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FOR MIDDLEBROWS

Sir,-Of the three types of brow, I believe it is true to say the middlebrow is least articulate. He is energised less by a passionate enthusiasm than by an easy-going desire which just falls short of rousing him to state ‘his wishes. Nevertheless, I believe he receives more real pleasure from music than either of the others. The highbrow gets his pleasure chiefly from perfection of tech-nique-a specialist pleasure. Where the boogie-woogie artist gets his, I am at a complete loss to understand, so speculation on my part would be a waste of time. But I believe the middlebrow gets more real pleasure than either of them, and, because of his silence, receives least consideration. It gives me great pleasure, therefore, to point to a programme which seems to me, to fit exactly the middle>brows’ wants. On Sunday, November 15, from 2YA Wellington, there was a session called "When Song is Sweet," by Betty Gatehouse, John McDonald and Peter Jeffery, which was beautifully chosen and sung, and just the programme which middlebrows have been asking for for a long time. I hope it will be made available to the other YA stations. I also hope that the two progremmes of Gisele, the Canadian singer, are to go the rounds of the: National stations. Thev are much too good to be shelved.

W. H.

GRAHAM

(Auckland).

This article text was automatically generated and may include errors. View the full page to see article in its original form.I whakaputaina aunoatia ēnei kuputuhi tuhinga, e kitea ai pea ētahi hapa i roto. Tirohia te whārangi katoa kia kitea te āhuatanga taketake o te tuhinga.
Permanent link to this item
Hononga pūmau ki tēnei tūemi

https://paperspast.natlib.govt.nz/periodicals/NZLIST19531211.2.12.7

Bibliographic details
Ngā taipitopito pukapuka

New Zealand Listener, Volume 29, Issue 752, 11 December 1953, Page 5

Word count
Tapeke kupu
227

FOR MIDDLEBROWS New Zealand Listener, Volume 29, Issue 752, 11 December 1953, Page 5

FOR MIDDLEBROWS New Zealand Listener, Volume 29, Issue 752, 11 December 1953, Page 5

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