St Joseph Academy - Sajoscript Yearbook (Columbus, OH)

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SANDALPHON Orpheus playing upon pipes of diiferent lengths so enchanted her with his strains that she reappeared, promising never again to hide her face from the people. The J apa11ese attach much importance to vocal music. Love tales and tales of war form a part of almost every entertainment. It is interesting to note that between the eighth century and the introduction of European forms of govern- ment into Japan, the practice of music as a profession was the exclusive right of the blind. Since the middle of the last century, however, this monopoly has been abolished. Music is little used in the Japanese religious ceremonies. Their music, like that of China from which country it was carried over to the island empire, lacks harmony and harmonic effects. The modifications, however, intro- duced into China's music by the people who adopted it have made it distinctly Japanese in character. The Chinese have absorbed absolutely no idea of what we know as harmony, or melody. Their rhythm is strongly marked, time being kept with huge gongs. It is probable that sooner or later, the Chinese will adopt European music with the other strides which they are making in western civilization. The Hebrews alone make no mention of the invention of music. They dwell rather upon the wonders it could work upon man, thus proving it a divine gift. It was the song of Miriam and the women of Israel that gladdened and encouraged the hearts of the chosen people, and the strains of David that soothed the troubled spirit of Saul. In this brief account of music among a few of the non-Christian peoples, there are interesting contrasts and resemblances, but all have one common characteristic-the utter absence of that harmony, depth, beauty and richness which invariably distinguish this art as conceived by highly civilized and cultured peoples. While the soul 's response to music proves that the whole world is kin, we must net forget that response differs from response as star from star. The rhythmic noises which thrill the savage would cnly harrow the very soul of the talented musician, or even that of the lover of the most lasting of fine arts. A M pl' Q r l vb! is I Q W a ,ay---ff 423 . ef page one hundred sixteen

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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

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SANDALPHON Qlnmmnuremeni Cixmfrises 51. llnneph Jirahnmg Lllbehneshag, Ilunn ninth, nimzieen hunhrlzh anh hneufg-six LUSTSPIEL OVERTURE .. ............... ................ K eler-Bela Pianos lllVARY BRENNAN ALICE BLAIR LUCILLE FULLER DIARY MARGARET DODD Violins RUTH HINTERSCHIED lllARY DEINLEIN lllILDRED DOUGLAS TIENY OFFENBERG lNlARGARE'I' JILNNINGS MARGARET CANNON BIAGDALENE GERLING 'Cello LORETTA TANN Harp :AMY BECK WELCOME ...........,... ............ ............... D o rothy Hill PRELUDE IN G MINOR ................ Rachmaninoiif lllARGARET ZETTLER MARY LORETTA ZURER HOUSEHOLD ART ............................................... Essay VIRGINIA HAROLD MAIDEN HOOD . . . .................... .... L ongrfellow-Nentwich SEMI-CHORUS THE TEMPEST ELIZABETH RATI-I CATHERINE VVEILAND FRANCES BRADLEY ,lxlARIE NVINKEL COLETTA 'FEBBEN ll'lARY RITCHEY lllARGARET J ENNINGS GERTRIIDE ANsEL lllELDRETII lllOORE LUCILLE FULLER ELIZABETH IIINTERSCHIED CAPRICCIO BRILLANT ................................... Mendelssohn MARY CATHERINE KOLP With Piano and Strings Accompaniment GRADUATION HONORS HONORS FOR MUSIC Gold Medal for Piano MARY CATHERINE KOLP Silver Medals for Piano lllARY BRENNAN NIARY ll'lARGARE'I' DODD LUCILLE FULLER lll'ARY LORETTA ZUBER EMMA ALIBRANDO LOUISE PACKARD RITA FETH MARGARET ZETTLER Testimonial for Violin RUTH IIINTERSCHIED Testimonials for Piano VIRGINI.A JAEGER lllARCELLA KELLY CARYL CORBETT AUDREY BEHNEN CECILIA IIERBOLTZIIEIMER llflARGARE'I' DONLEY MARY JANE JUNK OLIVIA IIYLER PERIODS ........................................................ Essay MARGARET ZETTLER SANCTUS f St. Cecilia Massj ............................ ..... G mmod CHORUS WVith Piano, Organ, and String Accompaniment page one hundred seventeen