VOL XLV—NO. 14. ARDMORE and BRYN MAWR, PA., WEDNESDAY, FEBRUARY 24, 1960 "© ‘Trustees of Bryn Mawr i eeieda 1960 Princeton “Joins BNC “BMC Chorus — To Produce Dynamic Concert by Kristine Gilmartin The grand climax of Haydn’s Te Deum Laudamus with chorus and orchestra praising triumphant- ly together concluded, a most sat- isfactory and pleasurable concert by the Bryn Mawr College Chorus and the Princeton University Glee Club. The Princeton University Orchestra, with additions from Bryn Mawr and Haverford, was an excellent complement. The concert was given Saturday evening, February 20, in Goodhart Auditorium. Robert L. Goodale, Bryn Mawr’s familiar giant, and Walter Nollner and Nicholas Har- sanyi, both of Princeton, conducted. Bach’s Cantata No. 182 for Palm Sunday was performed by a selected group of Princeton and Bryn Mawr singers. The chorus selections were generally well done, but the group only seemed to warm up to its potential in the conclusion. The fugue-like nature of the work was not always as clear at it might have been,: but the. diction was remarkably fine. The bass recitative - and aria, sung by Thomas R. Donnelly, were pleasant if somewhat weak. Mar- ian Willner, Chorus president, sang the contralto aria, with fine sup- port from Katherine Hoover on the flute..Miss Willner showed the beauty of her voice in quality and expression and phrasing especially when she relaxed for the repeat of the aria. Hers was certainly the outstanding performance of the evening. Howell S. Zulick sang the tenor aria with strong spirit and fervor. The entire orchestra gave a very expressive performance of Nanie by Johannes Brahms. In the ro- mantic vein, this selection ranged from the tender to the triumphant, and Mr. Nollner succeeded, by particular attention to dynamics, in evoking from his singers a beautifully varied and moving performance. As for the Haydn Te Deum Laudamus, it was glorious. The musicians were such in every sense of the word and revealed their true quality in this dramatic and ex- citing work. The choruses left the audience feeling as exalted as their. praising had been. Students Consider Sorbonne Studies, Seniors Detail Pleasures And Profits -|Foith and State Probed by Panel How can religion, organized re- ligion, have an effect ona free so- ciety such as that in the United States? Or, conversely, what chal- lenge does a free society present to religion? These questions will form the foci of a series of Tuesday eve- ning programs sponsored by the Interfaith Association during the month of March. After much think- ing and research, the planning group decided on the particular speakers and types of programs that would best present the issues and conflicts involved in the. topic “Religion—A Challenge -to~ the Free Society.” The first of. the 8:30 Common Room programs, “The Tension Be- tween Religion and a Free Society,” will be a lecture by William Clan- zy, the Editor of World View and the Educational. Director of the World Peace Union. He will speak on the evolution of the major problems arising from the several religious groups, convictions, and interests within the U. S. politi- cal community. Following the ed- dress there will be three discussien groups led by Mr. Brown and Mr. Bachrach of Bryn Mawr and Mr. MacCaffrey of Haverford. Religion and Society ‘The topic “Is Religion Opposed to a Free Society?” will be. dis- cussed by a panel. Mr, Paul Henry Lang, in the sec- ond of his Flexner lecture series on music, spoke on “The Concept of Religious Music in the Middle Ages.” He plunged into the topic without any preliminaries, relying on the background supplied by his first talk of the series. Mr. Lang pointed out that whereas the people of Western Europe were able to accept and assimilate Christianity, they found its asceticism hard to take. The conflict materialized in the strug- gle of papacy against empire with the Carolingians, leading to social and political upheaval. Out of this tremendous moral and intellectual tension sprang Western music. Western music is compounded from widely divergent cultures, In it are mixed Graeco-Roman mem- ories, national] leanings, and Christ- ian asceticism. The asceticism supplies the symbolism, and the Graeco-Roman tradition the sure- ness of formal conception. (Music had been the most active accompaniment to the debaucher- ies of the declining Roman world. To the first leaders of the Christ- ian church, the moral degeneration which they were trying to combat became synonymous with this mu- sic, They showed great sagacity in soon realizing the innate need Three Bryn Mawr seniors ont parlé about the Sweet Briar program for Junior Year in France in the Ely Room at Wynd- ham on Wednesday, February 17 at 8:45 p.m. Punctuating their talks with comments on the minor problems that they faced—the Metro sys- tem, making new friends, adopt- ing a taste for wine and strange French delicacies—Sue Lasersohn, Loline Casanelles and Eva Martin outlined their year. Six weeks of orientation at Tours introduced to the foreign students'the European methods of study which they would have to adopt during their stay. Arrivées & Paris they were placed in family homes. In most cases there were at least two girls with each family and the hosts had had American students |' Victorious Contestant Tells “College Bowl” Story, Reveals Backstage Details Of Cornell Demolition previously, Several courses were given es- pecially for these foreign stu- dents; among them were courses in art, drama, music, and trans- lation and phonetics, All tests were given orally. At the Sorbonne courses were offered in the sciences and in both French and American literature. In addition to these weekly classes he Americans had another one. im which they were given preparation for their courses. This system of “repetitions” (re- hearsals) seemed to be some- what a spoon-feeding to the Bryn Mawr representatives. This year in France provided an excellent opportunity for com- paring the attitudes of the Amer- icans and the French. The panel- ists attempted to summarize the distinctions they found. The French tend to admire the intellect greatly; they are critical in their own country, but adapt easily to new customs when visit- ving other countries, They live in the past and glorify tradition. The a.» girls_noted_..théir individualism, Highly erudite conversation heging. their idealism, and their’ perfec- tionism. The Brym Mawrters thought that Americans differ from this in that they are afraid of nothing, and nothing is sacred to them. | They are generally naive and tend to see all things subjectively. They are a strange mixture of credu- lence and mistrust. One of the pleasures of study- ing in France is the high regard in which students are held there. A student card permits entry in- to theatres, purchase of ‘books and even meals, all at half price. NOTICE The News is pleased to an- nounce the election of the fol- lowing to its staff: Helen Angelo, ’63 Helen Davis ’63 Berna Landsman ’63 ‘Mr. Kenneth W. Thompson of the Rockefeller Foundation will speak on “Ethics and the Problems of Foreign Policy.” He will con- sider this issue from both the re- ligious and secular points -of view. Before the discussion, Mr, Stuart Meacham of the American Friends Service Committee and Mr. Gerald Freund of Hawverford’s Political Science Department will respond to the ideas presented. Explode Misconceptions This -series is not .designed to answer questions such as these or to find solutions to the problems that will be discussed, but rather to explode misconceptions and || misunderstandings. Organized re- ligion, the State, and the individ- ual—all are partly together, part- ly opposed. In the resulting per- petual state of tension can they exist together, or must they be mutually destructive? ‘\less flow of this church music im- in man for music, and in deciding. to use music for religious purpos- es. St. Augustine feared that his emotional reaction to music was pure sensualism. 5 Western church music origin- ates in the Near East. Thus it is totally removed from the West- ern mind, and immediately on its introduction to the West was sub- jected to corrosive forces. From the shapeless and rhythm- ported from the East, the Western people attempted to move towards more articulation to suit their taste. Just as the Church and na- tional state merged in the feudal empire of the Carolingians, so there was a similar merge in mu- sic. The period of transition was long and included a time of inde- cision, where both elements were coexistent. The two main sources of West- by Lois Potter Act I of our melodrama The Col- lege Bowl begins in a parlor car on its way back to New York. All the occupants are bald except a small group of girls who, shoes off, are spinning round in the swiv- el chairs. The conductor enters. —You girls want the coach, don’t you? It’s back that way. ‘We say no, we have parlor car tickets. Exit conductor. An elder- ly lady whispers to her friend. —Do: you think they’re from school or college? —0Oh, school, of course. Re-enter conductor. —Could you take your shoes out of the aislé, miss? The coaches are back - - No, we have parlor car tickets. Exit conductor, still incredulous. their gallantry and savoir vivre, | nell is impressed by us. «You know, I don’t think ye fit) in here. —Hey, look at that mam across she aisle. Doesn’t he look like Bernard Baruch? —Shhh. —wWell, I think he does. —Psst—anybody know who the Secretary of Commerce is? | Pause. —How about Weeks? —Well, how about Weeks? —il think he’s dead. Or some- thing. —i bet someone in this car would know who he is. -—I bet he’s in this car. Act IT takes place the following day. We rehearse first in a base- ment which looks like the set for Streetcar Named Desire. This is to get us familiar with the rules. We are impressed by Cornell. Cor- Lunch. how it’s produced. Are the ques- tions written with the particular colleges in mind? Nb, that’s been done only once—when West Point played Annapolis. We offer to write some questions for the show. Offer is politely but firmly declined. We try to think of clever ways) of sneaking in payola for General Electric—i.e., ‘““My father’s name is George: spelled G-E-o-r-G-E.” No one give us a chance. Back in the studio we rehearse Elements Of Mediaeval Music |; Elucidated, Analyzed By oy ern music are Gregorian chant and folk song. Gregorian chant is in fact a particular variety of folk song adjusted for use in the church, Mr. Lang went on to describe the origins and characteristics of true folksong. When this music was transformed into church mel- ody, it became articulated, acquir- ing a beginning, a middle and an end. In pinning down the differences between secular and religious mu- sic, Mr. Lang again stressed that although the European people submitted to Christianity, they clung to their naturalism. The popular, naturalistic elements of folk music intruded on church mu- sic and finally, in amalgamation, conquered it. Church music is collective and universal, whereas folk music is very subjective, an expression of the. individual. ‘Although church music has always’ had secular ele- ments in it, its general orientation is against nature. Patterned on Christian theology, with its time- less, shapeless God, church music similarly rejects time, seeking to deemphasize it. Vocal music in the church is» closely determined by its text, which is usually in is conveyed by the sense of the words, and the relation between . sections of the melody is textual, logical. Religious music, then, in its origin at least, is denatural, spiritual, and, strictly speaking, amusical. Folk and religious ex- pression occasionally meet, as in the best Gregorian chant, where musical articulation coincides with rhetorical articulation. ““Big’’ Production Promised By C. T. Bryn Mawr College Theatre and Haverford Drama Club have be- gun work on The Merchant of Ven- ice to be given in Goodhart on March 11 and 12. Costumes and set are to be in the Italian Renaissance style, as indicated by the setting in Venice. Merchant will use Goodhart to its best advantage, with a set differ- ent from any that College Theatre has used in the past, composed of arches, columns, and richly draped curtains hanging from the battens. The tones of the set will be gold, silver, and lead, echoing the theme of the three caskets, Especially because this is a “big” and well-known Shakespear- ean play it’s felt that a great many people could learn much and enjoy themselves by working on produc- tion. If interested in a particular aspect of production one. should see the head of the committee or just come to the committee metings as announcd and as posted on the C. T. bulletin board. some more, now on the stage of what seems to be an old theatre converted into a T.V. studio. Buzz- ers are tested while nervous Bryn ‘Mawrters jump. We learn not to scream the answers before called on (we forfeit points that way), not to say, “Would that be Madame Curie, by any chance?” (an ans- wer has to sound like an answer), * e Notice The Bryn Mawr Swimming Team will swim Chestnut Hill at 4:00 on Thursday, February 25 in the gym. This promises to be one of the most exciting and closest meets of the season. Spectators are invited and urged to attend. Senna a Vag +} Comineed-on-1 mead || _ PRICE 20 CENTS