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Does Radio Ruin Tone Color of Instruments ? Radio is so popular that 2). man 211 most takes his life in his hands who would (lure to sL1_e;gest that =t1he1'e is anythim: nmsioally wnong with it. yet the quesxtion is wlonth asking. Does radio ruin the tone color o-1 orc-hestral instrume-nms `I Or `to pm `in simpler form, does radio put iinvbo a similar flat tone the music of `the violin, clarinet, olboe, cello, piano, ham), horn, trombone, cornct s-axa- phone; to mention only a few of -the 0l.l`tSi.1ll(iill`g instruinents` of nmsicai entertuiiunentt ? To some of us the answer is plain as can be, and music coming over the radio beyond 2!. distance of sixty miles so often loses its real color distinction, yet fthene are an times exceptions, for sometimes a violin tone will sound sbaittingly ' `3 -- -1 ____ .. .. A ,4, I. .e some V red radio`. rcc`e1_1~t1y. , red solos] I I I lnu .\1. phone would (lcwtfsctcd the the t1'e~mo`1o slide. And favthc-1' o` ` more nearly _-_.._ ..- I'\... A I EIHIU. . \H|l :"u UH. xv s}\.\-III\.\I wr;1-0 the listener correct were his swore. One Canadian wrote: I just making a wild guess, as all instrummenlts sowundecl alike to me. vw , 1*_ .. L. Li. 6-n. lll`. |.l L||lHL'IIlLL` -3U`ullVl\.\I un A A \ y u v n . . `.- Every music- lover to his taste, 1 but witiho-ut doubt 1`a(l'l0 has b`1`0Ulg'l'll 4 joy and pleasure to millions who : would by virtue of their surround- ings and environments have never ] heard much of music, classical or l jazz, which is common to them now. I But what is it that we enjoy r when we listen to music-any sort 1 of music? Do we concentrate our minds to study out the ravishing _ beauty -of the tone, the rounding of ' phnases or sentences, or is it just an alleover sensation of somerthimg , doing somewhere that tingles 0-ur : nerves and makes us feel eoimfort- ` able? To the average person does ` the sigzhinig of the violin mean any- thing (lifferen-t. from the pirpinvg of the clarinet or the flxuibe, or is the dierence between the music of the trombone and that of the French horn really of much interest ? Do we really alppreciate what musicians call the tone color, the reed of the brass, the green of the reeds, the silver of the utes, the bnown of the strings, the blue of the horns, , and so on? If not, we miss so 1 very much extra pleasure, and does ; ra really ruin tone color ? What `is your experience ? _ Toronto has just nished :1 sea- } son of opera in Enfxlish. and from :, the crowded houses the people sure _=|1ikc(l it, nor was the attenclance 1 ,t,,,, r 5 1 -` O0 s--and AH s--and EE's : --wf\ 1-an-n. nf. -uu. LIL- ! 1 And whznt a study in effects in ' s:on.;. Some of the a1=tis>ts got their ` words across the footligvhts; some of them did not; some of them de.m\on~ strated mag'nicien..t1_v that a man or iwoman can produce be-autiftul tone and words at the same time. Others gave us beautiful tone that simply oated around a suuccescion of OO s A.::0thL-1' j..110SSC(l (1'i_:h:l;,'j: it was an oboe, bL-causu them` no . such as :1 .'~':1xu-\ (2 would have emit. tcl. .~\n0t.1n.-t ctcd trombaone bc-ca`u;~:e 011 tre~mro~1o tone by shazlingx tlhe so on. It seemed the xer the -ssod that he knew the insttru-1 could not be :1 violin because! u E flat was p1a;,'cd in the solo: Yum he thougjht it mu~-1 Ir" ` I I I 1_1..~. th e Lllty `an: Lautc auu Wu: ruuuuu uu. The conducmo1- of the Iowa State Sym-phony Orcliestra made careful tests of this alleyxed radio ruination of tone color Nine of his musicians played solos over the air. The test \V1S'21r1- nounced previou.' and answers were invited. listeners being: asked to name the in.<,trument.< playing. Two hundred and eigwht answers were received, of which only fty were 1'iy_-`lit, and they were fnom ` -experienced musicians. Of the others, some had all in- struments wrong. The number oi correct answers worried the con- ductor because he, like the music lover, `had grave doubts about the jusitnne:\= of radio transmission, and the `test results suggested that tone color was not hopelessly de.stroyed So he studied the answers. One finished liked fty people alone, for we know of several car loads that went from i,Barrie. l their woman l ,, `and Ah`s and EE s with an occasion- `al .'~`n:1ppuI oil` con.~..0n~:u1`t. L11.` A_.ub1ic r.`1.....`.< `songs the rst 1 |The t11in=g' can LIN. Llllug |.'~.uA Ln: u\.un,, Lbnnxu ...`. thi11xg mu:rL be done. '\'\'i1z1L wo`uil you think of a spwlicr who 1'umb1_- are-uml as t.houg'h his mouth was full of hot potatoes`! Why then the singer ? The vb pefc is as: Osiris, wh sacrices. r111 Yr u \.'u4vMu1`v u . Previous to this period the tr.um~ pets of the Israelites appear to have been made of the horn of the ram `or some other animal, and were called buccina. Their form re- sesmlbled the modern -hunting horn, but after :1 time they were made `oi merbal and resembled the modern instrument. Moses, as the scripture informs us, made two trumpets 0'1 Sll\'C1' to be used only by the priests, and Solomon, as Jwosephus 1'e1a.te.s, n1zuIe two l1Llntll`(:(l '. to those of Moses, and for the same pur- pose. l`Y.. ,...n.L. I L._.........4. .... L . ,.-..-. The crooked trumpet, or horn, was used chiefly during the war. `St The straight trumpets were used by d` the priests on extrao1`di11zu'y oc- 5" casions and also in the daily ser- vices of the temple. In time of peace, when the people or the rulers were convened tog'et.her, this trum- '5` pot was blown softly, but when the camps were t.o move forward, or the U people were to march to war, it was d sounded with a deeper tone. The C number of trumpets in the public service of the Sanctuary and Temple could never be less than two 0-1` 1' more than one lrundred and t~wentjv,` liecztuse that was the number at thell l)I_'.1'll llllll_L` of the templx: .`<(-1`\`icv. The .'-\b_\` iizin : made use of an ancient trumpet made of cane uhout five feet and four inches ii: lenuzth which they called meleket. It \\'Zl.~' covered over with parch- ment and was a very neat instru- ment. It produced only one note. 15, in 21 loud. l`lO111 Z~ (.` and tr-rrililcz tone; it W215 playr.-(l slow when on the march or before an em.-my 21p pr,-u2'(.-cl in .~'l_L"llL but 1ftC`l'\\`Zl`.`ll'S it. \v:~..~' iw_-pi-zitc-ml \'(-1'_\` quick and with :."!`r,-:11 \'i0l:n(-,<-. .'1n had the L-flee`: u1=m.1 the .~\l)ys .` oil `.":1:. th<-in ulr.-'0lutel_\' to fur_\' u F Brass Instruments in the Service of the Sanctuary . vbuccina" 01' ancient trum-I ascri-bed 110 the Egyptian who made use of it in grand :- trump.-' .1 `KIA which `.\'('1`L` so ])0` prArfm'1mm<-t- coultl with . unless tzmce. _\;I,`HUR-SD.-KY, MAY 5), 1929_` x`L'l'ulllL'|lh U1. mu; uauv..\.. The tlances off the OM d:1,\"s t1ifYm'~` ed g~ren`*L1y from `chose of to-da,\'. and: [:1 new dance was an evenut of im-` . ,, rl'\L. h..l..... uni! .-nun Ln` n tlkxllll` v1.'|n(3<'l. It is th- r>Il(x-.t vwt wr-, Icnow about. The drum and n`..-`\.v:1'! hr-:\`.in:_-' in.~'t\.uim-nt.< \v'n- rsf, u.<<-d. than followml pip(.< which 1ev1op0:l- into the wind in;~'t.'1'u1neM$ and fhn . instruments, and almost! from the time the ddle xvas invr=n t- ed it proved to be the polpulm in-` strumcnt of the dance. `: . u n n, ,1: Y...... ,1:n~-.. ' 'l`h~ portancc. ...... \IL nu 1:;-:.., .,.... ......... `C0!(HHfl' to sumo z111 (k'~rs ho 1'(`~1nm`kzL1)1e for his 1..-`ig'an:tic for th(- ;-ztrr-n;:Lh of his hich powerful L11: -rfm'm:mcc- not be -.u n . . . Y. ma < l n e. should Why Is a Drmce .u..... ...u: who Ilom" l1`L'L` Olynw-pizuI.<. rrtvr Hm'0 . n.. `I -_ --' [(`(;.1 alttftl inxlh `tr-unlpct and nrohzx in. 'rihcl above `of ICII not lis. .-\rch:1i ' victor on . m ituttr mhljv f 1r;< done 11') un an \.V\.I|Iv u; .... Polanuise, for in- vnuuu |.'~lAA\. nun uuunnu nu... -...D._, true from `a distance of over a thousand miles. Sometimes a single phrase on a clarinet in full orches- tra will come th`1`O11.gl1 as clearly as though you were actually in the hall where the symphony orchestra is "p`iayin'g, but these are exceptions. And they are haiptpenin-gs which no one seems to be able yet mo explain. We may call them freaks of science, or art, or mertenology, ,`or acoustics, or dynamics, or what you like, but they are facts and will remain so. I'm.. ,.,....1....+.n.. ml-` Han Tmun .+n+n .5:-:\ .\'o1'the1'n Advance - uplv U11 : : OI,\'n`.1n2ul :1} thw Olympic! ... i '1()l)](.' OMF. ljLl(l_L1,-(I 1.0! of H_vbl21.l hv '.r11n1rr~( no ['amou.~' i [' .\Io;'z1.r:1, E hon `stance, one of the oldest socia`. dances, consis:ted of a stately, slow sIte-p,'an(l had its 01'i5:in in 1573 am! rose to _L'1'e:1t popularity. Du the 16th century a pecu]iz11' (I-ance craze struck the c-ounftry, the Tawn- tella, ,in 6-8 time, this dance beg.-'an mo and increased in speed until the dancers oten (lropped down in sheer exhaustion, but the craze soon pc~teire out. VH1... 41... `I\r`H.n:~.4- nu-no ink:-n:]I1nr\Il Cl`dZ.L` S-UUI1 [)l."L\7`LL3\l uuI.. , Then the Minuet was im r.1'oducc(l `and remained popular for several hunvlretl years, and tlmrt is some re- cord for :1 ll'21llCC. and heoznma thr if<':atlur-_- of all ISI15,-'lisl1 whily `for many ye.z11's a new .\Iinu(_-t ml.- `oomposml for the l\'in5_- .< 1)im.lul:1_\'. ` FIVLA 1)I\>r\ ;`r.1'r\lr\`v\nIl hwfn an nw . \.'UuI\yu.3\,u LUL nu. ;...._.,.. ....-... . The Polka (If-\'o1o:pr-(l into an 02'-:;. but the craze (lid not last. very Ion; It was 21 round (lamp of .0h~miu 01`i-_u'in, and accour to some :1: `counts was .=:tm'te by a servant gi who uxtL-m1)ori'/.(;l :1 (lance. and mu; who \\'::.~ n=':u-by took son` notes, wrote : music and `..hu.< A Page for Students or Musicians Who Desire Improvement 133` J. And1'*:\v VViggi11`s ITl1.L~'lC'I1lH \\'hO "_ .5 11!`! `notes, mt like 1ne:1;~']c-s. new (lane was born, n . .1 ,,_,4 |A|\\_ un.u. .\..~. But the most famous rlunor hi.=.tm'_\' and c011. popuh: tho Walt /.. and <-vun to-(lay it hm` f_"1`.iHf`(l its OM-'.1ne~ popu`. ' ,,. .1 I u,,n _: lowi n 2' /X % a/noex/racon`... auhoiyce of COLORS so wide as fo qive V almosf /na'I'I/ia uva+_[ Disfincfiom ' BRYSON &MRLEY At no extra cOSt-'your Choice of $ Colors on any model, from a variety A N D so wide you have almost individual U P distinction. At no extra cost--the assurance 4'"'-~"- W"'"7'"" and smooth positive action of new type double-action 4-wheel Brakes. ` ` At no extra cost-air-cleaner, non INSTANCE. in this city your GLARE PROOF mirror. windshield {:3 WWW, ,m- bi; vlggragvggggfa;-fa gvipgr. itarfier gin dah.1ele*:atfritt=ygfIo1`1`e your monthlyypawnentr $58 orueanoionas, e , and all bright parts chromium Y" P"'`"-' ' `"11 P'` '`` '-` '" plated for lasting newness and 1:,",,',',:,1'11,:'},t_'l'7 :'=,.",,;` beauty. available on the balance. The Canadian Government has recently reduced the sales tax on automobiles. Hudson and Essex Cars are now priced accordingly. Alexander Graham Bell. You who see and hear may not realize that the teachingl of speech to the deaf-even ' ' imperfect speech ike mine--is one of the divinest miracles of the nineteenth century. No one did more to produce this miracle than Dr. Bell. It is typical of Dr. Bell a interest in the deaf that when he was awarded the Volta prize for the achievement of inventing the telephone he devoted the proceeds a substantial amount of cash, entirely to a fund to promote teaching the deaf to understand the world about t em. The world knows of his study of aeronautics and his belief in the practicability of air travel. On the occasion of the opening of the transcontinental telephone line he said to me. `Some day aviation will bridge the gap from the Pacic to the Atlantic and make it possible for Mr. Watson (who was speaking from the Pacic) to come here hy actually travelling the distance from San Francisco to New York in a non-stop ight! " "::`.'e r.>~rnr known another man with Dr. Bell s many-sidedness and charm or an one with such wide enthusiasm concerning the interests of other pcople." gelell Kelle (seated) and her teac er are shown above; ' - -~ - - . ~ -. . in, n- ...~....~4-,....l .. n....n+m-:1 ..\,... . _, , T ":`t'.'er;.>`f'nr another with 154 enthusiasm c0n(`.err_1ing interegsts people.` also Dr. Bell and h!S slster on their last visit to `.110 T3: `lull OF GENERAL PRODUCT 31-37 Bvadforwzi Six, Barrie -u., u.... xvhi-:11 He faughg tofspak long. origin is obscured in the dim past, but in its modern g;L1ise am)c-aretl in 1780 and Ach (Lu Licbc-1' .-\uf:u; was the rst tune to which the waLt2 was danced. 'r\ .- n ,n A.1_, ........`& nrurs-\v\r\~rx\cn \\ an ll(.lll\/\.\l. PI`10`tiCa1]}` all the meat co'mp0se1`s wrote music for the waltz, pa1'ticu~ larly Beethoven, Chopin, Blozart and Scthubert. One clescriprtion of the Waltz says: he man places thr palms of his hands ::'en.t}y a.g`zLinst the .'<'i of his p:u'tnc1', not far from the 1LI`h11_)it.~', his partner does the same, and in. with as much Velocity as pns.=i3)1r` t`m\_\' tum :,11'nunI and at the .<:xxu<,- time ::1i<`.L Zl`.`I>LI. the room." To-rlz "mnr:v-1'.< van Lno -'r`n. \' `Car,- 1 nu: cMAuLmm@Em. hm ]>0;) . iitv Bell's many-smeuness anu cm woplc." Helen Kelle and ) Bell Homestead at Brantford. EXTRAS ;ive.r a// //2 eye ` the 4.. he and still is, due to ne music and fine playcws, a combination xxrhich still proves unbeatable. -fhis counrt.r_\' in the early days in- herited its rst dance steps from the Old Country, notably the Minueut and the Waltz, and t.l`l`011_L{`l1 the early settlers were kept busy hewin_2' out homes from the wilderne.x=, t`;1e_v were never too busy to all-zmee, and` every now and then the backwoods- man would lay down his axe. bake down his ddle, and people for miles around like\vi. would nause in their work and make for . cen- tral hall in the neigrhborhood and soon a rousing` old~time dance woull he in ])l'OL'l`..~'. la.=.tin:;' all ni;'l1.t zmll breaking" up because it was time to ,,. :11. u. .. ho 1)1`o bt milk the cows. A yuan ; there Hear the radio program oftlLeHud:on-Exrtx Challtngers every Friday Evening remember in my boodhood zro \\'2:.'~:. :1 g'1`0z1t va1'iet_\' L0 mcus and they inclutlcd the ~ `mvl mul too polka. the u u ...I ....J+.. ~5.\I \: / UNDRE-DS oi, momrists who paid big prices for Big ; E31`-: perferxnnnce are turn- ing now to Pontiac . . tin cur tlmt has intro- duced a Big Six into the low-priced eld. Look at it and 'you ll see it s :1 Big Six . . with big, beautiful, luzuzrious liialuz.-r Bodies. Drive it and you ll know it's a big fair: . . with big, high-compression, six--cylinder engine, accur- ately balanced. Examine it closely and you'll nd every desirable Big` Si); Cl1ZlI`2ICtC1"lStiC . . big, new, dirt-and-weather-prm)E {our-.v'necl brakes, Lovejoy Hydraulic Slmck Absorbers, Spring Covers, Foot-controlled Tilt-my Head- lights, and dozens of other features. ,._4.5_z5c - ,4__._.._ ........ A - we of the :-sent day D111" 2 steps. L` social dances l`h<- W 7BARRIE. ONT. _ Tm.