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

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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.

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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.)

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Wo(jcluiinl Oiiintet: joins, Wcimvv, McDoucIl, Elleubcvgcr, Foster. iz % Clarinet Quartet: Jacobs, Pearson, Broun, Evans