Miami University - Recensio Yearbook (Oxford, OH)

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student humming a few measures of cScotch and Soda? or another whistling a Bach fugue were not uncommon sounds on Miamils campus. lWost types of music were represented in some form, from the most re- mote Classical works to the rock-and-roll favorites. The school offered an abundance of organizations in the musi- cal sphere. To become a member, one had only to prove that he had the required talent and a desire to participate. There were the orchestra, band, numerous Choral groups and even a newly-organized jazz quartet. The Music Department was under the direction of Dr. Everett N elson, who emphasized that clThe Universityls suc- cess in any musical endeavor depended upon all students, not only those majoring in music? This opinion was in- deed relevant to the Artists Series, which offered students a unique opportunity to explore the creations of musicians of many modes and to see how various people have con- tributed to our musical heritage. The guest artists in ,64365 included F errante and Teicher, pianist Jacques Klein and the Roger Wagner Chorale. Performers were Chosen by the Artists Series committee, headed by Dean Barron and faculty members David Bean, Dr. Homer Abegglen, Helen Young and Harold Puff. Four students also served on the committee. Just as the Artists Series answered the demands of a rapidly expanding student body by diversifying the talent brought to the University, so too did the Music Depart- ment meet increasing demands by adding Music Education to its Fine Arts major. Students could Visualize teaching sixth-graders the basic concepts of music or becoming dedi- cated pianists like Judy Gels and John Welsh. A soloist with the University Symphony Orchestra in 1964, Miss Gels also formed a piano quartet. Walking by Clokey Hall, Miami students often heard the rehearsal cacophony of musical instruments and voices that wailed and warbled from the second-Hoor windows where earnest musiC-makers practiced far into the night. 2.8 MUSIC While Judy was closeted in a practice room preparing for a future concert, one might have found Dave Bryniak convincing some students that progressive jazz had a richer, fuller beat and offered more self-expression than any rock-and-roll tune. Dave formed his own jazz quartet including Bruce Johnson on alto saxophone, Dave Peter- son on drums, Edward Pharr on the piano and Dave himself on string bass. They were featured at the Jazz Festival and played for various Greek and University func- tions. He felt that the typical Miamianls attitude about jazz was one of unconcern, yet he was convinced that the subtle beat, easily varied according to the musicianls capabilities, made this form of music one of limitless prospects. Bach, Beatles, Brubeck or Baez? The choice was the studentls own. Surprisingly, many followed the current national trend toward folk music and the Joan Baez Clan. Miami sported its own folk singers-Todd Montgomery, the Merrie Young Singers, the VVayfarers, Nick and Sue Bocher. On Wednesday afternoons, members of Program Boardls Fine Arts Committee worked to create intellectual debates, concerts of many kinds, cultural bistros of folk and Classi- Cal art at the University Center. They sponsored the Music Listening Room, where a student could hear a jazz inter- pretation of classical work or a Scottish ballad by Ian and Sylvia. Cooperation and responsibility are two pre-requisites for any organization hoping to fulfill its objectives. These qualities were lacking at hrst in 1964is Red Cap Revue, and it was feared that the show would not become a reali- ty. This traditional display of freshman talent finally got under way, having survived a shortage of practice space and a shortage of cast members in the hrst week. Directors Bob Frankel and Jim Starner rewrote the script for iiOh Hell Dollyii and managed to whip up enthusiasm for the production-proving that freshmen do not give up easily!

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nder the eye of the former Director of Athletics, Ara U Parseghian, Hayes and Pont all gained their experience starts here at Miami. Mr. Brickels was well loved. Without his incentive and administrative ability the MAC might not enjoy its berth in the NCAA Basketball Champion- ships, as it does now. Undoubtedly his assistance was partially responsible for the proposed multi-million dollar athletic center to be located east of Tallawanda Creek. This new facility will contain a new auditorium, a new stadium initially seating 16,000 fans, a new nine hole golf course and a gigantic new parking lot twhatis thatPl. While Brickels lived, the grossly underrated Miami teams ravaged highly touted Big Ten teams and earned UPI and AP ratings until, finally in the sixties, she became the national power that John Brickels hoped she would be Miami basketball revived in 1963-64. The 1964 squad started all juniors and threw a scare into the MAC. Every- one knew that Miami would be tough in 165. They were. Near the end of January, the Skins were 13-1 on the season, and predictions were coming true. Under young, ambitious Coach Dick Shrider this exceptional team seemed to be racing to a MAC triumph. Coach Shrider had molded this squad since they were sophomores. Per- haps this yearls Miami Redskins would be the standout team for which the campus hoped. At least they managed to reverse the psychological effect of arehrival Ohio Uni- versity. Using the height of Charlie Dinkins and Jim Pat- terson, the defensive ability of Jerry Peirson and Walt Williams, along with the shooting genius of JeFf Gehring, Charlie Coles, and Johnny Swarm, the Skins trampled most MAC foes. Miamians also remember the ups and downs of football glory. In his second season, Bo Schembechler coached the team to a 6-3-1 record. The highlight of the fall must have been Ernie Kellermann,s personal triumph over North- western, 28-27. This marked his second Big Ten win as he and Bob Jencks combined to stun ninth-ranked Purdue 10-7 in 1962. With Joe Kozar and Don Peddie, Bo strengthened his running game while pass receiving was ably handled by Frank Dwyer, Jack Himebauch, and John Erisman. Defensive Captain Mike Cohn and third Tri- Captain, Bill Williams, were the other coordinators of the defensive and offensive efforts. The Wrestling Redskins brought home the MAC crown and under first-year coach, Joe Galat, had high prospects of repeating their fortunes again this year. Galatls most successful grapplers last fall were Dave Range, John Schael, Jay Black, Wally Hale, and Paul Sammis. They headed into the MAC Championships with only two losses in the whole dual meet build-up to the MAC finals. Coach Raymond Ray, always conservative in his estima- tions of what to expect, yet always training his team to new records, had reason to be encouraged about the 164-65 season. All-American Terry Barnett, a record relay team, superb diver Brad Smart, Todd Grant and the rest of the strong squad made winter the most promising of seasons for University athletic success. The hockey team, newly formed-by Jay Holcomb and self-linanced from members pockets, began their first sea- son with stars Steve MaCInnes, Bob Hartman and Howie Simms on the ice. Miamils skillful, internationally-manned soccer team continued its fighting emergence with Deme- trius Paximadis a star in the spirited array. Last spring Bob Epskampls track team, with a record- holding mile relay team, pulled to second in MAC honors. Woody Wills, baseball hit the doldrums of rebuilding simul- taneously, but venerable Coach Al Moore,s tennis team finished tied for first in MAC competition. We came back in the fall to football fortunes and cross country records. Andy Schrammls defeat by mono being partly offset by John Bachelerls harrier leadership and seventh place finish in the NCAA competition. Miami ran the gamut of conference competition and forged ever-Closer to the Tribe Miami goal of bringing home 2to its rightful place,, the coveted MAC All-Sports Trophy. Besides this spirited goal, the Mike Dane-led Tribe filled the calendar with sponsorship of the annual Miami High School Track Relays, with selling programs and cokes at sports events and with ogling sponsor Judy Sorg. They encouraged the start of a new tradition- wearing red on F ridays to show student support for mem- bers spirited efforts. Another new event this year was the Faculty-Varsity basketball game. The faculty showed their stuff, pulling down a stunning two point victory. Phi Epsilon Kappa, physical education majorls honorary, sponsored this novel game, with Dean Robert Etheridge mentoring the varsity and John Swann and Jerry Peirson coaching the faculty point-piling. Such a combination of intraschool, conference and in- ternational sports progress has spelled out Miami,s linesf athletic year in the past seven seasons.

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n opening night the curtains drew back at the O scheduled time . . . a Chorus overcame nervous tension and put three weeks of practice into action. As the band began to play familiar melodies from twelve Broadway shows, make-up girls applied final touches to cast mem- bers. When the applause ended and the audience left the auditorium, tired, relieved freshmen sighed in memory of the lldays of oldf, Changed from their costumes and hur- ried off to an unforgettable cast party. The Christmas spirit drifted onto Miamfs campus early as students began preparations for their approaching win- ter recess. clDeck the Hallsil lilted through shops uptown and Santals helpers scurried back to their bedecked resi- dence halls, laden with last-minute gifts for roommates and friends. In contrast to the lighthearted festivities of the season was the impressive presentation of HandePs llMessiahY, For this program, the combined University choruses were joined by the Cincinnati Symphony Orchestra, directed by Max Rudolph. lX'Iembers of A Cappella, V'Vomenls Choral Society and Menls Glee Club had practiced most of the fall semester for this performance. The VVomenls Choral Society recognized new leader- ship in September of 1964 when John VVabriCk assumed the title of director. He was quite pleased with the en- thusiasm and responsiveness of the group, whose repertoire ranged from Negro spirituals to show tunes. A unique requirement for a unique group: the A Cap- pella singers were judged during auditions not only for the quality and range of their voices but also their ability to sight read a musical number. The eighty students com- prising this organization were under the direction of Dean George Barron of the Fine Arts Department and assisted by Paul Vanderkoy, a graduate in Music Education. Throughout the year they presented a series of concerts and programs, particularly in the fall and spring and at commencement. Prior to their appearance as part of the combined choruses for the glMessiahj, the choir had sung in the Cleveland area. Miami can be proud of its symphony orchestra, whose members are not salaried musicians, but rather students who offer their time and talents as individuals desiring improvement of their musical abilities, to interpret the great masterpieces of the past and present. NIr. Otto Frohlich, conductor of the lVIiami University Symphony Orchestra, rehearsed three times a week with its members. Before being accepted as part of the sym- phony, each student had an audition to prove that his musical background met the required artistic standards of excellence. Three or four concerts were presented each year, as well as tours and the annual Charter Day program in February, which included Frohlich,s original composi- tion of llHomage to Miami? Programs presented by the orchestra featured selections from wide-ranging periods of music history. On the fall 1964 list were pieces by Mozart, Rossini and Tschaikowsky, and Beethovenls Piano Concerto $61. A spring concert was composed of incidental music, a type usually played in preparation for the main part of a program. This unusual performance included ccThe Egmont Overturell by Beet- hoven, llPeer Gyntll by Greig and chncidental Music to LlArlesiennell by Bizet. With artist-in-residence David Bean giving lessons in addition to his recitals, Rliami students had a variety of talent in their midst. One could participate in the sym- phony, Choral groups or other musical activities. llThe success of musical efforts on campus depended not only upon members of the organizations and music majors but upon each and every student? His presence at the program featuring Jacques Klein or a ticket to the F ine Arts Folk Festival was a contribution toward this goal. 7-9