Tillsonburg District High School - Tatler Yearbook (Tillsonburg, Ontario Canada)

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to represent distinct phases of emotion, even actual scenes and events. Today, one may observe on the programme of an orchestral concert a complete story of the composition to be perf0I'm6d, HUG SVGFY detail of that story will be represented either in the instrumental combinations of the orchestra, or brought vividly before the imagination by the music. .Instru- mental composers are today working out freer forms, so that the barriers to the imagination which existed in the older styles of music are now removed. Chief among the illustrious names of this period are Weber, Schubert, Schu- mann, Mendelssohn, Liszt. Brahms, Chopin, Rubinstein, Grieg, Tschaikowsky, Wagner and Strauss. In point of productiveness and number of talented composers, Russia at the present time stands foremost among the nations of Europe. In closing, I should like to say some- thing for popular music. In general terms, the popular music is that which makes an easy appeal to the masses. There can be no definition of popular music that will apply equally to the music of all nation- alities, for the reason that standards of taste differ in various countries. In Italy, the home of melody, the peasant and his family will know complete arias from the grand operas by heart, and hear much of the music of the masters with a critical appreciation. In Germany, intelligence with respect to music has had its influence in populariz- ing the works of great composers. Music is one of the fundamental subjects taught in the public schools. America's musical development is not in keeping with her advance in other spheres. This general want of taste in music may be partially accounted for by the fact that there are few folk songs, loved because of universal familiarity. Considered typical of American popular music are Negro spirituals and various forms and degrees of jazz. Jazz had its beginnings in the low surroundings of the Southern States and for many years it was frowned upon by America's concert- going public. Probably the most important figure in American music was George Gershwin, who raised jazz to a level worthy of Carnegie Hall and the Metro- politan Opera House, through his Rhap- sody in Blue, his jazz concertos and his folk opera Porgy and Bess. Already Gershwin's works have gained immense THE TATLER popularity and are regularly performed by leading concert artists. As he said himself jazz uses the same notes as Bach used and even Bach's was at one time con- sidered popular musicf' It is evident that in the course of years jazz compositions will be numbered among the great classics of the world. K-.J' 1 H. Foreman, M. Scanlan, A. Gerhurdt, M. Stilwell, B. Leatherdale. I sq-ro S' E EB 1 Q! EE' mu Y 'A' M., jim l-looru-,!Hz's Luilelins us anew .sels.,l., ' nqso L .. 53' IQ, L, 3. fi R llfgglzy HQ,5 .diff Guifcfinj! by A. Budra, XA 47

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The cultivation of modern music as an art was begun by the mediaeval priests of the Roman Catholic Church, in en- deavoring to arrange a Liturgy for their service. It is owing to this fact that for several centuries the chief artistic music was that of the church. In the beginning the Chants of the Christian Church, from which the mediaeval chant developed, were without system. The Psalms were chanted responsively by priest and congregation. There was no fixed system in the church until its various branches were unified by Constantine C306-337 A.D.J under whom art and architecture began to serve the church. With the Middle Ages there came a great awakening along the lines of re- ligious music. Singing of hymns was in- troduced by Ambrosius in the 4th century. At first popular melodies were adapted to German words. In England composers took the form of the motet and wrote their music to English words. Thus arose the Anthem By decree of Elizabeth in 1559, the anthem became an essential part of the Anglican ritual. In Germany, Bach's predecessors devel- oped the anthem into the Church Can- tata. Independent of church services arose the Oratorio. Catholic composers originated this form in 1575, and German and English Protestant masters adopted it. Aside from Church Music a vast deal of influence was brought to bear on the future of secular music by the Trouba- dours, who were wandering minstrels who chanted the stories and legends of the people and their times. These were the first to cultivate music from a pure love of the art. In the theoretical school, music was an accessory to the church, but with these minstrels of the people, it was used as a means of earning a livelihood. In the ninth and twelfth centuries there appeared for the first time what is known as part music. Instrumental music was enriched by the rapid development of stringed instruments, organs, and other keyboard instruments. We have today, however, no existing examples of any instrumental music of that period. In the tenth century, came the innovation of calling notes by the first seven letters of the alphabet, as it is done today. The most flourishing period was that between the fourteenth and sixteenth centuries. During that time much was done in developing counterpoint, the art of placing 46 notes in music so as to indicate the harmony of parts. The hundred years between 1600 and 1700 was the century of reforms. The old habit of over-elaborating was laid aside and a return was made to the simpler style of the Greeks. Music and poetry were given an equal importance side by side. Then came what is known as the Classical Period between the years 1700 and 1827. Here music reached the highest point of perfection in its history. In general terms Classical Music, like Classical Literature, is that which has been recognized by the ages as of the best and highest class. Thus, in common accepta- tion, ClG,S8'IlCl1.l is the antithesis of popular. Under Classical Music may be included symphonies, symphonic poems, overtures, and other best recognized forms of com- position of the masters. In its stricter sense, a classical pro- duction is one that has stood the test of be acknowledged time, and has come to by students and teachers of the art of music as a model of purity of style and form, and most worthy of emulation. In the modern world Bach stands out promi- nently as one of the greatest exponents of Classical Music. The Sonata may be looked upon as one of the most important forms of classical composition. The Symphony is only a sonata written for the orchestra, and in this sonata form are found some of the grandest, most inspired and inspiring works of the masters. It includes also chamber music, such as trios, quartettes and quintettes, for strings, or for piano and strings. Even symphonic poems and overtures, consisting of but one piece. are looked upon by musicians as simply differ- ent expressions of the idea summed up in the word Sonata. There are many compositions written today, which in the course of years may become the Classics because of their purity of form, universality of idea and permanent value to the musical art. Aside from Bach, there are many works of other masters which have stood these tests. Among them are a number of Beethoven's Symphonies, Sonatas and chamber music, also various compositions of Gluck, Mozart, Handel and Brahms. The present period Ci.e. from about 18301 is known as the Romantic Period. The tendency of these times is for tone- paintingng in other words, making music THE TATLER

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5 L A N G U A G E S Edited by Richard Rokeby TRANSLATIONESE TranslationESE is no relation of ChinESE or JapanESE or SiamESEg it is rather a language common only to those would-be intellectuals who study a foreign language, be it Latin, Greek, French, or Hindustani, it makes no difference. It is the result of literal translation of for- eign idioms and forms, producing comical English constructions which are known only in those circles where foreign lan- guage students congregate. The following little-known tale may serve to acquaint you with this language: At that time a country different from ours was lived in by two people. Who were by name Little Red Riding Hood, caused by her custom of wearing, at many times, a headdress and feminine body garment coloured shiningly in red, and the other was, at the same time, her mother. From this side of the woods, which was both small and dense, their home could be seeng from thelother side of the same thing could be seen that in which the mother of the mother of the girl in red lived, who is born eighty years and is in ill-fortune as to health. At this age, Little Red Riding Hood, having been given by her mother to take to her grandmother on her arm in a basket, some cakes and cookies, set out through the woods, seeking the other side of that and her grandmother's small dwel- ling. Having entered the woods and not yet come through to the other side, she was met at that time by a wolf, very large and very fierce. At first, he was desirious of consuming completely on the spot the young girl and that on her arm in the basket. Having heard that she was in the act of making her way to the home of another, the wolf put aside from his mind the plan which he had adopted. But rather decided to defeat in respect to speed the girl's approach to the dwelling, and having eaten the lady of greater age, then to delay time for the arrival of the younger and to make repast of her also in the same way. The little girl having talked to the wolf proceeded on her journey and after a time arrived on the side of the woods at which place was located the dwelling to which she was seeking to come through to. 48 The wolf having arrived at a time earlier and her grandmother being already hidden in a box while the wolf disguised himself in respect to clothes to have great resemblance to her grandmother, Little Red Riding Hood finally came through to the house. Of which in the room for sleeping, she found what she perceived to be a resemblence to her grandmother, very aged. Who she believed had from the illness she endured over much suffered and changed. She said to her: Grandmother, how long you are in respect to ears! That one replied in manner awkward and squeaky: Yes, my dear, for the purpose of hearing you easier in respect to voice. Who said again: Grandmother, how large you are in respect to eyes! and was answered yet again, Yes, my dear, for the purpose of bringing you into sight more easily. Little Red Riding Hood finally replied in words: Grandmother, how sharp you are in respect to the mouth and the teeth therein! Yes, my dear, thus it is that I may find the eating of you less difficult. Having said these things, the wolf threw himself up from the bed with great speed, and while about to dine on her costumed in red was penetrated through the window, from a long barrel by many pieces, round in respect to shape, of lead in the middle of the eyes. Having thus arrived at his sudden de- parture, the hunter and the grandmother and her granddaughter dined on Z1 meal of both cookies and cakes. From all accounts from then forward, the persons of this narration lived both happily and longly.-Richard Rokeby, XII. The Roman legends which we language students have to translate often prove most uninteresting, but who can find any- thing dull I except the translationl about the three sisters who guarded Medusa's cave. They were complete and natural except for one thing. The three of them had one eye among them. We can't tell whether the eye was passed from socket to socket when used, or whether the eye was suspended on strings of nerves and muscles fastened to the foreheads of the three owners. However it was managed, it must have proved awkward. THE TATLER