Although they hoped to attract 30 members to each group, they had 20 sign up in Wausau, and less in Edgar. But the groups were formed and it was hoped more ladies would join after the groups got off the ground.
It is a single sheet of music from among C. Cone's papers, for the new saxophonists to practice their scales. After a winter filled with rehearsals and instruction, the ladies started to perform for the public, usually with the Edgar and Wausau bands combined into a single ensemble. In January of , they performed alongside a local production of the play, "The Eagle of the Sky" "a comedy drama in three acts" , and throughout their first year of existence the Ladies Saxophone Band often played as a second attraction alongside plays and other spectacles.
The string of early performances often treated the ladies as a novelty. But directly to the left of the notice was an ad for an act appearing that same weekend at the Grand Theatre featuring an appearance by the saxophone-playing Siamese twins Daisy and Violet Hilton.
Both acts appealed to a sense of novelty with the use of female performers using the saxophone. Cone was one of the first bandleaders to experiment with the saxophone in the Wausau area. The earliest photograph to feature a saxophonist from Marathon County playing in a band as far as I can find was Cone's orchestra at the Grand Opera House in The saxophonist in question standing in the back row, third from the right was Ralph Baker, a cigar maker by trade.
He appears to have picked up a baritone saxophone to cover some of the lower parts in the ensemble. By the end of the decade Cone had also integrated a few saxophones into his military-style band, but this was unusual for the musical groups at the time and most musicians had a hard time finding a place for the instrument in a serious, adult band.
Around the turn of the century, the European patents on the saxophone had expired and several American companies like Buescher and Conn started to produce their own versions of the instrument. And besides making some improvements in the design, they brought industrial production to mass produce at least by the standards of the day their saxophones.
And by the s, they were heavily marketing the new instrument to the public; particularly to students and young people. Schultz was another prominent figure in instrumental education of the twentieth century in Wausau, and though he was slower to embrace the saxophone in his own bands, he was happy to give lessons and sell instruments.
While this helped sped the new instrument across the country, beginning musicians picking up the saxophone did not necessary foster good will among those people within earshot of the squeaks and honks new players often produced. And while it is possible to play just about any instrument badly, most people had not heard the instrument being played well.
Within a few years, talented musicians would pick up the saxophone and impress the public with the heights one could take the instrument. Most of the popular saxophonists that emerged were from the new style being called jazz, but there were a handful of other saxophonists who proved the versatility of the saxophone in more "classical" settings as well.
Probably the most important of these non-jazz saxophonists was Rudy Wiedoeft. In the late s, recordings of his virtuosic playing made Wiedoeft a household name, and he took his success and his iconic C melody saxophone on the road. Uploaded to the youtube channel of Erik-Jan de With in Wiedoeft's success led to national and international tours in the s, which included stops in Wausau in and Wright's Music Store sponsored the concerts as part of a series featuring recording stars from Victor Records.
Each photograph was accompanied by a second piece of music, which was recorded especially for this experiment. It featured musicians of various ability levels improvising on the drums, violin, or alto saxophone.
These instruments were selected because "they give away poor performance skill more readily than, for example, piano or guitar.
So was musical skill sexy? The results suggest the answer is, in general, yes. There were exceptions to this general tendency. Not surprisingly, "music performance quality generally affected women's ratings more than men's," they write.
In contrast, "Facial attractiveness generally affected men's ratings more than women's. Another interesting finding: Compelling music in the background increased women's perception that the man in the photo was intelligent.
This may explain why it increased their interest in long-term relationships. What does this tell us about music, and its evolutionary purpose? Researchers even have a name for it: sexual selection theory of music. Sure, it sounds like something we made up, but the theory suggests that music serves as a signal in mate selection. Turns out the real deal is not all that hard to learn. Lifting a bit every day is way more productive than going to the gym once a week for three hours.
Ruehr recommends starting with a Yamaha. Bring it to the beach and let the wooing begin.
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