Music Trade Review

Issue: 1932 Vol. 91 N. 4

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE M U S I C
TRADE
REVIEW, April, 1932
17
FOSTER & WALDO, MINNEAPOLIS, MINN.,
BOUGHT BY BOUTELL, FURNITURE HOUSE
R
OBERT O. FOSTER, dean of the music
trade in Minneapolis, Minn., and for
years one of the most prominent music
merchants in the country, has sold the music
business of Foster & Waldo, which he con-
trolled, to Boutcll Bros., a leading local fur-
niture house. The deal is said to involve
almost a million dollars and the new owners
took over the business on April 4.
Mr. Foster, after a short rest, plans to
re-enter the business field in an active way.
"I am only 74 years old—far too young to
sit by the side of the road and watch the
world pass by," he declared. "My plans for
the future are not definite, but I do know
that I am going to get back into some line
of business, probably not merchandising but
something that will keep me in touch with
things."
Meanwhile, during the next month, the
Foster & Waldo stocks of pianos, radios and
other musical instruments will be sold by
Boutell Bros, at the present Foster & Waldo
location, A. Davidson, president of Boutell's,
said. "Then, if we can secure a renewal of
the lease at 818-820 Nicollet, we will con-
tinue the business there," Mr. Davidson said.
"In any event, we will continue to give Fos-
ter & Waldo customers the same high grade
of service to which they have been accus-
tomed."
Practically all members of the Foster &
Waldo staff will be retained by Boutell Bros,
to carry on the business in music and musical
instruments, it was explained by Mr. David-
son. Paul N. Aagaard, general manager of
Foster & Waldo, will continue in that capac-
ity in handling the music business for Bou-
tell's.
It was fifty-five years ago that Mr. Foster
began to sell pianos in Minneapolis, which
makes him the oldest merchant in the city
in years of service, although not in age. He
was just nineteen then. Today he is seventy-
four, but as alert mentally and almost as vig-
orous physically as on the day when he un-
dertook to dispose of his first piano in a
deal that netted him a profit of about $10,
a real profit.
Launching his musical business in the then
frontier community of Minneapolis, Mr. Fos-
ter associated with him his brothers, William
and Elmer Foster, and a Mr. Whitcomb, in
the firm of Foster Bros. & Whitcomb. Later,
the firm became Foster, Haynes & Waldo,
but after a few years Mr. Haynes died. C. L.
Waldo continued as a partner until 1919,
when he sold his interest to Mr. Foster and
moved to California. Since then, Mr. Fos-
ter has continued the business as Foster &
Waldo, although he himself has held the
sole ownership. During recent years Mr.
Foster's sons, R. O. Foster, Jr., and Kenneth
Foster, have been associated with him in the
business.
MUSIC CLUBS DEMAND
CREDITS IN N. Y. SCHOOLS
About 200 delegates attending the opening
of the eighth State convention of the New
York Federation of Music Clubs at the Hotel
Victoria voted to form a committee consist-
ing of two members from each of the 222
clubs in the organization to work out a leg-
islative program to obtain further school
credits for work in music.
Mrs. Etta Hamilton Morris, of Brooklyn,
the president, said that the organization
sought to have musical studies, either in
school or under a private teacher, made an
elective subject in the grammar and junior
high schools. Talented children, she de-
clared, often found that in their formative
years their musical studies are crowded out
by subjects "which they are never going to
use after they close their books on them."
Dr. Russell Carter, supervisor of music of
the State Education Department at Albany,
asserted on the contrary that "you can't have
a credit system in the grade or junior high
school for music when you don't have it for
other subjects." He said that these schools
taught singing, "the use of the one instru-
ment that God has given all of us," and that
children who want to specialize beyond that
should work by themselves just as children
have to work by themselves if they want to
specialize in mathematics beyond the point
taught in these grades." A suggestion to
make music a required subject he dismissed
by asserting, "I think it would be terrible
to bring up everybody as a musician; we
want human beings."
Dr. Carter addressed a luncheon of the
conference at which Miss Jennie Buchwald,
president of the Piano Teachers Congress,
presided. The other speakers included Joseph
P. Donnelly, assistant director of music in
the New York City schools; H. E. Friedman,
of the Piano Teachers Congress; Ernest Ash,
president of the Associated Music Teachers'
League, and James Woodside, assistant
teacher of groups for voice in the city public
schools.
SHERMAN, CLAY & CO.
ISSUE ANNUAL STATEMENT
The annual financial report of Sherman,
Clay & Co., San Francisco, revealed a net
loss of $1,537,280 for 1931 as against a net
loss of $408,320 for 1930. At the same time
it was reported that the company's total assets
as of December 31 were in excess of $3,000,-
000 and that the current liabilities were
$248,620. All of the officers of the company
were re-elected.
BALDWIN BRINGS OUT UPRIGHT WITH FOLDING KEYBOARD
T
HE Baldwin Piano Co. has met the prob-
lem of limited space in modern homes
and apartments by placing on the market
a new upright piano of small size with a
folding keyboard that further conserves
space. The pedals are also conveniently re-
cessed so that there are no projections when
the instrument is closed. The space-saving
possibilities can be realized when it is stated
that the depth of the piano is only 16J^
inches when closed, and only 24 inches when
the keyboard is in playing position. The
piano itself is 3 feet 93^ inches high and
4 feet 9^i inches wide. The music desk
comes forward automatically when the front
section of the top is raised to increase the
THE
NEW
BALD-
WIN-MADE
I N G
FOLD-'
KEYBOARD
PIANO
(LEFT)
W I T H
CASE
CLOSED,
OPEN
ING
(RIGHT)
FOR
PLAY-
tone volume. It is shown herewith folded
and open.
The new folding keyboard has a case of
mahogany with inlaid crotch mahogany
panels and the general design is sufficiently
attractive to make the instrument harmonize
nicely with practically any home furnishings.
It has a full eighty-eight-note scale.
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
PIANO FACTORY and
PIANO SERVICING
DR. W M . BRAID WHITE
Technical Editor
,
Some Points on
The Analysis of
Tone Vibrations
DR. WM. BRAID WHITE
I
HAD actually started to write, and was
well on in, a discussion of quite another
kind for this month's contribution, when
a letter arrived from Mr. Roy Elliott, of
Hammond, Ind., who disclosed some questions
of such general interest that I felt I could do
nothing else so useful for THE REVIEW this
month as to answer them forthwith. So here
they are, with my answers:
1. How or by what method are the vibra-
tions of a tuning fork counted, so as to de-
termine an exact number per second?
Answer. There are several possible meth-
ods.
I may begin with one very simple
scheme. Suppose that a very light needle be
attached to one prong of a tuning fork. Now
let the fork be held so that this needle stands
with its point downwards, upon or just above
a table, so that when the fork vibrates the
needle must move transversely back and
forth over this surface. Now let a strip of
smoked paper be caused to move underneath
the path of the needle at a definitely known
and constantly maintained rate of travel. If
now the fork be started vibrating the needle
will trace out a wavy or undulating line on
the smoked paper. If the speed of travel of
the paper be known, then the number of the
wavy lines in any given length will indicate
by a simple calculation the speed of vibration
of the fork. For, if the strip of smoked paper
move at the rate of, say, four feet per second,
then in four feet of the paper's length there
will be recorded the vibrations during one sec-
ond of motion by the fork. If the number of
these waves or undulations so recorded be
+40, in four feet of paper, then the speed of
the fork will be 440 per second. And so on.
Another and more accurate method is to
make the fork part of a magnetic system by
placing one of its prongs between the poles
of a suitable magnet. If now the fork be
vibrated while a direct electric current is
flowing through it, the resulting changes in
the magnetic flux can be registered upon a
string-and-mirror galvanometer. If now the
mirror of the galvanometer be suitably illu-
minated, its motions can be recorded photo-
graphically upon a film moving at a known
and constant speed. The recorded undulations
may then be counted and the fork's speed
rated as before.
Another and better method has been util-
ized with great success and remarkable ac-
curacy by Dr. Dayton Miller, of Cleveland.
In this method use is made of the famous
tuning-fork clock of Koenig, as improved by
Doctor Miller. Here, a clock is furnished
with a pendulum which, in fact, is a tuning
fork vibrating 64 cycles per second and
very accurately rated. By suitable reduction
gearing this fork is caused to control the
clock in the ordinary way just as any pendu-
lum would. There is a special second hand
attached to the tuning fork in such a manner
that it makes one complete revolution around
the face of the clock every second, being con-
trolled by the fork, which runs at 64
complete vibrations or 128 oscillations per
second. The clock is now set running and
of
OF
BUCKSKIN.
T h e MOORE a n d FISHER Manufacturing Co.
Deep River, Conn.
THE
Estate
/HANUFACTORER
WHERE CAN YOU GET
PLAYER ACTION
REPAIRS and SUPPLIES
18
compared carefully with a standard clock.
The rate of the tuning fork is corrected by
sliding weights on it. If the clock is found
to be keeping perfect time then it is known
that the tuning fork pendulum is making
actually 128 oscillations per second, no more
and no less.
Suppose now it be desired to rate a fork
to 440 vibration cycles accurately. Since the
tuning fork pendulum is making 64 cycles
or 128 oscillations normally, we make a cal-
culation and find that the number 7 is the
one that goes into 440 with a quotient near-
est to 64. That quotient is actually 62.85.
By an equally simple calculation we see that
if we are to make the clock fork run its
pendulum at one-seventh of 440, or 62.85
times per second, rather than at 64, it must
be adjusted to lose 1 minute 4.8 seconds in
each hour. The adjustment is made, and
tested for correctness by a standard clock.
The vibration of the fork under test is
then watched through a microscope attached
to the clock fork. A bit of chalk on the end
of the fork prong makes this easy, especially
if it be illuminated brightly. When the two
forks (clock and fork under test) are then
set into vibration together, the clock fork
should be running at just one-seventh the
speed of the other. If this is actually so, then
the interposition of the slow upon the fast
vibration will cause the illuminated bit of
chalk dust to appear to the eye through the
microscope as a figure of the kind first
1049—3rd St.
NORTH BERGEN. N. J.
Tel.: 7—4367
MUSIC
TRADE
REVIEW,
A p r i l , 1932

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