Cathedral College of the Immaculate Conception - Annual Yearbook (Brooklyn, NY)

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A N N U A L 1 9 3 6 0 ' First Year - Section One ITH our initial year at Cathedral slowly but surely ending we look back over a year in which we have progressed both scholastically and in sports. We have climbed the first step in the ladder of success, at whose top, we hope to find ourselves members of the l-loly Priesthood. We realize that without the help of the Reverend Faculty we could scarcely have succeeded. Any success which we may have attained is due to their tireless efforts. ln writing these class notes I would consider it a good idea for you to become acquainted with some of the boys Meet Mr. Farrell who knows all, sees all and says very littleg Masterson our champion i'Alibi lke p the tDuke himselfl McGurk, Edwards who can draw anything from shoestrings to a mob scene in the lunchroom. Though we have progressed far scholastically, do not think for a moment that sports were forgotten. When practice for the basketball team was an- nounced the candidates came out in droves. Cuneen, Comerford, Woods, Geis and Egan were chosen for a first team and fought mightily for the glory of the class, tasting both victory and defeat. But the basketball season has closed and we must pursue a new field of adventure. Baseball has stepped into the spotlight. Boys of every shape and size are applying for positions on the team. Congratulations to Lennon who made the Prep. When a class team is formed lBl will have a squad of ambitious players. Having told all there is to be told, we must bid adieu. A NEIL QUINLAN lll. First Year - Section Two EPTEMBER 9, l93E5 was the beginning of the scholastic life of some forty- three timid youths at Cathedral. The class soon realized that they must work without a let up. We became aware of the fine spirit of the school and at once set out to make a name for lB2. Football was started and an intense rivalry was felt between the first year classes. The honors on the gridiron were shared equally, each class winning a game. George Schultz was the main factor in our success, but the team on the whole was fairly good. Class officers were elected and the returns showed that George Schultz was President, Geoghan, Vice-President, and Reynolds, Secretary. Unfortu- nately Schultz resigned and George Ruddin was chosen as his successor. Among the members that were chosen to play on the Midget team were: Flynn, Funaro, Connelly, Reid, and Lyden. When the call for Class teams was issued, the basketball talent of our class was exhibited. The team was handi- capped in height, but they made up for it in spirit. Among the players on the team were: Oscar Flynn, Doerflinger, Connelly, Brown, Bernard, Reid, and many other ambitious youths. We are now closing the end of our first year at Cathedral and I imagine the future holds a great many surprises for us. GERARD BRCWN '41 79

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OOCATI-IEDRA.L C OLLEG FIRST YEAR - SECTION ONE N I , En FIRST YEAR - SECTION TWO 78

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00CATl-IEDRAI.. COLLEGE Gregorian Chant, the Musical Language of the Church N the language of the musician, Gregorian Chant is that type of music adopted by the Church which has archaic tonality and free rhythm. This awe-inspiring, technical definition sums up succinctly the meaning of Gre- gorian Chant. When we say that the Chant has free rhythm, we mean that, unlike our present day music, it does not have a specified number of beats to the measure so that the accompaniment is humdrum and monotonous. The rhythm of the Chant consists of two types, Simple and Composite. The first consists of single beats following each other with no divergence in time. Composite rhythm is composed however of combinations of beats, that is, its is synthe- sized simple rhythm or a combination of simple rhythms. The phrase archaic tonality refers to the sound of the melody. The modern scale is composed of notes arranged so that the octave consists of a complete series of tones, beginning with and ending with do, the primary or dominant note of the scale line. ln Gregorian however we do not have this scale line but rather a system of modes, eight in number, by means of which the Gregorian composers produced their beautiful, soaring melodies. A mode is a manner and in music means a manner of placing what we call half-steps in such a relation to each other that as a result we have the artistically simple Gregorian melodies. The composers of the present time are hampered by the fact that they have only two scales to work with, namely the Major and Minor. The monks who wrote according to the Gregorian system however had choice of eight scales from which they might draw. As a consequence they were not forced to rely upon the use of harmony or part music. Part music requires that several melodies be sung at the same time by different types of voices, thus producing a richer and more brilliant tonal effect. Gregorian Chant is essentially the music of the Church. The function of the music of the Church in the words of Pius X is completely set down in the phrase Uvivificare et fecundare, meaning literally to liven and to make rich. The music which is sung in our churches today adds life to the liturgy, but it is a life which belongs on the concert stage or the opera house. Certainly the duet sung by the gentleman tenor and lady soprano just before the Sanctus of the Mass does not provoke any prayers from the congregation, save may- hap prayers for the early completion of the hymn, or should we call it song ? Art is essentially simplicity and Gregorian Chant is' the very embodiment of simplicity, How spiritual and uplifting is the Gregorian SANCTUS which almost makes the congregation lift their gaze to heaven and say aloud to God, HOLY, HOLY, HOLY LORD GOD OF HOSTS, HEAVEN AND EARTH ARE FULL OE THY GLORYV' At the present time how different a scene we behold in our Churches. How often do we find the priest waiting patiently at the altar until the choir has completed an operatic rendition of the Offertory ? When the piece has 80