} ‘ would delightedly ‘ then, as he became more emotional, * tion ‘to the original. would be more appropriate, isi a mis- Page Four THE COLLEGE NEWS Dr.- Vaughan Williams -» Gives Second Lecture (Continued from Page One) the beginning, in order to overcome ' the difficulty of getting started. Dr. Williams has actually heard such a phrase used\by an open-air preacher in. Scotland. -The man, beginning ia ‘_an ordinary speaking voice, became ‘more and more excited till at a dis- tance where tHe words were _indistin- guishable, he seemed to be chanting a cértain. five-note musical phrase, ‘' which occurs répeatedly in folk song. A ballad maker, having in his ex- citement .hit upon such a_ phrase, repeat it and . would add embellishment and decora- Since, however, the music was made to fit the four linés of a stanza of poetry, he would ‘add another phrase, after which he ‘-eduld return to the first, thus using the eternal musical formula ABA, and employing the two great musical principles of variety and emphasis by - repetition. . Although the complete song stanza developed in this fashion from excited ‘« speech, the element of rhythm (i. e., the relationship of duration and ac- cent_of notes) must_be traced to the dance, and to emotional, excited ges- ture. Melody can exist apart from rhythm, and rhythm apart from mel- _ ody, but a complete*felk song must ‘contain both elements. In suport of Dr. Williams’ belief that in its symmetry, continuity, and development, folk music shows an ex- traordinary amount of unconscious . art among simple people, the college choir sang three examples of English folk tunes: Searching for . Lambs, The Water Is Wide, both from Cecil Sharpe’s Somerset collection, and The Holy Well, a cattle tune. Although ‘in the first number, the opening was not in perfect unison, and the choir ‘was too disposed to draw out one line before beginning the néxt, the per- formance was distinguished by sweet- ness of tone and .ability to achieve “the utmost dramatic effect. These tunes, beautifully rendered, showed, as Dr. Willianis said, that “folk song is in itself a ¢gmplete and to-my mind}: occasionally supreme work of art.” Certain severe limitatiéns of scope are, however, inherent in its essen- lial characteristics, In the first place, folk music is purely intuitive; it lacks the self-conscious calculation necessary for a large ‘work such as symphpny or opera. ~The fact that folk tunes were originally never writ-| ten or’ printed, but transmitted oral- ly, naturally curtails their length. Furthermore, since folk music is usu- ally applied music, fitted to the’ stan- za of a ballad or the figure of a dance, the rhythmic scheme is limited by ‘its use. Finally, folk music is pure melody, without any accompany- ing: harmony. These limitations, however, also have their corresponding advantages. Folk song is bound by no musical eti- quette, which confines its careless rap- ture to the terms of musical notation. The curtailment of length compels a brevity and conciseness which many composers of great works are unable to copy. _The_ repetition of one tune with many verses has permitted only those melodies to survive which gain, instead of pall, with frequent hear- ings. The vertical limitation of the lack of harmony has permitted the use of a variety of modes. Modern people have become so ac- customed to a harmonic substructure that even when they hear an unac- companied melody, they mentally sup- ply the usual harmony. It is a univer- sal fact, however, that if music de- velops in one way, it is limited in an- other. Eastern nations, for instance, _ without any harmony, have an elab- orate melodic system. Modern west- ern,-cultured music, with an harmonic basic, is curtailed in melodic scope, and between the late seventeenth and early nineteenth centuries, was found- ed on but two modal schemes, the ma- jor and minor. Folk song, being pure- ly melodic in character, shows no limi- tation, but variety of modes, among which the Doran, Aeolian, and Mix lydian are most common, The characterization of modes as “ecclesiastic” instead of “melodic,” as tation. Folk song and plain bodies of pure- vften considered, a derelict version of chureh musie In fact, it is rather more likely that plain song was in its earliest days derived from folk.song, than vice versa. Modal] tunes are, furthermore, not necessarily old,-but_merely melodic in outline. If harmonic, they are often called “archaic,” but archaic harmony is never modal. When men began [using harmony they found that the melodies did not fit their harmonic schemes and so altered the modal na- ture of the tunes. It was not until that pure modal harmony really ex- isted. At that time, Russian com- 7 Bourdelle Described as Prominent Sculptor (Continued from Page One) ies were very fecund; he was not only a’ pupil, but a collaborator of Rodin; every work, for many of them did only the designing and outlines; Among those finished by Bourdelle is the distribute these ‘commodities to those who. need them. This condition -is the middle of the nineteenth century|.a result of the fact that although goods are produced to be consumed, their production, instead of proyiding posers felt the movement toward na- tionalism and began studying Rus- sian folk music for inspiration. They discovered that the tunes were melod- ically concéiyed, and sought their har- monic implications... But these com- posers were merely brilliant amateurs, who, ignorant, of the common rile, made their harmony the base down, instead of up, thus by accident. devel: oping a modern modal harmony, en- tirely different from the archaic har- mony of early composers like Dunsta- ble. Three modern compositions were played by Mr. Alwyne to illustrate the use of this new style: Debussy’s “Sarabande.” from Pour le Piano, Ri- vel’s “Minuet” from Sonatine, and Sa- .tie’s “Gymnopedie,” all of which he performed with his customary skillful execution and interpretation. In conclusion, the choir, showing considerable facility in handling the intricate and varied rhythm, sang a Sussex folk tune in the Dorian mode, My Bonnie Boy. In his next lecture, to be delivered Thursday, November 8, Dr. Williams will discuss the debated question of | the communal origin of folk song and trace its further evolution. | League Speaker Contrasts Various Scales of Living (Continued from Page Three) less we are to lose what advantages civilization has gained us. Whether | the particular individuals who now re- | ceive its benefits are the members of the community most fitted by natural intelligence and seriousness of pur- pose, to benefit by it, is another ques- tion. Although humanitarian ideas have been developed sufficiently to make so- ciety unwilling to permit’ men to starve without making some gestures for relief, a food allowance of four dollars a week, such as is provided by many relief organizations for a family of five, is not sufficient to main- tain vitality. When farmers com- plain of a wheat surplus, and yet thousands are hungry, the trouble ‘with our economic system must be not the lack of commodities, of wheat and corn and shoes, but the inability to sufficient wages for the consumer to purchase them, has merely provided capital with which the investor buys new machinery and new factories. Three suggested methods of action for remedying this. state of affairs. were reviewed by Dr. Hart. President Hoover, and his advisers, believe that a reform of the banking and financial | system and expansion of credit are necessary for national prosperity, but it seems. doubtful whether the posi- tion of a debtor can be permanently improved merely by increasing the burden of his debts. Another plan calls for government ownership and operation of industry, but in Russia, where this theory is being tried out, there are still bread lines. As a third possibility, Dr. Hart sug- gested an idea of his own, which would be founded on mutual confidence ‘and altruism. A central planning board of the country’s twenty key retail men would be organized. Production would be undertaken with the idea that commodities are intended for con- sumption. The potential demand for each particular article would be reck- ‘oned by skilled economists, and work- ers employed in producing these arti- cles would be paid in part by cash, rin~-part by: purchase certificates —is- sued even before the goods are ready, thus creating a demand among the 10,000,000 put to work. As a result, prices would rise. Different com- panies would give estimates to supply commodities. controlled by this board, but since the board would decide im- partially between them, and order only amounts which it knew could be immediately consumed, ruthless, wasteful competition would be avoid- ed and the evils of over-production eliminated. At the next meeting, which will be held in Philadelphia; November 30, Dorothea De Schweinetz will lead a discussion of Public and Private Em- ployment Bureaus. Meet your friends at the Bryn Mawr Confectionery (Next to Seville Theater Bldg.) ‘the Rendezvous of the College Giris Tasty. 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Bourdelle strongly believ- ed that sculpture should be the docile collaborator of the architect; “c’est maintenant l’heure de batir,” he said. And so he turned to Greek art for his third source of inspiration. He was chiefly interested in the primitive works, which had been discovered in his time. Before that, the Apollo Bel- vedere had been thought early. - Bourdelle has been accused of prim- itivism. His imitation, however, is in- telligent; he renovates and gives his art an entirely modern accent. In illustrating the art of Bourdelle, M. Reau found it advisable. to divide shis work into “la petite sculpture”’— the busts—and “la sculpture monu- mentale.” Bourdelle infinitely prefer- red the latter, but, as has been said, : an artist obtains an order for a bust more easily than he does for a ca- thedral. Bourdelle’s heads, however, are by no means “oeuvres de jeu- nesse;” he left no “first works.’’ The | earliest was the product of his forti- eth_year, in 1900, and thus his twen- ty-nine years of activity. were all in our century. Bourdelle liked especially to sculp- ture great men. Among the busts which M. Reau showed us were those of Beethoven, Ingres, Carpault, Ana- tole France, Frazer, Rodin and the artist himself. Bourdelle did not strive for resem- blance. The bust of Beethoven, for in- stance, is obviously a work of fan- tasy. He has, however, the imprint of genius, with his deeply-sunken eyes and his storm-ravaged hair, In every case, Bourdelle seems to have caught the essential of his subject’s charac- ter; Ingres is obviousty authoritative, tyrant over his pupils; Carpault seems troubled and feverish; Vincent d’Indy is very lordly. Bourdelle has reproduced perfectly the ascetic char- acter of the old Strasbourg doctor, and has made an unforgettable por- trait of him. Also very powerful and striking is the portrait of Sir James Frazer, the English folk-lorist, who (Continvea on Page Five) m | New York's MOST EXCLUSIVE RESIDENCE FOR YOUNG WOMEN Known for Faultless Attend- ance and Individual Service. A Center of Arts and Social Activities Delightful Rooms, each with Radio — Swimming Pool, ‘Gymnasium, Squash Court, Solarium, Music and Painting Studios. For transient or extended visits. At rates which harmonize with 1932 incomes One Hundred Forty East Sixty-Third Street New York City Write for Booklet B AAO” hy, we \ NO SNAPS “Gay REG. U.S. PAT. OFF, tees | PS - @ BUCKLES - NO FASTENERS