Page 5hr

SCARLET AND BLACK

Friday. September 22. “761

 

GIBSON'S

DISCOUNT CENTER

This Is Where You Buy
The Besi for Less

STORE HOURSl MONDAY Thru SAT. 7:00-8:00
FRIDAY 9:00 70 7:00

Health & Beauty Aids

5 DAY AEROSOL “#38:“
DEODORANT

(2
Reg. Price $1.47 . .

LADY ESTER $382“
4 PURPOSE CREAM

66‘
$2.00 size

PEPSODENT Giliisé’s“
TOOTH PASTE

n..- 47‘

COLGATE IOO Gil}???
MOUTH WASH

LUSTRE CREME €13.53?
HAIR SPRAY

I 3 c
Regi or Hard-imHold. 1?: sin ........

SEAMLESS hoe."
STRETON NYLONS

s... - 57‘

MODESS 48 COUNT °"‘°“

PRICE

SANITARY NAPKINS $127

Special .. ..

WHITMAN, MILK
CHOCOLATE

Sampler haired candy. Regi $2.25 ......

SWINGER
POLAROID FILM

KLEENEX
FACIAL TISSUE

Decorative box

PRICE
GIISON

$169

GIBSON
PRICE

$147

GIBSON
PRICE

26‘

Everything Al Discount Prices

MUSICAL TUBING: HOSE T0 TROMBONE

By ANN KIRSCHNER

Last Thursday morning, Stuart
Dempster made “bathroom"
noises into his trombone, hit it
repeatedly With a stick, dragged
it across the stage and generally
deprecated it in favor of a com<
nion gar-den hose. Stuart Demp-
ster loves his trombone,

The occasion was the ﬁrst fine
arts lecture or the year, and
the man committing these seem-
ing atroCities is one of the great
trombone virtuosi in the world
His lecture was a preview of
his Concert in Roberts Theatre
on Friday.

Several years ago. Mr. Demp-
ster decided to take apart his
instrument and rediscover it—
how it is made and all the
sounds it is capable of produc-
ing. or. rather, what sounds one
may produce with the aid or a
trombone. Mr, Dempster does
not really classify the trombone
as an instrument, because “it
just sits more." Most oi the
instrument belonging to a tmm<
honist (or any brass player) is
the musician's body. Unlike a
violinist, who needs his instru-
ment to produce the sounds re
sulting irom the Vibration of the
strings, the trombonisl's tool is
his embouchure. the way he
iornis his lips to produce vari-
ous tones. This, and breath con»
trol, IS all that is really needed.
A trombonist would be foolish to
pay more than $400 for his in-
strument, Mr, Dempster os-
serted while waving his own pre-
cariously in the air. He demon-
strated a lipbuzzed selection
irom Aida, followed by an ex-
crpt from Bach's Second Brand-
enburg Concerto, He did con-
cede that the (one was some-
what improved by channeling
the sound through a cylinder,
and obliged the audience with
the same selections on the 1/,"
and 3A" garden hoses, respec-
tively.

Undoubtedly, the idea of ex-
ploring his instrument Came to
Mr. Dempster during one or
the trombone’s interminable
orchestral rests. The classical
composers did not favor the
trombone, although it is the
oldest instrument in the orches-
tra, having survived in roughly
its present form for 500 years.
At the end oi the eighteenth
century. Beethoven cliaritably

gave it eight notes (count them)
in his Fiilh Symphony, The
trombone was not heard from
again for about twenty years.
It crept into some Mahler com-
positions, such as “Das Lied
von Der Erde.” but its contribu-
tion is practically negligible
The trombone does have signiib
Cant roles in the works of such
composers as Tschaikovsky and
Liszt but according to Mr. Demp<
Ster, “the busier the trombone,
the worse the piece.”

The trombone started its du<
bious career in the sixteenth

century, doubling the voice in

church music. In the following
century, it graduated to a place
in street bands. As noted bo<
tore, it was lelt pretty much
alone alter that. Mr. Dempster
claims that the trombone is
“too simple for western music.
People don’t know what to do
with it."

Mr. Dempster has undertaken
virtually a oneman crusade in
commissioning music tor the
trombone. The works employ
the appurtenances oi the “new
music": electronic synthesis and
distortion oi trombone sounds.
His concert included a solo sona-
ta, pieces for trombone and
tape, and a theatre piece.

Sonata for Solo Trombone
(1961). by Barney Childs, utiliz-
es jazzrderived material, quart»
errlones and improvization. The
quarterrtones can be realized be
cause at tho trombone’s slide.
There are seven basic slide posi-
tions, and by means or em-
bouchure the trombonist derives
the overtone series from each
position. However, there are in<
finite positions along the slide,
and the trombonist can tlieorelh
cally produce any tone outside
the western dialonic and chro-
matic scales.

Ricercar A 5 for Trombone
(1966), by Robert Erickson,
calls for live trombones. Mr.
Deinpster had previously re
corded four parts and accom-
panied himself with the fifth.
Sequenza v (1966) by Luciano
Berio, is based on the sounds
that compose the word why. it
seemed as if the trombone was
distinctly trying to communi-
Cate With the audience.

Theatre Piece {or Trombone
Player and Tape (1966), by
Pauline Oliveros, utilized visual

and motile phenomena as well
as aural, The props included
three sprinkler systems which
were caused to rotate like pin-
wlieels as Mr. Dempstei- played
the attached garden hoses, and
candles set inside trombone
bells were made to flicker in
the same way. Mr. Dempster
moved around the stage in pan.
tomine to the accompaniment
of an electronic tape, occasion-
ally emitting sounds that could,
with some degree of accuracy.
be described as human.

Animus I for Trombone and
Tape (1966), by Jacob muck-
man, is described by the com.
poser as concerning itseli with
the relation oi man and the
machine which he created in
his own imagei It called on
the periormer to turn his head
away mm the trombone and
make his own sounds, it might
be said that Mr. Dempster
really blew his own horn Friday
night.

LONG LECTURES
ON DRUGS

By GORDON CHRISTENSEN

Development and present my
search in drugs was the sub-
ject or a lecture presented Tues-
day to a small group or faculty
and students by Dr. J. P. Long.
a member of the State Uni-
versity of iowa Medical SchooL
Department oi Pharmacology.

“Pharmacology, the science
of drugs, is a relative new-
comer to the medical sciences,"
according to or, Long, and he:
only recently won its iull recog~
nition, due mainly to the
achievements of John J. Abel
of Johns Hopkins University.

Little is known or the speciiio
actions of drugs. The only sno-
cesslul way or testing them is
randomly experimenting on ani-
mals. By this method such
medicines as aspirin, penicil-
lin and tuberculin drugs have
been discovered, The greatest
problem in this research is ex-
posing the animal to the disease
without exposing yourself on
Well.

But research costs money.
Two to ﬁve million dollars of

DR‘IJGS—
(Continued on Page 1)

 

 

SQUARE

Margo
Accounil
Welcom-

“gas“ has it! The brightness.

the lightness, the style. The
flair for fashion that puts you
a step ahead of the crowd.

BROWN'S

On Main Street -— Grinnel

 

