Higgins Classical Institute - Scroll Yearbook (Charleston, ME)

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1 X9 i H. o. 1. scnou. P, 15 l0-li1uu1u-ll-lu1ll1n-n--u-lg1n1n-un1m1gg-gp-ul-ul:-ll1l1l1lu1ll PAUL EDWIN PARKS Parks Durfee High 1, 2, 33 H. C. I. 44 Football 43 Orchestra 4g Glee Club 4g Scrawl 4. Someone Calls me. To Benny Goodman of the Jive Iestersf' we wish lots and lots of II. C. I. 1, 2, 3, 4g I. V. Football 1, 2g Var- sity Football 3, 4g I. V. Basketball 1, 2g Var- sity Basketball 3, 4g I. V. Baseball lg Varsity Baseball 2, 8, 4g Capt: of Basketball 4g Slcrawl 3. 49 Stage Mgr. Senior Playg Vice-Pi'es.'3oph'. Class. ' ' ' Big is an all around good fellow. The dorm will be quieter without your laughter. With your disposition, we know youill go furl Best of luck, Frankie! 4 ik 7 N17 J Vit -atv x ' , 1 ,M ,QB LW f I TF' :1 Q , . igy4ii-...y - '-J ' .. - 71,-f, . al . .Q -it vx iqjf yi' VlPTQ'rr?3. ! ,'l,-.1.11x,,'qf',uwQ.5 4' W Qi' --e-gf. ff - -si ff-. W- meml-EGQWZV ' 'wire+QQZv' successl f S . df? Q .. f' if i 5' FRAN E. MACE V Big

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WP- 'xx xi .-.ny 1. -. .l cf ' - I ,MQ MW MMY' , .-'Y if -I ayvf' ef' 5 rjafgk 3N,9J,,,Qfxf', fa, of W ii pl H. c.1. scRoLL of. 1un-un1nu-un-nu-nu-nn-nn1nu1un1uu-uu1uu 7, 1m-.un-n-. 1 1 1 1 1 .Q 1 -. 1 ..,.1,,,G VERNA STAPLES Staple H. C. I. 1, 2, 3, 4, Cirl Reserves I, 4, Ilik- ing Club 2, Arts and Crafts 2, Senior Play fhlakeupl 4, Volley Ball 3, French Club 2, Dramatic Club 3. 4, Camera Club 3, Softball 1, 2, Home Ee. Club 2. A girl who likes to dance. She's lots of fun! May your career be a happy one! BARBARA STEVENS BARR II. C. I. 1. 2, 3. 4, Clee Club 1, 2, 3, 4, President of Cleo Club 4, Operetta Chorus 2, Operctta Part 3, 4, Cirl Reserves 1, 2, 3, Ras- ketball 1, 2, 3, 4, Manager of Basketball 31 Captain of Basketball 4, Softball 1, 2, 3, Vol- ley Ball 2. 3, French Club 2, 4, Scroll 3, 4: Athletic Editor of Scroll 4, Prize Speaking 2, Hiking Club 2. Your place on the basketball team at II. C. I. will be vacant and you will be missed by many. Lots of happiness to you in the future! ROLAND J. WEST West English Se. Course, Stearns 1, 2, II. C. I. 3, 4, Scrawl Board 3, -4, Scroll Board 3, junior Play 3, Senior Play 4, Football 3, Camera Club 3, President 3, Dramatic Club 3, Presi- dent 3. Higgins' Version of Harry James-one of the ujive jestersf' Nice smile. Good luck, Rolandl IIOYCE C. NVHEELER Buddy H. C. I. 1, 2. 3. 4, Clee Club 1, 2, Operetta 1, J. V. Basketball 1. 2, 3, 4, Capt. 4, Junior Play 3, J. V. Baseball 3, Senior Play 4, A. A. Council 4, Tumbling Team 1, 2, Manager of Football 3. Youive taken a lot of razzing about your car. We hope that Mable will live to a ripe old age. VVe all wish you lots of success and happiness! MARION WOODVVARD Marion II. C. I. 1, 2, 3, 4, Girl Reserves 1, 2, 3, Clee Club 1, 2, 3, Basketball 1, 2. VVe donit see much of you but here's wish- ing you the bestl

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16 H. c.1. scnom. ,Hi l . left, cm MUSIC T0 A MODERN In an attempt to put forth some material rn the art of music, the author of this essay has cnosen to discuss mainly works of classical standing. It is hoped, however, that the mod- ern enthusiasts of rug-cutting will find some ideas expressed herein that will draw their at- tention to their own unique art of music ap- preciation and further cause them to listen to a few remarks that they may hear at random during their perusal of this work. The author does not dare profess to be even a minor critic of music, but merely wishes to convey a few of his own thoughts to the readers who are not allready too bored to read on. Primitive man, barbaric and stupid, may have beaten on a hollow log and noted the new, odd sound. He or some of his tribe may have learned to hum. How queer must have been those noises! But this is not a narrativeg the point is: man from his conception has liked musical sounds. On through the centuries man has had music as a companion. Look at cer- tain pictures of hieroglyfphic-covered Egyptian walls and you'll see men who look as if they were blowing horns or strumming fantastic stringed instruments. Down through time, delve into the mysteries of the Reformation when chords had become part of the religious exercises. Look into the wonders of the exotic Orient and you'll find many strange, marvel- ous musical instruments. Peer even into the heart of the present day tropical Africa, and listen to the night-marish chant of the black, greasy savages who sway to the frenzied moans and humming of the crazily dressed medicine man. Follow the dance, the development of instruments-their use singly and in concerted combination, the use of the voice in singing down through time as these various types and applications of music become greater and greater as they formed the sturdy trunk of a tree from which many, many branches out- l..B. stretch, from which have conn' countless sub- divisions or twigs whose iu1'asiu'e scciu incum- prehensible. First, let us consider dance unxsic. The ab- solute necessity here is, of course, a definite, well-accentuated rhythm. There is one clear, outstanding melody that goes on for several bars, too, but the rhythm is the thing. The fox-trot has its own special rhythm or time, as does the waltz. The latter being slower than the former, it is considered passe by the bc- wildering offspring of this generation, lnit the writer finds it most beautiful, thc music itself being very magnificent in its tonal beauties and combinations. Perhaps our dance orcfvcsti.':', which, for the most part, are made up ot only fifteen players, do not have sufficient instru- ments for the tonal strength and depth n-- quired in the old but nevertheless refreshing waltzes of a master like Johann Strausl. Our orchestras are .well adapted to the fox- trot, though. The rhythm is sufficient for the dancer who has a partner to hold his interest and who needs only to listen with half an ear if he be an experienced dancer to keep in time, but we might find the music boring if taken by itself, that is, on the fourth or fifth hearing. Naturally there are exceptions, but even most of these might be found trying on the twentieth hearing. Few pass the five-year test of pleasing listenersg and the dancer, too, is very liable to ask for a change of diet when the newness has worn off. Certain pieces, how- ever, never lose their melodic novelty and pass into the semi-classic of the modern era. The author is compelled by personal desire to say a few words regarding that interesting dance phenomena which its adherents call boogie-Woogie . This musical fugitive, which seems to be a cross between an Ubange war dance and the abstract idea called civilization, is actually music with a displacement of the natural accent. Here more than in any other