Music Trade Review
Issue: 1924 Vol. 79 N. 24 - Page 150
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
136
THE
MUSIC
TRADE
REVIEW
DECEMBER 13, 1924
Music in the Moving Picture House
and the Educational Part Which It Plays
M. Winkler, President of Belwin, Inc., Outlines the Important and Vital Part Which Music
Has Come to Play in the Proper Presentation of the Moving Picture Film
bits
thatmafajlour
cash register
sing
Bygones
China Girl
Day Dreaming
I Don't Know Why
It's Lullaby Time
Patsy
Rockabye My Baby Blues
Roll Along
Oriental Love Dreams
Sleep
That's My Girl
West, a Nest and You
When the Shadows Fall
When We Are Together
books
"Bailey Ukulele Method"
Over a million sold.
"Black Tenor Banjo Method"
Actual or Transposed Notation.
"Peterson Steel Guitar
Method"
The standard by which all others
are judged.
"Orchestral Saxophonist"
By N. B. Bailey.
"Black Tenor Banjo Chords"
\ yfUSIC is a language; it is an international
*•**• dialect modified and changed through local
peculiarities. As is the case of every language,
1 am sorry to admit that we learn the wicked
and evil end first. This is the reason why jazz
and cheap dance music are so predominating
to-day.
Few of our boys and girls are able to trans-
late good music into their own language.
Every musical number, every composition, tells
a story. Music can tell the story of love and
laughter, hate and sorrow. Music can make
you weep, wonder and worship.
Music portrays the stillness of death, the
calmness of the desert as well as the fierce
battles of bandits and burglars.
Music paints desolate places of poverty with
as much realism as palaces of merriment.
No language in the world possesses so rich
or universal a vocabulary as music.
Our boys and girls are being taught to play
music. Are they being taught to understand
and translate it? As I said before, it is the
wicked end of the language most known. Jazz
and the Oriental style dance rhythm that creates
the same weirdness as a cheap dime novel, are
about the most popular musical sentences un-
derstood to-day.
The March, in my estimation, is the only
piece of good music any boy or girl can trans-
late and understand its story and purpose, but
how about the translation of other works—not
classical or opera—I mean musical works of a
semi-classic character, musical works that can
be performed by our younger generations.
Take for example melody in F by Rubinstein,
"Toreador Song" from "Carmen," "Angel Sere-
nade" by Braga, "Cavatine" by Raff, prelude by
Rachmaninoff and thousands of other works
enjoying the same popularity.
How many boys and girls can translate these
compositions? How many can analyze their
meaning?
Suppose we would tell one of our youngsters
the following story: Tell them of a beautiful
sunset with birds in the trees; tell them a story
of nature going to sleep and ask them to select
from the various musical numbers they know
a piece that would harmonize with such a
scene. Tell them a story of a King's Corona-
tion; of Camels wandering through the desert
and ask them to suggest something that would
musically illustrate it. Do you think they could
do it?
Would it not be wonderful if our boys and
girls could understand the story they play?
Don't you think that musical education of
such standard would bring about a better un-
derstanding of Music in the child's mind? Don't
you think that such teaching would reveal to
the child a world of deep thought and refine-
ment, that would undoubtedly react its benefits
in later years? Don't you think that such tui-
tion would enable the child to play with more
feeling and enable it to play in a more correct
manner as regards interpretation?
Don't you think that such a teaching would
eliminate the word "monotony" in music from
the child's dictionary?
Don't you think that mental education of
music is more important than its physical exe-
cution?
Doesn't physical execution always make you
think of money? It begins to classify music
more as a profession than art. Mental educa-
tion and understanding, however, bring about
refinement, culture and polish.
Music as an art and correctly understood is
food for the soul. It is the foundation to sound
and well reared womanhood and manhood.
The film industry has developed a new class
of musical literature. It has taught the public-
a great deal—frequent theatre goers have
learned to understand music since it has taken
the place of the spoken word in the silent
drama.
The film industry has created a new style of
music; it has given it character.
The film theatre has forced the American
publisher to issue a great deal of material here-
tofore unknown.
About six or seven years ago a name such
as "Dramatic Reproach" for a musical compo-
sition was unheard of, but to-day we have hun-
dreds of "dramatic tensions," "pathetic andan-
tes," "dramatic recitatives," "dramatic agitatos,"
"mysteriosos," "cowboy allegros," "tensive al-
legros," "battle hurries," "comedy allegros" and
thousands of other characterizations too nu-
merous to mention, each and every number
having been written for a certain purpose and
musically telling a certain story portrayed on
the screen.
Now, this vast amount of material known
generally under the name of "incidental music,"
has never been used for educational purposes.
Its interpretive powers have not as yet forced
their way into Orchestral Organizations of edu-
cational character. Understand me please, In-
cidental Music as published to-day is not for
beginners; it is for the advanced students, but
what is the publisher here for? Is he not in
business to serve? Cannot this big industry of
education make the publisher issue Incidental
Music that is easy, just as the film industry
has been able to command its own?
Just as we have classes of harmony let's have
a course called "Scenics in Music." Tell the
members of your orchestra a story. Tell them
—we will not play a waltz, a march, an over-
ture or a galop; but portray "Spring in its
glory and beauty."
Play pictures just as the modern and up-to-
date Film House does. Lead our young musi-
cians into the realms of drama, mystery and
comedy.
Send them to the picture theatre that em-
ploys an orchestra under able and competent
leadership. Acquaint them with the longest,
most beautiful story ever written.
Girl for M. H. Taggert
Milton H. Taggert, of the Daynes-Beebe Mu-
sic Co., Salt Lake City, Utah, is welcoming the
publishers' representatives and sending them
away with well-filled order books. The reason
for the glad hand in the general atmosphere of
the celebration is the entry of a baby girl into
the Taggert home.
Consult the Universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions.
TH E-WALTZ BALLAD • BEAUTIFU L
136
THE
MUSIC
TRADE
REVIEW
DECEMBER 13, 1924
Music in the Moving Picture House
and the Educational Part Which It Plays
M. Winkler, President of Belwin, Inc., Outlines the Important and Vital Part Which Music
Has Come to Play in the Proper Presentation of the Moving Picture Film
bits
thatmafajlour
cash register
sing
Bygones
China Girl
Day Dreaming
I Don't Know Why
It's Lullaby Time
Patsy
Rockabye My Baby Blues
Roll Along
Oriental Love Dreams
Sleep
That's My Girl
West, a Nest and You
When the Shadows Fall
When We Are Together
books
"Bailey Ukulele Method"
Over a million sold.
"Black Tenor Banjo Method"
Actual or Transposed Notation.
"Peterson Steel Guitar
Method"
The standard by which all others
are judged.
"Orchestral Saxophonist"
By N. B. Bailey.
"Black Tenor Banjo Chords"
\ yfUSIC is a language; it is an international
*•**• dialect modified and changed through local
peculiarities. As is the case of every language,
1 am sorry to admit that we learn the wicked
and evil end first. This is the reason why jazz
and cheap dance music are so predominating
to-day.
Few of our boys and girls are able to trans-
late good music into their own language.
Every musical number, every composition, tells
a story. Music can tell the story of love and
laughter, hate and sorrow. Music can make
you weep, wonder and worship.
Music portrays the stillness of death, the
calmness of the desert as well as the fierce
battles of bandits and burglars.
Music paints desolate places of poverty with
as much realism as palaces of merriment.
No language in the world possesses so rich
or universal a vocabulary as music.
Our boys and girls are being taught to play
music. Are they being taught to understand
and translate it? As I said before, it is the
wicked end of the language most known. Jazz
and the Oriental style dance rhythm that creates
the same weirdness as a cheap dime novel, are
about the most popular musical sentences un-
derstood to-day.
The March, in my estimation, is the only
piece of good music any boy or girl can trans-
late and understand its story and purpose, but
how about the translation of other works—not
classical or opera—I mean musical works of a
semi-classic character, musical works that can
be performed by our younger generations.
Take for example melody in F by Rubinstein,
"Toreador Song" from "Carmen," "Angel Sere-
nade" by Braga, "Cavatine" by Raff, prelude by
Rachmaninoff and thousands of other works
enjoying the same popularity.
How many boys and girls can translate these
compositions? How many can analyze their
meaning?
Suppose we would tell one of our youngsters
the following story: Tell them of a beautiful
sunset with birds in the trees; tell them a story
of nature going to sleep and ask them to select
from the various musical numbers they know
a piece that would harmonize with such a
scene. Tell them a story of a King's Corona-
tion; of Camels wandering through the desert
and ask them to suggest something that would
musically illustrate it. Do you think they could
do it?
Would it not be wonderful if our boys and
girls could understand the story they play?
Don't you think that musical education of
such standard would bring about a better un-
derstanding of Music in the child's mind? Don't
you think that such teaching would reveal to
the child a world of deep thought and refine-
ment, that would undoubtedly react its benefits
in later years? Don't you think that such tui-
tion would enable the child to play with more
feeling and enable it to play in a more correct
manner as regards interpretation?
Don't you think that such a teaching would
eliminate the word "monotony" in music from
the child's dictionary?
Don't you think that mental education of
music is more important than its physical exe-
cution?
Doesn't physical execution always make you
think of money? It begins to classify music
more as a profession than art. Mental educa-
tion and understanding, however, bring about
refinement, culture and polish.
Music as an art and correctly understood is
food for the soul. It is the foundation to sound
and well reared womanhood and manhood.
The film industry has developed a new class
of musical literature. It has taught the public-
a great deal—frequent theatre goers have
learned to understand music since it has taken
the place of the spoken word in the silent
drama.
The film industry has created a new style of
music; it has given it character.
The film theatre has forced the American
publisher to issue a great deal of material here-
tofore unknown.
About six or seven years ago a name such
as "Dramatic Reproach" for a musical compo-
sition was unheard of, but to-day we have hun-
dreds of "dramatic tensions," "pathetic andan-
tes," "dramatic recitatives," "dramatic agitatos,"
"mysteriosos," "cowboy allegros," "tensive al-
legros," "battle hurries," "comedy allegros" and
thousands of other characterizations too nu-
merous to mention, each and every number
having been written for a certain purpose and
musically telling a certain story portrayed on
the screen.
Now, this vast amount of material known
generally under the name of "incidental music,"
has never been used for educational purposes.
Its interpretive powers have not as yet forced
their way into Orchestral Organizations of edu-
cational character. Understand me please, In-
cidental Music as published to-day is not for
beginners; it is for the advanced students, but
what is the publisher here for? Is he not in
business to serve? Cannot this big industry of
education make the publisher issue Incidental
Music that is easy, just as the film industry
has been able to command its own?
Just as we have classes of harmony let's have
a course called "Scenics in Music." Tell the
members of your orchestra a story. Tell them
—we will not play a waltz, a march, an over-
ture or a galop; but portray "Spring in its
glory and beauty."
Play pictures just as the modern and up-to-
date Film House does. Lead our young musi-
cians into the realms of drama, mystery and
comedy.
Send them to the picture theatre that em-
ploys an orchestra under able and competent
leadership. Acquaint them with the longest,
most beautiful story ever written.
Girl for M. H. Taggert
Milton H. Taggert, of the Daynes-Beebe Mu-
sic Co., Salt Lake City, Utah, is welcoming the
publishers' representatives and sending them
away with well-filled order books. The reason
for the glad hand in the general atmosphere of
the celebration is the entry of a baby girl into
the Taggert home.
Consult the Universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions.
TH E-WALTZ BALLAD • BEAUTIFU L
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