year,
the supporters and the audiences. No program
planned to enlarge the audiences has been ar-
ranged and they are merely supplying a market.
Like the orchestras, the trend of the concert
artist's program, both the vocalist and instru-
mentalist, is to keep within the beaten path.
They do little or nothing to add to their use-
fulness; little or nothing to aid the publisher,
or the manufacturer for that matter, or to de-
velop musical taste. There are few exceptions
to this rule in the vocal field, and probably
only one outstanding figure as a pianist. A
tribute is due Josef Hofmann for his work as
a music propagandist. His programs have a
wide appeal and, while there is nothing com-
mon or popular about them in the ordinary
sense, they meet the common understanding.
More such artists would aid considerably in the
development of musical taste. On the other
hand, the majority of vocalists and pianists,
etc., are bent upon showing their technique pri-
marily for the purpose of appealing to newspa-
per critics and, secondly, to satisfy their innate
selfishness.
The trade, from numerous angles, is the
largest supporter of concert artists.
Com-
mencing with the composer, every individual
and division of the industry does something to
make possible the appearance of the artist. The
trade, therefore, has a right to expect and, in-
deed, the artist is under the obligation to do
something that makes for more interest in mu-
sic. To limit their offerings to appeal to a few
and to prepare programs for the purpose of
showing the range in voice gives too much to
the tendency of being a closed corporation.
Helping in the Building of Music Interest
The members of the music industry, and par-
ticularly those engaged in the retailing of mu-
sical instruments, sheet music, etc., have for
some time past been taking an active part in
the countrywide work for the advancement of
music, but it is a question if the average sheet
music retailer realizes the opportunities that
lie in that direction for not only helping the
cause of music locally, but for bringing himself
and his business prominently before the public.
As an instance of what may be done in this
direction we need go no further than to study
the work of S. Ernest Philpitt, past-president
of the National Association of Sheet Music
Dealers, who was recently elected a life mem-
ber of the Miami Music Club for his successful
efforts in bringing to Miami scores of artists
of national and international reputation. In
arranging for the appearance of the artist Mr.
Philpitt, in some cases, was forced to under-
write the entire cost of the concert himself, the
amount running into several thousand dollars
at times, and, although no heavy loss was real-
ized on any occasion, it took courage to risk
good money for the sake of creating greater in-
terest in music.
After a few concerts Mr. Philpitt's work be-
came so well known he had little difficulty in
having musical clubs, as well as wealthy in-
dividuals interested in the art, underwrite the
concerts without hesitancy and the result was
that Miami was put on the map as a musical
center.
The significant fact is that a music dealer was
chiefly responsible for its development and the
success of his business is due in no small meas-
ure to the reputation he obtained and the ac-
quaintances he made through his general musi-
cal work. Perhaps the average music dealer
cannot find his way clear to embark into the
(Continued on page 150)
ifc>^'
"I LOVE A LITTLE COTTAGE"
The Sensational Song Success
By far, the biggest standard success of the season and one
that will live for years. No song is more worthy of every
dealer's special concentration. Its appeal is general and its
sales possibility tremendous.
Published in 3 Keys with Violin and Cello Obbligato. Duets,
two-part and Octavo arrangements are also available.
Published by
SAM FOX PUBLISHING CO.
CLEVELAND, O.
and
NEW YORK, N. Y.
l