I explored the Blue Review, the short-lived successor to Rhythm. Each of its three issues followed a standard layout: contents, an imprint, an illustration, three or four short poems, several articles or essays, a visual art section in the middle, more essays, and, finally, advertisements on the back cover. The Blue Review seemed to appeal to a bibliophile audience and many of its ads relate to monographs, though one issue included a dressmaker’s ad and the same French ad was published in all three issues. This use of French, as well as appearances of other languages such as an article titled “Daibutsu” and sections regarding German and Italian books, also indicates an appeal to international audiences.
I picked an article in the middle issue - June 1913 - of the Blue Review called “A Fresh Start in Music,” which aims to balance two groups of composers: the academics and the modernists, in the article’s terms (volume 1, issue 2, page 97). The author toys with the mechanization and modernization of orchestras as well as the worth of preserving past theory and foundations for music. The page layout seems fairly simple: the pages are left-justified and one column; there is no visual art; the essay is situated toward the middle of the issue between an article called “Anger and Dismay” and another called “Epilogue: II.” I find the juxtaposition with the “Fresh Start in Music” following the “Anger and Dismay” article, as music is often considered to be an antidote to anger and dismay, as well as a general soothing influence. The first issue of the Blue Review doesn’t have a dedicated music section, but the third and last issue concludes its articles with a survey of Beethoven, Elgar, and Debussy. This also indicates internationality on the part of the journal through its grouping of German, English, and French (respectively) musicians.