P R E S T 0-TI M E S
NATIONAL BUREAU FOR
ADVANCEMENT OF MUSIC
AS REORGANIZED IS NOW
EFFECTIVELY FUNCTIONING
By HERMANN IRION.
A profound change, but one of utmost importance
to the work and future welfare of National Bureau
for the Advancement of Music has just been made.
Acting under authority of and direction from the
Board of Directors of Music Industries Chamber of
Commerce, control over the National Bureau for the
Advancement of Music has been vested in a Board of
Control consisting of three representatives each from
the music industry, music educators and philanthropic
organizations interested in the advancement of music.
President C. Alfred Wagner of the Chamber has
made the following appointments to the National
Bureau's Board of Control:
Representatives of music industries:
Hermann
Irion, chairman, Steinway & Sons; Lucien Wulsin,
The Baldwin Co.; Alfred L. Smith, C. G. Conn, Ltd.
Representatives of musical educators: Dr. Joseph
E. Maddy, professor in Department of Fine Arts in
the University of Michigan; Professor Peter W.
Dykema, professor of public school music education,
Teachers' College, Columbia University; Dr. Hollis
Dann, professor of public school education at New
York University.
Representatives of philanthropic organizations: Dr.
Howard Hanson, director of the Eastman School of
Music; Dr. John Erskine, president of the Juilliard
Musical Foundation, professor of English literature,
Columbia University; Dr. William F. Learned, mem-
ber of the Board of Carnegie Foundation.
Miss Gertrude Borchard was made secretary of the
reorganized National Bureau, while Harry Meix-
ell, general manager of the Music Industries Cham-
ber of Commerce, was appointed treasurer.
Review of Fifteen Years' Work.
At a recent meeting the work of the National Bu-
reau for the past 15 years was reviewed by the chair-
man who said that during this period the Bureau has
had from the Chamber approximately $600,000 for
financing its general music promotional activities and
many thousands of dollars additional for caring for
specialized promotional activities which have grown
out of the general work. These sums do not include
the special expenditures made by such affiliations of
the Chamber as the National Piano Manufacturers'
Association of America which if added would bring
the total of the industry's outlays for music promo-
tional work both general and special to almost $1,000,-
000 during the time indicated.
There had been a growing tendency on the part of
some contributors toward the work of the National
Bureau to demand direct specialized benefits for their
outlays of money. From the very nature of the
Bureau's work, the rendering of direct services is not
alone undesirable but impossible.
"Consequently," said the chairman, "to forestall
any further growth of this attitude on the part of
any branches of the industry and on the part of any
individual members of the industry it has seemed de-
sirable to those who have given thought to the sub-
ject to advocate a change in the set-up of the National
Bureau in its relation to the Chamber so as to do
away with any criticism along this line."
The following code of guiding principles suggested
by the chairman received very cordial reception:
1. That love of music is a vital part of the indi-
vidual and social life of each and every one of us.
Establish this premise by investigation and analysis.
2. That this gospel must be brought home to every-
one so as to promote a widespread and deep love for
music among individuals and groups of individuals.
3. That along with the promotion of a love for
music must be instilled a desire to give expression
to this love by singing or playing.
4. As the desire to give expression to the love of
music by singing or playing is developed and turned
into this channel or that, the National Bureau be pre-
pared to give sound guidance as to choral singing,
orchestras, bands, group piano instructions, etc., etc.
A Far-sighted Work Program.
There has been formed a carefully thought-out,
clearly denned and far-sighted work program to gov-
ern the activities of the National Bureau—a course
of endeavor contemplating a little more than three
and one-half years of effort—that is, from November
1, 1930, through May 31, 1934. This far-sighted work
program contemplating the promotion of music in
general and the necessary steps to meet the require-
ments for demands for specialized promotions is now
being prepared with the assistance of the director,
Mr. Tremaine.
A very careful analysis of the expenditures neces-
sary in the way of personal service, rent, communica-
tion, printing, stationery and supplies, etc., etc., for
the activities of the National Bureau in connection
with the seven months ending May 31, 1931, estab-
lished the fact that approximately $45,000, is needed
to take care of the financing of the program. On the
other side of this picture the anticipated revenue re-
quired to meet the $45,000 outlay necessary has vir-
tually been already underwritten by the industry.
The $45,000 in question will be met by underwriting
of approximately $25,000 from piano manufacturers
and the remaining $20,000 from the band and orches-
tra instrument and fretted instrument manufacturers'
section of the Chamber.
The Board of Control passed a resolution author-
izing and instructing the chairman to create an execu-
tive committee of three members one from each of the
three groups composing the board to exercise at all
times constant supervision over the carrying out of the
administrative detail of the National Bureau's work
programs: This executive committee will consist of:
Herman Irion, chairman, representing Music Indus-
tries; Dr. Hollis Dann, representing Music Educa-
tors; Dr. John Erskine, representing Philanthropic
Organizations.
Getting High-Minded Support.
The well-known skepticism and the high purpose
of the experienced men having charge of education
and endowments in our country have been won over
by the splendid work heretofore accomplished by the
Bureau. If this were not a fact and if these men did
not recognize the educational value of what has been
accomplished and what it is still necessary to accom-
plish, they would not lend themselves nor their time
nor their money to furthering these objects. Our in-
dustry is the only one combining, as it does, commer-
cialism, culture and art, that can attract such valua-
ble and high-minded support. It is no wonder, there-
fore, that the farsighted men of our industry are
rallying so splendidly even in adverse times to get be-
hind and support this movement.
THE AUTOMATIC PHONOGRAPH
AND RADIO COMBINATION
In an interview last week with J. E. Broyles, sec-
retary of the Capehart Corporation, Fort Wayne
Ind., that gentleman said to a correspondent of
Presto-Times:
"The trend toward the multi-record automatic
phonograph in combination with radio is very definite
and already many of the largest and most aggressive
dealers in the country have established departments
for the sale of automatics in the home and the com-
mercial fields.
"The automatic phonograph and radio combination
restores in a large measure a volume of cash and
repeat business which the music dealer once enjoyed
in days gone by. Automatics use records and record
sales bring extra profits and repeat business.
"Successful retailing is predicated on reoccurring
profits. The radio has brought back the phonograph
and the automatic phonograph-radio combination is
bringing back the record business—the profits are
two-fold. Running concurrently with this develop-
ment are the elaborate recordings of concerts, operas,
symphonies and musical works in complete albums.
Now record sales, in addition to single record sales,
are being made in terms of half dozens or more at
one purchase."
The automatic phonograph and radio combination
is attracting a great deal of consideration in the
foreign markets in the very same manner American
dealers are anticipating a big year in the sale of auto-
matic combinations.
H. R. Moore, director and general manager of
Giffens-Spares, Ltd., London, well-known English
firm, was a recent visitor at the Capehart plant in
Fort Wayne, Ind. With the advent of Capehart
record-changing mechanisms and electrical transcrip-
tion of recorded selections, the public desire among
the British for the phonograph is growing by leaps
and bounds.
A recent foreign visitor to the Capehart factory
was Oscar Payor, a large dealer in musical merchan-
dise from the city of Bad Nauheim, Germany. Mr.
Payor said the automatic record-changing device in
combination with radio will do a lot to stimulate even
greater interest in music.
Direct evidence of the great public interest in the
automatic phonograph and radio combination is shown
by the activity going on around the Capehart plant
at Fort Wayne, Ind. Aggressive dealers sense the
fact that 1931 will be a big year for automatic com-
binations.
PIANO BARGAINS THIS MONTH.
Here is a quotation from a recent editorial in the
New York Journal: "We advise you to buy a hat,
if you need one, or a suit, or a pair of shoes, or a
radio or a grand piano, because you get a bargain
when you buy. Today's market is a buyers' market."
The mention of "grand piano" seems to indicate that
the newspaper men of the metropolis still regard the
piano as having its place in the scheme of things.
December, 1930
VERSATILE VIEWS
OF EDGAR B. JONES,
SCHILLER PRESIDENT
Edgar B. Jones, president of the Schiller Piano Co.,
Oregon, 111., when called upon by a Presto-Times
representative a few days ago, was in a mood to give
out some ideas that are well worth reproducing.
Although his motor car was standing at the curb
waiting to carry him to another city to lend his aid
where a group were selecting some pianos, he gave
the caller a twenty-minute interview, or rather dis-
sertation, on piano selling methods and the kinds of
pianos that command the best trade. The dealer
today must have pianos that appeal to the eye—
pianos so neat and chaste, so modern in form, so
true in tone, that to be seen is to be half sold. Not
the clumsy, old-style kind that to be seen is to be
rejected. Mr. Jones referred briefly to the long-es-
tablished policy of the Schiller Piano Co. to make
the piano a thing of beauty, physically and musically.
He gave the caller his views as to the effect of
hard times on the piano business. Strange as it may
sound, he believes that tight finances for the many
act as a direct stimulant to piano trade, for he set
out these reasons why this is so:
Sees His Home as It Is.
In times of unemployment or slack employment
when the father finds himself sitting at home all or
part of the working day, he becomes introspective.
He begins to see things that need improvement in
the home. The chair he is sitting in, sags; he decides
to buy a new one—hadn't noticed its defectiveness
any morning when he was rushing away in a hurry
to his work.
He notices for the first time in many months how
his children act; he inquires about their associates;
their games; their progress at school; their pleasures;
their ambitions; their originality. Their tendencies,
in short. He finds a good deal wrong—there is a
good deal wrong in any group of young children, just
growing up and rapidly developing. But he keeps
his own counsel—only consulting with his wife about
them when they are not present.
Decides to Buy a Piano.
One thing that he finds wrong is that the young
folks in his family are not getting the music lessons
that they need to keep them at home nights. He tells
his wife that this home must be fixed up—made more
attractive; made into a real home. Rugs are pur-
chased from the savings account. The children are
delighted—their home begins to take on the charm of
other homes. Finally, a piano is decided upon as
the real touch—the achievement de luxe. Every mem-
ber of the family agrees to this, and it is only a few
days until it is purchased.
How Hard Times Help Trade.
Mr. Jones put forward two things that get in
action, which he said became very much alive in hard
times—religion and the piano business. As said be-
fore, this was due mainly to introspective psychology.
The man suddenly thrown idle or on partial work-
ing time, begins to take stock of himself—of life, of
his responsibility for the welfare of his wife and chil-
dren. He sees how run down his home has become,
despite his steady activity at the shop or the office.
The reaction is a psychological one. Like a pendu-
lum, he swings the other way. His better instincts
tell him that one of the leading improvements to make
his home a charming place is a fine new piano.
A Bill Paid Has Far-Reaching Effect.
Envisioning to the customer just why it is his duty
and what service he renders to his home, his com-
munity and to many other communities and individ-
uals by purchasing his piano right now when times
are "hardly up to snuff," is one method Mr. Jones
believed in sincerely.
Really an Endless-Chain Effect.
Not long ago a piano salesman in whom Mr. Jones
had taken a good deal of interest—he had been a
sort of mentor to the man—had told him of being
"up against a tough customer." This customer, pos-
sessed of ample means, wanted a piano, and that a
Schiller, but he was holding off from buying—at least
his reason for not buying was that he had been
psychologically influenced by the gloomy bells that
his neighbors were ringing.
So Mr. Jones says to his friend: "Go to that pros-
pect and tell him how unwise he is to hold back from
buying. Tell him how much good his money will do
ii : now put into circulation—how even a $100 pay-
ment will roll along through other payrolls in many
offices and in many cities—and he'll see that this is
the veritable truth."
Tell him how many individuals are depending for
their continuance in employment on that purchase.
At the action factory some 500 men must do their
individual stunts in producing the action; at the piano
factory possibly 1,000 men have had some sort of con-
tact with it by the time it is ready to ship—and then
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