THE GRAMOPHONE. ITS POTENTIAL VALUE.
“I hate the gramophone.” This remark is being made constantly to me. I always inquire the reason for the definite outburst, and usually find that it is the result of the effects of mental torture from “other people’s gramophones.” I know of a select London square in which resides a famous musician. Two houses in the small square harbour gramophones that are turned on for periods of six or eight hours without a break, playing records of the most hideous and vulgar music. Can it be wondered at that the aforementioned famous musician (a lady) shrieks at me when I mention the word “gramophone”? Delightful suburbs often are rendered unlivable because of the glut of “tinned music” in the neighbourhood. The fact is that a large number of people do not realise that the gramophone has “grown up.” To them it is still a toy from which they derive a measure of simple enjoyment (to the serious inconvenience of their neighbours). Furthermore, the gramophone is abused. It was never meant to be put into operation for hours and hours at a time. No one is physically or mentally able to sit through a concert lasting eight hours without an interval. Why should anyone be expected to listen to 120 records in one night with scarcely an intermission? Very few people really hate the gramophone, but not everyone realises that, if properly used, it is a great aid to the understanding of music. No one claims that the instrument and records are perfect, but much has been achieved, and much more will be achieved. Too much is expected of the gramophone record. Vocal discs are scorned because the tone reproduction they give is nasal in quality; the words are indistinct, and the phrasing defective. Often the tone is nasal because the singer sings in a nasal manner. Usually the words are indistinct because the singers diction is defective. Generally the phrasing is bad, because very few singers do phrase correctly. The recording apparatus cannot, of course, remedy this shortcoming.
ORCHESTRAL AND PIANOFORTE RECORDS.
Orchestral records come in for much criticism. It is claimed the ensemble is distorted. Unfortunately, the balance in English orchestras is far from perfect, owing to lack of rehearsals, the necessity to read a vast amount of music at sight, &c., Can you expect a correct balance to reveal itself suddenly in the recording theatre? The most amazing advance in recording has been, made with the pianoforte. The objectionable “banjo” quality has disappeared, and we get now the real “pianoforte tone.” Owing to the complicated nature of the “sound-lengths” given out by a pianoforte, there is great difficulty in recording the soundwaves clearly. However, this has been practically overcome. The ear is a marvellous organ: hearing is a wonderful sense. Man is able to sort out sounds that surround him, concentrating upon some, ignoring others. It is quite a simple matter to cultivate a “gramophone ear.” The hindrance to the enjoyment of a record set up by the “surface noise” or the “scratch” of the needle upon the revolving disc is not very formidable.
A TIRELESS TEACHER.
The gramophone has been accorded a place in the field of music. No sane musician can deny this fact. We have to recognise its purpose and take full advantage of its capabilities. In a short while no school will be without a gramophone. Along with maps, dictionaries, &c., it will form part of the necessary equipment of every scholastic establishment in the land. It is a tireless teacher, easy to manage, always accessible. For home study it is ideal, and for such recreational pursuits as dancing it has no equal.
Languages, too, can be studied from every aspect. The study of phonetics is brought within the range of everyone. You can learn an Oriental a language without a native teacher. There are millions of gramophones in constant use in the United Kingdom. Music of all kinds enters the homes of our people; surely we should take steps to see that they get the very best. Hence it is for musicians to regard the gramophone as a potential force in the uplifting of the national taste in music. Let us, then, assist in bringing about the right use of the gramophone. Directly the public demand records of a higher standard the manufacturers will meet this demand. The gramophone has “arrived”; it will remain, and its importance will increase.