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VOL XLV—NO. 18

ARDMORE and BRYN MAWR, PA., WEDNESDAY, MARCH 23, 1960

© Trustees of Bryn Mawr College, 1960

PRICE 20 CENTS



Too Much “Tradition” Causes
Deficiency in Music Of Church

“The problem. of church music
is the very problem of the church
itself, If it can regenerate itself
from its own essence, there will be
a new Palestrina, a new Schutz,
and a new Bach.” ‘With these
words, Mr. Paul Henry Lang con-
cluded the last of his series of six
lectures on “Music and Christian
Worship.”

The present standstill in church
music dates back to its virtual
stagnation in the latter part of the
19th century when Romanticism,
the “fate which destroys because
it carries its devotees beyond the
boundaries of life,’ engulfed the
great composers. Berlioz, Liszt,
and Wagner. “Church music and
art music had definitely parted
company.” The oratorios no long-
er had anything in common with
the church, They were performed
in concert halls. “The Protestants
and Catholics vied with each other
in purifying church music until
it became lily-white and unpalat-
able.” The only decent music was
written by a converted Jew, Felix

Challenge Excites

Prompt Responses

The Challenge meeting on
Southern integration covered in
last ;week’s issue of the News has
resulted in “a wave of concern...
finding immediate, active expres-
sion... on campus after campus
in the North,” according to a front
page report in Sunday’s New York
Times.

“Informal organizations have
sprung up in the last ten days at
a score of colleges and universities

.. Many of these have gone into
action within forty-eight hours.”

This action, to demonstrate sup-
port and sympathy for Negroes
protesting segregation by means
of sit-ins at chain-store lunch



counters in the South, has taken,

the form of rallies, fund-raising
campaigns, and picket-lines.

Student. movements at Vassar,
Smith, and Bennington have
sprung up as a direct result of the
Yale meeting. Girls from all three
schools, each unaware of the oth-
er institutions’ plans, marched with
signs of protest in the area of
their local Woolworth stores on
Thursday afternoon and evening.

At the Challenge
Paul DuBrul of the N.S.A. and
Allard Lowenstein, a New York
lawyer: just back from Alabama,
explained the issues and urged ac-
tion. Immediately after, the 15
Vassar girls who had attended
arranged a civil rights rally at
which Herbert Hill, labor secre-
tary of the N.A.A.C.P. and Mr.
DuBrul spoke. Of the 150 girls
present at the rally “practically
the entire audience” agreed to
picket.

Signs of protest read “Don’t
Buy from Woolworth—it discrim-
imates in the South.” The girls
also passed out. 1200 leaflets in a
period of about four hours on

Continued on Page 5, Col. 1

i



NOTICE
The News would like to note
its appreciation and thanks to.
Undergrad ‘ which — subsidized
~} the junket to “the Yale~Chal-~
lenge Colloquium covered in last
week’s issue.





Mendelssohn, whose music, influ-
enced (by (Palestrina, was ' “excep-
tionally fine.” . The organ music
composed for the church was mis-
erable, With the notable exception
of Brahms.

The Sicilian movement toward
archaic, remote, international
church music was taken up by
Catholics and Protestants all over
the world. Its devotees, however,
failed to. realize that all past
church music had been in the fore-
front of musical development, and
that national characteristics had
not been excluded.

Today’s divine service is based
on a respect for tradition, rather
than a respect for God. The church
music has become “music at a
divine service rather than music
of a divine service.’ We cannot
go back to the Gregorian chant.
“We have lost all sense and feeling
for pure melody unaccompanied by
harmony.” ‘Contemporary church
music should have a self-evident
attitude which is -only possible
when the composer. is of his time
and of his environment. An Amer-
ican composer should put his own
personality, belief, and honesty in
his compositions, and keep a re-
gard for liturgical requirements in
order to produce good church mu-
sic, Objectivity in church music
is, then, a contradiction in terms.

There are hopeful stirrings no-
ticeable in Protestant and Catholic
fecireles such as Pope Pius XII’s
statement expressly permitting
church music which is _nationally-

Continued on Page 4, Col. 3

Trypanis Explains
Oedipus’ Reaction
To “Dark Powers”

An analysis of Sophocles’ last
play, Oedipus at Colonus, was giv-
en at 8:30 p.m. on March 16 in
the Ely Room of Wyndham by Mr.
Constantine Trypanis of Oxford
University, now at the’ Institute
for Advanced Study. In the course
of his lecture, Mr. Trypanis read
several selections from the work
itself,

Oedipus at Colonus, written in
Sophocles’ eightieth year, provides
a personal and intimate look at
the relationship between Oedipus
and his sons, The plot itself,
which had always interested Soph-
ocles as evidenced by the earlier
Oedipus Rex, was taken from a
local myth. In the hands of this
great tragedian, it ‘became a
“drama of emotions through which
the central hero must pass, through
which he fulfills his-destiny, and
fulfills himself.”

Sophocles has rejected the tra-
ditional theme of Greek drama,
the ideals of justifying the gods,
and has shifted the emphasis of
the play from the universal to the
individual, in particular to the in-

of Oedipus. The agony of a Soph-
oclean character is essential, and
Oedipus is the greatest of Soph-
ocles’ heroes.

It was a traditional belief in
Greek religion and Greek tragedy
that the evil powers can lead a
man unwittingly to violate the
world order and punish him for
that violation. Whereas Euripides



criticizes_this__traditional_concept
Continued on Page 5, Col. 4

evitability of suffering in the life]. .

by Maria-Vittoria Sebastiani

If I had to write a journalistic
report on this night with Robert
Frost, I would certainly point out
that the audience was extremely
as one would expect
from such an audience to such an
event. But/I don’t really have to

attentive,

everybody in and

around Bryn Mawr College was

there tonight. Anyway, these are
the facts: Goodhart was full, and
everybody seemed really pleased.
Why? Oh, well . .., we saw a
poet in flesh and blood, and a real
poet, by general agreement. But,
besides that, I think we liked the
performance of a witty man, who
was willing to make us enjoy his
wittiness. It may be something
we miss in this overmechanized
and oversophisticated world: the
straight, simple exhibit of a hu-
man mind.

His _ talking is-so--casual—did
you notice his introducing any an-
ecdote with “Someone said to me
. and I said... .”, or “I happen-
ed to think recently .. .” and yet
so extremely thought over. He
repeated some of his points, and
some’ of them several times, evi-
dently because he thought they
were crucial, and so it happened
that they really stuck in our
minds, Everyone of us will prob-
ably keep for himself the ones
which impressed him most: we

practically



will keep them among the “senten-
tiae”’ which accompany our lives;





discussion |

go through their paces.

by Kristine Gilmartin
- There certainly is no business
like show business, and the Maids
and Porters with the aid of the
sophomores magnificently proved
this in Irving Berlin’s Annie Get
Your Gun, presented March 19 in
Goodhart, The tremendous han-
dicaps inherent in an ambitious
show given after only a week of
rehearsals onstage were quite
successfully overcome by a “Let’s
go on with the show” feeling.

Fine music well performed un-
der the direction of Marita—Vigli-
_one-and-Anna—Kimbrough, good}
and occasioally unexpected com-
edy, combined with a perfectly





adequate set—complete with a



George a Darwin Goodel, Rosemary McKnight, Arthur Spady, and Patsy Renwick

third post-intermission cow—de-
signed and constructed by Anne
Rassiga, Abbie Trafford and Jean
Porter, and good ‘costumes ‘created
by Brina Saklad and her commit-
tee made Annie Get Your Gun an
extremely enjoyable evening’s en-
tertainment. Eleanor Levinson,
director, and her assistant, Bonnie
Kevles, must be highly commend-
ed for their fine work. ~
Rosemary McKnight (Annie)
and Arthur Spady (Frank Butler)
who in true show business fashion
saved the show by replacing Aloy-
-sius-Mackey- who became ill, gave}
excellent performances. Miss Mc-
Knight’s “Doin’ What ‘Comes Nat-

Like Show Business.”



urally” and “You Can’t Get A Man

“Show Business”--No Business Like It,
Prove Maids and Porters on Saturday

With A Gun” were full of spirit
and revealed her fine voice. Mr,
Spady’s “The Girl That I Marry”
and the two’s duet, “They Say It’s
‘Wonderful”.,were equally fine.
George Bryan as Charlie Daven-
port and Robert Holloman as
Buffalo ‘BiH, «with Annie and
Frank, set the tone for the eve-
ning with “There’s No Business
These two
also made important contributions
to the comedy of the show. Dollie

and Winnie Tate, played by Patsy ||

Renwick. and Margaret Randall,

take the role of a reporter since | as



‘Britain and America,

Robert Frost Reads his Poetry;
Listeners Relish Wit, Wisdom

but none of us will ever forget
how that particular idea came out,
that night, and then it will make
much more sense when connected
with Frost’s own personality. His
“sententiae” are universal in so
far as they are individual.

This is the feeling I got in read-
ing his poems, and the “great
lines” so frequently quoted such
“Good fences make good neigh-
bors,” or “Earth’s the right place
for love,” or “The fact is-. the
sweetest dream that labour
knows.”

And tonight my feeleing was
confirmed: tonight again, (“again”
after his poetry) he actually ex-
pressed his thoughts and his dis-
coveries of values in life as a very
personal, immediate outpouring of
his mind.

His staying on both sides of the
wall is not a very clever way of
answering a queer question, but

Continued on Page 4, Col. 3

Expert Interprets
Language History

Philology, the study of compar-
ative linguistics, is now in a per-
iod of eclipse, stated Mr. Henry
M. Hoenigswald im the Class of
1902 Lecture “Speakers, Analysts,
and Antiquarians,” given on
Thursday evening in the Ely
Room. (Mr. Hoenigswald is Profes-
sor of Linguistics. at the Univer-
sity of Pennsylvania and author
of the recent
Change and Linguistic Reconstruc-
tion,

Comparative linguistics is only
a little more than 150 years old.
It was begun in the Germanic
countries and is even younger in
The term
itself was coined by Schlegel but
does not have the same connota-
tion that the “comparative” in

'“comparative anatomy” does. The

early philologists did not work
with the desire to find out more
about languages. They rather
wanted. to delve more deeeply into
a language with a view to tracing
its past history.

The discovery of Sanskrit in
the last decades of the 18th cen-
tury led to the use of. languages
as a key to ancient civilizations.

4 This was the field of study of the

19th century philologists. Their
field was, in fact, limited to Indq-
European languages, to the discov-
ery of the true relationships of
languages. such as Latin and
Greek and to the reconstruction
of languages from which present
day tongues are descended. In
America today, the linguists have
formed a fortunate bond with the
anthropologists.

The philologists try to base
their conclusions wherever poss-
ible on speech because as the great
Indian scholars believed, “writing
is an abuse of language.” Even
more preferable is an idiolect, the

Continued on Page 5, Col. 5



NOTICE
Meeting to discuss the cur-



were very fine, and “Miss (Randall |

in her duets with James Short dis-
play a lovely voice and good



ued on Page 5, Col. 2

tegration -and-possibly to organ-_
ize action, tonight, Wednesday,





March 28, Pem East Showcase.



book, Language.