DOCSLIB.ORG

The Pennsylvania State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pennsylvania State University The Pennsylvania State University The Graduate School School of Music THE EXPERIENCES OF TWO YOUNG CHILDREN IN INFORMAL PIANO SETTINGS: EXPRESSIONS OF MEANING AND VALUE A Dissertation in Music Education by Lauren Kooistra © 2013 Lauren Kooistra Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2013 ii The dissertation of Lauren Kooistra was reviewed and approved* by the following: Joanne Rutkowski Professor of Music Education Graduate Program Chair Dissertation Advisor Chair of Committee Ann C. Clements Associate Professor of Music Education Darrin H. Thornton Assistant Professor of Music Education Timothy P. Shafer Professor of Music Kimberly A. Powell Associate Professor of Education and Art Education *Signatures are on file in the Graduate School. iii Abstract The purpose of this study was to seek insight into what children found meaningful and valuable when participating in an informal child-oriented piano lesson setting. I embraced a qualitative approach to research, using ethnographical techniques and a phenomenological lens. The study was guided by the question “What is the nature of a child’s engagement in an informal child-oriented piano lesson setting?” Two girls were purposefully selected to participate in the study and were given individual informal piano lessons over the course of two semesters by me, the researcher. Data were collected primarily via video recording of the lessons and journaling of my perceptions. The data were considered through the lens of lifeworld existentials: lived space, lived body, lived time, lived other, (Van Manen, 1990) and lived musicality. This resulted in emergence of themes and sub-themes regarding the children’s engagement in the lesson setting. Findings include the children engaged in the setting by expanding the boundaries of the room, by using their bodies, by directing the time, by participating in multiple relationships, and by musicking. Identified expressions of value and meaning making include movement in relationship to space, with expression and variety; flexibility of time, where ideas can evolve, return, or be abandoned; use of materials as elements for their control; development of complex pretend contexts; rich music making in wide variety; investment in and direction of ideas; and being with the adult. iv TABLE OF CONTENTS List of Figures ………...................................................................................................... viii Acknowledgments……...................................................................................................... ix Dedication……………. .......................................................................................................x PRELUDE: STARTING WHERE I STARTED .................................................................1 Introduction: Stacy ...................................................................................................1 My History with Stacy .................................................................................2 My Music Learning Journey ....................................................................................4 My Music Teaching Journey ...................................................................................5 Before Stacy .................................................................................................5 I Explore Informal Music Guidance ............................................................6 I Embrace Informal Music Guidance .........................................................11 A Typical Lesson with Ruby .........................................................11 Evolution of the Wiggle Song ........................................................14 My Teaching Continues to Change ............................................................16 Connecting to the Current Study............................................................................17 CHAPTER ONE: ADDRESSING THE RATIONALE…….. ..........................................19 Music Learning for Young Children......................................................................22 Early Childhood Music Classes .................................................................22 Traditions of Piano Pedagogy ....................................................................24 Readiness Reconsidered.........................................................................................27 Blending Early Childhood Music and Piano Pedagogy .............................28 An Informal Child-oriented Piano Lesson Setting.....................................29 Purpose and Guiding Question ..............................................................................31 CHAPTER TWO: UNDERSTANDING CHILDREN ......................................................33 Meaning, Motivation, Interest, and Engagement ...................................................35 Settings and Situations for Thriving ......................................................................37 Play….. ......................................................................................................43 Child-Oriented Learning Experiences .......................................................44 Informal Learning ......................................................................................45 Role of the Adult ........................................................................................46 The Musical Child..................................................................................................48 “Music” Defined ........................................................................................48 v Nature of Children’s Musicking ................................................................49 Nature of Musical Development ................................................................51 Nature of a Musical Identity ......................................................................56 Nature of Musical Meaning .......................................................................58 Music Learning in Educational Settings for Young Children ...............................61 Informal Educational Settings ....................................................................62 Musical Play...............................................................................................65 Musical Guidance in Educational Settings for Young Children ............................66 Piano Lesson Settings for Young Children ............................................................72 Summary……… ....................................................................................................76 Connecting to the Purpose of the Study .....................................................79 CHAPTER THREE: CONDUCTING THE STUDY ........................................................81 Purpose Statement and Guiding Question .............................................................81 Methodological Considerations .............................................................................82 Ethnographical Influences on Method .......................................................83 Phenomenological Influences on Method ..................................................84 The Participants .....................................................................................................87 Eden….. .....................................................................................................87 Personality Characteristics .............................................................88 Home and Family Situation ...........................................................88 Musical Background ......................................................................89 Lesson Logistics.............................................................................90 Kathleen .....................................................................................................91 Personality Characteristics .............................................................92 Home and Family Situation ...........................................................92 Musical Background ......................................................................92 Lesson Logistics.............................................................................93 The Setting….. .......................................................................................................94 Lesson Logistics.........................................................................................94 Lesson Planning .........................................................................................94 Lesson Materials and Activities .................................................................96 Method……… .......................................................................................................97 Data Collection ..........................................................................................98 Data Analysis .............................................................................................99 Addressing Issues of Validity ..............................................................................104 vi CHAPTER FOUR: DESCRIBING AND REFLECTING ON LIFEWORLD THEMES109 Introduction…… ..................................................................................................109 Organization of the Chapter. ....................................................................110 Lived Space: The Child Engages in the
Load more

Recommended publications
  • The Sun of Words
    The Sun of Words Excerpts from Aber ich lebe nur von den Zwischenräumen, an interview between Herbert Gamper and Peter Handke Wednesday April 9th to Saturday April 12th, 1986 On the morning of April 9th, 1986, it was an unusually warm day with the föhn wind blowing, and I met Peter Handke in front of the house where he was living on the Mönchsberg. He first lead me up to the tower, from where one can see down to the southern parts of Salzburg, over the plains and towards the mountains (the Untersberg and the Staufen). I asked him about the Morzger forest, whose southern extremities were visible, and about the nearby area where Loser, the protagonist of Across, lived. He asked whether these settings interested me, and this was what determined the first question I asked after we had gone down to sit at the small table by the well, in the tree-shadows, and I had taken the final, inevitable step, so that the game could begin, and switched on the tape recorder. We regretted that the singing of the chaffinches and the titmice would not be transcribed to paper; again and again it seemed to me ridiculous to pose a question in the middle of this concert. I told of a visit with Thomas Bernhard, many years ago, when, without my asking, he showed me the offices of the lawyer Moro (from the story Ungenach) in Gmunden, as well as the fallen trees infested with bark beetles at the edge of his land that had been reimagined as the General’s forest from the play Die Jagdgesellschaft.
    [Show full text]
  • Download Download
    Iron Curtains and Satin Sheets: "Strange Loves" in Cold War Popular Music Russell Reising Cover of Jefferson Airplane's "Crown of Creation" Many Americans know of Dr. Ruth Westheimer, a tiny, grandmotherly woman with a heavy Germanic accent who, throughout the 1980s, dispensed love and sex advice to American television and radio audiences, often in shockingly, or at least titillatingly, graphic physical detail and frank language. A different doctor, one who also spoke in Germanically accented English, however, was in residence as the popular culture love and sex guru during the height of the Cold War. Stanley Kubrick's fictional Dr. Strangelove, the ex-Nazi defense theorist who stifled "Heil Hitler" salutes as he planned post-World War III orgies, lingers as a haunting reminder of the toll wreaked on human love and intimacy by the emotional terrors of the Cold War and its threat of instant nuclear obliteration. Even the resourceful Dr. Ruth would have a hard time offering advice to the Chiffons asking "Will You Still Love Me Tomorrow," when nuclear attack rendered the inevitability of "tomorrow" problematic, or to Tommy James and the Shondells's lovers who pant to each other "I Think We're Alone Now," if a nuclear war Copyright © 2003 by Russell Reising and Cultural Logic, ISSN 1097-3087 Reising 2 left them genuinely alone, the only two surviving human beings on earth. In some respects, rock and roll is the ultimate Cold War art form, the vehicle for the cathartic wails of a generation which was told to conform and aspire to a middle-class existence, but which knew all the while that the entire world could be incinerated in thirty minutes.
    [Show full text]
  • Music Industry Report 2020 Includes the Work of Talented Student Interns Who Went Through a Competitive Selection Process to Become a Part of the Research Team
    2O2O THE RESEARCH TEAM This study is a product of the collaboration and vision of multiple people. Led by researchers from the Nashville Area Chamber of Commerce and Exploration Group: Joanna McCall Coordinator of Applied Research, Nashville Area Chamber of Commerce Barrett Smith Coordinator of Applied Research, Nashville Area Chamber of Commerce Jacob Wunderlich Director, Business Development and Applied Research, Exploration Group The Music Industry Report 2020 includes the work of talented student interns who went through a competitive selection process to become a part of the research team: Alexander Baynum Shruthi Kumar Belmont University DePaul University Kate Cosentino Isabel Smith Belmont University Elon University Patrick Croke University of Virginia In addition, Aaron Davis of Exploration Group and Rupa DeLoach of the Nashville Area Chamber of Commerce contributed invaluable input and analysis. Cluster Analysis and Economic Impact Analysis were conducted by Alexander Baynum and Rupa DeLoach. 2 TABLE OF CONTENTS 5 - 6 Letter of Intent Aaron Davis, Exploration Group and Rupa DeLoach, The Research Center 7 - 23 Executive Summary 25 - 27 Introduction 29 - 34 How the Music Industry Works Creator’s Side Listener’s Side 36 - 78 Facets of the Music Industry Today Traditional Small Business Models, Startups, Venture Capitalism Software, Technology and New Media Collective Management Organizations Songwriters, Recording Artists, Music Publishers and Record Labels Brick and Mortar Retail Storefronts Digital Streaming Platforms Non-interactive
    [Show full text]
  • 2O21-22 Season
    CELEBRATING 2O21-22 SEASON EST. 1996 2021-22 contents 5 Welcome 6 Season Calendar 8 Subscribe 10 Series 22 Performances 86 Performances for Young People 88 How to Order 89 Discounts 91 Helpful Information 92 Beyond the Footlights 94 Support On the cover: Hodgson Concert Hall 2Camerata RCO Painting: J.N. Smith 3 Welcome Back What a time it has been! Our world has experienced unprecedented disruption since we last gathered in the spring of 2020 in our beautiful venues to witness exquisite music, dance, and theatre together. Throughout these many long and painful months of separation and isolation, I have been yearning for the time when we can be together once again. It appears that time is finally now upon us! I am absolutely thrilled to share our plans for celebrating the University of Georgia Performing Arts Center’s historic 25th anniversary season throughout the fall of 2021 and spring of 2022. Our silver anniversary season will feature a variety of acclaimed guest artists—some new to us and some returning favorites—with an equally wide variety of personal life experiences. They will come to us from across the United States and several different countries. Their experiences inform their work, and we will, for a brief moment in time, commune together as the universal languages of music, spoken word, and movement unite us in hope and healing. Not only has the world changed significantly since we first opened our doors 25 years ago, it has changed dramatically in the last year as we have endured the devastating impact of a global pandemic, social injustice, political uncertainty, and any number of other things.
    [Show full text]
  • The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
    Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons.
    [Show full text]
  • 2. Case Study: Anime Music Videos
    2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose.
    [Show full text]
  • Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
    CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
    [Show full text]
  • A History of Rhythm, Metronomes, and the Mechanization of Musicality
    THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC
    [Show full text]
  • The Songs of Mexican Nationalist, Antonio Gomezanda
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-5-2016 The onS gs of Mexican Nationalist, Antonio Gomezanda Juanita Ulloa Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Ulloa, Juanita, "The onS gs of Mexican Nationalist, Antonio Gomezanda" (2016). Dissertations. Paper 339. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 JUANITA ULLOA ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE SONGS OF MEXICAN NATIONALIST, ANTONIO GOMEZANDA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juanita M. Ulloa College of Visual and Performing Arts School of Music Department of Voice May, 2016 This Dissertation by: Juanita M. Ulloa Entitled: The Songs of Mexican Nationalist, Antonio Gomezanda has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Visual and Performing Arts, School of Music, Department of Voice Accepted by the Doctoral Committee ____________________________________________________ Dr. Melissa Malde, D.M.A., Co-Research Advisor ____________________________________________________ Dr. Paul Elwood, Ph.D., Co-Research Advisor ____________________________________________________ Dr. Carissa Reddick, Ph.D., Committee Member ____________________________________________________ Professor Brian Luedloff, M.F.A., Committee Member ____________________________________________________ Dr. Robert Weis, Ph.D., Faculty Representative Date of Dissertation Defense . Accepted by the Graduate School ____________________________________________________________ Linda L. Black, Ed.D.
    [Show full text]
  • Agent-Based Programming Interfaces for Children Tina Quach
    Agent-based Programming Interfaces for Children Supporting Blind Children in Creative Computing through Conversation by Tina Quach Submitted to the Department of Electrical Engineering and Computer Science in partial fulfillment of the requirements for the degree of Bachelor of Science in Computer Science and Engineering at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2019 c Massachusetts Institute of Technology 2019. All rights reserved. Author.............................................................. Department of Electrical Engineering and Computer Science May 17, 2019 Certified by. Andrew Sliwinski Research Scientist Thesis Supervisor Certified by. Mitch Resnick LEGO Papert Professor of Learning Research Thesis Supervisor Accepted by . Katrina LaCurts Chairman, Master of Engineering Thesis Committee 2 Agent-based Programming Interfaces for Children Supporting Blind Children in Creative Computing through Conversation by Tina Quach Submitted to the Department of Electrical Engineering and Computer Science on May 17, 2019, in partial fulfillment of the requirements for the degree of Bachelor of Science in Computer Science and Engineering Abstract Children that learn to express themselves creatively and think computationally are empowered to create rather than solely consume technology. They practice creativ- ity and learn strategies for solving problems, designing projects, and communicating ideas. However, children with visual impairments cannot access most programming experiences designed for beginners. This deprives these children of the chance to play with expressing themselves through programs that they design and create themselves. In this paper, we introduce Codi, a software agent that children can talk to in order to create, play, modify, and explore programs built using natural language. Through the design and implementation of Codi, I explore how agent-based programming in- terfaces can make programming accessible to children with visual impairments and multiple disabilities.
    [Show full text]
  • Volume 46, Number 01 (January 1928) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1928 Volume 46, Number 01 (January 1928) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 46, Number 01 (January 1928)." , (1928). https://digitalcommons.gardner-webb.edu/etude/752 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. The Journal of the ^Musical Home Everywhere THE ETUDE ) ''Music MCagazi January 1928 NEW YEARS AMBITIONS Panted by C. W. Snyder PRICE 25 CENTS $2.00 A YEAR •/ ' * ' . • - - - V ■ / * ETV D E jssMastf-r ift 1 Outstanding Piano Composen Whose Works Are Worth Knowing festers fjruguay.H Canada,’ tiS* STjE? Auditor! Td WARD^JwOTtHHIPOTER “? , Subscrib/rs We will gladly send any ot tnese compositions to piano teachers, allowing the privilege of ex¬ amining them on our “On Sale” plan and per¬ mitting the return ofot those not desired.aesirea. Askask forior “On Order Blank and the details of ?his helpful plan if you have never enjoyed its jVL/ 12 IS d-1 ffir n kJ> PRINTED IN THE UN,TED STATES OP AMERICA * — ' - ™L,SHE, > -V THEODORE PRESSER CO.
    [Show full text]
  • NEW HAMPSHIRE Preliminary Discussions in Preparation for the Arrival of the Par­ Ticipants on Saturday
    V Rolling Ridge Delegates To Convene Saturday By Charlotte Anderson Ten discussion leaders and the steering committee of the third annual Rolling Ridge Conference on Campus Affairs of UNH, are leaving tomorrow for North Andover, Mass., at 4:00 p.m. to hold NEW HAMPSHIRE preliminary discussions in preparation for the arrival of the par­ ticipants on Saturday. VOL. No. 42 Issue 6 Z413 Durham, N. H., October 23, 1952 PRICE 7 CENTS The theme of the conference will be “ Purpose and Participation on a Uni­ versity Campus,” with two subdivisions being “ Purpose and Participation in Academic Life,” and “Purpose and Par­ Mayor Stars Issues Statement I. C. Stars Wins By ticipation in Campus Life.” Questions Good Evening, Mr. and Mrs. America. Let’s go to . My five- under these two divisions will center star platform for the vear 1952 shall be: Close Margin; 3000 about leadership, student government, Star No. 1. student conduct, women’s regulations, discrimination extra-curricular social ac­ Be it heretofore, henceforth, and forwith known that as the new tivities, attendance rules, advisor system, Mayor of Durham, my reign over this far city shall be conceived Alumni Return Home cheating, faculty-student relations, fra­ in celluloid and thoroughly washed in chlorophyll. One of the most successful and well ternity and University relationship, van­ Star No. 2. attended Homecoming Weekends in dalism, and required courses. Be it also known that my first great production of the coming University history was highlighted by All conference delegates will gather in the close election of Mr. I. C. Stars, T-Hall parking lot at 1 :15 on Saturday, year will be centered in the College Woods and will star Boris of Phi Mu Delta, by a nine-vote mar­ and will register for the conference in Karloff and Margaret O’Brien in “Strange Love.” Co-featured with gin oyer his rival, Mr, Jones, of Sigma the T-Hall lobby.
    [Show full text]