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PHOTOGRAPHING MUSIC

By

ROBERT H. MOULTON

SK the average musician “hearing a picture.” Explain to

if he thinks music can him, however, that what you be photographed and mean is a temperamental photothe chances are that graph—so to speak—a mechan

he will either yell for ical record of a person's perthe police or push you down into formance on a piano, and then, a chair, while he summons a doc- relieved of the fear that you are tor. This is not surprising. It in need of restraint or medical

sounds as attendance, he will likely give feasible as vent to an emphatic “NO."

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THE COMPOSER AT WORK. His composition is taken down by the recorder, which is in the closet behind the piano. A wire at the rear of the piano connects an electric light current with the

dynamo which operates the recorder.

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He may add, for your edifica- a piano, but do it so faithfully tion, that many of the ablest and accurately that not a single minds in the commercial field of eccentricity of the pianist's inmusic have been turned to the dividuality would be lost, the resolution of this problem—that spectful attention of the musical of devising a means for the mak- world was immediately 'forthing of music that shall be an coming. actual and permanent record of Naturally there were many a performance,

skeptics — men instead of a

who desired to mere musical

be shown. One score, and have

of these was a pronounced it

pianist and an impossibil

composer of ity.

international There is a

reputation, man in Chi

"Of course. cago, however,

Clark,” he said. Melville Clark,

when told of for whom the

the new invenword impossi

tion, “I know ble has never

you have acheld terrors.

complished So he quietly

wonders in set to work a

your line. But couple of years

in this case ago, convinced

your claims in his own

sound, ah," mind that he

. “Preposterwould succeed

ous ?" said Mr. where others

Clark. "Sure! had failed. Mr.

I don't blame Clark is gener

you at all for ally acknowl

thinking so. edged to be

But just come one of the

along to my greatest de

office and see signers and

for yourself.” His invention enables musicians to record Together pianos and

they repaired piano players

to Mr. Clark's in the world. He was the first to private office, where a piano was build a piano player to operate in readiness. In one corner of over the entire keyboard.

the room stood a little closet. Consequently when he an- The pianist also noticed that a nounced a short time ago that wire ran from the electric light he had perfected a device which fixture in the middle of the room would not only make a perma- into the closet. nent record of a performance on “Just a moment,” said Mr.

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MELVILLE CLARK,

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their compositions.

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test the instrument to the limit of its capabilities he improvised a selection as fiery and brilliant as a thunderstorm.

When he had finished, Mr. Clark went into the closet and returned with a roll of paper, similar in appearance to those used on piano players. Placing the roll in another piano with a reproducing attachment, he set the reproducer in motion with his feet.

The effect was startling. The exactness of the record-even to the cunningly introduced "accidentals”— made the very presence of the composer at the piano seem a certainty. His tempo, his style, his pedaling, the power of his stroke on the keys, and the sen- REPRODUCING A RECORD ON A Piano Player. suous element—the expres- The student gets all the value of the pianist's or comsion—were reproduced in

of performance. such an accurate way that the mechanism seemed to be en- frankly states that he does not dowed with a human mind. think it has commercial value.

The operation of Mr. Clark's To be able to sit down at the device—which he calls a record- piano, imprint one's individualer—may best be explained in the ity in all its phases upon the insimple statement that the pres- terpretation of any given musical sure of a button, turning on the composition, have the music so electric current, sensitizes every produced cut, and then to use it playing part of the piano—keys on a piano player and hear onepedals, and all—to the slightest self play, certainly seems the fultouch of the performer, and se- filment of the composer's wildest cures in perfect relation every dream. playing movement made.

But that is not all. The reWhile the importance of this corder relieves the composer of achievement in the field of the the manual drudgery of putting mechanical player can be read his thoughts down on paper with ily appreciated, its influence upon pen or pencil. Also, it enables the development of musical his- him to preserve the continuity of tory represents its chief value. his thoughts, which is difficult It is from this standpoint that it when he is forced to stop to jot appeals most to its inventor. He down his composition.

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poser's composition and individual style

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Modern Efficiency Hans SCHMIDT, proprietor of a western Minnesota sawmill, used for fuel the sawdust from the lumber. It cost him nothing, but it kept four men busy shoveling it. Recently he was persuaded to put in new equipment which would reduce the amount of fuel one half.

After the machinery had been installed the agent called, expecting to be congratulated. But the German eyed him gloomily.

"What's the matter, Mr. Schmidt ? Doesn't the new plant do all 1 claimed?” he asked.

“Ya; but I oberlooks sometings,” replied Hans.

"What was that?"

"Vell, it dakes only dwo mens to handle de fuel, but it dakes de udder dwo mens to haul avay vat ve don't use, und a team, pesides.”— The Hampton Magazine.

A Presumptuous Teacher A TEACHER in the foreign quarter had a pupil so unruly that it became necessary to write to the child's father.

“My dear Mr. Blankowitz," the letter began.

Next day a very stout and very irate woman appeared in the class-room flourishing a paper.

"I teach you to call my husband ‘my dear'!" she cried. "Why, he say he ain't never saw you in his life and I believe him, you piece of impudence!"-Lippincott's.

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