The Glee Club's Policy

It is amusing, if nothing else, to ace the protests which the Glee Club's change of policy has elicited from some undergraduates, (and, to be sure, from certain graduates and outsiders). In the old days the Club pursued its path of normality,--though it was gradually introducing each year a certain amount of better music,--without being given much thought, hostile or favorable, by the undergraduates, who for the most part looked down on the organization, or considered it a rather negative factor in the college. Ardent affection for the "old college songs" was not conspicuously prevalent then any more than it actually is now.

As a matter of interest, just what are the "old Harvard songs"? One graduate, when confronted with this question, after having bemoaned their death at the hands of the Glee Club, stammered out, "Johnny Harvard", and found himself at loss to go further. Needless to say, that song has now found a (watery) grave! As for other songs of that type, not distinctly pertaining to Harvard, such as "The Tavern in the Town", "Spanish Cavalier", and the like,--the Glee Club has no desire to cut short their deserved existence. It does not seem to be known that there is in the Club a committee of elected members, the function of which is to promote interest in college singing. It plans to arrange with the various class entertainment committees to have singing of these very college songs at the smokers; it furnishes a man to lead the singing; and it expects before long to have printed pamphlets containing words of all such songs, which will be available for use on those occasions and at other appropriate times, such as the Freshman Jubilee. Now as in the past, the coaching of the Jubilee choruses is done by members of the Glee Club, who, far from striving to prevent the singing of such tunes as those mentioned, seek only to have them given to the best advantage. The aim is to create an active interest in singing among the undergraduates, rather than limiting the pleasure of it to a few picked voices. For those, however, who desire to go further, the Glee Club offers a rare opportunity for enjoyment.

I must object to Mr. Barrett's quotation of the unjust phrase, "trail of disappointed audiences." Anyone who had heard the wholehearted applause that met the Club's performance at every concert on the Christmas trip would hesitate before generalizing thus from some specific instances of dissatisfaction on the part of those who were unpleasantly surprised at encountering a concert instead of a vaudeville performance. The Glee Club did not expect to please everyone in its audiences, (and it is hardly fair for those who have not been to a concert to give judgement), nor can it ever hope to do so. Unquestionably there are those who leave a Symphony Concert feeling that they would have enjoyed a jazz band more; and others who, upon seeing a Shakespearian performance long for the less subtle enjoyment of a musical comedy. Their course of procedure is clear; either they may resolve to try again, with the aim of improving their taste, or they may decide to remain in the realm of jazz and chorus-girls.

A word must be given to questioning the philosophy expressed by Mr. Barrett. Since he seems to take himself seriously, it is advisable to treat his words in that same vein. He says:

"I see no reason for believing that what brings pleasure to the musician is any higher or nobler than that which brings pleasure to the normal human being," etc.; assuming of course that all musicians are either ab or sub-normal, and that no normal person can be a musician at heart, whether or not, a professional. he considers mediocrity of taste to be an excuse for itself, and that nothing further is necessarily to be desired. But good taste is the result of cultivation. Few persons are born with a natural appreciation of Wagner or Debussy, any more than for Velasquez or Rembrandt. That, however, is no reason for being entirely satisfied with the obviousness of Irving Berlin or Bud Fisher. It is simply a question of the difference between the temporary pleasure which results from an effect pleasing to the senses, and the more lasting satisfaction which comes with the combination of emotional and intellective appreciation of something truly beautiful.

It is unfortunate that in the Glee Club's effort to do something really worth-while, it is met by disapprobation from a few unrepresentative stand-patters who have no real interest in the mater, but dislike to see any radical changes made without protesting. The Harvard Glee Club can always return to doing the things that any glee club does. But is it not fairer and more reasonable for those who have any interest in the matter at all, to support, or at least to retrain from maligning, a movement whose aim among other things, is to place the name of Harvard on as high a standard musically, as it maintains in other arts! MALCOLM H. DILL '20.