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ANNCR: 


VOICE: 


3-3307 


DATELINE NO. 75 NEW YORK APRIL 28, 1976 
HERBERT NELSON 


MUSICAL _INSTRUHENTS MADE BY HAND AGAIN 
CVOICED PIECE, INSERTS IN TAPE LIBRARY) 


AND NOW THE VOICE OF AMERICA PRESENTS wee DATELINE eee 
ANOTHER IN THE SERIES OF PROGRAMS ABOUT PEOPLE, 

PLACES AND EVENTS IN THE UNITED STATES. TODAY, 

OUR DATELINE IS NEW YORK CITY, WHERE VOA'S HERBERT 
NELSON LOOKED AT THE RECENT INTERNATIONAL CRAFT FAIR 
AND ENCOUNTERED AN EXHIBIT OF HANDMADE MUSICAL 
INSTRUMENTS CREATED BY A NEW BREED OF AMERICAN 


CRAFTSNEN, 


MANY OF THE NE}! ARTISANS ARE MUSICIANS OR MUSIC-ORIENTED 
PEOPLE WHO HAVE LEARNED HOW TO BUILD THEIR OWN 
INSTRUMENTS. OTHERS ARE CRAFTSMEN WHO HAVE TAKEN 

THE TROUGLE TO STUDY MUSIC SO THEY COULD CREATE STILL 
BETTER INSTRUMENTS. AND IM SOME CASES MUSICIANS AND 
CRAFTSMEN HAVE POOLED THEIR RESOURCES OF KNOVLEDGE AND 
FORMED TEAIIS OF INSTRUMENT-HAKERS. TODAY THERE ARE 
SEVERAL THOUSAND OF THESE INDEPENDENT, DEDICATED "MASTER 
BUILDERS" IN THIS COUNTRY, WORKING WITH THEIR HANDS 

AND GIVING EACH FINISHED PRODUCT A TOUCH OF THEIR 


OWN INDIVIDUALITY. 


SUSAN FARRELL, A RESTORER OF OLD INSTRUMENTS, WHO 

USED TO VORK AT THE HETROPOLITAN MUSEUM IN NEW YORK, 

HAS MADE IT HER BUSINESS TO TRACE THE NAMES AND ADDRESSES 
OF THESE NEW! ARTISANS AND TO COMPILE ALL PERTINENT DATA 
FOR A BOOK SHE*S CURRENTLY WORKING ON, HER EFFORTS 


TO FIND THESE PEOPLE AND TO BRING THEM TOGETHER IN 


VOICE: 
CCONT 'D) 


TAPE: 


DATELINE NO. 75 NEW YORK PAGE 2 


GROUPS FOR THE EXCHANGE OF IDEAS AND THE PROMOTION 
OF THEIR ENDEAVORS HAVE GIVEN A SPECIAL IMPETUS TO 


A VERY SPECIAL CRAFT. 


I MET WITH MISS FARRELL AND TWO OF HER INSTRUMENT=-MAKING 
FRIENDS, MARK BLAIR FROM VIRGINIA AND THOMAS HOM \WWHO 
LIVES AND WORKS IN THE SOHO ARTISTS COLONY HERE IN NEV 
YORK. I WANTED TO GET MORE FIRST-HAND INFORMATION ABOUT 
THE NEI! TREND, ESPECIALLY ABOUT THE KIND OF PEOPLE 

WHO STARTED OR HAVE JOINED IT. APPARENTLY THERE'S A 
WIDE RANGE IN TERMS OF AGE, BACKGROUND AND MOTIVATION, 
MISS FARRELL, HOWEVER, FEELS THAT THE GREAT NUMCER 

OF ARTISANS ARE PEOPLE WHO BELONGED TO THE 

DISENCHANTED YOUNG GEI!ERATION OF THE SIXTIES AND WHO 
DROPPED OUT OF EVERY ESTABLISHED FORM OF ACTIVITIES, 

BUT WITH THE CHANGING TIIIES THESE DROPOUTS AND DRIFTERS 


EVENTUALLY BEGAH TO C'IANGE THEIR OWN ATTITUDES: voice 


CUT ONE -- FARRELL 


"IT HAVE A FEELING THAT A LOT OF THESE PEOPLE WERE 

LOOKING FOR SOMETHING CONCRETE TO DO, SOMETHING WHERE 

THEY CAN MAKE A LIVING, NOT COMPROMISE THEIR INTEGRITY, 
THEIR IDEAS AND BELIEFS. AND INSTRUMENT=-MAKING 

SUITS THAT VERY WELL. A LOT OF PEOPLE WANT TO AND 

STILL WANT TO BE THEIR OWN BOSSES, THERE'S A 

TREMENDOUS SATISFACTION IN MAKING SOMETHING USEFUL, 
SOMETHING THAT HAS A LIFE OF ITS OWN AS AN INSTRUMENT, 

AS A WORK OF ART. IT SORT OF HAS TWO LIVES, IN A 

SENSE, AS A BEAUTIFUL OBJECT AND AS A MUSIC=MAKING THING." 


VOICE: 


TAPE: 


VOICE: 


TAPE; 


VOICE: 


DATELINE NO. 75 NEW YORK PAGE 3 

ONE OF THOSE YOUNG PEOPLE IS THOMAS HOM, HE'S A 

QUIET MAN WHO HAS FOUND HIS KIND OF ISOLATED ISLAND 

IN THE SOHO DISTRICT OF NEW YORK. IT'S NOT NECESSARILY 
AN "ISLAND" WITH LOCKED DOORS. ON THE CONTRARY, HE 
LOVES TO SHARE IT WITH LIKE=MINDED ARTISTS AND 
CRAFTSMEN. BUT IT IS HIS WORLD ALONE WHEN HE GOES 
ABOUT BUILDING THE INSTRUMENTS THAT SUIT HIS PARTICULAR 


TALENT AS A MUSICIAN ‘eee 


CUT TWO -=— HOM 


"I'VE ALWAYS HAD AN INTEREST IN THE GUITAR, THE 
CLASSICAL GUITAR. THE INSTRUMENTS THAT WERE AVILABLE 
AT THE PRICES I COULD AFFORD AT THE TIME, WEREN'T 
SATISFACTORY TO tIHAT I WANTED TO DO WITH THE INSTRUMENT, 
SO I DECIDED TO BUILD ONE AND, IN DOING SO, DEVELOPED 
AN INTEREST IN THE CRAFT ITSELF. FOR THE PAST 

EIGHT YEARS I'VE BEEN ESTABLISHED HERE IN NEt! YORK 

AS A BUILDER OF CLASSICAL GUITARS AND CLASSICAL LUTES, 
PRIMARILY RENAISSANCE-EIGHT-CHORDS AND BAROQUE~FOURTEEN 
CHORDS INSTRUMENTS," 


NOW, MR. HOM IS NOT THE ONLY ONE REACHING BACK TO 


EARLY MUSIC AHD THE KIND OF INSTRUMENTS THAT SKILLFUL 


HANDS BUILT IN THOSE DAYS, SUSAN FARRELL EXPLAINS ieee 


CUT THREE =~ FARRELL 


"THERE'S A WHOLE MOVEMENT IN EARLY MUSIC, PEOPLE 

ARE MAKING HARPSICHORDS, CLAVICHORDS, VIRGINALS <= 

EARLY STRING INSTRUMENTS -- AND THERE ARE PEOPLE 

MAKING EARLY WOODVINDS, RECORDERS, FLUTES <= OTHER 

THAN MODERN FLUTES. AND THEN THERE IS THE WHOLE 

AREA OF VIOLIN=MAKING. MY IMPRESSION IS THAT THERE 

ARE QUITE A FE"! RETIRED PEOPLE WHO GO INTO VIOLIN-MAKING," 


IT*S INDEED A \WIOE PANORAJIA OF THINGS THAT MAKE 
AUSIC AND A WIDE RANGE IN THE AGE OF THE NEW 


ARTISANS. MARK BLAIR, FOR INSTANCE, IS SOMEWHERE 


IN THE MIDDLE, NOT A RETIRED OLDER MAN, AND NOT A 


DATELINE NO. 75 NEW YORK PAGE 4& 


VOICE: 
CCONT'D) CONVERTED YOUNG DRIFTER EITHER. HE HAS BEEN 


MAKING INSTRUMENTS ALL HIS LIFE == AND ONLY ONE 


TYPES THE APPALACHIAM DULCIMER ie-06 


TAPE : CUT _ FOUR =~ BLAIR 





"IT'S A LITTLE LAP GUITAR. AND IT'S PROBABLY THE 
EASIEST INSTRUMENT TO LEARN HOW TO PLAY, THE 

DULCIHER, ALONG WITH THE FIVE=STRING BANJO, IS THE 

ONLY TRULY NORTH AMERICAN INSTRUMENT. AND 

THESE APPALACHIAN DULCIMERS HAVE THEIR ROOTS IN EASTERN 
EUROPE AND, TO SOME EXTENT, IN SCANDINAVIA," 


VOICE: HARK BLAIR KNOWS ALL ABOUT THESE ELONGATED CHERRY-\WOOD 
LAP GUITARS. AND HE TAKES HIS OWN SWEET TINE TO BUILD 


THEI, ONE BY ONE == AND AS FEW AS POSSIBLE IN THE 


COURSE OF A YEAR ee. 


TAPE: CUT FIVE -- BLAIR 


"IT HAVE HAD PEOPLE ASK Mi: "CAN'T YOU TURM THESE OUT 
FASTER?"AND I DON'T THINK THAT I WANT TO TURN THEM 

OUT FASTER. I'O FEEL LIKE A MANUFACTURING PLANT 
RATHER THAN A CRAFTSIIAN. I COULD PROBABLY BUILD 
THEM A LOT FASTER, IF I DION'T SIT DOWN WITH THE 
FINISHED INSTRUHENT AND PLAY IT FOR 











VOICE: HR. BLAIR BROUGHT ALONG ONE OF HIS RECENTLY MADE 
DULCIMERS. SLOWLY AND WITH GREAT CARE HE PUT THE 


INSTRUIMENT ON HIS LAP AND BEGAN TO PLAY eee 





Wo TIME: 





CUT SIX --MUSIC -- DULCIi 





cS 





AT_\WILL. 


DATELINE NO. 75 NEW YORK PAGE 5 
VOICE: NO, MARK BLAIR WON'T GIVE IN TO THE DEMANDS OF PEOPLE 
WHO WANT TO BUY MORE AND MORE OF HIS DULCIMERS. 
NEITHER WILL THOMAS HOM OR ANY OF THE OTHER INSTRUMENT- 
MAKING CRAFTSHEN. THE FAST TURN-OUT OF PRODUCTS, 
THE ASSEMCLY LINE TYPE OF WORK == THAT'S EXACTLY 
WHAT THEY ALL ARE TRYING TO GET AWAY FROt , THEY'RE 
NOT, AS MR. BLAIR PUT IT, MANUFACTURING PLANTS. 
THEY ARE INDIVIDUALS CREATING INDEPENDENTLY AT THEIR 
OWN PACE AND FOR THEIR OWN PLEASURE AND THEY EARN 
ENOUGH HONEY WITH THEIR WORK TO MAKE ENDS MEET. 
PURPOSELY THEY HAVE GONE BAC! TO THE SLO AND 
NETICULOUS PROCESS OF NAKING THINGS WITH THEIR HANDS. 
PURPOSELY THEY HAVE SEARCHED FOR AND FOUND SOMETHING 
THAT OULD OFFSET THE TEMPO AND THE IMPERSONAL WORK 
PATTERNS OF TODAY'S TECHNOLOGY. { SUSAN FARRELL AND 
“MARK BLAIR ELABORATE ON WHAT HANDCRAFTED INSTRUMENT- 


MAKING MEANS TO THE NEW ARTISANS ieee 


TAPE: CUT SEVEN -- FARRELL FIRST, THEN B R 





CFARRELL) "IT'S A VERY CONSTRUCTIVE WAY OF SORT OF 
TURNING INWARD FROM THE CHAOS: GOING INTO YOUR O\IN 
SHOP IN YOUR OVIN PLACE AND DOING SOMETHING VERY 
PRODUCTIVE AND BEAUTIFUL." 


a CBLAIR) "YT THINK THIS IS VERY TRUE, BECAUSE IN MY 

VORKSHOP I VENT AS FAR AS PUTTING THE LOCK ON THE 
INSIDE. SO, WHEN I GO IN THERE I KNOW I*M GOING 
TO BE ALONE AND NOBODY IS li'g TO BOT HE." 





VOICE: 


ANNCR: 


DATELINE MO. 75 NEW YORK PAGE 6 
THE ONLY THING THAT THESE MEN AND WOMEN FEAR, IS 

THAT TOO MANY PEOPLE MAY JOIN THE TREND, THAT, IN 

THE END, COMPETITION WILL SET IN; THE PACE WILL 
INCREASE, CARE AND INDIVIDUALITY MAY SUFFER, AND 
EVENTUALLY EVERYONE WILL BE BACK WHERE THEY STARTED 
AND TRIED TO GET AVAY FROM. BUT, SAYS MISS FARRELL, 
THAT'S STILL A LONG WAY OFF. AND SO, UNTIL THEN, LET'S 
ENJOY THE WORK, THE ART, THE BEAUTY OF MUSICAL 


INSTRUMENTS ONCE AGAIN CREATED BY HUMAN HANDS, 


YOU'VE BEEN LISTENING TO DATELINE 2.2. ANOTHER IN 





THE SERIES OF VOICE OF AMERICA PROGRAMS ON PEOPLE, 
PLACES AND EVENTS IM THE UNITED STATES. JOIN US 
AGAIN NEXT CAT THIS TIME) FOR 


ANOTHER ...- DATELINE. 


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