Development of Radio—

Sun (Auckland), Volume IV, Issue 1052, 16 August 1930, Page 7 (Supplement)

Development of Radio —

(Continued.) at least, will come back into an immense popularity. Radio is going to help, too, in showing to the people the place of classical music, and it cannot but be a cultural influence. The city dweller has al ways had an opportunity of hearing the best in music, even though not treated with the respect or in the manner which it deserved. It is safe to suppose that the man in the back blocks heard as many concerts

in a year as many in the cities who found the company of boon companions or the comfort of a fireside in winter far more pleasant than the programme of the average stage company within their financial reach. In many cases it was, of course, lack of opportunity which caused the country resident to be so backward in musical affairs, but now this disability has been removed and the farmer is actually more interested in the music he hears from the city broadcasting station than Is the man who lives within the shadow, as it were, of the

giant aerial towers, but who has many other distractions close at hand. The man in the country is learning to appreciate classical music. Every day complaints, are received at the various broadcasting stations regarding the quality o£ the items broadcast, but it is from the cities that the call for more “popular” items is the loudest. A classical song or instrumental item can never grow old, and constant repetition by artists “over the air” has shown the constant country listener that a classical selection is not the mere medley, often other than harmonious, which, it appeared to be at first hearing. A selection from “Op. 32” becomes something more than a tempestuous torrent of notes “full of sound and fury, signifying nothing,” and is soon infinitely to be enjoyed. The pretty tunes to which loudvoiced American bai-itones insist that “My Sweetie’s Got Sob Eyes,” or some such other sentimental complaint, while catching the fancy for a moment, soon lose their appeal when every tram conductor is whistling them. It is the same in the country, and then

the broadcast listener returns to the lasting peace of his favourite item from his favourite studio. That radio has done much to popularise music in the country cannot be denied, but let it not be supposed that farmers, meeting by chance in the store-library-post office immediately fall to discussing Rachmaninoff’s Prelude in G Sharp Minor, or that the village blacksmith daily toils to the tune of the “Anvil Chorus.” It is said that in America the progressive poultry-farmer places a radio loudspeaker in his lien-house to increase the output, but the veracity of this is open to grave doubt. It is probable that in a few years’ time there will be none of the distinctive national music which has played

such an important part in the world’s history. No longer will the music which inspires the army marching onward to victory or the tune with which tiie fond mother lulled her children to sleep be the sole- possession of one country. Stirring march and crooning lullaby alike will become the property of the whole world of radio users, and the general music of any people will lose its distinctive national flavour. The classical melodies of the Old World have already been appropriated by the new, and Maori songs and

island chants have won recognition in lands overseas. It is on the Continent of Europe with its many tongues and peoples that radio will do most with this only truly universal means of expression, and fhe breaking down of national barriers of misunderstanding and resentment will follow the use of a common fund of music. This does not mean that radio will have killed national songs—far from it — but that every country will become joint owners of all that is worth while in music. The popularising of hitherto unfamiliar songs—sea chanties, folk songs, and native melodies —can also be traced in some extent to the influence of radio. The music of the spoken word, too, must be considered, although at present elocution has fallen into disrepute among radio listeners owing to the fare provided. This has largely been unsuitable owing to the broadcasting of items designed for concert stage presentation. Music indeed owes a huge debt to radio.