CHAPTER I INTRODUCTION

The contributions Dr. Miller made to organology are without parallel; his collection is the finest of its type ever assembled. As a whole, the Miller collection is remarkably complete from every aspect and constitutes a musicological unit covering all phases of the flute, obtained in many countries and ranging from the prehistoric pipes to the latest models. It also includes every size, from the smallest and highest to a huge bass, and every design, from the regular stock model to structures built according to Dr. Miller's own specifications. Among the notable items are a flute made of gold, a flute formerly owned and used by Frederich the Great and a number of rare flutes made of glass. 1

In his own field of science, his efforts led the way for many further studies. In the preface to The Dayton C. Miller Flute Collection , William Lichtenwanger, head of the Music Division reference section of the Library of Congress states, "...in 1908 he introduced the phonodeik, a device that until the invention of electronic oscillators was one of the chief means of converting sound waves into visual images and thus of analyzing all manners of sounds from musical instruments to human speech." 2

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It is interesting to note, however, that no studies have ever been instituted to consider the possibility that a relationship exists between these two interests of Dayton Miller. In the foreword to his publication, The Flute , Miller states: A comprehensive appreciation of the art of the flute requires, besides a knowledge of music in general, also a knowledge of the physical principles of the flute as a sound producing instrument, of the mechanical devices by which these principles are used, and also an acquaintance with the personality of the performer. 3

In a letter dated September 5, 1970, William Lichtenwanger of the Library of Congress Music Division wrote: I would very much like to see something written about Miller, not just as a flute enthusiast but as a scientist and as a man... I know of only one biographical article on him and that was a kind of obituary notice in, I believe, the Case Alumni magazine. 4

Dr. Miller's entire adult life was in part directed toward satisfying a curiosity about science and the flute. We might assume, therefore, that his studies not only gave answers but also asked questions, and that these answers and questions may have had an influence on future studies.

On the surface, his two major interests might seem to be contradictory - one being in science and the other being an art form. However, a basic assumption 010 3 which can be made is that even with his interest in an art form he always remained a scientist, first and last.

As a man, he seems to have been deeply interested in contributing to the welfare of his fellow beings, and in the preservation of a cultural heritage.

...I shall always think of Dayton C. Miller as a silver flute, maintaining his pure tone amid the discordant notes of a confused world. That silver quality, which he so beautifully demonstrated with his phonodeik, is emblematic of his character. Professor Miller's contributions to science have been valuable and continuous throughout his whole life, but those of us who have known him value even more highly the genial serenity he has maintained, through cloud and sunshine alike...Albert W. Hull, Asst. Dir. Research Laboratory, General Electric Co. 5

Herbert Hoover, the 31st president of the United States, had the following to say about Dr. Miller: ...I am glad of the opportunity to join with others in even a small tribute at this time of your retirement from active service. Your contribution to science and education should be an enduring satisfaction to you... 6

A former student, John Grebe, Director of Physical Research, Dow Chemical Co., expressed deep affection for Dr. Miller: 011 4 ...Nothing that I can say or write can really express the feeling of love and respect that I have for you. Scientists recount your generous contributions to the study of X-rays, polarized light, sound, and other drift; educators and students appreciate your work on the flute; but to me, your most important contribution is the example and inspiration you give in all that is worthwhile in life.... 7

Dr. Miller was possibly one of the first scientists to attempt using both scientific principles and musical sound to arrive at his conclusions. His phonodeik most likely had the greatest single influence on the modern oscilloscope, and his experiments in musical acoustics had added to the then known knowledge of flute construction. His improvements in the making of the gold flute was an advancement in the use of various materials in the manufacture of the flute.

His methodology of collecting, and the new knowledge that his collection brought forth, has resulted in a greater understanding of both the flute and its history, and of general standards of organology and instrument classification. This systematic approach is evident in his scientific work as well.

When we read of the contributions that Dr. Miller made in both acoustics and organology, it 012 5 becomes evident that these interests have stemmed from a common purpose.

Therefore, it is probable that his work in science was, to him, inseparable from his avocation of organology, and that one was nurtured by the other.

On file and available at the Library of Congress are carbon copies of all the known correspondence that Dr. Miller had written, and those replies which he received pertinent to his letters. After reading through some of this correspondence it has become evident that there are occasional letters missing in the chronological order of several respondents. Therefore, it will be necessary for the researcher to request responses from those writers still living to elaborate on various points of their association with Dr. Miller. The proposed study will gain additional relevance by including reminiscence from living family members as to Dr. Miller's home and social life.

The Library of Congress also houses the entire collection of some 1,500 flutes, 10,000 pieces of music for the flute, 1,200 volumes of books relating to the flute, and various other related materials.

The entire Miller collection will be put at the disposal of any person the Library of Congress considers qualified. Since the writer has been so deemed, treatment of data will include playing, 013 6 measuring, and describing many of the flutes when such techniques are required by the study. A study of the music will be made only when necessary, except in the case of the early songs that Dr. Miller himself had written.

Furthermore, the researcher will acquaint himself with the articles, lectures, papers and books that relate to Dr. Miller's scientific investigations. The scientific data will be presented in a broad sense on the layman's level and will not include those aspects of Dr. Miller's investigations which would necessitate any scientific background on the part of the reader, and will be presented only when they relate to his interest in organology.

After careful examination of all related documents in both organology and science, the writer will ascertain whether or not each had a direct or indirect influence on the other.

CHAPTER II BACKGROUND OF STUDY

There is hardly a book or paper relating to organology written in the last twenty years which does not give credit to Dr. Miller; either citing one of his scientific findings in acoustics or using a photograph of an instrument from the Miller collection to give a visual example. Robert Donington in his book The Instruments of Music , 8 defines musical sounds as those having periodic vibrations at regular intervals, as opposed to noise, which are irregular vibrations. Donington's conclusions are based on the graphs which Miller developed with his phonodeik machine and were subsequently published in Miller's book The Science of Musical Sounds . 9 More recently, Philip Bate 10 credits Dr. Miller with the final formulation of the means to photograph a musical sound.

In addition to his scientific writings, Dr. Miller privately printed a catalog of the books and literary materials in his collection that related to the flute. 11 Considered a standard reference work in its field, it annotates over 1200 volumes devoted to the flute or related fields.

Photographic reproductions of the Miller collection form a major part of the pictorial history of 015 8 the flute in Anthony Baines book, European and American Musical Instruments . 12 Of the 53 examples of flutes pictured in this work, 32 are from the Miller collection. This is understandable since the instruments in the Miller collection number well over 1,500 examples.

Miller also translated and annotated one of the most important works ever written for the flute. This is the Theobald Boehm book, The Flute and Flute Playing In It's Acoustical, Technical, and Artistical Relationships , written in 1871. The Miller translation was published in 1908 and revised in 1922.

As one might expect, Dr. Miller also gave lectures relative to his collection and to his work in science. One such talk was given before the Acoustical Society of America on May 3, 1931. Miller, then president of this Society, gave his lecture on the history of the flute, with relationship of tone production to acoustics being demonstrated on flutes from his own collection.

In 1925, he was required to give a retiring address as the past president of the American Physical Society. He chose to report on his studies of the unaccounted for residue in the ether drift experiments. Fortunately for him, the lecture was given before a joint session including the section B of the American Association for the Advancement of Science. The result was that he won the annual prize of the Association of $1,000.

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The Library of Congress publication The Dayton C. Miller Flute Collection , is a checklist of the instruments. Each flute is numbered chronologically according to Miller's purchase diary which he kept of each acquisition, and a brief description including the maker and date of manufacture is also given. To add further interest, the name and address of the person from whom the flute was purchased is also given. 13

Early in February, 1896, Dr. Miller read of the discovery of X-rays by the German scientist Wilhelm Conrad Roentgen. Greatly excited, Miller went to his laboratory and set up his own apparatus. He made a photograph of Mrs. Miller's hand, a task requiring a three-hour exposure, and a few days later made the first surgical X-ray photograph in America.

Many of his scientific papers, lectures, and research findings have been published in issues of The Journal of the Acoustical Society of America , and Science . Four of his lectures, Sound Waves Shape and Speed (1937), The Science of Musical Sounds (1916), Sparks, Lightening and Cosmic Rays (1939), and Anecdotal History of the Science of Sound were later expanded and published in book form.

The literature in the field of organology includes scholarly catalogs of nearly every known museum or library collection, and some of the larger individual collections. These catalogs and other individually published treatises, 017 10 some of which have been mentioned, were written by accepted experts in the field who treat their subject with expertise based upon accepted knowledge and new findings. Many of these newer findings are first published in the Galpin Society Journal, which is devoted to research in this field.

CHAPTER III DAYTON C. MILLER; EARLY YEARS

Strongsville, Ohio, in the late 1800's, was a modest agricultural town, located about nine miles south of Cleveland. Young Dayton C. Miller lived with his parents in the large colonial brick house that belonged to his maternal grandfather, Alanson Pomeroy. Miller's grandmother Pomeroy's maiden name was Pope, and she was born in New Bedford, Massachusetts. The house was the most pretentious dwelling in the village and was still occupied by the Pomeroy family as late as 1940. Grandfather Pomeroy was a farmer and storekeeper who also did surveying, both as a profession and as an avocation. He was community-minded, too, for he was an original trustee of Oberlin College. It was the surveyor's instruments, though, that fascinated Dayton as well as the books which the young boy found in the house. He would spend countless hours looking at the pictures in these books and trying to learn the meaning of the words which accompanied the illustrations. Another pleasure that Dayton had was to help his father tend the steam-driven sawmill that was on the Pomeroy farm. It was in this setting that his early interest in scientific and mechanical devices began to form and grow. 14

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Born on March 13, 1866, to Charles Webster Dewey Miller (1841-1918), and Vienna Pomeroy Miller (1843-1919), Dayton was the first child of this marriage. The family would grow, however, to four sons and one daughter.

In 1874, the Miller family, now numbering five since Dayton's sister Harriet was born in 1871 and his brother Allison in 1873, moved six miles north to Berea, Ohio. Berea was a larger town than Strongsville and promised to offer success to his father's new hardware store. In the rear of this new store was a tin-shop, where Dayton learned to make for himself many of the things he could not buy. He was a 'maker' and grew up learning to fashion with his hands those things that his mind conceived. (We will later see that this skill stayed with him his entire life.) It was said that young Dayton would astonish customers in his father's store by giving correct answers in rapid time to any mathematical question thrown to him. Indeed, it was a habit of his teacher, one M. A. Sprague, to throw out numbers quickly in any size up to one hundred, and ask the class to add, subtract, or multiply. Dayton, it is told, usually had the correct answer first. 15

As a growing young boy, Dayton attended Berea Public Schoolos until he was fourteen; and every Sunday he attended the German Methodist School where his mother played the organ. He enjoyed all the games that a young 020 13 boy would take pleasure in, such as "yard-off" and "pull-away." "Date", as he was called then, was the fastest of all the boys. 16

He was serious, too, and as a teenager became chief of the Berea Hook and Ladder Company No. 2. Date took his job very seriously and soon excelled in ladder climbing. The boys of his command would run carrying a ladder held vertically in the air; they would stop suddenly at a predetermined point and hold the ladder in the air while Date climbed eighteen feet to the top and then slide down heels-over-head through the rungs. His record time of one and a half minutes was fast enough to win him awards at several fireman's tournaments. 17

His friends in the fire company always liked to visit the Miller home, especially during the grape season when the family arbor was loaded. Date was always most generous with the grapes, but when the feast was over he would drill them in marching - and there was no fooling around! Discipline was his rule. These two traits, generosity and discipline, were to last throughout his life. 18

When the marching and daily school work was over, the other boys went home to their families for rest and relaxation. Date was different, though, and during the early evening darkness one would find him in his yard studying the planets and stars through one of his telescopes. As a young boy, he made a total of three refract- 021 14 ing telescopes, each being larger and better than the preceding. In his search for more knowledge, he corresponded with the famous telescope maker of Pittsburgh, Dr. John A. Brashear. This friendship grew over many years and both enjoyed a healthy respect for each other. Miller, in one of his writing's, referred to Brashear as his "scientific father." 19

His first major 'invention' may have been the telephone. Alexander Graham Bell was 29 years old when he gave the first public demonstration at the Philadelphia Centennial Exhibition in 1876. The telephone was called a marvel of the age by all who saw it. Dayton, at the age of 12, was a devoted reader of Scientific American , and so when the telephone was described in this magazine he went out and made one for himself. And it worked! It must have been a thrill for Miller, some forty years later, when he met Bell at the Washinton home of this famous inventor. 20

Science was not the only interest Dayton pursued in his early years. Music also played an important role. Dayton's father played the fife in a fife-and-drum corp which was organized in 1864 for service in the Civil War. It was this fife, which his father had played, that was his first instrument.

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The earliest childish plaything of which the writer has any memory is this particular fife. The making of noise and music on this instrument and others of the same kind became a matter of considerable interest. The writer was led by fate to choose the flute, as the subject of collecting, and for this he is grateful. 21

The particular fife under discussion was manufactured by Hopkins of Troy, New York, about 1860, and was made of rosewood with a lead mouthpiece. This instrument, along with well over 1,500 others, can be seen at the Library of Congress, where the Miller collection is housed. As one would expect, the fife is number one in the chronological accession. 22

On his thriteenth birthday, Dayton's father purchased for him a real flute - his very first. Alas, his fingers were too small to cover the tone-holes and so he could not play on it. Imagine the disappointment that Dayton must have felt. His father, though, knew something had to be done and so he bought Dayton a piccolo, which is of course smaller, so that the boy could reach all of the keys. The instrument was made by H. F. Meyer of Hanover, Germany, about 1878, and was purchased from the S. W. Perry Company of Berea Ohio. Dayton must have made fast progress, because he became a member of the Schubert Orchestra, Chamberlains, Berea, in 1880 - a membership he held until 1886.

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He used the piccolo for a short time until his hands were large enough for the flute. It is interesting to note that his flute, his first, is not a part of the collection in Washington. As a matter of fact, an example of this flute, which was an H. F. Meyer with thirteen keys, escaped being represented in the collection until January 1941, one month before his death. This last flute was a gift from his sister-in-law, Mrs. Mildred Miller of Oakland, California. In a letter dated February 5, 1971, Mrs. Miller related to the writer this story: About the flute 1426 (the Meyer) - I had a dear friend in her eighties whom I visited often and while there she had a telephone conversation with a friend of many years who wanted to know if her son who was musical would like a flute. It seems that when her brother was twelve he had a fatal accident while swinging. His mother had placed all his treasures in a trunk in the attic and it had remained closed all these years. Now she was moving from the family home and had opened the trunk. When I heard the word flute I gasped at it, called her friend, and she gladly gave it to me. I told her about Dayton's collection which pleased her immensely. Dayton received it shortly before his passing and Edith (his wife) sent her a 'thank you' letter. However, I received a letter from Dayton telling me it was the model and make that he played on at his graduation and had been looking for one for his collection for years. Quite a story isn't it. 23

His early music lessons were probably given to him by his parents. His mother played the organ and his father sold organs on a part-time basis. The entire family were active in musical presentations at their church.

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In 1880, Dayton's education was completed in the Berea Public Schools; and, although only fourteen years old, he took the district examination for a teacher's certificate and passed with highest grades. He did not enter teaching, however, but enrolled in the preparatory school of Baldwin University, now Baldwin-Wallace College, located in Berea. In 1882, Dayton entered Baldwin University itself as a freshman and graduated in 1886 with a Ph.B degree. 24

During the period from 1880 to 1886 his home life was changing also. Harlen D., his second brother, was born in 1880, and Dewey H., his third brother, was born in 1883. Mr. Miller, his father, had entered into a new profession by organizing the first surburban electric railway runing out of Cleveland, which was one of the first that that part of the country had seen. It began as the Cleveland & Berea and later became the nucleus of the Cleveland & Southwestern Railroad. The first was known as Lawrence & Miller and was located in Berea. Dayton had set up his first laboratory in the basement of the building and, by his own words, left a flute there which was later lost. 25 (One wonders if this could have been the missing 'first' flute.)

Spending money for college had to be earned and Dayton took charge of the home vegetable garden. His mother would pay him current store prices for the items 025 18 he grew. In addition, he worked in his father's store as a bookeeper for fifteen cents an hour on Saturdays and free afternoons. 26

His college studies were most successful and he was considered the most distinguished student of his class. Since we have noted his dual interest in science and in music, it is not surprising to note that the graduation of June 18, 1886, lists him as giving a lecture, "The Sun", and playing a flute solo with full orchestral accompaniment, the Largo from Beethoven's opus 15 Piano Concerto No. 1 in C Major. He also read a Valedictory essay to the Phrenocosmian Literary Society, now Alpha Tai Omega, entitled "A Marvellous Machine," which turned out to be the telescope. It is of interest to mention that he became president of the Baldwin-Wallace Board of Trustees in 1936, a position he was to hold until his death, and delivered a second Commencement Address fifty-three years after his first one on June 12, 1939. His subject at the later occasion was "The Spirit of Science in the World of Today."

After graduation in 1886, Dayton worked as an assistant cashier in the Berea National Bank, which was partly owned by his uncle. The money he earned was to be used to further his education. Disliking business, he considered entering Oberlin Conservatory of Music. However, an issue of Scientific American changed 026 19 his life. He was inspired by the magazine's illustrations of a new twenty-three inch telescope - the world's fourth largest, at the time - which would be used for instruction at Princeton University. In September of 1887, he entered that University to begin studies in astronomy under the famous American astronomer Charles Augustus Young. Since Young was the man who first observed the spectrum of the sun's corona in 1869, Dayton must not have felt more at home, scientifically speaking, than he did during his days at Princeton. 27

As a young Princeton graduate student, Dayton majored in astronomy, which gave him an opportunity to use all of the observatory instruments. His major also gave him a chance to explore physics and further his knowledge of mathematics. In the latter discipline, he took all the courses that Princeton had to offer. In June of 1888, he decided to return to Berea and accept a teaching position at Baldwin University. This 'time-off' from studies at Princeton gave him a year to assess his knowledge in astronomy and to organize the new ideas and concepts he had learned the year before. His new position was as a professor of natural science and, as a result of additional studies at Baldwin, he received his A.M. degree in 1889.

Dayton then left Berea once again and returned to Princeton to receive his D.Sc. degree in June, 1890. He was one of twelve applicants for the doctoral degree, but the only one to be so awarded. This was his first 027 20 doctoral degree, but not the last. Honorary degrees of Sc.D were conferred on him by Miami of Ohio University in 1924 and Dartmouth College in 1927. An LL.D by Western Reserve University in 1927 and Baldwin-Wallace in 1933, and a D. Eng. by the Case School of Applied Science in 1936 were also conferred on him. His thesis for the first doctorate was written on the orbit and elements of Comet 1889V.

His future at Princeton was all planned. He would go back in the fall of 1890 as a Thaw research fellow in astronomy and work with Professor Young on the new spectograph which was being constructed by Dr. Brashear. However, in August, the young Dr. Miller learned that problems had caused a delay in the making of the large glass prisms required for the spectograph and was asked if he could possible come the following year instead. This letter actually changed a career in astronomy to one in physics. The next day, young Miller for the first time walked through the north door of the main building of Case School of Applied Science-the building with the first floor complete and the rest under construction after the fire. He met President Staley and Dr. Howe, and proceeded with the story of being a graduate in astronomy under Professor Young and of being ready to teach that subject, as well as physics and mathematics. Dr. Howe was immediately interested. Dr. Staley knew that he needed an instructor. Little reflection was needed as the young man looked bright and enthusiastic. 'You are hired at $600 a year; report to me in September,' said the President. In the fall of 1890, the new institution had a new instructor who was to teach all he had 028 21 offered to teach, plus descriptive geometry and surveying - subjects he had never studied. It was not very difficult to reach Case from Berea - the steam train would bring him to the old Union Station, and the street car to Case; so, he commuted as he was still a bit of a home boy. 28

During his student days at Princeton, Miller became friendly with a fellow student named Will Easton, whose family lived in the town of Princeton. Miller must have visited the Easton home because he knew Will had a sister, Edith. During his first teaching semester at Case, his thoughts turned to Edith. Finally, he decided to take a trip to Princeton during his Easter recess of 1891 to visit the Easton family. Love must have bloomed, for they were married on June 28, 1893. 29

Music, being so much a part of Miller, was put to romantic use when he wrote several songs dedicated to Edith Easton. The first was completed on April 4, 1892, and was entitled "A Lover's Prayer." Another, "The Audacious Jewel," was dated February 14, 1893. 30

While Edith may have inspired Miller to write the two songs mentioned, they were not his first attempts at music composition. Although his first work is not known, his early opus numbers indicate that he was very much inspired by Richard Wagner. These first musical works were arrangements of famous melodies. For, just as young painters would copy the works of great artists, it was a common practice of young composers and musicians to base their work on famous melodies of renowned 029 22 composers. Miller's opus 5 was taken from "Lohengrin;" his opus 6 used one of the melodies from "Parsifal;" and, his opus 7 incorporated the "Evening Star" theme. His love of Wagner's music was deep, for he wrote: Undoubtly at some time or other many have experienced this transcendent effect of music as an emotional stimulus. On at least two occasions the author has been so affected. The music of Wagner's "Parsifal" is especially impressive; upon the second hearing of this opera, he was so transported that it was quite impossible to sleep at all for twenty-four hours. Repeated hearings have been attended with great effect. In 1926 there was an Handel Festival at Crystal Palace in London, under the conductorship of Sir Henry Wood. The performance of Handel's "Messiah" rendered by a chorus of 3,000 voices and an orchestra of 500 musicians provided a depth and subtlety of expression far transcending the power of words to describe. 31

The first dated work was his opus 6, which was completed in March, 1891. His works did not go beyond small instrumental or voice combinations in scope, as he wrote simple songs with little or no developmental sections. Composition was to come to an end in January, 1912, with his opus 31. In the well-kept diary he used for musical works (he had many such diaries for his various and far-reaching activities), he entered the following: Three Album Leaves , op. 31, January 1912; "Last composition!" Apparently, he had lost all interest in composing.

Included in this diary was a pencil list of a 030 23 proposed program of his own music. However, since no further information is available it is not known if the program was ever performed. He probably planned to be one of the performers; playing the flute, no doubt.

In addition to his marriage in 1893, several other events occurred, one of which was to change the course of scientific history. Miller attended the World's Columbian Exposition in Chicago, and must have taken delight in seeing the scientific exhibits such as the expansion engine, the linotype, and even, possibly, the first Ferris Wheel. It was at this exposition, however, that he pruchased a set of Crookes tubes - a small investment compared to his later use of these materials. These tubes were invented by Sir William Crookes (1832-1919), an English physicist and authority of the time on the industrial uses of chemistry. They were electric vacuum tubes from which all of the air had been pumped out. Metal wires, serving as electrodes, were then sealed into opposite ends of the tube. When the electrodes were connected with a source of high voltage, changes took place in small amount of gas that was left in the tube. These changes and their effect were later to be called 'cathode rays,' which are streams of electrons. 32

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It was at this time, also, that Dr. Miller was made an assistant professor of physics at Case. The year 1893. By 1895, he was to become physics department chairman. Thus began an association with Case that would last for fifty years.

Concurrent with the happy and fortunate events of 1893, we must note one happening that must have saddened Dayton Miller. The Miller family had always been, as they are even to this day, a very close family. Knowing that Dayton and his new wife would remain in Cleveland, the decision to move to California must have been a difficult one for Dayton's father to make. He did, however, consider the health of Dayton's sister, Harriet, in his decision, and the entire family, with the exception of Dayton and his wife, moved to Santa Barbara, California. The western climate must have agreed with all of Dayton's family because not one chose to leave during their lifetimes; and his sister, Harriet, lived to see her ninety-third birthday. His father, upon arrival in Santa Barbara, started the Consolidated Railway Company there - thus, continuing his career in electric street cars.

CHAPTER IV EARLY EXPERIMENTS IN SCIENCE AND THE BEGINNINGS OF A FLUTE COLLECTION

In 1895, Wilhelm Konrad Roentgen, the German physicist, discovered the X-ray. While experimenting with the Crookes tubes (see p. 23), Roentgen found that when he covered the tubes with a black paper and turned on the electrical current, a fluorescent substance nearby glowed. He noted that these unknown, invisible rays could pass through some substances such as flesh, but were stopped by other, such as metal or bone.

It was in January, 1896, that word of this discovery reached the United States. No time was lost; the Crookes tubes which Miller had bought three years earlier at the Chicago World's Fair were immediately set to work. The Case physic's laboratory overnight became the center of great attraction; and within a week many X-ray photographs were made with Mrs. Miller taking the part of principle assistant. First, she 'posed' her arm on the plate, holding still for two hours! Soon she learned to operate the apparatus while professor Miller posed, and it was she who made the photographs of the composite full-length 'portrait,' which perhaps was the first such photograph ever made; she was really one of the pioneer X-ray experts. 34

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Other X-rays were made at this time and according to the Cleveland Plain Dealer five were taken of William J. Frew, city marshal of New Philadelphia, Ohio, to locate a bullet imbedded in his wrist. A second set were taken of Charles Frye who had accidentally shot himself with a revolver fourteen years before. The bullet had never been found until the negatives revealed it. 35 These were taken before Miller's own "portrait," for he said: Any foreign substance in arms or legs can now be definitely located. I cannot speak yet as to the trunk of the body, but I expect to photograph my own ribs before I shall leave the experiments. 36

It was during this same period of time that Dr. George W. Crile, a Cleveland physician who was noted as a pioneer in the field of blood transfusions, brought to the Case laboratories a young boy with a bone fracture. Dr. Miller photographed the boy's arm thus producing one of the first, if not the first, X-ray photographs for surgical purposes to be produced in America. 37 (Columbia University has laid claim to the first surgical pictures - those of the late Michael Pupin.)

From February to April, 1896, Miller gave twelve lectures devoted to this new X-ray; the total, however, 034 27 would soon grow to seventy.

In the summer of 1896, Miller made his first trip to Europe and while there met with the famous German scientist, Wilhelm Roentgen. His visit to Roentgen did not take all of his time, however, and we find him also visiting the musical instrument manufacturer, Rudall, Carte & Company in London. The latter visit was not by accident for his diary indicates that he purchased a Rudall, Carte Boehm system flute in C on August 21, 1896. It is also noted in his diary that the flute was made to order for him; therefore, indicating that there was an exchange of letters before purchase. 38

At the Library of Congress all of the known correspondence that Miller had relative to his flute collection is on file. As meticulous as he was in preserving the correspondence from 1905 on, keeping all letters received and carbon copies of his letters and replies, the earlier years are incomplete. The earliest letter the writer found, one of the very few written before 1905, was dated October 26, 1896 and was in Miller's own handwriting. The letter was written to Rudall, Carte & Company and discussed a recent flute Miller had purchased from them while on holiday during the summer of 1896. This was, of course, the flute mentioned earlier. 035 28 The letter said, in part: I have now been at home for six weeks and have been playing my new flute from one to four hours every day. I am delighted with its magnificent quality and volume of tone. It is a superb flute. But I am disappointed much in proportion to find it utterly impossible to play the flute in its designed pitch. 39

In a reply dated November 16, 1896, Rudall & Carte suggested that Miller take the flute to a professional flutist to have it checked. Although there is no proof to support the suggestion that he did have the flute inspected, we might assume he did; for on March 5, 1899, he purchased a second flute from Rudall & Carte wich was made to order for him. This would be a Boehm system flute in C, and is number five in the Checklist . 40

The importance of Miller's request that some of his specifications be included in the two flutes lieds in the assumption that he had begun a serious study into the acoustical properties pertinent to the flute. He must have been thinking about measurements such as length and diameter, hole size and placement, thickness of the materials used in the making of the flute, and questioning the nature of the materials themselves. 036 29 The question of the influence of the material of which a wind musical instrument is made has not been settled after more than a century of widespread discussion. Is the tone quality of a flute, the tube of which is made of gold, superior to that of a similiar flute made of silver or wood? If there is a difference, what is the explanation? It was this specific question that, in 1900, started the investigations which, having passed much beyond the original inquiry, have furnished the material for the reports here presented. 41

Miller did prefer a gold flute for its tone quality, but also considered other materials depending upon the music to be played. For a great deal of music I play, I consider this thinned wood flute (a Rudall & Carte Bb flute) as the best instrument in my entire collection. This would apply to the performance of music with filigree variations I usually prefer a silver flute. However, for full rich tone quality, I must give my preference to the twenty-two carat gold flute. 42

The first time Miller played on a gold flute was on the occasion of his second visit to London in the summer of 1900. It was at the Rudall & Carte shop that this event took place and he immediately proclaimed the gold flute to be the finest he had ever played. 037 30 I failed to notice the material of which it was made and yet had pronounced it superior to any other. 43

In this same letter Miller stated that a gold flute would have been too expensive for him to either buy or to build himself. However, the gold flute was not forgotten and an unusual chain of events led to his buying the necessary gold tube. A New York dentist began using X-ray techniques in his diagnosis of dental treatment. Not being too experienced in this field, he administered an overdose to a woman patient which caused her to be burned. She brought a lawsuit against the dentist and he in turn asked Miller to act as an expert witness in X-ray techniques. Miller's fee for this testimony furnished the large part of financing the gold flute. 44

On March 18, 1905, he purchased from the United Wire & Supply Company of providence, Rhode Island, the gold tube which measured .748 I.D. x Wall .013x 19 1/4", 190 4/24 d wt. 45 It is said that he spent over eighteen hundred hours to build the flute and spread out his work over a three year period. 46 He did finish his gold instrument and it is now kept in a vault at the Library of Congress. It should be pointed out that the gold flute was not his first attempt at building a musical 038 31 instrument. In 1901, he completed an Eb flute which utilized the Boehm system and was made of silver. His correspondence with the United Wire & Supply Company shows that he pruchased three sterling tubes on April 25, 1906, and a platinum tube on January 5, 1905. He also obtained tubes of aluminum and brass. While the Checklist indicates only the two flutes as being made by Miller, numbers eight and ten, it is known that he did make another silver flute for his brother, Alanson P. Miller. 47 Therefore, it is not unlikely that he had made others in his quest for more knowledge about the flute.

If the year 1900 was important to Miller's organological investigations of the gold flute, it must have been equally, if not more, important to his scientific work. While in Europe at that time, 1900, he attended the International Congress of Physics in Parks, and heard a lecture on ether drift delivered by Lord Kelvin, the British physicist. Miller's future studies relating to ether drift were to last a lifetime, and would become for him a definitive study. He had known of the ether drift experiments because many were made at Case by Albert A. Michelson, a former professor of physics at Case who taught there during the 1880's.

039 32

Physicists had long been asking themselves whether the ether surrounding our earth remained fixed in respect to the motion of heavenly bodies through it, or whether the earth in its motion through space dragged the ether with it. Michelson devised an instrument known as an interferometer, which was capable of measuring more minute distances than the most high-powered microscope. As a reward for his scientific achievements, Michelson was awarded the Nobel Prize in 1907.

Michelson was associated with a fellow physicist, Edward W. Morley of Western Reserve University, in many of these ether studies. When Michelson left Case in 1889, Morley moved on to other experiments. With Miller's new interest in 1900, however, Morley returned to his earlier studies of ether drift, and the two men set about building a new and larger interferometer which was four times as sensitive as the one used in the earlier experiments. Observations were made with this new improved instrument in 1904 and the results were expressed as follows: 040 33 If the ether near the apparatus did not move with it, the difference in velocity was less than 3.5 kilometers a second, unless the effect on the materials annulled the effect sought. We desire to place the apparatus on a hill, covered only with a transparent covering to see if an effect can be there detected. 48

Albert Einstein, the scientist, was interested in this ether drift theory and used the Michelson, Morley, and Miller experiments as a basis for his theory of relativity. However, Einstein formulated his theories on the basis that ether did not fill outer space, wheras Miller felt that indeed it did exist. Speaking at the University of Berlin, Einstein stated that the experiments at Case showed zero results and later experiments on Mount Wilson showed positive results. Therefore, he said, altitude influences results as well as do differences in temperature, and these both provide sources of error which would rule the findings invalid.

Miller replied to these charges: The trouble with Professor Einstein is that he knows nothing about my results....He ought to give me credit for knowing that temperature differences would affect the results. He wrote to me in November suggesting this. I am not so simple as to make no allowance for temperature. 49

041 34

Computer analysis of all the data, after Miller's death, proved that although the shifts were statistically significant, they were not due to an ether drift but rather to very small temperature gradients across the interferometer which displaced the fringes. When Miller's data were reorganized to take account of this temperature factor, they were shown to support the postulates of the special theory of relativity. 50

How many times these two scientists met, we do not know, but it is known that Einstein was a guest in the Miller home on at least one occasion, as shown by Einstein's signature in the Miller guestbook.

CHAPTER V THEOBALD BOEHM

Dr. Miller published his first book, Laboratory Physics , in 1903. This was a manual designed to be a student handbook for the performance of experimental problems in physics. It was used by Miller at Case for his and other sophmore physics classes.

His second publication, in 1908, was a translation and annotation of the Theobald Boehm book, The Flute and Flute-Playing . The publication of this book, and the revised edition in 1922, must have been two of his proudest achievements. Hardly a set of correspondence with any one respondent omits a mention of the book. Miller, always a generous person, on many occasions sent complimentary copies to fellow collectors, as was also his habit to send photographs of his collection or a single instrument should a query have been posed. One of the first such book gifts was to Email Medicus in February of 1909. Medicus, a professional flutist, teacher, and writer, and Miller had a long association via their writings to each other. They also met on many occasions, but it was the correspondence that offers 043 36 the most insight into their work, ranging over a period of 31 years. (Medicus later became the publisher and editor of The Flutist , a monthly magazine devoted to the flute. The first issue was January 1920; publication was suspended in February, 1929.)

Miller was equally generous to libraries and museums. Gifts of the Boehm book were given, and accepted by at least a dozen institutions such as the New York Metropolitan Museum of Art, New York Public Library, Library of Congress, Smithsonian, John Crerar Library, and even the British Museum. These just mentioned gifts were given in 1922, a time period in which Miller was concerned as to where he would find a permanent home for his flute collection.

The Boehm book was a labour of love for him and his desire to share it with fellow enthusiasts is quite apparent. In his introduction to this work, Miller tells the reader that he had read the Boehm book with great interest, and while on vacation translated it so that others might read this German work in English.

Theobald Boehm of Munich, 1794-1881, learned his father's trade of goldsmith; he used this skill to make a flute for himself and became so proficient that at the age of eighteen he was appointed first 044 37 flutist in a theater orchestra. While still an active performer he started making flutes for himself and for others. As a result of these inquiries into the making of flutes, Boehm started to experiment with the size and placement of the tone-holes. It was his idea that the holes should be placed according to an acoustical system, not just to fit the fingers of the performer, and that various key mechanisms should be invented to compensate for and facilitate the finger technique. Although this was not an easy task, Boehm continued his experiments and finally in 1847 patented his own Boehm-System flute, a system which is still in use today.

In addition to the new flute of 1847, Boehm published a pamphlet titled Die Flote und das Flotenspiel (The Flute and Flute-Playing) . This is the work Miller translated and added valuable annotations and other information and photographs. That Miller had great respect for Boehm is obvious, for in his introduction to the translated work Miller states: Boehm was an extraordinary artist, and he was possessed of the true scientific spirit of research; he was a man of great versatility and of profound mental ability; he is more than worthy of all the honor that he has received. 51

In his pamphlet, which has been expanded by Miller to book length, Boehm discusses acoustical 045 38 proportions of the flute: the system of fingering; description of the key mechanism; care of the mechanism; treatment of the flute in general; and the embouchure in part one. Part two includes the development of tone; finger exercises; method of practicing; musical interpretation; and a conclusion. For its time, it was a complete treatise on the subject. Boehm has given to us a historic work in it's field, and Miller's annotations are equally important. Miller explains, elaborates, and adds to, all sections of the original work. He also corrected errors which appeared in the Boehm work as well as adding interesting and valuable photographs and drawings.

As one might expect, the chapter dealing with acoustical proportions - including the size of tone holes, bore, and materials - has the most amount of translator comments. When Boehm discusses material of flute manufacture, Chapter IV, Miller added: Undoubtedly the material of which a wind instrument is made sometimes affects the tone quality, but the manner in which this influence is exerted has not been explained; it is doubtful whether it is correct to ascribe it to molecular vibrations of the material. 52

Boehm, as do some modern flute players, felt that molecules in the material from which the flute is made should vibrate along with the air column. He felt that the less the weight of the flute tube, 046 39 the easier it will be to produce a full tone with the least amount of blowing effort. If experimentation has proven this to be true, the writer has yet to read it in print.

Boehm also made flutes of wood, since most flute players at that time still preferred wood over silver. He also combined wood and silver, making the body of silver and the head of wood. While this never became too popular with flutists, it did attract attention among piccolo players.

Not only did Miller's collection include forty-one flutes made by Boehm and associates, he also was able to buy the maker's own first flute from Boehm's grandson, Franz Rath, on September 20, 1920. According to Mr. Rath, Boehm owned this flute in his boyhood; and as his profieiency developed, he needed a flute with more keys. He sold the first flute to his friend, Ferdinand Marker, and later Marker taught his grandson, Rath, to play the flute using Boehm's first instrument. 53

In the Checklist we find that Miller also had in his collection one of the first flutes that Boehm had made in his new system; it is dated 1847 and was made of brass with a wood embouchure tube and silver fittings.

Boehm's grandchildren were most helpful to 047 40 Miller by sending to him photographs of family members, his home, and of Boehm himself. Manuscripts of several Boehm works including a transcription in MS. of Boehm's record-book of the manufacture of all his cylinder flutes, from No.1, June 20, 1847, to April 11, 1879; they also shared with Miller their memories and thoughts.

Letters on file were written by Dr. Karl Boehm and Miss Anna Boehm, both of whom sent Miller MS. works of their grandfather, and an extract written by Theobald Boehm in the 1922 edition of The Flute and Flute-Playing thanks Miller for his work in translating the work: I wish to express my, and my sister's great pleasure and satisfaction for your labor of love, which you have undertaken in the good intention to honor my grandfather. For this we can be only very thankful to you; and I believe I express the sentiment of the whole family of my grandfather in giving you our approval of the publishing of your translation of his book: The Flute and Flute-Playing. 54

It was this correspondence that, in part, prompted the second edition of 1922. There was, however, an event which surely must be considered one of the most important happenings in Miller's collecting career. Shortly after the first edition Miller received a letter from one James S. Wilkins II: 048 41 Dear Sir: I saw the notice of your work on the flute, and it interested me for I lived in Munich for three years (beginning May, 1891) and studied flute under Mr. Boehm....At that time I translated Mr. Boehm's work on the flute, and for doing this he gave me the original manuscript in his own hand writing. 55 Later on Wilkins wrote: I appreciate your efforts in doing reverence to Boehm, to the extent that, at the first safe opportunity I shall send you the original manuscript of The Flute and Flute-Playing, as a token, in Boehm's name of my appreciation of the labor you have devoted to his work, and for your excellent translation....I also send you as a part of your collection, a box-wood alto flute tube, without keys, made in Mendler's (an associate of Boehm) shop; this was given to me by Boehm. 56

Thus, Miller not only obtained his first Boehm flute, even though it had no keys, he also now possessed the MS. of the written work. Having this work gave Miller an opportunity to compare his translation with the original. He found very few differences, and those he did find were of little importance. (This MS. as well as all correspondence from the Boehm family, Wilkins, and the instruments, are included in the Miller collection at the Library of Congress.)

In another letter Wilkins mentioned that he 049 42 had several of Boehm's flutes in his possession as well as books and music. 57 He died in 1909, however, before further communication in reference to the flutes and music could be made. Miller attempted to reach his widow, Mrs. Mary C. Wilkins, for several years; finally hearing from her in September, 1921. It was not until June 6, 1924, that Miller visited her and purchased two Boehm flutes. She was living in Newton Center, Massachusetts; and Miller, delivering a lecture before the American Otological Society in Boston the day before, made the journey to her home.

These two flutes were important for they were two of the first flutes to be made of phosphor bronze: Mr. Boehm made three sample flutes, one 'G' and two 'C's, of phosphor bronze...This metal Mr. Boehm pronounced the best for tone and ease of emission, but it was so extremely difficult to work that he would not make flutes of it. 58

The first completed Boehm flute, tube and keys was purchased from George W. Haynes on September 26, 1916. Haynes was a Boston flute-maker who worked together with his brother, William S. Haynes. The earliest letter the writer could find was written by William S. Haynes on February 9, 1909, and requested a copy of Miller's translation of Boehm. 050 43 They must have continued corresponding, for Miller visited their shop in January or February of 1914. This visit is one of particular interest because at that time Miller was in Boston to deliver his eight Lowell Institute lectures devoted to "Sound analysis." These lectures, which in 1916, were re-written and published as The Science of Musical Sounds , included many findings of his research into the science of musical sounds as related to various musical instruments and the voice. He must have had many ideas to discuss with the Haynes', for he brought with him a Haynes flute made of aluminum which Emil Medicus had been trying.

Miller purchased more Boehm flutes from George W. Haynes, as well as adding 13 Haynes flutes to the collection. One, number 1287 in the Checklist , was designed by Miller and made to his order for "lecture demonstrations on harmonic tones and complex quality due to overtones (overblowing)." 59

Theobald Boehm's contributions to the flute and its construction are without parallel; and if Miller had not completed his translation and study of this famous maker, one wonders if the Flute and Flute-Playing would be with us today.

CHAPTER VI THE NATURE AND MEASUREMENT OF SOUNDS

Dr. Miller's interest in sound, and the influence that various materials had on the tone quality of a flute, necessitated his developing an instrument which could measure and record sound waves. The analysis of such records would then enable a study in a scientific manner of sound phenomena. The desire to investigate the physical nature of musical sounds, and the sound-producing characteristics of musical instruments, led to a study of all available methods for recording the forms of sound waves. No device was found which was sophistically sensitive and free from disturbing influences for the proposed investigations, and a new instrument, the 'Phonodeik' (to show or exhibit sound) was developed. 60

With his phonodeik, Miller could actually photograph and then study sound waves of musical instruments and the human voice. Briefly, this new instrument consisted of a diaphragm of thin glass, 0.003 of an inch thick, mounted on the small end of a resonating horn. A lens, to focus a ray of light from a pin hole, and a small mirror so attached to the diaphragm that when the latter vibrated in response to a sound wave, the light ray also vibrated and was focused by a lens and reflected by the mirror 052 45 to a moving film in a special camera. When the diaphragm moves under the action of a sound wave, the small spot of light traces the record of the sound wave on the film. The phonodeik was capable of responding to 10,000 complete vibrations per second.

The finished product would look to the layman like a vertical graph-like line which reflected the instrument or voice in a waving fashion much like an electrocardiogram. However, Miller found that the curves and waves represented not only sound, but also other physical phenomena. To analyze the photographic research of tones produced, he developed harmonic analyzers and systhesizers of great precision. A harmonic systhesizer is a machine which will generate separate simple harmonic motions of various specified frequencies, amplitudes and phrases, and will combine these into one composite motion which is recorded graphically.

In his investigations of the flute's tone he took about a thousand photographs, including every note of the instrument, each in several degrees of loudness. In checking flutes made of wood, silver, gold, and glass, he found that all had the same general characteristics except that gold produced overtones which 053 46 were greater in number and strength.

The phonodeik was completed in 1908, and was first exhibited at the Baltimore meeting of the American Physical Society and the American Association for the Advancement of Science in December, 1908, and in Winnipeg at the British Association for the Advancement of Science in August, 1909.

A modified form of the phonodeik was arranged for demonstrations before a large audience. The sound from a voice or an instrument is produced in front of the resonating horn and the movements of the diaphragm will be thrown on a screen by the use of a motor-driven revolving mirror. The movements of the diaphragm are magnified 40,000 times, producing a wave which may be as long as 10 feet wide and 40 feet long. Thus, Miller was able to show his audience sound waves as he was lecturing about them. The first time this new innovation was put to use was at the Boston meeting of the American Physical Society in December, 1909. 61

The name 'phonodeik' was first suggested by the late professor Edward W. Morley, and was first applied to the device at the Boston meeting. 62 As to the purpose of this instrument, Miller himself had the following to say: The ultimate purpose of the phonodeik is to produce a photographic record of 054 47 a sound wave of such a size and of such definiteness and accuracy of outline as shall permit the quantitative study of waves having components of small magnitude and high frequency. 63

In 1917, photographic records were made of the sounds from a foghorn at Father Point, Quebec, on the St. Lawrence River. The laboratory phonodeik was used, with some drawbacks because of size, both on the land and on the boats which were boarded for this experiment. As a result of the difficulties and problems experienced in Canada, Miller developed a new portable phonodeik. It was this new model, as well as the larger phonodeik, that he took with him to the Sandy Hook Proving grounds in April of 1918.

During the first world war, Col. Robert A. Millikan, then Cheif of the Department of Science and Research of the Council of National Defense, requested Miller to study the physical characteristics of the pressure waves produced in the atmosphere near large guns in action. This was to be an investigation into the causes of "shell shock." Miller took a leave of absence from his teaching duties at Case from April, 1918, to November, 1919. (Millikan, it should be mentioned, won the Nobel Prize in 1923 for his work in the isolation and measurement of the electron.)

All conditions at the proving ground proved to be an extraordinary experience for the study of sound 055 48 effects of various kinds. He used twelve microphones specially constructed for this experiment along with the phonodeik. Six microphones would be placed at various points on a circle with the muzzle of the gun as center or along any radius of the wave front. In some cases one was placed on the muzzle of the gun itself and the others would be placed anywhere from 50 feet to 200 feet. The final results included a better understanding of: 1.) the pressure effects in the air around large guns in action; 2.) the velocity of an explosion wave of great intensity; 3.) the form and physical characteristics of the sound waves from large and small guns; 4.) the normal velocity of sound in free air. He also obtained a measurement for the speed of sound in normal air to be 331.47 ±0.10 meters per second, equivalent to 1087.51 ±0.34 feet per second, which was very close to the presently accepted value.

How this knowledge was directly used in his investigations pertaining to musical instruments cannot be measured, but surely one study complemented the other. A discussion is given of the tone production and of the relations of the nodes and loops of the vibrating air-column to the mouth-piece and the tone-holes in the several types of instruments. The varying qualities of tone are due to the prominence of certain overtones which are characteristic of each instrument; the general nature of these peculiarities have been determined by analysis of photographic records of the tones. 64

056 49

Wallace Clement Sabine (1868-1919) was a scientist who gave the first solution to one of the oldest and most important problems relating to sound, the acoustics of auditoriums. He laid the foundation for acoustics with his paper on "Reverberation," published in 1900. Miller's friendship with Sabine led Miller to further investigate this new field of acoustics. As a result, Miller became a recognized authority in acoustics, and he helped to acoustically design many buildings, including the Rockfeller Memorial Chapel of the University of Chicago; the chapels of Princeton and Denison Universities; Nebraska state capitol; National Academy of Science in Washington, D. C.; Church of the Heavenly Rest and Temple Emanu-El in New York City; and severance Hall in Cleveland, to name but a few. 65

In one account referring to the National Academy in Washington, the writer mentions a speaker in the Academy who dropped a paper clip during his lecture. The paper clip was heard at the back of the hall and "sounded an engineering triumph in the long-neglected science of acoustics." 66 Miller's work in acoustics was undoubtedly successful.

CHAPTER VII THE ART OF COLLECTING

When one approaches the amount of materials in the Miller collection, he cannot help but be amazed at the magnitude of it's holdings. The Library of Congress Checklist informs the reader that there are 1,426 instruments, all but a few are flutes or a relative of the flute, and 93 additional instruments which were either not numbered by Miller or were added after the Music Division obtained the collection.

Books and literary materials relating to the flute includes pamphlets, short magazine articles, newspaper clippings, concert programs, maker's catalogues, patent specifications, and any other written materials which treat the flute in some form. In 1935, Miller privately printed a catalog of his books and literary materials that were in his collection. A conservative estimate places the number of entries at 1,400, and even though some of the work can be obtained today in reprint editions or through antiquary book dealers, most are out of print with several falling 058 51 into the category of rare books. The Rudiments or Principles of the German Flute , written by Hotteterre Le Romain and published in 1729, is the only copy known to exist. The same can be said for Hotteterre's Principes de la flute Traversiere , ou Flute d'Allemagne . Also in the Miller collection is A Vade Mecum For the Lovers of Musick , Shewing the Excellency of the Rechorder: With Rules and Directions for the Same . Written in 1697 by John Hudgebut, it is one of two known copies, the second being in the Bodleian Library at Oxford University. There are, as might well be expected, photostatic copies of other rare works which Miller apparently could not obtain.

In browsing through Miller's publication, the reader finds that many of the entries are annotated, which is most helpful particularly in the area of foreign languages. Footnotes indicate that many of the volumes were made a part of the collection as a result of the author sending a complimentary copy, or a gift from a friend or acquaintance.

Included in this area of his collection is a complete inventory of patents relative to the flute. 059 52 There are 170 British patents from 1694 to 1931; 206 French patents from 1791 to 1931; 250 United States patents from 1790 to 1931; and complete specifications of all German patents relating to the flute. The patents, as received from the patent authorities, are filed in chronological order so that they may be read and studied in order of their issuance.

A third part of the collection consists of about 10,000 titles of music for the flute. This music is indexed four ways: accessions, composers, titles, and instrumentation. The music of the 17th and 18th century is well represented.

The last two sections include indexes of works of art relative to the flute as well as pictures and sculptures, and portraits and autographs of flutists. Miller planned his collection to definitive in it's field. The making of a collection is like running a race: there are educational benefits in the one and healthful exercise in the other: and likewise both give exceptional pleasure and 060 53 satisfaction to one who excels. When there is a prospect of out-stripping one's competitors the sport becomes exciting and thrilling. 67

Earlier, it was noted how Miller obtained the first few flutes in his collection. As a matter of record, the writer notes that more than 90 percent of the total collection in Washington was obtained after Miller's 50th birthday in 1917. In 1909 for example, he purchased only one flute (the Boehm tube without keys) and in 1911, none were purchased. However, in 1913, he bought 10 flutes from the Joseph Fischer estate in Cleveland, which brought the total collection to 15.

It was 1917 that a change seemed to occur. Miller added 27 instruments to the collection which in 1916 numbered only 53; a 50 percent increase! Looking at the Checklist , the writer can see that Miller purchased several that year (1917) from flute-maker George W. Haynes, one from Arthur Gemeinhardt, also a flute-maker, and others from Pierce's Old Book and Curio Shop, California Loan Company, and several from the Baxter-Northup & Company. One can trace Miller's travels through his flute purchases, for 061 54 all of the above mentioned businesses were located in California. Numbers 62 through 75 in the Checklist were all obtained in California between August 20th and September 13th, 1917, during a vacation period with family members in Oakland.

The Baxter-Northup correspondence began on May 17, 1916, thus preceding the 1917 purchase, and lasted until June 10, 1940. Actually, Miller had correspondence with two people at Baxter-Northup - Harry Baxter and Carroll G. Cambern. It was Baxter, however, who shared Miller's enthusiasm for collecting. Baxter, a founder of the Los Angeles Flute Club, was always on the lookout for flutes that he thought might be of interest to Miller; this interest even extended to Baxter's vacation trips abroad. 68

The collecting of musical instruments, organology, is not a new art form; it has been enjoyed by kings and common men alike. However, it was the late Canon Francis W. Galpin, for whom the Galpin Society is named, who probably had the first collection which was nearly complete in it's representation of all the musical instrument families. Although small 062 55 in numbers, 564 instruments, the collection contained examples of idiophones, membranophones, areophones, and chordophones. 69 The Galpin Collection was purchased for the Boston Museum of Fine Arts in 1916, and is still contained in that institution for study and playing.

Miller introduced himself to the British-born Galpin in a letter dated August 16, 1921, and included a photograph of his flute collection. The correspondence between the two men is small, but important. One letter from Galpin is dated January 11, 1927 and mentions a forthcoming auction which was to be held in June at the Brownsea Castle in Bournemouth, England. At this sale, the instrument collection of the late C. Van Raalte was to be put up for bidding. Galpin, a friend of Van Raalte, who had helped him with his collecting, undertook the task of making a catalogue for the auction.

Miller, busy with 'ether drift' and other scientific enquiries, could not journey to England for the sale. Instead, he asked a London bookseller, Harold Reeves, to attend the sale and bid in his absence. Reeves, it should be noted, heretofore 063 56 had supplied Miller with a considerable number of books on music as well as many instruments. Their correspondence actually began on March 15, 1918, when Miller requested information about a book titled Harmonics of Tone and Colour .

Reeves went to the sale and purchased 27 instruments - the largest single acquisition in the Checklist . Miller had sent a cable to Reeves before the auction indicating those instruments he wanted to bid on, and the top price he was willing to pay for each. It was an awkward place to reach and I had to spend 3 days on the job. About 50 persons were present and it was necessary to make certain arrangements to secure some of the lots with other possible bidders. 70

Reeves then packed and sent them to Miller in Cleveland. In a letter dated August 11, 1927, Miller tells Reeves that the shipment was received in good condition and that he is grateful to add them to the collection. Miller also mentions that some of the items had come from the former Taphouse Collection which had been sold in 1905 or 1906. He shows some regret that the two groups had been dispersed. 064 57 I am happy, therefore, that my collection will be permanently preserved and I am trying to make this certain. I think I have already made the statement that I expect it to be placed in our National Museum in Washington. 71

Seven years later, in 1934, Reeves again acted as Miller's agent and purchased 11 instruments from the Desiree Ellinger collection. Included in this group was a tenor recorder made by Anon which Miller considered one of the finest in his collection.

As has been noted, acquisitions came from auctions, dealers, other collectors, friends and even gifts from interested people who wanted to see the collection grow. Additions also came as a result of Miller placing ads in various musical and antique magazines. Letters came in from virtually every country in the world. If a price was too high, Miller would offer what he thought to be the correct value. On occasion, he would request to see the flute, paying postage both ways, if necessary. Always the gracious gentleman, he would reply to every letter and, if pertinent, would pass on any information that he knew relative to the instrument in question. 065 58 Some, however, did attempt to take advantage of Miller, and on at least one occasion, a dealer was asked to stop sending flutes for approval.

He must have been a familiar figure in many antique shops and pawnshops in the United States and in Europe, because many entries in the Checklist were bought in such shops. It seems there is not an antique dealer in the world whom he does not know either by personal contact or by correspondence. Pawnshops are his specialty. Recently he complained about the deplorable conditions of the Bowery. When asked why, he replied that the place had been so improved that all his "first class" pawnshops are gone. 72

As might be expected, Miller actively corresponded with most of his fellow enthusiasts. Among them were Adam Carse, Geoffrey Rendall, Philip Bate, Francis Densmore, and Lyndesay Langwill to name just a few. The letters were both chatty and highly scholarly. They might discuss a recent meeting at a friend's home or the differentiation of bore measurements and how that difference would effect the tone or tuning. One letter the writer found interesting was written to Langwill and was dated January 19, 1939: 066 59 The collection of flutes and books proceeds rather slowly; it seems that the collection is nearing the saturation point. In the year 1938, 38 specimens were added; most of these are unimportant. The total number is now 1,373, with several specimens under consideration. 73 Most present-day organologists would be delighted to add a mere 38 instruments a year, or for that matter in two years.

The photograph on page 60 was taken by Miller of his collection as it appeared in 1928; slightly more than 50 percent of the final number. This, as well as similiar pictures, was sent to other collectors and friends throughout the world. Although it is nearly impossible to identify more than a few of the instruments, the reader does get some sense as to the physical size of such a collection.

Only two exhibits seem to have been devoted to the Miller collection - one in 1921 and a second in 1927. The 1921 exhibit was held in the Cleveland Museum of Art in October of that year. On display were 173 flutes, 35 flute cases, 10 books, and 3 photographs. The 1927 exhibit was held at the Museum of Peaceful Arts, a scientific and technical museum 067 60 068 61 located at 24 West 40th Street, New York City. Correspondence between the director, Dr. F. C. Brown, and Miller began early in 1927; arrangements had to be made so that the exhibit could open on May 24th. Part of Miller's concern was that the collection should be properly insured and that it would be under guard at all times. The exhibit did open on May 24th with about 400 people attending the first day lecture given by Miller. He used the phonodeik to show sound waves on a screen, and demonstrated the tonal qualities of about 20 flutes. In addition, he played several short selections.

The newspaper coverage of the exhibit, however, did prove to be an embarassment on at least one count. The New York Times stated that he made the first and only gold flute in the world. This, of course, was not true. In response to this error he wrote an apology to his friend Montague S. George of Rudall Carte & Company; the company who, many years before, did in fact produce the first gold flute. 75

The museum exhibit lasted until June 29th, whereupon most of the flutes were returned to their storage trunks. Forty-eight remained behind for a longer period, however, and thirty-seven were thought to be lost. Fortunately, 069 62 the missing instruments turned up in a packing room at Case.

Miller enjoyed collecting the rare and unusual, and the photograph on page 63 shows several of these rarities. Number 9, for example, is a flute for a one-handed player. This curious little flute was one of three in the collection. The instrument numbered "one" is a walking-stick flute, of which there are 15. It is what it appears to be, and close examination of the picture will show 6 finger-holes and one key for the pinkie.

Ivory and glass flutes are represented quite extensively. The photograph on page 64 show 21 ivory flutes from the collection. Number 14 is historically interesting because it once belonged to Count Istvan Szechenyi (1791-1860), an outstanding Hungarian soldier and statesman. It is believed that the maker was Ziegler. 76

Special notice should be given to instruments 1, 2 and 25, which are ivory recorders; numbers 23 070 63

FLUTES Select specimens from THE DAYTON C. MILLER COLLECTION

071 64

IVORY FLUTES from THE DAYTON C. MILLER COLLECTION

072 65 and 24, which are a clarinet and oboe respectively, and numbers 27 and 28, which are piccolos.

Miller's concern and interest in the various materials used to make flutes has already been noted. In addition, he had the following to say in reference to glass: Regarding the tone-quality of the glass flute, it is disappointing to have to say that it is in no way exceptional. ...The flute of glass seems to possess no musical qualities which call for further use of this material, but there is a sentimental interest in these exquisite specimens by Laurent. 77

The photograph on page 66 shows several glass flutes made by the French flute-maker, C. Laurent. Laurent patented his glass flute in 1806 and continued to make these instruments until at least 1848. 78 Estimates have placed the number of known existing Laurent flutes at about 40. 79 Miller owned 17 of these.

In the photograph on page 66, the fourth flute from the left is the first glass flute that Miller bought. This purchase took place in September of 1905. 80 The third flute from the left supposedly 073 66

Glass FLUTES by Laurent from THE DAYTON C. MILLER COLLECTION

074 67 was presented to President James Madison by Lafayette. 81 Made in 1813, it is clear cut glass fitted with four silver keys. It is a beautiful instrument.

The fifth flute from the left was purchased from Rudall & Carte in 1923. 82 Other glass flutes came from the Van Raalte and Taphouse collections, as well as from private individuals. The photograph on page 68 show Miller holding one of his Laurent flutes. It is the writer's opinion that this flute is the 3-keyed Laurent purchased in 1927 from the Van Raalte auction. The picture is dated October 24, 1931. On the table in front of Miller is another glass flute, a metal flute, a recorder, and what appears to be several Indian flutes. On the far left is a set of panpipes.

The Albisiphon being played by Miller on page 69 was one of his favorites, for on the back of the original photograph he wrote: Hurrah for the flute! A real bass flute the "Albisiphon," made in Milan, Italy. It has a very rich and beautiful tone, suitable for such pieces as Schubert's Serenade. Feb. 1922. The instrument shown is number 232 in the Checklist , and was made in 1891 especially for Mascagni's opera, La Parisina . Miller's enthusiasm is obvious, 075 68 076 69 077 70 and in a letter from the inventor, he learned that the instrument shown was the first made. 83

Since writing was an important part of Miller's life, it is not surprising that we find articles that he wrote for The Flutist covering such subjects as "The contra-base flute and the albisiphon," December 1922; "Comments on certain characteristics of flutes," March 1923; "Flutes of glass," July 1925; "Flutes for one-handed players," August, 1925; "Flutes of the American Indians," October, 1921; "Flutes of Japan and China," November, 1921; "The flute D'Amour and other transposing flutes," November 1922; and, "The Dayton C. Miller collection," June, 1923.

It is apparent that Miller's avocation as a collector was as meticulously conceived and implemented as would be one of his scientific experiments. He left no areas of research unattended by his investigation, and complete accuracy and authenticity was his immediate goal. His ultimate goal was to write the definitive work on the flute. This treatise may have been written had Miller lived a few more years, for he had made plans to begin the writing.

CHAPTER VIII A FINAL HOME FOR THE COLLECTION

In chapter seven, it was noted in footnote number 71 that Miller had some concern about just where the collection would be permanently preserved. He had thought at the time (1927) that it would be placed in the Smithsonian Institution in Washington, since dialog between the collector and the museum had begun in 1924. In a letter to Dr. C. G. Abbott, assistant secretary at the Smithsonian, Miller discusses final arrangements for his collection. 84 Abbott replied on May 16, 1924, that he was glad that the collection would be a part of the Museum.

Miller must have been pleased because there was a possibility that Miss Francis D. Densmore, a member of the museum staff and a fellow organologist, would be placed in charge of the flute collection. After I was you I had a very pleasant conference with Mr. Walcott. He was altogether sympathetic with the idea of having the collection in the museum. In fact, he seemed to think that if it was my duty to place it there, and he expressed in a general way the idea that ample provision would be made for it and that he would be glad to 079 72 consider it and especially the development of the musical collection as a whole in the designing and arranging of the new fine arts building. I am hoping that the development of the musical collection will result in your being placed in charge of it. 85

Apparently, however, the new fine arts building did not materialize, for on July 15, 1927, he wrote: It has been and still is my wish that the collection of flutes shall ultimately find a suitable place in the National Museum in Washington. I have been hoping that there would be definite developments in regard to the new building for fine arts. 86

One year later, in September, 1928, he wrote: I am rather anxious to have the final disposition of the instruments determined. I would like to see them settled in Washington, and I am about ready to deposit them in the Museum. The collection is now much too large for a private house. I do not see much prospect of completing arrangements with the Smithsonian until a new museum is erected. 87 If I present the instruments to a museum without any cost, I feel that they ought at least to be assured fine exhibition...The Library of Congress has been very much interested in the collection...and they have definitely stated that they would be glad to receive 080 73 all of the collection and would provide exhibition cases for the instruments as well as the book. 88

In February of 1934, Miller again wrote to Miss Densmore. The collection is so large that I have no place to keep it. The instruments are all packed away in trunks and I am seriously beginning to worry as to what will become of it. Unless I can have little time to put it in order and arrange it for exhibition I fear it will be destroyed or dispersed, and nothing at all will come of all of the trouble I have put into it. 89

Another letter, dated June 1, 1934, mentions a meeting Miller had with Dr. Putnam and Dr. Engle of The Library of Congress . They made me a definite offer to take the entire flute collection - instruments, book, music parts, etc., and to give the collection a room in the Library of Congress. 90

Miller's will, which was dated June 23, 1939, states that the entire collection was to be given to The Library of Congress. This document also set forth certain conditions as to their exhibition and classification: It is further requested that this collection of flutes and flute-like instruments shall be preserved and maintained intact in one group or collection, and it is requested that it not be divided nor dispersed, 081 74 and specifically that this collection be not subdivided nor dispersed according to any system of classification which requires the exhibition of any part or parts of this collection in groupings with other musical instruments of the same or of unlike kinds....My wish is that the entire collection of flutes and flute-like instruments shall be preserved in one group, intact, so as to illustrate directly, the history, development and construction of this particular type of musical instrument. 91

The will also granted a sum of money to the Library of Congress so that the collection would be properly labelled, cataloged, repaired when necessaary, and for the addition of any new models of the flute that might illustrate new developments.

The collection itself is housed in one large area of the Library, and is available for study. Temperature and moisture in the air are carefully controlled so that the books and music, as well as the instruments, are preserved in the best climatically suited environment.

Mr. William Lichtenwanger, head of the Music Division Reference staff and co-author of the Checklist , is probably more familiar with the collection than any other person at the Library of Congress. The 082 75 writer had the pleasure of spending several days at the Music Division recently and the assistance and courtesy shown by Mr. Lichtenwanger to the visitor is remembered with pleasure and gratitude.

CHAPTER IX FAMILY AND FRIENDS

The accomplishments in science and organology that Miller attained are extraordinary in their scope and depth. Equally extraordinary was his humane relationship with his family and friends. Respondents to this writer all remember Miller for his warmth, kindness, generosity, understanding and humility.

As you have noted in the archives in the Library of Congress in Washington, Dr. Miller and I had an extended correspondence on many matters, chiefly on the flute and flute-playing. However, their is much on personal matters covering many subjects, which should give you a definite clue to his charming personality, his patience, his deep sympathy, his understanding, his frankness and his humility. 92 When visiting Dr. and Mrs. Miller in Cleveland, Ohio, he had most of his flutes in sectional book cases, it being Mrs. Miller's task to keep cups of water in each section for moisture to prevent cracking or checking of the wood instruments, although this failed at times. 93

Philip Bate, the organologist and writer, said in a letter dated December 14, 1970: Although I met him only twice and corresponded for only a few years, he was one for whom I conceived a great affection as well as admiration. My principle memories are of his 084 77 great generosity with both his information and his photos of which he sent me many examples. He also sent me delightfully autographed copies of three of his books. 94

Miller's sister-in-law, Mrs. Mildred W. Miller of Oakland, California, wrote to the writer the following memories: The Millers were a very close knit family and Dayton put two nieces and a nephew thru college. Never talked about his work nor himself when visiting the family in California. He as like a big brother to them all, yes including my husband Dewey (Dayton's brother)....He said he always felt at a disadvantage on a lecture platform on account of his small stature. He was at home on any level of life saying one can always learn. He was meticulous to a degree. Loved motion pictures, and attended often always with his eye on the photography and the acting. Edith, his wife, always sewed a lining in one certain pocket of his suit jacket, as he never failed to have his favorite chocolates with him and chocolates do melt in summer weather. There is nothing more I can think of to mention but his beautiful character, his love of life and his extraordinary energy, always saying there were not enough hours in the day for him. 95

His nephew, Dr. Kenneth Dayton Miller, a faculty member of the Florida State University, wrote to the writer a letter which said, in part: One fact that perhaps should be mentioned in your study, was his strong sense of family loyalty. For example, although he and I 085 78 never knew each other well - we lived 2,000 miles apart and saw each other only infrequently - it was his sense of obligation to assume the costs of my education that provided me with an opportunity which I might not have had otherwise....This generosity was apparently rather typical of him. He was a very kind and thoughtful person, and he coupled this attribute with a deep sense of family obligation. The only other point that stands out in my memory is his appearance. I'm sure you are aware of his formality; of his precise, conservative, neatness. He was a small man physically, but his overall effect was most impressive. He looked like the prototype "model" for an internationl diplomat, a chariman of the board, or a bank executive. I can't recall ever seeing him when he was not impeccalby dressed, freshly shaved (his moustache was always perfectly trimmed), and rather formally "in charge." He was the family elder, and he knew it. 96

The two nieces that Miller assisted with their college education were Mrs. Marjorie Metcalf Miller Flashman (d. 1960), and Mrs. Frances Hanover. Mrs. Hanover, now living in Oakland, California, has been most kind in sending to the writer memories of her late uncle. When my sister visited my uncle Dayton and aunt Edith, she went to a dinner which Albert Einstein attended. My sister's daughter has the menu which he autographed. When Marjorie and I were children, uncle Dayton frequently took us to the movies. Attending motion picture shows was one of his favorite form of recreation. He would be shocked by the movies today. 086 79 When my sister was in college she took a physics course. Uncle Dayton was here at the time she was studying for her final. He coached her for that last test - a very patient teacher. Of course she passed. 97

Dr. Miller's sister and three brothers all spent their adult lives in California. Harriet Miller Smith (1871-1963) married a Dr. Dudley Smith. Alanson Pomeroy Miller (1873-1934) married Sarah Frances Metcalf, and had two children, Frances Vienna Miller Hanover and Marjorie Metcalf Miller Flashman. Alanson Pomeroy Miller had worked for the Prudential Life Insurance Company. Harlan D. Miller (1880-1926) was chief engineer for the bridges of the state of California from 1924 to 1926. Dewey Harold Miller (1883-1947) was one of the few World War pilots of World War I. Later, he worked for the Associated Oil Company as a sales manager. 98

The photograph on page 80 is a family gathering in Oakland, California, at the home of Alanson Pomeroy Miller. Pictured in the photograph are, front row from left to right, Mrs. Edith Easton Miller, Mrs. Marjorie Miller Flashman holding her daughter Phyllis Frances Flashman, Mrs. Harriet Miller Smith, and Mrs. Frances Miller Hanover.

Standing from left to right are, Dr. Dayton C. Miller, Mrs. Mildred Weston Miller, Mrs. Nell Stone 087 80 088 81 Miller, Mr. Victor Flashman holding his daughter Nancy Flashman, Dr. Kenneth Dayton Miller, Mr. Charles Wilber Miller, and Mr. Alanson Pomeroy Miller.

It was the writers experience to note that of all the correspondence found in the Library of Congress not one letter was addressed to Miller on a first name basis. All respondents addressed him as Dr., Professor, or Dear Sir, even though many correspondants had had many years of letter writing with him.

The photograph on page 82 show Miller and Mrs. Miller standing on the steps in front of the Case Physics Building in Cleveland. This picture was taken in June, 1938, by Mrs. Hanover during a vacation with the Millers.

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CHAPTER X CONCLUSION

The investigation of Dayton C. Miller's professional and avocational activities, revealed his profound contributions to both science and organology. Similarly, the humanistic aspects of his involvement with his fellow man was also noted. Miller probably would have put the latter trait under the heading of ethics, for in a commencement address given at Baldwin-Wallace College on June 12, 1939, he said: After having devoted the greater part of a lifetime to the natural sciences, I am prepared to adopt as the realities which constitute the universe three manifestations of absolute value: things which are eternally true - SCIENCE - things which are intrinsically good - ETHICS - and things which are inherently beautiful - AESTHETICS. There are not three different world of values; there is one universe of reality, a unity of good, the true, and the beautiful. 99

Miller felt that the great object of human endeavor is the attainment of knowledge. He quotes an inscription at the entrance to the University of Rochester Library: 091 84 Here is the history of human ignorance, Error, Superstition, Folly, War and Waste recorded by human intelligence for the admonition of wiser ages still to come. Here is the history of man's hunger for Truth, Goodness and beauty, leading him slowly on through flesh to Spirit from Bondage to Freedom from War to Peace. 100

The entire text of his address reads as a positive statement towards a love of life, and of one's need to use all of their abilities and education to the fullest degree. In conclusion I repeat the admonition: Seek education, you have now only begun. Think deeply, ponder wisely, and lay a philosophical foundation of the highest ideals on which to build your life. Resolve to make your life useful by a strong and active leadership, not in revolution and abandonment of established principles, but by strengthening the temple and towers of wisdom bequeathed to you by your noble forefathers. 101

It was the original intention of this research project to gain insight into the relationship between Dr. Miller's profession as a scientist, and his avocation as an organologist. To the writer this assumption has become fact. Indeed, Miller made scientific deductions as a result of 092 85 phonedeik experiments using the flute, and made contributions to flute and musical instrument manufacturing due to his scientific findings in acoustics. Miller himself said: The study of the laws of physics gives one an enhanced appreciation of the beauties of music, the subtlest of all the arts. 102

Perhaps a fitting summary of his personal philosophy might be taken from the closing lines of his Baldwin-Wallace address: Prove all things; hold fast that which is good. Let all things be done decently and in order. If thou doest these things, manifest thyself to the world. 103

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