4

}



‘ 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.



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‘the Rendezvous of the College Giris

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the--great. painter, although. signing.






statue of Eve on the famous doorway
to Hell.

But though Bourdelle acquired a
sense of movement, and the power to
‘give animation to marble, he felt that
Rodin lacked a sense of the whole; his
details were rich in themselves but
‘inorganic. 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)

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