Page 38 - Winter 2011

Books and book reviews
Several files were devoted to Dr. Knudsen’s correspon-
dence with his publisher and to his review’s of, and corre-
spondence with the authors, of books on acoustics and relat-
ed subjects. In his correspondence with his publisher, John
Wiley & Sons, we find that there was a book long in the mak-
ing, Acoustics of Music Buildings, that did not make it to press,
while the exchange of letters also discusses a book by Leo L.
Beranek initially titled Acoustics of Music Halls, but tentative-
16
translations.
His reviews are illuminating in that they not only present
a synopsis of the contents of the books, but also Knudsen’s witty, interesting, and eclectic style.
From the file copy of the review of Introductory Acoustics17 by George W. Stewart, Knudsen wrote, “Quite apart from Professor Stewart’s scientific accomplishment, he has succeeded in this book in making available to the non- mathematical student or reader a perspicuous and thorough exposition of the fundamentals of modern acoustics.” Where this review was published is not indicated.
From the review of Acoustics18 by Leo L. Beranek “Those who learned their acoustics from textbooks dated before about 1915 will gasp when they compare this up-to-date-text with those of yesteryear...Beranek’s book begins where the classical books ended; it is primarily a treatise on modern acoustics...Acoustical engineers, as well as students and oth- ers interested in acoustics, will be greatly indebted to Beranek for this useful and well written book.”
From a letter to John Wiley & Sons, Inc. dated 21 February 1955 regarding Sonics by Richard H. Bolt and Theodor Hueter, Knudsen mentions that he is part of the Wiley “family” of authors and that Dr. Bolt “did his doctoral dissertation under my direction: “It is natural for you, there- fore to expect wholesome praise from me. The book deserves even more than that...The book succeeds admirably well...I have felt for many years that there was a need for a good book covering this general field, and this book more than meets my highest expectations.”
One last book related item: the Simon Guggenheim Foundation solicited Dr. Knudsen’s “candid and critical appraisal” of a candidate, Henri Temianka, in regards to a proposed “compact music history book for colleges” as described in Maestro Temianka’s application. Knudsen states in his 5 December 1973 confidential report that “Henri Temianka is well qualified in his purpose,” but not before say- ing in regards to Maestro Temianka’s “Let’s Talk Music” series “Mr. Temianka does the talking—probably for a total of five to seven minutes at each concert. The music critics for The Los Angeles Times generally feel that he does too much talk- ing. I personally appreciate his commentary and so do about 95% of the 1500 or more persons who attend each concert.” Knudsen also says “I do not agree with our music critics that Temianka talks down to audiences, which rate above average in their musical sophistication.”
Mercantile consider- ations discussed in some letters discuss copyright treaties and illegal translations while other letters deal with authorized
ly re-titled Acoustics of Halls for Music.
These are but a few of Dr. Knudsen’s book related activi-
ties, which merit a paper by themselves. The last section cov- ers his interface with authors a diverse as Frank Massa, Michael Rettinger, S. S. Stevens, and C. E. Seashore.
La Joie de Vie
Living in Los Angeles offered many opportunities to enjoy the best that living in a metropolitan area, which as the center of the motion picture arts and music, can offer. Among the intrigues, in which Vern Knudsen was part, was the campaign to bring Arnold Schoenberg to UCLA. It appears that UCLA was in competition with USC to entice the developer of the twelve-tone technique to the Westwood campus. Professor Schoenberg finesses the situation by teaching at both schools! Dr. Knudsen was also involved with the unsuccessful attempt to bring Gregor Piatigorsky to UCLA.
The Knudsen’s entertained and were entertained by many famous personalities in Los Angeles. Some of the pri- vate files are devoted to purely personal correspondence in regards to dinners, awards, events, and the help he offered in various endeavors. Among the letters to and from Knudsen are ones from Mr. Victor Gruen (a frequent guest and archi- tect for the Charles River Park development in Boston, Northland Mall near Detroit, the first suburban open-air shopping facility, and Southdale Mall, the first enclosed shopping mall in the country in Edina, Minnesota), from William Pereira (architect for the Transamerica Pyramid in San Francisco, Los Angeles County Museum of Art, and Los Angeles International Airport), from Mr. Simon and Mrs. Virginia Ramo (the former of TRW, the latter the philanthro- pist), Jasha Heifetz, Norman Chandler (of The Los Angeles Times), as well as just plain neighbors, one of whom said “Here Ye! More kudos for our street!”
The Knudsen’s dined well, and in a 3 February 1965 let- ter to his son Robert, a doctor living in San Francisco, Knudsen wrote about a dinner at Perino’s (considered one of the top restaurants in Los Angeles during the 1960’s, along with Chasen’s and Scandia) in honor of Alfred Wallenstein (cellist and conductor) where he says “Both the service and cooking were excellent. The Chateau Petrus 1953 came in magnums and was very good. So was the champagne.”
There is not room to delve into some of the other interest- ing projects that Dr. Knudsen worked on, among them work for the Shah of Iran, the Soviet Union, numerous collabora- tions with architects famous and not so, investigations by the House Un-American Activities Committee, and much more.
A cautionary note—more than 175 files and several dozen rolls of drawings were transferred to Edward Dennis Rowley in Utah in 1976. An unknown number of documents were taken by an ASA member from Orange County, California August 2004 when the family found some additional material while the author was on vacation. If any readers know of the where- abouts of the Knudsen files in Utah or who the Orange coun- ty ASA member may be, these documents will be a welcome addition to the UCLA Knudsen archive.
William W. Melnitz, who in 1939 was co-founder of the Los Angeles repertory theater group that became the resident dramatic company of the Music Center and who was the
34 Acoustics Today, January 2011