and orchestra. Much of his work was published by Belwin Publishers of New York which then distributed it to music stores throughout the nation. His output was so prolific, Clair explains, that many of my compositions were printed, published, and played without my ever hearing them. Such productivity, in fact, sometimes led to publication with another outlet under the pseudonym Gene Ogden, and almost every high school in the nation has some of Clairs band compositions on file. Appropriately enough, Dr. Johnson earned his Ph.D. in musical composition and was the first to receive a degree in that specialty from the University of Southern California. Such accomplishments were the result of talent and a strong commitment to long-range goals. All during my career I avoided teaching summers and night school in order to compose, he explains. Unlike some creative artists, however, Clair never stinted when it came to his vocation. In addition to his other duties, he promoted the Community Concert, Artist and Lecture Series, and Utah Symphony, at one time serving on boards for all three organizations simultaneously. Among his many accomplishments, Clair served on the committee to study fine arts facilities at universities in California. Such efforts contributed importantly to the creation of the Val A. Browning Center for The Performing Arts. It was Clair, above all, who insisted unrelentingly on the elevator orchestra pit in the Mark Evans Austad Auditorium. Each time the question of finances arose, someone would say, Lets throw out the pit, he comments, but I refused to waver. That determination paid off, and the or-chestra pit itself made possible artistic performances which could not have otherwise been realized. Without that pit, in the words of Dan Martino, Director of Cultural Affairs, we could not have had some of our great ballets and orchestras. We could never, for example, have handled the Utah Symphony and Mormon Tabernacle Choir simultaneously as we did one year. ROLAND C. PARRY A FACE IN THE WEST There was no music department at Weber Jr. College when Roland Parry joined the faculty in 1930, and as others joined the staff, Roland made it clear that he had no aspirations to become chairman. Instead, he elected to focus his efforts upon teaching and composition. Over the years he penned more than one hundred songs of wide variety, three musical comedies, two cantatas, two overtures, a symphony, and two additional musical compositions. One of those compositions, A Child is Born, called for seven choirs interspersed at selected locations, stage to rear, throughout the auditorium. The technique was termed antiphonal singing, an archetypal version of todays stereophonic sound, and generated a long-term warm response. Performances were not only held in the old Moench but also in high schools and churches throughout the area with special performances at the Assembly Hall on Temple Square in Salt Lake City and eventually during the Christmas Season dedication of the Browning Center. Even greater acclaim came later when Roland was commissioned to compose a musical in honor of the Mormon Pioneers for Ogdens annual July 24 Celebration. Within a mere six months, sans time off for teaching, he managed to provide music, orchestration, and direction for a performance involving eight hundred people. During that same period, his wife Helen had created the beautifully poetic lyrics. All Faces West was performed in the Ogden Stadium and later at Fourth Street Park three or four nights annually for the next eighteen years. It was also presented forty-seven times in New Zealand with an all-native cast directed by the composer. Operatic star Igor Gorin played the role of Brigham Young in the performances and sang the Parry songs year after year all over the globe in concert, on radio, television, and via recording. The National Telephone Hour devoted fifteen minutes to music from All Faces West with Mr. Gorin, winning enthusiastic response. Afterwards, in fact, the Hours producer Wallace McGill stated: I have the album of All Faces West. and I cant count the times Ive played the Prayer for a Safe Journey. This music has always impressed me as having a certain spiritual quality which I find difficult to describe, but I know it touches people emotionally. The song The Miracle of The Gulls has been performed by the New York University Choir and Symphony Orchestra and in the San Diego Bowl Festival by the California Mormon Choir. Other songs from the Parry production have been presented by the Tulsa Symphony Orchestra, United States Army Band, and Voice of America. RONALD L. WOODEN AND THE GRAND CHORALE Dr. Ronald L. Wooden, Chairman of the Dept. of Performing Arts, joined Webers music department in 1967 and during the following nine years produced thirty-two major musicals, some in collaboration with Drs Leonard Rowley and John Elzey of todays Theatre Department. Among his many important productions have been Guys and Dolls, Westside Story, Hello Dolly, The Mikado, and Cabaret. This department, created in 1987, incorporates dance, music, and theatre arts. Since then Ron Wooden has gained growing distinction as Director of the Weber State College Chorale, a highly talented student group that has toured widely, performing at festivals and concerts throughout the nation and parts of the world. In 1972 the Chorale was selected to attend the American Chorale Directors Convention in California as one of the top groups. We performed in an hour-long program at the University of San Francisco, Ron says, and received great reviews both from the professional association and from the press. It was in 1976 that the Chorale first toured Europe, having distinguished itself by being selected as one of only four such groups in the United States to perform at the Symposium in Vienna, Austria. Sixty of our Weber singers went there, Ron says, to perform Schumanns Scenen Aus Goethes Faust. It was one of our first campus efforts to conduct a national tour, and we truly had a wonderful experience. Following that Symposium, the Chorale toured parts of Austria as well as Germany, Switzerland, Liechtenstein, and in Italy where they received a special, rather surprising, request for black spirituals. Two years later the Chorale visited the islands of Oahu and Hawaii, performing in high schools and churches twice daily on a schedule that left some of the singers hungering for more ocean swimming and