St Joseph Academy - Sajoscript Yearbook (Columbus, OH)

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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

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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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