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

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THE JORDAN CONSERVATORY STOCK MARKET REPORT Br your TALL STREET Rcporfcr. OFFICIALS: Dr. Fabien Sevitzky, President of the Board of Exchange. Renato Pacini, Vice-President. (All quotations subject to extreme fluctuations due to wartime conditions.) PRESENTING SYMPHONY ORCHESTRA QUOTATIONS Violins .... off 2 5. Violas steady. ' Cellos .... off 2 5. Basses a bull in the market. Flutes stead} to sharp. Clarinets ... off cne (1) point (May be off other ways, too, but that ' s beside the point. Brasses .... Stock market crashes, and bottom falls out of Brasses! Tu-ba sure, a serious situation, indeed! Tympani . . . Stock Exchange trying to drum up trade. Members of the Exchange believe it may be necessary to take drastic measures to keep the market from going wild. It was suggested that we water the stock by buying short, several issues of Indianapolis Symphony Orchestra stock. This may be a bum steer, as we hate to compromise on quality! What we really need is a Russian Bear on the market! Conservatory issues were sky-rocketed at the beginning of the year, by a large block of stock which went October 5, to the National United War Fund Drive. Unusual qualities were discovered in this particular block, consisting of Lawrence Tibbet, (pure gravy) and hitherto undiscovered abilities of stock holders to trans- pose; thus greatly enhancing value of said stock, and pleasing all officials of the Board, and members of the Exchange. One little lamb was shorn when buying unknown stock called, How to Play Banjo in Six Easy Lessons, or Three Hard Days. Stock was upset by Arcady Dn- benskyh Variatium on Stephen Foster Themes. Stock failed to pay off, and gambler was forced to take it on the lam(b) ; thus proving that ewe cannot Buck the Stock Market! Vice-President Renato Pacini presides every Monday night over a full board meeting, discussing such stocks as the latest additions to Symphonic Literature, reviewing old stocks and bonds, and deciding the likelihood of dividends in the form of a concert (or more, depending on whether or not we have a quorum on the board to make such enactments possible). All in all, it seems necessary to pool many of our resources (including board members), and to buy more war bonds (instead of selling our own stock) and to throw in all we can afford, to save the market during this crisis; thus to insure the post-war solvency of this organization and all like organizations and exchanges. — Mercedes Banks Russow.

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furnish much of your own inspiration; and when there is none, plug away just the same, because you want to excel; because music is so strong in you that you must get it out — you work hard at it because you love it. Take advantage of all the experience you can get in the course of your schooling while you have the opportunity. In the Conservatory Orchestra, you receive first hand training in symphonic literature and orchestral procedure from experienced instructors. It is an apprentice orchestra from which capable, thorough musicians may be produced to supply large professional orchestras. Take their tips — keep them in mind when practicing. Be a veal musician while you ' re at it. A green musician who pays no attention to the conductor, or who fails to prac- tice, or learn the nuance and dynamic ma rks, and makes the same mistakes every rehearsal, wastes his own time, the conductor ' s, and everybody else ' s in the whole organization! It ' s not fair! An orchestra which could give many more concerts a year, and which is held down by a few careless, poor-spirited students who take it just for the credit, or to help out , (we don ' t know who), is getting nowhere. Keep your ears open for other parts of the orchestra score besides that which you ' re playing. Learn how the other instruments come in, what combinations sound well, and balance well. This intimate knowledge of the orchestra and orchestrations may come in handy someday, particularly if you happen to have a job teaching in a city without a symphony orchestra. Where your students are totally unfamiliar with a symphony, you must be equipped to tell them many things without having to look them up first. Students who make the most of every rehearsal, who get something out of it, whether anyone else does or not; who practice faithfully; who play every time it is possible, for public and audience experience; who become experienced in large ensemble work; who are aware at all times of the conductor and what he is doing, and who are out of the stage of gluing their eyes to the music irregardless of what may be happening all around them, will be able to play a visiting show, which of necessity requires little rehearsing (sometimes none). They may find opportunity to substitute for a buddy absent at the last minute; at a concert on short notice, or a radio broadcast, or play in the symphony, a professional organization which must be able to do many things on short notice; to play with no rehearsal, a new composition. A student who is taking Music Education and who studies his instrument merely because it is required, does himself and his future pupils no good. He allows him- self to get into a mental and musical rut. He lets his instrument go down, and his morale concerning it goes down, too. Thus he has no enthusiasm, inspiration, im- agination, no true or outstanding musicianship with which to kindle the ambi- tions of the young, untutored pupils which will fall under his jurisdiction when he becomes a teacher. Thus many fine talents are lost or stunted, simply because the teacher at that critical period in the pupil ' s artistic life failed to have the vision, the ability, and the knowledge to feed him. A music teacher ' s importance and worth in the growth of new generations is greatly underestimated. Don ' t just get bv on the minimum that ' s required to graduate. DEMAND THE MAXIMUM OF YOURSELF, AND YOU CAN DEMAND THE MAXI- MUM OF OTHERS all during your career. The law tries to eliminate shysters among lawyers, and quacks among doctors. There shouldn ' t be any quacks among musicians. Keep this ugly word from apply- ing to you! — Mercedes Banks Russow

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1 Walter D. Hickman, Acting Head, Radio Dcpartvicnt THE RADIO DEPARTMENT Jordan ' s radio department has come of age. Its influences now are being felt in all branches of the armed forces as well as in war industries, in the school room and in many broadcasting stations. The demands of war Wave caused nearly the complete elimination of men from all radio classes but more women, from the ages of seventeen to seventy-two, are taking radio privately and in classes at Jordan than previously. Radio instruction has passed the fad and experimental stages at the Conservatory and has definitely become a major department comparable to those in the larger universities. On Saturday evening, May H, 1943, Jordan Music, the weekly thirty-minute broadcast of the Conservatory faculty members and students, will observe its one- hundredth consecutive weekly broadcast over Radio Station WIRE atop the Clay- pool Hotel. Jordan Music is now being presented at six o ' clock each Saturday eve- ning for thirty minutes over WIRE as a public service on the part of the station. It is estimated that Jordan Music is tuned in by approximately 7 5,000 homes each Saturday night. Walter D. Hickman, acting head of the radio department for the duration absence of Frederic G. Winter, prepares the script for Jordan Mvisic, acts as producer and commentator. This sounds like Orsen Wells but Hickman claims there is no similarity. Local radio stations are using regularly members of the radio classes. Marjorie Spencer is under contract with WIBC and is a leading member of the Saturday and Sunday Jamboree broadcasts at Tomlinson Hall over WIBC. Peggy Million also is broadcasting over WIBC and may soon go on tour under the auspices of a nationally known product. Shirl Evans, Jr., of the night radio classes, is now a full time member of the radio staff of WBOW, Terre Haute. Robert Lashbrook is in position to become major announcer at Station WAOV, Vincennes. Both men have made good in the full sense of the word.