Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio

Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio

ISBN-10:
0822349469
ISBN-13:
9780822349464
Pub. Date:
06/19/2012
Publisher:
Duke University Press Books

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Overview

Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio

This unique anthology assembles primary documents chronicling the development of the phonograph, film sound, and the radio. These three sound technologies shaped Americans' relation to music from the late nineteenth century until the end of the Second World War, by which time the technologies were thoroughly integrated into everyday life. There are more than 120 selections between the collection's first piece, an article on the phonograph written by Thomas Edison in 1878, and its last, a column advising listeners "desirous of gaining more from music as presented by the radio." Among the selections are articles from popular and trade publications, advertisements, fan letters, corporate records, fiction, and sheet music. Taken together, the selections capture how the new sound technologies were shaped by developments such as urbanization, the increasing value placed on leisure time, and the rise of the advertising industry. Most importantly, they depict the ways that the new sound technologies were received by real people in particular places and moments in time.

Product Details

ISBN-13: 9780822349464
Publisher: Duke University Press Books
Publication date: 06/19/2012
Edition description: New Edition
Pages: 432
Product dimensions: 6.10(w) x 9.20(h) x 1.00(d)

About the Author

Timothy D. Taylor is Professor of Ethnomusicology and Musicology at the University of California, Los Angeles. He is the author of The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture and Beyond Exoticism: Western Music and the World, which is also published by Duke University Press.

Mark Katz is Associate Professor of Music at the University of North Carolina, Chapel Hill. He is the author of Capturing Sound: How Technology Has Changed Music and Groove Music: The Art and Culture of the Hip-Hop DJ.

Tony Grajeda is Associate Professor of Cultural Studies in the Department of English at the University of Central Florida. He is an editor of Lowering the Boom: Critical Studies in Film Sound.

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MUSIC, SOUND, AND TECHNOLOGY IN AMERICA

A Documentary History of Early Phonograph, Cinema, and Radio

Duke University Press

Copyright © 2012 Duke University Press
All right reserved.

ISBN: 978-0-8223-4927-3


Chapter One

SOUND RECORDING

Readings Compiled by Mark Katz

Predictions

1. Thomas A. Edison, "The Phonograph and Its Future" North American Review 126 (1878), 530-36

Of all the writer's inventions, none has commanded such profound and earnest attention throughout the civilized world as has the phonograph. This fact he attributes largely to that peculiarity of the invention which brings its possibilities within range of the speculative imaginations of all thinking people, as well as to the almost universal applicability of the foundation principle, namely, the gathering up and retaining of sounds hitherto fugitive, and their reproduction at will.

From the very abundance of conjectural and prophetic opinions which have been disseminated by the press, the public is liable to become confused, and less accurately informed as to the immediate result and effects of the phonograph than if the invention had been confined to certain specific applications, and therefore of less interest to the masses. The writer has no fault to find with this condition of the discussion of the merits and possibilities of his invention; for, indeed, the possibilities are so illimitable and the probabilities so numerous that he—though subject to the influence of familiar contact—is himself in a somewhat chaotic condition of mind as to where to draw the dividing line. In point of fact, such line cannot with safety be defined in ordinary inventions at so early a stage of their development. In the case of an invention of the nature and scope of the phonograph, it is practically impossible to indicate it today, for tomorrow a trifle may extend it almost indefinitely.

There are, however, certain stages in the developing process which have thus far been actually reached; certain others which are clearly within reach; and others which, though they are in the light of today classed as possibilities, may tomorrow become probable, and a little later actual achievements. It is the intention of the writer in this article to confine himself to the actual and the probable, to the end that a clearer conception of the immediate realizations of the phonograph may be had. He concedes to the public press and the world of science the imaginative work of pointing out and commenting upon the possible. It is in view of the liberal manner in which this has already been done, and the handsome treatment he has received at their hands, that he for the first time appears in propria persona to discuss and comment upon the merits of one of his own inventions.

In order to furnish a basis upon which the reader may take his stand, and accept or combat the logic of the writer in his presentment of the probabilities of the phonograph, a few categorical questions are put and answers given upon the essential features of the principle involved:

1. Is a vibrating plate or disk capable of receiving a complex motion which shall correctly represent the peculiar property of each and all the multifarious vocal and other sound-waves?

The telephone answers affirmatively.

2. Can such complex movement be transmitted from such plate, by means of a single embossing-point attached thereto, to effect a record upon a plastic material by indentation, with such fidelity as to give to such indentations the same varied and complex form; and, if so, will this embossing-point, upon being passed over the record thus made, follow it with such fidelity as to retransmit to the disk the same variety of movement, and thus effect a restoration or reproduction of the vocal or other sound-waves, without loss of any property essential to producing upon the ear the same sensation as if coming direct from the original source?

The answer to this may be summed up in a statement of the fact that, by the application of power for uniformity of movement, and by attention to many seemingly unimportant and minor details, such as the form and material of the embossing-point, the proper dampening of the plate, the character of the material embossed, the formation of the mouth-piece over the plate, etc., the writer has at various times during the past weeks reproduced these waves with such degree of accuracy in each and every detail as to enable his assistants to read, without the loss of a word, one or more columns of a newspaper article unfamiliar to them, and which were spoken into the apparatus when they were not present. The only perceptible loss was found to be in the quality of the utterance—a non-essential in the practical application of the apparatus. Indeed, the articulation of some individuals has been very perceptibly improved by passage through the phonograph, the original utterance being mutilated by imperfection of lip and mouth formation, and these mutilations eliminated or corrected by the mechanism of the phonograph.

3. Can a record be removed from the apparatus upon which it was made, and replaced upon a second without mutilation or loss of effective power to vibrate the second plate?

This is a mere mechanical detail, presenting no greater obstacle than having proper regard for the perfect interchangeableness of the various working parts of the apparatus—not so nice a problem as the manufacture of the American watch.

4. What as to facility of placing and removing the record-sheet, and as to its transportation by mail?

But ten or fifteen seconds suffice for such placing or removal. A special envelope will probably be required for the present, the weight and form of which, however, will but slightly increase the cost of postage.

5. What as to durability?

Repeated experiments have proved that the indentations possess wonderful enduring power, even when the reproduction has been effected by the comparatively rigid plate used for their production. It is proposed, however, to use a more flexible plate for reproducing, which, with a perfectly smooth stone point—diamond or sapphire—will render the record capable of from 50 to 100 repetitions, enough for all practical purposes.

6. What as to duplication of a record and its permanence?

Many experiments have been made, with more or less success, in the effort to obtain stereotypes of a record. This work has been done by others, and, though the writer has not as yet seen it, he is reliably informed that, very recently, it has been successfully accomplished. He can certainly see no practical obstacle in the way. This, of course, permits of an indefinite multiplication of a record, and its preservation for all time.

7. What are the requisite force of wave impinging upon the diaphragm and the proximity of the mouth to the diaphragm to effect a record?

These depend in a great measure upon the volume of sound desired in the reproduction. If the reproduction is to be made audible to an audience, considerable force is requisite in the original utterance; if for the individual ear, only the ordinary conversational tone (even a whisper has been reproduced). In both cases the original utterances are delivered directly in the mouthpiece of the instrument. An audible reproduction may, however, be had by speaking at the instrument from a distance of from two to three feet in a loud tone. The application of a flaring tube or funnel to collect the sound waves and the construction of an especially delicate diaphragm and embossing-point, etc., are the simple means which suggest themselves to effect this. The writer has not as yet given this stage of the development much attention, but sees no practical difficulty in gathering up and retaining a sectional part of the sound waves diffused about the original source, within a radius of, say, three feet (sufficiently removed not to be annoying to a speaker or a singer).

The foregoing presentment of the stage of development reached by the several essential features of the phonograph demonstrates the following faits accomplis:

1. The captivity of all manner of sound-waves heretofore designated as "fugitive," and their permanent retention.

2. Their reproduction with all their original characteristics at will, without the presence or consent of the original source, and after the lapse of any period of time.

3. The transmission of such captive sounds through the ordinary channels of commercial intercourse and trade in material form, for purposes of communication or as merchantable goods.

4. Indefinite multiplication and preservation of such sounds, without regard to the existence or non-existence of the original source.

5. The captivation of sounds, with or without the knowledge or consent of the source of their origin.

The probable application of these properties of the phonograph to the various branches of commercial and scientific industry presently indicated will require the exercise of more or less mechanical ingenuity. Conceding that the apparatus is practically perfected in so far as the faithful reproduction of sound is concerned, many of the following applications will be made the moment the new form of apparatus, which the writer is now about completing, is finished. These, then, might be classed as actualities; but they so closely trench upon other applications which will immediately follow, that it is impossible to separate them: hence they are all enumerated under the head of probabilities, and each specially considered. Among the more important may be mentioned: Letter-writing and other forms of dictation, books, education, reader, music, family record; and such electrotype applications as books, musical boxes, toys clocks advertising and signaling apparatus, speeches, etc., etc.

Letter-writing.—The apparatus now being perfected in mechanical details will be the standard phonograph, and may be used for all purposes except such as require special form of matrix, such as toys, clocks, etc., for an indefinite repetition of the same thing. The main utility of the phonograph, however, being for the purpose of letter writing and other forms of dictation, the design is made with a view to its utility for that purpose.

The general principles of construction are a flat plate or disk, with spiral groove on the face, operated by clockwork underneath the plate; the grooves are cut very closely together, so as to give a great total length to each inch of surface—close calculation gives as the capacity of each sheet of foil, upon which the record is had, in the neighborhood of 40,000 words. The sheets being but ten inches square, the cost is so trifling that but 100 words might be put upon a single sheet economically. Still, it is problematical whether a less number of grooves per inch might not be the better plan—it certainly would for letters—but it is desirable to have but one class of machine throughout the world; and as very extended communications, if put upon one sheet, could be transported more economically than upon two, it is important that each sheet be given as great capacity as possible. The writer has not yet decided this point, but will experiment with a view of ascertaining the best mean capacity.

The practical application of this form of phonograph for communications is very simple. A sheet of foil is placed in the phonograph, the clockwork set in motion, and the matter dictated into the mouthpiece without other effort than when dictating to a stenographer. It is then removed, placed in a suitable form of envelope, and sent through the ordinary channels to the correspondent for whom designed. He, placing it upon his phonograph, starts his clock-work and listens to what his correspondent has to say. Inasmuch as it gives the tone of voice of his correspondent, it is identified. As it may be filed away as other letters, and at any subsequent time reproduced, it is a perfect record. As two sheets of tin foil have been indented with the same facility as a single sheet, the "writer" may thus keep a duplicate of his communication. As the principal of a business house or his partners now dictate the important business communications to clerks, to be written out, they are required to do no more by the phonographic method, and do thereby dispense with the clerk, and maintain perfect privacy in their communications.

The phonograph letters may be dictated at home, or in the office of a friend, the presence of a stenographer not being required. The dictation may be as rapid as the thoughts can be formed or the lips utter them. The recipient may listen to his letters being read at a rate of from 150 to 200 words per minute, and at the same time busy himself about other matters. Interjections, explanations, emphasis, exclamations, etc., may be thrown into such letters, ad libitum.

In the early days of the phonograph, ere it has become universally adopted, a correspondent in Hong Kong may possibly not be supplied with an apparatus, thus necessitating a written letter of the old-fashioned sort. In that case the writer would use his phonograph simply as a dictating-machine, his clerk writing it out from the phonograph at leisure, causing as many words to be uttered at one time as his memory was capable of retaining until he had written them down. This clerk need not be a stenographer, nor need he have been present when the letter was dictated, etc.

The advantages of such an innovation upon the present slow, tedious, and costly methods are too numerous, and too readily suggest themselves, to warrant their enumeration, while there are no disadvantages which will not disappear coincident with the general introduction of the new method.

Dictation.—All kinds and manner of dictation which will permit of the application of the mouth of the speaker to the mouth-piece of the phonograph may be as readily effected by the phonograph as in the case of letters. If the matter is for the printer, he would much prefer, in setting it up in type, to use his ears in lieu of his eyes. He has other use for them. It would be even worthwhile to compel witnesses in court to speak directly into the phonograph, in order to thus obtain an unimpeachable record of their testimony.

The increased delicacy of the phonograph, which is in the near future, will enlarge this field rapidly. It may then include all the sayings of not only the witness, but the judge and the counsel. It will then also comprehend the utterances of public speakers.

Books.—Books may be read by the charitably inclined professional reader, or by such readers especially employed for that purpose, and the record of each book used in the asylums of the blind, hospitals, the sick-chamber, or even with great profit and amusement by the lady or gentleman whose eyes and hands may be otherwise employed; or, again, because of the greater enjoyment to be had from a book when read by an elocutionist than when read by the average reader. The ordinary record-sheet, repeating this book from fifty to a hundred times as it will, would command a price that would pay the original reader well for the slightly-increased difficulty in reading it aloud in the phonograph.

Educational Purposes.—As an elocutionary teacher, or as a primary teacher for children, it will certainly be invaluable. By it difficult passages may be correctly rendered for the pupil but once, after which he has only to apply to his phonograph for instructions. The child may thus learn to spell, commit to memory, a lesson set for it, etc., etc.

Music.—The phonograph will undoubtedly be liberally devoted to music. A song sung on the phonograph is reproduced with marvelous accuracy and power. Thus a friend may in a morning-call sing us a song which shall delight an evening company, etc. As a musical teacher it will be used to enable one to master a new air, the child to form its first songs, or to sing him to sleep.

Family Record.—For the purpose of preserving the sayings, the voices, and the last words of the dying member of the family—as of great men—the phonograph will unquestionably outrank the photograph. In the field of multiplication of original matrices, and the indefinite repetition of one and the same thing, the successful electrotyping of the original record is an essential. As this is a problem easy of solution, it properly ranks among the probabilities. It comprehends a vast field. The principal application of the phonograph in this direction is in the production of

(Continues...)



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Table of Contents

General Introduction: Music Technologies in Everyday Life Timothy D. Taylor 1

Part I Sound Recording

Introduction Mark Katz 11

Sound Recording: Readings 29

Predictions

1 Thomas A. Edison, "The Phonograph and Its Future" (1878) 29

2 "The Phonograph," New York Times (7 November 1877) 37

3 Philip G. Hubert Jr., "What the Phonograph Will Do for Music and Music-Lovers" (May 1893) 39

The Listener and the Phonograph

Learning to Listen

4 Edison Realism Test, Broadside (c. 1916) 44

5 "Illustrated Song Machine," Talking Machine World (October 1905); "Illustrated Song Machine," Talking Machine World (November 1905) 45

6 Orlo Williams, "Times and Seasons," Gramophone (June 1923) 45

The Phonograph in Everyday Life

7 How We Gave a Phonograph Party (1899) 48

8 Jas. O'Dea, Arthur Gillespie, and Herbert Dillea, "Susan, Dear Sue (The Phonograph Song)" (1901) 52

9 Pauline Partridge, "The Home Set to Music" (November 1924) 53

10 Thomas A. Edison, Inc., questionnaire and responses (1921) 56

The Phonograph and Music Appreciation

11 Annie Pike Greenwood, "The Victor in the Rural School" (26 February 1914) 65

12 "Organize a Music Memory Contest," Talking Machine Journal (March 1919) 67

Men, Women, and Phonographs

13 Victrola advertisement, Collier's (4 October 1913) 70

14 Aeolian-Vocation advertisement, Vanity Fair (May 1916) 70

15 Gladys L. Kimmel, "Having Different Types of Women Customers" (June 1920) 71

16 Scrutator, "Where Are the Ladies?" (June 1925) 75

17 T.A.F., "Ladies and Gramophone" (August 1925) 75

18 Gladys M. Collin, "Women and the Gramophone" (October 1925) 76

19 Dorothy B. Fisher, "Women and the Phonograph" (October 1926) 77

Music and the Great War

20 "Talking Machines Are 'Essentials'" (December 1917) 78

21 Vivian Burnett, "When I Hear That Phonograph Play" (1918) 80

22 "Phonographs on the Firing Line" (19 October 1919) 81

Performers and the Phonograph

In the Recording Studio

23 "How Talking Machine Orchestras Operate" (September 1910) 84

24 Yvonne de Treville, "Making a Phonograph Record" (November 1916) 85

25 Baby Dodds, The Baby Dodds Story (1992) 88

26 Edwin McArthur, "Conducting for Record" (March 1941) 92

The Phonograph and Music Pedagogy

27 "The Effect of Mechanical Instruments upon Musical Education" (July 1916) 94

28 Oscar Saenger, The Oscar Saenger Course in Vocal Training (1916) 103

The Phonograph and the Composer

The Composer in the Machine Age

29 Henry Cowell, "Music of and for the Records" (March-April 1931) 104

30 Igor Stravinsky, An Autobiography (1936) 107

The Phonograph as a Compositional Tool

31 Carol-Bérard, "Recorded Noises-Tomorrow's Instrumentation" (January-February 1929) 110

32 Igor Stravinsky, "Meine Stellung zur Schallplatte" (March 1930) 113

Phonograph Debates

Con

33 John Philip Sousa, "The Menace of Mechanical Music" (1906) 113

34 Portland (Oregon) City Council, "An Ordinance Regulating the Use of Phonographs" (14 August 1907); Minutes of the Portland City Council (27 November 1907) 122

35 Joseph N. Weber, "Canned Music-Is It Taking the Romance from Our Lives?" (November 1930) 123

Pro

36 Paul H. Cromelin, "'The Menace of Mechanical Music'" (1906) 126

37 Anne Shaw Faulkner, "Phonographs and Player Instruments" (August 1917) 129

Part II Cinema

Introduction Tony Grajeda 137

Cinema: Readings 145

Technologies of Sight and Sound

38 "The Kineto-Phonograph" (16 June 1894) 145

39 "The Perfection of the Phono-Cinematograph" (14 September 1907) 148

40 Advertisement for Picturephone, "Singing and Talking Moving Pictures" (11 January 1908) 149

41 "The Singing and Talking Picture-What Is Its Future?" (7 May 1910) 149

42 "Talking 'Movies'" (8 March 1913) 152

Sounds of the Cinema: Illustrated Song Slides; The Role of the Voice (lecturers, actors); Incidental Musics, Special Effects, Ballyhoo, and Noise of the Audience

43 Chas. K. Harris, "Illustrating Song Slides" (9 March 1907) 153

44 Chas. K. Harris, "Song Slide Review" (16 March 1907) 156

45 H. F. Hoffman, "The Singer and the Song" (4 June 1910) 158

46 Van C. Lee, "The Value of a Lecture" (8 February 1908) 161

47 E. Esther Owen and W. M. Rhoads, "The Value of a Lecture with the Show" (22 February 1908) 163

48 Sydney Wire, "How Talking Pictures Are Made; Scarcity of Picture Actors" (22 August 1908) 164

49 W. Stephen Bush, "The Human Voice as a Factor in the Moving Picture Show" (23 January 1909) 166

50 James Clancy, "The Human Voice as a Factor in the Moving Picture Show" (30 January 1909) 169

51 "Trade Notes," "When 'Music' Is a Nuisance" (28 December 1907) 171

52 "Sound Effects: Good, Bad, and Indifferent" (2 October 1909) 172

Playing to the Pictures

Performative Accompaniment

53 Clarence E. Sinn, "Music for the Picture" (23 April 1910) 173

54 Louis Reeves Harrison, "Jackass Music" (21 January 1911) 176

55 Wm. H. McCracken, "'Jackass Music'" (28 January 1911) 180

56 Mrs. Buttery, "'Jackass Music"' (4 February 1911) 181

57 W. Stephen Bush, "Music and Sound Effects for Dante's Inferno" (27 January 1912) 182

58 L. Szeminanyi, "Playing to Pictures" (February 1921) 189

59 "A Cinema Musician," "Atmosphere" (March 1926) 190

The Organist of the Picture Palace

60 Ernest M. Skinner, "Cinema Music" (August 1918) 192

61 J. van Cleft Cooper, "Creation of Atmosphere" (June 1922) 196

Conducting and Scoring to the Movies

62 "How Music Is Made to Fit the Films" (26 January 1918) 200

63 Doron K. Antrim, "Possibilities of Movie Music-Present and Future" (15 February 1926) 202

64 Victor Wagner, "Scoring a Motion Picture" (September 1926) 205

65 Josephine Vila, "Hugo Riesenfeld Tells How He Scores a Film" (17 February 1927) 209

Taste, Culture, and Educating the Public

66 Frank A. Edson, "A Word about Suitable and Unsuitable Music in Moving Picture Productions" (March 1918) 212

67 "Choosing Picture Music That Pleases the Patrons: An Interview with Edward L. Hyman" (1 February 1926) 215

68 Dr. Sigmund Spaeth, "Why Music Is Becoming the Important Element in Picture Presentation" (15 March 1926) 217

69 Josephine Vila, "Opera Singer Gets Thrill out of Screen Debut" (20 January 1927) 221

70 L. K. Sidney, "What Modern Music Has Done to the Motion Picture Theaters" (January 1928) 223

Responding to the Talkies

71 An Interview with Joseph N. Weber, "Will Machine-Made Music Displace Real Music in Our Theaters?" (September 1928) 226

72 Warren Nolan, "Talking Pictures and the Public" (1929) 229

73 "What the Fans Think": "Talkie Gets a Guffaw" (March 1929); "Voice Censor Suggested" (March 1929); "Another Fan Deserts!" (April 1929); "Real Singers Would Go Over" (February 1932); "Carrying English to England" (February 1932); "Adores Yankee Talk" (November 1932); "Our Rural Accents" (November 1932) 233

Part III Radio

Introduction Timothy D. Taylor 239

Radio: Readings 255

Radio as Dream, Radio as Technology

74 "Distributing Music over Telephone Lines" (18 December 1909) 255

75 "Radio Telephone Experiments" (May 1910) 258

76 David Sarnoff, "Radio Music Box" (c. 1916-1920) 259

77 Bruce Bliven, "The Ether Will Now Oblige" (15 February 1922) 260

78 Joseph Riley, "Five Minutes of Radio for a Nickel" (April 1926) 265

Early Broadcasts: Performer and Listener Impressions

79 Leon Lichtenfeld, interview Layne R. Beaty (29 May 1988) 266

80 Leon Alfred Duthernoy, "Singing to Tens of Thousands; Impressions of an Artist during His First Radio Concert" (November 1922) 267

81 Helen Keller, letter to the Symphony Society of New York (10 February 1924) 271

82 George McClelland, memorandum for Mr. J. A. Holman (March 1924) 272

Radio in Everyday Life

83 "Wireless Music and News for the Roller Chair Passenger" (7 August 1920) 275

84 "Very Latest in Wireless; Union College Students Find a 'Universal Lullaby' for Babies" (11 May 1921) 276

85 "Radio Now Heard on Buses in New York City" (27 May 1922) 276

86 "Advance Seat Sale for Radio Concerts" (October 1923) 277

87 Bess B. Harris, letter to the editor (April 1924) 277

88 '"Sing Down the Cattle' by Radio" (October 1926) 279

89 "Wedding Has Radio Music" (1 January 1927) 279

Healing

90 "Maimed and Sick Forget Pain in Model Radio-Equipped Ambulance" (3 June 1922) 279

91 Ward Seeley, "Radio Relief for the Ailing" (August 1922) 280

92 "Jazzing the Deaf by Radio" (March 1926) 285

Economics of Radio Broadcasting

93 Laurence Blackhurst, "Radio Music Fund Committee Appeals to Listeners-In for Contributions" (1 March 1924) 285

94 "How Much Should Good Radio Program Cost?" (January 1930) 287

Advertising

95 "Radio Broadcast Advertisements; Airphone Advertising Will Kill Fan Interest" (24 June 1922) 288

96 Davey Tree Hour (5 January 1930) 289

97 J. Walter Thompson Company, staff meeting minutes (14 January 1930) 295

98 Martin L. Davey, letter to E. P. H. James (1 September 1931) 296

99 Martin L. Davey, "Secrets of a Successful Radio Program" (1 July 1932) 297

100 Justine Magee, undated fan letter to Martin L. Davey (c. 1930-32) 300

Music on the Radio

Con

101 A. J. M. "Radio Just Another Blight" (31 December 1925) 301

102 Paul Kempf, "Thomas A. Edison Sees a Menace for Music in the Radio" (January 1927) 302

Pro

103 John C. Freund, excerpts from an address broadcast from WJZ (May 1922) 305

104 Lee de Forest, "Opera Audiences of Tomorrow" (5 August 1922) 307

105 "Programs Lauded by Bandmasters" (12 September 1926) 309

What Do Listeners Want?

106 E. F. McDonald Jr., "What We Think the Public Wants" (March 1924) 311

Crooning

107 Floyd Gibbons School of Broadcasting, "How to Train a Singing Voice for Broadcasting" (1932) 316

108 Martha Gellhorn, "Rudy Vallée: God's Gift to Us Girls" (7 August 1929) 316

109 "Cardinal Denounces Crooners as Whiners Defiling the Air" (11 January 1932) 319

110 Whitney Bolton, "Mr. Bolton Queries 'When Was a Crooner a Man in Love?'" (12 January 1932) 320

111 "Crooners Cover Up; Pass Well Known Buck" (13 January 1932) 322

112 "Crooning Comes by Nature" (24 February 1932) 323

Radio behind the Scenes

Getting on the Air

113 James H. Collins, "How to Get on a Radio Program" (February 1925) 324

114 Audition form, National Broadcasting Company (c. 1930) 331

115 Olive Palmer, "Requirements of the Radio Singer" (December 1931) 332

116 Myda Adams, letter to John Royal (11 January 1932) 339

117 "Have You a Radio Voice?" (28 January 1932) 339

Talent

118 Harvey B. Gaul, "The Vicissitudes of a Radio Impresario" (September 1922) 340

Production behind the Scenes

119 Gustav Klemm, "Putting a Program on the Air" (March 1933) 344

120 Herbert Devins, "A Glimpse 'behind the Mike' during the Palmolive Hour" (December 1929) 351

Composing for the Radio

121 Viva Liebling, "Creating Scores for Radio" (20 January 1944) 354

122 Rose Heylbut, "The Background of Background Music" (September 1945) 358

How to Listen to Music on the Radio

123 Peter W. Dykema, "Music as Presented by the Radio" (1935) 361

Notes 367

References 387

Index 399

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