A. HISTORY OF THE DOW CHEMICAL COMPANY. MUSIC DEPARTMENT ' Dissertation for the Degree of Ph. D. MICHIGAN STATE UNIVERSITY ALAN BLAIR POLAND 1976 ‘ This is to certify that the thesis entitled A HISTORY OF THE DOW CHEMICAL COMPANY MUSIC DEPARTMENT presented by Alan Blair Poland has been accepted towards fulfillment of the requirements for Ph- D- degree in M WWW WM 2,7119% 0 U 0-7639 k—“__1 ,4- cg/D/étz ABSTRACT A HISTORY OF THE DOW CHEMICAL COMPANY MUSIC DEPARTMENT BY Alan Blair Poland The study records the history of a large and com- prehensive industrially supported music program, and . documents the salutary effect that industrial support exerted on the cultivation of the arts in a community. Beginning in 1936 with the formation of a male chorus, the Dow Chemical Company of Midland, Michigan, founded what was to become known as the world's largest industrially supported music program. In 1943 the company hired a full time Director of Music, Dr. Theodore Vosburgh. Under VOsburgh's leadership the Dow Music Department grew to include a broad spectrum of choral and instrumental ensembles, and annual performances of oratorios and Operettas. Money collected at these performances was used to provide music education for the county schools and to fund annual scholarship contests for young musicians. At its zenith, the Dow Music Department employed four full time staff members. The performance ensembles provided recrea- tional and cultural outlets for the employees of the Alan Blair Poland corporation. All the ensembles except the Male Chorus were open to community membership as well. Most concerts given by the Dow ensembles utilized professional soloists, some of whom were of international reputation. These concerts greatly enriched the cultural life of the community. As a result of the economic recession of the late 19508 The Dow Chemical Company curtailed its funding for the Music Department and in 1961 ceased all support. The citizens of Midland refused to allow the program to termi- nate and arranged to assume financial responsibility for its continuance. The city of Midland has continued to main- tain a vital community music prOgram supported by volunteer fund raising and sale of tickets. Method of Inquiry The Dow Music Department was accorded much national publicity through magazines, journals, and newspapers. The articles were located and served, along with prOgrams and reviews, to document the events in the growth of the pro- gram. Interviews with Dr. VOsburgh and many others associated with the Dow Music Department and other areas of musical life in Midland provided further data. The research was conducted at.a time when most the significant people in the study were still living. Findings and Conclusions The study revealed three major contributing factors to the success of the program: interest in the arts and Alan Blair Poland support of recreational and cultural activities on the part of the Dow family and other management officials; the unique nature of the community of Midland-—its geographic location and the large number of well educated citizens; and the personal and musical attributes of Dr. Vosburgh, the musical director. A comparison of community musical involvement before and after the existence of the Dow Music Department indi- cates that industrial support contributed to the development of the outstanding musical environment of Midland. The role of music in industry and the history of various industrial music programs are reviewed, and implications of this study for further industrial support to the arts are indicated. A HISTORY OF THE DOW CHEMICAL COMPANY MUSIC DEPARTMENT BY Alan Blair Poland A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1976 ®Copyright by ALAN BLAIR POLAND 1976 To Dr. and Mrs. Arthur J. Barry ii ACKNOWLEDGMENTS The writer wishes to express his thanks to Dr. Robert Sidnell, Thesis Advisor, for his encouragement and assistance. He is also indebted to Professor Joseph Evans, Dr. Russell Friedewald, and Professor Richard Klausli for their guidance and instruction. Appreciation is also expressed to the following for their contributions: Dr. Theodore Vosburgh, Phoenix, Arizona. Mrs. Dora Murphy, The Midland Center For The Arts, Midland, Michigan. John Nelson, Corporate Communications, Dow Chemical Company, Midland, Michigan. Harry Runkle, Midland, Michigan. Jack Spencer, Beaverton, Michigan. Luman Bliss, Midland, Michigan. Finally, loving thanks to Elizabeth and Warner for their patience and encouragement. iii Chapter I. II. III. IV. TABLE OF CONTENTS THE STUDY: ITS SCOPE AND IMPORTANCE . Introduction . . . . . . . . Need for the Study . . . . . . Importance of the Study. . . . Unique Characteristics of Midland, Michigan . . . . . . . Administrative Interest in Music and Extent of Financial Support. . . Significance of the Music Director . Author's Interest in the Study . . Procedures and Sources . . . . . Order of Presentation . . . . . RELATED LITERATURE . . . . . . . Origins of Industrial Music . . . The Value of Music in Industry . . Use of Recorded Music in Industry . Industrially Supported Performance Ensembles. . . . . . . . . Summary . . . . . . . . . . THE BEGINNINGS OF DOW SUPPORTED MUSIC ACTIVITY. 0 O O O O O I O O A Brief History of Midland, Michigan Music in Midland in 1936 . . . . The Dow Male Chorus . . . . . . Summary . . . . . . . . . . FIRST DECADE . . . . . . . . The 1943-44 Season The 1944-45 Season The 1945-46 Season The 1946-47 Season The 1947-48 Season The 1948-49 Season . . . . . . iv THE DOW CHEMICAL COMPANY MUSIC DEPARTMENT'S 15 15 17 25 31 43 46 46 47 53 65 67 67 75 79 8O 84 88 Chapter The 1949-50 Season . . . . . . . . The 1950-51 Season . . . . . . . . The 1951-52 Season . . . . . . . . The 1952-53 Season . . . . . . . . Summary . . . . . . . . . . . . V. THE SECOND DECADE: INDUSTRIAL SUPPORT IS WITHDRAWN AND COMMUNITY SUPPORT ESTABLISHED. O C O O O O O O . O The 1953-54 Season . . . . . . . . The 1954-55 Season .- . . . . . . . The 1955-56 Season . . . . . . . The 1956—57 Season . . . . . . . The 1957-58 Season . . . . . . . The 1958—59 Season . . . . . . . The 1959-60 Season . . . . . . . The 1960-61 Season . . . . . . . The 1961—62 Season . . . . . . . The 1962-63 Season . . . . . . . Summary . . . . . . . . . . . VI. SUMMARY AND CONCLUSIONS . . . . . . . Summary . . . . . . . . . . Factors Contributing to the Success of the Program . . . . . . . . . Music in Midland Today . . . . . . . Implications for Future Application. . . BIBLIOGRAPHY . . . . . . . . . . . . . APPENDICES APPENDIX A. Survey of Musical Interests . . . . . . B. Constitution of the Dow Girls Chorus . . . C. Dow Male Chorus Questionnaire From 1955 . . D. Midland Music Foundation Scholarship Contest Letter. . . . . . . . . . E. Information Sheets for Dow Girls Chorus . . F. Concert Dress Regulations for Dow Male Chorus . . . . . . . . . . . . Page 91 99 102 109 112 114 114 117 118 123 127 129 131 132 146 147 150 152 152 156 157 158 164 168 169 176 177 179 182 Chapter Page APPENDIX G. 1952 Concert Tour Program for Dow Male Chorus. . . . . . . . . . . . . 183 H. Dow Symphony Orchestra Program-- March, 1949 . . . . . . . . . . . 190 vi CHAPTER I THE STUDY: ITS SCOPE AND IMPORTANCE Introduction For a period of twenty-five years the Dow Chemical Company of Midland, Michigan, supported an employee musical performance program of unusual breadth within the structure of its corporation. Beginning in 1936 with an informal male chorus of employees, it expanded in 1943 to a full- fledged music department with a full-time director. By 1947 the Dow Music Department was referred to as the "world's largest industrial music department."1 Though it is not possible to state definitively the effect and influence of the Dow program beyond Midland, the study documents that: some industrial firms sent representatives to Dow Chemical Company to study the structure of its music program; and that the Dow efforts received extensive national publicity. The war effort of the 19403 brought increased attention to the role of music in industry, but few companies had even a full-time lThe Saginaw News, Dec. 7, 1947, p. 35. director, while Dow boasted an entire Music Department with four full-time employees. As a result of the economic recession of the late 19508, the Department was gradually phased out and all direct company support to music withdrawn. The program had grown to include many participants not affiliated with Dow Chemical Company and had become an integral part of com- munity life. The citizens of Midland insisted on the continuance of its existence and made arrangements to assume financial responsibility for the several musical organizations. Since then Midland has continued to main- tain very high standards of community music without benefit of direct industrial financial contributions. Need for the Study In The Gateway to History, Allan Nevins suggests that historical research: . . . enables communities to grasp their relationship with the past, and to chart on general lines their immediate forward course. It does more. By giving peoples a sense of continuity in all their efforts, and by chronicling immortal worth, it confers upon them both a consciousness of their unity, and a feeling of the importance of human achievement. The current high level of community involvement in and support of music in the city of Midland, Michigan, is an outgrowth of an unusual program of industrially supported music. The chronicling of this effort can confer upon 2Allan Nevins, The Gateway to History (Boston: D. C. Heath and Co., 1938). P. 3. Midland citizens a feeling of the importance of their achievements in building and maintaining a high standard of community musical life. Thus, this study hOpes to ful- fill Nevins' stated purposes, and more. The history of a significant industrially supported music program, perhaps the largest and most extensive in history, is here recorded. The author uses "perhaps," for though one can find often in newspaper and magazine articles the statement that the Dow Music Department was the largest in the world, one cannot locate statistics to support this statement. While the statement may be hyperbolic, the Dow Music Department was of sufficient importance to merit recording, before documentary sources had been dispersed. This study can prevent distortion or disintegration of the scope, influence, and contributions of the Dow Music Department. H. Earle Johnson, in "The Need for Research in the History of American Music," urges that studies in the areas of civic subsidy and "histories of concerts, operatic and orchestral on a community basis"3 be undertaken. He believes, "This field of investigation remains virtually untouched by the scholar."4 He feels the situation in 3H. Earle Johnson, "The Need for Research in the History of American Music," Journal of Research in Music Education 6, No. 1 (Spring, 1958), p. 56 4Ibid., p. 48. regard to historical research in American music remains much the same as it was in 1915 when Oscar G. Sonneck wrote: . . ., taking a still broader view of this whole matter of American musical history, we cannot do our- selves justice or expect justice at the hands of foreigners until we have produced a methodologically correct and abundant literature of city and state musical histories, on a critical digest of which the general historian may safely base his survey.5 In fact, continues Sonneck, "The plain truth of the matter is, that the literature on music in America is woefully inadquate both in quantity and quality."6 It is hoped that this study can assist in filling the need for such literature. Importance of the Study The author believes that the Dow Music Department exemplifies the impact industrial support can have on the cultivation of the arts. Twenty-five years of humanistic interest on the part of a large corporation are reflected in the current state of the arts in Midland. The Music Educators National Conference recognized this effect in 1953, when they published the following description of the Dow Music Department: Take for your chemicals a small company- sponsored male chorus with vision, a community- sponsored orchestra with some excellent players but with financial problems, a large potential pool of women singers, add the pocketbook of 5Oscar G. Sonneck, "A Survey of Music in America," Suum Cuique (New York: G. Schirmer, 1916), pp. 131-32. 61bid., p. 129. wise company management as the catalyst--the sub- stance needed to speed a reaction--and you get the Dow Music Department in Midland, . . . What has been done in Midland is surely possible for numerous other communities, and this article is written with the hOpe that it may encourage music educators (or others who may read it) to help develop the potential in their own localities, following the well-stated admonition or suggestion, whichever you will, pre- sented by the MENC Resolutions Committee at the 1952 biennial convention in Philadelphia: "In the field of adult education, it is apparent that there is a need for encouraging musicaI_activi- ties in the welfare programs of many industrial groups throughout the nation. We wofild, therefOre, recommend that music educators investigate the needs of théir respective communities andilendiassistance wherever possible in promoting an adequate program of musiCal activities for such groups.“/ The study illustrates how industrially supported music organizations and public school music prOgrams can work effectively together and each benefit from the associ- ation. Dr. Vosburgh, the Music Director, was interested in reaching young peOple through the Dow Music Department, but did not duplicate or compete with the work of the public school music program. In addition to scholarship contests, summer musical productions, and supplementary music education for the county schools, the Dow Music Department often loaned instruments, risers, and other equipment to the public schools. 7Wilford B. Crawford, "Chemistry and Music--Mid- land's Alchemy," Music Educators Journal (Jan., 1953, Vol. 39, No. 3). P- 36. (Crawforde quote comes from "Some Needs and Opportunities in the Field of Music Educa- tion," MENC 1952 Resolutions, Music Educators Journal (June/July, 1952, Vol. 38), p. 13:) The study records what was achieved by the advan- tageous combination of an unusually responsive and generous company support; and an unusually talented and enthusiastic community. It is likely that given the unusual makeup of the community of Midland there would have developed con- siderable community involvement in music without the advantage of industrial assistance. It is doubtful that it would have achieved the standard of excellence, been as extensive, and received such breadth of publicity, without the sympathetic interest and generous financial support of the company, and without the special qualities of its musical director. Unique Characteristics of Midland, Michigan Dow Chemical Company drew a large number of well- educated men and women to a rather small city that was quite removed from Opportunities to hear and participate in first-rate musical events. J. Dorsey Callaghan, Detroit Free Press movie critic, suggests that: To obtain a perspective on the cultural setup in Midland, it is necessary to View it with the Dow Chemical Co. as a background. For, while there was always a firmly established tradition of music and art appreciation in the city, it took the mushrooming industry to spur it to major prOportions. First off, one must consider the need for a cultural program in relation to the town itself. Midland, be it known, has more Ph.D.'s in prOportion to its population than any other American city except another Midland, this one in Texas (it's a chemical town, too). Of a total enrollment of 9,000 employes, the Dow plant counts over 3,500 college men and women. With an educational level as high as this, the company just had to do something to keep them happy in a community of less than 20,000. Music was the major portion of the answer, and the company, wisely, permitted it to grow from within. Further statistics regarding the unusually high prOportion of college graduates in this city are supplied by the Midland Chamber of Commerce: In Midland there are over 1,500 engineers, 2,000 scientists, and 1,000 business and liberal arts degree holders. [Population: 34,921] Midland has the largest Adult Education Program of any city in the country. Over 1,200 people are enrolled each semester in adult education programs working toward high school or college degrees or taking arts, crafts or other courses. Michigan State University has, at times, had more people enrolled in graduate chemistry courses in Midland than on their main campus. Administrative Interest in Music and Extent of Financial Support The fortuitous interest of the Dow families in music and their generosity in fostering a wide range of recrea- tional and cultural activities were undoubtedly important factors in the success of the Dow Music Department. The Dows were definitely the "first family" of Midland and attended with interest the community musical efforts. Thus, these events were imbued with a stature beyond other 8J. Dorsey Callaghan, Detroit Free Press, Dec. 17, 1952, p. 2. 9"The Midland Michigan Story," Midland Chamber of Commerce, 300 Rodd Street, Midland, Michigan (undated, probably 1970). industrial situations where the music program received only financial encouragement. For many years, another key figure, Harold S. Kendall, served as administrative supervisor of the activi- ties of the Dow Music Department. He, too, enjoyed music, and though not a participant in the Dow ensembles, was vitally interested in their welfare and was an effective spokesman for them with the management. The Dow Chemical Company representative contacted, John F. Nelson, was unable to divulge data relating to the costs of the program to the company. He stated, "These records have probably been destroyed in accordance with Dow Record Retention policies."10 The only figures avail- able pertained to salaries for the years of 1943 and 1958. Nelson quoted that in 1943 this figure was $6,300, and that salaries for the Music Department staff peaked in 1958 with a total of $33,000.11 In addition to staff salaries, Dow Chemical Company purchased a $40,000 building to house the Music Department and paid the taxes and maintenance for this building. They further sent Vosburgh on annual trips to New York City to audition soloists for the various concerts of the choral and instrumental ensembles, and paid the salaries of these loLetter, John F. Nelson, Corporate Communications, The Dow Chemical Company, Midland, Michigan, Sept. 10, 1973. llIbid. soloists. On one occasion, when Vosburgh wished to have the assistance of a nationally known choral expert, they paid to have Don Craig come to Midland to conduct several rehearsals with the Dow Male Chorus. Cost of tickets and programs for the concerts were also paid by the company. Members of the various ensembles were responsible for what- ever special clothing was deemed necessary and paid a small annual dues that was used to cover incidental expenses. All the money from the free will offerings at their concerts went to philanthropic causes, mostly to the scholarship contest fund. Significance of the Music Director Perhaps the most important single factor in the Dow story was the director of the Music Department, Dr. Theodore Vosburgh. His background, personality, enthusiasm and musicianship enabled him to make the most of this opportunity where talented adults were eager to make music together, and where the corporation management was willing to underwrite the costs. During research this author found that one authority12 felt that a major reason for the decline in industrial music programs was lack of competent musicians in directors' posts. There can be no doubt as to Vosburgh's competence, and this coupled with imagination, 12James Berry, "Industry and Music," Musical America (Oct., 1964), p. 6. 10 energy and the ability to get along with all kinds of peOple must be considered a key factor in the phenomenon of the Dow Music Department. Vosburgh served as director of the Dow Music Department throughout its existence and continued in this position during the early years of the community sponsored program, which very likely aided in effecting the smooth transition from industrially to community supported music activity. The respect and affection held for Vosburgh by the pe0p1e of Midland are expressed in an editorial in the Midland Daily News: Highly-trained men, of Dr. Vosburgh's caliber, are hard to come by. What makes him more rare than most is his ability to work with all sorts of people and his ready willingness to recoqnize all forms of music.13 The same article speaks of the special recognition given Vosburgh by the peOple of Midland, when he was presented with a "Mr. Music" award: . . . When he received this award in 1960, it was noted that his qualifications "cover practically the entire realm of music: singer, instrumentalist, choral and instrumental conductor, composer, arranger, musicologist, judge, counsellor, and friend of music."1 Another issue of the Midland Daily News stressed the personal qualities that endeared him to the Midland populace: 13"Our View," Midland Daily News, Feb. 29. 1964: p. 2. 14 Ibid. 11 . . . Dr. Vosburgh is not only an exceptionally able musician but he is an organizer, negotiator and a man of patience--necessary attributes when you are heading a volunteer group of any kind. We are happy to add our voice to th others applauding Dr. Vosburgh. He lacks the difficult disposition so often associated with able musicians, which is good. He has a wealth of human, friendly, pleasing qualities which add to his personality and talents and place him at the top in his field and make him worth knowing and of great value to any community.15 Dr. Vosburgh continually searched for new approaches to enrich the musical life of the corporation and community. During his tenure as director the following aspects of the program were added to the existing male chorus: Dow Girls Chorus Dow Mixed Chorus Dow Orchestra Dow Trio Dow Symphonic Band Dow Madrigal Singers Annual production of an Operetta Annual production of an oratorio Contests for school-age musicians Formation of local chapter of National Teachers of Music Association Midland Singing Boys Summer musical productions for high school and college students - Recital series for high school, college and adult musicians Music education program for the county schools Author's Interest in the Study The author has a strong personal interest in the story of the Dow Music Department. His wife's parents, 15Midland Daily News, Jan. 3, 1951, p. 12. 12 Dr. and Mrs. Arthur J. Barry, moved to Midland, Michigan in 1937, the year after the Dow Male Chorus was formed. Dr. Barry was employed at Dow Chemical Company, and later became Director of Chemical Research for Dow Corning. From their first year in Midland the Barrys were participants in Dow-sponsored music ensembles and continued in the civic- sponsored organizations until they left Midland in 1972. They have been of inestimable help during the research, assisting the author in contacting appropriate people for elusive data. Their enthusiasm for the experiences they had as members of various ensembles has helped bring much of the research to life. During undergraduate years at Central Michigan University, in the neighboring city of Mt. Pleasant, the author became aware of the extensive involvement of the Midland populace in amateur music. He has since come to know personally many of the peOple in this study and is proud to be able to record their efforts and achievements. Procedures and Sources The procedures used in collecting data have been several. Interviews were possible with many of the significant people in the study. Dr. Theodore Vosburgh was interviewed on two occasions. He also read and critiqued the chapters covering his tenure as director. The author was able to contact personally many other people active in music in Midland. These sources included both peOple 13 connected with the Dow Music Department and those active only in the community. Some of the latter were active in community music before Dow—sponsorhip of music. Very complete scrapbooks had been maintained, documenting the activities of the several choral ensembles and the orchestra through programs and critical reviews of concerts. These sources were made available and were carefully scrutinized. Through the archives of the Midland Daily News and the Midland Historical Society, it was possible to verify facts and to survey the total musical activity of the city of Midland during the year 1936. The publications giving publicity to the Dow Music Department were located and examined. The facilities of the Music Library of Northwestern University, Evanston, Illinois and the Newberry Library, Chicago, Illinois were utilized for the survey of related literature. Mr. John F. Nelson of Dow Chemical Company's Corporate Communications supplied some issues of Dow publications that otherwise would have been unavailable to the author. Order of Presentation The study surveys the growth of industrial ensembles nationally and reviews the research in industrial use of music. The lack of research on the efficacy of industrial use of music, and the need for an assessment of the role of music in industry today are noted. 14 The Dow Music Department was founded in 1943 and functioned until 1961, but the period researched commences in 1936, the first indication of music at Dow Chemical Company. The study continues to the present time to describe the after effects of withdrawal of industrial support and the assumption of civic sponsorship of music. A concluding section of the report summarizes and states the major contributing factors in the success of the pro- gram. It also suggests implications for future industrial support to community music programs. CHAPTER II RELATED LITERATURE Origins of Industrial Music Music has long been considered to have an effica- cious effect on a worker's output. The use of music to ease the tedium of work may be as old as the art of music. In fact, it has been speculated that music may have origi— nated as a kind of by-product of work.1 The Roman rhetorician Quintilian acknowledged in the lst century that music could soften man's labor, and stated that "every man . . . has his own song."2 Our own nation has rich musical resources in the work songs of sailors, railroad workers, miners, cowboys, plantation workers, and in those of pe0ple of many other occupations. Antrim points out that the term "shantyman" was applied to singers in the woods, mines and railroads, as well as those at sea. . . . These men were hired for their vocal accomplish- ments chiefly and often did nothing but lead the singing. They were considered worthy of their hire, 1Doran K. Antrim, "Music in Industry," Musical Quarterly (July, 1943), p. 286. 2Music in Industry (A Manual on Music for Work and for Recreation in Business and Industry), (Chicago: Indus- trial Recreation Association, 1944), p. 4. 15 16 for they kept production up. Whenever it showed a ten- dency to lag, they started the singing and soon had picks swinging in double time.3 With the advent of the industrial revolution hand labor was replaced by machines and work-songs, and shantymen found no place in the factories. Toward the end of the 19th century, however, industrialists began to recognize that music had a contribution to make to the morale of factory and clerical workers, and the more human industrialists began to bring music into industrial life. Industrially supported music ensembles originated near the turn of the century, gained impetus with each of the World Wars, and peaked during the 19505. Ronald F. Eyer has compared work music of previous times and present day, stating: Today, the worker does not participate directly in his music. It is given to him as a stimulus from out- side and it assumes quite different forms from the work music of tradition. To begin with, it almost invariably is recorded or radio—broadcast music conveyed to the workman at his machine or in his office by means of a loudspeaker communications system. Secondly, it is not specifically related to the work it accompanies - the true work song derived not only its mood, but also its very rhythm, melodic line and lyrics from the particular occupation. Modern industrial music is something that has been composed for the concert stage, the theater or the dance hall, for the most part, but its psychological effect upon the workers seems no less potent than that of the spontaneous work songs. 3Antrim, "Music in Industry," p. 287. 4 . Ronald F. Eyer, "Mu51c Goes to War on the Home Front," Musical America (December 10, 1942), p. 7. 17 Eyer's comments are directed toward an industrial use of music that is peripheral to the major thrust of this study: that of playing recorded music over loudspeaker systems for employees in offices and factories. Since this notion is an important role played by music in industry it will be treated separately later in this chapter. The Value of Music in Industry One of the most significant sources published on industrial music is Kenneth S. Clark's Music in Industry. Clark used a questionnaire to determine the extent of musi- cal activity in American industry in 1929. In this book he summarizes the data gathered through the questionnaire, and provides a brief historical survey of industrial music. One chapter is devoted to suggestions for organizing and devel- oping employee musical activities and ensembles, and states what he considers to be the value of industrial music programs to both the employer and the employee. Since this was written in 1929, before there was anything beyond experimental use of broadcast music during work hours, Clark writes exclusively about participatory music activities for employees. He says, regarding the purpose of his book: Music in industry is no longer an experiment. Its efficacy has been practically demonstrated under varying conditions and in nearly every field of industrial activity. Inasmuch as its wide use has conclusively proved it to be highly beneficial to employer and employee alike, a further study of its possibilities would seem to be advisable for any in either of those categories who may not be entirely familiar with its numerous advantages. It is for the purpose of acquaint- ing every one in industry with the benefits of musical 18 activities among the workers that this book has been issued.5 Clark cites the following values for industrially supported musical activities: From the viewpoint of the employer: 1. it increases production 2. it provides a common meeting ground for execu- tives and the working force 3. it improves the morale of the workers 4. it therefore cuts down the turnover of laborers 5. it creates goodwill advertising From the viewpoint of the employee: 6. it counteracts the monotony and fatigue of the job 7. it opens up avenues of self-expression 8. it brings to the worker widened friendships and a social outlet6 Antrim says that the values of work music, here referring to broadcasts of recorded music, have remained fundamentally unchanged throughout time, and are specifi- cally ". . . to control production, to relieve monotony and boredom and their aftermath of fatigue, to conserve energy, to give the worker a lift, and to contribute to that intan- 7 He writes of the believed attri- gible quality, morale." butes of industrial music programs, ". . . music is applied to such prosaic objectives as speeding output, relieving fatigue, reducing accidents and absenteeism, bolstering 5Kenneth S. Clark, Music in Industry (New York: National Bureau for the Advancement of MuSiE, 1929). p. 1. 6Ibid., Chapter II. 7Antrim, "Music in Industry, pp. 287-88. 19 morale; and its effectiveness is determined by the extent to which it accomplishes these goals."8 Favorable Opinions about the value accruing from the development of industrial music activities have been expressed by leaders from both labor and management. A past-president of the Federation of Labor, William Green, stated: "Music is a friend of labor for it lightens the task by refreshing the nerves and spirit of the worker. It tends to make work pleasurable as well as profitable and adds to the enjoyment of leisure time."9 Mr. Leland I. Doan, at one time president of Dow Chemical Company, refer- ring specifically to the Dow Music Department, said: The value of good community spirit and good family spirit within an industrial organization such as ours at Dow becomes increasingly important in our modern American economy. We are aware of the need for spiritual and emotional values in our community life. These are enhanced and stimulated through the influence of music. We at Dow believe that organized music groups, as well as other recreational programs, offer our employees opportunities for identification and self-expression which are so necessary to heighten self-respect and a sense of 'belonging'. 0 On another occasion Doan spoke of the value of the music program in recruiting employees: "Every cultural activity here fulfills a need, either direct or implied," says Company President L. I. Doan. "Many's the time we have had a scientist decide in favor 81bid., p. 275. 9Clark, Music in Industry, p. 3. loT. Gordon Harrington, "Midland Makes Its Own Music," Etude (February, 1953), p. 64. 20 of Dow employment because of the city's cultural atmos~ phere."ll Another administrative spokesman for the Dow Chemical Com- pany spoke of its music program: "And it's worth every effort," says Harold S. Kendall, assistant to President Leland I. Doan. "The friendly response of the community alone would make a music program worthwhile. Even greater is the benefit gained by the attitude of individual employees--they are cheerful, their morale is high, and the company's record shows it. The music groups, sponsored by the company, fuse a bond between recreation and employment that results in loyalty and dependability. The attrac- tion of music groups is a definite aid in securing high-grade employees."12 Dow Chemical Company was keenly aware of the bene- fits it derived from its music program in the area of building public relations, and stated in an article in Business Week that the "expense of the proqram is nothing, 13 The same in comparison to the goodwill it has created." article reiterates the value Dow Chemical Company placed on its music program for recruitment purposes: "Many musically trained children have applied to Dow for jobs when they grow up. Dow also says the music program helps considerably to llJ. Dorsey Callaghan, "Industry and Labor Back Cultural Setup," The Detroit Free Press (Dec. 17, 1952), p. 12. 12"Music Is An Aid to Management at Dow," The Philip Lesly Co., for American Music Conference (Chicago, Press release, no author or date supplied), p. 4. 13"Extra Harmony for Company Relations," Business Week (March 1, 1952), p. 108. 21 lure professional men who can't decide between Midland and 'big city enticements.'"l4 A Dow Chemical Company employee, John Simonian, spoke of the value of industrially supported music activity from the standpoint of a participant, saying: ". . ., music is the great leveler of man. You feel as if you are all the same . . . it's a religion of music --a universal language." And John, who honestly admits that the biggest reason he took a job at Dow was because of its music department, [feelsg singing while you work is a natural process of life.1 Henry Ford II, too, gave indirect support to indus- trial music programs, in recognizing the need for developing better human relations in industry: It seems clear that we have not kept the development of our human relations in industry in pace with the development of our production technology. Perhaps for every dollar we spend in scientific research for the development of better products and more efficient- machines, we should spend another dollar in research into the problems of people in industry.16 The publication Industrial Bands and Orchestras provides insights into the benefits of instrumental ensembles and how they can best be organized, administered and financed in an industrial setting. One segment of this manual seeks to rationalize the need for music in l4Ibid. ls"What Singing Means at Dow," News Release from the Dow Chemical Company (Midland, Michigan: February 11, 1952), p. 6. 16"Why Music in the Recreation Program?" Industrial Bands and Orchestras (Chicago: National Industrial Recrea- ti6n Association, 1953), p. 2. 22 modern industry, stating that the employee's "repetitive, monotonous work robbed him of creative satisfaction in craftsmanship. The job was filled; the worker was left empty. He, as a person, was negated."17 Since self- expression through creative work is not possible on an assembly line the author urged that industry accept respon- sibility for providing other creative outlets. Hence: . . . More and more, it is being realized that whole- some play in leisure time tends to perform the social function of industry that may be missing during the hours of work; tends to recreate the person so that his working time becomes profitable to him rather than frustrating.18 It is further postulated that music is particularly suitable for such purposes, . . . not only because it so specifically meets the leisure needs of a substantial segment of the employee roster, and not only because it has great spectator and public relations values, but also because once started it usually continues as an important program activity for many years. This same publication addresses the position of industrial management toward music programs: They know they have a share in the responsibility for community welfare, and that at the tOp of this responsibility is an obligation to have employees happy not only on the job but at leisure and at home. The more than half-billion dollars industry spends every 171bid. laIbid. 19Ibid. 23 year for recreation programs attests to this know- 1edge.20 Paul Eastman, like many others, credits World War II with stimulating much interest in industrial music because this was a time when "high production and employee satisfac- 21 tion were vital." Music participation was promoted "as a means of releasing tension and solidifying front-office and production-line relations."22 The National Association of Teachers of Singing expressed still another possible benefit of participation in industrial music programs. It was their opinion that such programs "proved to be a strong factor in the raising of the standards of music appreciation."23 "Proved" is probably too strong a word to use in connection with raising stan- dards of music appreciation since no research conducted on this possible effect of participation in industrial music ensembles is reported. No other printed source makes this claim or even mentions it as a possible goal to be sought. One could even speculate that the repertoire often used would not be of calibre capable of raising standards of music appreciation to any significant degree. Current ZOIbid. 21Paul Eastman, "Music: How it Builds Morale in Industry," American Business (November, 1952), p. 52. 22 Ibid. 23"Industrial Music," The Bulletin, National Associa- tion of Teachers of Singing (Nov./Dec., 1948), p. 7. 24 research about the effects of participation in public school performing ensembles upon the student's appreciation of music make this claim difficult to accept.24 Other selected statements pertinent to the supposed values of industrial music programs follow: Industrial music is practical if there is practical use of better attitude, pride in one's company, need for c00perative association and use for a communal expression among peOples.25 Industry's rising interest in music is, of course, more than just a friendly gesture. It is the result of an intelligent approach to the problems of employee morale and loyalty as well as retaining the good-will of the community and the public at large.26 . . . First, a common bond is established between worker and management over and above the workaday rela- tionship. Second, and more important, an energetic, cheerful, willing attitude is promoted, showing results on the assembly line . . .27 During the war [World War I] the values of music in increasing efficiency and relieving nerve strain was generally recognized. The same value exists today.2 24See either Ned C. Deihl, "Developing Musical Con- cepts Through Performance,” Music Educators Journal (Nov./ Dec., 1964), p. 61, or, Bennet Reimeri—"Performance and Aesthetic Sensitivity," Music Educators Journal (March, 1968), p. 29. 25Albert P. Stewart, "The Case for Music," Indus- trial Sports Journal (Jan. 15, 1952), p. 23. 26"Industry's Rising Interest in Music Makes it Part of Balanced Recreation Program," Industrial Sports Journal (May, 1952). Reprinted in Music in Industry--How Employees Participate in Musical Groups (Chicago: Amefican Music Conference, pr6bably 1953). p. 22. 27Harold Keen, "Beethoven Helps Build American Bombers," Etude (August, 1943), p. 545. 28Clark, Music in Industry, p. v. 25 Use of Recorded Music in Industry It is appropriate and relevant to include at this point a brief consideration of the scope and contribution of recorded music as used in industry, played over loudspeaker systems to counteract boredom and stimulate production. While this facet of industrial music is not of crucial importance in the study of the Dow Music Department, it does figure largely in the total picture of industrial music. The invention of the phonograph made it possible for many firms to broadcast music to their employees during working hours, but even prior to this innovation some com— panies had provided live music to ease the tedium of their workers in much the same way that the previously mentioned "shantymen" had fulfilled their functions in pre-industrial years. The reasons for bringing background music into plants and offices may have been purely altruistic on the part of management, or it may have been done on the sure expectation of increased production and profits. Thomas Edison is reputed to have had an interest in the potential use of his phonograph to supply music to fac- tory workers, but his efforts were thwarted by the quality of amplifiers and loudspeakers available to him in 1915. Kalamazoo, Michigan, was the site of an early attempt to supply factory workers with recorded music. Clark provides the following details of this experiment: In the early 19203 came a follow-up to Edison's experiments, in what probably constituted the original installations of store-wide and plant-wide sound systems 26 for the playing of recorded music during working hours. The project was a private one worked out by two offi- cials of Gibson, Inc., makers of fretted instruments in Kalamazoo, Michigan--A. Williams, general manager and Lloyd Loar, acoustical engineer. These two men equipped the Gilmore Brothers department store in Kalamazoo and a number of factories in southern Michigan with loud- speakers over which music was broadcast from phonOgraph records played on an ordinary phonograph. Difficulties with patent rights on some of the equipment employed prevented Williams and Loar from capitalizing on their successful experiments. The 19305 saw the flowering of the idea of bringing recorded music into the business world. As improvements were made in sound engineering the interest in this aspect of industrial use of music swelled enormously and stimulated some scientific studies of the effects of music on employees, which in turn caused an intense interest in pro- gram planning for industrial music. From such develOpments it was inevitable that someone would conceive the idea of supplying business firms with recorded music programs that originated from a central broadcasting studio. This first occurred in 1936, in New York City, where the broadcasts were sent over leased telephone wires and were aired first in a restaurant. "Other restaurants, bars, stores, hotels, apartment houses, and hospitals took up the idea, and, around 1940, industry."30 Literature dealing with the use of recorded music for industrial purposes is pervaded by the names of 29"Music in Industry," Industrial Recreation Associ- ation, p. 6. 30Ibid., p. 7. 27 Willard A. Kerr and Harold Burris-Meyer, each of whom con- ducted research on the effects of recorded music on factory workers. Burris-Meyer, director of sound research at Stevens Institute of Technology, expressed dismay at the paucity of research on this subject: Instead of facts we have hearsay, hunch, and theory, all readily available in almost any quantity. Managements which use music and employees who listen to it seem to agree that music is a fine thing. Organi- zations which install electronic distribution systems and furnish programs have files full of letters from satisfied customers. There is a growing belief in this country that music in a factory can do just about everything except rearrange the stock room or inter- pret the latest set of government regulations.31 Some of the research conducted by Burris-Meyer has been summarized by Eyer, who states: . . . Statistics compiled by Dr. Burris-Meyer show, for example, that total production per 100 man-hours, in one instance, increased by 11.4 percent after the installa- tion of music. They also show impressive reductions in man-hour losses occasioned by early departures of tired workers, Monday morning absences, and other irregulari- ties which are deleterious to maximum efficiency.3 Kerr cautions against wholehearted acceptance of Burris-Meyer's research because of inadequacies in the design employed. According to Kerr: Burris-Meyer has reported data on production before and during music and his estimates of production increases resulting from music range from 4.07 percent to 14.8 percent. While his data, as he points out, are indicative, his results, based on comparisons of periods before music and periods after music, are difficult to 31Harold Burris-Meyer, from Mechanical Engineering, January, 1943, quoted in Music in Industry, Industrial Recreation Association, p.i8. 32Eyer, "Music Goes to War," p. 7. 28 interpret because of the impossibility of controlling the effects of annual, seasonal, and technological trends in the type of research design which he used. His two graphs on early departures and Monday morning absenteeism may also be indicative but are again sub— ject to the design limitations just mentioned.33 Kerr summarized the psychological research in industrial music and plant broadcasting, much of it his own, that was conducted prior to 1943. He delineated six areas that had been subjected to systematic study: 1. work place preference of job applicants and factory workers with reference to music 2. music type attitudes of industrial workers 3. voice type attitudes of industrial workers 4. believed effects of music 5. actual effects of different types of music on euphoria, morale, and specific subjective feelings 6. effects of different types of music on the productive efficiency of workers doing various kinds of jobs34 The original research that Kerr reported consisted wholly of surveys. For example, he polled 228 electrical workers and learned that the great majority preferred work- ing in a department with music played either occasionally or frequently as Opposed to one without any music.35 He 33Willard A. Kerr, "Psychological Research in Indus- trial Music and Plant Broadcasting," Journal of Psychology 17 (January, 1944), p. 256. 34Ibid., p. 243. 35Willard A. Kerr, "Where They Like to Work: Work Place PreferenCe on 228 Electrical Workers in Terms of Music," Journal of Applied Psychology 27 (1943), p. 441. 29 also conducted a survey on workers' "Feelings about Music" and found the following attitudes toward the psycholOgical powers of music: 77% think it improves their feelings toward associates; 90% believe it helps them when tired; 88% say it soothes their nerves; 56% think it helps their digestion; 90% believe it helps them in performing a wearisome, monotonogg task; 85% say it helps make them forget their worries. Kerr made seven recommendations he believed could be supported by "experimental and objective evidence": 1. Employment managers can with factual justification stress the presence of music as a desired condition of repetitive work. Music should be provided for all work areas in which the work is manual and monotonous if a majority of employees want music. The music preferences of each industrial audience should be measured rather than guessed at, and such measurements should be utilized in planning indus- trial music programs. The RCA Attitudes Toward Music scale is available for such measuremefit of—indus- trial music audiences. Music needs of night shift workers should receive special attention, and probably night shift workers should receive more music than day shift workers. Selection of soprano and bass announcers should be avoided. Alto, tenor, and baritone voices are acceptable and baritone seems most preferred. Male voices are preferred over female voices, especially by female workers. Records containing vocals should not be banned from broadcast to workers engaged in repetitive manual operations. Industrial music, scientifically applied, should be regarded as a factor favorable to quantity of 36Willard A. Kerr, "Psychological Effects of Music as Reported by 162 Defense Trainees," Psychological Record 5 (December, 1942), p. 211. 30 production in the typical repetitive operations of modern industry.37 It can be seen that research in this facet of industrial use of music was not overwhelming either in quantity or quality. Forrest H. Kirkpatrick generalized about the bulk of such research: Reports as to the use of music, delivered by means of reproduction, amplification and broadcast set-ups indicate positive results in increasing the output and satisfaction of all kinds of workers-—industrial laborers, dockhands, and office employees. An examina- tion of the reports usually shows that they are subjective and that they rest mainly on the belief that "boredom" is due to a consciousness of uniformity and repetition. The assumption is made therefore that any- thing that will "take the mind away" will reduce the boredom. The activities most commonly reported to be reinforced by music are the motor processes of indus- trial operations in which auditory components are lacking or are at a minimum.33 Two years later, Paul Little still complained of the lack of research in industrial music: Music in industry has not yet become a science. There is a difference of opinion among authorities on the length of the music period to be used and on the frequency of such programs. Plants have found their own methods through the trial and error process. Since so many peOple have credited music with such a plethora of values for industrial use, it seems odd that there has been so little worthwhile research on this 37Kerr, "Psychological Research in Industrial Music," p. 260. 38Forrest H. Kirkpatric, "Music and the Factory Worker," ngchological Record 5 (Dec., 1942), pp. 197-98. 39Paul H. Little, "What Future Has Industrial Music?" Musical Leader (Oct., 1944), p. 7. __ 31 subject. Both the limitations and small quantity of this research cause it to be of little value. The designs of some projects were not sufficiently sophisticated and others suffered from inadequate controls. Much of this quasi- research consisted of surveys, the results of which were greatly weakened by the inclusion of leading questions. These subjective data were then used as the basis for making dogmatic statements as to the efficacy of industrial use of music. The only generalization that can be drawn from the results of the research is something that has been known for centuries--many people enjoy hearing music while they work. Industrially Supported Performance Ensembles A second major facet of industrial use of music centers on industrially sponsored performance ensembles designed to serve as recreational outlets outside of work- ing hours. Companies who were concerned about developing strong employee morale or who felt a commitment to contri- bute to community resources capitalized on this phase of music in industry. Some firms concentrated on providing musical Opportunities for the children of their employees and made provisions for bands, orchestras, and drum and bugle corps. More often than not the musical organizations were established for the employees, rather than their depen- dents, and took the form of choruses, glee clubs, bands, 32 orchestras, dance bands and other less formal types of musical ensembles. The use of music in industry in this country began through efforts to provide recreational activities for em- ployees. Mining companies concerned about the lack of wholesome community recreational facilities made provisions for musical ensembles for their employees. Department stores concerned about the morale of their employees organ- ized informal sings that grew into performing organizations. Among the earliest instances recorded of industrially supported music prOgrams in this country are: 1870--a group of New York bank clerks formed a choral group that developed into the New York Banks Glee Club 1876--Wanamaker's department store in Philadelphia installed an organ in the store and held employee sings each morning that eventually expanded into store spon- sored choruses, bands and orchestras. 1883--Norfolk and Western Railway Band formed in Roanoke, Virginia 1887--Butte Mines Band formed and eventually became one of the most celebrated of the mining bands Strawbridge & Clothier, a Philadelphia department store, had a store chorus prior to 188940 While compiling the historical data outlined in his book, Music in Industry, Clark said it became apparent early “that two classes of industries were leaders in the number of musical activities reported. These were the railroads 40Dates extracted from "Music in Industry," Indus- trial Recreation Association, p. 5, and "Music in Industry: How Employees Participate," American Music Conference, pp. 4-5. 33 and the department stores."41 The railroads seemed to favor wind bands, while choral ensembles predominated in depart- ment stores. By the first decade of this century some of the industrial ensembles had achieved remarkable levels of per- formance and the sc0pe of their activities became quite extraordinary. For example, the Wanamaker store in Phila- delphia held regular choral festivals, utilizing such celebrities as George W. Chadwick, Horatio Parker, Arthur Foote, and John Philip Sousa as judges and guest conductors. On one occasion the Philadelphia Orchestra was engaged to perform in this same store, while their New York City store secured the services of Richard Strauss and his orchestra for a performance.42 The Philadelphia department store, Strawbridge and Clothier, made a practice of giving concert versions of operas and Operettas by their store-sponsored employee ensembles. Aida, Faust, Lohengrin and various Gilbert and Sullivan Operettas were essayed. They further commissioned original cantatas and oratorios, securing works from Victor Herbert, Henry Hadley and others. The fact that the chorus also made appearances with the Philadelphia, Chicago and 41Clark, Music in Industry, p. 46. 42Ibid., p. 74. 34 New York Symphony Orchestras would seem to indicate a rather professional level of musical accomplishment.43 L. Bamberger & Company of Newark, New Jersey is an interesting and unusual example of industrially supported music activity during this era. They supported a Music Club, whose purpose was to encourage their employees to engage in cultural activities outside of the store. In addition to offering music appreciation courses and pro- viding scholarships for music students, the store helped the employees attend Sunday afternoon concerts of the New York Philharmonic in New York City by paying half the price of the tickets.44 The origins of many such industrial music activities are fascinating. For instance, the Choral Society of Marshall Field and Company, Chicago, Illinois, which for many years had a most enviable reputation, grew out of an impromptu concert of small ensembles. The purpose of this concept was to raise money to pay the end of season deficit of the store's baseball association.4S Much of the litera- ture stressed that ensembles should not be encouraged unless employees felt a need for them, and that they should not duplicate community facilities or offerings already in existence. 43Ibid., pp. 76-77. 44Ibid., p. 84. 451bid., p. 78. 35 An example of unusually enthusiastic industrial support can be found in the annals of United States Steel Corporation. In the late 1920's there existed concurrently 53 music organizations among their various plants. This included 12 bands, 11 orchestras, 9 glee clubs, and 4 choruses.46 Aubrey Haines provides the following statistics: . . . By 1923 there were more than 500 plant bands in the United States, with many more such organizations in Europe. . . . . . . . . . . . . . . . . If we include policemen's, firemen's, letter carriers' and similar bands, the number of employee instrumental groups in America today probably exceeds 1,000.47 The pamphlet "Music in Industry" purports to give a "bird's-eye view of the industrial-music picture [immedi- ately] prior to 1930": . . . The majority of big businesses and industries, and many of the smaller ones, had employee music organi- zations. These organizations embraced a wide range of instrumental and vocal combinations. Some of them achieved national renown. Operettas, musical shows, festivals, and other types of entertainment featuring music were well established. In some communities where the industry virtually comprised the entire community, the musical activities of the workers furnished the greater part of the social and cultural life. The results of Clark's survey for the National Bureau for the Advancement of Music were published in 1929. 46 . . . . . Mus1c 1n Industry, Industr1al Recreat1on Associa- tion, p. 7. 47Aubrey B. Haines, "Music in Industry," Music Journal (April, 1956), p. 21. 48 . O O O Mu31c 1n Industry, Industrial Recreat1on Associa- tion, p. 7. 36 The following summary of his data provides an idea of the size and scope of industrial musical activity in the late 19203. . . . Among 679 industrial plants, business houses, and other types of commercial enterprises reporting musical activities, there were 267 bands, 182 orchestras, 76 mixed choruses, 68 men's choruses, 34 women's choruses, community singing in 133 companies, and other musical activities bringing the total to 911. These other activities comprised ukulele clubs, harmonica bands, drum corps, a banjo and mandolin combination, a violin choir, a saxophone band, a brass quartet, a bagpipe band, men's quartets, mixed quartets, women's quartets, men's octets, a women's octet, mixed octets, a chil- dren's chorus, a men's trio, mixed choirs, a vested choir, an oratorio group, Christmas caroling, oper- ettas, minstrel shows, musical shows, and a music c1ub.49 The 19203 was an important decade for industrial music because "in general, until the 19203, musical organi- zations sprang into being without any particular goal other than to furnish a musical outlet for musician-employees."so This began to change, possibly because of dissemination of European practices regarding work music, particularly experiences reported in England. Whatever the reason, this decade showed great expansion, for: . . . during the 20's, industrialists began to be aware that attention to the human needs of employees could be made to pay off for the company. And music, in various forms, began to play a more purposeful part in existing recreation programs and in those that were started later. 0 O O O O O O O O I I I O O I O O O O I O O O O 491bido ' pp. 6-70 50Industrial Bands and Orchestras, p. 3. 37 By 1929, music was included in most industrial recrea- tion programs.51 The proliferation of industrially supported music activities is further attested to by the interest shown in this activity by the National Federation of Music Clubs. In 1923 this organization deemed industrial music programs to be important enough to warrant adding a National Chairman on Music in Industry to their roster of officers. Many regional units of the National Federation of Music Clubs followed suit and lent support and assistance to businesses interested in organizing music activities by supplying speakers, programs and song leaders.52 The movement gained momentum during the 19303, and with the United States' entry into World War II in the 19403 the industrial music movement became quite frenzied. There has been much written about the encouragement given to music in industry at this time by management. The fact that maxi- mum production for the war effort was uppermost in every- one's mind surely did account for much of the increased musical activity, hOping it would improve morale, decrease absenteeism and employee turn-over, increase production and improve quality control. It is quite probable that there were also other factors that combined to make participation 51Industrial Bands and Orchestras, pp. 3-4. 52Clark, Music in Industry, p. 191. 38 in industrially supported musical ensembles attractive during the 19403. Participation in an industrially supported ensemble was one of the most attractive forms of entertainment avail- able to the working populace, since the rationing of gaso- line and other commodities during the war made some forms of entertainment inaccessible. Such participation may have been made even more attractive when considered to be a patriotic effort. Since industrial ensembles created good public relations for the company and served to raise morale among workers, both important factors contributing indirectly to the war effort, such involvement could give participants a feeling that their time spent in such organizations had a significance beyond mere personal enjoyment. The Dow Chemical Company ensembles, for example, participated in Red Cross Benefit Concerts and a Victory Sing. Even after the war, this aspect of patriotism may have been fostered by such ensembles, since they served to provide propaganda on at least the following occasion: Voice of America has been telling the world about genuine harmonious labor-management relations. Seems Bell Telephone in New York and Dow Chemical Company in Midland, Michigan, have large orchestras with both workers and executives participating.53 The momentum gained during the war years carried industrial music comfortably into the 19503, and the 53Nelson Frank, New York World-Telegram & Sun (March 14, 1952). 39 literature in this field is sizeable during this decade. In 1952 Paul Eastman documented industrial interest in music: Evidence of the increasing interest in company music programs is shown by clinics and conferences that are being held. The Seventh Annual North Carolina Recreation Conference devoted its last meeting to an Industrial Music Workshop, and more than 100 directors of recreation attended. . . . In March, the use of musical activity to foster morale and efficiency will be highlighted at Purdue University, Lafayette, Ind., where the Second Annual Industrial Music Clinic will be held. Included in the program will be demonstrations of how class piano courses can be set up for employees, how to organize and direct bands and orchestras, and the place of choruses in industrial recreation activities. For companies interested in starting music prOgrams, the American Music Conference in Chicago can be helpful. A recent announcement by Dr. John C. Kendel, vice- president of the Conference, offered the help of specialists in music training free of charge to indus- trial groups planning some music activity. The Conference already furnishes service to schools, churches, and recreation groups. By the end of the decade the literature began to thin out, reflecting the decline in industrial music activity itself. The reasons for the decline are elusive and apparently there has been little interest in identifying them. The lack of literature on this tOpic in the 19603 and 19703 further reflects lack of national interest in furthering such activity, perhaps because some of the factors contributing to its growth during the war years no longer existed. 54Eastman, "Music: How It Builds Morale," American Business, pp. 52-54. 40 Several factors may be presented for consideration as contributors to the decline of interest in industrial ensemble programs. Television, as a source of home enter- tainment, has unquestionably changed the life styles of the American peOple. The fact that many community organized and supported music ensembles continue to survive tends to negate television as the prime reason for declining indus- trial music prOgrams. Television definitely did, however, have a desultory effect, and this effect was likely two- fold. It undoubtedly was responsible for smaller audiences at industrial music concerts, thus lowering the morale of the performers and raising the question of the value of the effort. Second, the performers themselves may have develOped increasingly competitive interests, one of them quite possibly television and, lacking the conviction that their musical efforts were worthwhile, yielded to these other interests. Thus, it seems that audience appeal was eroded and participants' morale depleted, creating a situa- tion in which the image of the organization deteriorated and in a period of austerity financial support may have been withdrawn from music rather than from other areas. The late 19503 brought an economic recession felt by most major industries in this country, causing management to withdraw support from non-essential areas. Furthermore, labor-management bargaining for increased fringe benefits and higher salaries may have forced the relatively small 41 amounts being spent on industrial music programs to be diverted to other purposes. The most recent article found during the survey of related literature is James Berry's "Industry and Music“ from the October, 1964 issue of Musical America. The con- tent of the article is a curious mixture of optimism and pessimism. First he states that "employee music groups are beginning to come of age as effective instruments in in improving the corporate image."55 Somewhat later, referring to a boom in industrial music activity he says: The boom in industrial music, however, if it is a boom, is not entirely harmonious. The head of a nat1onal association of choral groups believes that overall industrial music activity is down, and he blames union-management conflict as a cause.56 Berry quotes an industrial personnel director as saying, "We still sponsor a chorus, but now the employees seem tired of it."57 Berry also acknowledges that pressures from stockholders have forced some corporations to find other means than a company's profits for financing employee recreation programs.58 Thus, the programs dwindle both from lack of secure financial support and lack of intense employee interest. 55James Berry, "Industry and Music," Musical America (October, 1964), p. 6. 56Ibid. 57Ibid. 581bid., p. 19. 42 Berry, however, feels that the "main problem con- fronting employee music" in 1964 is surprisingly none of the aforementioned aspects, but rather lack of outstanding music directors involved with industrial music programs. He believes, "It takes the special enthusiasm of a professional director, plus a great deal of musical ability, to make an 59 Throughout the literature employee music group thrive." one continually encounters statements about the importance of securing a good music director and what a difficult chore this could be. For example, Haines has written: . . . But it is fully as difficut to obtain a first- rate director as performers of rare instruments. In develOping an industrial orchestra or band, the most thoughtful consideration should be given to finding a competent director.6 Berry also stresses another vital factor in success- ful industrial music prOgrams. According to him, "the other important, and perhaps key ingredient is fervent management blessing."61 Without a careful assessment of the exact situation today regarding industrially supported music ensembles across the country, and a tabulation of reasons for termi- nating such programs, it is impossible to do more than speculate. Since this study is limited to the study of only 591bid., p. 6 6oHaines, "Music in Industry," p. 90. 61Berry, "Industry and Music," p. 6. 43 one individual music program, for which the reasons for termination are reasonably well known, such information is not of vital importance. Summary One can find frequent references, and even specific pieces of music, that attest to the fact that man has long considered music to be a pleasurable and therapeutic accom- paniment to his work. With the advent of the machine age new ways were sought to bring the efficacy of music to the industrial assembly line. Musical entertainments and industrially supported vocal and instrumental ensembles were experimented with during lunch hours and after working hours, and as a result the music used was not specifically related to the work it accompanied as it had been in former times. Kenneth S. Clark conducted an extensive survey and reported his findings in the book Music in Industry, pub- lished in 1929. This source documents the sc0pe of industrially supported music ensembles at that time, and lists eight values for this type of musical activity in industry: increases production; provides a common meeting ground for executives and the working force; improves the morale of the workers; cuts down on turnover of laborers; creates goodwill advertising; counteracts the monotony and fatigue of the job; Opens up avenues of self-expression; and brings to the worker widened friendships and social outlets. 44 To these values others have added reduction of nerve strain, conservation of energy, and a host of others. In the twentieth century, especially during the years of the Second World War, both labor and management have spoken in favor of industrial use of music, often citing one or more of the above listed salutary effects. Industrial ensembles have existed in every con- ceivable form, both for employees and for their families. Often the emphasis was on providing wholesome recreational activities for employees and such efforts date back at least to 1870. Music was not the only recreation sponsored by companies, but along with athletic activities was just one of the fringe benefits offered by humanistic firms. While industrial ensembles had been a part of the scene since the late nineteenth century, the use of recorded music in factories and businesses really flowered in the 19303, awaiting first the develOpment of the phonograph, and then of adequate sound systems. By the late 19203 "the majority of big businesses and industries, and many of the smaller ones, had employee music organizations."62 Many types of instrumental and vocal ensembles and musical theater groups were represented and some of them achieved considerable renown. 62Music in Industry (A Manual on Music for Work and for Recreation in Business and Industry), (Chicago: Indus- tfial Recreation AssociatiOn,il944)) p. 7. 45 Industrial musical activities gained further momentum in the 19303; peaked with the war effort in the 19403; tapered off in the 19503; and all but ceased existence in the 19603. Many reasons have been advanced for its apparent demise, the most prominent among them being: 1. the economic recession of the 19503 2. labor unions bargained for fringe benefits that would more directly affect the pocket books of the workers 3. lack of really good musical directors active in this field It seems strange that with so much enthusiasm expressed by so many people attesting to the efficacy of industrial use of music, it is at present seemingly nonexis- tent except for industrial use of Mgggk. It also seems strange that so little research of any stature and credi- bility was done to prove or disprove its reputed value. The only area subjected to research has been that of recorded music piped into factories and offices. The validity of this research is highly questionable, though it all supports the thesis that use of recorded music generally produces salutary effects on the listeners and their work. The value to industry of both use of recorded music on the assembly line, and of participation in instrumental and vocal ensembles needs further careful research. Another area that should have systematic documentation is the extent of current industrial use of music. CHAPTER III THE BEGINNINGS OF DOW-SUPPORTED MUSIC ACTIVITY A Brief History of Midland The first white settler came to the area now occupied by the city of Midland in 1836, and was soon followed by many others. . . ..The influx of these pioneers resulted in the formation of Midland County in 1850, and the organi- zation of the township in 1853. For the next fifty years the air rang with boisterous shouts of the loggers, the clang of their axes, and the thunder of the log booms as ninety percent of the county's known wealth was floated down the river. The lumbering boom and rapid development of the area caused the county's original Indian residents to be persuaded to move to a settlement one county to the west. In addition to the wealth of timber which made this area the largest lumbering center of the state, a second industry began to develop. Some of the lumbermen discovered brine in the ground under their mills and initiated the sideline of evaporating salt by heat from waste lumber, the 1"The Midland Michigan Story," a pamphlet printed by the Midland Chamber of Commerce, 300 Rodd Street, Midland, Michigan, 48640, (undated, probably 1970), p. 1. 46 47 first salt well being sunk in 1878. Later, it was found that bromine could also be extracted, and by 1884 the village was shipping both salt and bromine on a production basis. However, the loggers' practices soon exhausted the surrounding forests, and without cheap fuel there could be no profitable salt or bromine industry. By 1890, Midland was a doomed and dying town consis- ting of fourteen saloons, a brief business street, a few wooden sidewalks, two covered bridges and the more—or-less nondescript homes of some two thousand inhabitants--its future seemingly behind. But to young Herbert Henry Dow, it was a town of promise. The crude wooden towers dotting the country- side were evidence of the brine wells below. "This gold mine of natural resources" provided the "waste" compound from which he first extracted bromine. And it is from this buried ocean, pumped at the rate of millions of gallons a day through Dow pipelines, that the company has developed more than 700 different chemicals and products available today. In a little more than sixty years, the Dow Chemical Company has grown from its simple beginning of one idea and practically no capital into one of the country's largest chemical companies--based in Midland with plants, subsidiaries and associated companies through- out the world. And with it, Midland has grown into a lovely, modern city notable for its progressive activity in the fields of education, religion, recreation, architecture and civic planning.2 Music in Midland in 1936 Before examining the sc0pe of musical activity in Midland in the year 1936, mention should be made of Midland's status in two national music surveys. From a national survey of community musical activity conducted in 1925 it is found that the city of Midland, population 5,483, had little community music activity. There was no municipal monetary apprOpriation for music, no city band 2The Midland Michigan Story, p. l. 48 or orchestra and no observation of "Music Week" reported. In fact, the only community involvement in music was described as "community singing with concerts." The public school music budget was $1500, and the presence of only one music supervisor, with no additional staff, was recorded.3 Four years later, in 1929, another national survey was conducted to document the extent of industrially supported musical activity in this country. Chapter II has previously established that industrially supported music prOgrams were common throughout the country by the end of the nineteenth century. Though this survey reports con- siderable industrial musical activity nationally, and substantiates its existence elsewhere in Michigan, the city of Midland is not mentioned.4 From careful scanning of the Midland Republican for the year 1936 some interesting items come to light that may have had impact on the development of Dow supported musical activity. For example, the city had had a history of sporadic attempts at maintaining a civic orchestra,5 and in 3Kenneth S. Clark, Municipal Aid to Music in America (New York: National Bureau fOr the Advancement of Mus1c, 1925). p. 196. 4Kenneth S. Clark, Music in Industry (New York: National Bureau for the Advancement of Music, 1929), pp. 281-87. SMidland Symphony Orchestra Pearl Anniversary Program of 1966 records an orchestra season for 1922 and 1923 under Community Center sponsorship. The orchestra 49 1936 a new effort was made to re-establish it under the aegis of the Community Center. By its first concert in November the orchestra numbered twenty-nine members--in a community of slightly less than 10,000 citizens. This same year, Mrs. Gwendolyn Pike, a very impor- tant person in the history of Midland's musical development moved to town. She was a mezzo-soprano, with a degree in music from the University of Michigan. Mrs. Pike was a native of Flint, Michigan, and thereby familiar with and accustomed to the thriving industrial and community spon- sored music activity fostered by Buick and headed by Dr. W. W. Norton, who was also director of public school music in Flint. Mrs. Pike opened a voice studio and became involved in the church music activities in Midland. She was largely responsible for Midland's first community chorus concert, a production of Messiah, given in December of 1936. For this performance several church choirs com- bined to form Midland's first community chorus. Mrs. Pike rehearsed the choirs for the performance and Dr. W. W. Norton was engaged to direct the final product. Local singers took the soprano and alto arias, and bass and tenor soloists were imported. The success of this initial venture immediately established it as an annual musical event and this community chorus, made up of an aggregate of numbered 23 members including students. This program states that there was evidence of "pick up" orchestras between 1923 and 1936. 50 church choirs, retained its separate identity for several years after the Dow Mixed Chorus came into existence.6 The program for this performance indicates that there was an orchestra, and in addition to the Overture and Pastoral Symphony it included seven choruses, ten recitatives and eight arias from the oratorio. The local newspaper documents that there was a community concert series in Midland, and that Midland resi- dents also held tickets to the Community Concert Association series presented in Saginaw, Lansing, and Flint.7 Prior to World War II [the 19303] occasional concerts were presented in Midland under the auspices of the Midland Guild. This organization was Sponsored by prominent citizens of Midland including the Dow families, but the war unfortu- nately caused this effort to be terminated.8 The community concert series was not reactivated until 1947, when the Dow Music Department was a strong functioning unit. That Midlanders wanted to hear and had opportunities to hear choral music is attested to by the appearances in 1936 of the Kalamazoo College Men's Glee Club and the University of Michigan Men's Glee Club. It is conceivable that one or both of these male chorus concerts could have sparked the idea of forming a male chorus in Midland. Mr. 6From an interview with Mrs. Gwendolyn Pike, Midland, Michigan, July, 1973. 7Midland Republican, April 2, 1936, p. 8, and April 16, 1936, p. 5. 8Midland Center for the Arts, pamphlet, 1971, p. 14. 51 Frank Whaley, who is credited with originating the idea of a Dow Chemical Company sponsored male chorus, died some years ago, so it is impossible to establish if there was any direct influence. The Midland Republican also documents a series of band concerts. The membership of this ensemble included high school, college and community instrumentalists.9 Willard Dow, son of Herbert H. Dow, was interested in music and fostered musical activities as well as various other aspects of community recreation. It is recorded that the Willard Dow band trOphy, given annually for "most progress and best spirit," was awarded to one Elwood Hunemorder, a Midland high school student.10 That there were among the citizenry those with refined taste in music is evidenced by the engagement of the Stulberg String Trio for social events at the country club. The members of this ensemble were Julius Stulberg, Joseph Evans, and David Pratt. Joseph Evans recalls that their trio played several engagements at the country club and that the audiences were very appreciative and respon- sive.11 The following program of salon music played by the trio would seem to indicate a more than average degree 9Midland Republican, June 25, 1936, p. 6. loIbid., June 4, 1936, p. 1. 11From a conversation with Joseph Evans, July 1973, East Lansing, Michigan. 52 of musical sophistication for the citizens of this small, relatively isolated city. Trio #2, Cm . . . . . . . . . . . . . . . Mendelssohn Zigeunerweissen . . . . . . . . . . . . . . Sarasate Lento, 2nd Trio, Op. 34 . . . . . . . . . . Chaminade March of the Tin Soldiers . . . . . . . . . . Pierne Kamennoi-Ostrow . . . . . . . . . . . . . Rubinstein Blue Danube Waltzes . . . . . . . . . . . . . Strauss12 Public school music made the news several times during this year. The county band festival held on March 29th was described as the first county instrumental music festival.13 It boasted 160 musicians under the direction of Neil G. Keyes. On April 23rd the city of Mid- land held its eighth annual Midland School Instrumental Festival under Ted Nicholson's direction. The extent of the school instrumental program can be surmised by this article which lists high school band, orchestra, junior band, saxette band and beginners band as participants in the festival.14 On May 22nd the Midland school instrumen- talists participated in the sixth annual Central Michigan Band Festival.15 The county schools apparently had no vocal music instruction at this time, for it is recorded that the leidland Republican, Sept. 17, 1936, p. 4. 13Ibid., April 2, 1936, p. 1. 14Ibid., April 23, 1936, p. 3. 15Ibid., May 28, 1936, p. 3. 53 County School Commission wrote Lansing to request that vocal music be re-established in the county schools.16 Margaret Berry was director of choral music in the Midland public schools and the paper announced a Christmas prOgram under her direction.17 The Dow Male Chorus It is likely that the most significant musical event of 1936 for the future of music in Midland was a performance of male chorus music at the Presbyterian Church. There exist three slightly varying accounts of this event that sparked the idea of forming a Dow Chemical Male Chorus: Formation of the Dow Music Department began quite casually. It was the outgrowth of an especially good performance at the Presbyterian Church one Sunday back in 1936. Frank Whaley, a choir member, met L. I. Doan, now president as he was checking in for work the following morning. Doan complimented Whaley on the choir's performance. "Wish we could do something like that here in the plant," Whaley said. "Go ahead and see what you can do," was Doan's reply. Whaley got busy, put up invitations to singers on all the bulle- tin boards and finally came up with a 40-voice male chorus.l8 In 1936, when an emergency choir situation arose at the First Presbyterian church, an all male group 16Mid1and Republican, Dec. 10, 1936, p. 7. 17Ibid., p. 1. 18J. Dorsey Callaghan, "Choir Vital Part of Dow Firm," Detroit Free Press, Dec. 20, 1952, p. 12. 54 sang one Sunday. Afterward, Leland I. Doan, now Dow company president, collared Frank Whaley, one of the singers, and said: "We ought to have a men's chorus like that. Don't you want to organize one?" Whaley did, and so did about 40 others, and what later became the Dow Male Chorus was born.19 The chorus itself was born because one Sunday in 1936 men in the choir of Midland's Presbyterian Church sang an e3pecia11y pleasing anthem. Dow President Leland I. Doan, who was then general sales manager, complimented Frank M. Whaley, a choir member. "I told him what we needed was a Dow male chorus," said Whaley, a tenor and Dow salesman. Later at Dr. Doan's suggestion, Whaley took the idea to the late President Willard H. Dow, who agreed to a budget of $60 a month for a part-time director, rental of a piano and expenses for music. . . .20 Harold Powers, head of the music department at Central State Teachers College in Mount Pleasant, Michigan, was engaged to conduct the new ensemble. By the end of that season membership totaled sixty-five.21 During their first year they performed in the tree- 1ighting ceremonies in front of the Midland County Court House at Christmas; gave a joint concert with the Midland Civic Orchestra in February; sang a full concert in the Dow Auditorium in May; and performed at the Dowchemic Field Day. The "Memorandum of Expenses" for 1936-37 reveals that Mr. Powers was paid a total salary of $250.00 19Elaine Plummer, "Midland-Manufactured Exported Music Gives City Good Reputation," The Bay City Times, Jan. 11, 1953, p. 11. 20Paul Harsha, "Something to Grow On," Dow Diamond (July,1956)p P. 3. 21"Sing, Brother Sing!" Dow Diamond (OCt- 1937)! p. 13. 55 for directing the group, at $10.00 per rehearsal. The chorus cost the company a grand total of $411.02 that first year. In addition to the director's salary, $80.52 was spent on music, and $50.50 paid for the rental of a piano for the year and the tuning of same. (Piano tuning cost only $3.50 in 1937:)22 The second and third years of the Dow Male Chorus were under the direction of Harry Runkle, a Dow Chemical Company employee in the Sodium Salicylate Department. Mr. Runkle was a charter member of the Dow Male Chorus and a graduate of Eastman School of Music. Winfield Sunderland of Technical Research Department and Lee DePree of the Ethyl Cellulose Department shared the duties of accom- . panist. The first issue of the Dow Diamond, a magazine for Dow employees, published to . . . create a closer inter—relation between the various departments of Dow Chemical, its subsidi- aries, partnerships and branch offices; to record the achievements of the whole organization, of each of its parts and of individuals; and, in general, to bring about a greater appreciation of our responsibilities and associations carried an article about the new industrial chorus. The following excerpt from the article provides insight regarding the membership and requirements: 22Memorandum of Expenses, an unpublished ledger maintained by thé treasurers of the Dow Male Chorus from 1936—46, pp. 2-3. 23Dow Diamond (Oct. 1937), p. 1. 56 It is interesting to note that the chorus has drawn men from practically every department in the plant, numbering among its members, heads of depart- ments as well as hourly employees. As in the past, membership this year is open to every employee of Dow Chemical. While some musical training is desired, the only requirements are a love for music, a passable singing voice and, of course, the ability to carry a tune. The majority of present memBers cannot read a note of music, so don't let any inability in that line bother you. It won't cost you a cent to join either, since all expenses are borne by the management.24 The second season the chorus records expenditures of $566.16. Of this figure $315.00 was spent for the director's salary; $120.52 for music; and $55.50 for rental and tuning of piano.25 The chorus rehearsed weekly from September 16 through April 21 and gave a joint concert with the Civic Orchestra, a concert of their own, and made their first out of town appearance at the First Presbyterian Church in Saginaw.26 The program for this latter perfor- mance reveals the following repertoire: Now Let Every Tongue Adore Thee . . . . . . Bach Song of the Vikings . . . . . . . . . . . Faning On Great Lone Hills . . . . . . . . . . Sibelius On The Sea . . . . . . . . . . . . . . . . Buck Stars of the Summer Night . . . . . . . Woodbury How Can I Leave Thee . . . . . . . . . . Kuecken Lift Thine Eyes . . . . . . . . . . . . . . LOgan Accordian Selections Auf Wiedersehn . . . . . . . . . . . . . Romberg 24Dow Diamond (Oct. 1937), p. 13. 25Memorandum of Expenses, pp. 4—5. 26John Spencer, "History of the Dow Male Chorus," found in the program for the Tenth Anniversary Concert of the Dow Male Chorus, Feb. 19 and 20, 1947. 57 Goin' Home . . . . . . . . . . . . . . . . Dvorak Chanteys: 8 Bells; Away to Rio; Old Man Noah . . . . . . . . . . A. T. Davidson Land-Sighting . . . . . . . . . . . . . . . Greig In a Persian Market . . . . . . . . . . . Ketelby Soldiers' Chorus from "Faust" . . . . . . Gounod During the 1938-39 season the chorus presented concerts that were broadcast over WBCM, Bay City, every four weeks. It can be assumed from the expense records from the 1938-39 season that the company purchased a piano for $100.00 from the University Club of Midland. The budget showed an expenditure of $131.47 for music, but no informa— tion regarding the director's salary is recorded.27 Very little documentation survives from the fourth season of the Dow Male Chorus. Mr. H. R. (Rusty) Evans, music teacher at Bay City Central High School, was hired as director. The treasurer's records show disbursements of $10.00 per rehearsal to him from October 2, 1939 to May 21, 1940. The expenditure for new music was $64.82, and this sum coupled with $10.00 for rental of an auditorium for the spring concert brought the total expenditures of the group to $364.82 for the 1939-40 season.28 A spring concert; another joint concert with the Civic Orchestra; and an 27Memorandum of Expenses, pp. 8-9. 28Ibid., pp. 10-11. 58 appearance for the Industrial Executive Club of Bay City constituted the performances given.29 The services of Dr. W. W. Norton were secured as director for the following three years (1940-43). Dr. Norton was already well-known to Midland singers, as he had made annual visits at Christmas to conduct the community chorus performances of Messiah. For the season of 1940 he was paid $725.00. The relatively large increase in stipend for the director probably stems from the additional expense of travelling from Flint--the round trip from Flint to Midland being approximately 100 miles. The 1941 season is the last for which records relating to director's salary are available. The payment of the director's salary must have passed out of the treasurer's hands in 1941 and have become the responsibility of someone in Dow Chemical Company payroll division. The treasurer's report indicates that certain expenses (director's salary, new music, tuning of piano and rental of choral risers) were reimbursed by Dow Chemical Company, while others (advertising, tickets, refreshments, auditorium rental fee and ushers' fees) were paid from the club treasury. The sole source of revenue for the club was $124.00, concert receipts from a joint concert with W. W. Norton's Flint Chorus. This appears to 29John Spencer, "History of the Dow Male Chorus," Tenth Anniversary Concert of the Dow Male Chorus Program. 59 be the first occasion that the Dow Male Chorus charged . . 30 adm1331on for a concert. Only a few programs of Dow Male Chorus concerts under Norton's direction survive. John Spencer, Chorus Historian, gave the following account of the Male Chorus' activities during the years 1940-43: . . . That season [1940-41] the group joined the Michigan Male Chorus Association, a Division of the Associated Male Choruses of America. On November 14, 1940, the Chorus entertained the Dow Sales Conference at the Midland Country Club. In December it assisted the Midland Choral Society in presenting the "Messiah" directed by Dr. Norton. The fifth joint concert with the Civic Orchestra was pre- sented on February 9 in the Midland High School auditorium. The Norton Male Chorus joined with the Dow Male Chorus to present a concert on April 15. The com- bined group sang eight numbers and each chorus sang four numbers separately. Climaxing the season, on May 10, the Dow Chorus joined with sixteen other member choruses of the Michigan Male Chorus Associ- ation to give a concert in the I.M.A. auditorium in Flint, where 700 men sang. The Dow group sang "Legend" by Tschaikowsky for their solo . . . Another successful appearance resulted when Midland and Lodge F & A M invited the men to sing in the Masonic Temple, January 28. On October 30, 1941, a concert was given in Bay City for the Annual Convention of Michigan Council of Churches. . . .31 30Memorandum of Expenses, pp. 12-13. 31John Spencer, "History of the Dow Male Chorus," Tenth Anniversary Concert of the Dow Male Chorus Program. 60 Since the program for this last mentioned concert is one of the few extant from Norton's tenure as director, the choral repertoire performed is recorded below: Prayer of Thanksgiving . . . Netherlands Folk Song Morning Hymn . . . . . . . . . . . . J. G. Henschel Going Home . . . . . . . . . . . . . . Anton Dvorak Salvation Belongeth to Our God . . . . . . . . . . . . Paul Tchesnokav Tenebrae factae sunt . . . . . Giovanni Palestrina The Creation . . . . . . . . . . . . Willy Richter Carry Me 'Long . . . . . . . . . Stephen C. Foster Carmenchita . . . . . . . . . . Mexican Folk Song Come to Me in My Dreams . . . . . . . . Noble Cain Hail, Bright Abode . . . . . . . . . Richard Wagner Star Spangled Banner . . . Arr. by Geoffrey O'Hara John Spencer continues his account of the Male Chorus activities stating that the 1940-41 season: . . . was climaxed by a trip to Chicago on May 23, 1942, for the Midwest Conference of Male Choruses. Dow men were part of a chorus of 1500 men represen- ting forty—seven choral groups from Michigan, Wisconsin, Indiana and Illinois who staged what is aptly called a "big sing." While in Chicago the Chorus sang for the Chicago Drug and Chemical Asso- ciation at the Palmer House. During the 1942—43 season . . . twenty-nine members of the Chorus were in the armed forces, but the remainder still met weekly. A minstrel show was given by the Order of the Eastern Star to raise money for War Bonds, and the Chorus provided part of the entertainment by singing several selections. The Michigan Male Chorus Association State Sing was post- poned because of the transportation difficulties.32 During Norton's tenure the membership in the Male Chorus was opened to include Dow employees from Bay City, and Midland residents who were not Dow employees. This was a reflection of a decline in membership at this time 321bid. 61 resulting from war-time conditions-—gas rationing and loss of membership to military service. In the fall of 1942 the Dow Male Chorus sought a new director. Perhaps Norton found it difficult to secure gasoline for the weekly trips from Flint, or the choir members felt a need for a change in leadership. Whatever the reasons, the rehearsals did not start until November, and throughout this season the secretary's minutes record the efforts of the officers of the chorus and the Dow Chemical administration to locate and secure a new director for the men. On September 1, 1942, a meeting of the Executive Board of the Dow Male Chorus discussed the situa- tion with Mr. Steven L. Starks, who acted as liaison between the chorus and the company management: . . . Mr. S. L. Starks, representing the Dow Co. as sponsor has asked for a recommendation from the board for a program for the coming year, especially with respect to a director. Bliss asked Mr. Starks if there was thought of a fulltime musical director following along the lines of the recent appointment of a fulltime athletic director. Starks says that might be termed an idea of his--not of the company necessarily. There was considerable discussion regarding the merits of a local man as conductor, the general feeling being that if the right man could be obtained for full or part time work in other civic music as well as the chorus it would be a good move.33 At this time there was no official administrative representative for the male chorus. Starks was head of 33"Secretary's Record," minutes from the meetings of the officers of the Dow Male Chorus, June, 1942-February, 1949, p. 5. 62 personnel and thereby interested in all recreational activi- ties that would make Dow Chemical Company more attractive to prospective employees. Starks also had an interest in music and later sang in one of the Dow Music Department Operettas. Mr. Ryan, an assistant to Dr. Norton in Flint, was discussed as a possible candidate for the prOposed full- time directorship. Luman Bliss, president of the chorus, was asked to contact him to learn if he would be interested. Dr. Vosburgh, though not mentioned by name at this time in the minutes, was also the subject of discussion: ". . . the director of the Albion acapella [sic] choir was discussed and considered a possibility that should be investigated."34 The other possible candidate considered at this meeting was also a university choral director, Elwyn Carter of Western Michigan University: ". . . Elwood [sic] Carter (Kalamazoo) has been considered for the director's job according to Starks. However, his draft status is not good."35 A progress report delivered on October 27th revealed: . . . Bliss reported on the search for a director for full time or part time work. Mr. Ryan has moved to Detroit on a teaching job and is not available. Mr. Vosburgh is tied up on a contract in Albion, but is interested--another year. 341bid. 351bid. 36Ibid., p. 6. 63 A certain Mr. Smith was reported "out of the picture" because the "men were not in favor of him."37 Another candidate recommended by Dr. Norton came for an interview but was considered "too old and health not good enough."38 Therefore, the officers decided to continue another year with Dr. Norton. . . . Norton has been O.K.d [sic] by Starks--for the present at least until other arrangements can be made. He feels he will be able to get gasoline for the trips up here in spite of gas rationing. In the meantime we will be looking for a man to fit into part-time work and live here.39 The first rehearsal of this season (1942-43) did not take place until November 5, 1942. There were only 45 members, including the accompanist, present. In the February 4th, 1943 minutes of the Executive Board it was recorded: . . . Meeting called by Pres. Bliss to discuss ways and means for picking up attendance and creating more interest in the club activities. A general discussion resulted and the general feeling was that there were a variety of factors contributing to the general sag in chorus, probably the most important being the war situation. Everybody is very busy. Some men have left for the services, etc. It was also felt that under these conditions an out-of-town director one night a week was not sufficient to maintain interest. It was decided that efforts should be made to obtain by another year if possible a man who would make his home here and probably devote full time to Dow musical 37rbid. 381bid. 39Ibid. 64 work. In this connection we had Mr. Franklin Weddle from Flint visit us with Norton a week ago. Pres. Bliss agreed to contact Weddle and Vosburgh from Albion and attempt to arrange to have them devote a full evening to us on music which we would send them for their preparation. It was felt in such a way the club could better evaluate these men. It was decided that instead of the usual Spring Concert an effort would be made to book a series of smaller concerts before local groups. This was con- sidered better due to our slow start.40 The results of the two auditions were then recorded at the March 30th meeting of the Executive Board: . . . Meeting called by Pres. Bliss primarily to formu- late a recommendation to Mr. Starks as to our desires in the matter of a director for the next year. On March 18th we had Mr. Franklin Weddle from Flint as a guest director. On March 25th in Norton's absence Harland Burgess directed and March 27th Theodore Vosburgh came for a special rehearsal as a guest conductor. Mr. Starks wants the recommendation of the Club regarding these three men so that action can be taken if approval for such a move can be made. There was considerable discussion with considerable enthusiasm being expressed regarding Mr. Vosburgh's ability. It was moved by Spalding and seconded by Sharp that we recommend to Mr. Starks that we do all in our power to obtain Mr. Vosburgh as a resident director of the Chorus. This was unanimously approved. While not a formal part of the motion it was agreed that Mr. Bliss prepare such recommendation for Mr. Starks and stress the point that of the three men con- sidered we feel he is the only one who can fill the job in question.41 The last rehearsal of this season was on April 15th. No further reference to the search for a new director is to 4oSecretary's Record, p. 8. 41Ibid., pp. 8-9. 65 be found. Fortunately for the future of the Dow Male Chorus and for the future of music in Midland generally, the recommendation from the Dow Male Chorus to hire Theodore Vosburgh was accepted by the company. On July 14th the minutes of the Executive Board meeting record that Dr. Vosburgh had accepted the position and made a presentation of his "tentative general prOgram for the Dow vocal groups."42 That Dr. Vosburgh was not content in this first meeting to talk only of the future of the Male Chorus, but of a broader prOgram gives an indication of the energy and enthusiasm which characterized his tenure with the Dow Music Department and later with the community supported music prOgram in Midland. Summary From a town recording no municipally supported musical activity in 1925, and no industrially supported musical activity in 1929, Midland, Michigan blossomed forth in 1936 with a flurry of important musical events. The community orchestra was revived, the church choirs joined together to present Handel's Messiah, and with com- pany approval and financial assistance a group of men at Dow Chemical Company formed a male chorus. The chapter records the history of the latter organization during its first seven years. The modest 42Secretary's Record, p. 15. 66 budget of the Dow Male Chorus was documented, the conductors were identified, and as much information as could be found relevant to their performance schedule was presented. The management must have considered the ensemble worthwhile as a recreational outlet, for in 1942, with membership and enthusiasm waning, it was decided to hire a full-time director whom they hOped could revitalize the group and expand its sc0pe. Dr. Theodore Vosburgh was the first choice of the chorus members. The company officials accepted the recommendation to hire Vosburgh, and he in turn accepted the contract. Thus, in 1943, the Dow Male Chorus ceased to be the rather informal and sole area of company supported music and instead became the foundation around which the new Dow Music Department developed. CHAPTER IV THE DOW CHEMICAL COMPANY MUSIC DEPARTMENT'S FIRST DECADE The 1943-44 Season On July 1, 1943, Dr. Theodore Vosburgh began his tenure as Music Director of the newly founded Music Depart- ment of the Dow Chemical Company. He had been considered for the position of conductor of the Dow Male Chorus a year prior to his appointment but had a year remaining on his contract with Albion College. It is appropriate at this point to present Dru‘Vos- 'burgh's professional credentials. The following is an extract from a re3ume’used for press releases: Theodore Vosburgh was active in all community and school music programs of his home town DuBois, Pennsyl- vania, during his grade and high school years. He sang leads in Operettas, was concert master of the High School Orchestra, and played violin in the community orchestra - the DuBois Philharmonic. He attended the Eastman School of Music where he received the Bachelor of Music and Master of Music degrees. He sang roles in many Operas while in Rochester and appeared in numerous recitals, orchestra perfor- mances, and radio programs. In 1930 he was the winner of the Western New York State Atwater Kent Contest and sang in the semi-finals over N.B.C. In 1941 he received the Ph.D. in Music from the Detroit Institute of Musical Art. He has studied orches- tral conducting with Paul White and Franco Autori, and 67 68 choral conducting with F. Melius Christiansen, John Finley Williamson, and Fred Waring. For five years Dr. Vosburgh was head of the voice department of Newberry College, Newberry, South Carolina, and for six years Associate Professor of Music and Director of Vocal Organizations at Albion College, Albion, Michigan. . . .1 Dr. Vosburgh recalled that initially his job was to rehearse and conduct the Male Chorus. That he elected to do far more than this in his first year in the position is indicative of the energy and enthusiasm that characterized his nearly thirty years of musical activity in Midland. The management suggested that an instrumental program of bands or drum and bugle corps for the children of Dow employees might be a suitable activity for the new music department to undertake. Vosburgh wisely counselled that this would be in some ways a duplication of efforts already underway through the public school music program, and instead channelled his energies toward reviving the Civic Orchestra which had ceased activities in 1941,2 and organizing a female counterpart to the Male Chorus. His decisions were made with counsel from the Dow employees, for one of the first things he did was to distribute the following questionnaire to all Dow employees: 1Unpublished résumé prepared by Dr. Vosburgh. 21h 1941 Loren Cady of Bay City was engaged to conduct the orchestra. He was drafted in 1942 and the orchestra did not function again until Vosburgh reactivated it. 69 WOULD YOU LIKE TO BE IN ANY KIND OF MUSICAL GROUP? If so, please check the following. What kind of Group? INSTRUMENTAL Band Orchestra Stringed Ensemble Dance Orchestra What Instrument Do You Play? VOCAL Girls' Choir Male Chorus Oratorio Chorus Girls Sextet Male Quartet Would you like to have an inter—departmental male quartet contest sometime this winter? What part do you sing? Do you play the piano? Name Plant Dept. Clock No. Home Address Building Are you on Home Phone No. Plant Phone No. shift work? Theodore Vosburgh, Music Director, The Dow Chemical Company3 3Unpublished paper found in the files of the Dow Chemical Company Music Department, dating from Fall, 1943. Photocopy in Appendices, p. 168. 70 The questionnaire revealed that there was sufficient interest to hold auditions for a Girls Chorus, which netted an initial enrollment of 73 voices. By November, Vosburgh was ready to present the new Girls Chorus and the rejuven- ated Male Chorus of 71 members in a combined concert. Each chorus performed separately and then combined as a mixed chorus at the end. The following repertoire was presented: Girls Chorus: Prelude . . . . . . . . . . . . . . . . .Ronald-Cain The Nightingale . . . . . . . . .Tschaikovsky-Luvaas The Night Has A Thousand Eyes . . . . . . . . . Cain When A Maid Comes Knocking. . . . . . Friml-Bartlett Male Chorus: Pilgrim's Song. . . . . . . . .Tschaikovsky-Treharne Cindy O O O O C O O O O O O O O O O O O C O C 0 mal in Bendemeer's Stream. . . . . . . . . . . Irish-Luvaas Boots . . . . . . . . . . . . . . . . Felman-Howorth Dance, My Comrades. . . . . . . . . . . . . .Bennett Mixed Chorus: Somber Woods. . . . . . . . . . . . . .Lully-Howorth Hi Ho Sing Gaily. . . . . . . . . . . . Swiss-Luvaas Annie Laurie. . . . . . . . . . . . Scotch-Johnstone Nocturne. . . . . . . . . . . . . . . Fibich-Bourdon Ole Ark's a-Moverin . . . . . . . . . arr. by Cain Your Land and My Land . . . . . . . .Romberg-MacLean It could be said that this was not a very exciting repertoire, consisting of selections of easy to medium dif- ficulty, and typical of high school choral ensembles. It must be remembered, however, that in addition to this being the first concert under the new director with only three months of rehearsal, the ensembles were also hard at work learning their parts for the oratorio, Elijah, scheduled one month later. 71 Employee interest in oratorio singing, as revealed in the questionnaire, was fostered by encouraging involve- ment in the already existing community sponsored annual Messiah. Vosburgh was asked to conduct and readily accepted the opportunity to have contact with the community music activity. Some important changes were effected the first year under his leadership: first, though Messiah had been performed every year since 1936, this year it was given a rest and Midlanders sang and heard their first Elijah; and, second, the soloists engaged were of quite impressive stature, the most illustrious being the young tenor Donald Dame. The Midland church choirs still participated in the oratorio under the name of the Midland Choral Society, and the Midland Civic Orchestra, rejuvenated for the occasion by Vosburgh, supplied the instrumental work. The Dow Male and Girls Choruses combined their forces under the name of the Dow Mixed Chorus. It was likely necessary and wise to preserve these separate musical identities on the program at this time, to insure maximum participation from the non- Dow affiliated musicians. The Midland Daily News of December 28, 1943, records that Vosburgh found time this first year to address the local Kiwanis Club. The burden of his speech was that almost everyone has sufficient vocal ability to learn to sing in a choir. He stressed that very few choir members can actually read music, and that such participation can be a source of much enjoyment and satisfaction. 72 In early January tryouts were held for the first Dow sponsored Operetta, Gilbert and Sullivan's H.M.S. Pina- fgrg. Like the production of Elijah, this was open to all Midlanders, not just Dow employees. It would seem that this was very far-sighted on Vosburgh's part for it established him as a figure in the total community, not just as a com- pany employee, and encouraged a spirit of COOperation between Dow musicians and non-Dow musicians. Two weeks later came the spring concert of the Male Chorus, assisted by the 1944 Michigan State Champion Barber Shop Quartet, the "Harmony Halls." The war-time problems that had wreacked havoc with attendance and participation in the Male Chorus the previous year no longer seemed to present serious problems under Vosburgh's direction. Of the 71 men who signed up in the fall, 58 remained on the roster for this spring performance. It is recorded that on rehearsal nights one man regularly had to wait until 12:15 a.m. to catch a bus home and then had to walk an additional two miles. The new Girls Chorus debuted at a special Holy Week Service sponsored by Kiwanis and Midland Ministers' Associa- tion. For the spring concert they, also, had an assisting guest performer, this time a contralto, Mary Van Kirk, of the Metropolitan Opera Association. This pattern of separate concerts for the Male and Girls Choruses with assisting distinguished soloists was to continue for many years, bringing a number of renowned performers to Midland. 73 The Male Chorus accepted an invitation to sing in nearby Coleman, Michigan. They repeated their spring con- cert repertoire, plus vocal solo numbers by one of their own members, G. Fred Heisman; and violin solos by Harold Powers, a Dow employee and member of the Civic Orchestra.4 The Civic Orchestra made three appearances in their first season with Vosburgh. In addition to accompanying Elijah, they appeared with the Dow choral ensembles on the spring concert, and between these concerts played an all- orchestra concert with soloist Romeo Tata from Michigan State College. Also on Vosburgh's schedule his first spring at Dow was another speaking engagement, this time in Saginaw for the Community Concert Association's campaign drive. A few of his remarks, as quoted in the Saginaw News of May 1, 1944, reflect his philosophy of the role of community music organizations: . . . Likening the enjoyment of music to spectating at sports, Dr. Vosberg [sic] warned that it is only after a person gains some knowledge of a game that he gets a thrill out of it. "It is only after a person has heard many concerts that he begins to recognize tunes and get real enjoyment out of music," Dr. Vosberg said. "That is why in music, as in sports, we need the 'sandlots' and the 'duffers' so as to be able really to enjoy the professionals." 4Powers is one of a number of unusually talented musicians in Midland. He had toured professionally with a chamber music ensemble; left it first for teaching and finally came to work for Dow Chemical. He was for many years concert master of the orchestra and contributed much in this capacity and also as soloist in the Dow Music Department performances. 74 The last concert of Vosburgh's first season took place on May 31, 1944, and brought the Male Chorus and Girls Chorus together again with the Civic Orchestra. The pro- gram, printed below, reflects Vosburgh's knowledge of appropriate literature for both the amateur orchestra and vocal ensembles, and his interest in contemporary music. Civic Orchestra: Pomp and Circumstance #1. . . . . . . . . . . Elgar Two Entr'acte Pieces from "Thamos, King of Egypt". . . . . . . . . . . . . . . . . Mozart Peter and the Wolf. . . . . . . . . . . . Prokofieff Six Contredanses. . . . . . . . . . . . . .Beethoven Chop Sticks . . . . . . . . . . . . . . .H. R. Evans Mardi Gras from "Mississippi Suite" . . . . . .Grofe Dow Mixed Chorus (combined Girls and Male Choruses): Rising Tide . . . . . . . . . . William Grant Still Go, Lovely Rose . . . . . . . . . . . . .Eric Thiman Marching Songs of the Siberian Convoy . . . . . . . . . . . . . . arr. by Wihtol Oh, Susanna . . . . . . . . . . . . . . .Foster-Cain Chorus and Orchestra: Ballad for Americans. . . . . . . .Latouche-Robinson Thus, the end of this ambitious first season of the Dow Music Department saw the primary goal achieved--the revitalizing of the Dow Male Chorus. Also the new Dow Girls Chorus was firmly established; and the Civic Choral Society and revived Civic Orchestra worked closely with the Dow ensembles. A new oratorio was presented and the first Operetta was produced. In addition, several first-rate professional musicians were presented to Midland audiences. 75 The 1944-45 Season Vosburgh's second season with the Dow Music Depart- ment followed a similar format of performances but included some important innovations. The Civic Orchestra elected to come under Dow sponsorship and became known as the Dow Symphony Orchestra, providing greater stability and giving Vosburgh more control over its activities. The first con- cert of the season took place on October 10th and consisted of separate segments by the orchestra, Girls and Male Choruses, and the Mixed Chorus. The repertoire of this con- cert could be termed "pops." Messiah was the choice for the traditional Christmas oratorio but differed from previous civic productions in that it utilized a higher caliber of professional solists. They were Susanne Fisher, soprano; Elizabeth Wysor, con- tralto; Hardesty Johnson, tenor; and Gean Greenwell, bass, all of whom were singing professionally in New York City. On January 2, 1945, the Male Chorus sang a full concert for the Saginaw Valley Torch Club, assisted again by Harold Powers, who played a group of violin solos; and by a new small vocal ensemble called the Dow Girls Sex- tette.5 On January 10th the Dow Symphony Orchestra played a full concert with Harrison Potter as guest artist in a performance of the MacDowell Piano Concert No. 2. Also programmed were: 5The Dow Girls Sextette did not continue beyond this season. 76 Overture, "The Merry Wives of Windsor" . . . . . Nicolai Suite for Orchestra. . . . . . . . . . . . . . . . Lully Coronation March from "The Prophet". . . . . . Meyerbeer The Moldau . . . . . . . . . . . . . . . . . . . Smetana Alley Tunes. . . . . . . . . . . . . . . . . David Guion February brought the second Operetta production, The Mikado, which played four performances. In March the Male Chorus presented its separate spring concert with assisting artist Lois Bannerman, harpist. This concert was repeated a week later in Bay City and a month later in Sagi- naw. The Male Chorus also travelled to Flint to participate in a Red Cross Benefit Concert sponsored by the Michigan Male Chorus Association. The Male Chorus affiliated with this organization in 1940 and continued an active member- ship. That season the Male Chorus had a membership of 100 singers. More men wanted to sing but had to placed on a waiting list. The Girls Chorus membership numbered 78 and performed a separate spring concert in April. As guest soloist they had baritone Conrad Thibault, who sang a group of solos, and appeared as soloist with the Girls Chorus in presenting Deems Taylor's The Highwayman. Another innovation was the first Spring Music Festi- val, a three day series of musical events, featuring all the Dow ensembles plus many guest artists. The first evening, entitled "Opera for Everyone," consisted of operatic high- lights performed by a quartet of Metropolitan Opera artists accompanied by none less than Kurt Adler. The second 77 evening was Dow Symphony Orchestra night with Mary Becker, guest violinist. The repertoire performed was: Violin Concerto in E Minor . . . . . . . . . Mendelssohn Egmont Overture. . . . . . . . . . . . . . . . Beethoven Three Dances from Henry VIII . . . . . . . Edward German Entrance of the Little Fauns . . . . . . . . . . .Pierne Five Miniatures. . . . . . . . . . . . . . . .Paul White Russian Sailors' Dance . . . . . . . . . . . . . .Gliere For an orchestra that had been revived from dormancy the previous season, the repertoire for the entire year is rather impressive. The final evening of the festival was devoted to a concert version, in English, of Bizet's Carmen. Major roles were sung by the same quartet of the first evening, with Midland singers taking smaller roles, and the Dow Girls and Male Choruses supplying the choral work, accompanied by the Dow Symphony. The very handsome program from this festival prompts the comment that all programs were professionally printed, reflected careful planning and usually contained excellent and accurate program notes. Such programs may well have contributed much to the enthusiasm of the partici- pants, serving as a source of recognition for their efforts, and giving them the feeling that they were part of something of a near professional level. No admission was charged for any of the concerts, but this year free will offerings were taken and the money 6 given to the Midland Hospital Fund. The costs of the 6Dr. Arthur J. Barry recalls: "It was made clear to our organizations that any free will contributions had to be 78 programs, Vosburgh's salary, his expenses for trips to New York City to audition soloists, the salaries of the solo— ists, music, costumes for the Operettas, and rehearsal facilities were all paid by the Dow Chemical Company. In the 1944-45 season the company supplied Vosburgh with a full-time assistant, Barbara Schumacher, who had been a former music student of his at Albion College. She served as secretary to the Music Department and assisted with sectional rehearsals of the choral ensembles. Following the end of the second season came the first in a long series of articles in national magazines and jour- nals. The article occupied half a page in the August, 1945 issue of Musical America, and stressed several of the unique aspects of the department: . . . As far as the company is concerned, the purpose of setting up a music department was not for publicity, but as a factor in building morale, an outlet for musical interest, and for the entertainment of the employees and the public. . . . . . . . . . . . . . . . . . . . . Thus the employees themselves, through their enthusiasm and interest in music, and with the cooperation of the company, created their own music department and at a series of tryouts, chose their own director. . . . The community at larg can also participate in the music program. The annual presentation of an oratorio at Christmas, an Operetta and a Spring festival are Open to all. The orchestra, though sponsored completely by the Dow Company is also Open to men and women in the town.7 distributed to worthy charitable organizations, or funds for civic purposes. If these offerings had come into the main organization, there would have been serious problems of accounting at Dow and of taxation. 7"Music Cultivated by Industrial Firm," Musical America (Aug., 1945), p. 19. 79 Perhaps one reason for the considerable publicity received by the department was that Vosburgh was conscien- tious about supplying material for news releases. The material he supplied did not emphasize unduly his role and importance, but instead stressed the contributions of the performers and sought proper recognition for their efforts. The 1945-46 Season Vosburgh's interest in the musical environment of Midland's young musicians was demonstrated during this 1945- 46 season. Vosburgh asked the company for more assistance to develop the Dow Orchestra and was able to work out an intricate arrangement whereby Virginia Nicholson, an excellent violinist with a M. M. from Eastman School of Music, was hired jointly by Dow Chemical and the Midland Public Schools. For several years she taught strings part- time in the public schools and worked part-time in the Dow Music Department, appearing as soloist on many occasions. The performances during the third season continued in the established format. The Dow Symphony opened the season in October, and December brought the annual oratorio, this time Haydn's The Creation. The Operetta that year was Victor Herbert's Naughty Marietta. The spring concerts of the Girls and Male Choruses brought to Midland guest artists Arthur Whittemore and Jack Lowe, duo-pianists; and Teresita and Emilio Osta, dancer and pianist. The Girls Chorus also performed in Saginaw, and the Male Chorus appeared both in 80 Clare, Michigan, and in South Bend, Indiana. The winter concert of the orchestra presented guest contralto, Winifred Heidt, and included in its repertoire Weber's Overture to Oberon and Mozart's "Haffner" Symphony in D (K. 385). The Second Spring Music Festival consisted of: A Night of Oratorio (distinguished soloists in solo and ensemble excerpts from famous oratorios, plus a full performance of The Ordering of Moses by R. Nathaniel Dett with the Dow choruses and professional soloists). A Night of Symphony (Symphony NO. 8 by Beethoven and Overture to Russlan and Ludmilla by Glinka performed by the Dow Symphony, plus the Saint-Sagns Cello Concerto in A Minor with soloist Dudley Powers). A Night of Opera (Wolf-Ferrari's The Secret of Suzanne and the third act of Gounod's Faust, featuring the same soloists used for the oratorio evening: Gean and Pauline Greenwell, Irwin Dillon and Jean Carlton). The growth of the orchestra, as reflected in its repertoire this season, is impressive. It was the first season a full symphony was programed by the orchestra. For the Elijah performance in 1943 the orchestra had 43 members, among them fourteen violinists and five clarinetists. By February of 1946 it had increased its total membership by only two, but now had eighteen violinists and two clarinet- ists. The additional part-time staff person to assist with the orchestra not only benefited the orchestra but also released Vosburgh for other aspects of the Department. The 1946-47 Season The tenth anniversaries of the founding of the Dow Male Chorus and the revival of the Civic Orchestra were celebrated in the 1946-47 season. Vosburgh gained still 81 another assistant—-this time a full-time accompanist in the person of Robert Moss. Moss, who had a B.M. from Eastman and an M.M. from the University of Michigan, had taught five years at the University of Texas before coming to Midland in August, 1946. In addition to his accompanist duties he appeared frequently as piano soloist, and on occasion even played oboe in the orchestra. The first concert of the season featured both the Dow Symphony, and the Male Chorus, who gave a presentation of Trial by Jury by Gilbert and Sullivan. The annual oratorio was again Mendelssohn's Elijah. In January the ensembles took time Off to celebrate their achievements by having a dinner dance at which they reviewed their musical accomplishments. The program for this event recognizes four factors which contributed to the success of the department: This progress is due to encouragement and help from The Dow Chemical Company, to guidance by the directors of musical activities, to continuing ambition and effort of the members of the groups, and to the interest and support of the citizens of the community. We, who receive the greatest benefits from these activities, should examine the results of this effort.8 In January of 1947 the Dow Diamond ran a three-page article expressing appreciation to the Music Department. The pictures and kind words of praise did nothing to dampen the enthusiasm of the participants: 8Tenth Anniversary Dinner Dance Program, January 17, 1947. 82 Today Doctor Vosburgh's Music Department is in the midst of the 1946-47 winter season, but he is no longer carrying on alone. He is assisted by Virginia Nicholson, violinist, and Robert Moss, pianist, who provide not only solid additions to the participating groups, but also permit Doctor Vosburgh to fulfill his increasing number of requests to describe to other groups the pOpularity which has come to Dow's musical organizations. The Dow Chemical Company has fared well in its spon- sorship of the musical organizations, because in addition to the interest of Dow men and women in the project--as members of the audience—-there has been provided a fine outlet for musical talent. The plant-wide popularity of the project is seen readily in the fact that 60 different departments are represented in the personnel of the musical groups. Also, the excellence of the programs has brought a tremendous amount of unexpected publicity. The action of Dow in sponsoring a Department of Music within its company is salutary, and as the success of the project is seen in business and industrial circles, there may be many others who will follow the lead in making music a vital part of personnel relations.9 During the 1946-47 season an event of considerable significance to the total musical environment of Midland was the founding of the Midland Music Foundation. It was estab- lished to administer the money collected at concerts of the Dow ensembles and to further musical development in all of Midland County. Its origins and initial goals were described as: . . . It was felt that the music groups would like to benefit the community musically with the collections taken at the various concerts. Several proposals were discussed, and finally it was decided to contribute these funds to the Midland County Music Foundation. The foundation was formed from all three music groups to Sponsor scholarships to the Interlochen Music Camp for talented young peOple from Midland County. This was 9"Music in Industry," Dow Diamond (Jan., 1947): Pp. 1.2-1.4. 83 very successful during the 1945-46 season and is going to be continued and enlarged.10 The work of the Midland Music Foundation was con- tinued and enlarged. An annual contest was held for elemen- tary through high school aged musicians. The winners were granted scholarships to the National Music Camp and Michigan State College; or the scholarships could also be used for private lessons with local music teachers. The Foundation also set up a fund to furnish music lessons to needy talented students and from its inception was not limited to families of Dow employees, or even to Midland residents, but Open to the entire county. The Male Chorus gave a concert in Elkton, Michigan, in late March and in April the Operetta Sweethearts by Vic- tor Herbert ran for three performances. In May the Male Chorus participated in the 213t Annual State Sing of the Michigan Male Chorus Association held in Detroit. The Third Spring Music Festival was cut back to only two nights this year and remained a two-night production for several years. The first evening of this year's festival featured all the Dow ensembles, highlights of which were Schubert's B Minor Symphony; the first movement of the Anton Rubenstein D Minor Concerto with the new staff accompanist, Robert Moss, as soloist; and the Samuel Coleridge-Taylor cantata Hiawatha's 10From the program of the Tenth Anniversay Concert of the Dow Male Chorus, February 19 and 20, 1947, "History of the Dow Male Chorus" by John C. Spencer, pp. 13-14. 84 Wedding Feast with the Dow choruses and guest tenor Leopold Simoneau. The second evening was presented by a group called "The Troubadours," a vocal quartet which included Simoneau. In November of this season Vosburgh was elected pres- ident of the Michigan Music Teachers Association, again a reflection of his continuous involvement in musical activi- ties beyond the immediate scope of his job. He had founded a local chapter of M.M.T.A. in Midland and always worked closely with the local studio music teachers there. He also fulfilled another speaking engagement--this time in March at the North Central Division meeting of Music Educators National Conference in Indianapolis, Indiana. At this meeting he discussed industrially supported musicl activi- ties and the scope and structure of the Dow Music Depart- ment. The 1947-48 Season The first event of the 1947-48 season was an original variety show called Chemic Capers produced to celebrate the 50th anniversary of Dow Chemical Company. Vosburgh was musical director of the show and the Dow ensembles all par— ticipated, raising over $1,000 in donations at the three performances. On December 7, 1947, the Saginaw News carried an article about the Dow Music Department with the headline "World's Largest Industrial Music Department at Dow."11 llThe Saginaw News, Dec. 7, 1947, p. 35. 85 Included in this lengthy description of the Dow supported program are three items new this season to the department. The first was a series of Sunday afternoon chamber music recitals featuring small vocal and instrumental ensembles from the Dow Music Department and occasionally talented high school musicians from the area. The second addition to the program was classes "in theory and practice in both vocal and instrumental music"12 for adults. The third consisted of increased activity within the Midland Music Foundation, which now used some of its funds to "encourage musical 13 This en- appreciation in the county's 67 rural schools." couragement took the form of supplementary music lessons, taught the first several years by Vosburgh, where the chil- dren learned a specific repertoire of songs, and had general music lessons on the instruments of the orchestra. This instruction culminated in a performance, during which the students participated in massed singing and heard a short concert by the Dow Symphony. The Christmas season performance took a slightly different form in 1947. The first half of the program was orchestral music, while the second half consisted of the Advent portion of Messiah. The soloists were all chorus members, with the exception Of the tenor, Eugene Grove of Central Michigan College. 12Ibid. 131bid. 86 The separate choruses had a very busy season. The Male Chorus, in addition to their traditional late winter concert, sang two performances in Detroit churches; sang a short program at Midland High School for a Holy Week Ser- vice; and presented full concerts in Bay City and Saginaw. The Saginaw concert elicited an excellent review: Theodore Vosburgh, director, has trained 100 voices into a resilient, responsive instrument. There seems a perfect balance between sections of the chorus, with the result that tonal effects of great variety are produced with no apparent effort. The following day there appeared an editorial in The Saginaw News, praising the work of the Dow Music Department, but also chiding Saginaw for not being able to produce amateur music ensembles of similar quality, citing lack of community interest and support for such efforts as the prin- cipal reason for their absence from the Saginaw scene: Saginawians who Sunday attended the performance of the Dow Male Chorus at the Auditorium came away feeling that neighboring Midland has a quality of musical accomplishment which any community would be proud to own. We doubt that Midland is blessed with any more musical talent per capita than any other city--inc1uding Saginaw. We feel quite certain it has done more to inspire that talent to attain real artistry than have most communities--including our own. Saginaw boasts a number of musical organizations. With a more positive community backing and di3p1ay of interest, it is fully possible that these, too, could be raised to the caliber of attainment demonstrated by the Midland organization. Director Vosburgh merits the credit he has been given for his work with the Midland group. But neither Mr. Vosburgh nor his chorus would have combined their talents to the enrichment of Midland 14The Saginaw News, Feb. 2, 1948, p. 13. 87 without the positive encouragement that stands back of them. The Dow Chorus is an excellent illustration of what can be accomplished with the right kind of interested support.15 The Male Chorus did not have a professional guest soloist for their concert, but the Girls Chorus brought back Leopold Simoneau for their winter concert. The Girls Chorus also sang a performance in Grand Ledge, Michigan. The Dow Symphony had Douglas Campbell as soloist in Mozart's Con- certo #3 for French Horn, and also performed the Symphony No. 4 of Mendelssohn. Instead of producing an Operetta, the Music Department turned to Opera and presented Act I of Offenbach's Tales of Hoffman, and Act II of Flotow's Martha. The first evening of the annual Spring Music Festival was devoted to the Dow ensembles. The second evening's program consisted of instrumental chamber music performed by a guest quintet, The Bary Ensemble. There survives in the files of the Music Department a tabulation of a questionnaire Vosburgh distributed to the Male Chorus in the spring of 1948. He seems to have been very interested in the men's reaction to the repertoire he chose, for this questionnaire and several others in later years asked the members to check the selections they most enjoyed and to suggest any selections they would like to add to the repertoire. From the repertoire of the preceding five 15The Saginaw News, Feb. 3, 1948, p. 6. 88 years the following selections received the highest number of votes: Numgggsof Title Composer 36 The Lost Chord Sullivan 34 Dry Bones Spiritual arr. Gearhart 24 Donkey's Serenade Friml 24 Stouthearted Men Romberg 22 Hallelujah from "The Beethoven Mount of Olives" 22 De Glory Road Wolfe 22 The Creation Richter 21 Where'er You Walk Handel 20 Thanks Be to Thee Handel 20 Night and Day Porter "The Lost Chord" and "Dry Bones" head the list of the most liked songs. Two rather gentle works of Handel and the Beethoven "Hallelujah" were nearly as well-liked as "Stouthearted Men" and the "Donkey's Serenade." (The results of a similar questionnaire administered in the 1949-50 season will show changes in taste.) The 1948-49 Season Gilbert and Sullivan reentered the repertoire as Patience opened the 1948-49 season. A new secretary was hired for the department, cellist, Portia Treend, a graduate of Michigan State College. Thus, there were now four pro- fessional musicians on the payroll--Treend, Virginia Nichol- son, Robert Moss, and Vosburgh. A new vocal ensemble was added to the roster in the form of The Dow Madrigal Singers. This group of nine vocalists sang a variety of music suit- able for small ensembles, but an examination of the concert 89 programs revealed no works of secular Renaissance polyphony. The Dow Trio was also inaugurated that year and appeared frequently in concert with the larger ensembles and also on chamber music programs. The Girls Chorus had Don Craig as soloist in their winter concert and repeated the concert without Craig in Coleman, Michigan. The Male Chorus featured guest soprano Josephine Antoine for their winter concert in Midland. The Male Chorus sang additional performances in Tecumseh and Bay City, Michigan, as well as Sarnia, Ontario. Both choruses gave two performances of their winter concerts in Midland and each time to packed houses--the auditorium used held 1,250 people. The March 3, 1949, issue of the Midland Daily News carried a review titled "Male Chorus Concert Rates 'Finest Yet'."16 The following article appeared as an editorial in the Midland Daily News later in March, 1949. It is reprint- ed in its entirety here because it gives more details about the work of the Midland Music Foundation, and reflects community attitudes toward music. Tomorrow's Musicians In late 1945, plans for the Midland Music Foundation were announced by Dr. Theodore Vosburgh of the Dow Music Department. His idea was to encourage development of local talent as well as to spread music appreciation throughout Midland County. 16Elaine Plummer, "Male Chorus Concert Rates 'Finest Yet,'" Midland Daily News, Mar. 3, 1949, p. 1. 90 Three successful years have passed and the Founda- tion's fourth annual contest for local music students is scheduled for tomorrow at the Midland High School audi- torium. The public has been invited to attend the final event at 8 p.m. when the 14 finalists will be chosen. A total of 90 students are entered. The contest is really a community affair. The prizes --Interlochen scholarships, private lessons, and medals-— are paid for by Midlanders who enjoy the Dow music concerts. Their contributions, in lieu of admission charge, make up the contest fund. Of particular note, to assure impartial treatment, is the fact that outside judges are employed for the occasion. One of this year's judges is the head of the Michigan State College music department. The other is the director of bands at MSC. Dr. Vosburgh, Robert Moss and their other associates in the Dow Music Department undoubtedly have earned much credit in keeping this program alive--in keeping Midland enthusiastic about it. However, we think they'll be the first to say that the real credit should go to the Mid- land community itself. It should go to the many peOple who practice long hours in developing the concerts; to the Dow Chemical Company which sponsors them; to Wilford Crawford, head of our public school music department and president of the Foundation; and to Mr. and Mrs. Average Midlander who enjoy good music and who provide their children with the instruments, lessons and encouragement. Music has become an important segment in the develop- ment of Midland. Through our schools and the Music Foundation, we are building tomorrow's musicians. They will develop other skills with which to earn their daily living. But they will always have the ability and capacity to lose themselves, now and then, in the realm of music and to entertain their fellow man with their talent. A community is made up of peOple and peOple are made up of diversified talents. Some can carve and whittle. Others become skilled in athletics, wood-working, metal working or in flowers, animal husbandry or a hundred other things. Our talents are sifted down and through the use of them we earn livings and support families. But each of us have a special talent through which we can find recreation, relaxation and just plain fun. That talent is the background of the hobby so important 91 to us. Rarely do we become professional enough so we turn the hobby into an occupation. Today, we're talking about the music hobby. It's an especially important part of Midland and a lot of peOple are doing an especially good job. We hope they get just a little extra feeling of satisfaction tomorrow night when they hear “tomorrow' 3 musicians." They have deserved it. 17 The spring concert of the Dow Symphony brought a most distinguished guest artist to Midland in the person of Percy Grainger, who soloed both as pianist and conductor. In addition to Grieg's Piano Concerto, he played several solo pieces and conducted his orchestral work Spoon River. The Spring Music Festival presented all Dow ensem- bles the first night and "Rhythms of Spain," an evening of Spanish dance and music the second night. Additional national publicity came with the November/December 1948 issue of The Bulletin from the National Association of Teachers of Singing, Inc., which ran an article describing the Dow Music Department.18 The 1949-50 Season This season started early and very successfully with a Minstrel Show that ran for four performances and netted $1,974 in donations for the Midland Music Foundation. The Midland Daily News of October 18th records that $503 of this 17Midland Daily News, March 11, 1949, p. 4. 18"Industrial Music," The Bulletin, National Associ- ation of Teachers of Singing, Inc. (Nov./Dec., 1948), p. 7. 92 figure was given to the high school band and choral robe fund, still another indication of the community oriented nature of the Dow Music Department. Indicative of Dow Chemical Company's satisfaction with their Music Department was the purchase of a building to be used exclusively by the Music Department. This building, previously a church, was large enough for all rehearsals, could accommodate an audience of 300 in its small auditorium, and also provide ample office space for the staff. The building cost the Dow Chemical Company $40,000. Representative of the consistent support of the local press, and the good will and appreciation felt by the community toward the Dow Chemical Company is the following excerpt from still another editorial in the Midland Daily News: . . . few Midlanders realize just how many long hours of practice go into the production of such an event. The genuine enthusiasm of all participants is unusual to say the least. Undoubtedly it is a tribute to Dr. Theodore Vosburgh and his staff who plan all performances . . . Management of the Dow Chemical Company evidences as much interest in the music programs as any person or group in or out of the show. To our way of thinking, the music program is one of the country's best indus- trial programs in community relations. Few companies have gone so far to back a well- rounded music and home talent prOgram. Few have obtained leadership of the quality typified by all personnel in the Dow Music Department. And we also believe it is somewhat rare that such personnel have been given the tools with which to work--as shown by the church building converted to music department uses. 93 Unquestionably, this company attitude has had much to do with the wholehearted participation by employees and uptowners in the Dow programs. The Dow music program is also novel in that it is designed to supplement--not supplant-40ther activities within the community. School, community concert, and other groups find ready cooperation from Dr. Vosburgh who has demonstrated that music loving is not confined to high opera but embraces the entire field. So, even on a four-night run, many Midlanders couldn't get in to see the show. WMDN's Thursday night broadcast filled in the gap for them and also provided many of us with an opportunity to hear it over the radio after seeing it on the stage. 9 The Midland Daily News also ran a full-page spread of pictures of the Dow ensembles rehearsing in their attractive new facilities. The building had been redecorated, and some basement rooms acoustically treated for practice.20 In November the orchestra presented its fall concert with the three staff musicians as soloists. The oratorio for this season was for the second time Haydn's The Crea- tigg, and included among the soloists J. Herbert Swanson of the Michigan State College faculty. Plans were also announced for the orchestra to take part in a festival on April 23, 1950, in the Michigan State College auditorium. The February concert by the Girls Chorus had as guest artists the Philharmonic Male Quartet of Chicago, while the Male Chorus concert brought to Midland the duo-piano team of Harry Watts and George MacNabb from the Eastman School of 19 Midland Daily News, Oct. 18, 1949, p. 6. 2°Mid1and Daily News, Oct. 29, 1949, p. 3. 94 Music faculty. The Male Chorus also sang their program in the Michigan communities of Caro, Saginaw and Coleman with the Dow Trio as assisting artists. The orchestra's spring concert in March had baritone John Grant as soloist. The Sixth Spring Music Festival again brought Percy Grainger before Midland audiences. The orchestra performed several works by Grainger under his baton, and several choral works with orchestra accompaniment by Grainger were given by the Dow Male Chorus and the Dow Mixed Chorus. The only works on the program not by Grainger were a cantata £2. Normandy by A. Walter Kramer sung by the Girls Chorus, and the Prelude to Die Meistersinger von Nurmberg. The second night of the festival was given over to a guest performance of Carmen which was "streamlined and sung in English" in a translation by Gean Greenwell, who also directed and sang the roles of Zuniga and Escamillo! Examples of the increasing publicity received by the Dow ensembles were an article in the Sunday magazine section of the Detroit Free Press;21 cover pictures and article in The Keynote, organ of the Associated Male Choruses of America;22 and a reprint in the National Music Council 21J. Dorsey Callaghan, "Chemistry Pays the Piper," Dgtroit Free Press, Feb. 12, 1950, p. 12. 22The Keynote, Associated Male Choruses of America, Feb., 1950. 95 23 Bulletin of the article from The Bulletin of the National Association of Teachers of Singing. The written constitution of the Girls Chorus stems from this season. This document, which says the members purchased their own gowns and collected dues to defray incidental expenses, is reprinted in its entirety in Appendix B on page 169. The following extract states the purposes of the ensemble: The purposes and functions of the organization are the study and performance of choral music, the promotion of sociability and good fellowship among its members, the maintenance of an organization worthy of its sponsor, cooperation with other musical organizations of the Company, and public appearances which will be to the best interests of the Chorus, the Sponsor, and the community.24 Another interesting document of this season contains the results of a second questionnaire administered to the Dow Male Chorus. The Opinions of the members were solicited on several aspects of their choral experiences. Fifty-eight questionnaires were returned by June 15th from a membership which numbered 85 at the March concert. Some selected questions are reproduced below: 23The National Music Council Bulletin (Jan., 1949), p. 24. 24Unpublished Constitution of the Dow Girls Chorus, March 22, 1950, Constitution Committee: Knutson, Hyser, Meeks, and Reinke. 96 1. Would you like to have the chorus sing - 8 a. More often in Midland? 4 b. Less often in Midland? 47 c. Same as now? 29 d. More out-of-town? 5 e. Less out-of—town? 23 f. Same as now? 2. Would you like to have the Male Chorus sing - 10 a. More mixed chorus music? 21 b. Less mixed chorus music? c. Same as now? 3I 3. Which mixed programs do you enjoy? 29 a. Oratorio 21 b. Festival 34 c. Mixed Chorus Programs - Each chorus doing some numbers and combining for others 5. Would you like to have our Male Chorus programs made up of - 13 a. More formal music? 11 b. More light music? 35 c. Same as now? The men were again asked to indicate their reactions to the repertoire performed during the past four years: Following are listed the musical numbers on your concerts the last four years. Please check the ones you liked, and give any suggestions as to good numbers that we have not sung. 1947: No. of Title Composer votes 19 A11 Through the Night arr. Chambers 9 Andalucia Lecuona/Elkan 8 A Scottish Fantasie arr. Gilbert 22 Ave Maria Arcadelt 23 De Glory Road Wolfe 20 Hallelujah from "The Mount Beethoven of Olives" 19 I'm a Baptist arr. Dane and MacColl 11 Low Lands arr. Scott 5 May Day Carol arr. Deems Taylor DJ NH N0 U1 H U) N O SHE! l N |-‘ N N PH N H N H \DxlOU'Imfli-J U) H m-fi-flhm NNU) NHH \D-b mmUH—ooo on u N cowow 97 One Alone Salvation Belongeth to Our God Turn Ye to Me Dry Bones Haul Away, Joe Juanita Laudamus Look to This Day 0 Peaceful Calm Russian Picnic Sheep May Safely Graze Tell Me, Fair One Serenaders The Silver Moon is Shining Two Guitars We's A-Lis'enin' Brothers, Sing On The Curtains of Night Has Sorrow Thy Young Days Shaded It Ain't Necessarily So Italian Street Song Kathryn's Wedding Day Let My People Go The Lost Chord Now Thank We All Our God Onward Christian Soliders Railroad Chant Waters Ripple and Flow Where'er You Walk The Blue Tail Fly Careless Love Cool Water De Camptown Races Friendship Galway Bay Land Sighting Long Ago in Alcala Louisiana Hayride Moonlight on the Water My Lovely Celia The Night is Young Tenebrae Factae Sunt Romberg Tschesnokov arr. A. T. Davison Gearhart arr. Scott arr. Ringwell Owen-Protheroe Gaines Schubert-Goodwin Enders Bach-Lefebvre arr. A. T. Davison arr. A. T. Davison arr. A. T. Davison arr. Howorth Edward Harris arr. Grieg arr. arr. Strong A. T. Davison Gershwin/Enders Herbert arr. Luvaas arr. Scott Sullivan/Brewer Mueller Sullivan/Simeone arr. Scott arr. Deems Taylor Handel/Hoppin arr. Darby arr. Scott arr. Wilson Foster/Baldwin W. E. Haesche Arthur Colahan Grieg Messager-Matthews arr. Stickles Rossini/Mondrone Monro/Cobleigh Suesse/Ringwald Palestrina 98 Encores 23 All Kinds of Women Brackett 12 Dr. Foster Hughes 22 Donkey's Serenade Friml 26 Lo! Hear the Gentle Lark arr. Howorth 10 Old King Cole Forsyth 23 Old Jonah Had a Whale of Wick a Time in a Whale 18 Oklahoma Rogers 10 Orchestra Song arr. Schumann 21 Peter Piper Whittredge 21 Some Folks Foster 25 Stout Hearted Men Romberg 22 Swing Along Cook State Sing Numbers* 6 Ave Maris Stella Grieg/Matthews 19 Battle Hymn of the Republic arr. Ringwald 3 Border Ballad Mourder 16 Cindy arr. Wilson 17 Come to Me, In My Dreams Cain 25 The Creation Richter 3 An Eriskay Love Lilt Kennedy/Fraser 15 Fierce Was the Wild Billow Noble/Howorth 7 Galway Piper arr. Davison 14 John Peel arr. Andrews 1? Lift Thine Eyes Logan/Baldwin 10 Lullaby Brahms 13 On the Sea Buck 23 Pilgrim's Song Tschaikowsky/ Treharne 20 Prayer of Thanksgiving arr. Kremser 4 Reaper's Song arr. Davison 15 Roll Chariot arr. Cain 31 Thanks Be to Thee Handel/Lefebvre *Presumably the numbers sung in massed performance at concerts staged during the past four years by the Michigan Male Chorus Association. In this survey the best-liked selections were Pales- trina's "Tenebrae Factae Sunt" and Handel's "Where'er You Walk," both outdistancing the favorite of the earlier (1947- 48) questionnaire "The Lost Chord" by eight votes. Handel's "Thanks Be To Thee" rates only one vote less than the other 99 previous favorite "Dry Bones." Out of fifty-nine selec- tions, Bach's "Sheep May Safely Graze" ranked in seventh place. One could perhaps criticize the repertoire on the grounds that it was heavily weighted with folk songs and contained little of the significant literature for male chorus. The repertoire for the Dow Male Chorus was greatly influenced by their membership in the Michigan Male Chorus Association. Since the Dow Male Chorus participated regu- larly in the annual massed concert of this organization they had to learn about a dozen selections each year for this- concert. These selections were decided by a committee of directors and thus a good portion of the year's repertoire was not chosen by Vosburgh Specifically for the Dow Male Chorus. The results of Vosburgh's survey demonstrate general satisfaction with the repertoire performed. In fact, the survey generally indicates satisfaction with the status quo of all facets of the program. The 1950-51 Season The Operetta The Red Mill by Victor Herbert Opened the season. Instead of an oratorio, a traditional "Christ- mas Concert" format was used with all the Dow ensembles participating. The Sunday afternoon series of recitals continued--featuring Midland musicians performing chamber music literature. On November 19th, for example, the pro- gram consisted of Sonato for Cello and Piano, Opus 19 by 100 Rachmaninoff; Quartet for Piano and Strings, Opus 47 by Schumann; and a group of arias and art songs. The Dow Male Chorus featured ballad singer, Susan Reed, in their winter concert, while the Girls Chorus had for guest artists Larry Teal and his saxophone quartet. The Male Chorus gave out- of-town performances in Marlette, Mt. Pleasant, Port Huron, and Sarnia, Ontario. The orchestra had Harrison Potter, pianist, as guest soloist in its Spring concert. The Seventh Spring Music Festival again provided one evening of music from the Dow ensembles and a second evening from a visiting professional artist--this time Dance Satirist, Iva Kitchell. The Dow Music Department rated still another edi- torial in the Midland Daily News, which acknowledges with pride more national publicity: Dow Music Groups Rate Nationwide Publicity It is significant, as well as appropriate, that the Music Journal singles out Midland and the Dow music department for special note in its January issue. Under the title of "Midland Makes Its Own Music," the national music magazine traces the growth of music activity from 1943 when the Dow Chemical Company brought Dr. Theodore Vosburgh to Midland to the present day when a full-fledged department is housed in its own building. The article reports the Dow program represents "the largest industrial music organization in the world." Another interesting statement is: "In the last seven seasons the three major organizations have given 96 full concerts in Midland before about 120,000 people--in a hall seating 1,250." That is also something of a record in music circles. Many of us in Midland are inclined to follow the day to day happenings of our volunteer music groups without 101 thinking much about how they look to the so-called experts from outside. We are also inclined to skip lightly over some of the long practice sessions that various members of the groups take as a matter of course. Unquestionably much of the program's success in Mid- land must go the personalities within the Dow Music Department. Dr. Vosburgh is not only an exceptionally able musician but he is an organizer, negotiator and a man of patience--necessary attributes when you are head- ing a volunteer group of any kind. Robert Moss and Mrs. Portia Thede, main-stays of his staff, also seem to find it easy to get along with the other person--as well as do the things the job requires from a technical point of View. Midland's "music making" also has a profound influ- ence upon music instruction in our schools and in our homes. This year the Midland Music Foundation, which receives all donations concert-goers substitute for admission charges, is paying for part of a music instructor's salary in the county schools. In addition, it provided several scholarships to Interlochen this last year and sponsors an annual contest among local student musicians. It is impossible to measure the value of this program in terms of tomorrow's generation. But we can take pride in knowing that Midland's program has attracted national attention. Just about everyone in Midland knows our community has been making its own music for a long time. And just about everyone in these parts will consider the national publicity a well-earned compliment for Dr. Vosburgh, his staff and all the peOple who have raised their voices, sounded a few notes or plucked some strings in this community- wide music-making business. We are happy to add our voice to the others applauding Dr. Vosburgh. He lacks the difficult disposi- tion so often associated with able musicians, which is good. He has a wealth of human, friendly, pleasing qualities which add to his personality and talents and place him at the t0p in his field and make him worth knowing and of great value to any community. All Midland is proud of Dr. Vosburgh and happy to learn of his newest honors! 25Midland Daily News, January 3, 1951, p. 12. 102 The Music Journal article referred to in the pre- ceding editorial is the source for the following quotation, which provides the rationale for the professional guest soloists: . . . local talent is given every opportunity to do solo work. . . . However, one or more nationally known artists appear on about two thirds of our concerts. These artists are not brought in to increase attendance; rather, they supply an exciting stimulus to the perform- ing group from both a musical and personal point of view. The artist usually performs a work of some length with the group and then offers some shorter pieces. 6 This same article provides an interesting evaluation of the program: It is hard to evaluate the true worth of a program such as the one at Dow, although there is no doubt in the mind of anyone who has attended even one performance that it is of inestimable value. Perhaps the figures tell the real story. In the last seven seasons the three major organizations have given 96 full concerts in Midland before about 120,000 peOple--in a hall seating only 1,250. Free tickets are distributed for each per- formance in an effort to control the size of the crowds. These tickets are given out at three distribution points, and even when 3,750 tickets are given out for three nights they are often gone in an hour. Can there be any doubt that Midland is gettin her share of the satisfaction that music can bring?2 The 1951-52 Season Perhaps, in retrospect, this season can be con- sidered to be the most exciting one in the history of the Dow Music Department. It was a year that brought much 26Bob McKellar, "Midland Makes Its Own Music," Music Journal (Jan., 1951), p. 45. 27Ibid., p. 46. 103 national attention to the Dow ensembles, and after the Male Chorus made a week-long concert tour to Texas and Oklahoma there was little left that could inspire equal excitement. Important changes were made within the Music Depart- ment at the beginning of the season. Robert Moss, who had served as accompanist and staff member since 1946, was replaced by Wilford Crawford, who also assumed the role of conductor of the Dow Symphony. Crawford had been the direc- tor of public school music in Midland and was replaced in this capacity by Lawrence Guenther. Virginia Nicholson Dent also left the department staff and was replaced by Evelyn Vosburgh, a graduate of Eastman in voice and piano, who had actually functioned as a staff assistant long before she was given the position. In September, an article which was written by Sam Dawson for the Associated Press, cited various industries fostering choral programs. The Dow Music Department was given more space than the others mentioned. Dawson's column appeared in newspapers all over the country in late Septem- ber and early October. Among other significant publicity received by the Department were: a reprint of McKellar's article from Music Journal in the magazine_§ecreation28 28Bob McKellar, "We Make Our Own Music," Recreation (May, 1952), p. 80. 104 six paragraphs in an article entitled "Employee Rela- tions" in Modern Industry29 a small article in Dun's Review3O mention in an article on morale boosting in industry in the Wall Street Journal31 a full-length article, "Music in Industry--How Dow Chemical Co. Developed America's Biggest Program" in the Industrial Sports Journal32 mention in another article in Industrial Sports Journal, "Industrial-Community Recreationfi" in which DowTs total recreation program was described 3 34 an article in Chemical Week a two-page spread with pictures in Chemical and Engineer- ing News significant mention in an article in Management Record36 29"Employee Relations," Modern Industry (March 15: 1952). p. 103. 30Dun's Review (April, 1952), p. 82. 31John Wilford, "Ancient Instrument Makes Tuneful Return in 0.8. Music Boom," Wall Street Journal (July 26, 1956). p. l. 32Music in Industry--How Dow Chemical Co. Developed America's Biggest Program," Industrial Sports Journal (March 15, 1952), p. 29. 33"Industrial-Community Recreation," Industrial Sports Journal (Jan. 15, 1952), p. 7. 34Chemical Week (Sept. 22, 1951), p. 18. 35Chemical and Engineering News (June 23, 1952), p. 2624. 36"It's Tune-up Time for Industry," Management Record (Sept., 1951), p. 312. 105 mention in an article in Business Week, "Extra Harmony for Company Relations"37 In addition, there was much attention given to the Dow Music Department in the local area papers and the Dow publications The Brine Well and Dow Diamond, the latter of which ran a six-page spread in the June issue. Inter- national publicity was given the Dow Music Department, too, but not for the high quality of its musical achievements. In the March 14, 1952 issue of the New York World-Telegram & Sun, staff writer Nelson Frank reports: Voice of America has been telling the world about genuine harmonious labor-management relations. Seems Bell Telephone in New York and Dow Chemical Co. in Mid- land, Michigan, have large orchestras with both workers and executives participating. Along similar lines, the American Federation of Musicians, Local 47, in Los Angeles, ran a two-page spread in their publication Overture, landing the Dow Music Department because "Musical groups at Dow do not compete with organized union musicians. Quite the contrary, they serve to stimu- late support and interest in music and the music union."38 Evidence of the Department's influence on the devel- opment of industrially supported music programs was the visit paid by Mr. Phillip Lesly and John C. Kendel of the American Music Conference. This organization, located in Chicago, 37"Extra Harmony for Company Relations," Business Week (March 1, 1952), p. 106. 38"Industry! Here's How!" Overture, American Federa- tion of Musicians (Oct., 1952), p. 10. 106 helped develop community and industrial music programs throughout the country, and made an intensive study of the Dow program. Mr. Lesly is quoted in the December 9, 1951 issue of the Saginaw News as having stated that "the Dow program is definitely the most complete we have come upon in the country."39 The previously cited article found in Business Week speaks of the increasing influence the Dow Music Department was developing in industry generally: "Dow is proud of the fact that eXecutives of many other companies have gone to Midland to study the program with eye towards setting up similar experiments in their own companies.”40 The actual concert season began with Rudolf Friml's Rose Marie, and continued with the Dow Symphony concert in November, featuring flutist Ruth Freeman and pianist Evelyn Vosburgh. This was the first concert under Crawford's baton. The oratorio was once again Elijah, and the recital series by local musicians continued. The Girls Chorus shared their March concert program with accordionist Lloyd La Vaux and also made an appearance at Oscoda, Michigan. The highlight of the season came with the Male Chorus and their guest artist, soprano Gail Manners. Two concerts were given as usual in Midland with Manners, and one without her in Bay Port, Michigan. Gail Manners was also the soloist with the Male Chorus during their eight-day tour of 39Saginaw News, Dec. 9, 1951, p. 13. 40"Extra Harmony for Company Relations," Business Week (March 1, 1952), p. 108. 107 Oklahoma and Texas. This concert tour was handsomely com- memorated by an elegant eight-page program replete with pictures and history of the Male Chorus and the Music Department, and after the trip by a lavish twelve-page souvenir photo portfolio. The Oklahoma-Texas tour illustrates the tremendous extent of Dow Chemical Company's financial commitment to its Male Chorus. Vosburgh was allowed to hire Don Craig of Fred Waring's staff to come to Midland and conduct several rehearsals with the men. Obviously there was an intense desire to have the group at as near professional level as possible. There were several reasons for the Dow Chemical Company's underwriting this elaborate concert tour for its Male Chorus. Dr. Arthur Barry recalls that the singers were cautioned to be on their best behavior because the manage- ment hoped to assuage some ill will existing between Dow Chemical Company in Midland and the Freeport, Texas, installation. This rift had been caused by another facet of Dow-sponsored employee recreational outlets--the baseball team. Some rather poor sportsmanship had been exhibited in a baseball game between the two plants, which apparently had far reaching implications, making the Midland management feel they should do something to counteract it. The Dow installation in Freeport, Texas, had a band for its employees. It was further hoped that this trip might be an inspiration to them to expand their music prOgram. The trip 108 did generate some interest in a choral program, but it did not ever approach the heights of the Dow Music Department in Midland. The concerts given in Tulsa, Oklahoma at Dowell, Incorporated were purely for public relations pur- poses, and included a performance for school children.41 The March concert by the orchestra again brought Romeo Tata to Midland as soloist along with Alexander Schuster in the Brahm's Double Concerto. The eighth Spring Music Festival featured all the Dow ensembles the first evening and concert comedienne, Anna Russell, the second evening. Two other musical presentations of this season in Midland should also be mentioned since they were sponsored by the Dow Music Department and underwritten by the company, showing another aspect of the scope of the prOgram. The Male Chorus of the Colgate-Rochester Divinity School appeared in a noon hour concert at the plant, and the Detroit Symphony Orchestra gave an evening concert for the entire community--"in the nature of a belated Christmas "42 The Midland Music Foundation continued gift from Dow. its scholarship contests and its financial support of the Midland County Schools music programs. 41Interview with Dr. Arthur J. Barry, September, 1975. 42Brinewell, Jan. 16, 1952. 109 The 1952-53 Season To begin the 1952-53 season, the Music Department staged Brigadoon. This was the first time that a show was produced while it was still running professionally, and really the first Broadway musical to be essayed. The Octo- ber orchestra concert featured Don Gillis conducting his 43' The Girls Chorus fulfilled two full own compositions. concert engagements; one in November in Elkton, and the other in December in Midland for the Saginaw Valley Torch Club. Both these concerts also included performances by the Dow Madrigal Singers. The Christmas concert was quite unusual in that it presented Solemn Mass in F, by Edward J. Khom, a Viennese refugee living in Midland. This perfor- mance prompted J. Dorsey Callaghan of the Detroit Free Press to write a series of four articles about Midland and its musical life. In late January the Dow Symphony gave a second con- cert, starting a series of Sunday afternoon "family" concerts, wherein solists came from the ranks of the orchestra. January also brought the board of directors of the Associated Male Choruses of America to Midland.44 430r. Vosburgh is listed among the second violins in the orchestra for this and several other concerts during this season. 44Luman Bliss, a charter member of the Dow Male Chorus, was at that time executive vice-president of the national group and president of the Michigan Male Chorus Association. 110 The Girls Chorus had a five member harp ensemble, The Angelaires, as guest artists, on their February concert and fulfilled an engagement in Coleman as well. The Male Chorus February concert was graced by the distinguished tenor Robert Rounseville. This concert was repeated in Bay City, Marquette and Ludington, with John Toms of North- western University, tenor.45 Aaron Rosand, violinist, was guest soloist for the orchestra's March concert. The Spring Festival brought 65 string players from the Midland public schools to assist in playing Ralph Vaughan William's Egg— certo Grosso for String Orchestra. Also on the program were two works by George Frederick McKay. The second evening of the festival presented Virginia Morley and Livingston Gearhart, duo-pianists. The recital series continued throughout the season and for the third consecutive year financial assistance was given to the Midland County rural schools to support a music teacher. The Midland Music Foundation again held its annual scholarship contest for the young musicians of Mid- land. Almost $4,000 was distributed in cash prizes for study with local teachers, scholarships to National Music Camp, and stipends for needy and deserving youngsters for music study. 45In the repertoire of these concerts was an arrangement of the spiritual "Let Us Break Bread Together" dedicated to the Dow Male Chorus by the well-known arranger Wayne Howorth. 111 Significant national publicity from the 1952-53 season includes an article in Music Educators Journal, 46 mention in an Etude article "Music, Prosperity and Business";47 an article "Chemistry and Music--Midland's Alchemy"; in American Business, "Music: How It Builds Morale in 48 Industry"; Music,"49 from which the following quotation is taken: and an article in Etude, "Midland Makes Its Own Naturally, with so much interest in music, private teachers of high calibre flourish. Many who lived in Midland before Dow's espousal of the cause of music cannot say enough about the benefit of the many outlets so generously provided. They agree with Mrs. Kenneth Bacon, president of the Midland County Music Teachers Association, who said recently: "The biggest thing about the Dow program is naturally its role in making the whole community music-conscious. With so many places to go, musically, youngsters keep up an even level of enthusiasm, and there is comparatively little let-down in the difficult adolescent years. As a matter of fact, with parents taking part in a chorus or orchestra, children develop a keen appreciation of what music means, and they literally clamor for lessons so that they, too, may some day enjoy participation in things musical as much as their fathers and mothers do." 46Wilford Crawford, "Chemistry and Music--Midland's Alchemy," Music Educators Journal (Jan., 1953), p. 24. 47James Francis Cooke, "Music, Prosperity and Business," Etude (Nov., 1952), p. 14. 48Paul Eastman, "Music: How It Builds Morale in Industry," American Business (Nov., 1952), p. 12. 49T. Gordon Harrington, "Midland Makes Its Own Music," Etude (Feb., 1953), p. 13. 112 Summary When Dr. Vosburgh took over as director of the newly formed Dow Music Department in 1943, he inherited one performing ensemble, the Dow Male Chorus. By the end of the first decade a nationally famous industrial music pro- gram had evolved, housed in its own building, and included in its astonishingly comprehensive prOgram: Male Chorus Girls Chorus Mixed Chorus (above two groups combined) Symphony Orchestra String Trio Madrigal Singers Girls Sextette Midland Music Foundation Its concert season included annually: operetta; oratorio; symphony concerts; choral concerts; chamber music recitals; and a spring festival of musical events that, like many other concerts, brought world famous artists to Mid- land. A typical concert season enabled Midland residents tO hear a wide variety of repertoire and many outstanding professional musicians. From its inception, the Dow Music Department, though industrially supported, was community centered. The entire community could participate in the Operetta, oratorio, symphony orchestra, and spring music festival, and benefited directly in many other ways. Through the efforts of the Midland Music Foundation, supported by donations collected at Dow concerts, many scholarships and cash prizes were awarded to young musicians; money was contributed to the 113 Midland public schools for band uniforms and choir robes; music festivals were held in the county rural schools and direct financial assistance was given to the county rural schools to improve their music programs. The success of the programs brought a great deal Of national publicity which enabled the Dow Music Department to exert a nationwide influence on industrially and community supported music programs. It was considered a model worthy Of emulation by such organizations as American Federation Of Musicians, American Music Conference, and various industrial management groups. From a single vocal enSemble in 1943, it became known as the world's largest and most comprehensive industrially supported music program. CHAPTER V THE SECOND DECADE: INDUSTRIAL SUPPORT IS WITHDRAWN AND COMMUNITY SUPPORT ESTABLISHED The 1953-54 Season The first season of the new decade was launched in October with four performances of Oscar Straus' The Choco- late Soldier. In November Keith Stein, clarinettist, performed the von Weber Concertino in C Minor with the Dow Symphony, and played a group of solo works accompanied by Joseph Evans. Messiah was once again the choice for the winter oratorio.l At least four concerts were given in the Sunday Afternoon Recital Series, presenting among others the Dow Madrigal Singers,2 Midland High School String Quartet, and a solo violin recital. 1On the program for this performance is found a slight, but significant, change of format. Previously the name "The Midland Civic Chorus" appeared along with the names Of the Dow ensembles. Now only the Dow ensembles are listed, but under the listing of the individual singers, one finds that non-Dow musicians continued to participate and were identified separately. 2This season under the direction of Evelyn Vosburgh. 114 115 The Dow Male Chorus had a very busy season beginning with a pair of concerts in Midland that boasted SOpranO Eva Likova as guest artist. This was followed by an appearance with the Lansing Civic Symphony; full concerts in Lapeer, Michigan, and Sarnia, Ontario; and in May they travelled to Ann Arbor for the Michigan Male Chorus Association "State Sing." The Girls Chorus concert brought tenor Walter Fredericks to Midland. The Spring Music Festival, origina- ting ten years earlier as a three-evening series of concerts in which the Dow ensembles shared the spot light with distinguished guest artists, had been reduced tO two evenings in 1947. This season, due to reduced budget, it was cut further to one evening and limited to the Dow ensembles and local soloists. National publicity for the Dow Music Department continued unabated and included articles in the following magazines: Musical Merchandise,3 The Music Trades,4 Inside 3"Industrial Music Increasing," Musical Merchandise (Aug., 1953), p. 12. 4"Industrial Music Clinic Unfolds Vast, Untouched Market," The Music Trades (Aug., 1953), p. 26. 116 Michigan,5 Occupational Hazards,6 Glamour,7 Musical America,8 and Etude.9 Newspaper coverage included the July 17, 1953 Chicago Daily Tribune; the November 2, 1953 Middletown, New York Times-Herald, and the July 12, 1953 Lansing State Journal. In 1953 the National Industrial Recreation Association, Chicago, Illinois, produced a 32- page pamphlet entitled Industrial Bands and Orchestras which used for its front cover a color photo of the Dow Symphony Orchestra. Included in the pamphlet were three other pictures of the Dow Music Department and descriptions Of various aspects of the program. This publication was designed to supply information on the benefits of industri- ally supported music ensembles and ideas for the organiza- tion, administration and financing of such prOgrams. Vosburgh was a panel member in a session devoted to Indus- trial Music at the National Association Of Musical Merchan- disers conference held in July Of 1953 in Chicago. 5Elaine M. Plummer, "Culture in Industry,” Inside Michigan (Dec., 1953). p. 37. 6"The Factory Bandwagon," Occupational Hazards (Nov., 1953, Vol. 16, NO. 1), p. 15. 7Nancy Longley, ”Sing after Supper," Glamour (Mar., 1954), p. 62. 8"Dow Chemical Sponsors Varied Music Season," Musical America (Jan. 15, 1954), p. 14. 9James Francis Cooke, ”Making Friends Through Music," Etude (Aug., 1953). P. 15. 117 The 1954-55 Season The New Moon by Sigmund Romberg was the first Offering of the Music Department this season, and it ran for four performances. Robert Pace, head Of piano instruction at Teachers' College Columbia University, soloed with the Dow Symphony in their November concert. Instead of an oratorio this year, all the Dow ensembles appeared in a potpourri of Christmas music. The winter concerts of the Girls and Male Choruses had only local soloists as assisting artists, as did the March concert of the Dow Symphony. Again, the Spring Music Festival was cut back to only one concert consisting Of performances by all the Dow ensembles. Thus, Pace was the only out-Of-town soloist tO appear with the Dow groups in the 1954 season. This represents the first really notice- able reduction of financial support for the Music Department, and, as the next season shows, it was only temporary. The Sunday Afternoon Recital Series continued and featured, among other things, a new ensemble called 22E the Dow String Quartet, but rather the Midland String Quartet. While the quartet included Dow Music Department staff member Portia Thede as cellist, two other members were music teachers in the Midland Public Schools. National publicity for the Department dwindled to brief mention in the January, 1955 issue Of The Music 118 Trades, and an article "Music Comes to Main Street" by H. W. Heinsheimer that appeared in the January, 1955 issue Of Recreation. This same article was reprinted in condensed form in the February, 1955 issue of Reader's Digest. Also dating from this season is the Constitution adapted by the Male Chorus on April 14, 1955,10 and a questionnaire that again asked the Male Chorus to react to the repertoire performed and describe the aspects of the chorus activities they liked most and least.11 Another item of interest in the files is a letter of thanks to Vosburgh and the Male Chorus for providing lunch hour entertainment for the Dow workers. The Girls Chorus as well gave noon hour performances, illustrating that this facet of industrial use of music was also practiced at Dow. The 1955-56 Season Another example Of Midland's increasing enthusiasm for participation in community music activity was a summer musical production during 1955 called "River Days." This was a pageant loosely based on the history Of the city. Vosburgh conducted a choral group in this event, but the extent Of the Dow Music Department's participation or 10The Constitution of the Dow Male Chorus was very similar in format and content to that of the Dow Girls Chorus. 11A page from this questionnaire containing tabula- tion of the members' reaction to the repertoire may be found on page 176. 119 influence in this production is not documented. A further example of non-Dow supported music activity was a concert given in October sponsored by Midland County Music Teachers Association that brought pianist Leo Podolsky and cellist Alexander Schuster to Midland audiences.12 The actual Dow Music Department season opened in October with four performances of Song of Norway, adapted by Wright and Forrest from music of Grieg. The fall con- cert Of the Dow Symphony had no guest soloist but featured instead a world premiere of a composition commissioned by the Department. This composition, Symphonic Movement, by Chicago composer and teacher Leon Stein, shared third prize in a contest sponsored by the Midland Music Foundation and an anonymous donor. The contest was designed to encourage American composers and apparently 1954 was the only year funds were available to hold it. Oratorio returned to the Department with another presentation Of Haydn's The Creation. Soloists, though not Midlanders, lacked the stature Of previous years. The Girls Chorus, however, who had no soloist the previous season, now presented Metropolitan Opera baritone Hugh Thompson. Vosburgh, himself, was tenor soloist this season with the Flint Symphony Orchestra. The Madrigal Singers, again under the direction of Mrs. Vosburgh, made an out-of- town appearance in Albion. 12Though not directly Dow supported, it should be remembered that Vosburgh had founded this organization and worked very closely with it. 120 The season of 1955-56 marked the 20th anniversary of the Male Chorus and it was celebrated with a very busy schedule of performances. In February they performed in St. Joseph, Michigan, and gave their traditional pair Of concerts in Midland, assisted by SOprano soloist, Mary Judd. In June they travelled to Rochester, New York, to participate in the "International Concert Of the Associated Male Choruses Of America,"13 and enroute made appearances at Sarnia and London, Ontario, for the Dow Chemical Of Canada, Ltd. Their 20th anniversary was handsomely commemorated by both Dow publications, The Brinewell and the Dow Diamond. The latter ran a lavishly illustrated five-page article in its July, 1956 issue, in which the following statistics were presented: . . . Professional praise is the more noteworthy con- sidering these facts: 1. The chorus rehearses only two hours a week-- with summers Off--after the regular day's work of making chemicals. 2. Membership is plant-wide and from all company ranks. Sixty-five different Dow Operations and ten others from Dow Corning Corporation are represented. 3. All but a few Of the members have had no formal musical training, and many cannot read music. 4. About 75 percent of each year's repertoire is new music. 13Luman Bliss, lOng time member of the Dow Male Chorus, was now president Of this organization. 14Paul Harsha, "Something to Grow On,” Dow Diamond (July, 1956). p. 3. 121 Today music is a recreational activity involving more than 500 employees and townspeople. More than 30,000 persons enjoy the concerts, Operas, Operettas, oratorios and recitals staged each year.15 The following letter further indicates the extent of the financial support given the Male Chorus by Dow Chemical Company: June 1, 1956 To All Midland Supervisors: The Dow Male Chorus will give concerts in Sarnia, Ontario; Rochester, New York and London, Ontario; June 8, 9 and 10, for Dow employees and friends. Because of the distance involved to Sarnia, it will be necessary to leave Midland by noon Friday, June 8. Therefore, we are asking you to excuse from work at 11:00 A.M., any members of the Dow Male Chorus under your Supervision. The time lost from their regular schedule should be turned in to the Pay Department as company business. Your COOperation will be appreciated. Very truly yours, Herbert H. Dow Some Of the glitter Of earlier years had returned to the Department, for the spring concert Of the Dow Symphony again featured a guest soloist, cellist Karl Fruh of Chicago. The Spring Music Festival, though limited to one night, had distinguished soloists in the husband/wife 15Ibid., pp. 4-5. 122 team of Gail Manners and Walter Cassel. This concert was dedicated to the memory of Harold S. Kendall "whose love of music and keen interest in the Dow Music Department con- tributed greatly to its success."16 Three Sunday Afternoon Recitals were sponsored this season, and the work of the Midland Music Foundation con- tinued. Though there is no mention Of support for the Midland County schools music program during the 1955-56 season, financial aid was given to assist the Midland High School Orchestra's trip to St. Louis, where they played for the Music Educators National Conference.17 A new ensemble joined the roster of the Dow Music Department this season. The Dow Concert Band was "organized in January 1956 to make an additional instrumental musical outlet for plant personnel and other interested members of our community. Though designed principally for adult participation, it will probably find room for a few talented 18 school students each season." Wilford Crawford was the 16Kendall was the Dow Chemical Company administrator directly responsible for the activities Of the Music Department and had been most enthusiastic and helpful in his support. 17The author recalls hearing a Midland public school music teacher complain that Dow Chemical Company did very little for the public school music department, citing this trip as one example. It was stated that Dow Chemical had been asked to contribute to the expenses of the trip, but had declined. 18From the concert program of the Dow Concert Band, April 24, 1956. 123 organizing force behind this organization and served as its conductor. The first season the ensemble numbered forty- five members, with moderately good instrumentation.19 Still further proof Of Midland's penchant for active participation in music making is a program from the Saginaw Civic Symphony of this season. Among the personnel Of the Saginaw orchestra are to be found fourteen Midland resi— dents, who were also regular members Of the Dow Symphony Orchestra. National publicity was somewhat scant again in the 1955-56 season. Brief mention of the Dow prOgram was made in an article in the Wall Street Journal,20 and the Department also rated two paragraphs in Music Journal for 21 April, 1956. The 1956-57 Season Lerner and Loewe's Paint Your Wagon Opened the season in October and was followed the next month by a concert by the Dow Symphony and a program in the sunday 19Numbered among its personnel, playing baritone saxophone, was violist Lawrence Guenther, Director Of Music for the Midland Public Schools. 20John Wilford, "Ancient Instrument Makes Tuneful Return in U.S. Music Boom," Wall Street Journal (July 26, 1956), p. 1. 21Aubrey B. Haines, "Music in Industry," Music Journal (April, 1956), p. 21. 124 Afternoon Recital Series. The latter was a solo recital introducing new staff accompanist Sally Brosman. Miss Brosman, like the preceding staff members of the Dow Music Department, was an eminently qualified musician with a M.M. from Northwestern University, and teaching experience at College of Wooster, Ohio, and Iowa State College. A bril- liant pianist and organist, she added much to the musical environment of Midland. Crawford continued as accompanist I for the Male Chorus, while Miss Brosman replaced Evelyn VOsburgh as accompanist for the Girls Chorus, Madrigal Singers, and Mixed Chorus. A Christmas Concert, rather than an oratorio, was presented. The Male Chorus did not participate in the Christmas Concert because their own solo concert was sched- uled for January. In addition, they were busy preparing a tape recording Of two numbers for a nation-wide radio broad- cast Over ABC on Christmas Eve. This broadcast consisted of Christmas music "by the nation's leading industrial music organizations" and had Milton Cross as announcer.22 The Male Chorus later sang a pair of concerts in Midland with the well—known soprano Irene Jordan, and gave a performance in Carrollton, Michigan, with a soprano soloist Ruth Weise. The Dow Girls Chorus also had an impressive soloist for their winter concert in the person of tenor 22From a bulletin dated Dec. 19, 1956, from the Information Service, Public Relation Department, Dow Chemical Company. 125 Thomas Hayward. They fulfilled an out-Of-town engagement with the Dow Symphony at the Warren Avenue Presbyterian Church in Saginaw. During the summer the Girls Chorus made an appearance with the Saginaw Symphony. The spring concert Of the Dow Symphony featured guest pianist Grace Castagnetta. The annual Spring Music Festival was returned to its previous two-night format. The first evening displayed the Dow ensembles, and the second evening was a return engagement for Dance Satirist, Iva Kitchel. Three Sunday Afternoon Recitals were presented and the annual scholarship contest of the Midland Music Foundation took place as usual.23 Another interesting musical program during this season was an "Honor Recital" presented by eighteen private music teachers in the Midland area, under the aegis of the Midland County Music Teachers Association. The only national publicity found for this season was an article in Fischer Edition News, which makes the following statements about the Dow Music Department: . . . The guiding policy is to Offer musical Oppor- tunity for adults comparable to that Offered for children by the school system. In a year's time the department now presents 25 to 30 concerts involving in the neighborhood Of 500 23Further details about the sc0pe Of the annual scholarship contest can be found in Appendix D in a letter to contestants in this year's contest. 126 employees and townspeOple. Total audience is estimated at about 40,000--twice the population of Midland. . . Officials of the Dow Chemical view the success Of their music department with great pride. "Naturally, there is no accurate way to measure the results our program has achieved in making our people happier and more productive," one of them commented recently. "We do believe, though, that music is a marvelous release from the pressures of work-a-day living, and in that sense we are convinced it makes our people better employees. If our peOple generate harmony together in their off-hours, it stands to reason that they should also generate harmony in their jobs."24 The same article also quotes John C. Kendel of American Music Conference, who stated: . . . The record of what music has done for Dow and the entire community at Midland is a major chapter in the modern story of what enlightened management is doing-~and will continue to do-—to foster . . . the advancement of excellent employee and community relations . . . while enriching the lives of employees and neighbors.25 Three information sheets, specifically reproduced for the Girls Chorus, but similar to those used by all the ensembles, were found among the files for this season. They are deemed informative and important enough to be reproduced in the Appendices, p. 179. They illustrate the tremendous amount of time and organization expended on each group; the stringent attendance requirements, and aspects Of performance expectations--a11 far beyond that of a typical community ensemble. Such organization no doubt con- tributed much to the effectiveness of the total program. 24"Music Makes Better Employees," Fischer Edition News (Sept., 1956), p. 17. 25Ibid. 127 In Appendix F, following the information sheets is a form pertaining to the concert dress Of the Male Chorus. It, too, reflects the fastidious organization of the Music Department. The Department served as an exchange for buying, selling, and trading tuxedos. Vos- burgh sought Out used tuxedos from the community so that that members who wished to do so could purchase a tuxedo inexpensively. The 1957-58 Season The Mikado returned to the repertoire to Open the season in October. The Dow Symphony featured staff accompanist Sally Brosman as soloist, and with the Girls Chorus gave a benefit concert for the Saginaw Valley Torch Club. The Christmas Concert included all the Dow ensembles in orchestral and choral music Of Bach, plus selectionsfrom the Advent section Of Messiah. The Male Chorus shared their pair of Midland con- certs with dancer Daniel Nagrin, and in addition gave concerts in Elkton and Cadillac. The Girls Chorus concert presented two guest soloists, Jean Carlton, soprano, and Norman Farrow, baritone, who performed opera excerpts and gave a complete performance Of Menotti's The Telephone. The Girls Chorus also travelled to Standish for a concert appearance. A decline in membership is noticed in the ensembles this season of 1957-58. The Girls Chorus membership was 128 60 voices, and the once 100 voice plus waiting list member- ship of the Male Chorus had dropped to 70 voices. The orchestra boasted 70 members and the band remained almost the same with 44 players, 16 of whom were also in the orchestra. The Dow Concert Band, which never seemed to gain the pOpularity of the other ensembles, gave only one con- cert this season. Unlike the other ensembles it did not engage guest soloists, which was perhaps a factor in its lack of popularity. The Dow Symphony, on the other hand, had as soloist the acclaimed baritone Cornell MacNeil. A little more than a month later the orchestra played a completely new program for the Spring Music Festival, which included a performance of Kurt Weill's folk Opera Down in the Valley. The second evening of the festival presented duo-pianists Allen and Coash, soprano Margaret Lukas, and the Chicago Arts Quartet. Three Sunday Afternoon Recitals were given,26 and the concert programs for the season carried the following statistics regarding the continued efforts of the Midland Music Foundation: Last spring one hundred and eighty students competed for twenty—seven prizes. In the twelve years since the Foundation was organized, two 26One of the Sunday Afternoon Recitals featured a seemingly new Dow choral ensemble called the Dow Choraleers. For all practical purposes it is, however, only the former Madrigal Singers with a new name. 129 hundred and eleven students have been awarded prizes for private study and thirty-eight students have won scholarships to the National Music Camp at Inter- lochen. ‘ The only national publicity found for this season is an article from Ladies Home Journal, "There's Music in 27 the Air--in Midland, Michigan." The 1958-59 Season Finian's Rainbow Opened the season, but was given only two performances instead of the customary four, perhaps reflecting a decrease in attendance as compared to previous seasons. The greatest change in the Dow Music Department this year was the fact that it no longer con- tained the orchestra. Support for the Music Department had to be cut and it was felt that the orchestra stood a good chance of making its own way as a community supported group. It was immediately reorganized as the Midland Symphony Orchestra and presented a season of three concerts, under guest conductors. Lawrence Guenther served as Assistant Conductor and held the group together while the search for a permanent conductor was in process. Wilford Crawford, its previous conductor, left Midland when it was announced that financial support for the Department had to be curtailed, and his position was not filled by another 27Margaret Hickey, "There's Music in the Air-—in Midland, Michigan," Ladies Home Journal, April, 1958, p. 51. 130 staff member. The size of the orchestra increased by three members, and the repertoire, though always judiciously balanced between serious and light music, now contained more larger symphonic works. For the Christmas season Menotti's Amahl and the Night Visitors was produced by the Dow Choraleers (formerly the Madrigal Singers) and the Dow Mixed Chorus. This latter group was a new ensemble with considerable over- lapping among it and the personnel of the Male and Girls Choruses. Members of the new Midland Symphony Orchestra supplied the accompaniment for the Menotti opera, indi- cating that a pleasant relationship still existed between the Department and the orchestra. The Girls Chorus, this season reduced to 42 members, presented local soloists in their winter concert, and also gave a performance of The Lady of Shalott by Bendall on a Sunday Afternoon Recital. The Dow Male Chorus, still 70 members strong, also secured local soloists for their winter concerts in Midland; made return appearances in two Detroit churches; gave a concert in Cass City; and played host to the Michigan Male Chorus Association's State Sing. This year, after only three seasons, the Dow Con- cert Band ceased to function. Perhaps there had not been-- enough enthusiasm to merit its continued existence, or per- haps there was no money to support it. Crawford, who had generated its existence was no longer in Midland. 131 The only publicity found for this season is a brief mention in the periodical Management Methods. The article 28 ll was ironically entitled "How Companies Use Their Choirs. The season reflects the fact that Vosburgh had been told to keep expenses to a minimum. The Music Department staff now cOnsisted of only Vosburgh and Sally Brosman, the accompanist. The Band was no longer in existence, the orchestra was reorganized as a community orchestra, and membership in the choral ensembles was falling Off. The 1959-60 Season Though the season opened traditionally with a musical, this year Oklahoma, the number of performances was reduced and the format for the performances was changed. A Carol Festival was the title of the Christmas season program. It consisted of separate performances by the Girls and Male Choruses, numbering 35 and 69 voices respectively, and a combined number that also included the 30 voices of the Dow Mixed Chorus and the 13 voices of the Dow Choraleers. No winter choral concerts were given this season by the Dow Male or Girls Choruses, and the only out-of-town appearances by the Department were a concert by the Dow Choraleers for the Faculty Folk of Michigan State Univer- sity, and the Male Chorus participation in the State Sing 28"How Companies Use Their Choirs," Management Methods (Dec., 1958), p. 399. 132 of the Michigan Male Chorus Association in Ann Arbor. Taking the place of these traditional winter choral con- certs was a minstrel show Darktown Jamboree which ran for three performances in February. In this production the Girls and Male Choruses each sang two solo numbers and combined for several others. The final and fourth concert of the season was not billed as the traditional Spring Music Festival, but instead was a performance of Haydn's The Creation using a local solo soprano, but importing tenor Edward Richmond and bass Gean Greenwell from Michigan State University. The former Dow Symphony completed its second year as the Midland Symphony independent of the Department. There are no records of any performances in the Sunday Afternoon Recital Series this season, but the work of the Midland Music Foundation to provide scholarship contests for young musicians continued unabated. That no trace of national publicity exists for this season indicates that Midland's waning support for its industrial music program was not just a local problem but possibly part of a larger trend. The 1960-61 Season To inaugurate the 25th season of the Male Chorus the Dow publication Brinewell29 ran a five-page illustrated 29"Men of Music," Brinewell (Aug., 1960), pp. 4—8. 133 and lighthearted history of the ensemble. The article optimistically stated that the group was looking forward to another season, though there were many indications that Dow's support of even this favorite group might soon be withdrawn. The first production of the season was Rodger and Hammerstein's Carousel, which ran for four performances. This was followed by still another performance of Messiah, presented by the Dow Male and Girls Choruses, the Mixed Chorus and the Dow Choraleers, plus 47 non-Dow vocalists-- a significantly larger number of non-Dow musicians than had participated in recent seasons. At this performance Vosburgh was presented with a special citation for his long years of service as Midland's "Mr. Music." In February, the Male Chorus, reduced to 58 voices, gave their 25th Anniversary Concert in Midland, but scheduled it for only one performance instead of the traditional two. Soloists for this concert were three former Dow Music Department staff members and a bass, G. Fred Heisman, who in addition to being a charter member of the male Chorus, had performed with them as soloist on innumerable occasions, and also had sung many lead roles in other Department productions. On the back of the program was printed: 134 THE DOW MALE CHORUS extends its sincere thanks and appreciation to THE DOW CHEMICAL COMPANY whose generous support has made possible any success which the chorus may have achieved. Later in the same month, February, the 32 voices of the Girls Chorus and the 28 voices of the Mixed Chorus joined the Dow Choraleers in presenting a "Sacred Concert." The season closed with Heart of America--A Modern Musical Travelogue, a nostalgic, patriotic program consisting of light choral music with original narration, sung by a chorus of 110 voices from the various Dow ensembles. The program announced: This is the final concert to be given by the Dow Music Department. Henceforth the activities of this department will be carried on by the Midland Music Foundation. In the past eighteen years two hundred and sixty formal concerts have been given in Midland, and approximately two hundred concerts out of Midland. No one can measure the value in terms of human happiness that planning, rehearsing, and presenting these concerts has given to the people of Midland. Surely this program has made our city, for many people, a happier place in which to live. For recognizing this need and so generously organizing and maintaining this department the hundreds of musical Midlanders say to the Dow Chemical Company a sincere "Thank You." The official announcement that Dow Chemical Company intended to withdraw its financial support for the Dow Music Department had been made public on December 8, 1960. There had, however, been indications much earlier that such 135 action would likely be necessary. It is not surprising then that the reaction of the Midland musicians was stoical acceptance of the situation, and an immediate mustering of forces to find ways and means of continuing the life of their music organizations. There was much written about this decision to eliminate support for the Music Department, but nowhere can one find written comments that reflected bitterness or a sense of injustice regarding this action. Rather, the Dow Chemical Company was profusely thanked for its many years of financial support, regret was expressed that it could not continue, and hope was expressed that the community could find a way to continue to support this work in the same way it rose to support the disenfranchised orchestra several years earlier. The following article comes from the Dow Internal News Service, and can be considered thereby to represent the official views of the company on the issue. It was reprinted almost verbatim in the Midland, Bay City and Saginaw newspapers, and also in the Dow publication, Brinewell. Plans for a self-supporting Midland music organi- zation were being laid today following a meeting of about 200 participants in the Dow Music Department's programs at the Dow Music Building Thursday night. The groups met for a discussion of the future of the company's music program with Dr. Leland I. Doan, Dow president, who told them the company's board of directors feels it should discontinue Dow's financial support of the prOgram beginning next June 1. 136 "I would like to see us put adversity to good use," Dr. Doan said, "and to see something even better than we've had before made out of our music program." During a question-and-answer session following his remarks, he encouraged organization based on the present program between now and next June. "There have been no better representatives of The Dow Chemical Company anywhere, and no better leader than your leader," he said, indicating Dr. Theodore Vosburgh, head of the Music Department. Presiding with Dr. Doan and Dr. Vosburgh was Herbert H. Dow, a company director who had been super- visor of the Music Department. Dr. Doan discussed the current problems of the chemical industry and explained that "we have to pare down on those things that are not directly connected with making a profit. We have been hard at work trying to figure out how to do this in all our Operations." "Therefore, we had asked Dr. Vosburgh to cut expenses where possible until May 31, and we feel that after that date the program should be self- supporting," he said. "I am sure you will find many willing to help, and that the community will support us in this effort," Dr. Doan said. He said the Dow company is willing to supply the present Music Building to house such a program, and in such a case would pay the taxes and maintenance costs of the building as in the past. Dr. Vosburgh said he favored a reorganization on a non-profit basis and pointed out that funds could be raised through admissions to music programs, possibly through rental of the buildings, and also possibly through dues payment, subscriptions, and gifts. A question-and-answer session lasting about 45 minutes followed Dr. Doan's talk. Asked "what w111 happen to Vosburgh?", Dr. Doan said "that depends largely on what you decide is going to happen." H. H. Dow suggested that each of the four music organizations meet separately, collect the ideas of its group, and then have the officers of each group meet together to pool these ideas and develop a program. 137 The four groups are the Male Chorus, the Girls' Chorus, the Mixed Chorus, and the Choraleers. Jerry Menzie of the Male Chorus moved that the H. H. Dow suggestion be adopted and this was done unanimously. Dr. Vosburgh was loudly applauded when he read a statement at the conclusion of the meeting. "I hOpe that Community Music can be reorganized in Midland and continue to give creative expression to the fine musical talent here," he said. "The out- standing support and COOperation of The Dow Chemical Company has made possible the many years of notable success we have achieved. If all interested indi- viduals and music organizations will work together with whole-hearted determination to create a Com— munity Music organization second to none-—it will be done." The Male Chorus, oldest Dow music group, will give its 25th anniversary concert next spring. Information Service Public Relations Department In the early days of the Music Department, the Willard Dow family came to all performances and gave much support and encouragement to the Department efforts. It was during Willard Dow's tenure as president of the Dow Chemical Company that the Department was created, and it was he who had earlier encouraged the formation of the first Male Chorus. Enthusiastic support had also always been given by Harold S. Kendall. Kendall had served as the Music Department supervisor until his death. It has been speculated that had Kendall been alive at the time of this crisis some way would have been found to continue support for the Music Department. 138 Some Midland citizens believe that termination of support was insisted on by the major stockholders, some of whom lived in Cleveland rather than Midland and had no interest in the community welfare of Midland. Still others point to one particular member of the board of directors whose lack of enthusiasm for the Music Department was of long standing and of common knowledge. More realistic perhaps is the Opinion that unions had forced more and more monetary fringe benefits so that recreation prOgrams for employees, where everybody did not necessarily benefit equally, were no longer financially feasible for corporations. That Dow Chemical should termi- nate its Music Department is in line with the research reported in Chapter II, which documents a nationwide decline in industrially supported music programs. Dr. Vosburgh identified two other possible reasons for the demise of the Department. He recalled that when he came to Midland in 1943 the churches had only one or two ministers and very little in the way of activity programs for their congregations. After the war several large churches were built, some of which maintained a staff of four ministers and developed extensive activity programs. These programs, he believes, contributed to the populace's declining interest in the Dow music ensembles. The second factor he identified was resentment of the Music Department by some of the Dow department heads. This resentment centered on the money allocated for the 139 music program. When certain department heads were refused money for expansion or special projects they complained that there was money available for the Music Department, but no money for their needs. Another point of view held by some Midlanders is that the Dow Music Department was dying from.within because employee interest and participation was waning. It is true that membership in the ensembles had fallen off consider- ably compared with the figures from the late 19408. Concerts by the Dow ensembles no longer attracted over-flow audiences--one performance now sufficed where two with standing room were required in the late 19408 and early 19503. It has been said that this, too, was a reflection of the lack of interest on the part of the Dow management, for in earlier times the Dow family attended most concerts, and therefore made it socially important for many others in the community to do so. An editorial soon after the announcement of intent to withdraw support, confirms that the company's action was not unexpected: "Friday's announcement that Dow wants to step aside on the rest of the music department at the end of the company's fiscal year was something that was expected to come sooner or later."30 It does not give reasons for this expectation, but speaks of advantages of continuing without Dow support, saying: 30"Challenge is Facing Local Music Lovers," Midland Daily News, Dec. 10, 1960, Editorial, p. 2. 140 . . . there have been undesirable side effects which could be eliminated if the people of Midland face up to the challenge that now confronts them. These undesirable features have involved tendencies to let local industry carry the ball for civic activities. Too often, promoters of various community projects have run into the "let Dow do it" attitude.31 If the above cited attitude really did exist, it showed little awareness of the pattern of Dow philanthrOpic activities in the community. The Dow families lived in Midland and sent their children to the public schools there. They undoubtedly gave more to their community than other cases in which officials of some companies did not reside in the communities where their industries were located. It was, however, the Dow's practice never to initiate philanthropic projects. Rather, community pro- jects were usually encouraged by them without direct financial support until the community committed itself strongly to the project. Another Optimistic newspaper article points to the successful efforts of the former Dow Symphony as a model for the entire Department to follow: The recent announcement that the board of directors of the Dow Chemical Co. had decided to eliminate the firm's nationally-known music department caused con- siderable consternation among Midland music lovers. However, a few straws in the wind during the past few years eased the full shock of the board's action. The major "straw" was the drastic reduction in per- sonnel in the music department in May of 1958, almost three years before the date set for final abandonment 3lIbid. 141 of the entire program. At that time the Dow Symphony Orchestra was eliminated. . . . It seemed time to the Dow directors for the community to be given the opportunity to show what it could do, on its own, to support a cultural program. In the past two years the Symphony Orchestra has done a splendid job of showing what such a musical group can do when faced with the hard, economic facts of life. The players in the orchestra, through their own efforts, created the Midland Symphony Association. This organization sells memberships, solicits gifts from private individuals and generally supports itself on a pay-as-you-go basis. What the orchestra has done through the hard work of its members the other musical groups should now be able to accomplish, Dow directors believe.32 It did not take the people of Midland very long to decide what course of action they would follow. There never seemed to be any question that the music prOgram should continue somehow. Before the deadline for expira- tion of Dow financial support, the Midland Music Foundation had been reorganized to administer the proposed music program; plans for the next season had been announced; and funds to support it had been secured! On January 8, 1961, 200 people attended a meeting to make plans for a community sponsored music program. An eleven member steering committee was established to direct these efforts and to represent the various musical organi— zations in the community. The work of this committee is described below: 32"Midland Scans Its Musical Future," The Bay City Times, Dec. 25, 1960, p. 6. 142 Earl E. Ziegler, previously chosen as temporary chairman of the committee, was elected permanent chairman. Luman Bliss, Dow Male Chorus, was elected vice chairman and Mrs. Jerry Heeschen, representing Midland Church choir directors, was elected secretary. Three members-at-large were also chosen by the group and are being contacted. They will be announced later. J. A. Kenall of Dow's legal department was chosen as legal counsel. Ziegler said the function of the committee at this time is "to assess the wishes of the community in regard to the desired type and sc0pe of a music pro- gram." These wishes will later be translated into proposals to be presented in a public meeting to be held at a later date. All members of the steering committee are "very Optimistic" about the future of a music program in Midland and will meet again next week to make plans for a time and date for presentation of proposals to the public, Ziegler said. Pending public approval of a program, the committee's hOpes are to complete organization by May 31, at which time sponsorship of choral groups by Dow Chemical Company will end. Members of the committee, in addition to those named above, include: Mrs. Earl Pollard, repre- senting Midland's music teachers; Ronald Melton, Midland school music faculty; Mrs. Lyn MacPhail, Girls Chorus; Mrs. Burdette Abel, Mixed Chorus; Mrs. William McIntire, Choraleers; and Dr. J. D. Hanawalt, representing Dow.33 The estimated cost of the proposed program was $25,630 which, characteristic of Midlanders, included an allotment to carry on the scholarship contests for young musicians. 33"Ziegler Named Head of Music Committee," Midland Daily News, Jan. 25, 1961. p. 7. 143 The finance committee felt this amount could be raised by selling 180 sustaining memberships in the program, which would furnish about $10,800; from 200 chorus dues payments of $10 each for $2,000; from the sale of 640 season tickets at $4 each, for $2,560; from about 3,600 box office sales of tickets at $1.50 each for $5,400; and from advertising sales and business support amounting to about $5,000. The Midland Music Foundation, which had previously functioned principally to administer the annual scholarship contests and other related philanthropic activities, was reorganized with a broader scope of activities. Membership in this organization had previously consisted of represen- tatives from the various Dow ensembles, but now anyone sufficiently interested to donate five or more dollars could be a voting member. Its new goals and purposes were: . . . to promote and encourage the appreciation, understanding, and performance of music, particu- larly within the area bounded by Bay, Saginaw, and Midland counties; to encourage music among the school children of the area served by the corpora- tion; to sponsor musical activities deemed educational by the board of trustees, to present public concerts and do all other things consistent with the foregoing purposes and objectives. The steering committee presented a proposal of musical events for the following year--two musicals, a Christmas concert and a winter choral concert. The committee felt "that the program outlined would require a 34"Group Named to Push Community Music Plan," Midland Daily News, Jan. 9, 1961, p. 13. 35"Agree on Joint Music Program," Midland Daily News, March 27, 1961, p. 1. 144 full-time director and proposed that Dr. Vosburgh be offered the post. This proposal was unanimously 36 Vosburgh did, of course, accept the position approved." which probably made the transition from an industrially supported to a community supported program smoother and easier. Something else that made the first several years of the transition easier was an announcement by newly founded Delta College that expressed interest in assisting with the financial support of this new venture. Delta College was established to serve the three counties of Bay, Midland and Saginaw; and the Midland Music Foundation, to reach a larger group of participants, was advertising their efforts as a three county organization, thus the proposed relationship was not unnatural. Financial support of the directorship was offered by the new Delta College. Dr. Samuel Marble, college president, said the college was vitally interested in the support of music in the area and that the board of trustees felt it desirable to provide financial support for a director in exchange for help in the college's fine arts program. He said a man of Dr. Vosburgh's experience and capability could very ably assist in a college music program.3 A tickets sales campaign was organized, having as its goal the sum of $13,900 in advanced ticket sales for 36"OK Plans for Music PrOgram," Midland Daily News, March 13, 1961, p. 1. 37"De1ta College Offers to Finance Part of Tri- County Music Program," Saginaw News, Mar. 13, 1961. 145 the following season. The May 17, 1961 headlines of the Midland Daily News proudly announce "Drive Goes Over Top." Indeed it had, to a total of $15,174.50--and this in a community which was already supporting separately an orchestra and a Community Concert Series. Dow Chemical Company loaned the Midland Music Foundation the use of the Music Building and its library and equipment. (The following year these facilities were given to the Foundation.) In addition, a grant of $5,000 was made by Dow to assist the organization in its first year. Thus, before the withdrawal of industrial support the community of Midland had a legally constituted organization, the revised Midland Music Foundation, ready to administer its program; help forthcoming from Delta College to assist in paying the director's salary; an experienced director contracted; rehearsal space, music library and much equipment (compliments of their former benefactor); and sufficient advance ticket sales to provide ample operating capital to initiate its prOposed prOgram for the following year. And, perhaps most important, it had a large number of citizens with such a strong appetite for making music that they were willing to volunteer many hours of their time to maintain their music organizations. 146 The 1961-62 Season The first season under community sponsorship came off according to plan, and even netted a profit beyond expenses. Two broadway musicals were produced: Guys and Dolls and Plain and Fancy. The records indicate that four performances of Guys and Dolls were given and approximately 4000 peOple attended. Two choral programs were presented: a Christmas collage entitled "Tidings of Joy" and an early spring show called "Stop, Look, Listen," both of which ran for two performances. The former Dow choral ensembles were reorganized with new names: Men of Music, Women's Chorus, and Mixed Chorus. The Dow Choraleers, outgrowth of the earlier Madrigal Singers, chose not to continue as a separate entity, but a new ensemble rose to take their place. This was the "Singing Boys of Midland," consisting of twenty-one boys the first season, aged nine to twelve. Vosburgh had long wanted to form a boys' ensemble because his own earliest musical experiences had been gained singing in a boys' choir. In addition to serving as executive director for the Midland Music Foundation, Vosburgh joined the staff of Delta College. The new male chorus, Men of Music, ever the most popular of the choral ensembles, gave a concert this season in Cass City. The Midland Symphony Orchestra, now in its fourth season as a civic orchestra, had Robert Zeller as conductor and played a four concert season. 224 young 147 musicians competed for $3,200 worth of scholarships in the annual contest, and the Midland Daily News of July 12, 1961, carried a photo of nine Midland students who were attending the National Music Camp at Interlochen--though not all were there on Midland Music Foundation scholar- ships. The membership campaign for the following season was undertaken in early May, ably headed by Luman Bliss and Mrs. Arthur Barry. Both had already contributed nearly twenty years of service each to musical activities in the Dow Music Department, and typify the generous and willing support given by volunteer workers to ensure the success of the new civic music prOgram. The 1962-63 Season The second year of community sponsored music followed the pattern of performances established the previous year. Two broadway musicals were given four performances each--The Pajama Game in October, and Music Man in February. The Christmas choral program, again titled Tidings of Joy contained more serious music than the preceding year (Parts I and II of Bach's Christmas Oratorio, three selections from Britten's Ceremony of Carols and several choruses from Messiah), and, like the spring choral/variety show Contrasts of much lighter music, ran two performances. Many Midland singers also participated 148 that season in The Delta Choral Union which gave a perfor- mance of Messiah under Vosburgh. The year's budget had been met and the following excerpt from "A Message from the Retiring President" speaks of the increased public support of the program: . . . The merit of the broad type of annual prOgram of the Midland Music Foundation is reflected in the public support of this season's budget of $24,185. Of this money, 60% comes from ticket sales; 20% comes from patron memberships and 20% comes from Special gifts. All of this generous support is greatly appreciated and obviously vitally neces- sary. One of the objectives of the Midland Music Foundation is to be as self-supporting as possible, and considerable progress is being made in this direction as seen in the fact that for the first season the corresponding percentages were ticket sales 48%, patron memberships 21%, special gifts 31%. The new ensemble, The Singing Boys, increased its membership to 32 voices and made several appearances this season. The Men of Music enrollment drOpped to only 41 singers, while the Women's Chorus outnumbered them for the first time with 48 members. The combined male and female ensembles constituted the group now called the Midland Chorale. The annual scholarship contest continued as usual. Thus ended the second year of community supported music activity and Vosburgh's second decade in Midland. Much had been retained from the previous industrially supported prOgram and there were still innovations to come. What had been lost in the transition form indus- trially to community supported program? The Sunday 149 Afternoon Recital Series, which had presented some of the most serious repertoire and served as an outlet for chamber music enthusiasts no longer functioned, but was to be revived again at a later date. Gone, too, were the Dow Choraleers, but in their place was the new ensemble, The Singing Boys of Midland. The distinguished guest soloists that had enlivened and enriched many choral concerts and oratorios, and provided complete evenings of professional talent to Midlanders were too expensive for the new budget. Gone, as well, was the close working relationship with the orchestra, which now had to fight its own battle for survival and had its own identity to establish. Probably the greatest loss must have been the feeling of producing "art for art's sake," for everything now had to be pro- grammed with an eye toward that which would attract the largest paying audience. It was no secret that the Broad- way musicals were providing the bulk of the box office income. Where previously the Male Chorus had been the most popular aspect of the program and the most active, now the musicals dominated. But to compensate for this was a greater feeling of self-satisfaction derived from the knowledge that what they had, they had forged for themselves and obtained by them- selves. In addition, they could be very proud knowing that the community as a whole enjoyed and appreciated their efforts enough to support them financially. 150 Summary The early years of the second decade of the Dow Music Department show a few signs of weakening support. The Spring Music Festival was cut back to only one evening, and the second year of the decade saw only one professional soloist appear with the Dow ensembles. There were some events, however, that indicated expansion rather than reduction of musical activity. For example, a composition contest was sponsored by the Department, and a new ensemble, the Dow Concert Band, was formed. The 1958-59 season found the Dow Symphony without industrial support, restructured as the Midland Symphony Orchestra. The Department staff, as well, was cut with only Vosburgh, director, and Sally Brosman, accompanist, remaining on the payroll. Fewer concerts were given and fewer guest artists were hired for the concerts. Less publicity was received nationally, though such articles as there were spoke hollowly about a resurgence in indus- trial music programs, while program after program folded. In 1960 the Dow Chemical Company announced their intention to withdraw support from the entire Department, leaving them the Music Building on loan. Immediate com- munity action led to civic spOnsored continuation of the existing program. Vosburgh accepted a part-time position with Delta College and continued as executive director for the newly reorganized Midland Music Foundation. A new ensemble, The Singing Boys of Midland, was added to the 151 ranks. Two broadway musicals were given each season because they attracted larger paying audiences than did the choral cOncerts. By the end of the second season of civic supported music it could be said that all was functioning comfortably, thanks to many dedicated volunteer workers. CHAPTER VI SUMMARY AND CONCLUSIONS Summary Prior to 1936, municipally supported music in Midland, Michigan, had consisted largely of sporadic attempts to maintain a Civic Orchestra. In 1936 the orchestra was revived and contained twenty-nine members. Other community participation in music included adult amateurs among the membership in a summer series of band concerts, and a performance of Messiah by combined church choirs. In November of 1936 Dow Chemical Company approved the establishment of a male chorus for its employees and agreed to pay the necessary expenses. For seven years this ensemble functioned as the only industrially supported music in Midland. There were four different conductors during this period and the members began to feel the need for a more permanent, stable arrangement. They petitioned the management for a full-time conductor who would establish a music department within the corporation. The management in 1942 was sympathetic to all aspects of recreation, and already had employed a full-time 152 153 athletic director. They agreed to the music proposal and, after a year of searching and auditioning, hired Dr. Theodore Vosburgh of Albion College as Director of Music of the new Dow Music Department. Vosburgh immediately added a Girls Chorus and reactivated the Civic Orchestra which had collapsed again in 1942. He originated the practice of bringing profes- sional musicians to Midland as soloists with the ensembles and founded an annual Spring Musical Festival. The ensembles thrived: the Male Chorus membership reached one hundred and the Girls Chorus numbered eighty voices. The two choruses combined frequently and per- formed as a mixed chorus. The Civic Orchestra flourished and elected to come under Dow sponsorship. Each year Midland audiences could hear separate concerts by the Male and Girls Choruses and the Orchestra, each usually with a professional soloist; an Operetta using local talent; and a two- or three-day festival in the Spring presenting guest artists as well as the Dow ensembles. As the prOgram grew, so did the Department staff. First a secretary was gained; then a part-time assistant for the orchestra; then a professional accompanist. At its zenith the Department had four full-time staff members. Vosburgh's interest in community music extended to the public school music program. Freewill offerings from 154 Dow ensemble concerts were used to fund contests that gave scholarships to talented students for further musical study. Money and Vosburgh's time was also expended to provide musical experiences for the county schools, and contribu- tions were made to School choir robe and band uniform funds. In 1949 Dow purchased a $40,000 building to house its Music Department. In addition to staff salaries the company paid for: the maintenance of this building; printing of tickets and programs for all concerts; music for the ensembles; Vosburgh's expenses for annual trips to New York City to audition soloists; the stipends for the soloists; needed equipment and instruments. All money collected at concerts was administered by an organization, the Midland Music Foundation, whose major purpose was running the scholarship contests for young musicians. A band, madrigal ensemble and string trio joined the ranks of the Dow ensembles and a recital series was added to the concert offerings. The ensembles began to make many out-of-town engagements. The fame of the Depart- ment spread and considerable publicity was accorded it. Other companies sent representatives to Midland to study the scOpe and structure of Dow's Music Department. Signs of deterioration first appeared in the early 19508. During the 1953-54 season there was a temporary cut in budget that prevented the usual array of professional soloists. Full support was resumed the next season, but 155 publicity for the Department dropped dramatically. By 1957 a noticeable decline in the memberships of the choruses was evident. The following year severe cuts in budget, resulting from the economic recession, forced the Department to drOp the Dow Symphony Orchestra. Wilford Crawford, who had been conductor of the orchestra and band left Midland and was not replaced on the Music Department staff. His departure caused the band to cease operations. The orchestra, however, did not cease functioning as it had done several times in the past. Instead, the orchestra held its membership together, sought a new conductor, and turned to the community at large for a means of supporting itself. In December of 1960 the Dow Chemical Company announced that it could no longer continue its Music Depart— ment. Plans were immediately initiated to maintain the ensembles under community support--not from municipal funds, but from money raised by volunteer efforts. To assist the transference to community sponsorship, Dow gave the ensem- bles the Music Building and its equipment on loan. In addition, Dow made a grant of $5,000. The grant money was not touched that year, for even after allocating $3,200 for the scholarship contests, memberships and ticket sales exceeded expenses. Proof of the value of rich musical experiences afforded the community by the Department was the enthusiastic response of its citi- zens to preserve the existence of the ensembles. They did 156 not waste time lamenting that Dow had ceased support, but set to work to ensure that this part of their community assets should continue to survive. Factors Contributing to the Success of the Program There are several factors that contributed greatly to the success of industrial and community support of music in Midland. Midland was not large enough to have a profes- sional symphony orchestra, theater or opera company, and was located far from any other city offering these cultural advantages. The Dow Chemical Company drew a large number of scientists and other well-educated people to this community. Dow realized that to keep this type of employee happy it needed to encourage all aSpects of culture and recreation, and it gave generously to do so. The fact that the Herbert H. Dow family and others in tOp administrative posts were interested in music gave special impetus to the per- forming ensembles. The fortuitous employment of Dr. Vosburgh as Director of the Music Department was a decisive factor. His professional skill, enthusiasm, and personality allowed him to capitalize on this unique situation, in which the community wanted to participate musically and industry was willing to underwrite the costs. The era in which this all occurred had an enormous impact on community musical activity. During the war years 157 the rationing of gasoline and other commodities made some forms of recreation inaccessible. Participation in an industrially supported ensemble had the added attraction of being peripherally related to the war effort, in as much as it created good public relations for industry and contri- buted at least indirectly to increased production. Some of the concerts raised funds for the Red Cross, others for savings bonds. It is likely that at this time making music together had a special salutary effect on the morale of the participants. Music in Midland Today Community participation in choral and instrumental music ensembles continues unabated in Midland today, fifteen years after Dow Chemical Company abolished its Music Department. The Midland Music Foundation was replaced by a similar organization called Midland Music Society which administrates the program through the new Center for the Arts. The Center for the Arts was first proposed in 1965. Alden Dow, son of the founder of Dow Chemical Company, was the first architect for the Center, a structure costing 7.8 million dollars. The Herbert H. and Grace A. Dow Foundations supplied 4.1 million of the figure; Alden B. and wife gave 2 million; $500,000 came from special gifts; and "1.7 million was pledged by nearly 3,000 individuals and 158 businesses in this unique community of 35,000 persons."1 An additional 2.5 million was obtained from Dow Foundations for endowing maintenance of the building. This facility provides: 1538 seat Auditorium/Concert Hall 386 seat Theatre 95 seat Lecture/Recital Hall 3 Art Galleries Dining and lounge facilities 9 art studios Offices for administration and affiliated organizations Adequate rehearsal space2 The orchestra and choral ensembles are not the only contributors to the active musical life of Midland.“ The city has an active musical theater group; a Community Con- cert Series; excellent church choirs; active chapters of National Piano Teachers Guild and Music Teachers National Association; strong public school music programs; summer musical theater productions for high school and college students; and annual scholarship contests for young musicians. Implications for Future Application The money given by the Dow Foundations and indi- vidual Dow family members to assist in paying for the Midland Center for the Arts typifies the role of much 1Dexter Bartlett, editor, Midland Center for the Arts, Midland Center for the Arts, 1971) p. 4. 2Ibid., p. l. 159 current industrial support of the arts. Such support comes mainly from Foundations set up for altruistic purposes rather than directly from the corporations. Further, it is most frequently given to construct buildings or to assist professional ensembles. One rarely hears of grants given to establish or assist community music programs. Many prominent industrialists have accepted a responsibility for encouraging the development and growth of the arts in our society. Clarence Francis, retired chairman of the General Foods Corporation, now director of Lincoln Center for the Performing Arts, served as chairman of its $160 million fund-raising campaign. He speaks of the $9.5 million contributed to Lincoln Center by American business. Such support is a significant breakthrough because corporations, in comparison with individuals and foundations, must justify their philanthropic gifts not only to themselves but often to hundreds of thousands of stockholders. The overwhelming majority doubtless recognize the performing arts as one of the most meaningful, satisfying and constructive ways in which company personnel can spend increased leisure time and higher pay. The need for cultural satis- faction is more and more apparent to management. Prospective top personnel, for example, are especi- ally desirous of locating in an area in which this need can be fulfilled in modern surroundings.3 Francis identifies several roles that a cultural center can play in a community. Some of these roles could also be extrapolated to any vital program of community participation in the arts. 3Clarence Francis, "Lincoln Center and Corporate Support," Musical America (Oct., 1964), p. 10. 160 From my viewpoint, corporate donors, as well as other benefactors, sense that a cultural center can help to re-shape or rejuvenate a sector of a com- munity. I feel sure that Lincoln Center has been one of the Sparks which has dramatically and favorably' altered one of New York's major communities in terms of not only residential but also marketing, production and total environment. Corporate backing of th arts is also, in a sense, a hand-maiden to corporate giving to education, because it is the educational and cultural systems of the world that ultimately make possible a vigorous, free, informed and complete society. Indeed, support in the case of Lincoln Center is primarily significant because very substantial members of large and small businesses within a major community have recognized, first, this growing importance of cultural needs in our lives and secondly, business' growing responsibility for community cultural institu- tions. Business leadership has thus courageously vaulted far over and beyond considerations of even enlightened self-interest and of tax considerations to aid tangibly the need of all men for the intangible of creative fulfillment, a need made more immediate by the pres- sures that weigh upon us in this complex age. Such serious financial support of Lincoln Center leads to the hOpe that other municipalities, towns, and regional areas, searching for more adequate facilities for the arts, will also receive prOpor- tionate aid from their own business communities.4 Richard Eells, executive editor of the Program for Studies of the Modern Corporation, Graduate School of Business, Columbia University, speaks of the benefits to be derived by industrial support of the arts: . . . The goal of a 20th-century business now embraces a greater concept of social responsibility. 4Ibid. 161 Rising cultural standards benefit corporations in many ways. For example, an orchestra, ballet, Opera or music theater group can help reshape a community, favorably altering business production and marketing environments. Quality cultural facilities have a dollars-and-cents value in attracting tourists and benefiting residents. Also, cultural activities in a community help attract and hold not only tOp executives but technical personnel. A distinction should be made between corporate support for the arts from funds for advertising, public relations and market development, and support from contributions, such as gifts to various groups and organizations. The first is charged to business; the second may be thought of as insurance against the decay of our freedom. In both cases management's responsibility is essentially the same--to allocate money in the most useful way.5 Eells suggests a number of projects deserving of industrial support, including the development of employee performance ensembles: Some of the routes that corporations may take to support the arts might include building auditoriums for cultural organizations; making direct contribu- tions to organizations, or united arts funds; making business facilities available to arts group; enabling community organizations to expand their season by purchasing tickets or sponsoring special programs for employees and their families; developing employee-performing programs; and recognizing the value of the arts in advertising and public rela- tions prOgrams.6 Eells names several outstanding instances of philan- thropic projects in the arts currently espoused by corporations. None of his examples have to do with employee performance ensembles. They center on gifts to 5Richard Eells, "Should Business Support the Arts?" Musical America (Oct., 1964), pp. 8-9. 6Ibid., p. 9. 162 professional symphonies and Opera companies, or underwriting the cost of tickets to concerts of professional organiza- tions for the employees.7 While there are aspects of the Dow prOgram that make one believe its success was due to its unique combination of variables, there may be some factors that could be extra- polated. It might be possible to persuade local industry or a foundation to allocate funds to establish a Similar struc- ture of performance ensembles in communities that, like Midland, are too small to support professional performing ensembles, and too far removed from cities that already have them. If the costs could be underwritten for a five to ten year period, giving the ensembles enough time to make a lasting impact on their communities, these communi- ties, too, might insist on maintaining the prOgram when funding terminates. Should long-term funding for community music projects become available, much consideration should be given to the selection of music directors. The literature has indicated that successful directors of amateur ensembles must be competent musicians, and possess the imagination to see the potential in such ventures. The directors must be willing to involve themselves in musical comedy as well as in oratorio; in folk music as well as in serious music. Equally important are the organizational skills required to 71bid. 163 keep such an undertaking functioning. Unfortunately, relative lack of job security might make such positions unattractive to musical directors who have the required qualifications. Would community music programs thrive in locations where a Significantly smaller number of highly-educated people reside? Such a pOpulace might not value the Oppor- tunity sufficiently to give the time and money needed to maintain it when funding ceased. It is hoped that the example of Midland, Michigan, will serve to inspire other industries to chance an investment in their communities in this type of support for the arts. BIBLIOGRAPHY BIBLIOGRAPHY Books Clark, Kenneth S. Municipal Aid to Music in America. New York: National Bureau fOr the Advancement of Music, 1925. . Music in Industgy. New York: National Bureau for the Advancement Of Music, 1929. Nevins, Allan. The Gateway to History. New York: D. Appleton-Century Co., 1938. Sonneck, Oscar G. Suum Cuique: Essays in Music. New York: G. Schirmer, 1916. Zanzig, Augustus D. Music and Men--in Uniform--in Industry. New York: National Recreation Association, 1941. . Mhsic in American Life, Present and Future. New York: OxfOrd University Press, 1932. Articles and Periodicals Antrim, Doron K. "Music in Industry," Musical Quarterly 24 (July, 1943). p. 275. . "Importance of Music in Wartime Industry," Etude 61 (February, 1943), p. 99. Baker, Bob. "Industrial--Community Recreation," Industrial Sports Journal (January 15, 1952), p. 7. Berry, James. "Industry and Music," Musical America 84 (October, 1964), p. 6. Caldwell, O. H. "More Music, More Defense," Etude 60 (June, 1942), p. 370. Crawford, Wilford. "Chemistry and Music--Midland's Alchemy," Mhsic Educators Journal (January, 1953), p. 24. 164 165 Eastman, Paul. "Music: How it Builds Morale in Industry," American Business (November, 1952), p. 12. Eells, Richard. "Should Business Support the Arts?" Musical America (October, 1964), p. 8. "Employee Relations," Modern Industry (March 15, 1952), p. 103. "Extra Harmony for Company Relations," Business Week (March 1, 1952), p. 106. Eyer, Ronald F. "Music Goes to War on the Home Front," Musical America (December 10, 1942), p. 7. Francis, Clarence. "Lincoln Center and Corporate Support," Musical America (October, 1964), p. 10. Haines, Aubrey B. "Music in Industry," Music Journal (April, 1956), p. 21. Harsha, Paul. "Something to Grow On," Dow Diamond 19 (July, 1956), p. l. Hickey, Margaret. "There's Music in the Air—-in Midland, Michigan," Ladies Home Journal (April, 1958), p. 51. "How Dow Chemical Company Developed America's Biggest Program," Industrial Sports Journal (March 15, 1952): p. 29. "Industry! Here's How!" Overture 32 (October, 1952), p. 10. Johnson, H. Earle. "The Need for Research in the History of American Music," Journal of Research in Music Education 6 (Spring, 1958), p. 48. Keen, Harold. "Beethoven Helps Build American Bombers," Etude 61 (August, 1943), p. 514. Kerr, Willard A. "Factor Analysis of 229 Electrical Workers' Beliefs in the Effects of Music," Psychological Record (December, 1942), p. 213. . ”Psychological Effects of Music as Reported by 162 Defense Trainees,” Psychological Record (December, 1942), p. 205. ' . "Psychological Research in Industrial Music and Plant Broadcasting," Journal of Psychology 17 (January, 1944), p. 243. 166 . "Where They Like to Work; Work Place Preference on 228 Electrical Workers in Terms of Music," Journal of Applied Psychology 27 (1943), p. 438. Kirkpatrick, Forrest H. "Music and the Factory Worker," Psychological Record (December, 1942), p. 197. Little, Paul. "What Future Has Industrial Music?" Musical Leader (October, 1944), p. 7. (Continued in MuSical Leader, November, 1944, p. 21.) McKellar, Bob. "Midland Makes Its Own Music," Music Journal (January, 1951), p. 18. "Men in Music," Brinewell (August, 1960): P. 4. "Music at the Dow Chemical Company," National Music Bulle- tin 9 (January, 1949). P. 24. "Music and 'Plant Morale'," Etude 62 (July, 1944), p. 375. "Music Cultivated by Industrial Firm," Musical America (August, 1945), p. 19. "Music in Industry," Dow Diamond (January, 1947), p. 12. "Music Makes Better Employees," Fischer Edition News 32 (September-October, 1956), p. 15? "Part of the Town," Chemical Week (September 22, 1951), p. 18. "Sing, Brother Sing!" Dow Diamond (October, 1937), p. 12. Stewart, Albert P. "The Case for Music," Industrial Sports Journal (January 15, 1952), p. 23. Thompson, Doris. "It's Tune-up Time for Industry," Management Record 13 (September, 1951), p. 312. Pamphlets "Industrial Bands and Orchestras," Chicago: National Industrial Recreation Association, 1953. "Midland Center for the Arts," ed. Dexter Bartlett. Midland: Midland Center for the Arts, Inc., 1971. "The Midland Michigan Story," Midland: Midland Chamber of Commerce, No date supplied. Probably 1970. 167 "Music in Industry (A Manual on Music for Work and for Recreation in Business and Industry),“ Chicago: Industrial Recreation Association, 1944. "Music in Industry: How Employes Participate in Musical Groups," Chicago: American Music Conference, No date supplied. Probably 1952. Unpublished Material "Memorandum of Expenses." Ledger maintained by the treasurers of the Dow Male Chorus, 1936-1946. "Secretary's Record." Minutes from the meetings of the officers Of the Dow Male Chorus, June, 1942- February, 1949. Other Sources "The Midland Symphony Orchestra." Pearl Anniversary PrOgram, 1966. "Tenth Anniversary Concert of the Dow Male Chorus." Program, February 19 and 20, 1947. Interviews Dr. Arthur J. Barry, September, 1975, West Berlin, Germany. Mrs. Glen Cummins, Midland Historical Society, June 23, 1972. Professor Joseph Evans, July, 1973, East Lansing, Michigan. Lawrence Guenther, June 25, 1972, Midland, Michigan. Mrs. Dora Murphy, Midland Center for the Arts, June 23, 1972, Midland, Michigan. Mrs. Gwendolyn Pike, June 23, 1972, Midland, Michigan. Mrs. Sally Brosman Stebleton, June 22, 1972, Midland, Michigan. Mrs. Hazel Teot, June 23, 1972, Midland, Michigan. Dr. Theodore Vosburgh, June 26, 1972, Midland, Michigan, and July, 1973, Beaverton, Michigan. APPENDICES APPENDIX A SURVEY OF MUSICAL INTERESTS SURVEY OF MUSICAL INTERESTS WOULD YOU LIKE TO BE IN ANY KIND OF MUSICAL GROUP? IP so. PLsAsz CHECK THE FOLLOWING. WHAT KIND OF GROUP? INSTRUMENTAL BAND ORCHESTRA STRINGED ENssMsLs DANO: ORCHESTRA INA? INsmUMsNY DO YOU PLAY? _VQC__AL_ GIaLs' CHOIR K MAL: CHORUS ORATORIO CHORUS GIaLs' SEXTET x MAL: QUARTET Y WOULD YOU LIKE TO HAVE AN INTER-OEPANYMENTAL M MAL: QUARTET comes: soumu THIS WINTER? WHAT PART 00 YOU sINO? WOO YOU PLAY 'I'HI PIANO? NAME PLANT Den. W99/M Home Aoonsss ('71; V BUILOINO if 3' HOA: Pam No. any; PLANT Pm: NO. 4/ 7 V CLOCK NO. ’f~/Z 2— AR! YOU ON SHIFT WORK? ’YO Tacoma: VOSBUROH NUSIO DIncYOII Tl-I DOIII CI-IuIcAL Cow-ANY 168 APPENDIX B CONSTITUTION OF THE DOW GIRLS CHORUS CONSTITUTION of the DOW GIRLS CHORUS of MIDLAND, MICHIGAN ARTICLE I. NAME Section 1. The organization shall be known as the DOW GIRLS 080108 of Midland, Michigan. ARTICLE II. SPONSOR Section 1. The sponsor shall be The Dow Chemical Company Midland, Michi- gan. All functions of the Dow Girls Chorus stall be subject to the appoval of said sponsor. ARTICLE III. AFFILIATION Section 1. It shall be hereby provided that the Dow Girls Chorus may become affiliated with any state or national music organization, subject to the approval of the sponsor; the decision to affiliate with any state or national music organi- zation becoming effective upon a majority vote Of the Chorus membership at any meeting attended by a quorum. Section 2. Having affiliated with said organization, the decision to withdraw such affiliation shall become effective only by a majority vote of the Chorus membership at any meeting attended by a quorum. ARTICLE IV. OBJECTS Section 1. The purposes and functions Of the organization are the study and performance of choral music, the promotion of sociabilit and good fellow- ship among its members the maintenance of an or ion worthy of its sponsor, cooperation with other musical organizations of the Compan , and public appearances which will be to the best interests Of the Chorus, he Sponsor, and the Community. ARTICLE V. FINANCES Section 1. The Chorus shall make every effort to aid its sponsor in defray- ing expenses. 169 170 Section 2. The dues required for membership in any state or national music organization shall be paid by members to the Treasurer. The Treasurer shall forward said dues to the Secretary-Treasurer of any state or national music organization joined by the Dow Girls Chorus. Section 3. Such assessments as may be deemed necessary to defray incidental expenses or costs of social functions may be levied at the discretion of the Executive Board with the approval of the Chorus by vote in the order of regular business. Said assessments shall be paid by members of the Chorus within one month after the opening of each season, and by new members within one month after joining the Chorus at any time. Notices of assessments due will be mailed by the Secretary one week before the final date of payment per- mitted. If assessments are not paid by that final date, the member in arrear shall be relieved of her Chorus membership by action of the Executive Board. Section 4. All expenses pertaining to purchase and upkeep Of gowns shall be the responsibility of the individual Chorus members unless otherwise desig- nated by the Sponsor. ARTICLE VI. MEMBERSHIP Section 1. Any girl of good character, possessed of a voice adaptable to ensemble singing shall be eligible for membership, subject to the conditions of Section 2 of this Article. Section 2. Since a high standard of choral work can only be maintained by qualified members, consistently in attendance at rehearsals and presenta- tions, the following restrictions shall be rigidly enforced: a. Qualification for Membership Each candidate for active membership shall be tried out by the Conductor who, with the advice of the Membership Committee, may admit such candidate to membership. b. Maintenance of Membership (I) Absences: Any member, knowing in advance thaf'it‘wm‘fié impossible for her to be present at a rehearsal or concert, shall notify the Secre- tary or a member of the Membership Committee prior to the rehearsal or concert, giving the reason for her inability to attend. If, in the opinion of the Membership Committee, the reason is sufficient, the absence shall be con- sidered excused. To guide the Membership Committee, the following examples of unexcused absences are listed: """"—"""' 171 -3- b Maintenance of Membership (Conn) Common cold or loss of voice. Regularly scheduled activities. Social engagements. (2) Attendance: Any member having three unexcused absences from rehearsals or concerts, incIuEiing Oratorios and May Festivals, during one season may be expelled from membership, and shall be noti- fied in writing to that effect by the Membership Com- mittee. She may, however, apply for reinstatement after one month, when it shall be the duty of the Chairman of the Membership Committee to present the name of such a member before the next meeting of the Executive Board for action relating to readmission. (3) Concert Eligibility: The Membership Committee, acting with the Conductor, may at their discretion disqualify a member who has been absent from one or more rehearsals immediately preceding a concert from singing in that concert. (4) Practice: While not enforcible by an}; agent of the‘Cff‘or‘u‘sfit is strongly urged that eac member assume the responsibility for a fifteen-minute vocal exercise each day, that her voice may be maintained of quality required for membership. (5) Gowns: Members shall retain possession of .gowns' "p—u'rchased by them, keeping them in good condition and readiness for concert appearances. These gowns are not to be worn on occasions other than Chorus appearances, thus keeping them as nearly as possible in a uniform state of deprecia- tion. By such restricted use they remain a symbol of the Dow Girls Chorus. (6) The membership shall be closed six (6) weeks preceding a performance and reapened immediately thereafter. ARTICLE VII. OFFICERS Section 1. The elective officers, to serve one year, shall consist of a President, Vice-President, Secretary, Treasurer, and Librarian. The officers shall be elected at the annual meeting as described in Article IX, Section 3b. The re- sponsibilities of these officers are defined as follows: a. The President shall have general responsibility over all We Chorus and shall be an ex-officio mem- ber of all committees. She shall preside at all business meetings of the Chorus and Executive Board. She shall sign all conglacts and appoint special committees and a Chorus Histor . 172 -4- b. The Vice-President shall, in the absence of the President, fake over tnedfities onhe President if that office is made vacant and shall substitute for any other officer who is tem- porarily unable to perform the duties of her office. c. The Secretary shall keep an accurate record of the mlmbership F011 and attendance. She shall take and compile the minutes of all business meetings of the Chorus and Executive Board; shall be an ex-officio member of the Membership Committee; shall perform such other duties as are pertinent to her office. d. The Treasurer shall be responsible for all receius; shall Week except those paid by the sponsor; shall keep an accurate account of receipts and all disbursements paid from the Chorus treasury° shall submit reports at such times as may be requested by he President. e. The Librarian shall have direct supervision of the distri- FfitT—Won an Too action of music. She shall have one or two assistants, as necessity demands. f. Other officers (1) The Conductor shall be an officer. (2) The Historian shall be appointed, to serve one War, y e e‘sident. She shall compile and maintain a history of the Cnorus and its activities. Section 2 . Vacancies in office or in the elective membership of the Executive Board occurring during the year shall be filled by appointment of the Presi- dent subject to the approval of the remaining members of the Executive Board, such appointees serving during the balance of the current ear. A vacancy in the office of President shall be automatically filled by t e Vice-President. ARTICLE vm. COMMITTEES Section 1. The duties of the committees necessary for the effective administra- tion of the organization are defined as follows: a. The Executive Board shall consist of the President, 'V'fce-‘Pfes'ide'fif‘S", cor—Te ar' y, Treasurer, Librarian, Chair- man of the Social Committee, Chairman of Membership Committee, Chairman of the Gown Committee, Conductor, and three other members who shall be elected at the annual meeting to serve one year. The President shall be Chairman. This board shall have general management of all Chorus activities. Matters of special importance shall be submitted to the Chorus for approval. 173 5.. A quorum for transaction of business by the Executive Board shall be nine members of that body, one of whom shall be President, or Vice-President. b. The Membership Committee, to serve one year, Shall conSisTofiour members, one from each section of the Chorus, who shall be appointed and the Chairman designated by the President with the approval of the elected members of the Executive Board. The Secretary shall also serve in an ex-officio capacity. This Committee, acting in an advisory capacity to the Conductor, shall investigate the qualifications of all candidates for membership, and shall supervise attendance as provided in Article VI, Section 3. This Committee shall meet not later than two weeks prior to the Annual Meeting and, functioning as a Nominating Committee, prepare to make nominations of two candidates for each elective office at the time of the elections at the Annual Meeting. Such nominations shall be made from the floor by the Chairman of the Committee. , c. The Social Committee to serve one year, shall consist of a Cffifiman'a'esignate'fi by the President with the approval of the elected members of the Executive Board, and as many members as she deems necessary for each social activity of the Chorus, to be appointed by her from the four sections of the Chorus. This Committee shall be responsible for all social activities of the Chorus. d. The Gown Committee, to serve one year, shall consist We memfifi who shall be appointed and the Chairman designated by the President with the approval of the elected members of the Executive Board. This Committee, acting with the advice of the Con- ductor and Executive Board, shall supervise the selection of gowns to be worn at public appearances of the Chorus. Any member wishing to resign should consult with this Committee on the disposal of her gown. This Committee, acting with the advice of the Conductor and Executive Board, shall set the rate of depreciation to be allowed on exchange of gowns. This Committee may also assist and advise in the girls’ make-up for public appearances. e. Special Committees may be appointed by the President a's'Tequfi'ed. 174 - f; - ARTICLE IX. MEETINGS Section 1. Rehearsals shall be held as called by the Conductor, advised by the Executive Board. Section 2 . Business matters other than those already provided for and that cannot satisfactorily be handled by the various committees, may be discussed and acted upon at any meeting attended by a quorum consisting of two-thirds of the current membership. Any business matters except amendment to the Constitution must be passed by a simple majority. Any member in good standing as defined in Article VI shall be permitted to vote at any meeting. Section 3. The Annual meeting of the Chorus shall be called by the President between March 15 and April 15. Notice of such annual meeting shall be given or mailed to each member at least five days in advance. a. The order of business for the annual meeting shall be W: 1 Roll Call 2 Reading of Minutes 3 Reports of Officers 4 Reports of Committees 5 Election of officers, and members of the Execu- tive Board. 6 Unfinished business 7 New Business 8 Adjournment b. Nomination and Election of Officers: (1) A primary election shall be held at least two weeks prior to the Annual Meeting to select a maximum of two candidates for each office by a plurality vote. The membership committee shall nominate at least one girl for each office following which nominations may be made from the floor according to parliamentary procedure. If there are more than two nominations, the primary elec- tion shall follow immediately by secret ballot. (2) The election committee consisting of the tellers, appointed by the President after nominations are closed, shall notify the Secretary of the candidates elected and this information shall be included in the notice of the Annual Meeting to the membership. (3) At the Annual Meeting voting shall be by secret ballot and ballots shall be furnished with names of all candidates and space to write in any three names of her choice from the membership at large excejx those voted under officers. 175 -7- (4) The three board candidates receiving the highest number of votes, excluding newly elected officers, shall be declared elected to the Board. ARTICLE X. MIDLAND MUSIC FOUNDATION Section 1. The Dow Girls Chorus, by action taken in January 1946, shall be a co-sponsor of The Midland Music Foundation along with The Dow Male Chorus and The Dow Symphony Orchestra. Section 2. The Dow Girls Chorus shall be represented on the Governing Board of The Midland Music Foundation by two members. Each year, at the annual meeting of The Dow Girls Chorus, one representative shall be elected to serve a term of approximately two (2) years, as provided in Article IV, Section 2, of the Constitution of The Midland Music Foundation. The term of one representative shall expire each year on the date of the annual meeting of the new board of said Foundation. Nomination and election of the representative shall be conducted in the manner provided in Article IX, Section 3b except that she shall assume her duties on the date of the annual meeting of the new board of said Foundation. Vacancies shall be filled in the manner provided in Article VII, Section 2. ARTICLE XI. AMENDMENTS Section 1. Amendments to the Constitution may be made at any meeting attended by a quorum, provided written notice of such proposed amendments has been mailed or given to every member at least five days in advance. AmenMents must be passed by a two-thirds vote of the members mesent. Drawn by the Constitution Committee March 22 L1950 Lucile Knutson Hilda Hyser Joyce Meeks Tressa Reinke Approved by the Executive Board Adopted by the Dow Girls Chorus APPENDIX C DOW MALE CHORUS QUESTIONNAIRE FROM 1955 DO. M 010315 - 1955 To heir. the line to Department in future planning would you answer the following and mil to the liuoio Domrtnnnt at once. , would you write what part of our chorus activities you enjoy the most and what part the least. Here are the musical numbers on your concerto the last two years. Please check the ones you liked. 12.3.9. ”Kenn, Sueeer WWWW/ JJLaudamue ”l I, III 13Jeeue walked This Lonesome Val1ey'éilIl/Mt/fi‘l’fiw’7"l zsriox-oe was the we 81113; NW NW Z‘ICclm and Storm [AWN/W III NOVA/WNW! ...—niwive i-ie Your Tired Your Poor ”Brother Will, Bret or John WNW” 24A llountainctovednon’gu fill/flzi’V/fl/ ’ Drnoe l. mm on ....'. . ’JIt's & (grind flight for Singing MW”? ”Every Day 19 Ladies’ My with lie MM»?! ’1’ 'BHou'll Never Hall: Alone MMflwM/m/j 50min' Thro' the Rye 1m liltxlian Street Song film/m \ I mflflflgfiofidymr Halo ”mg/we Past Wl’éahe mppy naw."): W-me” 16: llelieve WW and" yLullaby of. emcee; Mal/NW 15Dark water MUM” [WWII/M ”Galway thy MW)» I’ll fl/m qJRnok—a lty Soul’fuw Ilflnl .ugng D‘UIW/I/ I WWW/WNW 10:: Beautiful Upon the ziountfiinsgu'hg yneooated c100; [WWII/WWI .- a—Pilgrin’e Bonfiwn-IJNWWNMII ”Kathryn‘s nodding Day MIX/WWI “Roving dem I moon of l'ianakoora M ate/M '34fDm-m in the vaiuymMfl'N‘W/Iilzon the Trail WWW 2 nter'e noon Hull/WWW” ”were Jud INJfi/MW’W/Wl” ’33 Man Is on Islam WWmemneeml Jacindy WNW ,1 Like It Here liW/I/ I 0e“ T0 (”E A R, lid”, 176 APPENDIX D MIDLAND MUSIC FOUNDATION SCHOLARSHIP CONTEST LETTER MIDLANP IUSIC FOUNDATION CONTEST February 28, 1957 Dear Contestant: Your entry blank for the Iidland Huslc Foundation Contest has been received. Following is information you should know about. the contest.. 2§§£§;--;€.ELA£?§6193!§§ cantestsnts' names have been drawn out of a hat to daterninc the urcer of appearance. A list showing this order is enclosed; the same list will no available at the beginning of each eessicno mans. lfififlflcwfilmwfl A First Prise of $100. a Second Prise of 875, and a Third Prize of $50. is available in the following categories if (based on the judges“ scores) they are earned: Intermediate Piano: intermediate Strings; Intermediate Woodwind; Intersediste brass; Senior Piano; Senior Strings; Senior Weedvind; Senior brass; Senior Voeslt To win First Prize, a contestant must sake a score of 9b or core; to sin Second Prise. a contestant must make a score of 8? or core; to sin Third Prise, a contestant nust.nske a score of 60 or more. A full eightuseek Interlochen Scholarship will be sesrded to the contestant who makes the highest score in the Advanced Division. in both the Intermcdiste and Senior Accordisn Divisions. a prise of $25 sill be available to the contestant asking the highest score a if that score is 9h or above” Medals will be given in each Division and Instrument Classifi- cation of the Division on the basis of the numerical score: Class A ledsls for scores of 9h through 100 class D Iedsle for scores of 87 through 93 Class c ledsls for scores of 60 through 86 Cash awards are to be used for purposes of musical education approved by the lidland Music Foundation: CHOLQE AND ANNOUNCEMENT OF JINNERS 0F ?RIZES AND IEDALB .l Winners of prises will be announced at the cospletion of the hearing of eseh Division. 2, winners Class A (Blue Ribbon) Medals, Class 5 (Red Ribbon) Iedals. Class e (White Ribbon) ledals, sill receive these Iedsls at the completion of the hearing of each Division. 177 178 Because of a general increase in entries in the contest, we are making these changes affecting the contest on larch 23, 195?: 10 Intermediate and Senior pianists will play at Central Intermediate Auditorium; all Woodwind. Brass and Strings will play at the Dow husic building. 2. All contestants in the Woodwind. brass and String Divisions will he allowed "five minutes" playing timed No penalty in scoring will co assessed if the contestant is stepper while playing« 37 The Advanced Division or the Contest will be held in Central intermediate Auditorium. Cordislly yours” The llidland “Foundation Board APPENDIX E INFORMATION SHEETS FOR DOW GIRLS CHORUS DOW GIRLS CHORUS Instruction Sheet, l9__ - l9__ ATTENDANCE 1. Attendance will be taken from the first meeting in the fall through the May Festival and will include all rehearsals and performances of the Chorus either alone or with other groups. 2. Excuses for absence should be presented befoEg a rehearsal or concert not after. Please call or contac e roll taker for your section. 3. Rehearsals will start promptly at 7:00 P.u. and end as close h. lembers of the Chorus are expected to sing in all out-ofbtown concerts as well as local concerts. 5. The acceptance of an excuse for tardiness shall be up to the discretion of the section attendance taker. If the excuse is unacceptable, the tardiness will count as an unexcused absence. 6. Examples of unexcused absences (See Constitution - Article VI, Section 2b). Section Leaders: lst Soprano 2nd Soprano lst Alto 2nd Alto 253.92 Concert dress shall consist of a long black skirt, a long sleeved white blouse, black chose, a single strand of pearls a plain buttonc type pearl earrings. Black Skirt: a. preferably made of a dull finish crepe. c. should hang one inch from.the floor. d. ordinary width waistband. White Blouse: a. made of white cotton. b. patterns for these blouses in all sizes will be available from your gown chairman. if you have any further questions, please see your gown chairman. Gown Chairman. 179 180 Girls Chorus Instruction Sheet Page 2 E25}. 1. Dues are 3 a year, payable to the Treasurer 2e 3. . If paid within four weeks, the Fmount is radioed 55 cents. Dues are not refundable after they are paid. Constitution - Article V, Finances, Section 3: ”Such assessments as may be deemed necessary to defray expenses or costs of social functions may be levied at the discretion of the Executive Board with the approval of the Chorus by vote in the order cf regular business. Said assessments shall be paid by the members of the Chorus eight weeks after the opening of each season, and by new members within eight weeks after Joining the Chorus at any time. If a member pays her assessment within four weeks after the open- ing of the season or within four weeks after first joining Chorus, she will be allowed a reduction on the total assess. ment, the exact amount to be determined by the Executive Board. If the assessment is not paid by the end of the eight week period, the member in arrear shall be relieved of her chorus membership by action of the Executive Board.” Dues are used to finance our social functions for the year. 181 DOW GIRLS CHORUS According to the Girls Chorus attendance records. you have two unexcused absences. As you know. after three un- excused absences your membership is automatically dropped. We would appreciate knowing whether you intend keeping your membership with the chorus. We would like to hear from you concerning this matter as soon as possible. Very truly yours, Membership Chairman Phone APPENDIX F CONCERT DRESS REGULATIONS FOR DOW MALE CHORUS mmmammmsmms necfficialccmcertdressofthencvllalemwallbst‘medos, white shirts, black bow-ties, black shoes and socks. A white handkerchief shallbeucrnintheba‘estpccketcfthst‘medoccat. lothingadditicnal totheafm-mentiohedite-shallbeusedviththisdress. lcpinea' bcutmnieresshellbeperutted. Meistheofficialecncertdressfcrsllccncerts,mlessnctified tothecontrary,sniChcnasmsabss-sereexpectedtoealfcratotheabove tcthebestcftheirability. htheinterestcfp-esentingamifcraappearancetotheamliense, thefcllcvibgsuggssticnsahallbefcllmved, ifatalljcssible: l.Tuxedo Thetmedoshallbeplaibblackorblus-black. 2. am . mmwupmnmu. LW beecllnshallbeaplain,white. turn-dasfnlt'pe. ”mumcan'cemaal, astostyie. Mm hetieshallbeplainblackdressbov. lo'Shoestrius" allowed. 5. mass The shoes shallbehlack, plaintoes. 6. 80m nesccksshallbeplainblackcffineveavw. locales-ed clockscraryles. 7. W15? Thehandherchiefehallbeplainwhite, vithwt initials»: border, ami shall be of some fairly stiff nterial (Preferably linin). Itahallbefcldedinhslf, andtheninthirds,“ insertedinthebreastpcchstscthatabwtcnelhalfinchof thehemdedoeeshowahovethetcpofthepochet. 0 m-Avhite "dicky'mviamlywcnhythechm-usshallbeaeeepted asasatisfactcrysmtitutsfcrthefulldresashirtlisted. Totheneva‘sreefthem: hemasttteecffes-sthefclluim sugpsticnan Seccml'handttmedoscesbeplnnhasedfa'aslittleasteadollcsuptc tventy'fivedollsrs,depemlibgcntheageadccmlitimofthem-t. he Nusicbepcrtmentsctsasanemchamverettmsdoscanbebcught, solder traded. Suh‘traueacticnsaremuallyperemtopsracn. ”mouthing Co.,Centes-Ave., summon-inmslmuauoaotmmm, asvellasacamletelineofaccesea-ieesuchasahirte, collars, ties, etc. mun-usmummw,mmmsmmotm arealsoscurcescfeeccniomnmes. 182 APPENDIX G 1952 CONCERT TOUR PROGRAM FOR DOW MALE CHORUS AA‘ A.— f¢|, (fps/L f/"J/ILC LL r:\- TU k ;)T A . ”banal: ”2 WW |~_- J AL/y/ ,4/1/ ‘ ///J or MIDLAND, MICHIGAN ~-:>/ mmvmrchmwm. * -.- “Ti “3““ .\' ”I 9 .& \Lf‘fg. l)r ‘ " ry’fVJJ/ 5'7 '1 ' lye—z? MARCH 9-16, 1952 f.‘ ll’ 35:?!»‘1- '. - -.~. I j“ } L 1%th -»: rzxns 91‘115191 L/ x“ THE DOW CHEMICAL COMPANY - } FIEEPORT, TEXAS :' _ .1 ‘ \<:_ 1—§)_ZZ)- ‘-| Y csspedclguestsof r/‘HA fi‘ \W; 1 JJ 15' OJ!POJ§;\J‘—E.fl._ lSA OKLAHOMA [RI/Mi 183 184 ;’ ' {.._ l’.“ I. figs-3w" ' (21.11; ‘ '- i0: 3| ‘v I. The Dow: Mole Chorus under Ilse direction of “wooden Vosburgh, occonpoeled by Wilford Crowlovd. with Coll Manners, soprano. THE record of what music has done for Dow and the entire community at Midland is a major chapter in the modem story of what enlightened industrial management is doing - snd will continue to do ~- to foster . . . the advancement of excellent employee and commu- nity relations . . . while enriching the lives of employees and neighbom” THE AMERICAN MUSIC CONFERENCE 185 My or THE FromagroupoiDowemployeesin l936who wanted to sing has grown one of the largest industrial music organizations in the world. Grandfather of theDowMusicDeparunentistheDowMale Chorus, organized in l936. Moving spirit was Frank M. Whal ey of Organic Chemical who is still singing with the Chorus. The Chorus began its aetivitim with the support of Willard H. Dow. .1 goal of mo voices. and a budge-I of 360 a month for a part-time director. rental of a piano, and for music of that early group. 16 still sing with the Chorus. This fact is significant when none considers that members may m no more than three weekly rehearsals without adequate excuse. Still. there is 1 continuous waiting list of from 20 to 40 Dow employees bets. First conductor was Professor J. Harold Powers of Central Michigan College. Several Others followed until Dr. Theodore Vosburgh took over in 1943. From the start. the Chorus drew men from practically every department at Dow. A thoroughly demoimtu urginiution where the boss rubbed shoulders with his helper. the one requiremcn ntii that every man should carry his share of the notes Each season the Chorus sings at least two home and severalot I--tol town tIInLerts inms thr- Dow Girls Chorus and the Dow Symphony Orchestra in presenting an open-rm an oratnrin or other religious program and I.-IkIs p.mi In the Dow Music Festival In M.IyA member Iii The Assumed will sing to apprtIXImately 20.000 persons tliIs yt.Ir Nationally-known concert and operatic stars “appear with the Chorus each season SIIc hn jmephine Antoine leading Metropolitan Opera coloratun soprano; Perry Grainger. famous pianist Sinan Reed. follts . ml and Frederick )agel. Metropolitan Opera tenor§1nd Lois Bannerman hatpist have appeared in prevmus seasons. An othese artists have express high praise for the musical sltill and precision Chairs. The 100 male voices are so flexible that .1 Dow Chorus concert plays the full range oi musical types -!rom classical and oratorio nu toballad. musical comedy. popular novelty- -type songs. singing is alwa expressed with vigorous fervor and a catching” spirit that sends the .audience away singing, As abourone of their concerts — “the 5:: male choms presentation yet." Music at Dow has become a recreational activity in which ‘ ed with more than mt of them mm the company. take part earh year During eatlI mum more than 30000 persons enjoy Ihe (moms. upet..Is upuettas orat orios Hand The Dow Music Department was organI i'zed III I94“ aftetDr .Theodore Voabutgh was brought m Mitilmdr to become Dows first full- ~rirne dsireemr of its muin. II activuies. He took over the male cho and immediately Ingmar-i the Dow Girls Chorus Previously. .I community symphony orchestra had been organized in 19 I. WIIUSL' activIIIes tool: over the hejub of m-rgnnumg th is orchesIm which became the present Dow Sym ytOrchesra A madrI rlgal group was organized In I940 ('lnmher music and mixed recital groups were organized later. Thur rtrnen on :I nytombinations and variations of these grmpt pt-rmt the performance of a witlei range of muaiul prngmms. The organizations also hebroadest baset persons: connecred with Dow and the «Immunity to take part in minical activiti.es In 1949. the Music Departmentt took over a former church building which has been convened into a small auditorium. cilia-sand rehearsal Icon: The“ ieDepartmeIIt organized the Midland Music achola Interlochen. Michigan. as well a: cash awards to be uaed for private [atom with local teachera. For the past two yeanthe theFoundation has helped fimnee the music program in the Midland County 186 mt. Ind lwaitol Ihwi 187 c7éflw9{% W Theodore Vosburgh, Conductor Wilford Crawford, Accompanirt with Gail Manners, Soprano MusICAL GREETING . LET THERE BE MUSIC - ‘I‘IIANIts BE To THEE - DEEP RIVER - - - DE GLORY ROAD - - MY HEART HATH A MIND AH. TWINE No BLOSSOMS A PIPER - - - - Aux TEMPS DEs PEEs VIsI D’AR'I'E from "Tosca” - TIIE FOGGY. FOGGY DEW SERENADE - - - DRILL, YE TARRIERs, DRILL PROGRAM (Words of “Men of Dow” by Earl Ziegler) - arr. by Wilford Crwlord . . - - . - - - - - - France: William . - - - - . - - - - - HMl-bFebwc . . . . . - - - - - - m. by Burla'gb ( G. Fred Heisman, Bar: and Charles Noble, Mm) - - - Jacques Wolfe DOW MALE CHORUS ‘k . - - - - l7tb Century Englirb Folk Song, arr. by S. R. Gainer . . - - - - - - - - - - - Clio" - - . . . - - - - - - Jab» We . - - - - - - - - - Cb. Korcblin MISS MANNERS * - (William Guernnt. Mane) - American Folb' Song, arr. by Scott . (John Simonian, Tenor) - - - - - Wayne Howorth (Dialogrre: Chester Payne and Earl Ziegler) Railroad Wort Song, arr. by GM]! Pilcbcr CARRY ME HOME 10 THE LONE PRAIRIE (Paul Gwenbcrs. Baritone) - - Cowboy Song, Guion—Duran DOWN BY THE OLD BAYOU - - David Brunet! DOW MALE CHORUS * INT ERMISSION * A MAIDEN - - - . - - - - . - - . - Christopher Tboma HURDY GURDY - - - - - ~ - - - - - - - - Pbilip Wm WHEN I MARRY MR. SNOW from "Carousel" - - - - - - Rodger: and Hammerruis ROMANCE from "The Desert Song” - - - - - - - - - - Sigmund Romberg MISS MANNERS * THE SERENADERs - - . - - . - - - Italian Folk Song, arr. by A. T. Dcvirou THE SILVER MOON Is SHINING - - - - - ~ - Italian Fall Song, err. by A. T. DOW” ONE ALONE from "The Deaert Song" - - (Ralph Hand, Mm) . - - . Sigmund Romberg BELIEVE ME IF ALL THOSE ENDEARING YOUNG CHARMS - . - - - Iris}: Air. arr. by Ringwald (GAIL MANNERS. Soprano ROMANY LIFE from "The Fortune Teller" - . - - - - Victor Herbert (GAIL MANNERs. Soprano.) DOW MALE CHORUS 188 01%?» now MUSIC GROUPS mm’ mus CmmrubytheGirla' OIoruaarealwaytgay. colorhtland charming, Cola-fulmmaincreactheartnctivenueoftheir to iat. moperetm memberaiointheother Dowgroupaintheirproduct TheGirb' Own-ahahapanintheSpringM uncl'eatival WWW “CHEST“ TheSymphondeIestralIaaalI-Ingteeerdolloyaltyand afiectionamongita members. I haagtowntoamemberdlip dbetween70and75llidlandmruidenta. Daring mthe manna outd- mm ulually with guest artiata. in “additiut to the joint programde at Operettas. Wand Mme Spring Music Festival. lta musicll praiae from music critic; Wilford Crawford. conduaor .hasbeenactivelornnnyyuninor iaingand directing Idtonland munity imtrnmental Jelliual group. W mam oeows The Madrigalwaea fotmofhome Inutic popular fora long Singer: perform authentic madri’h. at well as me recent American folk and popular any music with it! more intimte appeal to artisthe and audience alike gives opportunities [or memberaol chorusesto to‘rresent music in which i ndivlidual excellence is man clearly iaplayed Small combination of allkindatalte epartin pteaentingaaer aeriea Sunday afternoon tecirah during th aeuon at Dow MUSIC 09mm STAFF The exteruive and ambitious ,. 189 31» .I ”sealing“ THE cuoaus ’ ' 3“ . " ~ FIRST TENOI SECOND TENOI FIST MSS SECOND “SS Thomas Bellotte I Arthur Barry lawrence Adams 31' Warren Abbott I Luman Bliss Dwight Barth Allen Frank Clark Hollis Bean Earl Beck F J. Binge If Richard Clark Roy Bliss Harold Clark Philip Crawford Harry Hamilton James Collin Franklin Fdwards John Da Hu Do ld Croope Charles Gerould 21’ Alan Doidge Warren Larson James Cummings William Guerrant les Gildarr Harold Lindsay fEdward Fiedler Ral Hand Albert Gowdy S. M. MacCuttheon Sharon Hill IHamld Hawky Edwin Greenlaf William Mclotire Id Robert Hug Paul Gutenberg :Dale Reed Edgar Ilgenfritz Robert Kimmel Earl Harris James Run Robert Lind Amos Knutaon 11’ Fred Heisman Carl Schimmelman Lowrey Clarente Kruae f Ray Holmes 1‘ William Schwartz :f A A MacPhaIl f Byron Mare 5! K oh Simonian Ma 'n Delton MIllcr ‘ Edward Sptlgue Edward Mumy. Jr Inc ison Rm" Lisle orman Sweeny SterlIng Myers 11’ Charles Noble W. M. MacArthur lee Teichthescn arren M Richard Olson If Bernard Niehofi Clarence Thomas Donald Roe Hltold Owen Phillip Oren James Upham Robert Rose Robert Phillips P. Wayne VanDerwill Lyman Skory If Harry Runkle Phi: 1‘ Stanley Venton Janus Smith L L. Ryden 11* Ed Ronda Harry Walker Fred Sovia Heigo Sari Eldon Schwu WIllard Westveer DeWitt Stillman William Schwaru. Jr. James Shafier I Frank Whaley Dudley Tabor Willard Smith Paul M” gene Yehle Halhcrt White Harland Taglauer 11' John Spencer Theodore Eugene Winters Kenneth Tyson Maurice Thompson ° Cornelius Sullivan ‘ Richard Thompson Richard Wendland Robert Titus : Donald Wilson Almar Widiger ‘ Military Satire 1 Clutter Member: Mark WoII Frank Williams James Wooten Earl Ziegler 1 Member of tbe (born: for twelve year: or more ' Willis Miller ' Mart Muaolf OFFICERS OF THE CHORUS Franklin Edwards, Mmbeflbr'p Cbairrmm James Runyon. Tran-tar Roy Phair. libra'un Luman Blis. Governor Farl Ziegler. Prudent Paul Sheffield, Vire’PresiJrnt William McIntire, Secretary COMMITTEES APPENDIX H DOW SYMPHONY ORCHESTRA PROGRAM MARCH, 1949 ZDEOEDD< .5028 :05 .ES .3... .38: :23. 3. 3 33.5.6... 3. .4... .. trio ..z 720522 5259: can 81: 9.52 En 8... "gag... ".35. 823.5 ...-as «a: as... 89.8 in: 29883: 3.31... .33. .83. 53.5 as no=< “an? 23:... 3:8 as... 88.13. 3 o a c a a _ fl 5“ 2 .— omm 8 $3 mm as >z:=.=>§m .... a... xii... .523 382 5.3 .388. .383... g:: .33 noon ~83: “.980 2am :00 8930 Al.— .owasm uomeWno 12m 5.3— ....Sn 38.... 89H 88.— 84282 £39; 318m non—mm 3839880 g.— 32-: ”Ed 62305 1598 avauévmu 638% #896 gm 190 191 .0308 000803 000 .0023 «SH $0800 .23 Sod 3.507....— w0_5.001=0.3 0000.0 A..0&ml..0..&w .0 and: 06 3 Samoa 0 .m :2 3:00:80 .00- »8806 300 05 3 E0800.- 0 .~ .3: ..Rmucm 0.302 union 13.0.0. a.m.— .Ent0._v:< ~02.“ 3: 06 «0 mic .m 1.0 N or; .>008 000 6058588 0. «00.0.... 01.8 0.: 08000.0 00.83.05 0.0:: .. 88.80 03.8... .8082 .... ...... .838... .. .....o 80 08...: ... E... -N RN 4.500 3Q . . 3&0 E55923 7?. Oh EEO Hmomm < .0300...- 3 0.. 808 do. 459...... 06 =0 00 0300.— 80.. 06 30303 a 800.00 b.0000 000.3 302 .000 £53< 90.030... 60.3030 >03. «0 0.2.8 06 .0 00.000. 5080000.... 0800200 man 00:08. as 0: .3000 ...0. 5.30m 00.000000. 0. :38..— 003000 2.— 05.30 .0108 100.000 3 0.0.80. 93:0 3 00:08— -80. £8.30 0.... . $0920 3.92000 50003 3 030.03 8 0.000.. 00:33.. 0 .0 £083.. 05 8033: 008:0 2F 0000000900. 000 80000.: .0. 00.. 00:09.. mo GEE a 000.0. 4.00.. 05% 0.0005. 05 .0 00.0» 05 a. Sweaqcfi 00008.8 .00.. a: 01300. E03526» 00.03% 05 .05 830.000 0...? 0300.» 06 7...... 8 00...: 09000 2C. 000.0...“ C0 .048? .0330. 05 08400.. 0:00:3m .04. 0.38 0A. 0. 5:3 .8000... 3 5030.00.00. a .59 .300..— 0‘. 0050.500 0.503% 0.3:;— 3 00.800000 03.0w- m0=wm=bn 33 van—Em 00:3 votua a ”2.30 33 E 008:3 It 0:00...."— Awa $503.». . . . . . . . . . . 59257:.— 2.5—was.— §0§0 an: _ .02 .8880 why—802 m0 02.50 E 20 mag.— R...§: .3380...“ «ha— .wmm— Hui—7.00 800.00.030.80 :2— Bun—<3 M53: 30001030.. 3003303.". 32.32 .3 . do; O #50:.— 2 55.08% (4.88.0.5 E O77. 507930 d! .333 a... 0000800008 05 am new ..§£§§§.§R§3§30 01.009.100.002 .805. 52 08.0003. 3 .0 303 09.2.0 00 n. .3300. .004 0’ 4033 ...0003 008%: ....3002H 5.38.2: 100 =ng 05 0. 0.13... 90030 na 0310 0:3 08104.3. 403 3 gazeta £0003 £9805 >808“. £5 ... 0.38 .=0 08:003. um 000.80.. 0030.00. 040 .0. 500.0 00:0. .9380 0: .8050 5000. 10- ... 3 3.804904%. L828 06 00 I=02: ...EuD 03:00 80$ 0.5... 3:: .00.: 93.5 0A. ~0 .008 50. 3 8.090. 02 00» 030.3 80a a. 09.100 .03 .0001 0000 .m .9 2.2.8530... 8.30.3253...§8 «83.36333...» .ugcfltguflnmfluanagga 833593.330, 08853:€30380A§<§_033§ .nd-0:51.33 0635...... 3.008005xaafinmaianofiflumsiggggm .8... £830 .003... 0.... . . . . . 0.5... 200.... O O I ZOF350.— .08000 3.00 b0» 90009.3 ‘0 000 a 6mm. 3 005.3 3.3.02: 2.2.2.: .50.... 08...... . ..Nzam. 8 008.50 “WMMMW 3 1293 fillmltflfiflilfllfllflfifil'flfl