April 6. 1970
The N. C. Essay
Page 4
uoice STuoenTs
LUin fllUflRDS
Six NCSA voice students won hon
ors and cash in recent state compe
titions.
Lunda Austin, college freshman
voice student from Greensboro, N.C.
won the N.C. Federation of Music
Clubs' $500 Transylvania Summer
Scholarship in a competition held
at Guilford College. In the high
school voice division, Marilyn
Griffith of Winston-Salem won $125
scholarship to continue her studies
at NCSA.
College division competitions
were held at Wingate College in
February and Elizabeth Herrick of
Richmond, Va. and Don Litaker of
Concord, N.C. won $150 scholarships.
Don Litaker is a student of William
Beck. The others are students of
Geraldine Cate. All of the stu
dents are now eligible for regional
competitions to be held in Rome, Ga.
in late spring.
Students winning top honors in
the state auditions by the National
Association of Teachers of Singers
were Marilyn Griffith of Winston-
Salem, Lynda Smith of Ft. Myers,
Fla., and Charlotte Yokely of
Kemersville, N.C. These competi
tions were held in Durham, March 13
and 14.
w
( Cont. from ‘page 2)
angelic Paul vocal. Unvortunately,
the sound is tinty and grating.
This is a major cut (as the single
release attests), comprable to Hey
Jude in mood and performance.
Teddy Bon't Wovry is out
rageous. A narrative in the
vein of Rocky Racoon, it is a long,
repetitive melodrama sung in chant-
drone style by John and Paul. Heavy
acoustical guitar and Ringo on what
sounds lifke muffled cardboard. The
chorus remains a mystery: "Mama,
don't worry/now Teddy boy's here/
takin' good care of you/Teddy gonna
see you through." Which leads into,
of all things, square dance calls.
After two false starts and
mumbles from John and Paul, On Yotcr
Way Home ends the side. A loping
McCartney bass line gives an easy
riding feel. Curiously, the lyrics
seem to deal with Lennon & McCartney:
"The two of us have memories longer
than this winding road." Almost like
a conversation between them.
Turn the record over.
Side Two - A poor quality track
of Don't Let Me Down shatters a
smashing John and Paul vocal. Still
inTGRLOCHGn/n.csR compflRison
(Cont. from page2)
students' hair is longer, the rules
are more relaxed, but the school
still runs a tight, well-supervised
ship.
Evidently there is some concern
that the trend might change. President
Earl Haas has left abruptly this
month and the dust has not yet
settled from this. A letter has gone
out to parents assuring them that
the school plans no drastic changes.
The vitality and viability of
the Interlochen experiment are so
evident that the present differences
will probably have little effect on
the school's formidable accomplish
ment and promise.
Another art school has come into
being since the Interlochen Arts
Academy was launched. In Winston-
Salem, The North Carolina School of
the Arts was established by the North
Carolina legislature in 1963.
In spite of similarities, the
North Carolina School of the Arts,
being state supported, costs less
than half what it costs at Inter
lochen. According to its charter,
half its students have to be state
residents.
Music is the dominant art at
Interlochen.; at North Carolina it is
dance. The dance faculty at North
Carolina is a distinguished one and
includes Robert Lindgren, director
of the department, Pauline Koner,
Job Sanders, and Duncan Noble.
Although both ballet and modern are
offered, ballet receives principal
emphasis.
On the music side, the Claremont
String Quartet is in residence.
Academically, Interlochen is
considerably stronger than North Caro
lina.
Where Interlochen is run in a
friendly organized fashion. North
Carolina is so casual as to be hap
hazard. Students as voune as seventh
graders are accepted, but the school
goes, all the wav through a four-vear
college program and supervision is
minimal.
North Carolina prefers that the
student concentrate on a single art.
Minors in another field are allowed
at Interlochen and this year Rodwic
Sukino, a dance major from Honolulu,
played a piano concerto with the
orchestra.
There is a small amount of
cross-fertilization between the
two schools; every year a few students
transfer from one to the other.
The establishment of these two
schools is a happy fulfillment of
John Adams' credo: "I must study
politics and war that my sons may
have liberty to study mathematics
and philosophy, geography, natural
history, commerce and agriculture...
in order to give their children a
right to study painting, poetry,
music and architecture.
MiKe
FER&USON
you can get the idea; they add freat
impromptu inflections that were
absent from the single. Track two is
Got A feelt-n', a shouter for Paul
that evokes images of the Mid-
Sixties (Shaa Stadium, Paul busting
a gut on I'm Down). A superb per
formance, vocally and instrumentally.
Although technically aborted.
Don't Keep Me Waiting is an instant
classic, Paul again, with piano, his
voice like warm honey. The lyrics are
nostalgic, bittersweet, but tender
and moving, typically McCartney:
"Many times I've been alone/and many
times I've cried/anyway you'll never
know/the many ways I've tried/ and
still they lead me/to your door/where-
you left me standing/a long long
time ago." Another Yesterday^ with
added maturity.
George sings Sweet and Lovely^
a semi-jazz, light rocker. Who Knows
(formerly Dig It) has John singing
and lyrics that come from the
Plastic Ono Band's songbook: "You
can celebrate anything you lie/You can
imitate anyone you know." Harqj
bolting rock. The last track‘is
To jo Was A Loner, actually Get Baak
closing the LP.
Let It Be most resembles Rubber
Sout in terms of musical concepts
and performance; its base is
simplicity. It is a (seemingly)
conscious effort to get back to the
place we once began. And though you
might criticize the Beatles as
artists for that stance, it seems
vital to their development (and
rock's). The cuts here re-define
the basic structures of rock, keeping
its intrinsic simplicity, while
embellishing it.
When the contribution of the
Beatles to modern music is finally
judged, I suspect that Rubber Soul,
Revolver, part of Abbey Road, and
Let It Be will be the works of
primary import. While Sgt. Pepper
has been the most extravagantly
hailed, it may be only a diversion,
a decorative, but overblown pastiche
of camp culture in the I960's. While
Pepper is a head trip supreme.
Rubber Soul axiA Revolver are more
historically and artistically
innovative creations. Their greatest
contribution may well be their re
shaping of rock and roll and that
event ocurrs most significantly and
with a lasting effect in their
less flamboyant attempts. Their
validity as artists is their crystal-
ization of the form and not their
tinsly ornamentation. The real
clue is that in their least self-
conscious moments, the Beatles
took twelve-bar rock and roll and
simply made it better.