1

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