Music Trade Review
Issue: 1922 Vol. 75 N. 24 - Page 162
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
152
THE
MUSIC
llllllll
TRADE
REVIEW
Illllllllllllilllllllllllllllllllllllllllllll
Robert Teller Sons & Dorner
LITHOGRAPHERS
MUSIC PRINTERS
and ENGRAVERS
311 W. FORTY-THIRD ST.
N E W
Y O R K
The Best Music Printers for Over 50 Years
SEND MANUSCRIPT FOR ESTIMATE
llllllllllllllllllllllllllllilllllllllllllLlilillllliilll!!
THE DEMAND IS FOR BETTER MUSIC, SAYS E. C. MILLS
Chairman of Executive Board of Music Publishers' Protective Association Comments Interestingly
on Present Trend of Public Taste in Popular Music
Rarely, indeed, in the business world, does
there come a time when the men in any indus-
try are not asking "What's the matter witli busi-
ness?", whereupon all and sundry-who are in-
terested in the particular industry of which
the question arises advance this and that theory
to account for the condition complained of.
Generally, one theory is just about as good
as another in relation to any general condition,
but not a few years of experience and observa-
tion have taught me that the answer to a situa-
tion of this sort is WORK! and more work—
when things are coming easy and fast we think
they ought to continue coming that way, and
sometimes when they stop we forget that the
antidote to unfavorable conditions is to get out
and fight for business.
Now, I am particularly interested in the music
business—I depend upon its being in a healthy
condition, for the success of my own endeavors,
so when it seems a little "off," or a whole lot,
I am mighty anxious to know what the matter
is, and what to do to remedy the unfavorable
condition.
The music business starts, of course, with the
man who produces the raw material—the com-
poser and author. The next step in its process
is the publisher, and the final one for business
purposes the dealer in sheet music. That's the
frame-up in rough, quick outline.
Music, as a business, is somewhat different in
many of its aspects, from business in staple
lines, or the necessities.
I have already said that generally one theory
is about as good as another, and I believe this
to be true, but, with the kind indulgence of the
reader, I want to do a little theorizing now on
DECEMBER 9, 1922
my own hook, and I am entirely willing that I
be the only one that agrees with my theory.
That will make it unanimous, as far as I am
concerned, anyway.
In the first place I think that music is an
element that as to its business phases necessi-
tates a constant, unremitting, never-ending, en-
ergetic propaganda in its behalf, all the time, if
the business done in its products is to be kept
at a maximum.
"Tricks" and "Stunts" in Melodies
To start at the beginning, there is the tune
itself. Frankly, I do not believe that the cur-
rent melodies, in the popular field, have the
general merit that they would have if there
were less attention paid to "tricks" and "stunts,"
and more to melody—'harmony—real music. It
seems to me that too much of our music now
is written with a single eye to the reception it
will receive on the dance floor; too much with
the notion that to its measures those who trip
the light fantastic will most pleasurably dance.
I hear so many tunes now that to me seem to
have been written with an idea of conveying
to the ear a musical impression of a tin tub full
of broken rock falling down a concrete stair,
that I sort of long for some sweet melody,
accompanied by pleasing lyrics, that will sort
of soothe and smooth my ear, rather than a
startling cacophony of sound, granted with cer-
tain harmonies of a weird and unexpected form,
that makes me jump every now and then as the
trap drummer finds some new contraption upon
which to vent his nervous energy.
I sort of long for the waltz-ballad days;
maybe this is just a symptom of old age, I
cannot say; maybe I am getting to be one of
those antediluvians who constantly refer to the
"good old days," yet I find not a few of the
younger folks who seem to think somewhat
along the same lines.
Probably most of the successful songwriters
live in New York City; certainly most of the
publishers have their headquarters there, and
it is in Manhattan that most of the propaganda
for music originates. It is New York City that
The Most Popular of Present Day Christmas Songs
GESU BAMBINO
(The Infant Jesus)
by
PIETRO A. YON
A captivating piece of lovely Christmas music that I
ought be heard in every Choir-loft the world over. |
Dealert will find in it a ready teller
Vocal Solo; High, G; Low K.
ABRANOKMKNTS
60
Organ Solo .
FOR CHORUS—OCTAVO KDITION
Mixed Voices ( 8 . A. T. It.)
15
Men's Voice*
Three Equal Voices (Men or Women)
15
T w o Kqual Voices (Men or Women)
Unison Chorus
i«
Unison (Congregational Use)
.till
l>
15
10
J. Fischer & Bro., New York
Fourth Avenue at Eighth Street
(Astor Place)
Jy Clarence Gaski/l
Writer of "Kentucky Bfae&
A\ WITMARK & SONS WITMAPk BUILDING NEW YORK
152
THE
MUSIC
llllllll
TRADE
REVIEW
Illllllllllllilllllllllllllllllllllllllllllll
Robert Teller Sons & Dorner
LITHOGRAPHERS
MUSIC PRINTERS
and ENGRAVERS
311 W. FORTY-THIRD ST.
N E W
Y O R K
The Best Music Printers for Over 50 Years
SEND MANUSCRIPT FOR ESTIMATE
llllllllllllllllllllllllllllilllllllllllllLlilillllliilll!!
THE DEMAND IS FOR BETTER MUSIC, SAYS E. C. MILLS
Chairman of Executive Board of Music Publishers' Protective Association Comments Interestingly
on Present Trend of Public Taste in Popular Music
Rarely, indeed, in the business world, does
there come a time when the men in any indus-
try are not asking "What's the matter witli busi-
ness?", whereupon all and sundry-who are in-
terested in the particular industry of which
the question arises advance this and that theory
to account for the condition complained of.
Generally, one theory is just about as good
as another in relation to any general condition,
but not a few years of experience and observa-
tion have taught me that the answer to a situa-
tion of this sort is WORK! and more work—
when things are coming easy and fast we think
they ought to continue coming that way, and
sometimes when they stop we forget that the
antidote to unfavorable conditions is to get out
and fight for business.
Now, I am particularly interested in the music
business—I depend upon its being in a healthy
condition, for the success of my own endeavors,
so when it seems a little "off," or a whole lot,
I am mighty anxious to know what the matter
is, and what to do to remedy the unfavorable
condition.
The music business starts, of course, with the
man who produces the raw material—the com-
poser and author. The next step in its process
is the publisher, and the final one for business
purposes the dealer in sheet music. That's the
frame-up in rough, quick outline.
Music, as a business, is somewhat different in
many of its aspects, from business in staple
lines, or the necessities.
I have already said that generally one theory
is about as good as another, and I believe this
to be true, but, with the kind indulgence of the
reader, I want to do a little theorizing now on
DECEMBER 9, 1922
my own hook, and I am entirely willing that I
be the only one that agrees with my theory.
That will make it unanimous, as far as I am
concerned, anyway.
In the first place I think that music is an
element that as to its business phases necessi-
tates a constant, unremitting, never-ending, en-
ergetic propaganda in its behalf, all the time, if
the business done in its products is to be kept
at a maximum.
"Tricks" and "Stunts" in Melodies
To start at the beginning, there is the tune
itself. Frankly, I do not believe that the cur-
rent melodies, in the popular field, have the
general merit that they would have if there
were less attention paid to "tricks" and "stunts,"
and more to melody—'harmony—real music. It
seems to me that too much of our music now
is written with a single eye to the reception it
will receive on the dance floor; too much with
the notion that to its measures those who trip
the light fantastic will most pleasurably dance.
I hear so many tunes now that to me seem to
have been written with an idea of conveying
to the ear a musical impression of a tin tub full
of broken rock falling down a concrete stair,
that I sort of long for some sweet melody,
accompanied by pleasing lyrics, that will sort
of soothe and smooth my ear, rather than a
startling cacophony of sound, granted with cer-
tain harmonies of a weird and unexpected form,
that makes me jump every now and then as the
trap drummer finds some new contraption upon
which to vent his nervous energy.
I sort of long for the waltz-ballad days;
maybe this is just a symptom of old age, I
cannot say; maybe I am getting to be one of
those antediluvians who constantly refer to the
"good old days," yet I find not a few of the
younger folks who seem to think somewhat
along the same lines.
Probably most of the successful songwriters
live in New York City; certainly most of the
publishers have their headquarters there, and
it is in Manhattan that most of the propaganda
for music originates. It is New York City that
The Most Popular of Present Day Christmas Songs
GESU BAMBINO
(The Infant Jesus)
by
PIETRO A. YON
A captivating piece of lovely Christmas music that I
ought be heard in every Choir-loft the world over. |
Dealert will find in it a ready teller
Vocal Solo; High, G; Low K.
ABRANOKMKNTS
60
Organ Solo .
FOR CHORUS—OCTAVO KDITION
Mixed Voices ( 8 . A. T. It.)
15
Men's Voice*
Three Equal Voices (Men or Women)
15
T w o Kqual Voices (Men or Women)
Unison Chorus
i«
Unison (Congregational Use)
.till
l>
15
10
J. Fischer & Bro., New York
Fourth Avenue at Eighth Street
(Astor Place)
Jy Clarence Gaski/l
Writer of "Kentucky Bfae&
A\ WITMARK & SONS WITMAPk BUILDING NEW YORK
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