Philadelphia Conservatory of Music - Variations Yearbook (Philadelphia, PA)

Text from Pages 1 - 64 of the 1947 volume:

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TO MADAME OLGA SAMAROFF In sincere appreciafion of her many years of unselfish devotion lo l'he cause of fhe aspiring arfisf and Teacher. Copyrighf by MARIA EZERMAN DRAKE for The Philadelphia Conservafory of Music 2l6 S. 20fh Sfreef Philadelphia 3, Pa. 7777 MADAME OLGA SAMAROFF STOKOWSKI, Mus.D Pianoforfe Mas+er Class A A' --:.'s:1:5K.:-1-11-3:i::.. . :rv f' 1'-'::::1E:E2:1555-555151522 -.-.-.-,-IIIIII3'IIIII2E1EE231E2E1Ej2' 2 ' ' ' ,'22'I'IE2-2E2'jE5:f., -. ':1:5:5:5::.g.:.,4q.:.- -f.51:25E5E5E5E5E5E1EE5iL:::: -35553:-.-' 'lf ' X '12 iE2:5I:3.13:2:::::: 'I.51225215fifififfiifiifwit -' f -.:, .'E1: ,, '.--FN -555553 ' XX , '25,- x N f an in . l ? 4774 lm Gracefullf 611309. X, , 'T - fff R ' AJ AA: IA-5 I Eff I 5' I A - mf - ,i MARIA EZERMAN DRAKE Managing Direcfor ALLISON R. DRAKE Dean Gradua+e Piano Depar'rmen+ - - I-1 ,, X Qi ,, P , AMLITLP dum- ELSA I-IILGER Cellisi' BORIS KOUTZEN, Mus.D, Firgf Desk, Philadelphia Orchesira Violinisf and Composer EDNA PHILLIPS SoIo Harpisi' Formerly wi+h 'rhe Philadelphia Orches+ra i930-I946 CLYDE DENGLER. Mus.D. Voice, Choral Direc+or BRUCE C. BEACH, Mus.D Orchesfraiion Woodwind Ensemble FRED, DIETRICH Clarinef KATHRYN R. QRUBE. Mus.M. EVELYN M. CHRISTMAN, Mus.M Ear Training. H'3 m0nY Piano, Hisfory, Sighfsinging Keyboard Harmony VINCENT PERSICHETTI, Mus.D. Composi+ion, Analysis Counferpoinf, Harmony Conducfing ALICE E. STALLMAN Assis'ran'r Secrefary PIANO WINIFRED ATKINSON Teachers' Train Pedagogy JANE PRICE BEYER I ing GEORGIANA Rome ' IQ VIOLIN HELEN RowLEY I To ROBERT ELMORE, Organ GABRIELLE HUNT, Voice YOLANDA di SILVESTRO, I+aI FRED C. STOLL, Trombone HAROLD W. REHRIG, Trumpe+ MARY V. HAGERTY, Secre+ar ian Y EVELYN SUTHERLAND Assis+anI' Secrefa ry Back Row Firsf Row OLETAH DIETRICH JOSEPH ARCARO EDITH ULMER MARY ISAAC SATTERTHWAITE CAROLYN DILLER DENGLER WILLIAM BLESS DORIS DICKENS ANNA MAE HOFFA CLAIRE SHAPIRO JOHN DAMICO DOROTHEA PERSICHETTI Back Row Froni' Row ANNETTA LOCKHART GRETCHEN AMRHEIN MARION BRADLEY HARVEY FRANCES BARKER MARGARET COLLINS PERRY O'NElLL MARGARET BUEHLER CHARLOTTE SCHREIBER PRICHARD LESLEY CATHCART GLPQBI' g7XI9eCfCLl'lCg Life insurance companies operafe on fhe basis of whaf fhey call life expecfancy. As we fhinlc fhrough whaf life expecfancy means fo fhose companies, we realize fhaf if never can be a posifive fhing fhaf has fo do wifh age. The youngesf person can meef wifh an accidenf or a fafal illness. However, fhe quesfion of age aufomafically plays a greaf parf in fhe fheories of life insurance companies. l would lilce fo malce an analogy befween life expecfancy and career expecfancy. Jusf as life expecfancy is dependenf upon healfh and age, so career expecfancy is dependenf upon nafive falenf and musical healfh, fhe laffer being a combinafion of proper fraining and sufficienf work. The elemenf of accidenf, however, also plays ifs parf in connecfion wifh career expecfancy and no amounf of careful plan- ning can prevenf fhe effecf of circumsfance upon musical careers. The music school and all frue educafors musf be realisfic in connecfion wifh career expecfancy. lf is fheir dufy fo provide fhe possibilify of a rounded educafion in music fhaf will give fhe sfudenf fhe possibilify of develop- ing his highesf powers in a specialfy and af fhe same fime fif him for worlc as an educafor so fhaf if fhe degree of his falenf, proiecfion power, and masfery of fhe insfrumenf do nof win him a high place in fhe larger concerf field, he will sfill have a fine equipmenf for ofher branches of fhe profession. This realism on fhe parf of educafors and music schools of a high order already exisfs in a marked degree, and fhe old fype of virfuoso developmenf which sacrificed everyfhing, including general educafion, fo fhe masfery of an insfrumenf is rapidly becoming a fhing of fhe pasf. An excellenf example of fhis modern fendency is fo be found in fhe new policies of fhe Julliard School of Music in New York. There fhe accenf is puf upon a rounded musical educafion fo such an exfenf fhaf if becomes difficulf for fhe sfudenf fo devofe enough fime fo pracfice upon an insfrumenf and achieve an oufsfanding measure of virfuosify. This problem is solved fo a cerfain exfenf by lengfhening fhe period of sfudy. A+ fhe Philadelphia Conservafory of Music fhe rounded educafion has always been fhe keynofe of school organizafion, and all of us connecfed wifh fhe school can poinf wifh pride fo fhe resulfs obfained in fhis unusual insfifufion. There is no doubf, however, fhaf if is easier for experienced edu- cafors fo be realisfs in connecfion wifh career expecfancy fhan for young people wifh undersfandable and laudable ambifion fo open fheir eyes fo unpleasanf facfs, such as an oversupply in fhe commercial concerf field, fhe sfrong American fendency fo cenfralize music of a high order in a few large cifies, and fhe regreffable lack of adequafe and desirable condifions for residenf musicians fhroughouf fhe counfry. Our habif of imporfafion of foreign arfisfs, dafing back fo Colonial days, has a greaf deal fo do wifh fhe psychology fhaf affaches more imporfance fo any visifing musical performer fhan fo fhe residenf musician, no maffer how fine fhe performance of fhe laffer may be. A campaign againsf such psychology is very difficulf fo carry ouf, buf in my opinion fhe mosf imporfanf fhing fo be done in fhis connecfion is for young musicians fhemselves fo have and fo proiecf a psychology fhaf would combaf fhe evils of fhe presenf sifuafion. Only foo offen does one find fhaf a local musician fakes up work in some communify simply because he has failed fo do whaf he wanfed fo do and is forced fo seek a livelihood somewhere. If we could accomplish fhe miracle of having young musicians deliberafely faking up living in some American communify on fhe basis of WANTING fo do if, and if af fhe some fime fhe calibre of such a young musician would invife respecf, confidence, and admirafion, l believe fhaf fhe upsurge of inferesf in music and of a vifal musical life fhroughouf fhe counfry would be unprecedenfed from fhe poinf of view of nafional developmenf in fhe arfs. As an example, if Germany and Ausfria had concenfrafed all fheir musical life of high calibre in Berlin and Vienna, we would never have had fhe Weimar of Liszf, fhe Meiningen of von Bulow, fhe Bayreufh of Richard Wagner, or fhe fine cenfers like Munich, Dresden, Leipzig, Karlsruhe, Mannheim and Hamburg, fhaf lenf so much richness fo fhe musical life of cenfral Europe. Even liffle Holland did nol' concenfrafe all musical acfivifies in one cify buf had imporfanf cenfers in Amsfer- dam, Rofferdam, The Hague, Ufrechf and even a place like Groningen which afforded a worfhy field of acfivify for many Dufch musicians who mighf have sfarved had fhey been forced fo rely upon one cify for professional susfenance. Music happens fo be fhe only arf which can be faken anywhere in i-fs original and highesf form. We cannof have all fhe exisfing greaf painfings, sculpfure and masferpieces of archifecfure in our relafively new counfry, buf we can have all fhe greafesf music fhrough fhe medium of adequafe performance. Any musician who can give such a per- formance is valuable and imporfanf wherever he is heard. Wifhouf vanify or unpleasanf egofism he can so consider himself if he has devofed enough fime and work fo be able fo perform fhe indispensable funcfion of recreafion of fhe greaf musical liferafure. To be able fo do fhis, fo be ablegfo imparf a similar possibilify fo ofhers, fo be able fo achieve financial securify in any parf of fhe counfry, and fo have fhe happy life fhaf comes from fhe eliminafion of fruifless exfernal ambifion and ifs affendanf evils of bifferness and frusfrafion, is cerfainly an enviable lof compared wifh fhaf of people who puf all fheir eggs in one baskef only fo have if crash and desfroy-somefimes af one fell swoop- 'rheir hopes and ambifions. The Pursuif of Happiness which is such an essenfial privilege under a democrafic form of governmenf can be successfully carried on in 'rhe musical profession by musicians who are idealisfic enough, infelli- genf enough, and basically arfisfic enough fo wifhsfand fhe evils of a highly over-commercialized concerf acfivify in fhe broad field. lf is my hope fhaf every graduafe of fhe Philadelphia Conservafory who embarks upon a professional career will undersfand fhe frufhs of career expecfancy and leave fhe school noi' only a highly developed and well equipped musician, buf a happy human being. OLGA SAMAROFF STOKOWSKI arzizffzizn - 1 J 1 Bold y,i-ls, , ,i Q ,Al P '-5 . fs V :wi-::.:r:.z:::.i..r:a:.!!:::'.!..... -' 4.2 an :sw , Q r e ' -zzz? - -fa.. , ' ' 1 'l ' ' ..,,- . - GY? 3 ?- 1 . ' i : 'F' A- Ig- . ' P gr-gsq. molto CFCSC. These are siirring limes. If mankind is io win +he race over savagery, greed, and mere personal ambi1'ion, +he need +o aim high and work hard will be a necessily. In facr, one musi' work for whaiever one desires +ha1' is of any real value: and ihe higher his aspiralions, 'rhe more con- linuous mus'r be his effort Among music school s'ruden+s ihere are many aims offen unknown or unrecognized by i'he sludenis ihemselves. Some s1'uden'rs have no direcl' aims while sludying. Al' leasl' lhey have noi' been crysrallized as ye1'. Some aim +o gel' fhe highesr possible marks in each class while orhers are perfecrly sa1'isl'ied if +hey merely pass, forgerring 1'ha+ 'lhe more fhey know abou'r each subiecl' 1'he be'r'rer background 1'hey have wherher rhey aspire io be a performer, composer, conduclor, or ieacher. Then i'here are always 'rhose siudenfs in any school whose aim in life is 'ro have a good 1'ime. Of course 1'hey praciice or sludy enough fo gel by , bui' They would never lei' 'lheir sfudies inieriere wilh rheir enioymenis or casual way of living. Lei' me meniion some of lhese aims: 'ro become a greai' performing arrish +o become a grea'r composer, conducior, arranger, or ieacher, wheiher in priva1'e school or public school. Some aims are very broad or general, such as preparing oneself in many channels so 'rhai' when 'lhe momeni' comes for specializalion, or lhe opporluniry for doing exacfly ihai' for which one is mos'r suiied, 'rhai' person is complerely ready. I know of no higher aim 'rhan +ha+ of one young sfucleni' who wishes io beHer herself lo ihe uimosr so rhar she can rerurn +o her secfion elf? 'LTTE-1 X irish ? 'bail ol lhe counlry lo help lhe underprivileged learn in lhe correcl way aboul lhe arl ol music. There are a lew young sludenls ol my acquainlance who live a lull abundanl lile. Though lhey are very busy wilh lheir accepled dulies ol lile from early morning lo lale al nighl, lhey always seem lo have lhe abilily lo squeeze a lillle lime doing lhings lor olhers, learning aboul lhe olher arls, and making lhemselves generally uselul lo sociely. In lacl, lhe busiesl, almosl over-burdened and mosl accomplished person l know is Madame Samaroll, who always has lime lo do lhal somelhing exlra, ollen wilhoul any direcl benelil lo hersell. l lhink lhe secrel ol raising and ennobling one's aim in lile is lo be able lo enrich his or her vocalion wilh a helplul or conlrasling lorm ol relaxalion. ls il mere amusemenl, or is il ol lasling benelil such as lhal ol reading greal poelry, lileralure, visiling arl museums, walking in lhe open air, or pursuing a hobby? ln manilold purpose lies lhe core lo lhe whole realm ol aims. Madame Samaroll has always slriven lo do whalever she did one hundred per cenl, and she invariably gels one hundred per cenl oul ol every waking day. Thal is why she is lhe greal leader among leaders, be il pianisl, aulhor, leclurer, or leacher. This leadership is whal we need loday and lomorrow. Our lulure leaders musl have lhe highesl ideals and lhe lolliesl aims in whalever lhey pursue, conlinually slriving lor lhe besl in lile as well as lhe linesl in music. V - g ALLISON R. DRAKE .fdrf ana! lgracficagfg There are weddings and rumors of weddings in fhe Conservafory. Arf and love being fhe fleefing fhings fhey are, if is in fhe inferesf of solidarify fhaf I propose fhaf af leasf one parfy fo such an agreemenf know how fo cook-and hereby quofe a recipe. This dish, a soup, if begun in fhe Freshman year and if replenished occasionally, can carry you fhrough a couple of degrees and make any ofher cooking complefely unnecessary. WEST INDIAN PEPPER POT The soup is composed of a large piece of salf pork, diced and fried unfil brown: a parfially roasfed fowl, cuf up in fhe usual fricassee man- ner: a large onion, a dozen shallofs, and a few dried chili peppers. These fhings are simmered slowly in a large buckpof or pipkin, and as fhey cook a sauce is added. The sauce consisfs of fwo fablespoons of brown sugar, half a fablespoon of salf, a feaspoon of cayenne pepper mixed wifh 'ren fablespoons of buffer. Finally 'ren fablespoons of cassareep, fhe concenfrafed iuice of fhe biffer cassava, is sfirred in unfil fhe soup is brown in color. Now fhe pof musf simmer for an hour or so, preferably over an open fire, and fhen sef aside fo cool for fhe fime if fakes fo memorize fhe slow movemenf of a Beefhoven Sonafa. On fhe second day fhe soup is boiled up again and allowed fo simmer for half an hour: fhen if musf resf a full fwenfy-four hours, and no doubf you will need fo, foo. On fhe fhird day if boils up again and simmers, and only now is if approaching edibilify. Sfill if is a young soup and by no means af ifs besf. You will keep fhe pepper pof going by consfanfly replenishing ifs ingredienfs fo compensafe for fhe porfion removed. H' is heafed up day affer day, monfh affer monfh, and year affer year unfil fhe pipkin is well caked like an old brier pipe. The finesf pepper pof is af leasf a hundred years old: if passes down from one generafion of Conservafory sfudenfs fo fhe nexf and fhe nexf, growing richer and spicier as fhey grow poorer buf ever so much more infelligenf. And when you are finally gafhered fo your fafhers, you will leave, if nof nine enduring symphonies, af leasf one well grown pepper pof. Furfhermore, fhrough eafing fhis soup day affer day, you will accusfom yourself fo infense heaf. H' is always well fo be prepared for fhe hereaffer. DOROTH EA PERSICHETTI Each year as fhe new sfudenfs and I face each ofher for fhe firsf fime, I wonder how many of fhem have come fo us wifh a hearf full of dreams and a head full of ambifions and plans for fheir fufure. Many of fhem, no doubf, are hoping fo be able fo sfep info fheir favorife arfisf's place fhe momenf he abandons if. And each year as fheir comprehension of fundamenfals and arf- isfic values is awakened, I see fhem grow, develop, and alfer fhose plans. Perhaps fhey discard quife a few of fhose dreams, foo. They find fheir place as fhe familiar saying goes. Buf whaf none of us shall ever see is fhe hearfbreak caused by fhe necessify of abandoning fhose dreams, of fhe disillusionmenf undergone because of a faulfy evaluafion of falenfs and abilifies fosfered by well- meaning feachers, families, and friends, and a subsequenf unwillingness fo invesfigafe fhe real possibilifies open fo musicians of foday. Wifhin us are 'rwo selves: fhe worldly, ambifious self which is goaded on forever by fhe glamour of fhe achievemenfs, press build-up, and public acclaim accorded fhe arfisf as well as by successes of confempor- aries. If fells us fhaf if sufficienf zeal and devofion are exercised, we, foo, can sfand in high places. Then, fhere is our frue self which may wanf somefhing quife dif- ferenf-nof so worldly or ambifious, perhaps, buf somefhing infinifely finer: namely, fhe developmenf side-by-side wifh musical growfh of characfer fraifs which make for frue happiness and produce REAL PEOPLE. If I dared, I'd like fo ask each sfudenf, as a sorf of iEnfrance Exam,' Do you know yourself? Whaf do you wanf from fhis musical experience you are underfaking? Are you evaluafing your ambifions and abilifies fruly? We of fhe Faculfy of fhe Philadelphia Conservafory wanf fo grad- uafe REAL people as well as REAL musicians. KATHRYN R. GRUBE OrcAe:ifraf jaining If is said fhaf no sfring quarfef is beffer fhan ifs weakesf member. The frufh of fhis sfafemenf is obvious because, in fhe quarfef, fhe abilify of fhe individual player is so exposed. Alfhough if is nof so obvious, fhis sfafemenf is neverfheless equally frue abouf an orchesfra. lf seems fhaf many members of amafeur organizafions, school orchesfras, and nof a few who aspire fo a professional sfanding, have an erroneous idea fhaf fhe minimum fechnical proficiency required in any kind of ensemble playing is nof af all necessary in fhe orchesfra since, in fhe group, one covers fhe ofher players' shorfcomings. However, if does nof happen fo be so, and anyone wifh fairly discriminafe musical fasfe will agree wifh me fhaf fhere is no more afrocious sound fhan, for insfance, imperfecf playing in unison. In fhe orchesfra, ANY SINGLE PLAYER wifh fhe slighfesf deviafion from pifch can produce a fonal disfurbance confrary fo fhe sound of fhe WHOLE orchesfra. Why should any orchesfra be bad, professional or amafeur? A professional orchesfra mighf be bad because ifs personnel, or a parf of if, is unable fo meef fhe demands of a sfandard reperfory wifhin fhe Iimifed fime for rehearsal. The conducfor is obliged fo selecf fhe works nof according fo his players' abilifies, buf wifh an efforf fowards pre- senfing fhe same fype of programs as fhose presenfed by fhe finesf symphonic organizafions. Cfherwise, fhe culfural funcfion of such an orchesfra does nof seem fo be fulfilled. However, no such considerafions should cause amafeur orchesfras fo selecf works beyond fheir fechnical means. This, of course, does nof allow fhem fo play poor music. Through- ouf fhe counfry sfandards will be raised by fhe employmenf of a greafer number of younger, fechnically equipped musicians who have fhe proper affifude fowards orchesfral playing, and who undersfand fhe workings of a beffer orchesfra: whose arfisfic infegrify would nof permif fhem fo hide behind fhe back of someone else and evenfually sink fo a narrow professionalism la precarious exisfencel af fhe leasf. ln our recenf concerf in Wifherspoon Hall, fhe orchesfra acquiffed ifself wifh honor which I affribufe mainly fo a fhorough pracfising of fhe individual parfs. Each sfudenf was sfudying his parf wifh his respec- five feacher, iusf as he would sfudy a solo piece. I find fhis sfudy nof only helpful for ifs immediafe purpose, buf consider if highly beneficial maferial for general fechnical advancemenf for fhe sfudenf. Hence, our rehearsals are made more producfive, allowing me, as conducfor, fo concenfrafe on fine poinfs, fhe real purpose of an orchesfral rehearsal. In ofher words, I believe fhaf whaf fhe young player lacks in abilify when compared wifh experienced professional players, he musf make up wifh individual work. In order fo weld a group of players info a playable and responsive insfrumenf in 'rhe hands of a conducfor, a degree of alerfness and con- cenfrafion is necessary which nof everyone is willing or able fo give. Beafing fhe fime, giving fhe cues, efc. limporfanf as fhese may bel are only a secondary funcfion of a conducfor. I have heard excelleni' per- formances of a conducforless orchesfra in Moscow. Their STRONGEST poinf was fhe rhyfhmic precision, because fheir ensemble was based on lisfening and on exacf knowledge of fhe relafionship of one parf 'l'o anofher. The principal funcfion of a conducfor is fo draw ouf of fhe orchesfra fhe precise sounds fhaf correspond fo his arfisfic infenfions. A choice of a fempo and parficularly subfle deviafions from an esfablished fempo, fonal balance, fonal coloring by means of bringing ouf one sef of insfrumenfs and subduing ofhers, are buf a few of fhe means af a conducfor's command. In order fo obfain fhese resulfs from fhe orchesfra, if is necessary fo have players who are frained fo respond. The process of developing fhis degree of response is nof easy. Buf do fhe refurns for such invesfmenf of fime and energy iusfify fhe expendifure? Whaf did fhe sfudenfs gef ouf of fhe rehearsal and performance by way of musical safisfacfion aside from fhe fraining value? Well, fhey are experiencing a fhrill of playing fine music in a group, music which fhe maiorify of fhem could nof as yef perform indi- vidually. Since fhey have already spenf a good many years conscien- fiously learning fheir insfrumenfs, I cannof fhink of a beffer way of showing fhem why fhey really expend all fhis efforf, and perhaps sfimu- lafe fhem fo fry even harder. I felf fhaf in fhe Iasf concerf we nof only gave a musically safisfying performance, buf also proved again fhaf WHEN THERE IS A WILL THERE IS A WAY. BORIS KOUTZEN The Fellowship of fhe Philadelphia Conservafory of Music opened ifs fall season by giving a fea parfy in Ocfober for 'rhe new sfudenfs and faculfy. A spirif of friendliness and unselfish inferesf in ofhers per- meafed fhe afmosphere. The annual Chrisfmas Program was given af fhe Efhical Sociefy affer a gracious welcome by Presidenf Lesley Cafhcarf. Many members 'look parf in fhe program of ensemble and solo music. Dr. Dengler led fhe audience in singing Chrisfmas Carols in his inimifable way: resulf, we all sounded like a frained Chorus. Members and friends came fo a recepfion af ZI6. Shorfly, a visifor and his liffle helper arrived fo sur- prise everyone. Perhaps you have a guess: Tired girls were dancing with partners half dead, While nightmares of Concerts danced round in our heads. When what to our wondering eyes should appear, But jolly St. Nick with his elf standing near. A bundle of toys he had flung on his back, And he looked like a peddler just opening his pack. lThank you B. S.l The Chrisfmas vacafion pasf, we became serious once more. High lighfs in fhe Fellowship Programs included, a lecfure on Confemporary Music by Perry O'Neil in which he persuaded everyone fo guess 'rhe composer, as well as fhe fifle and fhe performers of 'ihe recordings: a fine falk on Arf and ifs relafionship fo Music was given by Keifh Robin- son which sfimulafed a mosf inferesfing and lively discussion. Mrs. Grefchen Amrhein presenfed a comprehensive inferesfing re- sume of a new book, The Lowells. We music sfudenfs liked fhis excursion info hisforical evenfs describing several generafions of mosf giffed cap- able, pioneers, whose descendanfs are men of imporfance foday. Gail Shoemaker and her mofher, Mrs. Orlando Shoemaker, fold us of 'l'he growfh and developmenf of fheir Marioneffe Shows and lei' us become infimafely acquainfed wifh some of fheir charming personages. They are inferesfing liffle characfers, beaufifully wroughf and we hope io see The Sleeping Beaufy soon. Sfudenfs of Dr. Persichef+i's Composifion Class gave a program of fheir mosf recenf works. We fhoroughly enjoyed lisfening fo fhe resulfs of fhis year's developmenf of creafive falenf. Composers of fhe fufure, we salufe you!! Our famous Fellowship Dinner will fake place in May and of course a good 'lime will be had by all. THE ROVING REPORTER 301,90 Mefronomic speed is probably fhe mosf variable and annoying elemenf of musical execufion. lf is fhe reason for fhe asfonishingly varied performance fime given a work by fwo or more aufhenfically sound inferprefers. Sfudenfs should beware of imifafing fhe fempos of mafure arfisfs. lf is surprising how liffle such fempo variafion affecfs fhe lisfener. The imporfanf elemenfs are rafher rhyfhmic arficulafion, coordinafed phraseology, melodic line and harmonic movemenf. Whaf counfs mef- ronomically is fhe alferafion of speed wifhin a framework once a fempo is sef. Composers are offen poor performers and hesifafe shamefully before indicafing fheir fempos. Even when fhey are capable of giving audible shape fo fheir music, fhey are so occupied wifh fhe numerous defails and hidden elemenfs of fhe form fhaf fhe flow is hampered. Usually fempo indicafions are puf on fhe score affer fhe complefion of a work. Af fhis poinf fhe composer is an inferprefer. His concepfion now is of no more value fhan any ofher performer. Many works have had fheir mefronome marks inserfed while being rushed fo fhe publisher. Ofhers have been kepf long affer fhe dead- line only fo have been sfudied mefronomically by a faulfy ficker. This does nof give fhe sfudenf fhe righf fo violafe a composer's wish. Buf offen, fhe fempo secref lies somewhere beyond fhe brackefed figure af fhe fop of fhe prinfed page. VINCENT PERSICHETTI Music is a kind of inarficulafe, unfafhomable speech, which leads us fo fhe edge of fhe infinife, and lefs us for a momenf gaze info fhaf. -CARLYLE. mar!! premier Anodder vodka, snarled fhe eminenf Russian pianisf, Jascha Rorowifz. Humph! Zey vanf me fo play new American concerfo by Jones. Based on Indian fhemes, yef. How zey vill laugh in Moscow. Easy now, J. R. purred his suave manager, Mr. Hudson. Mr. Hudson was in a good humor because he had iusf posed for fhe 'Man of Disfincfion,' and fhey lef him have fhe drink. Think of 'rhe furor if will cause. Famous Russian pianisf gives premier of new concerfo by obscure composer from Oklahoma. lf will open up a new musical fronfier in fhe Soufhwes'l'. His laugh finkled like a cash regisfer. ' Ja, buf da idiof broughf zombies along fo play fom-foms wifh orchesfra. Maybe zey beaf so loud, nobody hear muzik. Well, if's almosf fime for rehearsal, said Mr. Hudson. We'd beffer go on over fo fhe hall. You know how Sfoblowski hafes fo be kepf waifing. So saying, fhey walked fo fhe curb, hailed a passing faxi, and were soon deposifed in fronf of Carnegie Hall. As fhey mounfed fhe sfeps, fhey became aware of greaf confusion from inside. The manager of fhe hall came rushing ouf. Don'f worry, Mr. Hudson, he panfed. We're frying fo smoofh fhings ouf peacefully. The whole percussion secfion iusf walked ouf be- cause fhe Indians Jones hired fo play fhe fom-foms gof paid more fhan fheir union wages. We senf fo union headquarfers for subsfifufes, so 'rhey oughf fo be here any minufe. Anyway, Sfoblowski is ready fo con- ducf fhe concerfo, so you'd beffer gef inside. The inferior of fhe audiforium showed signs of a recenf sfruggle. Arrows were sficking ouf of fhe curfains, a fomahawk was imbedded in fhe podium, and several seafs in fhe fronf row had been smashed 'ro pieces. In fhe background a few Indians were quiefly seffing up drums, gourds and raffles. Repair men were replacing fhe legs on fhe Sfeinway, and over all reigned Sfololowski, in complefe confrol of fhe sifuafion, lisfening fo 'l'he orchesfra fune up. From here if will nof be necessary fo confinue. The nofed crific, Girvil Nospmofh, ran fhe complefe sfory in his column fhe following morning: Lasf nighf Carnegie Hall was fhrown info an unprecedenfed uproar by a series of wild evenfs. The program began quiefly enough. If was affer fhe infermission fhaf fhe fireworks came. As fhe audience slowly made fheir way back fo fheir seafs, fhey were sfarfled by fhe appear- ance of several Indians clad in fradifional garb siffing in fhe percussion secfion. 'Anofher one of fhaf cufe SfobIowski's fricks,' fiffered one old dowager fo her friends. The orchesfra slowly assembled on sfage, fhe baffered piano was wheeled info posifion, fhe house Iighfs dimmed. Ouf came Rorowifz, who bowed superciliously, and fhen Sfoblowski. No sooner had he sig- naled fhe orchesfra fo begin, fhan fhere arose from fhe rear of fhe hall a loud shouf. Down fhe aisle plummefed fhe pudgy figure of Pames Jefrillo, union boss. 'ln fhe name of fhe law, I forbid you fo confinue,' he roared. 'Those Indians are non-union men, and any man fhaf plays one nofe will lose his union card and be black-Iisfed for Iife.' ERN.. mx A dreadful silence ensued. Suddenly one of fhe Indians leaped fo his feef wifh a wild cry and sfarfed affer Jefrillo. He was soon ioined by ofhers. If fook fiffy policemen fo resfore order, and as I undersfand, Jefrillo is in fhe hospifal, where he has nof yef recovered consciousness. The performance of fhe new concerfo was cancelled, and Mr. Rorowifz was discovered fwo hours Iafer by his friends, enferfaining fhe Indians af his aparfmenf. BARBARA DAY BRIGHT SAYINGS Lauren Persicheffi lage fhreel says fhe word is nof cooperlafeI - leighfI, buf cooperfen : fhaf ice is a piece of wafer , and a hand- kerchief is whaf you puf fhe blow on. Miss Chrisfman: Who reformed Opera? Sfudenf: Oh! Some Cluck by fhe name of Gluck! Young singers do noi' offen hear abouf fhe difficulfies and dis- couragemenfs which have plagued fhe road 'ro success for many of our greafesf singers. If is somefimes helpful fo consider whaf handicaps ofhers have successfully overcome when our own problems loom exfra large. Grace Moore's experiences as a young singer are candidly de- scribed in her aufobiography. Af fhe beginning of her vocal sfudies, affer working wifh an lfalian music feacher who had been described fo her as good and cheap and wifh whom she had sfrained and pushed her voice, she found one day fhaf she could nof uffer a sound. If re- quired fhree monfhs of complefe silence and very slow, careful vocal- izing affer fhaf fo bring back her singing voice. Whaf a period of discouragemenf fhose fhree monfhs musf have been! . There is also a descripfion in Loffe Lehmann's aufobiography, Midway in My Song , of her early difficulfies in learning fo sing as well as wifh rhyfhm-an ifem of inferesf fo many singers, l fhink. She did noi' feel she was progressing af fhe Royal Academy in Berlin, so she accepfed a scholarship al' Efelka Gersfer's school where her work was so discouraging fhaf, af fhe end of a year, she was fold fhaf she had worked very poorly, could nof be a singer, and was coldly advised fo furn 'ro some pracfical career. ln spife of such dishearfening advice, she was defermined fo fry again and, of course, was finally rewarded. Back in fhe middle of fhe ninefeenfh cenfury, fhere was a singer named Gabrielle Krauss who was for fwenfy-five years 'rhe leading soprano af fhe Paris Opera. As a girl, fhe direcfors of fhe Vienna Conservafory did nof wish fo accepf her as a pupil, being unimpressed by her appearance, and saying she had no voice. Buf for Mme. Marchesi, who insisfed on accepfing her as a pupil, she mighf never have begun her career. Then fhink of Jenny Lind, who, affer singing for several years in opera in Sfockholm wifhouf any knowledge of correcf voice fechnique, found fhaf her voice was failing her. She wenf fo Garcia in Paris fo see if he could help her. Garcia was nof hopeful of resforing her voice and did nof even feel fhaf she had an unusual one. Affer 'ren monfhs of infensive work, her voice was so much improved fhaf she could con- finue her career. Then, undersfanding how fo use her voice, she became fhe Swedish Nigh'ringale , a name which is pracfically synonomous wifh perfecf singing. During her early career, Schumann-Heink showed her fine qualifies as a person and her excepfional sfrengfh of characfer almosf more fhan any ofher singer of whom l have heard. ln spife of fhe responsi- bilify of an unforfunafe marriage and a large family, she managed fo supporf her children by her work af fhe opera in Hamburg, fhe salary being l50 pounds a year. She also accepfed all fhe concerf engage- menfs she could manage, besides affending fo fhe dufies of a mofher and housewife, cooking fhe meals and washing and mending as well. The very nighf her eighfh child was born she sang fhe role of one of fhe Rhine Maidens, and fwo weeks lafer was back again in fhe same role. Even af fhe Mefropolifan her early days were full of monefary worries, and her sad privafe life musf have been a greaf frial. Some people nafurally have an advanfage in healfhy consfifufions and disposifions, buf singers do nof realize enough how imporfanf a parf characfer can play in making a successful career. Noi' only fhrough sheer deferminafion, buf also from fhoughfful, defached considerafion of fheir problems, and by infelligenf and courageous affempfs fo solve fhem, many arfisfs have reached success and safisfacfion in fheir work and a richer personal developmenf fhan would have been ofherwise possible. MARION BRADLEY The Conserva'rory's would-be vocal aspiranfs are warned fo confine fheir pracficing fo fhe privacy of fheir own domiciles. One of fhese aspiranfs, however, dares from fime fo fime fo pracfice lmezzo-voce, of coursel cerfain vocalises or af leasf a do-mi-sol progression on fhe sfreef or in 'the crowded, noisy subways and sfreef cars. On one oc- casion fhis affempf fo make fhe mosf of fime caused him considerable embarrassmenf. Humming a minor scale and a phrase or fwo from an old Halian aria on a sfreef car one day, he was very much surprised when an elderly woman in fronf of him furned around and in a voice lNOT mezzo- vocei said, Shuf up. Having regained his decorum, our young singer confinued his vocalizing-a liffle more forfissimo, iusi' fo annoy fhis characfer who seemed nof fo have fhe fainfesf musical sfrain in her calloused soul. Nof confenf wifh one bifing exposfulafion, fhis non-musical crank furned fo fhe conducfor as she alighfed from fhe car and said lnof pianissimol, l don'f know why we have fo be bofhered wifh drunken singers on fhese sfreef cars! Our would-be aspiranf, cold, sober, and alighfing af fhe same sfop, reforfed wifh a ferse rebuke and sfomped off down fhe sfreef. He sfill fakes a chance and is now pracficing Brahms Lieder on fhe subway. BOB HEARN arzlzfhizn SusTained CJ-2:10, e 3 0 A r I-P+ ,gl A-L Vafr.fJ.r.ssE'nss sf ssein unior Wofent . The place - room eleven. The fime - fwelve noon on Safurday. Nine people of various ages are seafed before a desk and behind fhis desk sfands a pleasanf young feacher. ln case you haven'f already guessed, fhis is fhe seffing for fhe weekly fheory class conducfed by Miss Chrisfman. As a forerunner of fhe more advanced fheory classes, if includes fhe defining of fhe basic fundamenfals of music. The con- sfrucfion of fhe differenf 'rypes of scales and infervals and fhe recog- nifion of song pafferns are also parf of fhe required curriculum. For fhe mosf parf, fhe afmosphere fhai' prevades is lighf, for all of fhe sfudenfs feel free af any fime fo quesfion and discuss anyfhing which fhey do noi' undersfand. They know fhaf Miss Chrisfman is only foo glad fo answer fheir inquiries and welcomes fheir quesfions. Some of fhe sfudenfs wish fo become concerf pianisfs, ofhers 'reach- ers, buf no maffer whaf field of music fhey underfake, fhey find fhe fheory class invaluable. In all, fhis class provides one of fhe mosf infer- esfing and enioyable hours of fhe week. ANNE MARIE KEARNEY war Wo more The Unifed Nafions has cerfainly done much fo promofe fhe cause of world peace. If alone, however, cannof hope fo abolish war. The peoples and nafions of fhe world musf obfain a common undersfanding of each ofher before a lasfing peace can be realized. One of fhe fore- mosf ways of creafing fhis undersfanding is fhrough music. Haydn once said, as he was deparfing on a visif fo England, fhaf alfhough he could nof speak English, fhe people would undersfand him because his lan- guage was fhe language of music. Today, alfhough we may nof be able fo speak, lef us say, Russian, we CAN enjoy and comprehend fhe music of fhaf counfry. For if is fhe music fhaf serves as an infernafional 'ci ii 4 imliii .,-S ,. ,- y- ,Ci ,, f'- gif ...l - . an-n.e,ra1. -.,.1-- -i ,,,-f language among peoples from many lands and as a cornersfone fowards 'GSf'n9 Peace- ROBERT Keeel-lroN The dicfionary defines music as a succession of fones so modulafed as fo please fhe ear. To me, music and beaufy are synonymous. All beaufy confains music, and all music confains beaufy. Noi' all of us like fhe same fype of music. Our fasfes vary iusf as our personalifies do. While some of us look fo music for sfimulafion, ofhers find in if comforf and consolafion. In music 'we see our fondesf hopes and ambifions being fulfilled. Music weaves a silken nel' and imprisons us in fhe fascinafing land of our imaginafion. We find ourselves carried away on fhe magic carpef of sound fo differenf lands and surroundings. We see fhe Far-Easf wifh ifs graceful whife buildings, feeming markef places, and slowly moving camels. We see Cid lfaly as if sfands on fhe shores of fhe fwinkling Mediferranean. We can picfure fhe peasanfs in fheir colorful cosfumes, dancing, singing, and laughing. Wifh music, no disfance is foo greaf and no fime foo shorf. There is no person who can say honesfly fhaf he has never heard music. H' is all around us. We hear if in fhe voices of children af play. We hear if in fhe sfeady drip of fhe falling raindrop. We hear if in fhe surging ocean waves and in fhe sharp melancholy cry of sea gulls overhead. Who has nof heard fhe sound of fhe wind sighing fhrough fhe pine frees wifhouf realizing fhaf if is a deep and peaceful music? The bubbling of a brook, fhe rusfle of a leaf, fhe chirp of a bird-all fhese are music. So none of us could honesfly say fhaf he dislikes music. For fo dislike music would mean fo dislike all fhe sounds of nafure and fhe earfh. Music was senf by God as an example of His greaf work. Lef us freaf if wifh fhe love, reverence, and respecf fhaf if deserves. LYDIA FRUCHTMAN Our .Na!!0!gClI1'l0 MARGARET BARTHELL lAlumnaI is now under +he Managemenl of Ihe Associaled Concerl' Bureau, Inc. and appeared in a recilal al' Carnegie Hall, Sepfember 2I, I946. JOSEPH BATTISTA lAIumnus and pasl Faculfy MemberI is now under Judson Management He recenily played Ihe Mendelssohn G minor and Ihe Shosfakovich Concerfi wilh Ihe Rhode Island Philharmonic Orchesfra, Francis Madeira, Conduciing. , MERVIN BERGER lSIudenI'I is Ihe April Soloisf al 'rhe Philadelphia Young Musicians Musicale. THCMAS BROCKMAN lAIumnusI will be soloisl' a+ Ihe Dell, Sum- mer I947, Dimilri Mefropolis, Conducfing. JACK COWELL lAIumnusI is doing Posi' Graduafe sludy in Com- posifion wifh Paul Hindemiih al' Yale Universily. WILLIAM FAIRLAMB lS+uden+I played in January al' fhe Tri-Couniy Concerl' in Radnor and ai' I'he Guild for Confemporary Music in March. HENRY HARRIS Iformer Facul'ry MemberI now assisianl' professor of Piano a+ Iowa SI'a+e Teachers College was a soloisi' wi+h Ihe Minneap- olis Symphony under The ba'ron of Dimifri Mefropolis when 'Ihe orchesfra gave a concerr ai Teachers College. RICHARD THIELE GREGOR IAIumnusI was soloisr in February wiI'h Ihe Spokane Philharmonic Symphony, Harold Paul Whelan, Conduclor. WILLIAM KAPELL lAIumnusI gave his second sold-our Carnegie Hall Recifal and will conceriize +hroughou+ Europe in I947. BORIS KOUTZEN'S IFacuI'ry Memberl 3rd Sfring Quarfel' had ifs firsi' performance given in New York under Ihe auspices of Ihe Nafional Associafion of Composers and Conduclors, November I946. EUGENE LIST lAIumnusI affer an exfensive Iour in fhe Unifed Sfares s'I'ar+s his European four March 30, in Paris. PAUL NORDOFF lAlumnus and former Facully Member, had his Every Soul is a Circus programmed by Mar'l'ha Graham in her Phil- adelphia appearance in March. PERRY O'NEIL lFacul'ry Member, appeared January 24, as soloisf in lhe Isl' Piano Concerlo of Beefhoven wilh 'rhe Chicago Symphony, Hans Lange, Conducling. DOROTHEA PERSICHETTI lAlumna and Facul+y Member, was narra'ror for +he Fables composed by Vincenl a+ +he December Philadel- phia Orcheslra Childrens' Concerf, Eugene Ormandy, Conducling. VINCENT PERSlCHETTI'S lAlumnus and Facully Member, Sym- phony No. 3 will be performed by 'rhe Philadelphia Orchesira, Eugene Ormandy, Conducfing in rhe Fall of I947. A Suiie for Flu+e, Clarine-I' and Bassoon by ALFRED PIKE lS'ruden+, was performed a+ 'rhe Guild for Confemporary Music in March. MADAME SAMAROFF lFacul+y Member, spoke on The Performer as Crii'ic , al' +he Symposium on Music Criricism a+ Harvard Universily, May I, 2, and 3, I947. ROSALIND TURECK lformer Faculry Member, has given a Bach Series in fhe Scandinavian Counfries, fo be followed by a franscon- l'inen1'al four of Europe. THE ROVING REPORTER lim like a wandering asteroid, Beaten about from pillar to postg Lurking in the deeps of space, Lonely, cold, cornpanionless. lim, just a bit of cosmic dust, Floating idly in the void, Without a purpose or a hope, Going down the paths of Timelessness I arn the spindrift and the foam, Floating on the tideless sea, Flowing freely with the current Cleft by prows of passing ships. Roy Burrell Of lafe we were subiecf fo consfanf affenfion from a group of very defermined individuals who seemed fo endow us wifh bofh fhe loquacify and experience of Ulysses in his fravels and clamoured very persisfenfly for a discourse, eifher verbal or wriffen, on Chinese music fwe hail from China, you seel. However, aparf from fhe facf fhaf while in China and fhaf was a long while, we had fhe good forfune or ofherwise, fo hear fhe same screeching pandemonium every day lfhis wifh no disrespecf fo fhe Chinese musicians who, fo give fhem credif, were very zealous in fheir performancel, we know hardly anyfhing of fhe fechnical aspecfs of Chinese music. lnsfead, here follows, wifh apologies, a rafher irrele- vanf collecfion of our experiences in Shanghai which we hope mighf inferesf some readers. The cify does nof represenf China, being a regular hodge-podge of all nafionalifies, and is very cosmopolifan and modern in parfs. Before fhe war if consisfed of a French concession, a nice residenfial disfricf, fhe lnfernafional Sefflemenf mder fhe combined confrol of fhe Brifish, fhe Americans and fhe Chinese, and fhe Chinese suburbs lvasf in area and populafion.l However, fhere is one facfor alcin fo all China and very noficeably presenf in Shanghai, and fhaf is fhe variefy of smells lfhose fhaf do nof soofhe one.l This made ifself felf especially in summer when one was confronfed by a differenf smell on every sfreef. Variefy is fruly fhe SPICE of life. During fhe war and fhe Japanese occupafion, all fhe European refugees were segregafed in a cerfain area called fhe Honglcew. This, incidenfally, did nof apply fo us. There, in fhaf Jewish gheffo, fhe hapless refugees lived in ferrible condifions. Moreover, fhey were cuf off from fhe resf of fhe cify where, since fheir flighf from Europe, 'rhey managed fo esfablish connecfions and enferprises which provided for fhem fheir daily susfenance. ln order fo leave fhaf area and commufe fo fhe cify, one had fo apply for a pass, and fhe man who issued fhese was a cerfain Japanese by fhe name of Goya. This worfhy was a Lillipuf wifh illusions of grandeur. He had a sfriking resemblance fo some of fhe picfures one sees in Darwin's Origin of Species. His iudgmenf on whefher a refugee should or should nof gef a pass was errafic and irrafional, and fhe poor people lined up auf- side his office quaked in agonies of suspense and apprehension. Being so small himself he disliked big men and rare was fhe occasion when a husky fellow gof his pass fo fhe cify. More fhan fhaf, whenever a big man enfered his sancfum, Goya used fo scramble up on a chair from which heighf he proceeded fo slap fhe man and scream in a sorf of ecsfafic frenzy, See, now I am as big as you, as big as you, I fell youl Such cases wifh variafions were numerous. You should have been wifh us fhere on VJ Day. All fhe feelings in people fhaf were penf up and repressed for so long were given venf and fhe cify was one hurling mass of gay and mofley crowds who iosfled, shoufed, laughed and cried all af fhe same fime. Chinese, as you may know, are very parfial fo firecrackers and on fhose days every minufe was puncfuafed wifh one. When fhe G. l.'s and fhe sailors arrived, we fhink fhaf no ofher cify was more hospifable fhan Shanghai. Almosf all fhe barbershops and beaufy parlors were furned info bars and drinking saloons overnighf in order fo accommodafe fhe fhirsfy heroes. H' is of no imporfance lor is if?l fhaf fhe owners of same made some very sizeable profifs as fhe American currency changed sides and fhaf a few soldiers and sailors died of poisoning as a resulf of drinking vodka fhaf was mixed largely wifh mefhyl-achohol. Such was Shanghai. If fime would allow fhere are many more pi- quanf fales of fhaf cify fhaf could be fold, buf fhere is a cerfain harmony homework fhaf has fo be done for Miss Grube . . . Alas! ROSE SCHIFFMAN and MARK TUKACHINSKY OU, You are The one person in The world from whom you can never geT away. Day or nighT, awake or asleep, well or sick, in youTh or in old age, so long as you live, you can never escape for even a second from yourself. Now, if you had To pick ouT some one person wiTh whom you were To spend The resT of your life, woudn'T you be mosT careful in your choice? Wouldn'T you wanT ThaT person To wear well? To have The sferling qualifies of a fine characfer? To possess a keen inTellecT, a well- sTored mind, and a lively inTeresT in everyfhing under God's Heaven? Of course you would! For you know ThaT life wiTh such a person would be sTimulaTing. Since you musT bear your own company all your life, wouldn'T iT be an infelligenf move To make yourself as inferesfing a person as pos- sible? Now To be such a person requires deferminafion only. You musT be genuinely inTeresTed in persons and Things. Awaken in your youTh To The possibilifies of your surroundings. Firsf, Take an inTeresT in NaTure. Walk ouT in The counTry, Through fields and woods, during all seasons of The year. Observe and Think. In Spring waTch The miracle of budding Trees and of unfolding flowers: lisfen To The song of The reTurning birds: and savor The smell of The damp rich earTh. ln Summer follow The inTense acTiviTy of all growing Things of all The creeping, crawling, leaping, flying denizens of field and foresT. In AuTumn noTe The calm, mellow mood of NaTure who, having accom- plished her appoinTed work, resTs conTenTedly for a liTTle space before her long winfer sleep. How like The cycle of our human life wiTh ifs birTh, maTuriTy, old age, and Thaf long sleep we call DeaTh! Second, Take an inTeresT in humaniTy. The ouTward manifesfafions- appearance, speech, acfions-reveal The menTal, moral, educafional, and social background. Unconsciously Through These oufward marks every individual labels himself for all The world To read. lnTerpreT These signs correcfly, and you can iudge more accurafely. For much of your happiness and success in life hinges upon your abilify To size up indi- viduals and handle Them accordingly. Third, fake an inferesl in fhe various aris. Archilecfure-ihere never were so many beautiful buildings and slrucfures in 'rhe world as io-day: painiing, sculpfure, music lihaf goes wifhoui saying as il' is your professionl, poeiry, which fhrough fhe beaufy of ifs rhyfhm and sound musi' inevifably appeal +o a highly sensifized person. Lasl, gef info fhe habif of reading. Read anyihing lhal' appeals 'lo you so long as il' is fine and worlhwhile. Bul' above all, read 'rhe classics, and you will grea'I'ly increase your knowledge of life, of human beings, and of whal makes ihem l'ick. Follow +l1ese suggeslions consisfenlly, and one day you will find yourself possessed of a weal+h of knowledge and unders+anding. You will find lhal' you have insured your being inferesling +o yourself- inleresfing noi only in youih when you are surrounded by a hosl of relaiives and friends, buf also inferesling fo yourself in old age when you musl' increasingly depend upon your own resourcefulness for com- pany. For, remember, you are fhe one person in ihe world from whom you can never gel' away. MRS. GRETCHEN AMRHEIN I was born in the year of good old '29, And was said to have been quite a child. The nurse said my hands were just simply divineg Now-that statement is driving me wild .' For the years flew away just as fast as could be. And my hands were my pride all the time. Soon I learned how to count from small one up to three. And I learned how to sing and say rhyme. Then-one day my dear Ma heard a tale about Bach, And she thought him a wonderful mang So she put all her furs and her rings into hock, And then started to work on her plan. Well-the very next day my hands went into use, And they haven't stopped working since then, For I practice all day and I worry all nightg Something tells me I'm nearing the end .7 So to all of you people with hands rough and red, This poem I do dedicate. ,lust be thankful to goodness you're not nearly dead Like me-with piano my fate. Gilda Leshem Un Coming jkrougk fhe gacl' JDO? There is a fable abouf a philosophical and opfimisfic wag who once remarked fhaf, befween one fhing and anofher crowding info his way of life, he didn'f righfly fhink he'd spenf enough fime really frying hard fo gel' fo heaven: buf, he said he made sure fhaf he had a couple of friends wearing halos, and when his fime came fo apply for admission info heaven, he was counfing on fhese friends fo keep Sf. Pefer busy af fhe Pearly Gafes so fhaf he could sneak in fhe back door. Well, fhere are a few of us here who are very grafeful fo fhe friends who keep fhe back door open fo Ief in fhe embryo musician. You musf have heard fhis sfrain around school: l am a bookkeeper lor clerk, or secrefary, or iusf a high-school gradl, buf I love music and I wanf fo be a musician. The besf parf abouf if is fhaf everyone is so kind and considerafe of fhe Iimifafions of fhaf sfafemenf, even fhough if somefimes causes sifuafions like fhe following: Here is Sfudenf A , abouf fwenfy years old, who has sfudied and lived wifh music for ninefeen and fhree-quarfer years, and is iusf filled wifh invenfive, arfisfic musicianship. Then we have Sfudenf X who iusl' couIdn'f sfudy before now, has some kind of dormanf musical abilify, is abouf-well, fhis or fhaf age- and knows fhe sharp and flaf scales: buf, don r gel' foo involved in fhis 'relafive harmonies' business yef. To ordinary feachers in an ordinary school, such a sifuafion creafes a problem of ferrifying proporfions. They wrife books abouf if, have long heafed conclaves abouf if, and, finally, give up in despair. Buf ours is nof an ordinary school, and we have far, far from ordin- ary feachers. Available here for Sfudenf A are all fhe fools necessary 'ro advance fo fhaf Number One cloud dream , and Sfudenf X can plod happily along foward fhe wonderful day when hard work and confacf wifh fhe arf of music will evenfually lead fo fhe full achievemenf of- I love music: I AM a musician. Sfudenl' X STELLA FERRARI Qui' Cponfemyaorarg manic The average music lislener seeks in vain for familiar landmarks in ihe new 'ronal scheme of ihings which, so far, has been explored by our modern composers. American composers, who have so naiurally been imbued wi+h 'rhe pioneer spiri+, are using shorf, concise, compacl forms, wi+h a minimum of +hema+ic developmeni' and repe'ri+ion. If fhere is repe+i+ion, if musl' noi' be 'foo obvious or self-evident Sequences are 'Frowned upon, as are +he foo regular four, eighf, sixreen measure groupings, and +he ordinary cadence is pracrically +a- boo. Old laws of harmony and voice leadings are oufmoded. Fixed, +oo regular melody is no+ popular. In i+s place is pui' line, or figure, or confrapunial mo+ion and, very frequenily, color or design insfead of emorion. Modern music has evolved 'Through +he process of eliminafion of mos+ of fhe fundamen+als of 'rhe pash however, new mefhods are nor fo supercede 'rhe old ones. The real necessiiy is +o clarify fhe maferials belonging 'ro fhis age, nor 'ro refurn +o classic melhods. Many composers have sfudied and incorporaled +he more desirable of ihe modern meih- ods info one sfyle, allowing 'rheir individual sfyle fo develop nafurally. The person whose world of music begins wilh Bach and ends wi+h Brahms will have rebellious reac+ions fo our confemporary music. He +ries 'ro fi+ wha+ he hears info old cafegories. The new musl' be wrong because il' breaks all appareni' rules. Everyone is disiurbed by some- fhing he does nor undersfand. To +he unini+ia+ed I would suggesr +ha+ a more rhorough invesri- gafion be made in+o +he possibili+ies of modern music. Many good books can be ob'rained which explain +he infricacies of lhe new +onal sys'rems. Some of fhese are: Marian Bauer's 20+h Cenfury Music , Aaron Copland's Our New Music , Horace Alden Miller's New Har- monic Devices , and Henry Cowell's New Musical Resources. Bur +he bes'r mefhod is lisfening. Perhaps al firsi' fhings will seem infangible, buf lhe ear will gradually become accusfomed 'l'o fhis new ional music. Almos+ every composer in lhe pasi' was accused of being foo radi- cal for his fime. A+ some period in fhe fuiure our coniemporary music will be considered conservafive. The lisiener musf learn ihe +ru+h of Feruccio Busoni's sfafemenf, There is norhing new under The sun-only fhings which have come info being earlier or lafer. The modern and fhe old have always been. ALFRED PIKE zzrzizfzizn mo.aef.f5QQ?jQ2 s r, PJ I VanH r A1 lr driv- v :rl The maferialisfic age in which we live has casf ifs dark shadow over music, fhe mosf spirifual of fhe arfs. A musical career foday is seldom a dedicafion-more offen a neurofic exhibifionism depending for ifs success on personalify, pull, and publicify. There are fwo imporfanf quesfions every aspiranf for musical honors should aslc himself: I. Do l sing lor play, or composel because l love MUSIC, or be- cause l love fo sing lor play, or composel? 2. ls my inferesf primarily in myself and a successful career, or in furfhering and nurfuring fhe arf of music? l do nof mean fo beliffle amlaifion or fhe love for performing, buf if seems fo me fhese should play a minor role in fhe musician's life. The origins of our Wesfern music are obscure, buf mosf hisforians favor fhe fheory fhaf if arose as a means of enhancing fhe funcfions and purposes of religion. In fhe greaf schools of Greece, and earlier in fhe Mysfery Schools and Temples of ancienf Egypf and ancienf Persia, music was parf of fhe insfrucfion given, an insfrucfion fhaf re- garded music, science, and religion as having a common source. Thaf source was fhe spirifual world. ' Q, ,-g,,fj.Qigl , Xlrril- 1 IQ 1 1 EJ QVQTW' b Fi 2I.if.m.,,f,h.f,iwy A maferialisfic age pays liffle affenfion fo spirifual maffers. How- ever, many people foday, appalled by fhe ferrifying holocausf we have iusf been fhrough, have begun fo ask quesfions a maferialisfic world concepfion cannof answer. Everyone forfunafe enough fo be giffed for music, fo have fhe opporfunify fo live wifhffor music, can help dispel fhe shadow of maferi- alism, can help fo answer fhe quesfions of fhose who seek somefhing maferialism cannof give. l We can do fhis by remembering ever fhe divine origins of music, so fhaf, in feaching, performing, or composing, fhere will be fell' a reverence for fhe arf fhaf has broughf ioy and comforl' fo man fhrough all cenfuries. We musf make sure fhe BEING of MUSIC ITSELF speaks fhrough 'rhe music we make, for fhen if will become impossible 'ro USE music for purposes of self-expression, self-seeking, self-adulafion. Lef us seek consciously fo permeafe music wifh fhe spirif fo save if from becoming a dead and lifeless arf. ln so doing we furfher nof only fhe evolufion of music, buf fhaf of mankind, fo whom all arf was- in fhe beginning -enfrusfed. PAUL NORDOFF Foofnofe: The aufhor is indebfed fo fhe work of Rudolf Sfeiner fhrough which fhe convicfions expressed in 'rhis arficle were inspired. As a member of fhe alumni for IO ears, if is a leasure fo ive Y expression fo my alma mafer di musica. lf is frue fhaf a house builf on a roclc foundafion will nof be forn or uproofed by fhe winds of fime. lf is also frue fhaf, alfhough we learn by experience, if is only fhose of us who have been guided in youfh by a sfrong hand who can in furn give of fhemselves fo ofhers in age. Wifhin fhe arf, as in any phase of wisdom, we have many who acclaim a public name. These personalifies we honor and respecf for fhe loyal and unselfish giving of fheir lives fo fhe purpose of arf. We have, also, fhose who never claim fhe public, buf who serve iusf as faifhfully and sincerely in fhe frue arf. I Cne masfer, Roberf Schumann, said, Genius creafes, falenf sfrug- gles. lf seems fhaf fhese fwo elemenfs mighf somehow mingle fogefher. When one creafes, does nof one sfruggle? Likewise, does nof a sfruggle bring forfh a creafion in some form? Why fhen did Schumann puf fhe fwo phrases in fhe same breafh? And if he meanf fhem fo be confrasf- ing, such as fhe fwo main fhemes of our beloved Sonafa form, does nof fhe Sonafa have coherency? Thus, in fhis respecf, if can be said of fhe Philadelphia Conservafory fhaf fhrough ifs doors info fhe profession of music have walked many of bofh genius and falenf. When an organizafion of learning has done fhis, if has accom- plished fhe ulfimafe. Wifh each year of confinued service fo fhe arf of music, we come fo feel fhe securify of knowledge and 'rhe confidence of expression fhaf was insfilled in us as sfudenfs af fhe Philadelphia Conservafory. May I 'ralce fhis chance fo fhanlc fhe Direcfors and Faculfy for fhe frufh of fhe learning fhaf fhey so willingly gave me and fo fhe enfire school for fhe personal warmfh and noble afmosphere fhaf surrounded me as a sfudenf and fhaf has profecfed me as a professional. May l also wish fhe Conservafory endless nuclei for genius and falenf and unending success in fhe developmenf of fhe living arf-music. JANE M. KOLB The annual series of Faculfy Concerfs in memoriam of M. Sophia Ezerman opened auspiciously af Wifherspoon Hall, February I8, I947. The firsf concerf feafuring a program of Chamber Music presenfed fhe Ravel Sonafa for violin and cello, Boris Koufzen and Elsa Hilger: fhe Hindemifh Sonafa for Piano four hands, Dorofhea and Vincenf Persi- cheffig 'rhe Koufzen Duo Concerfanfe, Boris and Inez Koufzeng fhe Franck Quinfef in F minor, Boris Koufzen, William Bless, Samuel Roens, Elsa Hilger and Allison R. Drake. The second concerf af fhe Efhical Sociefy Audiforium, February 26, consisfed of a piano group of Scarlaffi and Haydn played by Lesley Cafhcarf: fhe Brahms A maior Sonafa performed by William Bless and Evelyn Chrisfmang a Rachmaninoff group by Joseph Arcaro: and fhe Franck Sonafa in A maior by Olefah Diefrich and Anneffa Lockharf. A piano recifal by Claire Schapiro fook place af fhe Efhical Sociefy March 5, and included works of Haydn, Brahms, Chopin, Liszf, Prokofieff, Gershwin, and Liapounov. The fourfh concerf presenfed fhe Philadelphia Conservafory Or- chesfraunder fhe direcfion of Boris Koufzen af Wifherspoon Hall on March IO and consisfed of fhe Vivaldi Concerfo Grosso in D minor, followed by fhe Haydn Concerfo in D maior for which Elsa Hilger was 'l'he cello soloisf. Then fhe Bach concerfo in D minor for piano, Allison R. Drake soloisf, was followed by fhe Mozarf Symphony in G minor, bringing fo a close noi' only an arfisfic achievemenf in sfudenf orchesfral performance buf also a mosf inferesfing and sincerely presenfed series of concerfs heard by large enfhusiasfic audiences serving as a real inspirafion fo all. THE ROVING REPORTER Musical 'rraining is a more pofenf insfrumenf fhan any ofher, be- cause rhyfhm and harmony find fheir way info fhe secref recesses of fhe soul, on which fhey mighfily fasfen, imparfing grace, and making fhe soul graceful of him who is righfly educafed. -PLATO .sjlailfe jonezi, jwenfiefh Cenfury Jongdur Whefher fhey know if or nof, Spike Jones and his band of Cify Slickers are fhe professional descendanfs of fhose wandering minsfrels who fravelled from one markef place fo fhe ofher in fhe days of Richard fhe Lion-hearfed. The beloved vagabonds of fhe fhirfeenfh cenfury and fhe personnel of fhe confemporary Music Depreciafion Revue have more in common fhan one would suspecf. ln 'rhe fime of fhe firsf Crusades, fhe minsfrels and iongleurs were welcomed everywhere, be if village, favern or baron's casfle. They came dressed in fheir fradifional gay, gaudy cosfumes fo sing and iesf, fo iuggle and fumble, fo dance and fell sfories. The arrival of fhese ifin- eranf musicians broughf lively enferfainmenf in a day when enferfain- menf came buf rarely. H' was a freaf fhaf everyone enioyed, serf and noble alike. According fo fradifion, fhe minsfrel had fo be able fo play nine insfrumenfs. He was cerfainly a versafile fellow. His place in sociefy, however, was quesfionable. The irregularify of his life and fhe irrever- ance of some of his songs and sfories were frowned upon by fhe Church. In spife of fhis, he sfill mainfained his popularify wifh fhe people. An idealized picfure of fhe minsfrel has come down fo us in fhe Juggler of Our Lady, one of fhe mosf beaufiful sfories from fhe Middle Ages. Wi+h fhe mofion picfure, fhe radio and fhe fheafre, fhe oppor- 'runifies for enferfainmenf in fhe modern world are beyond fhe wildesf dreams of fhe fhirfeenfh cenfury. This has alfered fhe life of fhe musician- enferfainer fo a considerable degree. lf has given him more compefifion and, on fhe ofher hand, has infroduced him fo a greafer number of people. Today, fhe Cify Slickers obviously do nof fravel from one cify square fo anofher. They board a frain or a plane and fravel from fhe fheafre fo fhe mofion picfure lof and again fo fhe recording sfudio, making a kind of music, going fhrough fheir slapsfick roufine and giving fhe audience a lively fime. Like fhe iongleur of old, however, fhese men can sing and iesf, iuggle and fumble, dance and fell sfories. They are versafile and popular fellows. Their broad humor and 'rheir incomparable musical parodies are very much akin fo fhe crude riddles and parodied songs of fheir medieval predecessors. Richard of England would cer- fainly have found Spike Jones very amusing. H' is inferesfing fo nofe fhaf fhe Cify Slickers uphold fhe fime-honored minsfrel fradifion of wearing mofley cosfumes. Their garmenfs are indescribable, adding fo fhe general sense of hilarify and fesfive confusion. No genfleman of disfincfion would consider such ensembles. There have been no profound works of arf leff fo us by iongleurs. If is doubfful if we will gef one from Spike Jones. If is also doubfful if Mr. Jones cares, and fhis adds fo his charm. He is nof af home in fhe rarefied heighfs of arfisfic expression. Buf he has had fhe pleasure of giving a fair percenfage of 'rhe populafion a roaring good fime. Thaf is a considerable accomplishmenf for anyone. EVELYN M. CHRISTMAN Every ofher Monday nighf one sees an inferesfed group gafhering in fhe concerf room af ZI6. Madame Samaroff's Monday evening Musicales are a mosf valuable experience for performer and lisfener as well. Af fhis fime her sfudenfs are offered an informal opporfunify fo play as offen as fhey are prepared. Somefimes one of Madame's Juilliard sfudenfs has done an especially fine piece of work and is invifed fo play in fhe musicale. The more fhese ardenf, ambifious piano sfudenfs of Madame Samaroff have accomplished, fhe happier she seems fo be. Whaf maffer if fhe program is an hour and a half or fwo hours, or a Iiffle plus or MINUS? Thaf newly learned, seldom heard composifion or concerfo, or confemporary work can always find ifs niche in fhe evening's music program. lmporfanf works of Bach, Sonafas and Concerfi of Mozarf and Beefhoven: Haydn: fhe romanfics, including Schumann and Chopin, Mendelssohn and Franck were heard. Some of fhe confemporary works included Hindemifh Sonafa No. I, Prokofieff Sonafa No. 2, 3, and 7, Barber Excursions and Barfok Folk Songs. Concerfi by Prokofieff, Shos- fakovich, Khafchafourian, and Kabelefsky were brillianfly played and excifing fo hear. The ambifious sfudenf who is a performer should also be an infer- esfed lisfener. Much can be gained in hearing fhe varied reperfoire presenfed fhese evenings as well as by frying 'ro evaluafe fhe musical growfh each sfudenf makes as fhe season progresses. Affer each program Madame says in her cheerful, purposeful voice, Now I wanf fo give some crificism. Who is firsf? Come wifh me. In a back room each sfudenf receives fhe precious ideas in fhe form of consfrucfive crificism from fhe Masfer Pedagogue. Her sincerify, acfive inferesf, and real wisdom are of inesfimable value. A spirif of advenfure is felf in fhe expecfafion of hearing fhe seldom heard, a firsf performance, fhe newly prinfed, as well as fhe old fav- orifes. The variefy and wealfh of piano Iiferafure heard, reward and enrich fhe lucky Iisfener. THE ROVING REPORTER Wudic .sjhoufcl M jun., You have heard frequenf references concerning fhe serious musi- cian. Those of us who make our living af music nafurally musf have a really serious affifude foward our work, or we would be complefely losf in a field which is as highly compefifive as ours. We are prone, however, fo be so obsessed wifh mainfaining high sfandards of arfisfic performance fhaf we forgef fhaf music is for pleasure and relaxafion. I have never been impressed wifh fhaf old adage arf for arf's sake. You can puf your finesf masferpieces of music, painfing and liferafure on some uninhabifed island, and whaf good are fhey? Arl- is for MAN'S sake, and his enioymenf of if is more imporfanf fhan mere arfisfic perfecfion by ifself. As arfisfs and musicians, we should gef more real fun ouf of if ourselves, so fhaf fhose around us can cafch a liffle of fhe inspirafion and ioy which we experience. Thaf doesn'f mean fhof we should be frivolous abouf if-alfhough frivolous music has ifs place, even for fhe so-called serious musician. Life is a frying and neurofic experience foday, and we need music as a relaxafion more fhan ever. We need more communify singing, more amafeur bands and orchesfras-all performing iusf for fhe plea- sure of if. We need more house-music-music of our own, far more fhan we need professional symphony orchesfras and fhe canned sfuff. We need fo puf our young school-frained singers back info church choirs, where fhey have been replaced by lsecond rafe?l professional quar- fefs. KW e mighf have bofhl. As I sforfed fo say, more people should make more music-and MUSIC SHCULD BE FUN! BRUCE C. BEACH ODE TO A STUDENT fEar Trainingj Hopes' to one day be a scholar All he does all day is holler. Do-Re-Mi-Fa in his ears. So attentive he appears But his thoughts are far away Un what he'll have for lunch today. Pat Prendergast Q ELIZABETH GRAPE STOUT ELIZABETH KERR MacFARLANE GLADYS SPRAGUE STORY HELEN P. MOLT JON CARLIN SISTER M, DOLORITA, I.H.M. SISTER ST. EILEEN, I.H.M CULTURAL LECTURES AND THE FOUNDATION COURSE OLGA SAMAROFF DOMENICO VITTORINI ALLISON R. DRAKE Firs'r row, II. +o. r.I: E. DE SANCTIS, M. TIMMINGS, F. EGGLESTON, P. NEIGHBORS DR. VITTORINI, MADAME SAMAROFF, A. R. DRAKE, C. THOMSON, B. KUHN S. STONE. Second row, II. +o r.I: S. ANDERSON, MRS. JAMES, M. BOVE, J. COPPALINO S. DOROGI, D. MENCHER, M. JOHNSON, MRS. MARKS, MRS. LINCK, R MANSELL, G. STORY, G. REEVES, M. BERGER. Third row, II. Io r.I: S. DICK, L. DUNLAP, P. DOUGHERTY, MRS. LOEB, T. PRIES, J. PALMER, MRS. BARTSCHI, R. HUSTON, J. HAMILTON, B. HEARN, V. NOUSKHAJIAN, M. TUKACHINSKY, R. BERRY. PHILADELPHIA CONSERVATORY ORCHESTRA BORIS KOUTZEN, Conducfor Assisfing Ar'ris'rs Allison R. Drake, Piano Elsa Hilger, Cellisf Wifherspoon Hall March IO, I947 INSPIRATION Apollo, my Apollo, As the melody pours forth, Uh, come to me tonight, 'Tis wing'd, a song at birth, All atremble I await thee It soars above the moon and stars, In the softly faded light. Beyond the reach of Earth. With ardent arms embrace me High above at breathless height Like a lover holds his lute. The notes are wild. Untame- And pluck upon my heart strings Like Acestes' hery arrow, A song of songs long mute. Each trill becomes a flame. Oh heart, be calm within me, When at last the Dawn appears, Pillow'd close against your breast, Our harmonies become, As stirs that lilting rhythm Fuel on the burning altar That long has been at rest. For the Earth's morning sun. Laure B. James HMUSIC AND YOU To dreazzt of you is like a song, O'er the chords they race A smooth and rhythmic beat And then the strings commence. The mood? 510201 A stillness settles, your minds relaxed The pulse ls Strong In a mood so strangely new, Where chorus and prelude meet. And ever Strain The plots are equal, a boy, a girl, Qld dst y b . Plfhose story is defined. L ll ei 0.ml, Gam d Their griefs and laughs Tie Iuszc is czange to you. The notes and Stags A symphony is notuenough By which their lives entwine. Nor fl hlmdred UIOZMS The mood does vary, the brass blurts out Could fell mf' Mellen' There's noise and tvrbztlencc. The M 1451-0 510118 Quickened page And my love for you begins. Bart Anello THE ROAD OF LIFE There are many paths that lead to the road of life. Who knows which path will lead to fear or strife? Which one was made for me to take? The one is good for my own sake. There comes a time in each manls life: then only he shall know If he will make himself his friend or long and hated foe. There is a path with pitfalls, a lane where lovers call And, blindly stumbling as they go. they give their very all. The path that,s lined with beauty and piled with many treasures, May leave you all too soon without your long sought pleasures. Iall endure the many hardships here And never utter words to make unwanted fear. I,ll make this long-sought journey without friends, And follow only those long and well-known trends. When I have traveled o'er that road, then I shall say, May I stay here till there comes an everlasting day? Dottie May VVhitakc-31' zzrzizhizn Boisfer-ous xfJ:I76, , 'Varig ft al EWG xii! T 5, ll1 431 -iii M i ,vm T2 ggmymied of fha Seniora Many aspiring sfudenfs are looking forward fo fhe day when fheir required amounf of work for graduafion will be complefed. They visual- ize fhis as a goal which represenfs fhe peak of fheir efforfs and fhe end of fheir sfruggles. Buf fhe seniors have an enfirely differenf ouflook concerning grad- uafion. To fhem if is only a beginning rafher fhan an ending. They have realized fhaf four years of sfudy furnish merely a foundafion upon which fo build fheir fufures. Their enfire lives lie ahead of fhem fo be molded according fo fhe pafhs fhey choose fo fake. The course will nof be an easy one for fhey are no longer clependenf on well-wishing advisers and classmafes. They musf sfand on fheir own and face fhis challenge as individuals. lnferviews wifh fhe seniors revealed fhaf fhey are prepared fo accepf fhis challenge even 'rhough fhey are hesifanf as fo fheir final goals in life. John Carlin's inferesfs are very diversified, buf he believes fhaf his greafesf safisfacfion will be derived from feaching- in making a sfudenf aware of fhe hidden values of musical accomplishment He would also like fo be a vocal accompanisf. John has fwo oufsfanding domesfic hobbies-cookery and inferior decorafing. Some of his happiesf momenfs are spenf preparing new concocfions and redecorafing his aparfmenf. He loves fo spend hours fafhoming fhe laws of psychology and philosophy. His analyfical mind even penefrafes fhrough his feafures. lEd. Nofe. See fhe above pose.l S S S illzI,.., v X U ,Sai S Sill E631-i'Tiea511e3 ' --'egg s -4-5 if ar- '15 4 -:. 1. -. - eg: ?L, if :inf subiio liz. Helen Molf plans fo confinue sfudying by working for her Masfer's degree. She, foo, hopes fo be an accompanisf. Evenfually she wanfs fo refurn fo Florida and sef up her own feaching esfablishmenf fhere. Helen's hearf lies in fhe land of sunshine, and sunbafhing is one of her favorife diversions. She is also fond of oufdoor sporfs and loves good poefry. Beffy MacFarlane would like fo furfher her vocal fraining by sfudy- ing opera and oraforio. She hopes fo have some radio experience while sfudying. Someday she hopes fo become a full fledged arfisi' eifher in concerf or oraforio work. Beffy enioys sporfs of any kind. Perhaps fhis is an ouflef for her love of fhe dramafic. Thaf million dollar smile should cerfainly be an advanfage in obfaining a concerf manager. Gladys Sfory plans fo work for her Masfer's degree nexf year. She would like fo confinue her work as an organisf and as a feacher. Her main inferesf lies in her children fo whom she hopes fo imparf much of her musical knowledge. Besides being an excellenf mofher, fhis busy lady finds fime for books and swimming. Thai' laugh has cerfainly been a wonderful means of bringing a class fo life. Beffy Sfouf plans fo enfer college in order fo broaden her general educafion. She is inferesfed in doing liferary work in music and hopes fo be an accompanisf. Evenfually she would like fo give a series of lecfure courses in musical fherapy. Beffy is very enfhusiasfic over psy- chology and philosophy and spends much fime reading books of fhis nafure. Swimming and dancing are among her favorife diversions. Beffy, frequenfly called Breafhless because of her consfanf rushing, has fhe phenomenal abilify fo be af fhe same fime one of fhe mosf falkafive girls af fhe Conservafory. BETTY STO UT manic anal, gjclucafion Gehling educaled used fo be, and slill is, a highly compe'l'i+ive business. The leacher would ask a queslion, and 'rhe person who knew il' would +rap +o +he head of 'lhe class. Even loday we separale a group inlo seclions on 'lhe basis ol 'lhe l. Q. of each individual. Yes, compeirilion is lhe key-word used, yer everyone roday is lalking aboui' cooperalion. Concepls like world democracy, 'rhe Uni+ed Na+ions, and +he brofherhoool of man are no longer a philosophy bul' are be- coming an aclualily. How does music 'Fil' inlo +his cooperalive scheme? Perfeclly. Consider a band, chorus, or orcheslra. Here is a group of people in lhe mosr dernocralic and cooperaiive si+ua+ion +ha-I' anyone can conceive. All of lhem are bound 'lo 'rhe same fundamenlal pilch- le+ us say 44OA. No one would even 'ihink of changing his individual pirch +o 436A and perform in 'rhe group. Tempo is esfablished by lhe conduclor regardless of all 'lhe subieclive lempi of The players. Dynamics are religiously observed by everyone. No one goes off by himself on a violafion of dynamic markings. The individual is subservienf +o group response. Group response is in 'rurn subservienl' +o lhe immulable de- mands oi pilch, inlensily, melody, harmony, fempi, and rhyrhm, elc. Music is uniquely 'Filled for lhe new educalionz i. e., everyone in rhe group musl achieve a cerrain goal fhrough cooperafive acfion. This means rhe good ones musl' help 'rhe poor ones. There musl' be more drill and drill and drill 'lo achieve perfecrion. Wilh 'lhis sysfem we will lose such common words as inlroverr, exlroverl, snob. brillian+, and clever. Wi+h ii' will come a real democracy in aclion and no+ a democracy in words. Do noi' forgel' whar il means. H is cooperalion of all pupils in all school subiecls for rhe loellermenl' of fhe group. CLYDE R. DENGLER ODE TO A STUDENT fCounte1'pointl Constantly he nurtured fear Of punctum contra puncturn. He did fine work tlzrouglzout the year- But-ull lzis tests-lze flunked iem. Although he cloesuit fare so well, He worft begin to cuss. For even tlzouglz, things arerft so swell They could be whole lots wuss. PAT PRENDERGRAST The sfaff of Variafions would like fo fake fhis opporfunify fo fhank our many friends who have made fhis book possible. Mrs. Drake's consfanf aHenfion and help led fhe spirif of inferesf which pervaded fhe enfire faculfy. The office force cheerfully fook care of many defails, and Mr. Landenberger's brighf posfers announced fhe progress of our venfure. Shirlee Sfone and Emelia De Sancfis gave hearfy supporf fo our ad secfion. Thanks fo all of you! Kafhryn R. Grube, Faculfy Advisor Mary A. Maffhews, Edifor William Fairlamb, Jr., Associafe Edifor Keifh Robinson, Arf Edifor Lilburn Dunlap, Adv. Mgr. Rudolph Benefsky, Business Mgr. Frederic James, Phofographer, L.M.M.S.S.A. lLond.l, D.D.S. lPenna.l, M.R.P.S., A.P.S. Elena McCuen, Secrefary and Treasurer Sfuarf Dick Bessie Condros Janef Buehler Pafrick Prendergasf Vahe V. Nouskhaiian Roy Burell pafI'0l'l cliff gil' y26ll'LO0L MRS. WILLIAM ARNETT MISS WINIFRED ATKINSON MRS. M. BARTSCHI DR. and MRS. BROOKS KEFFER MRS. H. C. BAZETT MISS LESLEY CATHCART MRS. T. H. DOUGHERTY MR. and MRS. ALLISON R. DRAKE DR. and MRS. WILLEM EZERMAN MISS EMMA FELDMAN MRS. JOHN GEARY MISS KATHRYN R. GRUBE MISS MARY V. HAGERTY DR. FREDERIC JAMES MISS ANNA MAE HOFFA MRS. FREDERIC JAMES MRS. MARGARET BAXSTRESSER MRS. ADOLF LOEB MRS. E. MARKS REV. RALPH B. McCUEN MR. D. W. MEASUROLL MRS. HERBERT MORRIS MRS. RICHARD NEUMAIER MRS. ORLANDO SHOEMAKER MISS GERTRUDE STERNBERGH MRS. 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