Ipswich High School - Tiger Yearbook (Ipswich, MA)

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TIGER ‘43 Much time and work has been devoted by factory officials to the perfection of these periods. The acoustics must be so constructed that the music pierces through rather than adds to the din created by machines. Then too, the type of song played has to be considered, for in factories where a great majority of employees are Polish, polkas are enjoyed; but, from a true Scotchman’s point of view, bag-pipes create the only music worth listening to. It is found also that male employees enjoy martial airs, while women are apt to burst into tears upon hearing them, so closely are they associated with their boys overseas, vocals and “Deep in the Heart of Texas’’ are discarded as be- ing too distracting, while excerpts from operas are enjoyed, especially by Italian laborers. Music has afforded our boys overseas inestimable pleasure. Letters received by the people “back home’’ tell us that the men stationed in Eng- land or Ireland greatly enjoy danc- ing and concerts provided by the U. S. O. and other organizations and that the boys fighting in the swamps on Guadalcanal or on the sands of the African deserts look forward to any short wave broadcasts of jazz bands or symphony concerts; and up- on reaching a base the playing of the phonograph is the most popular pastime. But perhaps the need for music in camps within the United States has been more clearly seen. During the early days of the war, when the boys had absolutely nothing to do in their “off-time”, their morale drop- ped lower and lower. Then dances for the soldiers were introduced. The effect upon morale was so heartening that dances were held more and more frequently, and popular “name- band” leaders began to give their time to putting on shows for the boys. Eor proof of the increase in morale and whole-hearted enthusiasm for this type of entertainment, one has only to turn the dial of his radio to almost any station on any night and hear the shouts and applause of the soldiers, sailors, or marines for whatever orchestra may be broadcast- ing from their camp. Popular vocal- ists of the air and screen have played no small part in this type of morale- boosting. Perhaps the most outstand- ing of these is that songbird with a cockney accent, Gracie Fields. An aud- ience of millions awaits her cheerful exuberant outbursts of song five nights a week. Even the ordinary people at home who are not working directly for Uncle Sam in war factories find that there is more and more to do every day, whether it be in civilian defense jobs, schools, or just in the home, and they too feel the desire for relaxation more pressing. Almost invariably, a person who feels tired, restless, and discouraged at the end 13

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TIGER ‘43 Graduation Essays. THE IMPORTANCE OF MUSIC IN WAR TIME by Joan Ross When the present war began, it was quite commonly believed that we should have no need for music. Music as a source of enjoyment was to be considered a luxury, and luxuries were “out for the duration”: courses in music in schools and colleges were to be eliminated because of the more pressing need of courses in aeronautics and physics. But as the war has progressed, it is quite probable that anyone with such beliefs has realized his mistake and has come to see the vital need for music in times like these. The underlying element in the need for music is the fact that war- time emotions and morale are de- cidedly different from those in time of peace. Speeded-up programs pro- duce a tense, rushed feeling with the consequent need for relaxation: while wartime events and work bring about a drop in morale which must be raised if victory is to be ours. The cure for war nerves and shattered morale is simple — a type of pleasure must be found which can re- lieve us of anxiety and care and yet make us stronger and more willing to carry on the fight. Our Allies across the Atlantic were the first to find this strength from music. The people of London would stand on the commons listen- ing to concerts in the time of the worst air raids on that city, while the Russians attended operas performed in the freezing buildings of Moscow, with the Germans only seventy-five miles away. But perhaps British and Russian tendencies seem rather remote to us. Then let us turn to the effects of music upon our own people. When personnel managers found that work- ers in defense factories were “letting down” at certain times during the day, they introduced a fifteen mm.ute interval of recorded music during the lunch period to try to give the work- ers that “boost” they needed. The effect was the desired one, but there was still seen to be much room for improvement: for, especially toward the end of the day, a decided drag and slowing-up in the work was evidenced. They persevered, and by arranging intervals of music to be broadcasted throughout the factory during the regular working hours finally succeeded in increasing morale to a remarkable degree. 12

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TIGER ‘43 of a day will listen to a musical pro- gram of some sort. It may be that Harry James’s “Trumpet Blues” will be preferable to some, while Schu- bert’s symphonies and songs appeal to others. But through listening to music, more and more people have come to find a satisfying, inspiring type of pleasure. So vital is the need for music in ' war times that musicans have ex- pressed the hope and belief that we shall not be satisfied with music al- ready written. The very emotions themselves which are experienced in war times are expected to cause some outburst of “Music of courage” on the part of composers, so-called be- cause it is designed to fill our hearts with much-needed courage and deter- mination. “Tin Pan Alley” has already produced various sentimental, patri- otic, and emotional songs, which, de- spite their intense popularity, are de- stined to be short-lived. But up to the present time, only two important classical war-time composers have reared their heads. Mr. Andre Kostelanetz has writ- ten, “When the war began, I gave a great deal of thought to the manner in which music could be employed to mirror the magnificent spirit of our country.” He discussed the question with some of his composer-friends and decided that the greatness of a nation is best expressed through its people, and that the most successful people would be the most logical sub- jects. The results of this decision was “A Lincoln Portrait”, in which the composer, Aaron Copeland, has suc- cessfully expressed the outstanding qualities of courage, dignity, strength, simplicity, and humor, so predomin- ant in the character of Abraham Lincoln. The Russian marvel, mad-man, or what-have-you, Demetri Shosta- kovitch, ‘worked ceaselessly through the heaviest bombings of Leningrad to finish his “Seventh Symphony”, which he composed as a tribute to the immutable will, indomitable spirit, and staunch character of his countrymen. Indeed, the need for music has been found throughout the world in this time of crisis, and as our own President has told us, “The man who disparages music as a luxury and non- essental is doing the nation an injury. Music now, more than ever before, is a national need.” THE COMING AIR WORLD By Donald McPhail In Africa, in Asia, and in Europe, our Air Lorces and these of our allies are sweeping the skies free of enemy planes. A ratio of three to one and sometimes four to one has 14