Daniel McIntyre Collegiate Institute - Breezes Yearbook (Winnipeg, Manitoba Canada)

Page 20 text:

8 D. M. C. I. BREEZES H V a; -J 5 “■-il §S?. | S ii- 41 11 f £ w I -So ■SSt . « gi i i m W . -I cu(S SJ?3 § 8 S J S fc (J.- x g . . fc . oP h. 5 5, tn aJ-o r.«sfs c -i .•co| Ph »2 g % n mnf.u g ,Z Ss W J SW a S ' -=a .■Stf-.je C 3 „ rt o eo ,+j 2 . . Q 5 . o |h cd SJ -dS £ C .q 3 ' O S c 3 . o i q o-tij § j .c r ,5 • •£ .2 .O -S c wCQQf . .- £ «.g . gen c5z;

Page 19 text:

D. M.C. 1. BREEZES 17 fer to pace up and down backstage. They claim this tends to calm jarred nerves and stimulate confidence. Space, unfortunately, is rather at a premium on the Isaac Brock stage, and thus these ambitious Thespians have to grin and say nothing. Method number three is a sure bet, “Be Non¬ chalant.” The only drawback to this method is that it is rather difficult to be nonchalant when you are striving to remember your words, your music, your cues, your dances, your exits, your entrances, and incidentally, your acting. Not only this, alas, but to maintain a dignity and sparkle with scintillating personality! “Wool - gathering” (apologies to Edw. Thomas’ “Aunt Ann’s Cottage”) is a dangerous practice for an opera singer, and should at all times be avoided. This is extremely bad for am¬ ateur theatricals, as it inevitably leads to the “I wonder where the family is sitting” plot. Here the mind may wan¬ der into several fields (or shall we call them sub-plots?) The most fre¬ quented field of thought-rambling is number one, which results in a scan¬ ning of brown hats, red hats, green hats—and before the actor can deter¬ mine the color of the hat behind the third post to his right ,he has missed, his cue and left his confrere stranded appallingly midstage. Of course, “wool-gathering” offers a splendid means of revenge, but in “respectable” theatrical circles it isn’t considered “sporting.” Co-operation is as necessary in musical and dra¬ matic production as it is in any other field of endeavor, and it is with great satisfaction that we report the splen¬ did feeling and co-operation that pre¬ vailed, among the members of the “Pinafore” cast. Now I hope next year when you go to see the opera, you will just keep in mind this little “revelation,” and don’t forget “The actor lives on his applause.”—No! I didn’t say “apple¬ sauce”—I said “applause.” DAVE YEDDEAU, 25. CONGRATULATIONS! To Miss Kinley and the Girls’ Glee Club, on having successfully defended the Hon. James Cox Aikens shield in the competition for Senior High School choruses. Also, on again winning the Earl Grey trophy, which is awarded to the winner in the competition, open to the winners in all classes of public school choruses. This is the fifth time this honor has come to Miss Kinley and the Daniel McIntyre Collegiate. To the Mixed Choir, on winning the Success Business College shield. This, as a new class in the Festival, was looked on as an experiment by the adjudicators. However, Sir Hugh Roberton pronounced it a triumph, and we may be justly proud of our Mixed Choir. To the Orchestra, which, under Miss Kinley’s capable conducting, gave such fine performances and obtained such great praise from Mr. Jacobson. To Ross Pratt, on winning the Aik¬ ens Memorial trophy, the J. S. Bach composition, and the Concerto for piano and orchestra. To Robert Brown, pianist in the winning trio for pianoforte, violin and violoncello. To Margaret Pincock, on winning second place in the Intermediate piano¬ forte duet. To Agnes White, on winning second place in the duet for two pianos, and on receiving special praise from Sir Hugh Robertson for her splendid ac¬ companiment of the Girls’ Glee Club. To Jessie Scott, Agnes White, and Grace Smith, on winning the Junior Girls’ trio. Also to Edna Chapman and Evelyn Monteith who, with Grace Smith, substituting for Winnie Inskip, won the highest marks in the prelim-

Page 21 text:

D. M.C. I. BREEZES 19 inary test, but were unable to enter the finals because of the substitution. To Mina Middleton and Edith Fowler, on winning second place in the Junior Girls’ duet. JUNIOR GIRLS’ GLEE CLUB The officers elected by the club are: President .Betty Hbnry Vice-President .Margaret Davis Secretary ..Edith Fowler Treasurer .Agnes Hutton E.F., 21. SENIOR GIRLS’ GLEE CLUB At our first meeting in the fall, the following officers were elected: President .Edna Chapman Vice-President.Nora Edwards Secretary.Janet Kenner Treasurer .Theodore Brandson J.K., 25. SENIOR BOYS’ GLEE CLUB Early in the fall, the following officers were elected.: President .Dave Yeddeau Vice-President.Vernon Leatherdale Secretary .Roy Heide Treasurer .Joe McCracken D.Y., 25. On behalf of the Glee Clubs I wish to take this opportunity of thanking Miss Kinley for her kindness and pa¬ tience with us during the year. It is owing to her efforts that the opera was such a success musically, and the splendid results obtained in the Fes¬ tival are entirely due to her careful training. EDNA CHAPMAN, 58. THE VALUE OF MUSIC Since the beginning o,f time, man has had the desire to make musical sounds of some sort or description. Primeval man often could make music¬ al sounds upon a hollow log, or some¬ times, a reed, when he was not suffi¬ ciently civilized to transmit his thoughts by means of speech. Thus we see that there must be some rea¬ sons for man’s desire to enjoy music. Music is the highest of all the Arts, inasmuch as it is an Art, to which man may not only listen, but in which man may also participate, either by singing or by performing upon some instrument. In most of the other Arts a person must have some God-given talent, to be able, for instance, to paint a beautiful picture. In music, however, while it is true that the finest musicians possess a natural talent or gift for music, practically every person has some musical instinct; if not, what moves a boy to whistle or hum, as he walks or runs down the street? Another reason is, that the finest music expresses what words, or paint¬ ings, could not satisfactorily convey to an individual. Thus, music is used by Man as an expression of his thoughts, when other means would be inadequate. Let us examine the effect music produces upon different phases of life. First, let us take home life. In the home, music tends to make life more cheerful and happy; it serves to deepen and strenghten the bonds and. ties of the home. Then, in church life, music plays an important part. It is well nigh impossible to imagine a religious service without music. In church life, music places one in a reverent frame of mind, and raises one’s thoughts to a higher level. In military life, overseas, for instance, the “rat-a-tat-tat” of the drum, and the distinct, rhythmic music of a band, cheers the soldier, and makes it possible for him to march a much longer distance than if he were marching without music. It may be said, then, that music serves as a stimulus to the soldier. Thus, it is seen that life, to hu-