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Page 9 text:
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parate, diverse, clashing cacoph- ony of opinions, ideals, thoughts, and conviction. The fact that we are here is the one underlying and all-forgiving constant in our small universe that makes us all unique and yet dependent upon all others. One must thrive upon the melodies of another to create the harmonies of his own. None of us will retain anything from Calculus 216, but we will all come away from these few years with an awareness that was not like the one with which we entered. We can read as many pages of staff notes as we wish, but our true education, sentimentally known as the college experience , is what we derived from the pleasure of being in tune with others for four short years. Some of us came to find new mean- ings to the universe, some came to find jobs, some came to track new atomic particles, some came to track husbands or wives, some came simply because it was the next logical step in their lives, but we must all come away with something common. FIRST MOVEMENT: SCHERZO SPASMISMO A few staccato and uncertain footsteps fill the vacuum of silence as freshmen enter their dorms. This movement begins with brief, cau- tious half steps up and down the chromatic scale, however it quickly settles into a familiar rhythm and soon sprints off into many brave patterns. Motivated by a blind rush of adrenaline, the notes probe cur- iously, high into the far reaches of the treble clef and deep below the bass clef. Harmonies are nearly in- audible, but there is a kind of ge- nius in the newness of the sound and the brightness of the volume. The movement ends with tension which seems to examine for the first time what has been and what will be. SECOND MOVEMENT: SO- PHOMORISMO MINUETTO After a long fill of silence, the student swings into a slow, graceful, confident dance. The same melody emerges, only with different style and changing harmonies. There is more smoothness, though no less vivaciousness, to this movement. It has a charisma, both sensual and sensuous. The notes gather on the center of each clef, drawn to the most easily listenable segments of the spectrum and to what is already known to be pleasing. There is (con ' t)
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Page 10 text:
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The Gothic architecture of the Law Quad mirrors the serious- ness of academia at the Uni- versity of Michigan. S. McCut some lacking of pleasure though: al- ready the student self-critic has no- ticed an absence of something, some unreproducible energy, that elicits a sense of loss. THIRD MOVEMENT: RONDO DISCONCERTO From the first strain, this segment leaps from melody to melody in a cycle: museful wandering, complex decision, fitful resolve, and then back to museful wandering again. This repeats several times for the ju- nior, a building tension with each. This is the most serious movement of the sonata, the tempo is tense and plodding. One feels that there is a great constructiveness here: careful structures of complex strains are built upon one another, foundations stretch far into other student ' s melo- dies. Institutional scales and foresha- dowings of formal plans appear, and a new freedom is heard, but not without new fear. By the closing of the segment, the entire style of the piece has become barely recogniz- able from the first bare melody with which the sonata began. FOURTH MOVEMENT: APATHIO O REQUIEM This is a slow march. The tone is pure bass, deep and resonating to the very bone. This movement must be described by the senior as DULCE, or sweet; but it is far too short and tense to allow the listener to fully enjoy its pleasures. It must (con ' t) 6 K Prologue
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