Music Trade Review

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IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
Dancing Master^' Dictums Have Little
Influence Upon Public's Dance Ideas
SONGS THAT SELL
Attitude of Associated Teachers on Certain Dances Which Are Popular Has No Appreciable
Effect Upon the Dances the Public Likes Nor the Music They Purchase
At Peace With the World (Irving Berlin)—
New
Always (Irving Berlin)
A T a recent meeting of dance masters held in
New York some of the more conservative
members of the gathering moved to bar the
Charleston. However, no less an authority than
Ned Wayburn came to the Charleston's defense
and the early furore over the question some-
what subsided.
During the past decade these associations of
dancing masters at every meeting have had their
publicity departments acquaint the daily press
with a move to bar some selected modern dance.
In looking through the records of these various
campaigns, some of which have the support of
what are termed "good church people," all evi-
dence shows that little or no headway has been
made in them.
The modern dance is popularized from two
sources, the professional stage and the large
dance floors throughout the country. Those in-
terested in the ballroom dance and who cater
to the elite are not able to reach the great mass
of people with their propaganda, in fact, most
dance enthusiasts probably are not aware that
there is any such thing as a dancing masters'
association.
Not only have these dancing masters' asso-
ciations failed in their campaigns to bar cer-
tain dances, but they have been just as unsuc-
cessful in developing a wide taste for the new
dances they evolve from season to season.
Practically everybody dances in some form
or other. This is possible through the fact that
the modern fox-trot and its predecessors are so
simple in character that the merest novice can
make a fairly presentable showing on the pub-
lic floor. This simplicity, too, has been the
means of adding millions to the number of
dance enthusiasts.
Now specialized and clever dances evolved
by the dancing master are generally more diffi-
cult in character and the appeal must neces-
sarily be limited, although if they had any
lure the younger dance enthusiasts would be
able to master the steps quickly. For the aver-
age person the Charleston is not the easiest
dance. To acquire a good Charleston step in
any of its various phases it is necessary to have
a flair for dancing. That is the reason it won
its largest success among the young.
Henry Ford has made some little headway in
reviving old dances, those things that were pop-
ular in a preceding generation. He may
achieve more success in this direction although
it is doubtful that the youth of the country will
ever go very strongly into the old dances.
Ford's propaganda, however, is an entirely dif-
ferent matter from a campaign that plans to bar
certain steps. His campaigns are in the nature
of a revival, nor can his methods be compared
to the official introduction of a new dance.
Most of the modern dances are not created
through propaganda.
They generally are
originally introduced on the professional stage
and through their wide appeal and lure are
quickly taken up in other channels. Like
Topsy, they seem to "just grow." As soon as
they prove to be popular the popular song writ-
ers use the same rhythm in some of their offer-
ings and this move, together with the musical
arranger's ability to orchestrate the number for
the particular step, aids considerably in adding
to the popularity of particular dances.
The fox-trot, although it has had different
variations, seemingly cannot be supplanted.
The Charleston is the only dance in recent
years that has divided popularity with the fox-
trot. The fox-trot will hold sway with the
masses until such time as a dance is evolved
that is even of greater simplicity or at least
has no added difficulties. For this reason a
renewed popularity might accrue to the one-
step because of all previous dances it is the
most simple.
It is a question in popular publishers' minds
whether or not the modern dance really adds
any volume to popular music sales. The tend-
ency to use too often the best of current selec-
tions does in some instances limit sales of the
sheet music by the commonness the melody ac-
quires. Another factor from the dance angle
is the large number of melodies needed to make
up a night's program, which reach such totals
that it is impossible for the dancer to remember
anything but the outstanding titles.
August Sales Report
a Renewed Activity
Indications Are That Selling Season for Pop-
ular Prints Is Gradually Lengthening
Reports from the various sheet music jobbers
in different sections of the country show the
month of August brought forth a substantial
revival in sheet music purchases. This closely
followed the record of last year when renewed
sales for the season appeared in August and
continued during the balance of the year. The
sale of popular-priced talking machine records,
which is also a barometer of interest in pop-
ular publications, also showed increases for
August.
From this evidence of sales in August over
a two-year period, it would appear that the sea-
son is lengthening somewhat as sales formerly
did not show Fall activity until after Labor
Day. This situation is not only encouraging to
popular publishers, but has an added significance
to the retailer. It indicates that purchasers are
entering the music stores for sheet music and
makes possible increased sales in other depart-
ments.
With the opening of schools, conservatories
and other educational institutions in September,
the music dealer is assured of a continuance of
activity in his various departments, and as the
interest of the young in music is shown to be
constantly on the increase the trade can look
forward to one of the most successful Falls
in its history.
Leo Feist to Publish
New Musical Scores
These Include Numbers From the "Vanities,"
"Deep River" and the "Prince and the
Pauper"
Leo Feist, Inc., will publish the scores for a
number of musical shows due to open during
the Fall season. In addition to these scores it
has several of the outstanding songs in the new
Earl Carroll's "Vanities," probably the most
important of these being "Adorable."
Feist will also publish the score for the new
jazz opera, "Deep River." This will be pro-
31
How Many Times? (Irving Berlin)—New
—
Remember (Irving Berlin)
Don't Wait Too Lone (Irving Berlin)
Venetian Isles (Irving Berlin)
I'd Climb the Highest Mountain (If I Knew
I'd Find You)
When the Red, Red Robin Comes Bob, Bob
Bobbin' Along (New)
Gimme a Little Kiss (Will Ta—Huh?)
Poor Papa (Has Got Nuthln' At All)
Oh! If I Only Had You—(New)
Say It Again
Oh,
Boy! How It Was Raining—(New)
In the Middle of the Night
Who Wouldn't—(New)
Blue Bonnet—Tou Make Me Feel Blue
That's Annabel—(New)
Put Your Arms Where They Belong
l p and Down the Eight Mile Road—(New)
Trying to Forget—(New)
I Found a Roundabout Way to Heaven
And Then I Forgot—(New)
Roses Remind Me of You
But I Do (You Know I Do)
Then I'll Be Happy
I Never Knew
That Certain Party
If You Miss Me as I Miss You
Yes, Sir! That's My Baby
To-night's My Night With Baby
Oh, How I Miss You To-night
The Roses Brought Me You
—
—
E
BOOKS THAT SELL
X
New Universal Dance Folio
No. 11
Edition Extraordinary—Just Out
Peterson's I'kulele Method
World'tt Favorite Songs
Tiddle I)e Ikes
Strum It With Crumlt
—
Irving Berlin's Song Gems
From the Musical Comedy Sensation
"THE COCOANUTS"
—
Ting-allng the Beil'll Ring
Why Do You Want to Know Why?
Florida By the Sea
The Monkey Doodle Doo
Lucky Boy
We Should Care
IRVING BERLIN, Inc.
1607 Broadway, New York
duced by Arthur Hopkins. The music is by W.
Franke Harling and the book by Laurence Stal-
lings, the latter the writer of "The Big Parade"
and "What Price Glory."
Another score that will be published by Feist
is "The Prince and the Pauper." This is the
musical version of the famous Mark Twain
story. The book is by Catherine Chisholm
Cushing and the music by Karl Hajos. Tt will
be produced by Earle Boothe.
Consult the Universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions.