Music Trade Review
Issue: 1918 Vol. 67 N. 15 - Page 38
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
38
OCTOBER 12, 1918
in the Duo-Art, which is preserving for us and
for future generations the playing of the great
Prominent Middle West Conservatory Secures Duo-Art Reproducing Piano for Use in Its Instruc- artists of the world. Perhaps I had better be-
gin at the beginning and tell you just how I
tion Courses—Principal of the Conservatory Tells of the Value of the Duo-Art
go about the teaching of a composition with the
DAYTON, O., October 7.—An interesting sale swer to the question put by the representative, Duo-Art as my very good friend and assistant
was recently closed by the Aeolian Co.'s branch '"that was the Duo-Art reproducing piano you teacher. In the first place, I use it to awaken
in this city, when a Duo-Art piano was sold to heard playing when you came in; I was just the interest of the pupil in the piece he is to
the Dayton Conservatory of Music, one of the giving a pupil the artist's interpretation to carry study. This has many advantages over the
best known and most successful educational in- home with him as a model and inspiration for usual way of merely handing the composition
stitutions for the study of music in the West. his week's practice. The number you heard to the pupil and telling him to learn it. I t is
D. E. Alilers, manager of this branch, who was Harold Bauer's record of the Brahms Hun- a great aid for the pupil to hear the piece played
the first time by a great artist; it gives him the
right conception or ideal and furnishes the stim-
ulus necessary for the hard study in the first
discouraging state of mastering the difficulties.
The pupil realizes the possibilities of the piece
and also knows that he is not spending time on
something that he will not like later, as he has
already heard it and knows just how it will
sound when mastered.
"When the pupil comes back for his next les-
son I first have him play the piece through from
the music, correcting, of course, errors in funda-
mentals (if any) such as notes, time, values,
fingering, etc. For misconceptions of rhythm,
phrasing, accents, style, dynamics, touch, pauses
and all the other things that go to make up ar-
tistic interpretation, however, I use the Duo-Art
again. I usually regulate the speed of the Duo-
Art to about the rate the.pupil is then able to
play the piece and we sit and watch the music
as the record is being played, I calling atten-
tion to all the points I wish to emphasize and
pointing out the effect on the music, making the
Duo-Art repeat any section as many times as
seems necessary for the perfect comprehension
of the pupil. I would like to say right here that
The Dayton Conservatory of Music, Dayton, O.
studying the music without playing it is a
closed this important sale, recently suggested garian Dance No. 6, which this pupil is study- method of learning that is too often ignored,
that a representative of The Review interview ing."
that many more details of the notation of the
Mr. Ridgway, head of this Conservatory of
"Then you believe in using the Duo-Art in piece will be noticed and fixed in the mind of
Music, regarding the satisfaction derived from your teaching, do you?" I asked. "I could not the student by this plan than when mind and
the Duo-Art. The interview with Mr. Ridgway get along without it now," replied Mr. Ridgway. fingers are busy in the problems of execution
follows:
"It would be like going back to oil lamps and and only a small fraction of the attention avail-
The representative-of The Music Trade Re- candles after getting used to electricity. The
view found Mr. Ridgway in his beautiful studio Duo-Art saves so much time and makes the
at the Dayton Conservatory of Music just after work of both teacher and pupil so much easier
he had given a lesson to one of his more ad- that it would seem a step backward indeed
vanced pupils. "Yes," said Mr. Ridgway in an- have to do without it."
"Would you mind telling me just how you use
it in your teaching and just how it benefits the
pupil besides saving time, etc.?" I asked. "Yes,
I will be glad to- do so, as it is a subject that
interests me greatly," replied Mr. Ridgway. "I
have always been interested in the discoveries
and inventions of science, and in the case of the
Duo-Art I have the opportunity of using one
of
the most marvelous developments along this
A Specialty of Pneumatic Leather*
line in my own artistic work. Science and art
should work together, and they certainly do so
DAYTON CONSERVATORY OF MUSIC INSTALLS DUO-ART
PLAYER-ORGAN--PIANO
LEATHERS
INTRODUCED IN 1898
WORLD
FAMOUS
Exclusively Featured in
ANGELUS
WHITE
A 1WW*¥"*¥
¥ TC? PLAYER
PIANOS
IMPERIAL PLAYER ROLLS
AND
THE
POPULAR
PLAYER
PIANOS
Made by the pioneers and
Have wonderful patented device* and exclusive features
leaders In tbe player-piano Industry
THE WILCOX & WHITE CO., MERIDEN, CONN.
Business Established 1877
Agencies All Over tbe World
Melville
Clark's
APOLLO
Established Retail Price
Consistent with Quality
CO
MELVILLE CLARK PIANO CO.
FINE ARTS BUILDING, CHICAGO
STANDS laU*MMMIAMONG
7Ac- AUTOPIANO COMPANY
PAUL D- KLUQH~P/?fr'2£Hr
• •
ON THE HUDSON AT fl>t 5TJIEET
LIFE'S
NECESSITIES
THE MUSIC TRADE REVIEW
38
OCTOBER 12, 1918
in the Duo-Art, which is preserving for us and
for future generations the playing of the great
Prominent Middle West Conservatory Secures Duo-Art Reproducing Piano for Use in Its Instruc- artists of the world. Perhaps I had better be-
gin at the beginning and tell you just how I
tion Courses—Principal of the Conservatory Tells of the Value of the Duo-Art
go about the teaching of a composition with the
DAYTON, O., October 7.—An interesting sale swer to the question put by the representative, Duo-Art as my very good friend and assistant
was recently closed by the Aeolian Co.'s branch '"that was the Duo-Art reproducing piano you teacher. In the first place, I use it to awaken
in this city, when a Duo-Art piano was sold to heard playing when you came in; I was just the interest of the pupil in the piece he is to
the Dayton Conservatory of Music, one of the giving a pupil the artist's interpretation to carry study. This has many advantages over the
best known and most successful educational in- home with him as a model and inspiration for usual way of merely handing the composition
stitutions for the study of music in the West. his week's practice. The number you heard to the pupil and telling him to learn it. I t is
D. E. Alilers, manager of this branch, who was Harold Bauer's record of the Brahms Hun- a great aid for the pupil to hear the piece played
the first time by a great artist; it gives him the
right conception or ideal and furnishes the stim-
ulus necessary for the hard study in the first
discouraging state of mastering the difficulties.
The pupil realizes the possibilities of the piece
and also knows that he is not spending time on
something that he will not like later, as he has
already heard it and knows just how it will
sound when mastered.
"When the pupil comes back for his next les-
son I first have him play the piece through from
the music, correcting, of course, errors in funda-
mentals (if any) such as notes, time, values,
fingering, etc. For misconceptions of rhythm,
phrasing, accents, style, dynamics, touch, pauses
and all the other things that go to make up ar-
tistic interpretation, however, I use the Duo-Art
again. I usually regulate the speed of the Duo-
Art to about the rate the.pupil is then able to
play the piece and we sit and watch the music
as the record is being played, I calling atten-
tion to all the points I wish to emphasize and
pointing out the effect on the music, making the
Duo-Art repeat any section as many times as
seems necessary for the perfect comprehension
of the pupil. I would like to say right here that
The Dayton Conservatory of Music, Dayton, O.
studying the music without playing it is a
closed this important sale, recently suggested garian Dance No. 6, which this pupil is study- method of learning that is too often ignored,
that a representative of The Review interview ing."
that many more details of the notation of the
Mr. Ridgway, head of this Conservatory of
"Then you believe in using the Duo-Art in piece will be noticed and fixed in the mind of
Music, regarding the satisfaction derived from your teaching, do you?" I asked. "I could not the student by this plan than when mind and
the Duo-Art. The interview with Mr. Ridgway get along without it now," replied Mr. Ridgway. fingers are busy in the problems of execution
follows:
"It would be like going back to oil lamps and and only a small fraction of the attention avail-
The representative-of The Music Trade Re- candles after getting used to electricity. The
view found Mr. Ridgway in his beautiful studio Duo-Art saves so much time and makes the
at the Dayton Conservatory of Music just after work of both teacher and pupil so much easier
he had given a lesson to one of his more ad- that it would seem a step backward indeed
vanced pupils. "Yes," said Mr. Ridgway in an- have to do without it."
"Would you mind telling me just how you use
it in your teaching and just how it benefits the
pupil besides saving time, etc.?" I asked. "Yes,
I will be glad to- do so, as it is a subject that
interests me greatly," replied Mr. Ridgway. "I
have always been interested in the discoveries
and inventions of science, and in the case of the
Duo-Art I have the opportunity of using one
of
the most marvelous developments along this
A Specialty of Pneumatic Leather*
line in my own artistic work. Science and art
should work together, and they certainly do so
DAYTON CONSERVATORY OF MUSIC INSTALLS DUO-ART
PLAYER-ORGAN--PIANO
LEATHERS
INTRODUCED IN 1898
WORLD
FAMOUS
Exclusively Featured in
ANGELUS
WHITE
A 1WW*¥"*¥
¥ TC? PLAYER
PIANOS
IMPERIAL PLAYER ROLLS
AND
THE
POPULAR
PLAYER
PIANOS
Made by the pioneers and
Have wonderful patented device* and exclusive features
leaders In tbe player-piano Industry
THE WILCOX & WHITE CO., MERIDEN, CONN.
Business Established 1877
Agencies All Over tbe World
Melville
Clark's
APOLLO
Established Retail Price
Consistent with Quality
CO
MELVILLE CLARK PIANO CO.
FINE ARTS BUILDING, CHICAGO
STANDS laU*MMMIAMONG
7Ac- AUTOPIANO COMPANY
PAUL D- KLUQH~P/?fr'2£Hr
• •
ON THE HUDSON AT fl>t 5TJIEET
LIFE'S
NECESSITIES
Future scanning projects are planned by the International Arcade Museum Library (IAML).