National Bureau for the Advancement of Music

              Purpose and Policy of the
 NATIONAL BUREAU FOR THE ADVANCEMENT OF MUSIC



T
HE purpose of the National Bureau for the Advancement of Music is exactly what its name implies, to advance the cause of music—not any particular phase of music, nor through any particular method, nor among any particular class of people, but in every way it can be of assistance.  The Bureau believes that music was intended by Divine Providence for all the people and is of benefit to everyone.  It wishes to aid in extending its blessings as widely as possible.  This is a simple creed.  There is nothing unique about it.  Many hundreds of organizations are actuated by the same desire.  Most of them, however, have undertaken the specific accomplishment of certain phases of the advancement of music, believing that only through the concentration of effort can any real progress be made.  The Bureau believes this also, is in entire sympathy with the methods adopted and is an admirer of the substantial results secured by these other organizations.




This Bureau, however, elects for itself a different role because it believes there is need for 
one
 organization whose interest is centered on the sum total of results secured rather than upon those secured through its own efforts.  
The sole purpose of such an organization is to be helpful
—in any way which would augment those results, irrespective of the agency through which the results are secured.




Is an organization with so general a purpose practical?  It must pass that test to be effective.




With such a purpose, unbiased by any desire of achievement exclusively through its own agency, 
it cannot fail to be helpful
.  Its viewpoint will be broader, its judgment clearer and its assistance directed where it will be of most service.





PURPOSE AND POLICY OF THE NATIONAL BUREAU FOR THE ADVANCEMENT OF MUSIC



It is true its value cannot be measured, for the service rendered is largely distributed in the achievement of others, but in this very fact lies its strength.  To show a record would necessitate working for a record and working for a record would necessitate concentrating upon some particular line of effort.  This would make the Bureau like all the other organizations.




Is the purpose of the Bureau practical?




It has been variously estimated that from 20 to 150 million dollars are spent philanthropically for music annually in the United States.  Even the smaller of these two sums is tremendous.  Is this money accomplishing as much as it can accomplish?  There are probably thousands of organizations and millions of individuals working earnestly to advance the cause of music.  Are they working as effectively as they might?  Is there not far greater opportunity to render service by assisting those already in the field than by adding one more of similar character?




There has long been the cry of the lack of coordination among the various musical organizations and there have been many efforts to bring about this coordination.  How can it be done?  Everyone wants to do the coordinating and no one wishes to be coordinated.  Coordination of necessity means some restriction and control.  Most organizations are doing good work and they can accomplish more in their own way than under someone else's direction.  
Enthusiasm
 is the motive power which drives most voluntary workers to the largest accomplishment and this enthusiasm is more readily translated into energy when the workers are carrying out their own ideas.




All these organizations and individuals are open, however, to the power of 
suggestion
 and the Bureau believes that it is only through the power of 
suggestion
 that these organizations and individuals can be persuaded to adopt those ideas and methods which may be helpful to them and to the cause they represent and that the coordination desired will be brought about naturally by the various organizations gradually welcoming assistance from the outside.




Although the National Bureau's work for the advancement of music is unlimited in its scope and partakes of no definite character,
 yet it must adopt for itself a definite policy.  This policy may sound ungrateful and unappreciative, but any misunderstanding will be eliminated when considered in the light of its purpose.  The Bureau never asks for cooperation on its own part.  Its purpose is to give it.  It never expresses appreciation, because this implies that it has asked for assistance and special interest in some particular phase of the music advancement work.  It does not ask for cooperation in the general advancement of music, for this implies a right to head the general movement.  It believes the general cause will advance in proportion to the success of the 
individual effort
.  It therefore simply seeks to help these individual efforts.




The following illustration is pertinent:  A short time ago the Bureau's assistance was requested from an organization on the ground that that organization had pushed the Bureau's Music Memory Contests.  The Bureau expressed a desire to give the cooperation but stated that, although the Music Memory Contest was inaugurated in the home of its director and although the Bureau had been pushing it actively, it had no more interest in advancing the cause of music through the Music Memory Contest than in any other way which might seem to be equally effective and it was therefore equally interested in what other organizations were doing.




The Bureau undertakes to cooperate with those who are honestly interested in advancing the cause of music or can be persuaded to be interested in doing so.  In this way everyone is working for the same results even if in different ways.




Although the above is the basic principle upon which the Bureau works, it is carrying on a number of specific campaigns.  It is, however, only doing this because they seem desirable things to do and there is no other organization which appears to be supplying those particular needs.  As soon as specific organizations spring up to carry on these different lines of work the Bureau will be pleased to have them assume the leadership.  
Even in these specific fields
 the Bureau works largely through the power of suggestion and the work is being done mostly by other organizations.  These specific things are at present the Music Memory Contest, Music Weeks throughout the country on a city-wide basis, Christmas Eve Caroling through the streets of city and town, the
 publication in the daily press of more music news of a character to interest the man on the street and the woman in the home, Music in Industry, and a few others.  Everyone of these movements seems to have met with popular favor and to be spreading rapidly throughout the country.




The Bureau believes that the results already achieved in its direct efforts and the appreciation of its assistance by other organizations have definitely and absolutely proved that both the purpose and the methods of the Bureau are practical.  The tangible evidence of its influence in the office of the Bureau is impressive and of a widely diversified character.




C. M. TREMAINE, 
Director
 
NATIONAL BUREAU FOR THE ADVANCEMENT OF MUSIC
 105 WEST 40th STREET, NEW YORK CITY