Arthur Jordan Conservatory of Music - Opus Yearbook (Indianapolis, IN)

Page 25 text:

mountains until our crew began to mumble that Princeton was only a fable or a fantasy, and we would awaken in the wee, small hours wailing Hospodi Pomolui. It was hours later that we were pleasantly aroused from our slumbers by the dulcet tones of a certain southern accent gathering unto itself another group of ardent admirers from the welcoming committee which had congregated around the bus. We realized that this must be Princeton, for there seemed to be a sad lack of female admirers and an overabundance of stalwart males. These are the memories we collected during our first pilgrimage to Princeton. If you don ' t mind, we ' ll have to organize this year ' s trip in our minds before we begin to reminisce. In the meantime we ' ll just say that we hope ours will someday be mentioned along with the Westminster Choir as one of the greatest choral organizations in America. Now, dear reader, let ' s look in on a typical rehearsal of this choir: Call the roll, Shambaugh . . . Where ' s Terry? (telephoning, of course) . . . Get out your date books (for concerts) . . . Did everyone bring his music? . . . Take your seats, here comes Professor Lautner . . . Quiet, he ' s speaking . . . Quiet, please! We have a lot of work to do today. (As though today were an exception.) Choir, the concert went pretty well yesterday, but you tenors certainly went to pot on that last number. Sopranos, don ' t eicv slide in this choir! Move with precision and don ' t let those tones wobble, please. Basses, please think your pitch before you sing. Altos, why didn ' t you get that entrance? Choir, why can ' t you look alive at concerts? You look like a bunch of dead fish! Now . . . outside of that, the concert was good, but remember, you are an intelligent group, so don ' t make me mention these things again. Now, get oft ' the backs of your chairs and let ' s get to work. Rehearsal will be over at five o ' clock; and if you aren ' t tired when we ' re finished, you haven ' t been singing. For every type of concert audience, this marvelous choir has a corresponding facial expression. The following comprise the three most frequently used: (1) The Grin and Bear It or Tea Time expression. This is used when one is supposed to look like a cherub in a purple robe, and at the same time sing Jeannie With the Light Brown Hair. (2) The Sanctus expression is most effective in the religious group. The object is to portray emotion with reservation. One must project an atmosphere of exaltation, humility, or reverence simply by using the eyes. These subtle changes of mood are difficult under even the best of condi- tions, and it doesn ' t help a bit when a blonde is seated in the third row! (3) The last expression is the Groove or Even We Enjoy This One expression. The mood of the whole group takes a definite change for the better and even the bass section begins to show signs of life. It ' s reserved for numbers like Sourwood Mountain, and Modern Roundelay, and is usually seen during the last few moments of a concert. We hope that this little dissertation has given you an inside glimpse of our Voice Department, and if we had been able to impress upon our journalistic col- leagues the advantages of asbestos paper, we might have said much more. If anyone wishes further information, the authors of this article will be glad to receive visitors. (Just ask the keeper for an appointment.)

Page 24 text:

are learning to sing Passing By so that they can exalt the lives of our next generation (pour souls) by thrusting or, rather, teaching it to them, and (3) simply those who . . . the unmentionables. No matter what your vernacular, after you have undergone a prescribed num- ber of sessions with your alleged teacher, it is considered your privilege to perform before the examination bored. Here you are greeted with open arms, occa- sionally eyes, and are bade to unleash the lark from your larynx and give vent (ilation) to your song. If it is Caro Mio Ben, don ' t be surprised if your solo is embellished with a humming counter-melody; it has been rumored that the voice faculty has become so familiar with this tune that they, when in voice, can almost sing it themselves! Of course these remarkable talents don ' t always function alone. Every Monday night, while the orchestra is blowing, beating, and bowing under the lashing baton of Fabien Sevitzky (fanfare, please!) there is a group of assorted singers which holds forth at 1116-4 5, and they are directed by a familiar throbbing, effervescent figure. It seems that he has a theory that the room humidity is much too low for proper singing, so he proceeds to furnish moisture in abundance. However strange this idea may sound, it seems to work; for when the perspiration begins to drip from his nose, chin, and ears, and wilt his collar, this passive group really does its best singing. Of the personnel much could be said, but we shall only comment that this group is the melting pot for every approach to the gentle art of singing that has ever been recognized or improvised. There are head tones, heel tones, monotones; chest voice, sotto voice, and scarcely voice; C lift, G lift, and no lift; termolo, very low, and never low; bass range, tenor range, alto range, soprano range, gas range, and lone range; tight throat, white throat, and might croak. We sincerely hope that you will join us in giving to the unsung valiants of the Monday night choir, 21 guns. A good use for them is obviously obvious. After climbing the stairs of 1116 until you have long since wanted to give up and go back to that job in the grocery store, you might, conceivably, be pro- moted to membership in that vocal heaven, the Philharmonic Choir. Never before in the history of anything or any place has any group risen to such heights. Even the angels are having extra rehearsals in order to maintain their reputation of superiority. In the past two years this organization has developed so rapidly that it is no wonder it suffers an occasional growing pain or two. After increas- ing in activity for the whole school year, the Philharmonic Choir, as you have heard by now from all 40 members, took a trip to Princeton and New York City. Our unusual Mr. Hickman usually covers the usual side of the usual news, but we favor the little items that seem to haunt one ' s memory. The morning of the great exodus had arrived. We are convinced that had Columbus had a sendoflF such as our choir had that morning, he would have found India and saved America from civilization. At first everyone was keyed up as if Princeton were just over the next hill. Dear reader ... let me tell you ... we crept up mountains and rolled down

Page 26 text:

Sight Rcciiling Class. Sianding: Hcrr, Daub, Mavklc, Jones, Liimi, Miller. Seated: Edingtoii, Suadeiier, Banks, Harrod, Pacini. Cello Ensemble. A. Wissell, Dilling, Schellschmidt, . P. Wissel, Seehausen, Walker, Whitehead, Cnnnrine, Ruber. String Quartet: McCain, Ludwig, Seitz, Miller.