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Page 9 text:
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Music is most probably the greatest unconscious, cultural influence., upon our lives in this age of atoms and earth satellites. Even if o n£ at- tempted to escape from the sphere of this mediunj, his eftms be in vain, for it is virtually impossible to disassociate moderi Pffom his musical heritage. Did you ever stop to consider how far you are from the nearest radio, phonograph, or T.V. set at any given time.1' You will be amazed to discover the innumerable ways in which we are all exposed to musical expression. Because this musical form is inseparable from our modern existence, it exerts immense influence upon our way of doing things, thinking, and our civilization in general. The music of a given period is often representative of the level of cultural achievement of the society. Great composers of the past were unmistakably modified by the type of environment in which they lived. They were not passive spectators, but active participants in their society, concerned with the mundane problems presented by everyday existence. In perfecting their God-given talent, their compositions were the sum total of all their experiences. It is likewise evident that the composers of our present generation are also greatly influenced by the environment in which they live. It is for this reason that we should unceasingly seek to create an atmos- phere which will be conducive to music having a permanent quality, a quality representative of our cultural achievement, and worthy of being the far-reaching influence upon our lives which it is. Many feel that our civilization is only passing through a stage in its musical development and that such names as Copland, Stravinsky Gershwin, and Hindemith will eventually become the great composers of our time. Convinced that this belief is valid, we, the Class of 1958, dedicate this Hi-Life to all the great musicians of the past and present, in the hope that our generation will produce musical talent of the exceptional character already experienced. 5
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Page 8 text:
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To define a yearbook concisely is to say that it is a panoramic chron- icle of the school year. It stands as an interpretative memory book for the year, a permanent one-edition record of events. A yearbook, there- fore, achieves its great student body appeal from its ability to give them a means of recalling many of the cherished happenings . . . sparkling memories that begin the first day of school, with the curtain going up on another academic year. This is where the yearbook starts, and its pace intensifies with the ever increasing tempo of events of the school year. Always the book must follow; never lead, for the staff can only record the happenings, never create them. There is only one moment when the book stops . . . this is for graduation, the time when the seniors step and stop down the aisle to the traditional Pomp and Circumstance. This year the Hi-Life staff, under the capable leadership of Mr. Louis Freeman and Mr. Clifford Mackin, has chosen to present a book whose theme is music. It would seem appropriate to present a book built around a topic that deals with an activity so interwoven in our every- day school life. For the book is the recording of the activities of the school, and music plays an important role in these functions. It has exertion demanded of the participants who endeavor to give a musical presentation, at assemblies, canteens, or frolics. However, there is a more predominant reason for the presentation of music as our theme. Now, in this post-Sputnik era, the stress of our educational system is being placed on mathematics and science, two fields long neglected. This, and the advent of legislation for the rapid advancement of these courses, makes it appear quite probable that the arts will be by-passed. With this in mind, we have planned our book about a subject which we feel is in need of equal recognition in these troubled times.
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