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Show II "JAZZ" MUSIC. What is there about "jazz" music that makes it so popular? That ques- jj tion has been ar'ced many times and I answered in many ways. Wise men say that "Jazz" appeals to that ele- mental nature which is a heritage I from the days when our ancestors 1 danced with rhythm typical of savages J 1 to the accented music of tom-tom and I other wlerd instruments, the tones of I which the modern "Jazz" artists imi- T tate. 3 Not even the moat ardent devotees J of "jazz" music admit it is beautiful. I It Is fantastic and out of the ordinary. 1 Some even claim that the strange hnr- ' monies from a "Jazz" band produce an I1 effect upon them like strong wino. J. How long "Jazz" music will bo pop- I ular is a question nobody seems to be able to answer. Somebody recently advanced the theory that tho popular I! taste wouia jump irom onv uAiiemu iu 1 the other and that in a few months I soft and dreamy music, such aa the j Hawallans produce would be the "rage." London is declared to be developing de-veloping a liking for this type of J music, The life of "jazz" may be shortened In Utah by reason of the discourage-I discourage-I ment to be given the noisy brand of music by the church authorities. In I ' the church social advisory committee's pamphlet on dancing the following is said about "jazz" music: I "Jazz" in orchestra dance play- I Ing might be defined as "depar- ture from the correct," making the instruments perform that l which is not written, and in a way contrary to their accepted, proper use. This type of playing Is rank "faking" and should not be toler- ated by intelligent people. Very few of the so-called "Jazz" effects I are, or can bo written, and if per formers on musical Instruments will confine their performance to the written music of their parts ' there will "bo very little "Jazz." Among the legitimate orchestral Instruments named above there Is none that can be called a "Jazz" instrument in and of itself; it becomes be-comes a "jazz" Instrument only when abused and made to do somothing for which It was never intonded. It follows then that In attempting to prevent or abolish "Jazz" from the dance, no one of these instruments need be banished ban-ished from the orchestra. It Is therefore highly recommended that the performer on each and all instruments should be persuaded to confine his efforts to his writ-' writ-' ten part and to play his Instrument Instru-ment as It was Intended that it should be played. |