John Adams High School - Clipper Yearbook (Ozone Park, NY)

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goo 0 '. if- 0 Af, no g! 0 by ' ' ,j',..-.nl ff 1'...u',, r-s NNW' a1l THE WONDERFUL Greek mmd seems to have antrcrpated much ol todays arts and learmng and so 1t seems qurte strange that 1ts vrslon rn the held ol mus1c was so myoprc It seems the Greeks belleved that mod eration should be observed 1n all th1ngs and that extremes should be avolded thus all of their mus1c was conhned wrthm l1ttle more than two octaves whrch 15 qulte lrmxted as com pared wlth the more than seven oc taves 1n use today The only mus1c known to them was the kmd used to accompany thelr poetry and thls was melody only lackmg both rhythm and harmony and producmg a very srckly effect The observance of the long and short 17 MADELINE CAVOLI syllables marked the meter of the poetry No harmony enrrched the lone melody for they had not learned to s1ng or play mstruments together and the art of slmple harmony by srngmg fourths ol hlths apart was not leamed untll more than a thousand years later The hrst spark of harmony 1ssued forth 1n the early Mrddle Ages when some one drscovered that two volces could Slng at the same t1me a irfth apart one vo1ce carrymg the melody and the other slngmg the same com b1nat1on hve notes lower Although at that trme th1s probably was a reck less d1scovery lt seems qulte natural to us s1nce the ordlnary soprano and tenor volces have a range of about a fxfth above contraltos and basses and .U Taq. os. o'. .' 1 0 Q .ooo at g . . Q s e 0 K' ' ' 51 . ,G- On -' ...1,, 10lClld... , O AEN' '15 .Q 'S o 0 4 'af V . ,, - , gr' 9990 I .1 - 'J' 'oy 1 1- -

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35-Qzlwug 1 A FRED BATTLINE -ne Q 61274416 lit M6 Ae! 'L y t ,KQQJ m 9 ONE AFTERNOON wh1le s1tt1ng 1n the famous Pubh catlons OIIICB mlndlng everyones bus1ness but my own Laugh1ng Boy Carter got me 1n focus He was gr1nn1ng from lens to lens wh1le leanmg on h1s decrep1t trlpod w1th one foot on a p1nhole camera Laugh1ng Boy told me to try try that IS and Wflle the Nut Bowl Th1s perhaps was the most thr1ll1ng moment of my l1fe except maybe when the Pr1soner of Love escaped I laxd down my copy of The Case of the Long Red Underwear subt1tled To Itch HIS Own used all my energy to ra1se a pencxl tlead you knowj and slowly started to left I mean wr1te CArmy mfluencel GGZIDQ sleep1ly about my eye was caught and my ear subdued Cth1s 1S accompl1shed by my spl1t per sonal1tyJ by a group of cackllng voxces I cut hls ear off Where IS h1s nose Look no neck were among the strange words to be heard Stram1ng my eyes over the long d1stance I saw Boss Lady Lynch stand1ng over G1ggles Egan Bugs He1dSIfG and Nrm ble fmgers Druben They were workmg w1th sharp ened SCISSOIS f1end1sh grms and a madmans laugh wh1le cuttmg out the Senlor Celebntles PICIUIGS There IS a spec1al corner draped 1n black de voted to the emotlonal and deep th1nk1ng men tboth of theml For mstance Mangler Grlmes and Lethal Llebman were d1scuss1ng a story of Ilms 1n whxch a g1r1 was Sllllng on a dock wlth a small trustmg b1rd 1n her hand The blrd looked searchlngly mto the g1rls eyes and 1IS small heart beat happ1ly Now Ih1S was as far as Mangler got and was stuck for an endlng lust before closlng tlme a lra1l l1ttle glrl enters SIIS down wh1le murmurmg someth1ng about a den t1st engagement One day when atmosphenc cond1 t1ons were better than average we heard her tell of a tussle she had Wllh her dent1st Wxth half hearted 1nterest we asked who won No one was the answer lt ended w1th a draw That my dear fnends was Phylhs Osgyam Enough of th1s xt s tlme for me to rattle and roll 16 C xl , .' ,Zf 'x,x. .YK ' l 2' G' '-all I lf K' ' ' I :, 'ix' 0 - - ,j ,,. x x' e o I X.'. 'ze s 2 B , 1 X . X . . . . , 9 tw xr 5- . . . . , . ' I u '-, lg 5 . ' . I' - ' ' I' l xg ,yd ul AQQEI - . . . . ' F u . 1 , .. - 1. - , . I , I I I I 1 I I ' , I I . t. H ,, . .,

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we naturally expect them to srng 1n thelr own volce range Wh1le the early churchmen chanted the1r monotonous muslc rn the church es of the M1ddle Ages rhythm had al ready beeen hrghly developed among the tubes ol Alnca The re11g1ous m1nd however regarded rhythm as somethmg to be avorded In the slxteenth century Palestnna developed the conceptlon that musrc consrsted ot two or more melod1es sung together and so he wrote muslc Slmlldf to our round The vo1ces d1d not srmply tra1l together but each melody was mdependently set oft Palestrma wrlte h1s muslc so that al though there were several melodzes bemg sung together they all harrnon xzed and were beautrfully mterwoven MUSICIGHS had not as yet learned to play together Occaslonally some 1n struments had been played an octave apart but group playmg was not known untll the srxteenth century and even the harp1schord was looked up on as most lmportant and was needed to hold all the other mstruments to gether Shortly alter the srxteenth century a group of muslcrans 1n Italy became mterested 1n Greek poetry and dec1d ed to g1Ve a presentatron of what they thought mt must have sounded l1ke They wrote a dramatrc play 1n poetry whrch was reclted t ever thls was nelther Greek drama nor Greek muslc but really the begm nmg of a new form ol musrcal expres slon from whlch the opera and or chestra ongmated musxc How The early m u s 1 c 1 a n s used lutes lyres vlols and wlnd mstruments all led by a harp1schord These were used somewhat as we use the gurtar or ukelele today and provrded chords as a background for the smger For all performances composers used whatever mus1c1ans were avaxl able and even rf he could have h1s chomce he was not sure whrch were best surted to h1s use The 1nd1v1dual tralts and capab1l1t1es of the mstru ments were not fully understood and so they erther chorded to the Slnglng or played the same melody whrch was sung accordmg to the 1nd1v1dual wishes of the musrcrans themselves The trrst sacred musxc drama was composed by Em1l1o Del Cavahere He shocked many ol h1s contempor anes when he sard Muslc should vary accordmg to the sentlments ex pressed by the smger He belreved that mstruments should not merely chord 1n the background for slngers but that they were capable of and should be used to help create atmos phere and unfold the plot along w1th the smgers Claudro Monteverde m furmshmg musrc for h1S opera Orfeo wrote for the hrst group of musrclans whlch can be called an orchestra Th1s group was composed oi a strmg sectlon and wmd mstruments The harpxschord however stlll predomlnated He was so encouraged by h1s hrst attempt that 1n 1624 he composed the opera Tancredl e Clormda Thrs was the hrst opera wrltten ln whrch the com poser drd not merely mark the muslc to be sung or played but had dell mte musrc assxgned to each mstru ment He amazed hrs aud1ence when the vxolmmsts lard down therr bows strrklng the strmgs w1th two tmgers to produce plzzlcato And so we see a very small prcture of the tremendous growth of muslc made possrble by a few men who dared to be drlferent It IS to those proneers that we owe our thanks lor our great llstenmg pleasure today 18 1 I .. ' 1 1 ' ' 1 1 1 . 1 1 1 , 1 1 1 11 11 1 - ' - 1 1 1 1 - 11 - 1 I - 1 1 1 1 1 11 1 ' 1 I - 1 1 1 1 1 1 - - - 11 11 1 1 1 1 I I ' 1 1 1 11 I , 11 - 1 I . 1 . 1 u 11 1 O . - 1 ' I - ' 1 1 1 1 I I 1 1 1 1 1 , 1