Eastman School of Music - Score Yearbook (Rochester, NY)

Text from Pages 1 - 124 of the 1936 volume:

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L Q, I -4. 3455 , - , , 1-LQ w--- n..----A-w----L-------nm,.u.m.......-....n...i...........--a,-4-us.-.uw-.uw.o-1wwuw.m:mxmasmrinn...1'-A.':i'la:m.gs-main. -. .X .nz-..S.'r1L3oAne.itsuid4i14M --2-11511-11.5411-ea.. 1 M-A ' 1 -' 1 Q-'m.wSwS1-Swank-uhm,.,1m:r..uua.-m443u,,.gA,,,f,.LL,.1,,.4.,,ggg,,,,,L,q,,5gg,1,,,A,:',,,,,k+,,N, wk- vm.. , y 3 4.1.51 l fn g ,, 'V .esrreuivv ,Z EX LIHHIS 0 WJ? EHAEIUUSNESS Let me not in the stress of wordly things Lose hold of that rich art which is akin To love, and shows, with daily discipline, A spiritual lustre on its wings. I would know life that in the morning sings Benevolence, that has its source within The soil of mercy, deep below the din And thought to which the shadow-minded clings. There is no place wherein the living seed Of graceful acts is sown with naturalness, But it shall stir the soul, sweet virtues breed, And rise in time the sower's hand to bless, Life is so rich, shaped by generous creed, 'T were loss indeed to have it something less. -T. Austin-Ball EUPYHIGHT 1935 ORVILLE W1LLSON Editor-in-Chief F R A N K H E N C K Business Manager F -4. as .,:f' - ' Q 12 THE 1936 SCDRE PUBLISHED BY THE JUNIUH CLASS EASTIVIAN SSHUUL UF NIUSIE HUCHESTEH NY LMA MATER O Temple of divinest art, On whose high altar we have laid The gifts of talent and the heart, Invoking Truth's inspiring aid. Herein is found the oil of life With which our sacred lamps to fire, A sanctum where all mental strife May be submerged in pure desire. And here ideals may expand Beneath the glow of Beauty's flame, That we in time as lights may stand To honor thy enduring name. We bring to thee, whose favor lent Both faith and courage through the days, The lasting word of our intent- To Eastman, Alma Mater, praise! -T. Austin-Ball I fThe Score Stali' regrets very much that no suitable Alma Mater song was submitted in the con test conducted this year in coopera- tion with the Composition Department. However, We are pleased to reprint here two of the poems which were submitted as textsj ALMA MATER Although there is no voice to plumb The depths of our desire, No chord to fling to harmonize A song upon the lyreg No single word, nor note, nor line, No soaring rhyme, or tune N o newer form to mold the hymn Not yet an ancient rune. Still, deep within our inmost selves Tongues are at last set free To pour into the stately beat A nobler melody. Exalted chords to consecrate All that your name inspires, And raise aloft the emblems That guard eternal iires. Your walls enclose all we hold dear, The sum of our desire Of truth and life and loveliness, Dim heights we might aspire. For music has our dreams in thrall, And to your halls we bring The essence of a brighter flame That made the planets sing. To chant thee, Eastman, once again Priest-guardian of that Hame, Grant we tend well the mystic fire Immortal with thy name. -Natalie Gehman .Nqr , FOREWORD AM highly gratified that the student body, through the Editorial Staff of the Score, are dedicating the 1936 edition of this publication to the American Composer. We are far removed from the days of the past when music had to be written so that there would be something for the player to play and the singer to sing. In fact, so far removed are we from those early days of the history of music that the modern mind is apt to forget that the com- poser through the ages must always be, and remain, the basic factor in the art, for with- out him music, literally, would not exist. I have often said that music is like a telephone conversation. The speaker is the com- poser, or, if we put it in a more depersonalized sense, the creative spirit. The speaking apparatus and the transmission line is the performer. The Listener at the other end of the line is the audience. Important as the second and third factors are, it is obvious that the conversations could not begin with the first agent not present. That this fact has been recognized accounts for the wealth of musical literature which has already accumulated. We should remember, however, that music, if it is to fulfill its greatest usefulness, should never become a dead art. Every age, and every nation of every age, should be expected to make its contribution not only in terms of performers and of audiences but, most important of all, through its manifestation of the creative spirit in music, to that extent may we say that America is fulfilling its privilege and its high obligation. Jhfafr- d4A.Sd1a ' ADELIN FERMIN To Daddy, whose greatest creed was giving happiness! How well you have succeeded, and how beloved to us you have become! We are happy for the privilege of dedicating this book to you, and in having shared with you so much joy, not only as our teacher, but most of all as our friend! DEDICATIO EEATURES ANR ADVERTISE CONTENTS AMERIEAN CUMPUSERS ARMINISTRATIUN ARTISTS SENIURS JUNIRRS SRPHRMRRES ERESHMEN RRARUATE DEPARTMENT RREANIZATIRNS ERATERNITIES AETIVHTES M Orchestras, professional, student and amateur, symphonic and popular, choral societies, conservatories, university music departments, prizes, fellowships, sum- mer colonies, leagues and societies for performance or publication of new music,- all these agencies and more show clearly the will of our people to leave nothing undone for musical progress of the best sort. This kind of thing, if intelligently done, is a real help. It must, however, secure not merely encouragement but a livelihood for our composers, players and teachers or it is a lost effort. These things are a means to an end, to regard them as all-important is putting the cart before the horse, or even providing carts, hay and stables, but no horses. The most interesting, the most important questions that may be asked about the music of any country are: Who and what are her composers? What music have they written? What is the value of that music? To give a clear answer we may consider first the older men, the veterans, next, the composers of a popular type, then the radicals, then those whose. aim is to mould the musical language of today into beauty, and finally the younger ones who give hope of a rich ma- turity. Further one must attempt some sort of judgment, which cannot of course control, but should contribute to, future opinions. Above all let us avoid the error of Brahms, who told Mahler that all the good music had been written. To which Mahler replied, pointing from the bridge they were crossing, Look at the water, Mr. Brahms. I have just seen the last ripple. The first American composer who attained international fame as a writer of large works was MacDowell. His Indian Suites, Concerto in D Minor, and Sonatas for Piano have breadth, nobility and brilliancy. His studies of Indian music and of the melodies of Foster, as well as his love of the New England countryside, give his music an authentically native feeling. George Chadwick, of Boston, was a finely serious writer whose music strikes a robustly democratic note. He was perhaps the earliest composer to write symphonic music with the syncopation now so characteristic of 'our works: some in fact claim him as the inventor of jazz. His modesty and humor were charmingg he once said two things had been named after him-a choral society and a dog. Charles Martin Loeffier writes larger works for orchestra, somewhat in the more recent French idiom. He differs, however, more from Debussy and Ravel than they from each other. His music is extremely polyphonic. His mastery of the orchestra is supreme- greater than that of Wagner and equal to Rimsky-Korsakoff. Frederick Converse, whose music has technical mastery and both French and American influences, and Edward Burlingame Hill of whom the same may be said,'are other well-known Boston composers. Philip Clapp, for many years director at Iowa State Univer- sity, Writes in a style derived from German inliuences, mainly Strauss and Mahler. While not the finest composer in America, he is undoubtedly one of the best musicians his country has yet produced. His facility, technique and learning in composition, in theory, in score-reading, and in mastery of several instruments is so complete as to cause unbounded admiration in some and rage in others. Four composers who are Widely known and as widely dissimilar are Ethelbert Nevin Know many years deadj, Charles Wakefield Cadman, George Gershwin, 11 and Thurlow Lieurance. They may be classed together in that their appeal is popular and not especially profound. Nevin wrote, in small forms, neo-romantic music which was pretty rather than beautiful but had the virtues of sincerity and charm. Cadman and Lieurance are both interested in the music of the Indians, and have done attractive and pleasing things, not, we must admit, as great as their subject. Gershwin is the most widely known American since Mac- Dowell though not the most important. His Rhapsody in Blue has a very fine theme, and its application of piano-writing to jazz is magnificently original. Its form is not so successful. In the field of musical comedy, however, the modern equivalent of the English Gilbert and Sullivan's Pinafore and Mikado, Gershwin has been approached but not equalled. The so-called radical group of composers centers mainly about New York City. It includes George Antheli, Aaron Copland, Henry Cowell, Roy Harris, Charles Ives, Walter Piston, Wallingford Riegger, Carl Ruggles, Virgil Thomson, Edgar Varese and others. Their aim is the utmost novelty, originality, subtlety and variety possible through the medium of sound. They desire to interest and to startle the listener but not to create beauty in any hitherto accepted sense. Thus Antheil has written for orchestras that include riveting-machines, airplane- propellers, sixteen mechanical pianos and the like. He has an interesting sense of color and much satirical power. Strauss wrote about Till Eulenspiegelg Antheil is Till Eulenspiegel. Again, Copland writes with acrid dissonances and rhythms derived from jazz a music that makes living the exuberance and grotesquery of a gargoyle. His Music for the Theater, however, must be praised for for accused oflj a distant element of romantic beauty. Henry Cowell, with his elbows, plays series of ''tone-clusters''-cacophonously magnified one-voice melodies-while the other hand, if at liberty, supplies a more or less harmonic accompaniment. He uses similar methods in his orchestral writing. Roy Harris, a Californian, writes more melodically and wishes to be regarded as definitely American in style and atmosphere. His personality is as ruggedly native as that of Walt Whitman. His music is formidably difficult. Charles Ives, inspired by out-of-tune bands, several bands playing at once in parks or parades and the like, produces results which must seem to many somewhat chaotic. His work is seldom heard. Somewhat better known is Wallingford Riegger, whose Study in Sonority for 32 violins has been played several times, receiving considerable publicity. To the present writer it is ugly, formless, and meaningless except as ugliness and formlessness may have a meaning. Ruggles and Varese are apparently more interested in rhythm and color than in harmony or melody. Virgil Thomson, on the other hand, strives for simplicity and clarity, an almost precious archaism like that of Satie. His opera, Four Saints in Three Acts, to Gertrude Stein's utterly meaningless text, is said to be enthralling. To those who prefer opera in a language they do not speak, it must be. In appraising the work of these ultramoderns one must remember first that without change and adventure there is no life. All good music was modern when first performed. Much of it was hated. But too much change, or the wrong 12 change, means chaos, tearing apart, disorder, death. So while almost certainly some of this music will last, and the pioneer spirit inherent in radicalism is neces- sary as a continual gadfly to rout and torment the timid, the conservative and the philistine, one must avoid assuming that radicalism is infallibly right or inevitably wrong. Another group of contemporary composers, who are certainly not conservatives or radicals, deserve perhaps the name of the liberal group. They are not con- cerned with the extremes of conventionality and conformism or the merely bizarre and grotesquely experimental. They aspire to express as much as they can grasp of life and the universe in terms of beauty and clarity using whatever means, moderate or extreme, may best accomplish each special task. Prominent repre- sentatives of this school are Robert Russell Bennett, John Alden Carpenter, Herbert Elwell, Charles Griffes, Howard Hanson, Werner Janssen, Douglas Moore, Bernard Rogers, Edward Royce, Leo Sowerby, Timothy Mather Spelman, William Grant Still, Deems Taylor, Randall Thompson, and Mark Wessel. Bennett and Janssen in a sense might be classed with Gershwin, as they have had much experience with jazz, musical comedy and the radio. Their music is, however, far more serious and more solidly constructed as well as less immediately popular. Bennett's Endimion, a ballet-opera, performed in Rochester, is akin to the modern French style, with an added vigor distinctively American. Janssen's most famous piece, New Year's Eve in New York, does for that city all that Schumann's, Johann Strauss's or Schubert's music did for Vienna,-brings its unique Havor to life in tones. John Alden Carpenter after writing varied and brilliant music of French, Spanish, and generally cosmopolitan character has recently produced a tone-poem, The Sea, to parallel words of Walt Whitman. It is the best thing he has done-immense, vibrant, mournful, profound. Herbert Elwell is known for his amusing and impish ballet, The Happy Hypocrite, which has great originality and charm. Griffes, whose untimely death is a great loss to us, is remembered especially by The Pleasure Dome of Kubla Khan, a rich and exotic tone-poem, and a masterly piano sonata. Hanson, considered by many to be the most important America composer, has given us Beowulf, a choral work, and the Nordic Symphony, both of tremendous rugged power and uniquely personal character, the beautiful Romantic Symphony and the im- passioned cavalier-puritan opera Merry Mount, recently put on by the Metro- politan in New York. His music has nobility and fervor as well as a technical grasp of every resource of the orchestra and of modern harmony. Douglas Moore's best known work is his suite UP. T. Barnum, depicting with bold comic strokes the life of a showman. It is as authentically American as Mark Twain or Coney Island. Edward Royce's Far Ocean, a tone poem, attempts an unusually in- timate union of musical form with orchestral color. Royce has also done a great deal more in the field of piano music than most of his colleagues. His two sets of variations, one for piano and one for organ, have achieved success. Bernard Rogers has written two splendid cantatas, Lazrus and Exodus, whose powerful climaxes, proudly heraldic orchestral coloring, and opulent counterpoint 13 make them most impressive. The incisive and wierd orchestral coloring of his Japanese Sketches and fairy-tale suite Once Upon a Time are original and surpassingly adroit. Timothy Mather Spelman's choral work Pervigilium Veneris uses the old modes and the most modern poly-harmony to produce the bacchanalian atmosphere of a solemn pagan festival. Randall Thompson has written two symphonies, one of which, glowingly orchestrated with organ obligato, is very rhapsodicg the other has all the formal perfection of a classic and the vivacity of jazz. This second symphony, moreoever, has strength and sincerity and is as unquestionably worthy of a permanent place as the works of Hanson or Sowerby. Leo Sowerby, the Chicago composer and organist has made many fine things, including the reverent and mystical Mediaeval Poem for organ and orchestra, a cantata, The Vision' of Sir Launfal, which reinvokes the religious aspect of chivalry, a tone poem, The Prairie which, with other shorter sketches, springs from the honest soil of the Middle West and sings of a jovially exuberant New World. Mark Wessel, also of Chicago, is intensely original and natively, almost rurally American. His concerto for horn, piano and orchestra is one of the most brilliant and one of the finest pieces of its worth ever brought forth. William Grant Still, the colored composer of New York has written a ballet, Sahdji, on a native African subject, another, La Giablossef' concerning West Indian Negroes and other larger and smaller works. His orchestration, like his music, is strange, but its novelty is always sure and masterly in touch. He expresses all the gaiety, the amiability and the nobly tragic pathos of himself and of his people. Deems Taylor, a largely self-taught composer, wrote a suite, Alice Through the Looking Glass, after Carroll's great children's classic. Another work, The Circus, is much more interesting, depicting in flamboyant colors the gusto, grotesqueness and garishness of its subject. His opera, Peter Ibbetson, is tender, romantic, nostalgic and beautiful without being falsely or mawkishly sentimental. It is his best work thus far made public. It was performed at the Metropolitan. Among the younger composers worthy of mention are Martha Alter, Herbert Inch, Hunter Johnson, Irving McHose, Burill Phillips and Gustav Soderlund. Miss Alter, in the present writer's opinion, is the most talented woman composer ever heard of. Her work is incisive, strong, and extraordinarily individual. Her song with orchestra, Bill George, and her ballet, Anthony Comstock, a satire on the famous fin-de-siecle Puritan, show great modernism and a sense of the antique-a surprising combination. Her power to depict human nature in tones is unique. Herbert Inch has a most individual style. His harmony is modern but his extraordinary grasp of counterpoint, canon and fugue give his voice-leading great fluidity and distinctness. His texture is unduly complex at times and his orchestration rather dark in color. He is a line scholar and a winner of the Prix de Rome. McHose has written a delightful oboe concerto and an interesting violin sonata. Burill Phillips has written a series of orchestra pieces called Selec- tions from McGuffy's Reader, in which the One Hoss Shay, Miles Standish, and Paul Revere are memorialized with great sureness and a vivacity as native 14 as a bucking broncho. Gustav Soderlund has written a serenade and a symphony which show line workmanship and the brooding mysticism of his Nordic ancestors. Let us now consider briefly what America is doing for her composers. One scarcely knows where to begin. The Prix de Rome offers an adequate income for a three years' stay in Rome and an allowance for some European travel. It is not given for the purpose of work under a teacher. A mature technique and previous achievement are essential. Similar conditions are true of the Guggenheim and Pulitzer travelling fellowships awarded for periods of a year or more. Another means afforded the artist to escape the manifold distractions of daily life and concentrate on his main work is furnished by summer camps. The first of these, the'MacDowell colony in New Hampshire, was founded by the great composer's widow. Another well-known location with similar aims is Yaddo in the ,Catskill Mountains. The same idea, furthermore, has been applied to student orchestras at Interlochen, Michigan and elsewhere. As regards student symphony orchestras our country has developed unboundedly in the last ten years. The New York League of Composers is another powerful agency working for the advancement of our music. They are a branch of the International League. With them are affiliated many of the radical group of composers mentioned above. Their sympathies are international rather than national. They are rather out of touch, it would seem, with music arising from points west of the Atlantic seaboard. Without any question the most many-sided and powerful effort on behalf of American music originated from the Eastman School of Music. For ten years past Howard Hanson has conducted about live programs annually, devoted entirely to American music of every type and locality. For some years the culmi- nating point of this activity has been a spring festival, lasting a week. The student composition department, begun by Sinding and Palmgren, is nevertheless mainly the work of Royce, Hanson, and Rogers. The Prix de Rome, awarded Doctor Hanson before he assumed directorship of the Eastman School, has since been granted to two students of that school. In a recent national contest Eastman students won all five prizes in composition. At the end of each year three or four programs of two hours each in length are devoted entirely to orchestral as well as chamber music written by the students. The student orchestra is one of the two best in the country. The Rochester Philharmonic Orchestra, connected with the school is one of the major symphony orchestras in America. If one grants the reliability of some or all of the foregoing statements one will certainly admit that America is in many ways a musical nation. The question may still be asked whether we are musically mature. Opera in English, which will be tried at the Metropolitan next year, will be a step in advance. Let us hope that eventually we shall have many opera houses with native singers and direction. And may there be American assistant-conductors, who as they mature take the place of foreign-born conductors in our opera and symphony orchestras upon eventual retirement of the latter. Foreign guest artists should of course continue to be at least as welcome to us as to all other countries. But surely not to the 15 'f-iF. . ' 7 'W complete and permanent exclusion of our own. Even a Toscanini, had fate denied him the chance of attempting to mature, would have failed. Further, let our orchestras offer prizes, and better, commissions or liberal performing fees for worthy compositions by native talent. Their expenses are already burdensome. But these expenses are incurred through playing music. And composing is music. A composer, be he great, good, bad or indifferent, is at least as useful as the corresponding class of conductor or player. In fact we may ask, What conductor, no matter how great, has ever been as necessary as Beethoven? An absurd com- parison? There have been no American Beethovens? There never will be Am- erican Beethovens? You may be right, but it is not certain. And the answer to these questions, whatever it is, may be different a year from today. But, of course if, by mere indifference or active opposition we can prevent even good native music from obtaining a hearing, we can forever make the Great American Symphony impossible. And what will that gain us? One more word, and this to the composers themselves. Most Americans who write line symphonies do not write good short piano pieces and vice versa. Let us neither humbly Cnor arrogantlyl emulate the example of the masters who wrote works of every size, every form and for every combination of instruments, and made or had made piano arrangements of their larger works. Why? So that those who want to know the music can know it. Last but not least, do not scorn the radio and the phonograph. The composer is too often discouraged by his enemies, let him, then, not discourage his friends. Z3 X A. .a ' f- 15 in 'JH 9 3 , 5 Ei 5 if Hpmq Q52-I M 0' N U 1 '-' 3 WI, s' - WWW X fb, f x! X gl ' Nl 5 -----H fy lr f . 4 ' 114 XX Wm Sb Qffl AUNIINISTHATIUN ALAN VALENTINE, M.A., LL.D. President of the University of Rochester HOWARD HANSON, Mus.Doc., F.A.A.R Director ARTHUR H. LARSON M.A. Secretary-Regis trar RAYMOND WILSON M.M. Assis tan t Di rec tor Director of the Summer Session ARTHUR M. SEE, B.S. Financial Secretary and Concert Manager MISS GERTRUDE VAYO Manager of Kilbourn Hall and the Concert Bureau LIBRARY SFAFF Barbara Duncan-Librarian Elizabeth Schmitter-Cataloguez' Elizabeth H. Smith-Assistant Elizabeth Henderson-Loan Desk Assistant UFFIEF SFAFF Nellia Lucia-Assis tan t w gf Marion Davis Mildred Page Anita Young Alma Judd Helen Rowley Betty Murphy Ada Slifer Mabel Martens Marie Capasso Virginia Cooper Virginia Smith Fern Star WILLIAM AMES Theory A.B. from Harvard University with Cum Laude in Music. Studied Composition and Theory with Nadia Boulanger in Paris for three years. - Private teacher of piano and theory. RUFUS M. AREY Clarinet Studied privately in Boston with N. R. Amelotte, and in Rockland Maine with G. F. Meservey. First clarinet with Boston Festival, Boston Opera, Detroit Sym- phony, and Philadelphia orchestras. First clarinet of the Rochester Philharmonic. THOMAS AUSTIN-BALL Voice Studied with Stussi, Ulster School of Music, Belfast, Ireland. Studied with Wallworth, Royal Academy of Music, London. Studied with Winslow-Hall, Blackheath Conservatory, London, under professional scholarship award. Studied with Sbriglia at Paris. Studied with Dr. Floyd S. Muckey, New York City. Twelve years active opera, oratorio, concert and recital work in British Isles. ' Instructor in voice and dramatic art in the National Dramatic School, London. Instructor at Skidmore College, Saratoga Springs, N. Y. Private Studios in London and New York City. EMANUEL BALABAN Director of Opera Department Studied at the Institute of Musical Art with Stojowski and piano with Schnabel. Studied conducting in Dresden with Busch and Striegler. Studied composition with Striegler and Mraczek. Studied one year in New York University. Assistant conductor Dresden Opera House. Conductor with Wagnerian Opera Co., New York City, the American Opera, Berlin Philharmonic, Dresden Philharmon- ic, Leipzig Symphony, and the National Symphony in Washington, D. C. Scheduled conductor with New York Civic Orchestra. Accompanist for Elman, Zimbalist, Morini, and Stracciari. Ensemble with the Gordon Quartet. ELLEN BECKWITH Public School Music B.M. University of Wisconsin. Private instruction with Peter Dykema, Edgar Gordon, and Frederick Haywood. Instructor in Rochester Public Schools. SAMUEL BELOV Viola String Methods Student at the Royal Conservatory of Russia. Pupil of Lvow. Teacher of violinlat the Philadelphia Conservatory of Music. Solo violinist with the Philadelphia Symphony Orchestra. Member of the Russian String Quartet. Conductor of the Eastman School Symphony. Violist with the Kilbourn Quartet. LUCY LEE CALL Voice Pupil of Witherspoon, Legrand Howland, Aurelia Jaeger, Frau Neumann, at Pragg Madame Skinner. Studied operatic repertoire under Hans Morgenstern, Oscar Molata at Dresden, Tullio Voghera, and Maestro Messina at Milan. Appearances in concert and opera in Belgium, Germany, and U. S. A. Member of the Metropolitan Opera Company. SHERMAN CLUTE Public School Music Student at Potsdam Normal, Crane Institute of Music, and Clarkson School of Technology. Pupil of Dr. York Trotter, Albert Coates, Eugene Goossens and Edward Llewellyn. Instructor in Kalbfus School for Boys, Hoitt School for Boys, Rochester Public Schools, and Rutgers Summer College. Former member of Lyceum, Regent, and Eastman Theatre Orchestras. Conductor of numerous radio programs. LOTTIE ELLSWORTH COIT Creative Music for Children Trained in music centers abroad and in this country specializing in music education for young children of pre-school age. Instructor of Creative Music in the Rochester Public Schools. MABEL L. COOPER Piano Studied at the University of Syracuse. Graduate of the Paris Conservatory. Pupil of Pizzareleo, Howard Brockway, Alf Klingenberg, and Sandor Vas. Pupil in theory of Percy Goetschius, Dudley Beadle, and Clarence Lucas. Instructor for two years in the Utica Conservatory. Instructor in the Rochester Institute of Musical Art. LYN DON F. CROXFORD Piano Studied at the University of Paine, University of Syracuse and the Eastman School of Music. Pupil of Raymond Wilson. ANNE THEODORA CUMMINS French and French Diction RALPH A. DAVIS Physical Education Student at the Mt. Hermon Preparatory School and Springfield College where he was a member of the track, tennis, swim- ming, football, and cross country teams. Director of Physical Education in the Silver Bay Summer School. Director of Physical Education in the Y. M. C. A. of Newbury- port, Mass., Pittsfield, Mass., and Rochester, N. Y. Associate director of Physical Education in Wilmerding, Penn. ABEL M. DECAUX Organ and Extemporization Studied at the Paris Conservatory and the Schola Cantorum. Pupil of Widor and Guilmant. Pupil in harmony of Lavignac and Dubois. Pupil in counterpoint and composition of Massenet. Member of the jury for organ classes at the Paris Conservatory. Member of the French Legion of Honor. Q Organist at the Paris Basilica of the Sacred Heart for 23 years. Organ teacher at the Schola Cantorum for 26 years. MARIE ERHART Piano, Elementary Musicianship Student at St. Benedict Academy, Rochester, with a pupil of Leschetitzky. B.M. from the Eastman School of Music. , Pupil of Alf Klingenberg, Frederick Lamond and Raymond Wilson. Pupil in theory of Ernest Bloch, Marjorie MacKown and Dr. T. Yorke Trotter. PATTEE EVENSON Trumpet Pre-law graduate from the University of Chicago. Student at the American Conservatory of Music. B.S. in public school music from the University of Minnesota College of Education. M.M. in Composition, Orchestration and Musicology from the University of Michigan Graduate School in 1935. Pupil of Benjamin Klatzkin and Edward Llewellyn. Private study in New York under Max Schlossberg and Harru Glantz. Assistant director of the University of Chicago Concert Band. Instructor of trumpet, National Music Camp, Interlocken, Mich., and University of Michigan. First trumpet, Chicago Civic Orchestra, Minneapolis Symphony. Solo trumpet, Chicago Concert Band. GEORGE E. FINCKEL ' Cello ARTHUR FOREMAN Oboe Scholarship at Guildhall School of Music, London for four years. A. R. C. M. highest award at completion of four years in the Royal College of Music, London. Principal oboe of the Royal Philharmonic for fifteen years. First oboe of the Royal Choral Society orchestra, London. Professor of oboe at the Guildhall School of Music for 15 years. DR. CHARLES W. FOX M usicology, History of Music Psychology A.B. and Ph.D. from Cornell University. Student at the University of Illinois, University of Munich, and the University of Heidelberg. Instructor at the University of Illinois, Temple University, and Cornell University. CECILE S. GENHART Piano Studied at Ziirich Conservatory and Academy of Music in Munich. Studied later in Berlin and made Concert Tours. Member of Eastman School Faculty since 1926. HERMAN H. GENHART Chorus Master of Opera Department Conductor of the Eastman School Chorus HAROLD GLEASON Organ, Organ Methods, Service Playing Musicology Graduate of Throop Polytechnic Institute, Pasadena, Cal. M.M. from the Eastman School of Music. Pupil of Lynwood Farnum and Joseph Bonnet. Studied piano with Homer Grunng- Harmony and Counterpoint with M. F. Mason and Ernest Douglas. Studied conducting with Albert Coates and Eugene Goossens. Director of Boston Music School Settlement. Organist, Fifth Avenue Presbyterian Church, New York City. Director of the Hochstein Memorial School, Rochester. Private organist for George Eastman. Organist and Choirmaster at St. Paul's Episcopal Church, Rochester. H HAROLD GOLDTHORPE Ed uca tion A.B. from Hamline University. M.A. and Ph.D. from the University of Minnesota. Superintendent of Schools in Goodhue, Minnesota. Teacher of Social Studies, West High School, Minneapolis. Registrar, Northwestern University, Evanston, Ill. Assistant Professor of Education, University of Buffalo. CARLOTTA GREENE Public School Music Attended the University of Rochester. Six years of private voice instruction. Principal of School in Jamestown, N. Y. Soprano Soloist in churches in Jamestown and Rochester. Member of cast in several operas. Supervisor of Music, Rochester Public Schools. Critic Teacher, Public School Music Department, Eastman School of Music. ZILLAH C. HALSTEAD Piano B.M. from Syracuse University. Morning Musical Scholarship at Syracuse. Pupil of Adolf Frey and Thuel Burnham. Summer School courses at Columbia University. Recital at Steinway Hall, New York City. Appearances with the Syracuse, Russian, Atlanta, and Macon Symphony Orchestras. Concert appearances with Richard Bonnelli, Arthur Hartman, Arthur Hackett, Frank Kneisel, Rosa Tentoni and others. Instructor of piano at Wesleyan College, Macon, Georgia. LUCILLE HARRISON Harp - Student at the University of Michigan, Columbia University, and the Sorbonne University, Paris. Pupil of Alfred Holy, Carlos Salzedo, and Marcel Tournier. JESSIE HOSKAM German B.A. and M.A. from the University of Rochester. Graduate work at the University of Bonn, Germany, and Colum- bia University. . GERTRUDE KEENAN Piano and Elementary Musicianship B.M. from the Eastman School of Music. Pupil of Charles Van Loer. Studied Theory with Alexander Henneman and W. H. Carter. Organ student with Eugene Bonn. Organist of Blessed Sacrament Church, Rochester, N. Y. PAUL KEFER 'Cello and String Ensemble First Prize Medal at the Verviers School of Music, Belgium. First Prize Medal at the Paris Conservatory of Music. Solo 'Cellist with the New York Symphony Orchestra. Founder and member of the Trio de Lutece with G. Barrere and C. Salzedo, Founder of the Modern Quartette whose violinist was Pierre Monteux. Member of the Franco-American String Quartet. 'Cellist with the Kilbourn Quartet. MARION STEVENS KIMBALL Physical Education and Folk Dancing Three years at Bouve-Boston School of Physical Education. B.A. from the University of Rochester. Graduate study at Columbia University. ERNESTINE M. KLINZING Piano B.M. from the Eastman School of Music. Pupil of Alf Klingenberg, Ernesto Berumen, Frederick Lamond, and Sandor Vas. Instructor at Peabody Conservatory, Baltimore. Frequent soloist with Orchestras in Rochester, Buffalo, and Schenectady. Private instructor and accompanist in New York City. EFFIE KNAUSS Violin Student at the New England Conservatory of Music, Boston, Mass. Pupil of Felix Winternitzand John Streeter. Studied 'Cello with Emil Knoepke and Bedrik Vaska. Instructor in the Dossenbach Klingenberg School of Music. Private teacher. ' NICHOLAS KONRATY Voice Producer, Opera Department B.A. from the Moscow Institute of Economics. Student of the Moscow Conservatory of Music. Operatic singer of the Moscow Opera House, Grand Opera of Paris, Lyceum of Barcelona, and the Philadelphia Grand Opera Company. WILLIAM S. LARSON Music Education B.F.A. University of Nebraska, 1920. M.A. Columbia University, 1926. Ph.D. University of Iowa, 1928. Student of Music at the Institute of Musical Art, American Con- servatory, Northwestern University. Supervisor of Music, Seward, Nebraska. Head, Department of Public School Music, Nebraska Wesleyan University and Supervisor of Music, University Place, Lincoln, Nebraska. Head, Department of Instrumental Music, Missouri State Teach- ers College, Maryville, Missouri. Critic Teacher of Music, Horace Mann Schools, Teachers College, Columbia University. Director of Instrumental Music, Iowa City Public Schools. George Eastman Research Fellow in the Psychology of Music at the University of Iowa. Teacher in Summer Sessions, University of Nebraska, State Teachers College, Peru, Nebraskag State Teachers College, Greeley, Colorado, University of Iowa. GLADYS METCALF LEVENTON Piano and Elementary Musicianship B.M. from the Eastman School of Music. Instructor in piano since graduation. DONALD B. LIDDELL Piano B.M. from Syracuse University. M.M. from the Eastman School of Music. Pupil of Frederick Lamond, Ethel Newcomb, Raymond Wilson, and Adolf Frey. Studied organ with Charles Courboin. MARJORIE TRUELOVE MacKOWN Piano and Piano Methods Elementary M usicianship Scholarship holder at the London Academy of Music, in piano and theory. A.L.A.M., highest degree at the London Academy of Music. Pupil of Dr. Yorke Trotter and Carl Weber. Instructor of piano and theory at the London Academy of Music. Concert work in England and America. GEORGE MacNABB Piano and Piano Methods B.M. from Syracuse University. Pupil of Raymond Wilson, H. Norman Taylor, Frederic Lamond, and N. Coke-Jephcote. Julliard Fellowship in 1924. Head of the piano department, Hochstein Memorial School, Rochester. Accompanist for Bare, Werrenwrath, Edward Johnson, Florence Easton. Soloist with numerous Orchestras. EILEEN MALON E - Harp B.M. from the Eastman School of Music. Pupil of Lucille Harrison. Studied at the Paris Conservatory with Marcel Tournier. Radio and concert work. Rochester Philharmonic Orchestra. JOSEPH MARIANO Flu te Scholarship at Curtiss Institute of Music, 1929-1932. Pupil of Victor Saudek and William Kincaid. Ensemble under Marcel Tabateau. Solo flutist in the Curtiss Orchestra under Fritz Reiner. Member of the Philadelphia Grand Opera Co. Orchestra and extra flutist with the Philadelphia Symphony. Solo Flutist in the National Symphony under Hans Kindler. EDWARD WAYNE MARJARUM English Litt.B. from Rutgers University, 1928. M.A. from Princeton University. Ph.D. from Princeton University, 1931. Instructor in the Arts College, University of Rochester. EVELYN McCANN Piano B.M. performers in piano and organ from the Eastman School of Music. M.M. from the Eastman School of Music. Pupil of Raymond Wilson, Gordon Stanley, and Ernest Hutchin- son. Organ pupil of Harold Gleason and Carl Weinrich. Member of Ernest Hutcheson's Master Class at Chautauqua, N. Y. Private instructor in Hornell, Rochester, and New York City. Instructor in the Hochstein Memorial School, Rochester, N. Y. IRVINE MCHOSE Theory B.S. in Chemistry, from Franklin Marshall College. B.M. and M.M. from Eastman School of Music. Organ pupil of Ralph Kinder and Harold Gleason. Instructor in the Moravian Preparatory School, Bethlehem, Pa Director of Music Clubs, Lehigh University. EDWARD K. MELLON Trumpet CHARLES H. MILLER Public School Music Student at the Wesleyan University Conservatory, American Conservatory, and the Bush Temple, Chicago. Principal of Schools, Wahoo, Nebraska. Head of the Public School Music Departments, University School of Music, Lincoln, Nebraska, and Wesleyan University. President of the National Music Supervisors Conference, 1917- 1918. Head of the Public School Music Department, Rutgers College, summer course. ' Director of Music, Rochester Public Schools. LEROY MORLOCK Voice Student at the Kitchener Conservatory of Music, Ontario, Canada. Student at the Toronto Conservatory of Music, Toronto, Canada. Pupil of James Galloway and David Dick Slater of London, England. Graduate of the Eastman School of Music Opera Department. Concert and opera appearances. RUTH NORTHUP Theory B.M. from the Eastman School of Music. Pupil in piano of Raymond Wilson and organ of Harold Gleason. VINCENT PEZZI Bassoon Pupil of Arduino Pucciarelli at the G. Verdi School of Music in Sansevero, Italy. Studied theory and solfeggio with Dr. Gerardo Mollica and Michele Manna. Pupil of Eduardo Buccini at the Royal Conservatory at Naples. Toured Italy before coming to the U. S. A. in 1908. Member of the St. Paul, Minneapolis and Detroit Symphony Orchestras. A Private instructor in Minnesota, at the Michigan State College, and at the National Music Camp. BURRILL PHILLIPS Theory Student at the Denver College of Music. B.M. and M.M. from the Eastman School of Music. Instructor of piano at the Gilbert School of Music, Alamosa, Colo. EMORY B. REMINGTON Trombone Pupil of Gardell Simons, Limmerman, and Burton Smith. First Trombonist with original Eastman Theatre Orchestra. Solo Trombonist with Rochester Park Band. Member of Sousa's Band, Great Lakes Symphony and Private Orchestra of President Wilson, selected to accompany him to France. Instructor at Interlocken National Music Camp. CHARLES C. RI KER English A.B. from Kenyon College. A.M. from Princeton University. Summer student at Yale University, the Cleveland Institute of Music, and the University of Dijon. Pupil in piano of Henry T. Wade, Beryl Rubinstein, and Max Landow. Pupil in organ of Henry T. Wade. Organist of St. James' Church, Painesville, Ohio. Organist and Choirmaster, Kenyon College. Resident Master of English and Greek, Organist and Choirmaster, DeVaux School. BERNARD ROGERS Composition Guggenheim Fellowship. Pulitzer Travelling Scholarship from Columbia University. Student at the Institute of Musical Art, New York City. Pupil of Ernest Bloch and Nadia Boulanger. HAZEL SAMPSON Piano Student at the Institute of Musical Art of the Julliard School of Music, New York City. Student at Columbia University and at the Diller-Quaile Music Studios. Instructor at the Neighborhood Music School, New York City. Private Instructor in New York City, Brooklyn and New Rochelle. Q MARION ECCLESTON SAUER Violin - Student at the Institute of Musical Art, Rochester, N. Y. B.M. in violin from the Eastman School of Music. M.M. in Music Education from the Eastman School of Music. Pupil of Ludwig Schenck, Arthur Hartman, and Effie Knauss. Instructor at the Hochstein Memorial School. PAUL SCHMI DT Tuba FLORENCE ALEXANDER SCHOENEGEE Piano Student at the Delaware Literary Institute and Syracuse Uni- versity. B.M. from the Eastman School of Music. Instructor of piano in the Eastman School since graduation. HAROLD OSBORN SMITH ' Coach of Opera Department Student at the University School, Cleveland: Ohio State Univer- sity, and the Royal Hochschule, Berlin. Pupil of Henrich Barth and Harold Bauer. Pupil in conducting of Albert Coates and Eugene Goossens. Accompanist for Alessandro Bonci, Maude Powell, Kathleen Partow, Fremstad Werrenrath, and others. Repetiteur at the Metropolitan Opera House. Assistant Conductor, Schumann Club, New York City. Private Instructor in New York City. GUSTAVE SODERLUND Theory Piano Pupil of Richard Anderson, Alberto Jonas, Josef Lhevinne, and Sandor Vas. Theory with Erik Akerberg, Allin, C. S. Skilton. M.M. from Eastman School in 1928. Instructor in Hays Normal, Hays, Kansas, and University of Kansas. P Instructor in Eastman School since 1928. WILLIAM STREET Percussion GUSTAVE TINLOT Violin Student at the Paris Conservatoire National. Pupil of Alfred Brun and Edouard Nadaud. First violinist of the Societe des Concerts du Conservatoiren under A. Nessager. Concert master of the Paris Opera-Comique. Concert master of the New York Symphony and Minneapolis Symphony. Member of Jury of the Paris Conservatory. Concert master of the Rochester Philharmonic. First violinist of the Kilbourn Quartet. KARL VAN HOESEN Violin and Public School Music SANDOR VAS Piano Piano and String Ensemble Student at the Leipzig Conservatory. Pupil of Theresa Carreno in piano: of Klengel in 'cellog of Krehl in compositiong and of Nikisch in orchestral conducting. Pupil in piano of Alfred Reisenauer and Jelemaque Lambrino. Instructor in piano at the Podkaminer School of Music in Lodx, Poland, and at the Fodor Conservatory of Music in Buda- pest. NELSON WATSON Bass Student of Double Bass in London. Graduate of Trinity and Royal College. Pupil of Charles Winterbottom and Clyde Hobday. Member of Queens Hall, London Symphony, Royal Philharmonic and Philadelphia Symphony Orchestra. First Bass of Rochester Philharmonic. HARRY WATTS Piano Graduate of the Julliard Institute of Musical Art. Pupil in piano of Edwin Hughes, John Heath and Max Landow. Studied theory with Percy Goetschius. Studied organ with Norman Coke Jephcott. Director of music at the Raymond Reordon School for Boys, Highland, N. Y. . Organist and director of music in the First Baptist Church, Poughkeepsie, New York. Organist and director of music in the Calvary Baptist Church, Rochester. MARION WEED Opera Department Dramatic Instructor ' German Diction Student at the Sargent School of Dramatics. Pupil of Lilli Lehmann, Berlin. Member of the German Royal Opera. Member of the Metropolitan Opera, New York City. Instructor of voice in Berlin and Hamburg. DONALD F. WHITE Theory PAUL WHITE Violin Woodwind and Brass Ensembles Advanced Conducting and Conductor of Eastman School Symphony Graduate of the New Englnad Conservatory of Music with the Soloist's Diploma. Pupil of violin with Winternitz, Sevick, and Ysaye. Student of harmony, counterpoint, orchestration and composition with Mason, Elson, Chadwick, and Goossens. Member of the faculty of the New England Conservatory. First violin of the Cincinnati and Boston Symphony Orchestras QPopular Concertsl. Conductor of the Eastern Music Camp Orchestra. I Assistant Conductor of the Eastman Theatre and Rochester Civic Orchestras. RAYMOND WILSON Piano B.M. from the Pennsylvania College of Music. M.M. Chonoraryl Syracuse University. Special student of Ernest Hutcheson at the Peabody Conserva- tory of Music. Private pupil of Rudolph Ganz. Instructor of piano at the Pennsylvania College of Music and at Syracuse University. Head of the piano department of Skidmore College. ELVIRA WONDERLICH Theory and Piano Student at the Jamestown Conservatory of Music. Student at Barnard College and the Institute of Musical Art, New York City. B.M. from the Eastman School of Music. JEANNE WOOLFORD Voice Student at the Peabody Conservatory, Baltimore. Pupil of Adelin Fermin. Studied Oratorio and Diction with David Bispham and Herbert Witherspoon. Concert artist in America: music festivals, oratorio and recitals. ARKADIA YEGUDKIN Horn B.M. from the Caucasian Conservatory. Student at the Conservatory of Petrograd. Pupil of Nargarnuck and Polito Evonoff. Solo horn in the Mariane Orchestra, the Warsaw Imperial Opera, Detroit Symphony, New York Symphony, and Rochester Philharmonic. Instructor of horn in the Kieyeff Conservatory. DR. EDWIN FAUVER Medical Advisor and Physical Education A.B. Oberlin College in 1899. M.D. College of Physicians and Surgeons in 1909. Director of Physical Education in Alma College. CATHERINE BODLER Opera Department Accompanist JEROME DIAMOND Piano B.M. from the Eastman School of Music in 1925. Studied abroad with Philipp, and in New York City with Clarence Adler. Member Eastman School Faculty since 1926. S MAX LANDOW Piano, Piano Ensemble Student at the Scharwenka Conservatory. Pupil of Scharwenka and Karl Klindworth. Instructor in piano at the Stern Conservatory, Peabody Conservatory, Baltimore. DR. HUGH MacKENZIE His tory EDWARD ROYCE Composition Student at Harvard University. Studied counterpoint with Wilhelm Klatte, Berlin. Studied orchestral conducting with Schwartz and Karl Pupil of Leginska. Instructor in theory and piano at Ithaca Conservatory. Instructor at the New York Institute of Music and Art. MERLE SPURRIER Physical Education and Folk Dancing Berlin and at the Muck iln Memoriam RICHARD HALLILEY To h1s mus1cal g1fts he added a generous wholesome and lovable d1spos1t1on wh1ch dents but to the student body as a whole and to h1s colleagues of the faculty H1s outstand1ng Slnglng talents have g1ven happmess to thousands talents g1ven gladly ln support of every phase of worth whxle communlty muslc To , . . . . endeared him not only to his own stu- .-:,,Y , .L Y- Y., if .-:wg-r., ,ren--, -5, J.il-L- Y L? -ang .... ........1 ,,.,-ov-'- Q 4..-. -?:u 3 .-4..- , T? ' f- ' 1 y. - -ii. 7+- . +1 JOSEPH ALBERT FORTUNA 1 Artist Certificate Phi Mu Alpha Sinfonia i Born in Buffalo, New York, February 9, 1913. Graduated from East High School, Buffalo, N. Y. Preparatory Musical training at the Eastman School of Music under Gerald Kunz. Attended the University of Buffalo. Entered Eastman as a regular course student in September of 1931. Graduated with performers Degree in June of 1935. Pupil of Gustave Tinlot. Scholarships 1, 2, 3, 4. Fellowship 5. Eastman School Symphony Orchestra 1, 2, 3, 4. Concertmaster 4. Little Symphony of Phi Mu Alpha Sinfonia 1, 3, 4. Concertmaster 5. y Soloist with the Eastman School Symphony in Senior year playing the last two , movements of the Brahms Violin Concerto. Rochester Philharmonic 4, 5. 40 x MILLARD B. TAYLOR Artist Certificate Born in Crete, Nebraska, August 9, 1913. Graduated from Crete High School, Crete, Nebraska. Preparatory Musical training, Department of Music, Doane College, Crete, Neb Attended National High School Orchestra Conference in Summer of 1929. Entered Eastman School of Music in September of 1931. Graduated with Performers Degree in june of 1935. Pupil of Gustave Tinlot. Scholarships 1, 2, 3, 4. Fellowship 5. George Eastman Scholarships 3, 4. Eastman School Symphony Orchestra 1, 2, 3, 4. Concertmaster 3, 4. Little Symphony of Phi Mu Alpha 2, 3, 4. Rochester Philharmonic 2, 3, 4, 5. Joined Kilbourn Quartet as second violinist in Senior year. 41 IRENE GEDNEY Artist Cer tifica te Born in Ravena, New York, April 26, 1912. Graduated from Milne High School, Albany, N. Y. Began study at the age of seven years under local teachers. Won first Music contest at the age of twelve in Albany. Studied piano and organ with the late Dr. Frank Sill Rogers of Albany. 1929-30, attended the State Teach- ers College, Albany, N. Y. Studied Theory and Harmony with Dr. T. F. H. Candlyn, head of the Music department. Entered Eastman School of Music as Sophomore in September of 1930. Graduated in June of 1933. Pupil of Raymond Wilson. 1933-34, pursued studies under a teaching Fellowship. Gave series of six recitals in Kilbourn Hall. Gave recital in connection with the American Music Festival, May 1934. 1934-35, did recital and concert Work throughout New York State. Soloist with the Rochester Civic, Albany and Cincinnati Symphony Orchestra. 1934-35, made numerous appearances over NBC through WHAM. Scheduled to giveFarewell Recital in July 1935, but was prevented from keeping the engagements due to an automobile accident in June 1935 that forced her to remain in bed until December, and on crutches until February 1936. Reentered Eastman School of Music in January of 1936. Became staff pianist of WHAM. Numerous recital Appearances in New York State. Guest soloist with the Albany Symphony in May 1936. 142 W 'N if , M nk , I 4 xx N X I mfr WV W W 9 u x Q. 1 12. --Z iff -:, . ' '51 as: n 4 if qxkk N, -,ai 35 x .N W H I., I W B 1 q , 1 wa 1 f f S f C J Q ,Q K x 3 Allton, Codner, Martineau, Bales Freshmen Year: SENIUH CLASS HISTUHY OFFICERS Donald Allton .... President Lorraine Martineau' . . Vice-President Dorothy Codner . . . Secretary Richard Bales .... Treasurer This year's Senior Class has decided to merely record one or two of the most import- ant events which have taken place in each of our past four years, since if we were to ex- pound all of our merits it would take more pages than Orville Willson would allow. 1. We were the greenest Freshmen Class ever to enter the Eastman School of Music. 2. B Parish terrorized Jesse Louise Franklin with a chocolate pie during 1 Freshman Initiation. Sophomore Year: 1. Organized the best hell week yet. 2. Won the basketball and volleyball tournaments. Junior Year: 1. Started the Barn Dance. 2. Resurrected the Score. Senior Year: 1. All of us graduated. 2. Lenny Kahn transferred to the Class of '37. h Watch the degeneration of the School Orchestra and Chorus during the years to come. All we can say is that if the School wishes to uphold the standard which 1 we have set during the last four years, the entering class of 1936 had better be large and talented. 44 DONALD W. ALLTON Degree Organ Pedagogy Phi Mu Alpha Sinfonia Deering High School Portland, Maine George Eastman Scholarship 1, 2, 3g Tuition Scholarships 2, 3, 4: Associate Editor Score 33 Score Staff 45 Vice-President Phi Mu Alpha 33 House Manager Phi Mu Alpha 3, 4g Editor Phi Mu Alpha Bulletin 23 Student Council 4g President of Senior Class. ARTHUR C. AUSTIN Degree Public School Instrumental San Diego High School San Diego, Cal. San Diego State College San Diego, Cal. RICHARD HORNER BALES Degree Theory and Conducting Phi Mu Alpha Sinfonia Episcopal High School Alexandria, Virginia George Eastman Scholarship 1, 23 Rank List 1, 2, 33 Guest Con- ductor Phi Mu Alpha String Orchestra 4, National Sym- phony, New York Festival, Bos- ton Civic, Buffalo Philharmonic Orchestras 4: Class Treasurer 4. RUTH M. BRIGHAM Degree Violin Pedagogy Sigma Alpha Iota West High School Rochester, N. Y. Scholarship 1, 2, 3, 43 Rank List 3, 4g Score Stal? 3g Treasurer Sigma Alpha Iota 43 Sigma Alpha Iota Orchestra 3, 4. CLARK L. BRODY, JR. Degree Public School Instrumental ' Alpha Epsilon Mu Lansing Central High School Lansing, Michigan Bachelor of Arts Michigan State College Graduate Study University of Michigan JUNE BRUCE Degree Piano Pedagogy Delta Omicron West High School Rochester, N. Y. DOROTHY A. CODNER Degree Violin Pedagogy Sigma Alpha Iota Fort Dodge High School Fort Dodge, Iowa Scholarship 2, 3, 4: Class Vice- President 33 Class Secretary 43 Score Staff 3, 4g Sigma Alpha Iota Social Chairman 45 Sigma Alpha Iota Orchestra 3, 4. 1 , ANNE COHEN Degree Piano Pedagogy Benjamin Franklin High School Rochester, N. Y. Scholarship 2, 3, 4. 46 H x CHARI COUCH Degree Violin Pedagogy Sigma Alpha Iota Odessa High School Odessa, N. Y. Scholarship 3, 45 Sigma Alpha Iota Orchestra 4g Sigma Alpha Iota Program Chairman 4. SHIRLEY ELIZABETH COWLBECK Degree Piano Pedagogy Mu Phi Epsilon Glens Falls High School Glens Falls, N. Y. Scholarship 1, 2, 3, 4g State Scholarship 1, 2, 3, 43 Treasurer Mu Phi Epsilon 4. CATHERINE PEARL CROZIER Degree Organ Performer Mu Phi Epsilon Central High School ' Pueblo, Colorado Dormitory Council 1, 2g Mu Phi Epsilon Prizeg Scholarship 1, 2, 3, 43 Mu Phi Epsilon Secretary 4. ll' 5 Q, ' I, Y 6 l 1,1 J E, i 5 il' i,i MARGARET LOUISE DeMOND Degree Public School General Port Jervis High School Port Jervis, N. Y. Scholarship 4g Organ Club 4. Baud MARY EIDAM Degree ' Cello Performer Sigma Alpha Iota Monroe High' School Rochester, N. Y. Secretary Sigma Alpha Iota 3, Chaplain Sigma Alpha Iota 43 George Eastman Scholarship 1, 2, 3, 4g Sigma Alpha Iota Orches- tra 3, 4. WILLIAM E. FOOTE Degree Voice Pedagogy 4 Jefferson High School Jefferson, N. Y. BETTY C. FAIRBANKS Degree Public School General Delta Omicron West High School Rochester, N. Y. BEATRICE F. FRIED Degree Public School General Teaneck High School Teaneck, New Jersey Rank List 1, 2, 3, 4. ELIZABETH GEARHART Degree Voice Pedagogy Sigma Alpha Iota S. S. Palmer High School , Palmerton, Penna. Colby Junior College New London, N. H. Connecticut College New London, Conn. Vice-President Sigma Alpha Iota 4g Rank List 2, 3, 45 George Eastman Scholarship 33 Opera 4. NATALIE GEHMAN Degree Piano Pedagogy Liberty High School Bethlehem, Penna. George Eastman Scholarship 1. :E ' 1 CHARLES GIGANTE Degree Violin Pedagogy Lyndhurst High School Lyndhurst, New Jersey Scholarships 1, 2, 3, 4g Rank List 1, 2: Phi Mu Alpha Little Sym- phony 1, 2, 3, 43 Philharmonic Orchestra 3, 4. ERN A-MAE GILCHER Degree Voice Pedagogy Mu Phi Epsilon Central High School Syracuse, N. Y. Scholarship 1, 2, 3, 4g Opera Hansel and Gretel 23 Louise 4g Bianca 4g Opernprobe 4: Soloist Mendelssohn Hymn of Praise 4g Program Chairman and Ward- en Mu Phi Epsilon 4. FRANCES RUTH GILL ' , Degree Piano Pedagogy Mu Phi Epsilon Elyria High School Elyria, Ohio Scholarship 4, George Eastman Scholarship 2. 35 Rank List 1, 2, 3, 4: Vice-President Class 43 Vice-President Student Associ- ation 3g Score Staff 3, 4g Corres- ponding Secretary Mu Phi Epsi- lon 4g Inter-Sorority Council 4. JANINA GORECKA Degree Violin Performer Sigma Alpha Iota Benjamin Franklin High School Rochester, N. Y. Scholarships 1, 2, 3, 45 Rank List 43 Sigma Alpha Iota Orchestra 3, 4, George Eastman Scholar- ship 4. HILDA JEANNE GREY Bachelor of Arts Piano Sigma Alpha Iota LeRaysville High School LeRaysville, Penna. Scholarships 3, 4. CHARLES H. GREYBECK Degree Public School General Phi Mu Alpha Sinfonia Windber High School Windber, Pa. Juniata College Huntingdon, Penna. Treasurer Phi Mu Alpha 4 BARBARA HARGAR Degree Piano Pedagogy Delta Omicron West High School Rochester, N. Y. Rank List 33 Freshman Party Committeeg Delta Omicron Mu- sicale 3, 4. HERBERT W. HARP Degree Public School Instrumental and Trumpet Performer Phi Mu Alpha Sinfonia Hagerstown High School Hagerstown, Maryland Scholarships 1, 2, 3, 43 Treasurer Student Association 23 Class President 33 Treasurer Phi Mu Alpha 33 Editor-in-Chief Score 33 Student Council 33 Phi Mu Alpha Little Symphony 3, 43 Historian Phi Mu Alpha 43 Phi Mu Alpha-Sigma Alpha Iota Orchestra 43 President Student Association 4. ALBERT L. HECKMAN Degree Piano Performer East High School Rochester, N. Y. FREDERIC HILARY Degree Violin Pedagogy Jamestown High School Jamestown, N. Y. Philharmonic Orchestra3 Stu- dent Conductor Eastman School Symphony 33 Instructor Hoch- stein Schoolg George Eastman Scholarship 3. LOIS HILLMAN Degree Public School General Delta Omicron Alpha Sigma Alpha Delta High School Delta, Colorado Western State Teachers College Gunnison, Colorado Delta Omicron Vice-President 2, Warden 3. Alumnae Secretary 4. FRANCES E. HOOPES Degree Public School General Delta Omicron York High School York, Penna. Chorister Delta Omicron. VIRGINIA HOVER Degree Voice Performer Mu Phi Epsilon West Field High School I Westfield, N. Y. Fredonia State Normal Fredonia, N. Y. Operas Hansel and Gretel 2, Sister Angelica 2, Doctor Cupid 3, Faust 3, Tante Simona 3, Boris Godounov 4, Abu Hassan 4, Verseigelt 4. HELEN D, HUTCHINSON Degree Public School General Delta Omicron Williamson Central High School Williamson, N. Y. Treasurer Delta Omicron 4. PHYLLIS ELIZABETH KERSHAW Degree Public School General Lowell High School Lowell, Mass. Lowell Teachers College Lowell, Mass. ELEANOR ANN KNIGHT Degree Flute Pedagogy Sigma Alpha Iota East High School Denver, Colorado University of Denver Denver, Colorado Class Secretary 2, 35 President MacDowel1 Hall 4: Sigma Alpha Iota Orchestra 3, 4: Executive Board Sigma Alpha Iota 4. MARGARET RUTH LAU Degree Public School General Delta Omicron Caledonia High School Caledonia, N. Y. President Inter-Soroity Council KATHRYN ANN KETTERING Degree Piano Performer Sigma Alpha Iota Lincoln High School Lincoln, Nebraska Class Vice-President 1, 23 Dormi- tory Council 1, 2, 33 President Sigma Alpha Iota 4. 4: Secretary Delta Omicron 3, 4: Student Council 43 Dormitory Council 2, 3, 4. THAIS MARASCO Degree Public School General Delta Omicron Southeastern High School Detroit, Mich. Class Secretary lg Treasurer Hopkinson Hall 4. LOIS MARSH Degree Piano Pedagogy Mu Phi Epsilon Charlotte High School Rochester, N. Y. l 54 LORRAIN E MARTINEAU Degree Violin Performer Sigma Alpha Iota Hartford High School Hartford, Conn. Scholarship 1, 2, 3, 43 Secretary Dormitory Council 35 President Dormitory Council 4g Vice- President Senior Classg Chaplain Sigma Alpha Iota 43 Score Staff 3g Sigma Alpha Iota Orchestra 3, 4. DONALD MORTON l Degree Piano Pedagogy Phi Sigma Phi Mount Hermon High Schocll Mount Hermon, N. Y. John Marshall High School Rochester, N. Y. Mechanics Institute Rochester, N. Y. l l 5 F Pig 5 HERMAN B. MOSS Degree Piano Pedagogy Niagara Falls High School Niagara Falls, N. Y. KATHARINE MUNSON Degree Public School General ' Sigma Alpha Iota Charles E. Gorton High School Yonkers, N. Y. Rank List 23 Editor Sigma Alpha Iota 45 Organ Club 4g Score Staff 4. GRACE OLIVE MURPHY Degree Public School General Delta Omicron Clark's Summit High School Clark's Summit, Penna. Chaplain Delta Omicron 43 Treasurer MacDowel1 Hall 4. BEATRICE JUDSON PARISH Degree Public School General Mu Phi Epsilon Oneonta High School Oneonta, N. Y. HARRY B. PETERS Degree Public School Instrumental Phi Mu Alpha Sinfonia John Harris High School Harrisburg, Penna. Scholarships 3, 4g Warden Phi Mu Alpha 35 President Phi Mu Alpha 4: Student Council 4. SIDNEY POWERS Degree Clarinet Performer East High School Cleveland, Ohio Scholarships 1, 2, 3, 4, Ranney Scholarship 3, 4. i O i EDWARD C. PREADORE Degree Violin Performer and Theory Eveleth High School Eveleth, Minnesota Curtis Institute of Music Philadelphia, Penna. Little Symphony of Phi Mu Alpha 4. l l GARDNER READ, J R. Degree Composition and Theory Evanston Township High School Evanston, Illinois Northwestern School of Music Evanston, Illinois Scholarships 1, 2, 3, 43 Composi- tions Performed National High School Orchestra, Phi Mu Alpha Little Symphony, Rochester Civ- ic Orchestra, Chicago Sym- phony, Rochester Philharmonic, Cincinnati Symphony, New York Festival Orchestra, Boston Civic, Buffalo Philharmonicg Student Conductor Eastman School Sym- phony 3, 4. HUGH HAMILTON ROBERTSON Degree Tympani and Percussion Performer Phi Mu Alpha Sinfonia West High School Rochester, N. Y. Class President 1, 2: Student Council 2, Basketball 1, 2, 3, 4g Volleyball 1, 2, 3, 4, Phi Mu Alpha Little Symphony 2, 3, 4, Philharmonic Orchestra 2, 3, 4g Scholarship 1, 2, 3, 43 Formal Committee 2. RALPH C. ROZZI Degree Violin Pedagogy West High School Rochester, N. Y. Volleyball 1, 2, 3, 4g Phi Mu Alpha Little Symphony 1, 2, 4. ROELF E. SCHLATTER Degree Voice Pedagogy Sigma Phi Gamma Weaver High School Hartford, Conn. Connecticut State College we GLADYS MARJORIE SHAW Degree Organ Pedagogy Sigma Alpha Iota Ben Avon High School Ben Avon, Pa. Rank List 3, 4, Scholarship 4g President Organ Club 4g Execu- tive Board Sigma Alpha Iota 4: Score Staff 3, 4: Formal Commit- tee 43 Member American Guild of Organists. F. DONALD SHEARER Degree Public School Instrumental Phi Mu Alpha Sinfonia Lockport High School Lockport, N. Y. Volleyball 1, 2, 33 Basketball 1, 2, 3g Class Treasurer 35 Phi Mu Alpha Little Symphony 2, 3, 43 Scholarship 43 Score Staff 3. VIRGINIA ANN SHRIMPTON Degree Piano Pedagogy Delta Omicron Ainsworth 'High School Ainsworth, Nebraska Lindenwood College University of Nebraska George Eastman Scholarship 4: President Delta Omicron 4. LOUISE MOORE SNYDER Degree Public School General Delta Omicron Churchville High School Churchville, Pa. Wilson College Chambersburg, Penna. Endymion Ballet 3g Sorority Musicales. GERALDINE SOUTHERN P. G. Degree Voice Performer Benton Harbor High School Benton Harbor, Mich. Scholarships 2, 3, 4, 55 Rank List 4, 53 George Eastman Schol- arship 4, Sg Soloist Bach Mag- nificat 4g Soloist Beethoven Mass in C 53 Soloist with Civic Orchestra on National Broadcast 53 Operas Hansel and Gretel 3, Doctor Cupid 3, Sister Angelica 3, Faust 4, Endymion Ballet 4, Tante Simonia 4, Louise 5, Bianca 5, Verseigelt 5. ,. . ,z,,,, Q55 ROBERT LOUIS SPRENKLE Degree Public School Instrumental and Oboe Performer Carrick High School Pittsburgh, Penna. Scholarships 1, 2, 3, 43 Rank List 1, 2, 3, 43 Class Treasurer 2, Phi Mu Alpha Little Symphony 3, 4. 1 MILDRED A. STEBBINS Degree Piano Pedagogy John Marshall High School Rochester, N. Y. Scholarship 1, 2, 3, 4, Rank List 4. GLENN DAVID SWAN Degree Violin Performer Aspinwall High School Aspinwall, Penna. Scholarships 1, 2, 3, 43 Rank List 1, 2, 3, 4: George Eastman Scholarships 1, 3, Philharmonic Orchestra 43 Phi Mu Alpha Little Symphony 2, 3, 4. LOIS VAN VECHTEN Degree Piano Pedagogy Sigma Alpha Iota Monroe High School Rochester, N. Y. Dormitory Chaperone 3, 43 Score Staff 43 Shipwreck Dance Committee 43 Secretary Sigma Alpha Iota 4g Student Council 43 George Eastman Scholarship 2, 3: Cabaret Dance Committee 4. GRACE ELIZABETH WARD Degree Public School General Delta Omicron Brighton High School Brighton, N. Y. Vice-President Delta Omicron 4, Shipwreck Dance Committee 4: Program Chairman Delta Omi- cron 4: Student Council 4. RUDOLPH WENDT Degree Piano Pedagogy Charlotte High School Rochester, N. Y. JULIA ANNE WILKINSON Degree Viola Performer Sigma Alpha Iota North High School Des Moines, Iowa Drake University Dormitory Council 3g Vice-Presi- dent Sigma Alpha Iota 3g Pro- gram Committee Sigma Alpha Iota 43 Sigma Alpha Iota String Quartet 2, 3, 43 Sigma Alpha Iota Orchestra 3, 4g Inter-Soror- ity Council 3, 4. W. STANLEY WILSON Degree Double Bass Performer East High School Rochester, N. Y. ELEANOR GRAYDON ZIMMERMAN Degree Organ Pedagogy Sigma Alpha Iota Huntingdon High School Huntingdon, Penna. Sergeant-at-Arms Sigma Alpha Iota 4. The Following Seniors Did Not Have a I Portrait EUGENE A. DIMOND Degree Public School Instrumental Smith Center, Kansas LULU RAY JOHNSTON A.B. Piano Pedagogy Rochester, N. Y. DONALD MacDONALD A.B. Music Major Rochester, N. Y. BEATRICE MARY PYE Degree Piano Performer Rochester, N. Y. MARTHA SHUTT Degree Piano Pedagogy St. Louis, Mo. MILTON STEINHARDT Degree Violin Pedagogy Coffeyville, Kansas E Grand Stairway leading from the first to the second floor corridor. ix ,-9---T M fi! '1 x 'mim.wn7:QXgWll -M W, WW' 1lnntttYQxxK'2 '2 ,Q X 1-mwwnllw' nv' X- X0 f 'uw IHRMUIQIIIII ' ENSE- W tll lglitymglltlllli I ,il nn 50 pn 9 x ga mmmlallainwwmwlWil ' munmllmlsxjlilll wmnuxmxlllllifxgk, Q1 v WN muw1Mumlu1umlu.W, IIIIDQ h X Wlwllllllllllllllixg ,., ! ll!! ,S lsmnnllnxnmnnllllnlfmc. xx lllunwmrxlnaxmlllmllllkl, la'qg1:u:l:w ' 'f l ? 1 -L, X V .., f X 6 X x vi, f 41 F I ' A wx t ' A l V --I ,mlf , I . V. 7 f . ' as -3. , . 9 ' g f.l. ..gt:'? 'Tiff .1 urs? uh ..- , , - X, ' x, 0 v t 3EEl2E:gfg,X 1, ' , - '-'- 1l4J'l ,..... 5 vfv. X Lffmv,fI2.:11'-P'f:r .. 64-'N , Y.. 3- 1 '1.. .nl N - N , v C 1 - ff ,u W su., 4, X 0 .-gg, I f fl ., ,:J.f'vxx,'... .-,fnx ,5 , 8 , V- ' s.- H A .f :. Q 1 , ,0 ' .1 I. jr ' ag' 'lhhll A gn' -: :-I-1 ' ,EX ,rx-:pf n nv h X .g.3?.gQQLgeiE:1:::.:i,MX. mg. qfizumx mi. 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Mildred Wolf Fred Fennell Victor Alessandro Jeanette Alexander Marion Alt Helen Bent Charles Bergener Margaret Bignall Jeana Black Earle Blakeslee Doris Bohachek John Bollinger I . ' . Presiden t . Vice-Presiden t . . Secretary . Treasurer Mary Bowers Barbara Brown John Celantano Melvin Clement Ruth Clemons Fred Fennell Muriel Fouts Carl Frank Elizabeth Galloway Genevieve Gans 64 JUNIU 0 . . mfr' -- -L .- if Q Q ' 4 .sb-'f' . . .- o '- w'uv f I , Q Ib I, J V f .. ,Q ,mei ,. y.v f. ,A 1 ' if ' Ap aa,,1,e..,L9-,,f,.' , QQ! Alf? -- 'ff -c' JIFP3, - ps if Virginia Gardner Robert Giddings E-tlhel Griffiths Lucsi.1'Td-ff-TQ-en Frank Henck Norman Herzberg C. Hutchinson, Jr. Charlotte Jenny Betty Jones Virginia Kaczmark Leonard Kahn Homer Keller George Kelver Thelma Kenison Thomas Kerr Dorothy Knight Charlotte Krick Robert Kunkle Harold Kurtz Robert LaMaster Eleanor Lawatsch Waldemar Linder Audrey Mason Frank May Albert McConnell Donald Menz Vera Mintrum Joshua Missal Robert Moss Oliver Nixon Mary O'Connor Marie Paradiso Anna Paulus Esther Payne . ,, , ,J . is fe ' f Paul Peterson Luisa Piarulli Phyllis Pickel Morris Poaster Helen Potter Leland Proctor Georgia Putnam Annie Rehm Claire Roberts Nelson Roe Gladys Rossdeutscher Charlotte Rounds Theodore Stapleton Betty Starley Emma Wuiter Anna Tafel v Bernhardt Tiede Helen Tighe Wilda Tinsley Mary Titus Arnold Vick Gerald Vogt John Walsh Robert Weiss Marion white f' W' Henry Wiehn Orville Willson Mildred Wolf Frederick Woltmann Mary Kay Wood Fred Woolston Asher Zlotnik LASS 65 JIINIIIH BLISS HISIUHY It was in 1933 that we, the Junior Class, started out on a record-breaking flight over the fertile areas laid out in our Eastman School course. JIeered on by the illustrious Sophs who came out to send us off with green strearners and peanut shells, we took off over the smooth sands of the Seashore and lemeled out over the vast expanse of Freshman Year, loaded down with a goodly supply of ambition, expectation and good will. This first lap of our trip was glorious. The Christmas Dance, the basketball championship, and 1-3-5-3-1 all were ticked off exactly on schedule. ' I The arrival at Sophomore Field brought many new thrills. We were just in time for the little Freshies and we entertained them 'in our most charming manner. Fred Fennell surprised us with his newly fomerd UniversityI Band and two or three crooners were added to our happy crew. It was there that we met Mr. 72 Chord and all his friends and relations. He was very hospitable, and after he had entertained us at several mixed parties, he allowed LIS to continue on our way. I Confusion reigned when we reached the stately cool Junior Plateau. Everybody wanted a Little Sister fsomething which had never been heard df beforeb and the Freshman class very kindly filled the order. Each Junior lady took a Freshman lassie in hand and tried to make her feel at home. Ellison Park echoed with the merry laughter that only Freshmen lassies can make. Not tol be outdone, the Junior lads showed us that Volleyball is just as important as a .Little Sister, and they are very proud of their standing as Volleyball Champs of '1936. V . Loyalty, cooperation, musicianship, good character, and high ideals have been our companions, and with the help of fair flying weather we are looking forward to a Happy Landing ! . I I I 66 , I. I I I ! 4 4 I SUPHUIVIUHES 5 Lawrence, Ingraham, Hamilton, Jacobs OFFICERS Harry Jacobs . Presiden t Elizabeth Hamilton . . Vice-President Mary Lawrence Gerald Ingraham Marie Allen Gladys Apitzsch Albert Astle Jean Beers Raymond Berry Vivian Bradshaw Roy Breshears Rose Brooke Elizabeth Brown Robert Cantrick . Secretary . Treasurer Barbara Coster Natalie Coward Chester Crill Douglas Danfelt Richard Darrohm Hazel Donart ' Eiaine Dodge Q F Ursula Dunbar Ruth Eigabroadt Sheldon Eschrich H 0 . 'G ' .5 1 r 'M L SUPHUNI 68 Nancy Gay Elizabeth Hamilton Edith Harrison Arlene Hershey Luella Hinkle Ione Hinman Katharine Hoffman Cornelia Hughes Gerald Ingraham Harry Jacobs Fred Kimball William Koogler Mary Lawrence Linn Ledford 1 Mifjjmffjil Eleanor Leek Avery Lockner George Lott Jack Lowe Frederick Marsh John McGrosso Doris McLaughlin George Merrill Helen Mills Eleanor Mitchell Barbara Murray Wilson Myers Manuel Newman Marion O'Brien Vola O'Conner Robert Ottman Susan Owen Adele Page Robert Palmer Eleanor Partridge Mignon Prendergast Oren Quick William Rader Esther Pasche Richard Remy Elizabeth Rhodes Betty Richards Helen Riedy .2421 MBL. V774 Ellen Reggio Harlan Rogers Marie Rohr Arthur Saunders Louis Saverino Sanford Schonbach Lillian Sinclair Kenneth Spencer Mary Stewart Nettie Whiphey Mary R. Williams Robert Yost Martha Zak John Zaumeyer ELASS l 69 S'UPHllIVIUHE ELASS HISTUHY The Wheel of fortune spins- Round and round it goes, Where it stops, nobody knows. Ladies and Gentlemen! May we present for your approval, Major Hanson and his original Amateur Hour, broadcasting on a national hookup through Station ESM and brought to you by the courtesy of the S. A. B. M. CSociety for the Advancement of Budding Musiciansl-Folks, the Major. Cmuch ap- plausel. Alright, alright-Tonight, you know, is the first anniversary of the original Amateur Hour, and I would like to review some of the high lights of the past year's amateur programs. We started out with a bang by landing 76 amateurs, but Ima Freshman from 424A University Avenue, who recited the banking rebus, won first place by 416 votes. Ima, a rather naive little girl when she came in here as an amateur, cer- tainly has changed into a subtle sophomore since she has been on the Eastman tour. Willie Greenhorn came in with a close second or 400 votes by his novel interpretation of polishing the marble stairs with a pink tooth brush to the tune of A Boy's Best Friend is His Mother. The Amateurs sponsored a dance in the middle of the year, in which the poor dears went into the hole Cas usuall. I am proud to announce that my entire group of amateurs survived the gong and are becoming well established on the Eastman tour. In honor of the anniversary, our original amateurs have returned for a re- union. In view of the fact that our amateurs have been working hard, they have decided to hold a Leap Year Dance for the benefit of this year's amateurs and last year's professionals. Our honor city for this program is Rochester, New York, and I am proud to say that it shows great promise of becoming a prominent music center. Among the many telegrams received were those from Guy Fraser Harrison of the Roch- ester Civic Music Associationg The Kilbourn Quartetg Paul White, Director of the Eastman School Symphony, Herman Genhart, Director of the Eastman School Chorusg the Opera Department, and last, but not least, the new Rochester Philharmonic Conductor, Jose Iturbi. A 70 i FHESHIVIEN IJ' ff 21 ,. M if- 1 .1 LJI' gp ,J er, .P White, Priess, Smith, McCown OFFICERS Walter McCown . Lucille White . Gladys Smith . Richard Priess . Paul Allen Raymond Bailey Mildred Banasik Elizabeth Banta Edwin Bartlett, Jr. Elizabeth Bastress Dorothy Beach Vance Beach James Beckwith Joseph Bernstein Clayton Betzhold . . Presiden t . Vice-Presiden t . . Secretary . Treasurer Joseph Boland Hilda Bouck Herbert Brill Elizabeth Brown Keirn Brown Priscilla Brown George Burdick Juliette Canfield Philip Carey Rosario Celentano Constance Clare F E 72 HSHIVI William Clemons Honor Cohen Mollic Cohen Arthur Cowles Isabelle DeVaux Paige DiBacco Mary Dolan Gertrude Dunlevy William Easingwood Anita Easton Sophie Eng Edward Fairley Caleb Fisher Charles Flax Maurice Foote Wallace Gause Ralph Gibbs Lois Gieger George Goslee Hazel Gravell Sylvia Greenberg Ruth Graves Margaret Grove Robert Hartford Marjorie Hookway Elizabeth Jones William Kellogg Ruth Kyler Peggy Kennedy Lorraine Latham Peter Laurini Muriel Leftkowitz Lodema Legg Harriet Lutz Angelina Macri Olive MacLaury Chester Mann Jean Marshall Muriel Mason Leona Mazurkiewicz Walter McCown James McGee Rachel Greene Qkllilnler Meacham NL' 4 I o 1 X, 4. 9 -I Q my N Q km Joe Mekel Robert Miller Evelyn Mitnik Clara Moore Elliott Morgenstern Earl Mueller Janet Neale Louis Nelson Clarence Nice Harold Nissenson Nicholas Olico Sophia Orsca Nancy Page Willis Page Nathaniel Patch Theodore Peterson Eleanor Pietranico Aaron Pratt Richard Priess Harold Schatz Roberta Schlosser Lucille Schnarr Carl Schworm Eleanor Shapiro Charlotte Smith Gladys Smith Sterling Smith Ruth Solomon DeWitt Thornton Albert Tipton Barbara Todd Percy Toland Helen Treat Mary Van Atta Margaret Waderlow Elizabeth Wagner Robert Ward Walter Westafer Lucille White Margaret Witmer George Yaeger Margaret Young Thaddeus Youtchas Frances Zoeller Ruth Zwicker x CLASS 73 FHESHIVIAN CLASS HISTUHY On September 17th in the year 1935,about one hundred members of the younger generation descended upon Eastman, accompanied by much luggage and many great ambitions. During the first week, the Freshmen were duly initiated by the Sophomore class. Freshmen week, as it was called, was brought to a climax with a dance given by the Sophomores. The class proved to be alert, both socially and musically. A Christmas party was held in the gymnasium on December 17, 1935, and on February 14, 1936, the class sponsored a Valentine Dance in the mezzanine lounge of the school. After the concerts in the Eastman Theatre, the Freshmen gave dances which proved to be quite popular. Mention should also be made of the basketball and volleyball teams which have represented the class in the school league. Freshmen, who have performed in Kilbourn Hall recitals, have shown an unusual amount of talent and promise. So here's to the Class of 1939! May the future hold the fulfillment of its ambitions! 4 -lt-EEE ' ' .wil 5-i 'WIS iff -1 1, - WMW7W QMIWH mf 'Zi wif Q 5 fmff 'i L AwVs!f!1'J+11'f J, ' , ,i iiif?F l 7 W ff lmmgmE5 lH - ,'EN.,, ,55 1 Sfn m iami' if - , . - .-- , - 'ls 1 ., A, 1, K. ,- Q.- f - - H 51 M 4 F 'M I u f - -if - - D-. fZ'1. l w. I br- 1' 2- , ,vifwx 1 4 I ' H- S... . . . I ' ' x - ' L--:.2- fHTJ..---TTT: - ,- :Z . -if I ' ..-.gg , , , x , 'I - f' Qt D ff , 'f -- k E' ,,---' V f 1, . ' -If .. .QS V I 3 Wlm PW' '4? ' ZA 'Q A Q' IXIWJ ' V mil-vy GHAUUATE DEPARTMENT GHAITUATE ITEPAHTNIENT Wendell Adams, M.M. Byron Arnold, M.A. William Bailey, M.M. Martha Barkema, M.M. George Barr, M.A. David Berger, M.M. Carolyn Birney, M.M. Roger Boardman, M.M. Margaret Brandt, P.G. Boylson Brown, M.M. Edward Callan, P.G. Harold Cardy, P.G. Berton Collin, M.M. Alan Collins, M.M. Maxine Couch, M.M. Frank Cunckle, Ph.D. Mary Dann, M.M. Philip Dwyer, M.A. Leonard Ellinwood, Ph.D. Joseph Fortuna, P.G. Henry Freeman, P.G. Virginia Gustafson, P.G. Howard Hinga, M.M. Harriet Hoppe, P.G. Harold Johnson, M.M. Gomer Jones, Ph.D. Elizabeth Kinney, M.M. Kent Kennan, M.M. Nelson Kennedy, Ph.D.. Theodore L'Ange, M.M. Harry Lamont, Ph.D. Helen Madden, M.A. Helen Maddock, M.M. LaVahn Maesch, M.M. Philip Mangold, M.M. Thomas Marrocco, M.M. Ionia Martin, M.M. Evelyn McCann, P.G. Ruth Melville, M.M. Dorothy Miller, P.G. Walter Mourant, M.M. Helen Neilly, M.A. Ruth Pelton, P.G. Alfred Perrot, P.G. Eleanor Pheteplace, P.G Burill Phillips, Ph.D. Mildred Randall, P.G. Mary Riesland, M.A. Wilder Schmalz, P.G. Frances Schott, M.M. Martha Smith, P.G. Lorna Snyder, M.A. Charles Starke, P.G. Mary Street, M.M. David Strickler, M.A. Millard Taylor, P.G. Hazel Turner, P.G. Vladmir Ussachevsky, M M Arthur Whittemore, M.M Edward Young, Ph.D. 76 1 I , x L f UHEANIZATIUNS JOSE ITURBI Conductor-Season 1 936- '3 7 The Rochester Philharmonic Orchestra was organised in 1921 in conjunction with the establishment of the Eastman Theatre. The Eastman Theatre Orchestra of 65 men was the nucleus of the symphony at that time. Albert Coates and Eugene Goossens came from England for two years as guest conductors and following that period Mr. Goossens became the permanent' conductor until 1931. With the introduction of sound movies the situation was entirely changed and in 1928 in order to save the orchestra the Rochester Civic Music Association was organized and took it over. At this time the Eastman Theatre Orchestra, slightly reduced, became the Rochester Civic Orchestra, and was the nucleus of the Philharmonic. The extra musicians in the city and some of the faculty members HUCHESTEH PHIL 78 of the Eastman School of Music are engaged to complete the per- sonnel of the Philharmonic each time. Mr. Goossens remained the conductor of the Philharmonic until 1931, at which time he resigned to go to Cincinnati. Since that period the following 'noted guest conductors have presented the Philharmonic season: Molinari, Golschmann, Dobrowen, Reiner, Iturbi, Sir Hamilton Harty, Bodanzky, Sokoloff, and Damrosch. The permanent conductor of the Rochester Civic Orchestra is and has been Guy Fraser Harrison, who is also one of the guest conductors of the Philharmonic. , The Civic Orchestra numbers 50 men and the Philharmonic 80. All concerts are given in the Eastman Theatre. GUY FRASER HARRISON Assistant Conductor- Season 1936-'37 IVIUNIE UHCHESTHA 79 GUY FRASER HARRISON The Civic Orchestra fulfills a unique and outstanding position in Rochester's Community life. It encourages the layman, who is not a symphonic devotee to attend popular concerts, gives opportunity for local soloists to appear on the Sunday evening programs, and sponsors ballets, light operas and choruses in special programs. QZJ HUCHESTEH EIVIE UHEHESTHA 80 The Phi Mu Alpha Little Symphony was organized in 1926. First under the baton of Samuel Belov Cfor three yearsj, and then of Karl Van Hoesen, its present conductor, the orchestra has become an integral part of the Eastman School. Together with the University Men's Glee Club, the Little Sym- phony has made two tours of the larger cities of the country. It now gives three concerts annually, one devoted to the Classics, which is also broadcast, and one in connection with the annual Festival of American Music. The orchestra, this year, enjoyed one of its- most successful seasons since its founding and revealed itself, under the leadership of Karl Van Hoesen, to be an ensemble of the highest caliber. PROGRAM FOR THE CONCERT-February 4, 1936 Suite in C major . . . J. S. Bach Ballet Music from Idomeneo . . Mozart Overture to Prometheus . Beethoven Trois Chansons . . . Ravel Petite Suite ..... DeBussy Spanish Dance from La Vie Breve . DeFaI1a vfag,--. a KARL VAN HOESEN PHI NIU ALPHA LITTLE SYNIPHUNY 81 HOWARD HANSON Howard Hanson, Conductor Paul White, Assistant Conductor FIRST CONCERT-November 15, 1935 Overture- The Impressarion ...... Mozart En Saga ....... . Sibelius Suite from the Opera Merry Mount . Hanson Poeme De L'Exstase ..... Scriabine SECOND CONCERT-January 20, 1936 Concerto Grosso in D minor, No. 10 .... Handel Solo Violins: Glenn Swan Charles Gigante Solo Violoncello: Sam Reiner Cembeloz Roger Boardman Mass in C ......... Beethoven Chorus and Orchestra EASTNIAN SC 82 Solo Quartet: Hazel Gravell, Soprano 1 Gerladine Southern, Con tralto Morris Poaster, Tenor Kenneth Spencer, Bass THIRD CONCERT-March 3, 1936 Hymn of Praise, for Chorus, Soloists and Orchestra Mendelssohn Soloists: Marie Paradiso, Soprano ' Erna Mae Gilcher, Soprano Hazel Gravell, Soprano Morris Poaster, Tenor Prelude to Parsifa1 .... . Wagner Symphony on a French Mountain Song . . D'Indy fFor Orchestra and Pianol Hazel Turner, Pianist Russian Sailors' Dance . . . Gliere ll i . i PAUL WHITE UL SYMPHUNY 83 EASTIVIAN SEHUUL EHUHUS Herman Genhart, Con duo tor The Eastman School Chorus of 1935-36, has closed a most successful season. Continuing its custom of presenting fine choral music, the Chorus has given in both public and radio performances this year the Mass in C by Beethoveng the Hymn of Praise by Mendelssohng and Drum Taps by Howard Hanson. The latter was performed at the American Festival of Music. The credit for the excellent work of the Chorus goes again to Mr. Herman Genhart, whose judgment and musicianship have won the respect of us all. if Gustave Tinlot, First Violinist Millard Taylor, Second Violinist Samuel Belov, Violist Paul Kefer, 'Cellist The Kilbourn Quartet was one of the earliest organizations to be founded in connection with the Eastman School of Music. During the fifteen years of its existence, several changes in personnel have taken place. Of the original group brought together by Arthur Hartman under the patronage of George Eastman, only one, Samuel Belov, remains as a member. Other members of the original group were: Gerald Maas, 'Cellist, and Gerald Kunz, second violinist. Paul Kefer assumed the position of 'Cellist in 1924 at the death of Joseph Press. In 1926 Gustave Tinlot succeeded Vladimir Resnikoff as first violinist, and in 1935 Millard Taylor was appointed second violinist to succeed Alexander Leventon. The Quartet was subsidized by Mr. Eastman from the time of its founding until his decease in 1932. Since then it has been under the sponsorship of the Eastman School of Music. Included on this year's programs were compositions by Haydn, Mozart, Afanasief, Brahms, and Tailleferre. KILBUUHN UUAHTET Frederick Fennell, Conductor William Clemons, Librarian Edward K. Mellon, Faculty Advisor The University of Rochester Band was organized by Frederick Fennell in the fall of 1933 as a marching band to play for the University football games. This was the limit of that year's activity. The marching band met again in the fall of 1934 and at the close of the football season there was felt a need for the continua- tion of the band as a concert organization. The University of Rochester Band then took on symphonic proportions and gave its first concert in January of 1935. Doctor Howard Hanson heard the concert and his enthusiasm for the band as a musical unit made possible a second concert in Kilbourn Hall. In the fall of 1935 the Symphony' Band was adopted as a credit course at the Eastman School of Music with Mr. Edward K. Mellon as faculty advisor. As a regular course the band has grown in size and quality. The purpose of organizing the Symphonic Band was an answer to the need and desire of raising the band from its depth musically to a concert organization of recognized merit and to create a stimulus for composition for the band. The band has broadcast twice over the National Broadcasting Company network on school programs and has given two concerts this year, one at Strong Auditorium and the other in Kilbourn Hall. Inf uunvfnsnv UF nucnfsnn SYMPHUNYBANU 86 1 1 i FHATEHNITIES U E EHAMTLRC H U N OFFICERS Virginia Anna Shrimpton .... . . President Betty Ward . . . . . . . . Vice-President Margaret Lau . . . Recording Secretary Cornelia Hughes . Corresponding Secretary Lois Hillman . . . Alumnae Secretary Helen Hutchinson . . . Treasurer Grace Murphy . . . Chaplain Betty Starley . Warden Delta Omicron, national musical sorority, was founded at the ACTIVE MEMBERS Cincinnati Conservatory of Music, Cincinnati, Ohio, on Sep- tember 6, 1909. The purpose of the organization is to create and foster fellowship among musicians during their student days, to give aid to worthy women musicians, and to further the cause of American Music. Students of high personal character who are taking a full course in the department in which they are majoring and have maintained an excellent scholarship record are eligible for membership. Rho Chapter gives a scholarship of one hundred dollars annually to a worthy and needy member. Cornelia Hughes Corresponding Secretary June Bruce Betty Fairbanks Barbara Harger Frances Hoopes Thelma Kenison Thais Marasco Claire Ellen Roberts Helen Louise Riedy Louise Snyder Emma Suiter Mary R. Williams 88 ACTIVE MEMBERS S I G MIIGBVIA 'IAH1!-TAPCIHIAIATERI U Il- A OFFICERS Kathryn Kettering ..... President Elizabeth Gearhart . . Vice-President Lois Van Vechten . . Secretary Ruth Brigham . . Treasurer Katharine Munson .... . Editor Charlotte Jenney Lulu Ray Johnston Dorothy Knight Eleanor Knight Charlotte Krick Eleanor Lawatsch Lorraine Martineau Audrey Mason Harriet Morgan Jean Beers Ruth Clemons Dorothy Codner Chari Couch Mary Eidam Janina Gorecka Hilda Grey Virginia Gustafson , Virginia Gardner Sigma Theta Chapter of Sigma Alpha Iota has had another busy year. A formal musicale in Eastman Dor- mitory for Freshman Women, another in Kilbourn Hall for all Women eligible for election into sororities, and a treasure hunt with cars were the outstanding events of the first semester. Eleven girls were pledged this year, eight of whom were initiated in March. The chapter gave two receptions during the second semester: one on March 17 for a former member, Rose Marie Brancato, after her concert in Kilbourn Hall, and another after Lotte Lehmann's concert in Eastman Theatre on March 20. At that time Mme. Lehmann was made a National Honorary Member of Sigma Alpha Iota. Lois Van Vechten Secretary 89 Eleanor Partridge Georgia Putnam Esther Rasche Marie Rohr Frances Schott Gladys Shaw Julia Wilkinson Mary Kay Wood Eleanor Zimmerman 11:r.lf, zza K K tsl l t.n, r1la.t S , iiir E 5.b. i h I 5 , IVIUPHIEPSILUN sister QRS ' risk QW is M,5.....,v..........r NX Ss? SSR SN QS? Nm? . S' 15' Q! rg , 55:1 . 'T Jf W ' r i 3 '-X -.5 X ' 1 5 5 E .- X g .,. ,, -12 ' .gh x i . Y dsx ' rv.- :2- ii, . , ' 'D i - k ,X ' W l Q ,fx Xi - ig. . 9 er .xy P- ., :Q is N Q ax- P- W - .X . swrq X x'-Ms-of - .E .X,,. '- 'sl f-i Sr . ee, Q ' ., N A , X.AL to r. Q . fwe at Q? 1 ,gr p A .M N,.xx - ,- ..,.,,, t kd k ., . . . ' -' 5' - 'ACTS X 'A N f .. ,E5:.YZx..x L, ,Xi .sk f g z xl x QQII ,f tg i. ,,,, r ' it . - ACTIVE MEMBERS Margaret Brandt Mrs. Mabel Cooper Maxine Couch Harriet Hoppe Virginia Hover Vera Mintrum Mildred Randall Gladys Rossdeutscher Hazel Sampson MU UPSILON CHAPTER OFFICERS Wilda Tinsley ...... President Beatrice Parish. . . . Vice-President Ruth Gill . . Corresponding Secretary Catherine Crozier . Recording Secretary Shirley Cowlbeck . . . Treasurer Lois Marsh . Historian Erna Mae Gilcher . . . . Warden Martha Barkema . . Chaplain and Choirster Ruth Northup .... Alumnae Secretary The Mu Phi Epsilon sorority was founded on No- vember 13, 1903. Its object is to promote musician- ship and scholarship, for which the Mu Upsilon awards an annual scholarship and a prize of twenty- five dollars. Among this year's activities of the Mu Upsilon chapter were the annual entertainments for entering and upper-class non-sorority womeng a dance and a benefit bridgeg a benefit recital given by sorority members, a recital given by George McNabb for the scholarship fund: parties and musicales at the homes of patronsg a tea given by the Alumnae Club on Founder's Day. V 1, 90 PHI NIU ALPHA SINFUNIA ALPHA NU CHAPTER OFFICERS Harry Peters. . .... . . Robert Weiss . . . Vice Donald MacDonald . . . Charles Greybeck . Herbert Harp . . Parker Taylor . ACTIVE MEMBERS Donald Allton William Clemons William Koogler Byron Arnold Douglas Danfelt Robert LaMaster Albert Astle Lee Fairley J ack Lowe Richard Bales Frederick Fennell Frederick Marsh George Barr Frank Henck Walter McCown Charles Bergener Clement Hutchinson Donald Menz Raymond Berry Homer Keller George Merrill Melvin Clement Frederick Kimball Robert Palmer Phi Mu Alpha Sinfonia Fraternity was founded in 1898 at the New England Conservatory of Music. Since then sixty-three chapters have been granted charters, making the Fraternity a national organization. Alpha Nu Chapter was installed here on January 24, 1925. The chapter numbers among its Alumni some of the finest performers and teachers in the country, while the National Organization includes on its roster the names of nearly all the great men in American Music The chapter maintains a house at 17 Portsmouth Terrace, where Sinfonians are always welcome. Donald MacDonald Secretary 91 Presiden t Presiden t Secre tary Treasurer His torian Warden Hugh Robertson Harlan Rogers Louis Saverino Donald Shearer Theodore Stapleton DeWitt Thornton Litchard Toland Gerald Vogt Orville Willson ik sr 'Ear 'wi ' ,:, ' rgir . . Wh .ms-...W N Serb ' X 'X' s ir X . X N , w. S rs., X Q my r .XV ' X, - ':. 1N l 'MMWWNWWN WWW srmxxxxxsmw-xisws'f'R3:Ri'i'i'5v. 5 ., .f v. . - ...IR 4 ,. X i Q i ., r . X v x .ff X 4 :Sk QW -vs. N gag Q81 OFFICERS Gladys Shaw . . . . President Catherine Crozier . Secretary Gerald Vogt . Treasurer Since the Fall of 1922 when the Organ Club was first begun, it has been a prominent organization in the school. Mr. Gleason was its originator and the good times for which the club is noted have been largely due to his and Mrs. Gleason's efforts. The members of the club started out this year with a picnic at Jerry Vogt's cottage on Conesus Lake. The next party was at the home of Mr. and Mrs. Gleason, where new members were initiated. In December Marie Rohr entertained the club at her home and the sleigh ride in February brought back the old tradition that had been lost for several years. The many activities which are planned for the last part of this year will uphold the Organ Club's social reputation. . f - , AJ 5 , 9 lf ilu,-'A 1 ' ,. l .. e f, wg ' V j ' ff , Catherine Crozier J h.,,n,,,- 1, 'F I sf l Nts. 7- VL. ,, 3 X 2 ' f X I L, .I I, T lp f Lv.. J ' ,Secretary ' Mil' C I? 'I 'li 4yv V. :ff 7 A if J A wr 1 Q X X , 5 ix it 14,12 4 . , F T ' N 1 ' 'Ml' ff! ' 2' 7 ,rf 1 J J. if I X , ' K ,W r 1 if Y . . . . .r in ' l if : O X Q!! 1 A Y K r V 'jew l I. ,' V 1 i URBAN ELUB 92 - V . - - . .f . - - , , . 1 1' ACTIVITIES ORVILLE WILLSON DR. EDWARD W. MARJARUM FRANK HENCK Editor-in-Chief Faculty Advisor Business Manager THE SEUHE 1936 It has been the constant aim of this year's staff to publish a book worthy to bear the name of the Score. In answer to the demand of the subscribers for a Year Book with less photographs and more literature, a larger Editorial Staff was appointed. Let it not be said of this Annual that a few minutes could ruin an entire year's task. The article on American Composers alone is worth the price of the book. ' The Year Book was planned on the basis of the best possible record of the School year 1935-36. We regret very much that due to the small budget, it was necessary to eliminate the cartoons. However, if in future years, the Score is fortunate enough to increase the subscription sales, it may be possible to include them again. If this issue of the Score aids the students in some measure to a better understanding, as well as accomplishes its purpose of recording the events, history or otherwise, of the Eastman School of Music, the work of this year's staff will not have been in vain. is Mildred Wolf . . Elizabeth Hamilton Betty Allen . . Gerald Vogt . Robert Weiss Jack Lowe . Ray Berry . . EDITORIAL STAFF Oren Quick, Luella Hinkle, Aaron Pratt . . . . Associate Editor-in-Chief . . . Assistant Editor . . . Art Editor . . Assistant Art Editor . . Photography Editor . Assistant Photography Editor . . . Feature Editor . Assis tan t F ea ture Editors Anne Paulus, Charlotte Rounds . . Ruth Gill, Gladys Shaw, Lois Van Vechten . Marion Alt, Dorothy Knight, Mary Titus, Wilda Tinsley . Elizabeth Hamilton Lois Gieger Constance Clare . . . Snapshot Editors . . . Senior Class Prophecy Editors . . . . Copy Editors Eleanor Lawatsch Subscription Manager Advertising Manager STAFF STAFF Mary Bowers Margaret Grove George Merrill Frank May William Clemons Louis Saverino Walter McCown Elliot Morgenstern Margaret Waderlow William Clemons Gladys Appitzsch Edith Harrison Barbara Murray Mary Lawrence Lillian Sinclair Vera Mintrum Robert LaMaster Marion Alt Dorothy Codner Donald Allton Hugh Robertson Lois Van Vechten Ruth Melville Roger Boardman Mary Dann Walter McCown Elliot Morgenstern Clarence Nice Richard Priess George Yaeger Mary Lawrence Gerald Ingraham Douglas Danfelt William Rader Betty Starley Jeanette Alexander Helen Bent Melvin Clement Robert LaMaster Catherine Crozier Dorothy Codner Eleanor Knight Donald MacDonald Editorial Stal? Business Star? STUDENT l ASSUEIATIUN OFFICERS Herbert Harp President Eleanor Lawatsch Vice-Presiden t l Elizabeth Hamilton Secretary Frank Henck Treasurer Harp, Lawatsch, Henok, Hamilton Red and white checkered napkins, beer-bottle candlesticks, and a competitive class floor-show provided the atmosphere for the Cabaret dance sponsored by the Students' Association in October. The Alan Parks Tea Room was filled to capacity, and what a time we all had! One of the most successful social events of the year, it paved the way for the annual formal in March when tradition was again observed by having the dance in the Mezzanine. One of the finest accomplishments of the year was the series of convocations inaugurated and directed solely by the student council. Many speakers, including Dr. Alan Valentine, Dr. Dexter Perkins, Rabbi Phillip Bernstein, and Mr. Arthur See, have been represented on these programs. The Association has many plans for next year and is already making additions to its schedule which may be of deiinite value to the student body. 96 sPu,HIs The Eastman School of Music provides for the use of students all necessary gymnasium equipment for organized indoor sports, but does not advise practicing such sports too seriously because of the hazards of injury to a specialized musician. Nevertheless, intramural competition is keen although during the course of the season several games are necessarily forfeited due to conflicting activities. The 1935-36 season revealed the Juniors to be a team showing unusual team- work, and the Number 1 Volleyball players. The Seniors, defeated for the iirst time at Volleyball, retained the basketball championship for the fourth consecutive year, although the competition of the other three class teams was much stronger. A new game introduced in the school deserves recognition, as proficiency at it is being gained by many students. Evidently the motor control and reaction of music students has found an adequate stimulus in ping-pong, an indoor game not to be taken lightly. Even the girls are developng enough skill on the table- court to astonish the men players, and to make an enjoyable contest of mixed doubles. There have always been handball and squash enthusiasts, to the extent that the court is in demand during all available spare hours. 97 BIG SISTERS The Junior Class, ever alert for new tricks, founded the project of Big Sisters this year. So great was its success in aiding Freshmen women to become more quickly accustomed to a new environment, that the Sophomore Class has gladly accepted the challenge to carry it on. The plan of Big Sisters is to have a Junior girl responsible for a Freshman girl during Freshman week and the first week of school. The Freshman class was so large this year that each Junior had two little sisters and the majority had three. Questions were answered, advice was given on clothes to wear, furnishings for rooms, where to purchase things, etc. Introductions to upper classmen were made and also Freshmen became better acquainted among themselves in less time than other years. During the summer letters were written by the Big Sister to her prospective Little Sister, volunteering.to answer any questions the little sister wished to ask, informing her about the school, climate, things to bring, etc., and welcoming her to her new home. In many cases last summer quite an extended correspondence was conducted and formal introductions between Big and Little Sisters were hardly necessary. At the conclusion of the first week of school-September 28th-a big picnic was held at Ellison Park for Junior and Freshmen girls. It was a glorious afternoon of fun and companionship, and everyone agreed that the pangs of home-sickness, so common in the first few weeks, were dealt a deadly blow by the new project. The Junior Class wishes to express appreciation to the Administration and Student Body for their splendid cooperation, and to extend to the Sophomores best wishes for continued success in this undertaking. sl 98 THE SCORE OWES A DEEP DEBT OF GRATITUDE TO THE ADVERTISERS, WITH- OUT WHOM, THE ANNUAL COULD NOT BE PUBLISH- ED .... THE ADVERTISING SECTION OF THIS YEAR BOOK CONTAINS THE AD- VERTISEMENTS BY RELI- ABLE CONCERNS WHOSE PRODUCTS OR SERVICES ARE OF MERIT. THE SCORE ASKS THAT YOU PATRON- IZE THESE ADVERTISERS AS MUCH AS POSSIBLE AND MENTION THE YEAR BOOK. FEATURES ANU AUVEHTISEIVIENTS FACULTY BUHLESUUE The Chief asked me if I wasn't a musician once, and I had to admit it was true. Well, get over to the Eastman School. There's a student missing, and it looks like somebody on the faculty is mixed up in it. You'd better not let on youire a detective. Here's the dope. Good Luck! I took the piece of paper he handed me and beat it. One John Freshman, a student, had suddenly disappeared. The student body was upset about the whole thing and inti- mated the faculty knew more than they were telling. It was up to me to get something out of them and find that student. I finally decided I'd say I was from some town' out West and our Music Teachers Association had asked me to visit the school so I could tell them about it. It was pretty feeble, but I couldn't think of anything better. When I got to the school the registrar was nice about it and suggested I visit some of the classes. He called in a young man standing in the hall and introduced us. The young man said sure come along, he was just going to class. We went to a room in the Annex. A few students were already there, but what interested me most was a man sitting at the piano playing scales and arpeggios up and down the entire keyboard. He had every appearance of being in a trance, as he noticed no one and was serenely oblivious of the terrific amount of sound he produced. Unable to take my eyes away from him, I was suddenly horrified to notice the grand piano begin to rock. At first only a slight shudder, the movement began to gain momentum as he continued thundering up and down on the keys. The playing grew louder and louder, the piano rocking from side to side, until I was sure it must at any moment turn turtle. What might have happened had he continued I do not know for at that moment he began to play Goetterdaemmerung from memory. This was followed by the Brahms Paganini Variations and he finished off with the Schu- mann Carnival. The only change I was able to notice in the man himself was that his hair got mussed up. This he combed with his fingers. Then he stood up and calmly began calling the roll. When he came to John Freshman's name he said he supposed the reason Mr. Freshman never came to class anymore was that he was writing starts and couldn't stop. That was all the information I got because before I could speak to him after class he had seated himself at the pinao. As I left he was playing scales and arpeggios again. We were early for the next class so we went into a little room I later learned was an office. I was introduced to several people, but it was with difiiculty that I made out where they were sitting as the room was filled thickly with smoke. As I became accustomed to the atmosphere I discovered the cause of it. Each man was smoking a pipe. Lighting a cig- arette in self-defense I settled back to listen to the argument that was going on. My escort addressed the man sitting at the desk. I ,think the Metropolitan has the best chorus in the country. How do you feel about it? Well, I'1l tell you. I agree in a way. But SAY have you heard my choir at Brick Church? With a sudden inspiration I interrupted: Isn't Johnny Freshman in your choir? I was completely ignored as the man at the desk suddenly began rummaging through a pile of music. Discovering what he wanted he held it up for the others to see. It was Stravinsky's Symphony of Psalms. Do you see this? We're doing it a week from Sunday and if those tenors just come in here right -he sang to illustrate- it's going to be swell. Somebody noticed the time and the group dispersed. I had an idea there might be something here to give me a clue. Since nobody appeared to notice that I wasn't leaving too, and my former companion had apparently forgotten about me, I had a free hand. I went through the entire office carefully. What I found gave me plenty to think about. The man with the choir was certainly implicated in the disappearance of the student. I went out quietly with several papers hidden in my pocket. I was free to go where I chose and wandered around trying to listen at doors. I didn't have much luck until I notice one door partly open. I heard: La vee doo college est laboroose, et c'est par la qu'elle est bun-- I looked through the glass. The teacher seemed to be suffering. She fiinched at every word. Finally unable to stand more she stopped him. 100 Have you been over this before class? Well no, but you gave us such a tough assignment I got stuck. She shuddered at the vernacular but went bravely- on. How much did I assign for today? ' The class chanted in unison: Fifty-five pages of translation into English, a hundred sentences to do, read one book and be able to tell the complete story in French, and memorize ten pages of idioms. Her reply to this staggering summary was lost, for someone down the corridor gave a loud and excellent imitation of Donald Duck in a frenzy. The class began to laugh. She asked what it was. ' That's Donald Duck, she was informed. I was unable to guess whether she knew about Donald Duck but I did know she was very unhappy. When she spoke again her voice was full of sorrow. I cannot understand why students pay good money for an education and then prefer Donald Duck to the French Classics. I never could stand by and watch a woman suffer, so I went away as quickly as possible. But I had learned what I had wanted to know. This woman was involved in the case of the missing student. The library seemed a good place to think things over, so I went down there. , When I went in it was deserted except for one person bending over some music. I sat down andntook out my notes. I had the thing pretty well figured out, but the greatest mystery was where the body was hidden. I'd prowled around just about everywhere by this time and there wasn't a sign of one. I was about to give up and go get some coffee when a female shriek from the back room brought me to my feet. My studious companion also looked up. . Er-I say-is something-er-wrong? What I mean is-is-- ' I didn't answer him. In the back room I found a very frightened young lady. What scared you? Look! She pointed to a mound of books and papers on the fioor back of one of the tables. It moved! Open the window quick. Call an ambulance. I began throwing books and papers in all directions. Maybe he's still alive. So that's what they did with him. In another minute I had him uncovered. He was breathing but unconscious. John Freshman! gasped the girl. I put him gently on the table and rubbed his wrists. Er-excuse me-but do you need-er-any help? Yes. You can show the ambulance men the way in here. Oh yes, of course. He went out just as the sirens screamed down Gibbs street. I didn't go to the hospital with John Freshman. I had to go through that pile of books and papers and I could phone the hospital later. I began sorting the things. Grove's Dictionary, Goetschius, music histories, theory papers, dictation papers of all kinds. French, German, Psychology books, English literature,-that was just a beginning. It was late when I finally finished. The building was dark and deserted as I found my way out into Swan Street. Oh-er-hello. Is he alright? I looked up to see the young man who had been in the library earlier. I said I was just going to phone the hospital and find out. Do you mind if I sort of come along? No, come ahead. You can have a cup of coffee with me. We went into the White Tower and while the hamburgs were cooking I phoned the hospital. The reply was what I expected. The boy was resting. Sheer exhaustion and overwork. The summer vacation would put him in shape. But he couldn't be questioned. I devoured four hamburgs and ordered four more. Then he asked me about the mystery. I guess this case of John Freshman can't be solved very definitely, I told him. We can't convict anybody. I had it figured out almost the whole faculty was guilty of at- tempted murder. Tried to kill him by piling on more and more work until he would either suffocate under the accumulation or die from exhuastion trying to keep it cleared away as fast as the professors piled it up. I've got proof against enough professors to fill a jail but there's two thing stopping me. This school is pretty well known and I guess John Freshman had a, fair warning this might happen. Besides, he's going to pull through and plans to come back next year. I guess I'll just turn in a report-missing student found. I paid the bill and we went out on the street. We shook hands and I said goodbye. So long, he held up his hand in a mild salute, see you later. Q Sibley's clock struck one. I thought to myself it was pretty late now. A 101 A Ilisquisilian an the Value al Earuanlry al Eastman Ye Heavenly Muses, who from thy dwelling on the Ellisonian mount love to sing to men, be now my divine inspiration and guide in the presentation of this hitherto unsung idea. As thou assisted Milton in his immortal work in which he related in so brilliant and vivid a manner the fall of man and justified the ways of God to His creation, so with me be thou as e'er-present and as ne'er failing, assist me on this great and solemn occasion. Omnes res omnium non possunt, all things are not in the power of all. As everyone naturally aspires to greater heights, recognition, and power, it can be taken for granted that institutions of learning also wish to gain positions in the highest possible rank. If the officers of the administration of the Eastman School of Music would like to have the attention of the populace focused on this school and have it marked as the most progressive, highly developed, efficient, and ultra-modern of institutions, they would very seriously consider the addition of the .Fine Art of Carpentry to the curriculum. A course so advantageous in its multifarious possibilities as this, would be found indis- pensible after brief experimentation. For this new division of study we suggest that the versatile Dr. Howard Hanson be chief architect and designer, that Mr. A. I. McHose be the teacher of mechanical drawing, as he can very readily furnish unlimited permutations and combinations, and that Paul Insistence White be head foreman of the shops. The percussion section could furnish almost all of the tools necessary, having had its supply of instruments greatly augmented by the ever-increasing passion of the American Composer for new sound effects. In importance carpentry would parallel the study of theory. The theory course in the Eastman School of Music, even now considered the best in the country, would benefit greatly as a result of the co-respondent subject. Such advantages will be discussed- in turn. Oh, Muses, fail me not at this critical moment in my career. Sing, ohsing! .CBut please remember, dear Muses, to refrain from the use of thy favorite parallelfifths, for, thou knowest, they are not accepted in good convention these days, except by some freshmen and modern composersi. Express thyselves this day only by singing, lay aside thy use of horns, for they would not assist thee in making the impression, thy listeners at Eastman are accustomed to the great pomp and circumstance of a horn section. In all thy mag- nificence and splendor, the advantages and virtues of this proposed innovation, recount. Noscitur a socio. - As powerful in its own particular field as Circe and her magic, or Mercury and his knowledge of the ways to resist sorceries, is pitch recognition, or absolute pitch, which is so beneficial especially to students of theory, and to musicians in general, that more persons should be aided and encouraged, in acquiring this adamantine art. The monoton- ous drone of the buzz saw, with its variations in pitch due to an occasional knot Ccom- parable to the more or less subdued noise arising from some of the personages on the mezzanine during a concerti will enable the young artist to distinguish both quality of wood and quality of tone. And what could further the development of pitch recognition more than the persistent high C of the buzzing lathe? Rhythm, the Scylla, nay the Charybdis of so many of the students at the present time, would become almost second nature to them after having learned, and practiced for hours, the fundamental process of Carpentry-namely, driving nails Cnot to mention the modern and rather discordant harmonies resulting from time to time from the vocal exercises extorted form the pained martyrs who miss their marksi. As the case now stands, the teachers are noted for their driving, and the students for what we might term an untrained and undignified knocking. Part-writing, the vicious Cyclops, could be made much less terrifying by the study of an important phase of carpentry-stair-building-for the matter of step-wise progression would then lose its formidable aspect, and the rules would be violated less frequently. Musical form, although often ostensibly disregarded by the American Composer, is, in reality, an integral part of any composition, ancient or modern. We know that the same is true inf carpentry. If, for instance, an inspired young composer, desirous of writing a symphony, were first to build a chicken-coop, considering thoughtfully its unity, design, complexitiesiof structure and symmetry, combinations of material, and other problems of interesting variety, he could then sit down and undoubtedly write a symphony which would be a veritable masterpiece. For are not chicken-coops and symphonies both pro- ducts of an imaginative and constructive Genius? -Q P. Pipe Pindelfeather 102 A NEW STEINWAY GRAND PIANO uThe Instrument 0 the Immortals IZE 5 1 to ht the modern room PRICE to flt the modern budget UAl.ll'Y Steinway throughout Thls superb new lnstrument lS a true Sllfilll way ln every sense of the word It IS as perfectly Stelnway Concert Grands used ln recital by Hof mann, Paderewskl and Rachmanlnolf Crafts men many of whom have been wlth thls com pany for ten twenty thlrty years, apply their rlch experlence to lts bulldlng FOR ONLY AND ON VERY LIBERAL TERMS The need for a plano of Stexnway quallty prlced at less than one thousand dollars has been very day are made to sell, rather than to provlde a hfetlme of pleasure Yet, ln the face of lnslstent urglng to brlng out a new smaller lnstrument, Stelnway chose to proceed slowly and Walt untll excellence could be assured WHEN YOUR WANTS ARE MUSICAL COME TO Tl UIQ I III1 LUV. r R TORE3 EVERYTHING IN MUSIC MUSICAL INSTRUMENTS PIANOS ORGANS RADIOS li 41 E Sr 33 SoU'rH Sole Steinway Representatlves for Rochester and Vlclnxty so as . If 99 S - I u ' U. . . D . - . . . , . ' 9 constructed . . . of as fine materials . . . as the generally acknowledged. T00 many pianos, to- , . . . I- .. . , . . 0 I , C , I I I . ln . I . . V 1 - I W K V O I V . 103 astman ohool of Music of the University of Rochester HOWARD HANSON, Director Raymond Wilson, Assistant Director and Director of Summer School W Collegiate Courses Lead to the Degrees: Master of Music Master of Arts Bachelor of Music Bachelor of Arts Doctor of Philosophy in Music Q' Fall Termi0pens September 22, 1.936 The Eastman School Can Admit Only a Limited Number of Students to Its Entering Class EARLY REGISTRATION IS THEREFORE ADVISABLE Y For Catalogue and Information Address: Arthur H. Larson, Secretary-Registrar Eastman School of Music ROCHESTER, NEW YORK l 104 PQRTRAITS JCDSEF SCHIFF THE THAEEIJT UE LITTLE MASTER NIUE or WHAT HAPPENS TO MASTER STUDENTS Little Master Mug, the son of the well known Beer Mug, lived in Aleland. Like all other little boys he had a hardy childhood, and was promptly started to school at a fit and proper age. The spells of reading and writing soon wove themselves around him and his ability to absorb vast quantities of knowledge became ever- more increased. The years passed on and Little Master grew round and pudgy, with a large oval face and a larger oval stomach, while his head began to swell with the multitudinous facts that he was constantly cramming into it. Like the otherlittle boys he went to high school and poured over his books late into the night. Now it was customary in Aleland that all good little mugs should prepare themselves for the Bar, but unlike the other little boys, Little Master designed that his life should be different. His ever increasing ambition became the result of his increasing knowledge and his mind grew larger with the desire to break from his restraining handles and explore the world. He had heard of the great expanse called college and he sat his mind's eye in that direction and foamed and fumed until his parent decided that for the peace of the family and the experience of his son, Little Master should be allowed a brief excursion into College Land. With an effervescent burst, Little Master proudly packed his prizes and started off, but not before his mother had duly warned him of the vices of the world and the hazards of intellectual living. But Little Master was coniident of his strength to cope with the world,'and began his long journey into Education. It was not an easy job, but he had what are commonly known as brains, and with this equipment he applied himself quite well. For four long years he toiled and fermented and grew rich and mellow with knowledge. And when at the end of this long excursion he returned to his native Bar, he felt his equipment far superior to the state in which he was ex- pected to remain and the pangs of thirst for more learning descended once more upon him. His parental influence, however, warned him again against the hazards of too 106 much knowledge and the evils of forbidden fruit. But Little Master could resist the temptation no longer and once again directed his way toward Education. When he entered the realm of College Land, he was informed that no longer could he be a mere student but that he must pursue some masterly course and write a long thesis and speak in big words that would astound the undergraduate. So Little Master began to assume a sophisticated look and to delve into the inner resources of libraries for unusual expressions. ' At first he was delighted with his new position. He could sit in reserved sections of libraries and read rare old books reserved for special study. He could demand much attention for his subject. But the deadly side of his new avocation began to reveal itself, and Little Master found that he must sit through long hours of awful lectures on dry subjects and dead people. He learned to assume an ex- pression of perfect comprehension as a veil for a few minutes recovery of long needed sleep. He learned the art of nodding mechanically and changing his counte- nance to suit the occasion. He learned to take copious notes and scan books hurriedly but effectively. He began to see the orgy of writing term papers and special papers pile up before him. He encountered the fiend of Outline and spent long hours pondering over ways to please committees. Little Master's pudgy little face began to thin and Wane, his little round oval belly began to languish, and his shoulders began to droop before the weight of huge volumes which Little Master had to tote around. His eyes grew watery and he had to buy glasses. He became a victim of chairitis, a disease common among long sitters. His little rump grew sore, and his little fingers became calloused from writing while his brain became more and more fatigued. Poor little Master! A sorry little figure he had become. His mind reeled with figures and dates and data. He had great stacks of notebooks with closely typed, hard-to-read material filling page upon page. He began to be cross, sour, suspicious. At last he became very, very sick. He was sent to the hospital and languished there for weeks in a delirium of horror. His head ached, his blood ran thin, his body was wracked and worn. His pulses were very abnormal and the doctors moaned for his recovery. And Little Master didn't care. The thought of facing the routine of deadly lectures and awful classes, of terrible interviews and ghastly research was capable of causing his relapse on several occasions. But at last he emerged, apparently recovered from his attack, but far from well. . And Little Master Mug finished his course. He graduated with a new vestment and a new piece of paper in his hand. By all the signs of Education he was a more learned man, but Little Master was a broken man. And Little Master went forth into the world to make his living, but his frailty brought him to a hurried end. And the epitaph which little Master left behind to adorn his tombstone reads as follows: ' Ye who seek the pleasures of life, avoid its wisdom. 107 E. R. ANDREWS PRINTING COMPANY Aqueduct Building . I Rochester, New York Koogler-Shall we waltz? M. Lib-It's all the same to me. Koogler-So I've noticed. Miss Halstead-It's the chief of police asking about the new nudist colony on the outskirts of town. He wants to know if we would advise him to look into it. Mr. McNabb-I'll say! And what's more, I'll tell him where there is a swell knot-hole in the fence. Nixon-I gave a girl a hundred kisses last night. Fairley-Consecutively?' N ixon-N o, passionately. Mr. Vas, vacationing-In your literature you said there was a nip in the air after sundown. Hotel Proprietor--Yes, sir. Mosquitoes. Bales-Are you the man who cut my hair last time? Barber-I don't think so, sir. I've only been here six months. I'sh 'fraid t'go home. Wife shmell m'breath. Hold ya breath. ' Can't, 'stoo strong. To Teacher and Pupil We have the Art Materials you want. Our department of Artists' Materials is kept on a plane of excellence and service which makes for the continual satisfaction of its patrons. Complete Assortments in Materials for Life Drawing, Free-hand Drawing, Illustra- tion, Easel Painting, Oil Color Painting, Water Color Painting, Mechanical Drawing, Show Card Writing, Modeling. We give prompt attention to Mail Orders Barnard, Porter f-5'-' Remington 9, 11, 13 North Water Street Main 8140 C. M. TOPLIFF Organ Builder We Modernize Old Instruments Yearly Contracts a Specialty Over 150 Pipe Organs in Rochester and Vicinity under our care at the present time Office: 41 Strong St. Rochester, N. Y. A Store of Specialty Shops The Greater Store features, under one roof, a multitude of Specialty Shops, devoted to your needs and req uiremen ts. COAT SHOP MILLINERY SHOP BABY SHOP JEWELRY SHOP DRESS SHOP FUR SHOP DECORATING SHOP CORSET SHOP G01 Sibley, Lindsay 85 Curr Co. 108 It's better to be broke than never to have loved at all. Sterling Smith-I'm a little stiff from bowling. Coach Davis-I don't care where you're from, get going on the gym floor. Mr. White-I'm a man of few words. Mr. McHose-Yeah, I'm married, too. Mr. Monahan-Hey, you-making a hole in the wall? Frosh-No, just improving the ventilation. Mr. Riker fin English 1-2,-Your answer is as clear as mud. Frosh-It covers the ground, doesn't it? Boner ffrom Music History examJ-In 1723, J. S. Bach, his wife, Maria Barbara, and part of his family to be, moved to Leipzig. Say we-how interesting! Dr. Fox fin Psychl-Now-a child may be mature right up to the hilt-. Dr. Fox Cin Psychj-Can anyone suggest any means whereby I can improve my lectures? Voice from rear-Have you tried selling them as Compliments of GEORGE AHLHEIM CO. Wholsale Dealers in Quality Butter, Eggs and Cheese 93 Portland Ave. Stone 5101 INSURE YOUR AUTOMOBILE and insure it for adequate limits in a stock company Don't Forget Residence Burglary Insurance R. S. PAVIOUR 85 SON, Inc. Lincoln-Alliance Bldg. All kinds of insurance except life S lullabies? ,, . . Q 5 Pamfefs SUPPIISS ag. LOCAL AND LONG DISTANCE U V l F Y M Sf' 3 Italafnag Isogiun ,Sify M MOVERS OF HOUSEHOLD GOODS 5? Always Paints of Quality 5 .5 Let Us Prove Our Claim 5 . , -E Loi: Prices for Quality Q Special Equlpmenf A ' . . E Sulpplies the Best for You Q for Movlng Planos 'gf On It You Can Rely 5 5 No Better Can You Do 3' E Phone Main 733 5 N. Water St. g 47 Parkway Glenwood 645-646-647 CHARLES MANN PRINTING CO. 433 East Main Street Rochester, N. Y. Stone 4976 ARTISTS' MATERIALS for Amateur or Professional TIZIAN OIL COLORS Easels, Water Colors, Brushes, Papers and all accessories obtainable at H. H. SULLIVAN, INC. Technical Merchandise Artist Materials, Drafting Supplies, Hardware House Paint, Blue Prints, Photostats. 67-71 South Ave., Stone 550, Rochester, N. Y. 109 Senior Class Prophecy-The lVlan:h uf lime This job of being a reporter isn't so hot, if you want my private opinion. It's bad enough to keep track of myself in this buzzing crowd, let alone--my heavens! Kay Mun- son? What are you doing here? Critic for the Yonkers Daily you say? It's going to be some festival, don't you think? Well, let's hurry--pushing seems to be the only way of getting into the theatreg and ten years ago we thought our May Festival drew crowds. Who's that important looking individual over there with the top hat, white gloves, tails, cane, and slightly longish hair? Richard Horner Bales, Esq. Kay, really, director of the Ziegfield Follies? Well, I'll be- Seems strange not having Charlie Greybeck and crew to escort us to our seats, doesn't it? These serious-faced youthful ushers must be the present student body. Look at this program! Our class of '36 is certainly well represented: The ballet Peach Blossoms by Gardner Read, choreography, George Kelver, with Thais Marasco and Hugh Robertson taking the leads. They've made quite a success as a dance team, haven't they?--And Kay, this ad I use the Steinway exclusively -Rudolph Wendt. My, this is a class reunion. A -I know it's time for Intermission Kay, don't poke me as if I were one of those ha- bitual concert dozers. Let's promenade. There's Hilda Grey over there! Isn't she stun- ning in that new electric blue rubber creation from Germany!! Why hello, Don Allton. Yes, I do like your new full dress-it's plain to see you're still the living advertisement for correct men's apparel. And Kay, there's Harry Peters over there-Let's go and talk to him a minute. Harry, you are studying for your Doctor's degree! Ten years of post- graduate work is quite a while-boy! Psst-there's the wife of the great band leader over there-oh you remember, she was Dorothy Codner .... good old Pudgy! Let's barge in on this little gathering over here by the fish bowl . . . you might know Herby Harp would be interested in the fish bowl . . . he's doing landscape gardening on the side, yes all sorts of things, frogs, lily pads and all the rest of it. And Catherine Crozier, how are you these days? You're on the faculty here you say? Fine! Fine! Oh yes there's Lois Van talking with Gerry Gearhart-I have heard that she has been down in Australia for the last five years teaching the natives to Hparlez-vous francais. Let's talk to them a second. Gerry, what are you doing-married? And to a Frenchman at that! I guess yours and Lois' trip to France that summer was fairly interesting. Oh dear, it's getting late, but we've simply got to say Hello to the Zinsmeisters and the Cardys over there before we leave here-Gee, you all look so swell! . . . I'm beginning to get homesick. Kay, let's leave before we break out in a tear or three. Bye now! 110 Senior Suuerlalives Class Manager-Herbert Harp Class Athlete-Harry Peters Most Popular Girl-Julia Wilkinson Most Popular Boy-Herbert Harp Best Girl Dancer-Frances Hoopes Best Man Dancer-Herman Moss Jolliest-Hugh Robertson Most Brilliant--Catherine Crozier Most Eilicient-Lois Van Vechten Girl Flirt-Frances Hoopes Boy Flirt-Donald Morton Wittiest-Richard Bales Most Romantic-Edward Preadore Most Sarcastic-Richard Bales Class Grind-Glenn Swan Class Baby-Donald Allton ,Best Dressed Girl-Hilda Grey Best Dressed Man-Herbert Harp Most Talkative Girl--Ruth Gill Most Talkative Man-Donald Morton Most Natural Boy-Ralph Rozzi Most Natural Girl-Julia Wilkinson Most Conceited-Kathryn Kettering Best Sport-Hugh Robertson Man-hater-Virginia Ann Shrimpton Woman-hater-Charles Greybeck Greatest Bluffer-Shirley Cowlbeck Most Studious-Glenn Swan Most Indifferent-Gardner Read Most Unselfish-Grace Murphy Class Giggler-Katharine Munson Most Vivacious-Dorothy Codner Married First QMaleD--William Foote Married First CGirD-Helen Hutchinson 111 EVERYTHING FOR THE GARDEN SQ HART 85 VICK SEED STORE Corner Stone and Ely Streets Main 1200 PRINTING-Personalized Letters, Multi- graphing, Mimeographing, Individualizing, Addressing, Mailing Lists. Stone 567-Main 6199 THE ART PRINT SHOP, Inc. 77 St. Paul Street Rochester, N. Y. THE ASTER CANDY SHOPPE Lunches, Sodas, Candies and Ice Cream 593 Main St. E. Cor. University Ave. A. W. HOPEMAN 85 SONS CO. BUILDERS riff Rochester, N. Y. GEO. T. BOUCHER FLOWERS 422 Main St. East Rochester, N. Y. Opp. Eastman Theater Greenhouses, Peniield Road, Brighton Flowers For All Occasions J. B. KELLER SONS, INC. FLORISTS 25 Clinton Avenue North Phones-Stone 484-485-486 MEMBERS NEW YORK STOCK EXCHANGE INVESTMENT SECURITIES 17 GEORGE D. B. BONBRIGHT CO. 100 Powers Bldg. Rochester, N. Y. We Wish to Thank You For Your Patronage DOWNYFLAKE Doughnuts and Lunches 385 Main St. E. Main 8408 Rochester, N. Y. Rochester Church Bulletin-Morning Service at 10:30. Prepare for the Worst. Quartet will sing. Shall I take this road to Rochester? No need. They have one. Scared? said George Kelver, I had to run side- ways to keep from Hyingf' B. Giddings-Will this coat shed water? Furrier-Did you ever see a raccoon carrying an umbrella? 4 Walsh was singing in the hall. W. Gauss-Hey, whaddye think you're doing? J. Walsh-Just singing to kill time. W. Gauss-You certainly have a swell weapon. Who was it-Jonah, or Cosima-who said: You can't keep a good man down? H. Kurtz-That singer had a large repertoire. E. Easton-Yeah, and her dress only made it look worse. Waitress Cat the Downyflakej-Milk or water? Any Eastman Student-Don't tell me, let me guess. 112 HART'S Rochester's Greatest Grocers Q01 STORES ALL OVER TOWN Compliments of O'BRIEN RITZ MARKET ROCHESTER BOOK BINDERY A Good Binding of Personal Place to Collections a Specialty EAT 165 St. Paul Street Y. M. C. A. CAFETERIA Complimnts of W E G M A N ' S Mr. Soderlund-I could dance on like this forever. Betty-Oh, I'm sure you don't mean it. You're bound to improve. Allton-Have you done your outside reading? Willson-No, it's too cold. Miss Cummins--Comment ca va? Hover-Lousy. T. Marasco-Can a girl live on love? B. Howard-Yes, if she stays single. Dottie, your lips are just like rose petals. Really, Freddie, I must say Good night. With Bowers, Dottie? Walsh-I'm constantly breaking into song. Hover-If you'd get the key you wouldn't have to break in. She: Go back and lick him, you coward. He: What do you think I am? A lap dog? Miss Weed-Now, Lodema, try and imagine that you're Juliet and I'm Romeo and say- My dear, I LOVE you. Lodema-Oh! Can't you be Clark Gable or Robert Taylor? 113 Compliments of COMBINATION LADDER CO. 818 South Ave. Compliments of LIGGETT'S DRUG STORE Corner of Main and Gibbs LWALDERT oPT1cAL co. Always better Glasses . . . Never Higher Prices 56 East Avenue RUDOLPH SCHMIDT 85 CO. Sporting Goods and Radios Kodaks, Field Glasses, Electrical Appliances 43 South Ave. 1. Sidesnow. 4. Only God can make a 6. Absent-minded. 9. Bigamy 2. Return to the native. tree. 7. Rushing the season. 10. Fan-tan, first down. 3, Cheerful Cherub. 5. Hornswoggling. 8. One on the house. 11. Double-barreled. A 12. Shiek and stooge. 1 14 The Great Lover. Attic artist. P. S. M.-1986. Oh, yeah? Collegiate, no doubt. 9. Mrs. McG. 13. Civic virtue. Four out of five have it. 10. Swan Street Campus. 14. Evidence. Archaeological specimens. 11. Essie. 15. Secret of my success. Passport de luxe. 12. Tristan! . . . Isolde! 115 First Frosh--Are you going to hygiene lecture this afternoon? Second Frosh-Naw, I heard an organ recital last night. Weiss-Do you kow anything about flirting? Mr. Kieth--I thought I did, but she married me. Ingraham-My Girl says I'm the apple of her eye. Kelver-Tell her if she isn't careful such green fruit will make her sick. Easton-The budding romances in this fair hall of learning remind me of the well-known Sands of the Desert g they shift so easily. Paulus-Yeah, and also grow cold. W. Myers-You surely are a swell dancer. M. Wood-Thanks. Sorry I can't say the same for you. W. Myers-You could if you were as big a liar as I am. Mr. Genhart Cin chorusj-Some of you altos come in too late to happen. There was a tooter who tooted the flute, He tried to tutor two tooters to tootg Said the two to the tutor, Is it harder to toot Or to tutor two tutors to toot? For Sale--Stradivarius Model violin and concrete mixer.-Des Moines Register. Sorry. We don't play and we're a poor mixer. Dr. Marjarum Cto Miss Cummins, seen in the Main Corridor dancing a cute child on her lapD-Congratula- tions? It seems that John Heywood, the early dramatist, was also a player on the virginal Qremember Music History?D. One of the English 61 class Cwas it Codner?D asked what a virginal was. Mr. Riker, after explaining in some lengthy detail, concluded his remarks by saying: Surely, you must have heard of Queen Elizabeth's famous set of virginals? ! Mr. Soderlund-Marriage is delirium surrounded by decency. Mary had a little lamb-was the doctor surprised! There was a little girl Who had a little curl Right in the middle of her forehead. When she was good She was very, very good. But--when she was bad- She had more dates. Gay-What are you going to do when you leave college? Cantrick-I'm going to do newspaper work. Gay-Don't you think you're too old to sell papers? 116 Compliments of DELTA OMICRON SORORITY Complimen ts of MU PHI EPSILON SORORITY Compliments of SIGMA ALPHA IOTA FRATERNITY Complimen ts of TOWN TAXI MAIN 2100 Compliments of MANHATTEN RESTAURANT Q5 EAST AVE. AIR-CONDITIONED We Bind Music for the EASTMAN SCHOOL OF MUSIC Why Not For You? NATIONAL LIBRARY BINDERY CO. 1766 E. 133rd St. East Cleveland, Ohio Compliments of NUNELY'S T O M A K E East Avenue, Rochester - YOUR TRIP Prompt - Pleasant - Comfortable While you save dollars on Greyhound trips to any part of America, its great to know that your driver E handpicked-specially trained-one of the world's est. Compliments of GREYHOUND TERMINAL 72 Franklin St. Phone: Main 4014 BREWSTER, CRITTENDEN i AND CO., INC. GOOD LIGHTING IS ALWAYS IN SEASON Get an I. E. S. Lamp. Every home needs one or more of them. Good eyesight should be kept good through proper light for reading and sewing tasks. If you have trouble with your eyes, have them examined. The I. E. S. Lamps have known lighting values contributing to greater health and happiness. They are sponsored by the Illuminating Engi- neering Society of America, which recommends them for PROPER SEEING. I. E. S. Lamps are not mere mer- chandise but a service to public Welfare. Lots of designs and colors to select from. Main Floor. ROCHESTER GAS 85 ELECTRIC CORP. 89 EAST AVE. 117 ' N-r-rw - ' ,:,u l R . .Ml 1. Wile- lf TT 'V lr .Q .1 - K I ,, If il -i' 5? W' ffrlilili I M1 , wg I An Air of Distinction Your private office should reilect your own good taste. It should be up to the standard of your home, your club, your car. Visit the Y and E Store ANDHl-122 Mmm. Y and E OHice Equipment Bldg. 41 Chestnut St. Stone 2431 Foremost for Fifty Years Es tablished 1868 SCRANTOM'S ' Rochester's Unique Stores . Books, Stationery, Engraving Pictures, Bronzes, Brasses Sporting Goods, Games and Toys Office Supplies and Furniture School Equipment and Supplies Compliments of the M. P. MOLLER ORGAN WORKS The world's largest organ factory More than 6000 MOLLER organs now in use Builders of thirteen organs in the Eastman School of Music Moller organs are endorsed by the most emi- nent organists, are guaranteed the highest grade in every respect, and are in use in more than six thousand churches, schools, etc. M. P. M6LLER Factory and General OHices Hagerstown, Maryland THE TOWNE TAVERN 11-13 Gibbs St. HERRICK LUMBER CO., Inc. Successors to Comstock Lumber Co., Inc. 1030 Main Street East Culver 1416-1417 Compliments of THE BRASS RA-IL . High Grade Food and Beverages Continental Baking Company at LOW Prices E. Main St. One Block East of East Ave. SCORE bound in a Kingskraft cover HEINRICH-SEIBOLD F Made by I KINGSPORT PRESS, Inc. Kingsport, Tenn. Dr. Larson: This theme is certainly poor. Where did you get your subject matter? Marasco: From your lectures, Dr. Larson. MacDonald: Learning the piccolo has taught me a lot about expression. Mitchell: In music? MacDonald: No. Swearing back at the neighbors. STATIONERY CO. Office Furniture, Stationery and Supplies 86-88 Exchange St. Main 2493 Rochester, N. Y. MODERN Justiiied pride is WHAM's re- turn for hours devoted to broad- , A casting from the Eastman School I I f N R M 0 N Y of Music- , T In Home Decoration .' pride in association with a great institution, Fuwzifzzre, Rzzgy, LJWZPJ' pride in association with great . . D T J Lfnolezmz musicians and educators, Wlpewe ' Z A Stover, llfnzflaerf, Refricgemfom' pride in the fine programs which have been broadcast regionally and over N. B. C. networks as a H G W E Q result of our association. W H A M - - - . 89 CLINTON AVE. so. The UNIVERSITY OF ROCHESTER CFounded 1850D COLLEGE OF ARTS AND SCIENCE. Arts Course, leading to degree A.B.g Science Courses, leading to degree B.S. in Mechanical Engineering, Chemistry, Chemical Engineering, Education, Optics, and Nursing. COLLEGE FOR MEN on new River Campus of 87 acres on banks of Genesee in outskirts of city. Self-contained campus life-dormitories, student union, fraternity houses and complete' athletic plant. COLLEGE FOR WOMEN on Old Campus of 24 elm-shaded acres on University Avenue, with new student union and assembly hall and other buildings remodeled and modernized. EASTMAN SCHOOL OF MUSIC, opened in September, 1921. University Course, leading to degree, B.Mus., Graduate, Certificate, Preparatory and special courses. SCHOOL OF MEDICINE AND DENTISTRY, opened in September, 1925. Provides for usual department of medical study, including clinical branches, supplemented by Strong Memorial Hospital and Municipal Hospital, with total of 515 beds. . UNIVERSITY EXTENSION DIVISION and SUMMER SESSIONS. For catalogues or further information address The UNIVERSITY OF ROCHESTER ROCHESTER, NEW YORK 119 JUNE . the month oi graduation . . and of graduation gifts . . . No finer contribution could be made by a group of pupils or school advisers than to select Empire plates for their publication . . . a selection that vvill retain the true value and all the beauty of their original photographs. The excellent artistry and craftsmanship of Empire ele- vate your book from the ordinary, making you the proud possessors of an everlasting biography of your happy school days. Empire Photo Engravers, inc. 87 Franklin St. Rochester, N. Y . . . and so another School Year draws to a rapid close. To the students and faculty of the Eastman School of Music we extend our most sincere thanks for making 1 this Year Book possible-to Mr. Edward Royce, Mr. Austin-Ball, and Dr. Hanson, to Mr. See, Miss Vayo, Mr. Keith, Mr. Larson, and the Student Council our especial thanks for their interest, advice and assistance. We have tried to record for posterity the events of the past year and We hope that our efforts meet with your approval.-The Editor. THE DU Bois mass BUILDERS or COLLEGE ANNUALS ROCHESTER, N. Y. I. 1 1 --.1 . 1 1 -1-1 1 , . 1 1 ' 11' 1 -'-' ' V ' ' ' - ,, - '- l - ,. ' I' ..1:U1Z.-- fi- '--'- ' 1 I . II.I.'.'II 11, -- I ' -III. ...y.- 1. I, I1,I1 .-.I .II1I I II .I I I I I.11 1 I I- - . -f I-, . .Il - - .-I - I I 11 I1 I U-. -1-'I-I. :1I1.1II-:I II: I+ I , ,1.I1..11..x I1 1 I I - II. . IIII - I1 1 I 1 ,.-.I.I,1II-II -I -. 1, K.-. ,1I.I,,1, . ...Ik -1 .II1-- I - 41. L .1 l.'.1.-. --' 1 1 ',' ' -:'3 . 1 . .1-, I1 T? 21-'lI'7' '. -, 1- 1. 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