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Page 27 text:
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The Baroque Era brought about many changes in musical conditions. Many new and old forms of composition have been initiated and improved upon. Chamber music, concerto-grosso, and the opera re- sulted from this period. Music Education in the baroque period was thoroughly and efficiently organized. Education began early in one ' s life and included singing, instrumental lessons, and the rules of com- position. Finally, during this period, music printing and publishing gradually devel- oped into an industry. This year the Neume has undergone many changes. Foremost, it is now a year- book for all students of the Conservatory, and is also included in their activity fee. The staff, though headed by seniors, has initiated many underclassmen. We have also added the use of color to the book. These and other changes have made it appropriate to choose as our theme for the 1955 Neiune, The Baroque Period. The Baroque Period was a culmination of music in the old classical forms, and a beginning of music as we know it today. Those of us who are graduating have reached a sort of culmination point. No v begins our real education, for education is a life long process. Life is a continuous cycle of beginnings, culminations and be ginnings again. Thelma Loven Editor Page twenty-three
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Page 26 text:
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STRING: Richard Burgin PERCUSSION: Charles J. Smith First row: Paul Fedorovsky; Marcel Lafosse; Georges Fourel; Richard Burgin; Alfred Zighera; Bernard Zighera. Second row: Roger Voisin; Ernst Panenka; Joseph de Pasquale; Rosario Mazzeo; Georges Moleux; Charles J. Smith; James Pappoutsakis; Pasquale Cardillo; Alfred Krips. Not present: Doriot Anthony; Virginia Bacon; Norman Carrell; Gino Cioffi; John W. Coffey; Camille Cop- pez; Sally Dodge; Everett Firth; Fernand Gillet; William Grass; Frances B. Lanier; George Laurent; Frank Macdonald; Samuel H. Mayes; Jean Northrup; Louis C. Pappoutsakis; Collette Rushford; Hannah Sher- man: Rol:)crt Stuart; Willem Valkenier; Felix A. Viscuglia; Sherman Walt. Page twenty-two
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