St Joseph Academy - Sajoscript Yearbook (Columbus, OH)

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S A N D A L P H 0 N MOTHERS' DAY May 9, 1926 Spring ......... ............ , ............................. E . A. Holmes Chorus-FIRST RIIETORIC CLASS Prelude Op. 45 .. . ................................. ....... C 'hopin LUCILLE FULLER Danse Hongroisc ................................. ..... I Iaesche Violin-RUTH IIINTERSCHIED. Piano-MARIE IIINTERECHIED. Improlnptu in C Sharp Minor .................................... Reinhold LOUISE PACKARD Rucitation ............................ The Lady J udith's Vision SECOND RIIETORIC CLASS I'OlOnaise ...... ....................................... Zl lacDowell MARY IITARGARET DODD Mother, My Own ....................................... Toichner-Caldwell VKIICB--ALICE BLAIR, IIUBERTA ZETTLER. P13110--CATHERINE HPJNNESSEY. Address ........................................ . . .Our Mothers FRANCES BRADLEY Capriccio Brillantc ................................. .... M endelssohn llTARY CATHERINE KOIIP Piano and String Accompaniment I Sec You ........ General Calisthcnics Dumb Boll Drill . . . Wand Drill ....... PROGRAM PHYSICAL CULTURE Vlfcdncsday, May 19, 1926 ..............-........-..-.............. Singing Ga-me FIRST AND SECOND PRIMARY Loader, JEAN MCCONNEEII TIIIRD AND FOURTII PRIMARY Indian Dance .......................................................... FIRST AND SECOND INTERMEDIATE Loader, ALICE RYAN TIIIRD AND FOURTH INTERMEDIATE FIRST RIIETORIC GI-neral Calisthcnics .... ...... . .............. Indian Club Drill . .. Marching Tactics . . . page one hundred fourteen SECOND RIIETORIC THIRD RIIETORIC Loader, M. TRITSCHLER .Leader-, DIARY V. DRESBACK Leader, LUCIIILE O ,HARRA

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SANDALPHON A Violins-JAMES TRITSCHLER, VINCENT SERIO, JOSEPH HAHN, JOSEPH LA FRATTA, ALBERT RUEHRENBECK, AMBROSE RYAN, J OSEPII ROSELLI, XVALTER TRITSCIILER, JOHN lllEHLER. ,C6ll0+JOSEPH KELIIY. Gnvotte ........................................ . .Gossec CATHERINE AMICON Ilyaeinthe . ........................ .... B rown ELEANOR IIINTERSCHIED The Merry GO Round .......................... ...Bla-ke-Levy x7l0llI1-'JOHN lllEHLER. Piano-MARY JANE JUNK The Lesson 'of the Birds ........................................ Spa-nld-ing RITA BURNS MARY CATHERINE GOETZ BETTY OARE MARY LOUISE NVAGNER JANE NVOLF ELINOR CURBETT Ballade .. .............................................. Bnrgmnellen ll'IARY JOSEPHINE ENDERLIN Dream of an Hour .......................... .... F ranklyn VIVIAN OJIAGAN Minuet in G ..............................,... . . .Beethoven Violin-JOSEPH LA FRATTA. Piano-TERESA LA FRATTA. Marseh ......................................................... Schultz SAM FOLLMER ROBERT O,NElIJ ROBERT RYAN JAMES CLEARY In the Gondola ......................................... .. .Rhode IIELEN lHAY SMITH Fairies' Dream . .................... ...Robinson Harp--AMY BECK Sylvan Sprites .................. ............................ E ngelrnann MARY FISCHER DOROTHY FITZGERALD CATHERINE WIIETZEL MARY JANE CORBETT SARA RYAN RUTH JOHNSTON Ma.iden'S VVish ........................ .................. . . .Chopin 7C6ll0-LORETTA TANN. Piano-EEFIE MAY KIXEMPFER. Butterfly .... .............................. . . .Merkel ALICE RYAN Anitrafs Dance ....... ..................... . . .Grieg LOREEN YOERGER Playing in the Sunshine ..................................... . . .Morrison VlOllHS-NIIXRGYXRET CANNON, BIAGDALENE GERLING. Piano--LEONA GERLING. Second Valse Op. 56 .......................... . . .Godard AUDREY BEHNEN Mazurka de Concert . . .................... ..... P essard MARY JANE JUNK La Cinquantaine ....... .................................. G abrfiel-Marie ALICE DAY FARRELL BECK LELAII CORCORAN JACQUELINE FOURE lla-ARY JANE VVOLFEL . ANNA BURNS page one hundred thirteen

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S A N D A L P H 0 N Primitive Music LOUISE PACKARD Tliircl lllleioric The mon that hath 'no music in himself, Nor is not moved fzoitlt concord of sweet sounds, Is fit for treason, staiugems, afnd spoils. Tun lllERCHANT or VENICE. USIC, the universal language of n1a11kind, forms a common bond for all the world a11d unites people differing in languages, manners and customs. NVe find it in the lands where culture and learning abound and in the abodes of the uncivilized where war and barbaric antics still held sway. No na- tion, no tribe exists which has not felt in one way or another its influence and its developing force. Literature, painting, science, all have their spheres and their followers, yet all are equally unknown by a large part of the inhabitants of the earth, but music is the language of the soul, it develops with the soul, and through it the savage shows that he is a part with the man of culture. Under the gentle influence of music, kindliness, brotherly love and gladness are fostered. The common belief is that the savage nations use instruments of percus- sion to the exclusion of all othersg but there are interesting exceptions. The inhabitants of New Zealand, in spite of the fact that their scale of civilization is extremely low, use llutes and crude stringed instruments, but no drums. The people of Java use an instrument which while it belongs to the percussion type, differs from the ordinary drum or cymbal in that melodies can he played upon it. It is made of pieces of metal differing in pitch, which are struck with a tiny ha1111ner. Recent excavations have proved that even prehistoric peoples made flutes from the bones of animals and from hannnered copper. Among the savages of our own time flutes exist in various stages of perfection, from the o11e-holed whistle of the Kaffirs of Central Africa, to the three-holed tiute which the Malays brought from China, and which requires more skill to play than the flutes of Europe. Drums, cymbals and elappers of wood, however, are the ordinary instruments of the savages with which they mark tlie rhythm for their wild dances and on which they sometimes beat a monotonous accompaniment to some war song. In this crude and uncultivated music is exhibited the untrained spirit of the people. The nations which have traditions usually associate some of them with the origin of music. The Hindus believe that when Brahma created the world by the strength of thought, he also made ten genii, who might correspond to the Greek muses. One of the genii was the special patron of music, and was sent to carry the art to man and to give him the Vina, their sacred instrument. The seven to11es of the scale were believed to be seven nymphs whose number was from time to time increased until it finally made their entire musical system of half and quarter tones. Other legends of the same people tell us that sixteen thousand nymphs, all contending for the love ef a single shepherd, sang him a love song in sixteen thousand keys. The Egyptians believed that Hermes, walking upon the banks of the Nile, stumbled upon the dead shell of a tortoise, and as he struck his foot against it he heard a soft sound. The result of this action was the invention of the lyre. The Japanese inform us that the sun-goddess, Amaterasu, becoming angry, hid herself in a. cave and refused to come forth a11d give light until a Japanese page one hundred fifteen