Abstract
Few instruments are found in today's symphony orchestras and concert bands that were not there 50 to 100 years ago. The instruments that have made a place for themselves have succeeded only after a long struggle. Many meritorious new and improved instruments have either dropped into oblivion or are still struggling for recognition. Novelty in musical instruments is up against the most formidable combination of conservatism confronting any product. Between the manufacturer of musical instruments and the consumer of his product lie five powerful conservative influences: the musician, the teacher, the composer, the music publisher, and the listening public.
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