THOUGHTS ABOUT MUSIC

Evening Star, Issue 23908, 11 June 1941, Page 2

THOUGHTS ABOUT MUSIC

[By L.D.A.]

Looking through some old flies of the London ‘ Musical Times ’ the other day, I came across a paragraph worded as follows :—“ A somewhat alarming story comes from Hungary. A ball took place in the town of Tcmesvar, preceded by a concert, but there were no performers present in the flesh. Instead, the audience listened to loud-speaking telephones, placed at various points, from which they heard a military band, several singers and instrumental soloists, all all of whom were performing at Budapest, some hundred miles distant. Later, the hall was cleared for dancing and young people wa'itzed* to music wincu was similarly transmitted. This occurrence opens up a prospect that seems to us full of alarming possibilities. ’ “ For instance,” continues the ‘Times,’ “it is easy to imagine what may come about through a development of this scientific marvel. We can foresee the wholesale disestablishment of human performers by means of mechanical agency. One orchestra, centrally situated, will suffice for a dozen or more dances going on simultaneously. This means that a single combination of players will displace perhaps over one hundred professional musicians. Wholesale extension of the principle would tend to nullify the fruits of musical education. What would ho the use. in face of such a danger, of turning out hordes of well-trained performers from our music schools and academies? ” * « * * , , . The date of the above extract is February 1. 1895. It places on record, I should imagine, the first attempt at broadcasting, and it certainly voices a most remarkable prediction of the world-wide musical disaster which occurred about 30 years later. For,, despite all the unquestionable advantages of broadcasting, it has undeniably spread much ruin, both to performing musicians and to music itself. It has deprived millions of a _ livelihood, besides perverting the musical (and other) tastes of countless listeners. There is always the argument, of course, that radio brings good music into homes whore it was never previously heard. True, hut the harm done by the infinitely preponderating transmission of bad music, had speech, and trivial rubbish of all kinds far outweighs the beneficial influence of broadcasting.. If tho ‘ Musical Times ’ scribe whom I have quoted could revisit the glimpses of the moon it might make him return hastily to his grave. « * * * In saying this I am not reflecting specifically upon New Zealand radio programmes, which, as a matter of fact, compare very favourably with those heard from tho majority of overseas stations. No, the evils complained of to be inherent in tho radio system, which very largely, appears always under wrong control. In war time I suppose it is right that the service should be entirely a State monopoly. But under normal conditions there can ho no question of the superiority of private enterprise in broadcasting. Just' imagine,

for example, what would inevitably happen if our ZB and YA stations were all operated by rival companies. Each would compete for public favour by providing the finest entertainment procurable, with the result that public taste would gradually improve to the point of rejecting low-grade offerings. This is already happening to, some extent ia America, where formerly radio taste was deplorable. * * * * The evil of State-controlled radio is that it promotes the bureaucratic system, with all tho disadvantages arising therefrom. Chief among these are the square pegs in round holes—the official operators, -whose knowledge of music is too frequently precisely nil, and whoso appointments are due to considerations entirely outside the sphere-of art. In. New Zealand such appointments are dispensed by the. Public Service Commissioner, I believe, and the actual directors of broadcasting have little savin the matter. To this system we owe tho anomalies that are constantly, evident in the service! These include the inability, to pronounce correctly tho names of-composers and their works, and even to ensure the proper presentation of recordings. It is by no means uncommon for recordings to be heard wrong side first, or otherwise spoiltsheer ignorance being the cause rather than inadvertence. . . , *■* * • Under private enterprise. such absurdities could not possibly exist, because the companies’ main concern would be to engage musical experts for the supervision of transmission of music. This would include expert auditory staffs to prevent any- possibility of mediocre performances from tho studios. Listeners would thus be spared the agony of enduring the excruciating efforts of beginners, now such a common feature of our commercial stations. Students’ struggles "and amateur attempts would be eliminated from radio, and not before time, too. I am painting a rosy picture of what may happen when the war is over and Britain well on top . again. ■ Perhaps radio will then enter a new era of prosperity. Let us fervently hope so.