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