Page Eight
THE MARS HILL COLLEGE HILLTOP
Friday, September 22, 1972
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'3>' Titn Hifdcn
Tired of the monotonous crunch
of screaming guitars and guttuarl
singers clamoring for little deserved
attention? Are you listening more
and enjoying it less? Do you find
that the “Osmond Brothers” and
the "Jackson Five” just do not meet
the cravings of your innermost needs
and desires? Do yourself a favor and
switch the pitch of your musical ex
perience away from the boring "hum
and drums” of the Top Forty dis
asters to something new and chal-
lengingly different. I hereby present
for your consideration the avant-
garde, that is, classically avant-
garde "music” of Gyorgy Ligetil
Perhaps you have heard the name;
maybe you are even familiar with his
work; more than likely, however, you
think he is a partner in the Ligeti
Spaghetti Company of Rome writing
background music for Italian food
parlors. In the last conclusion you
are decidedly wrong even though
some music critics have recommen
ded the pizza house as logical and
just fate for his compositions.
In reality, Ligeti is the composer of
much of the music heard in "2001
A Space Odyssey”, a movie and
book that achieved great popularity
a few years ago and is still a topic
of animated conversation. His music
appeared whenever the great "mono
lith” appeared and was primarily
responsible for the excitement gen
erated during the mind-boggling
journey through simulated time and
space near the end of the movie: If
this type of sound experience ap
peals to you, then Ligeti's various
other works will undoubtedly be of
great interest by presenting new
nutrients for experimental tastes in
music.
Describing Ligeti’s compositions
as music is perhaps a misrepresen
tation. Some critics claim that Ligeti
created a world of sound that is not,
in fact, music in the traditional
sense, suggesting that a new classi
fication for his style, and those com
posers who work within a similar
mode of artistic expression, is nec
essary. In substituting “sound” for
“music”, melodies or themes are
discarded. According to Ligeti, "... I
have attempted to supersede the
structural approach to music which
once, in turn superseded the motivic-
thematic approach and to establish
a new textured concept of music.”
A prime example of this musical
philosophy is a composition titled
Volumina which was performed so
fantastically in Moore Auditorium last
year by Mrs. Donna Robertson of
the Mars Hill College music faculty.
This organ solo emphasizes the tex
tural sounds of tone ousters which
must be realized by making use of
the performers arms and elbows. Ra
ther than playing individual notes
separately, large groups of notes
are sounded whose variations in
timbre and dynamics are aided by
two assistants who manipulate or
gan stops according to the direc
tions of the composer. The score it
self is in the nature of a graph with
various measured symbolos repres
enting the approximate number of
notes to be depressed or rhythms
to be played and length of time they
are to be sustained. Due to the un
orthodox methods used in perform
ing this composition it appears from
the audience that the performer is
practicially "banging” on the or
gan (one conservative student com
plained last year that such compos
itions were blasphemy to "God’s
instrument.”) Nevertheless the audi
tory result's are amazing represent
ing remarkable workmanship in the
organization of sound.
Aventures Is another Innovative
approach that utilizes the many In
trinsic characteristics of the human
voice. Legiti employs laughter, mum
bling, crying, coughing, and in fact
practically any imaginable voice
sound to create an eerie and hum
orous but always stimulating sound
composition. One work that created
a great response at Its premiere per
formance was his Poeme Symphon-
ique for one-hundred metronomes
(1967). Obviously not content with
convention, Legiti strikes out in all
directions consistently breaking new
ground In artistic expression.
So, as you wander about in throes
of musical dissatisfaction searching
for a new spark to light a path
through dark indifference, try the
music library and delve into the in
ventive world of Gyorgy Ligetil
‘old Lace’
Cast
Praised
MOVIE BULLETIN
Plaza I "Cancel My Reservations": Sept. 22-28;
"Slaughter": Sept. 29-Oct. 5.
by Steve Harris
"Arsenic and Old Lace”, perform
ed at Owen Theatre Sept. 7th and
8th was all in all a defight. The
play is a tale of two old aunts living
together in Brooklyn, who with a
special mixture of poisons and wine,
put lonely, friendless, old men out of
their misery.
The two aunts, Abby and Martha,
were piayed by Becky Compton, a
veteran of the Mars Hili stage, and
Lisa Fallin, a freshman. The acting
of these two was most likely the best
in the play. They were convincing as
oid spinsters, running about like
happy hens, rather than mere cari
catures. Miss Compton and Miss Fai-
iin retained throughout their iovable
innocence which was necessary for
the audience to iike them in spite of
their strange charities.
Mortimer Brewster, Abby and Mar
tha’s nephew was played by Mike
Ellis. He has a glowing vibrance that
is appealing on stage. He also has
a good feeling for comedy and he
gave the audience the laughs they
wanted. However, he did not display
the fine sense of underplay eviden
ced in the performances of Becky
Compton and Lisa Fallin. Another
minor flaw was in his protrayal of
age: there was none. Except for what
can be deduced from the context
of the play, Mortimer could have
been aged anywhere from ten to
thirty-five. At times the pacing of
his punch lines would have been
benefitted by more variety. But these
things aside, he was most enter
taining.
Jonathan Brewster and Dr. Ein
stein were played by Warren Pear
son and David Anders, respectively.
They filled well the parts of a hulk
ing, sadistic, murderer and coward
ing, free-lance plastic surgeon.
Jonathan was dislikeable with his
bullying, stubborness, and presump-
tousness, as he should have been.
turn to page seven
Plaza 11 "Clockwork Orange": Starts Sept. 22.
(Uncut Version)
Imperial "Tales of the Crypt": Sept. 22-28;
"The Man": Sept. 29"0ct. 8.
Terrace "The Boyfriend": Sept. 22-28; "Where
Does It Hurt": Sept. 28-Oct. 8
Fine Arts "Deep Throat": Sept. 21-27; "Bust
Out"; Sept. 28-Oct. 5.; "Let's Play Doctor":
Starts Oct. 5-
COLLEGE BULLETIN
September 21 (Thursday) 9:00 a.m., 2:00 p.m.
MOVIE Library Auditorium
Human Society Courses - Sponsor
September 23 (Saturday) 2:30 p.m. FOOTBALL
Clinton, S. C. Mars Hill vs. Presbyterian
7:30 Square Dance Fox Parking Lot
September 2k (Sunday) 8:30 p.m. MOV IE Moore
Auditorium "Lost Flight"
September 26 (Tuesday) 9^00 a.m., 2:00 p.m.,
7:00 p.m. MOV IE Library Auditorium
Human Society Courses - Sponsor
September 27 (Wednesday) 7:00 p.m. Library
Auditorium. Dr. Frank (Juick will give
a lecture on Contraceptives
September 28 (Thursday) 9:00 a.m., 2:00 p.m.
MOV IE Library Auditorium Human Society
Courses - Sponsor
September 30 (Saturday) 2:30 p.m. FOOTBALL
Jefferson City, Tenn. Mars Hill vs.
Carson-Newman.
VERHULSTs
Kubrick & ‘Clockwork Orange’
In his years as a direc
tor, Stanley Kubrick has
constantly approached
controversial and unpop
ular themes. In the qu
iescent fifties, he sat
irized the military mind
with Dr. Strangelove, or
How I Learned to Stop
Worrying and Love the
Bomb. P'eter Sellers and
The modd was awe and re-
verance, perfectly conv
eyed by Richard Strauss'
''Thus Spake Zarathustra'.'
George C. Scott portray
ed the crude, anesthe
tized, irresponsible at-
tudes of men committed
to nuclear war, and the
movie ended with an in
sane bombardier who rode
the first bomb of the
nuclear holocaust as if
it were a bucking bronco,
whooping his way to his
death and the destruction
of the universe. Yet
this was a comedy, one
of the first "black
comedies" in which deep
ly serious and shocking
topics were presented as
targets for embittered
laughter. This mixture
of comedy and horror
foreshadowed the techni
que of Clockwork Orange.
In the next big movie,
2001, Kubrick linked sp
ace travel and religion.
Kubrick has used the bl
ack comic mood of Dr.
Strangelove and a classi
cal music soundtrack like
the one in 2001 in Clock-
work Orange. The hero is
a charming young monster,
a midnight rambler, named
Alex. His two passions
are Beethoven and violen
ce. Alex lays waste the
countryside with Beetho
ven's Ninth Symphony
crashing through his
mind, and the main rape
scene is accompanied by
a cheerful song called
"Singing in the Rain."
Yet the movie is a study
of values, not of viol
ence. Alex is a product
of a thoroughly hopeless
society made up of cow
ards with no values of
the!r own. Alex has
created his own values,
and Kubrick does not
scold him. If Alex'
behavior is disgusting,
and it is, the viewer
is left to provide the
judgment. Rather than
work Orange more, but
it is Kubrick's most
serious movie so far,
and his best.
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an attack on our crumb
ling moral values, the
film seems to me to be
a call to analyze and
defend individual
values. Violence in
the movies is always
stylized, and it does
not hurt this viewer
as badly as random gun-
fights on TV; but it is
still clearly brutal,
unmotivated and sicken
ing behavior. Thus Ku
brick has left the
interpretation of the
movie open for the
viewers, as he did in
his earlier works. Not
everyone who loved
2001 wi11 love Clock-
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