Newspaper Page Text
November 15, 1963
THE SPELMAN SPOTLIGHT
Page 5
AESTHETICALLY SPEAKING
It has been suggested to me that
some readers may not be aware of
the different types of jazz that can
be heard today. For this reason, the
column for this issue will be devoted
almost exclusively to enlightening you
on what I have recently found out
regarding jazz types.
The first jazz type is Dixieland.
Though Dixieland is not what I feel
most of us would like to hear, it is,
nevertheless, a rather important area.
It came into being in the latter 1800’s,
brought to light by both Negro and
white musicians along the lower part
of the Mississippi River. The music
is played very rapidly, and it is very
limited. Musicians find it difficult
to improvise or to express themselves
through Dixieland music. The most
important feature about Dixieland
is that all the instruments play at the
same time, variations of the tune
being played.
Swing, another jazz type, originated
in the early 1900’s (around 1920)
and is primarily associated with big
bands. Swing is very similar to Dixie
land with two exceptions: 1) It is
more organized in that the instru
ments and music are not confused in
expression and are held within the
bounds of harmony; 2) The rhythm
may be of low or high speed. Ex
amples of swing music are the early
recordings by such bandleaders as
Benny Goodman, The Dorsey Bro
thers, and Glenn Miller.
Modern Jazz, the type to which
many of us are addicted, engulfs
many subdivisions. In general, it may
be said that modern jazz is different,
entirely different from any prior type.
The musician is searching for free
dom of expression. It is the most
popular type today. Being played by
both big bands and smaller groups,
and having the capacity to express
both happiness and sadness, it has
reasonably unlimited scope. Take for
examples: Horace Silver’s Senor Blues,
or Sister Sadie or for big band sounds,
Gerald Wilson’s The Wailer, Moment
of Truth, or You Better Believe it.
Blues today is considered a part
of jazz. It has been an integral part
of music since the Negro came to
America. The mood of blues is slow
and it expresses sadness and a thirst
'Poet'&
To The Blind or
"L'lronie de la Vie"
Speak to me of truth, my father
For I would heed thee well
Keeping thine own straight actions
‘fore me
Lest strayed from the narrow I fell.
Speak primly to me of morality, father
For I needs must be shown the way
And I with thou near to guide me
Would right steadfast by principles
stay.
Speak to me of love, old man
That one cause that conquers the
world
And together we’d defend our neigh
bor
Though racist curses were hurled.
Speak to me, you of the endless years,
I cry out for some ray of light
Only to borrow your footsteps
So to make it safe through the night.
Speak! You of timeless face and star
ing eyes,
The dark is here, the light I fear
Tell me once of high ideals, great
virtues
How good is right and God is near.
Speak!—No, speak no more. The light
is here
And on your marble cheek the grey
dawn falls;
I wonder not that you’ve life no
more—
But if you ever lived at all.
A. Walker
| for freedom. Blues is usually played
by a small number of musicians to
express a likeness of mood. Some
thing few of us realize is that there
is an actual blues’ scale which can
be heard if one listens closely to a
tune such as Art Blakey’s Moanin’,
Les McCann’s The Shout, or This
Here by Nat Adderly. Blues is what
is today called earthy music or, com
mercially, soul music.
Progressive jazz is a relatively new
innovation. It is almost the most con
troversial area of jazz today, except
for perhaps one, which I shall tell
you about shortly. The musician, in
progressive jazz, lends the feeling
that he is striving for an ultimate
goal. It is usually played by small
groups (six pieces or less) with al
most unlimited qualifications. Listen
to Coltrane’s On Green Dolphin Street
or My Favorite Things, or something
by Miles Davis or Thelonius Monk.
The most controversial sound in
music today is that which is termed
“free jazz”. The musicians who play
free jazz generally feel that they have
found their goals. It has no time
signature and no sense of musical
background. To the uninitiated, it may
be just a cacophony, but, if listened
to closely and with interest, it can
be wonderful because, for one thing,
we, as listeners, can realize that the
musician has (perhaps) finally reach
ed his goal. Ornette Coleman is one
of the most avid proponents of free
jazz and his albums, Ornette and
Free Jazz (among others) are beauti
ful examples of this type.
Of course, there are other types
of music which would possibly come
under the general heading of jazz,
such as Afro-Cuban music, or Bossa
Nova, but these we will consider
later.
THE MALE FRIGATE BIRD dis
plays his bright red gular pouch to
attract female attention. Attractive
sexual characteristics tend to increase
success in mating, and are therefore
more likely to be passed on.
THE MOREHOUSE MAN
He also thinks his chances of mat
ing are enhanced by the dumbness
and eagerness of the Spelman girl to
catch a Morehouse man for a hus
band.
I feel compelled to mention a rec
ord to you which in my opinion is
one of the best out. It is an Atlantic
release (1357) — Laurence Harvey’s
reading of Walter Benton’s tribute
to love, This is My Beloved, accom
panied by Herbie Mann’s original
jazz-oriented score. The music, cou
pled with the spoken words, pro
duces a sensitivity and sensuality
which I have seldom, if ever, noticed
in a record before. Harvey and Mann
have mated their respective talents
and have as their result, an unfor
gettable fusion of poetry and music.
Listen to it!
Joanne Merry
Overheard Outside The Forum
Act I—Scene I—Rome. A Street. A citizen of the first degree stood looking
in dismay at the throngs of people headed down the cobblestone
square toward the coliseum where teams of renowned gladiators were
to engage in battle of physical prowess. Another figure approached, be
jewelled, clad in a gold brocade toga, and shod in the finest leather.
Majoritatus—Greetings, Spelmacles!
Spelmacles—Good morrow, my friend.
Majoritatus—Prithee, and do you now put on your best attire?
Spel.—No, my lord.
Maj.—Do you not know that today is the day of the great meet?
Spel.—Yes, my lord.
Maj.—Then why dost thou not as the Romans. (When in Rome do as . . .)
Spel.—But sir, why do as the Romans when I do not feel that they are wise.
Maj.—Not wise? Do you forget your place?
Spel.—Nay. Hear me with patience. Why should I, as the gods and goddesses
who watch over our tournament, drap myself in rich, sweeping gown,
only to trip over their hems in the melee. To me, my toga and sandals
are quite the fashion. Even in Athens this is not the custom. The
Athenians would not hobble on cobble on stilts in fine woven sack
and silks to sit on stone seat to see Bullardus break the lion’s jaw.
Maj.— Now, Spelmacles do not seek to change the way of the people now.
This they love.
Spel.—Do not speak for the people, but let the people speak for themselves.
Maj. (stutters)—But . . . but . . .
Spel.—Many of the citizens have confused the games with the homecoming
of the gods. Look there! Regalia! Burnished gold armor, embroidered
silks, tremendous headpieces, all this to sit in the grit and grim of
the coliseum to witness this meet. Forsooth! It is not our place. It is
the place of the gods and goddesses to drape themselves so.
Maj.—I hereby give you permission to orate in this place. Tell everyone
what you told me. Then we shall see at the next spectacle who follows.
Act I—Scene II—Coliseum of Herndonica. Enter two citizens.
1st citizen—My brother likest thou to climb this hill of rocks, finely shod,
only to have the straps torn to bits.
2nd citizen—Nay, my lord, as a Roman, I tell you true, my cloak is heavy,
the sun burns my back, my feet are in pain. Oh for to be a peasant
that I may watch the games in comfort. Ho! Look there! Spelmacles!
1st cit.—I say there, it is Spelmacles in toga and sandals and he is a strong
and meritable man of good taste. But lo! His toga is of good quality
and his shoes strong and sturdy.
2nd cit How I wish I had dressed as he. Indeed, in that fashion I could
have enjoyed the games.
Scene III—Before the Capitol. Enter Majoritatus and another senator.
Maj.—I have given much thought to the dress on these occasions. To attire
in such a grand and noble fashion to witness the games, I do not
think it good.
Sen.—I have seen Spelmacles and his followers today, my lord, and I think
it is weakness in myself that I have not done likewise. What are you
then determined to do?
Maj.—Why, but to have it so decreed.
(apologies to the Greeks)
Jeannie Holloway
THE BOOK SHELF
To those of you who were dis
appointed with The Book Shelf arti
cle in the last issue of the paper, let
me explain that it was not my fault;
the paper had to be cut and the
article suffered. The following books
are a continuation of that article.
The first is a study by Lechter
Rapier, Seibert and Sklansky, The
Drop Outs. It is concerned with the
students who leave high school be
fore graduation. (Forty percent of
American children become drop outs).
The authors seek to examine the
problems of the mentally capable
children who do not graduate from
high school. This is done through the
use of case histories of potential drop
outs. They believe that the problem
can be solved by working with par
ents and school personnel.
This book is very interesting read
ing, for it unfolds a number of gen
eral facts concerning the problems
of the adolescent which might apply
to some girls at Spelman.
Maurice Cranston, a lecturer in
political science at the London School
of Economics, is the author of a little
book called What are Human Rights?
It has a preface by Reinhold Niebuhr.
The author discusses human rights
as seen by social philosophers such
as Locke and Marx. He also clarifies
much confusion about the meaning of
human rights.
For those who would prefer read
ing a biography, there is an interest
ing one on Carl Sandburg by Harry
Golden. Golden traces the life of
the great poet through his work as
wheatpicker, sceneshifter, dishwash
er, bricklayer, and soldier. Through
these experiences Sandburg gained a
knowledge of the common man’s
America and depicted it in his poems.
World of Color by Martin Kablo
is an introduction to the theory and
uses of art. This book provides the
answer to the question, What is color?
The author explains the properties
of color and its uses in oil painting,
water color, woodcuts, and so on.
He traces the history of color from
ancient times to the present, showing
the ways in which different cultures
have treated color. He also shows
how to arrange and mix colors. The
book is illustrated and written so that
the layman, as well as the student of
art, can benefit from it.
I would appreciate suggestions as
to what types of books you are in
terested in. This article is written
for you.
Thank you,
Jeanne Terry
MUSICAL NOTES
IBERIAN DANCERS
SENSATIONAL HERE
“Magnificent” . . . “wonderful” . . .
“fabulous” were words used aptly by
the audience at the concert given by
Laura Toledo’s Iberian Dance Theatre
on Friday, November 1, in Read Hall.
The program consisted of folk dances
and music from various regions of
Spain and from Southern France.
The beautiful, colorful costumes were
typical of the regions from which the
dances and music came.
The three men who performed
with Miss Toledo have been with her
for only four months and during this
time they have toured college and
university campuses throughout the
United States. The group plans to
return to Spain in the spring.
Most of the members of the group
have received little or no formal train
ing. Antonio Santaella, one of the
dancers, explained that in Andalucia
where he is from, most of the people
learn Flamenco dancing at a very
early age and love to get together to
dance. Jose Rubio, one of the guitar
ists added that he learned to play
the guitar from friends when he was
very young and that instead of watch
ing TV in the evenings as American
youngsters do, the youngsters in
Spain get together to play the guitar
and dance the type of dances that
were performed here Friday night.
At the reception following the con
cert, in the International Room many
of us talked to the performers and
discovered that they were not only
magnificent musicians, but also very
warm and interesting people.
On Saturday, November 2, the
String Clinic for high school students
was held in Read Hall. Mr. Kagan
directed the group of fifty students
which included students from Wash
ington, Price, Harper, Archer, and
Turner High Schools. Miss Pauline
Shields of Price High, Miss Burse
of Turner High, a Spelman graduate,
and Mrs. Peek of Washington High
were present to assist Mr. Kagan.
The orchestra played “Horn Pipe”
from Fairy Queen by Purcell and
Hungarian Dance No. 5 by Brahms.
The orchestra is working on The
Hungarian Dance, but the Horn Pipe
was played at sight.
Mr. Kagan stated that he was im
pressed by the enthusiasm of the
students for playing and wanting to
participate in the clinic.
Edwina Palmer
ARE WE HONORABLE?
Objective Comments and Opinions
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