Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-07-12

many people who scarcely realize that
at its last session Congress smiled on
this anthem and made 1t for the
first time purely national. Certainly since that
windy day in March, when the song was Of
ficially raised on the country's masthead, there
has been little singing and dancing in the
streets, few signs, few expressions OF sheer JOY,
few hearthrobs and handshakes
Whether Congress stamped our anthem with
It's official seal or not, whether it is now heavily
embossed with Congressional approval or prom
inently displayed in Senatorial parlors and sung
by Senatorial voices, it still remains song
to torture the lustiest musical Threats.
The cry of the musician Is heard in the fore
rank of doubters He has to sing it, play it,
make much of it. He has to get his school
children to cherish it. He has to wave his
hands over it,-and try to reach that one high
note. And at night he wonders about it
and whether it is worth all that trouble-and
why it took Congress all these years to decide
that it was strictly national in character.
And he likes it. but he doesn't love the music
of it, and he wonders whether or not that is
wrong.
Asst weeks paragraph concerning Pierre
- Keys Musical Who's Who" ended without
the list OF WaSnlnStOOlanS or near WaSIllng-
tonians who may be found in this important
volume. If memory Alright the list in
cluded the following Mrs. Katie Wilson,
Greene T. Arthur Smith Julia Schelling, Mary
Howe, e. C. Christiani, Norman Frauenheim,
Rose and Ottiie Sutro, Oscar Seage, Lillian
Evanti Grace Moore (she is listed as having
studied at the Wilson Greene School In Wash
ingtssH. Hazel Arth, Elizabeth sprague Coo
lidge, Carl Engel, Hans Kinder, Maxim Karolik,
Mccall Lanham. Sylvia Lent Helen Ware and
Critics Helen Fetter, Ruth Howell and Lee
EomerS
What strikes one in this abbreviated collection
of local musicians is that while many of the
finest have been mentioned many Of the finest
have also not been mentioned.
However, one hears gentle breeze of
Fumor that partial justice is about to be done
to some of the musical intelligentsa Of the
city 1t seems that the Friday Morning Club,
ever up and doing has been having terrific
struggle within itself to decide on whether it
shall have who's Who" Of its own not.
BLANKS have been sent out-and blanks have
been sent blackstone Of them full-Some OF
them not full-some of them excluding streams
of fre-some of the members boldly crying
that they will not be who's Who'd" and others
sending in long and lengthy histories of them
selves The upshot Of all this is not yet clear
but if the Summer progresses warmly and
docilely and if certain peppered members of this
Kind of ire it is has not yet been deter
smined). there may be found on the local book
stands, some time before the Winter blasts a
neat volume entitled the Friday Morning Clubs
who's understanding the names, places
and possibly, faces Of its myriads Of interesting
members
"A article by r. Raven-Hart in the July
issue Of the musical quarterly called
"'Radio and a New Theory Of Tone-Quality' Is
worthy of attention. Mr.. Raven-Hart starts
OF follows: THE radio research section
Observation-Disclosures Of the Berlin Acad-
envy of Music may justly claim to be unique
Many such research laboratories exist, but they
are almost without exception organized and
run from the engineering point Of view, either
by universities and the like by commercial
Interests. Here, the other hand musical
organization has established a radio depart
nent, with the result that the orientation is
entirely different, and, at any rate, from the
musicians point Of view, far more interesting
How much the close cooperation thus insured
between the musician and the engineer has
meant will be evident from the results OBJ
Eained: That Of Hindemith (himself q pro-
feSsor at the academy and DR.. Trautwein is
q case in point. The latter is the discoverer
of new theory of tone quality in music, and
as result of this theory has developed q new
electro-muSical instrument; HindeSmith has CO.
operated so closely in the development that he
has not only composed music especially for it,
but has also himself become able performer
on it.
Courses are given on radio speaking and
lecturing, speech and gesture for the
talkieS, on school and educational radio,
singing and choral work for radio on radio
composition and scoring and gebrauch-
musk, which one may perhaps translate rough
ly practical music; on film music and on
electro acoustics"
A pleasant prospect this-rado and music