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University Daily Kansan
Throughout history, the relationship of the composer to his society has varied greatly. The influencing factor has always been not only the position which music has occupied within the overall values of a particular age, but also who determined the values, and the degree of the composer's willingness to accept these values as a guiding standard in his art.
THE AMERICAN composer has never been in so artistically an ideal environment as has his European equal. The creative development of music is not a part of our national heritage. Our ancestors thrived in surroundings which were a far cry from the culture centers of Europe. They were primarily concerned with taming a rugged wilderness and had little time to devote to the arts.
By Richard Byrum
IN THE EARLIER periods of its development, music was for the most part organized privately. The composer was either employed by some rich patron for whose pleasure the music was to be performed or by the church in which case his music would serve some function in the liturgy or in the glorification of a special occasion.
The result is that most serious music today is performed either in the larger cities where there is a
The early years of the 19th century saw this patronage idea slowly begin to fade out of existence. The composers took it upon themselves to determine the means and the ends of musical expression according to their own artistic ideals. They were the artists; therefore, they should determine the nature
of art. "Art for art's sake" was their motif. This movement, when brought together with the new democratic ideals of the time, left the composer with the task of not only meeting his own standards and those of his colleagues, but also of pleasing the concert audience which was in control of the purse strings. Some met the demands successfully. The extremists caught on rather slowly. However, the music tradition of Europe was in favor of the composer and most works eventually gained popularity no matter how radical they may have been at the time.
greater cross section of taste or at the universities in the interest of education. Composers dwindle in number, discouraged by the unlikelyhood of a new work ever being publicly performed. Many are extremely gifted and possess high artistic standards. Yet, for want of support, they are left to further their art only among themselves.
It is felt that there is an undeserved minimum of interest in new music. It is also felt that much creative talent is remaining inert merely for lack of an outlet for its expression. It is in this spirit that the annual music symposium has been organized.
It is with this brief background in mind that we come to assess great value to the coming music symposium. Not only does it give the composer of today a seldom found opportunity to hear his work performed by competent musicians, but also it allows musicians and interested spectators to discuss each work with the composer and to inquire as to his aims and methods. Important also is the fact that it gives a composer a chance to hear the works of other composers.
By Carrie Merryfield
Last night the University Theatre presented "My Heart's in the Highlands," by William Saroyan, and "The Happy Journey," by Thornton Wilder.
"My Heart's in the Highlands" concerns a very minor poet named Ben, played by Bruce Dillman, and his son, Johnny, played by Bernie Shaeffer, a Lawrence junior high school student.
The pair are a happy, but broke family. They try to maintain their honesty and integrity during the late 1930s despite barely existing in the depression. Suddenly, an old, tired man, portrayed by John Welz, comes into their life.
Johnny, the son, entertained the audience not only with the understanding of his role, but with his acrobatics during the play. He was excellent in his portrayal.
JASPER MACGREGOR, the old man, who blows a mean trumpet and once had aspirations of being a Shakespearean thespian, finds much in common with the father — both have found happiness in a sea of failures.
Ben's role was underplayed in parts, and overplayed in others, but the end result was a balance. Dillman knew his character — a poet searching for recognition, yet satisfied with his happiness given by his son. Ben is not a materialist and Dillman captured this with one line, "God, that I should be so lucky," referring to his son.
Jasper was a pathetic, yet strong old man. In Welz's portrayal of the ailing gentleman, who has escaped from an old people's home, every man was reflected. Welz showed the lost dreams all people possess and their undying yearning for recognition. Jasper wanted to be an actor, to make people happy, to please them. He never had the chance until he met Ben and Johnny. With them, he at long last found his audience. But he also found that it was almost too late - age had crept upon him.
WELZ, SENSITIVE to Jasper's inner character, showed the unbroken will that remained in the man. His death scene moved the audience to an appreciation of the struggle in all phases of life, not just the one the artist or poet or musician encounters.
"The Happy Journey," however, was another story. The play, done without props, costumes or scenery, is a battered and bruised remnant of 1931.
HOILE CASTON, who played Arthur, the son, and Clayton Crenshaw, who played Pa, saved the production from absolute boredom.
Barbara Foley, who portrayed Ma, never changed her expression, either in her face or in her voice. She revealed, however, a wife and mother who gives words and advice freely, rather superficially.
Caston, the mishevicious son, gave the play freshness by his antics in
pantomime and his need for a "comfort station."
Crenshaw's part, small though it was, was a breather for the audience from the droning of Miss Foley. His uninterested, arbiter, fatherly role was well done.
Fortunately, "The Happy Journey" is short and is the first presentation. It would be very unfortunate if it followed "My Heart's In the Highlands."
Friday, April 28, 1961
NEW YORK — (UPI) — Experts at the Reynolds Metal Co. claim that aluminum siding on air conditioners helps lower the expense of operating the units in summer. The company says that aluminum reflects radiant heat and turns away the hot rays of the sun as much as 95 per cent, allowing the air conditioners to work more economically.
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By Lynn Cheatum
Hillcrest
Flying Professor Had 1500-Mile Jaunt to Class
If you think you do well to commute 40 miles to KU, meet a man who commutes 1,500 miles to class—by airline.
He is Robert Leflar, distinguished professor of law at the University of Arkansas. Prof. Leflar, who gave the Law Day banquet speech last night, commuted between New York and Arkansas for classes in each place last year.
PROF. LEFLAR taught classes at New York University on Monday and Tuesday, then flew to Fayetteville, Arkansas, for classes Thursday, Friday and Saturday.
When asked if he flew with the same pilot every week, Prof. Leflar grinned:
He said proudly:
"Oh, I hardly ever saw the pilot —but I got to know several of the stewardesses quite well."
"I was never late for a class—and that's more than I can say for some of my students who lived in the next block."
commuting bill that semester and provided an apartment.
New York University paid his
HAVING BEEN a visiting professor of law at KU in 1932-33, he remembers several faculty members at Green Hall.
Every summer he conducts the appellate judges seminar at NYU for state supreme court justices, Canadian appellate judges and U.S. federal judges. The seminar is designed to keep these high-ranking jurists in touch with the latest developments in the ever-changing current of law.
Prof. Leflar has taught this class since 1956.
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