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

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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

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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

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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