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January 12, 1965 - Image 4

Resource type:
The Michigan Daily, 1965-01-12

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Seventy-Fifth Year


Un iversities As Artistic Centers


rp nios Are Fite~ 420 MAYNARD ST., ANN ARBOR, MicH.
Truth will Prevail


NEWs PHONE: 764-0552

Editorials printed in The Miehigan Daily express the individual opinions of staff writers
or the editors. This must be noted in all reprints.

Course Evaluation Plan
Needs Student Support

planning a course-evaluation booklet.
This is not a novel idea; Harvard, Yale
and Cornell publish course evaluations. So
does Berkeley. Interest in compiling such
evaluations evidently is growing, as this
year more than 20 schools have requested
information concerning course evalua-
tions from the United States National
Student Association.
It is not a new idea here either. At-
tempts to publish course evaluations have
been made before at the University, but
none has been successful.
A few years ago the literary college
steering committee (an advisory commit-
tee to Associate Dean James H. Robert-
son) wanted to do one, but Robertson be-
lieved that he could not sanction the
idea because of faculty opposition. Last
year, the League, the Union and SGC
studied the idea, but the Office of Stu-
dent Affairs disapproved, and a lack of
funds killed the project.
THERE WILL BE faculty and adminis-
trative opposition to this project too.
At the time of the University fund drive
-"to insure the vital margin"-any-
thing which points out the University's
inadequacies is unwelcome. Uneasy fac-
ulty aren't eager for criticism either.
But the current plan, a joint effort of
GSC, the League, the Union, IFC, IQC,
Panhel, Assembly and The Daily, should
be a success. Administrative or faculty
disapproval won't end the effort, and
there is enough money available to sup-
port the evaluation. Only student iner-
tia or lack of interest can kill the course
evaluation, because this is strictly a stu-
dent project.
Even with sufficient financial support,
the attempt at course evaluation will be
difficult. The organizations involved have
other commitments and a good evaluation
will require that many people contribute
much time to preparing, distributing and
compiling the surveys. If the evaluation is
to be meaningful, students completing

the surveys will have to take time to be
thoughtful and objective.
THE METHOD will not be "scientific."
The idea that this is a negative ef-
fort-a means of hostile criticism and
vengeance for bad grades or a delightful
prank-will have to be overcome.
The course evaluation will have to be
prepared quickly if it is to be published
before pre-classification begins in Febru-
ary. Obviously it will be limited, and some
of the emphasis may be misplaced. (This
can be corrected in subsequent evalua-
tions if publication is continued and the
method of compilation improved.)
Even with these limitations the course
evaluation is desirable. It will be partic-
ularly valuable for professors confront-
ing large lecture sections, who normally
have little contact with students outside
the lecture hall. They will have not only
an idea of the degree of effectiveness of
their lectures, but knowledge of what stu-
dents expect from a lecturer.
It should encourage professors who are
interested primarily in their research or
a few graduate students to devote more
effort to introductory, undergraduate
And it will be a well-deserved tribute to
those professors and instructors who have
been consistently effective.
equally valuable for freshmen and
sophomores. They may be somewhat less
discouraged with their elementary courses
if they are guided to the well-structured
ones taught by stimulating professors.
It will provide a rare opportunity for
all University students to consolidate
their opinions of their academic fare
and will be a much-needed supplement to
the frequently inadequate and misleading
official course descriptions.
An ideal student cause.
Associate Editorial Director

EDITOR'S NOTE: With this ar-
ticle The Daily resumes its series
of weekly faculty contributions to
the editorial page.
THE VITAL and developing role
of the university in support of
and as a patron of the arts is
probably the least recognized and
discussed of all its functions. Yet
that role is extremely important
and should be viewed compre-
hensively with a view to making
it increasingly effective.
The university's involvement in
art will continue to be crucial to
American life because of the vir-
tual certainty that the principle
of public endowment of cultural
institutions will not be accepted
in the Great Society of any fore-
seeable future. I am aware that
prospects are beginning to emerge
(largely due to the example of
the Kennedy's), but I find it hard
to hope that American society
will accept any decisive measure
of government activity and sup-
port in behalf of the country's
cultural life. That universities are
rapidly assuming a function of
cultural influence and support is
evident in the growing number
of artist-professors (composers,
painters, sculptors, writers) who
inhabit American campuses-
sometimes under the euphemistic
title "artist-in-residence"-and in
the constant expansion of cultural
activity in America's academic
Although I believe in govern-
ment assistance for the arts, I
cannot regret that universities
have assumed responsibilities as
patrons in the light of official
neglect, and I will enumerate what
seem to me some of the advan-
tages to art and artists n their
campus existence. Indeed, given
the realities of American politcal
traditions and institutions, I think
it possible that art could not
flourish-perhaps could not even
survive-in our society without the
kind of cultural activity which is
coming more and more to be a
part of academic communities like
the University.
I WISH it were possible to ex-
patiate here on some of the rea-
sons for the emergence of the
university as a refuge for artistic
endeavor-especially on the fail-
ures of American society to act in
provision for culturaltneeds with
even a modicum of the energy and
enterprise to be seen in virtually
all other developed countries of
the world.
It is true that well over 50
cultural centers are underway or
in existence in metropolitan aies
of the United States (most of
them under private or foundation
sponsorship), but these will be
largely fettered, like the grater
part of our cultural life, by sub-
mission to commercial demands
-art for the dollar's sake.
The ruthlessness of she Broad-
way establishment is evident from
the fact that, except for the oc-
casional repertory situation, even
the most successful plays disap-
pear from New York's major
theatres after a season.
That too much of our art is of
the crassest commercialanature
or at the other extreme, incom-
municably esoteric is largely the
result of the absence of whole-
someiand accepted outlets and
functions for our artists. It is aso
a product of the lack of pubhc
discernment-a fault in our so-
ciety which must be ascribed to
the box-office basis of our culture
as well as to a deficient education-
al process in which art is too
often expressed at only the crudest
IN THE ABSENCE of space for
a systematic analysis, I am touch-
ing upon examples of the coror-
ate public neglect of art as they
occur to me. Our finest instru-
mental musicians, if they do not

teach or if they are not among
the few who have (and can bear)
concert careers, play in our major

orchestras with, usually, only in-
termittent employment at low in-
comes. The state of opera in this
country is scandalous-not only
are there no subsidized theatres
to speak of, but our proudest in-
stitutions (e.g., the Metropolitan)
function in the most precarious
circumstances, unable to afford
the luxury of first-rate perform-
ance. (In East Berlin well over
200 rehearsals can be put into a
single new production. Austria
spends up to $7 million in a year
for state theatre subsidy.) The
price of one fizzle off the shores
of Cape Kennedy would under-
write an entire Metropolitan sea-
son. That this most complex of
arts is often felt to be in a mori-
bund state is due to more than
the severe aesthetic problems it
Americans are often surprised
to learn of the degree of public
assistance for art in nearly all
countries of Europe and Latin
America. I think that in Denmark
and Poland, countries of very dis-
parate structures, one can see the
promise of an ultimate rapproche-
ment between two eastern and
western ideals of democracy: uni-
versal economic security on the
one hand and universal individual
freedom with responsibility on the
other. This is evident in the ex-
permentaldrama and music of
Poland and, in Denmark, sup-
ported and established institutions
in which artists of all kinds re-
ceive training, in which many
have performance careers and
from which they derive subsistence
in retirement. I mention these
countries as examples among
gard seriously the pious fear of
state "control" in such circum-
stances. Are our public schools
and libraries subject to such con-
trol? Are not the pressures of
symphony boards and managers
-often, but not always, unen-
lightened-even more flagrant and
pernicious than a public adminis-
trator could possible be (or long
remain) in a democratic society?
The absence of aid for the artist
and his means of exvpression,
enslaving him to the box office
and leading him into prostitution
or muttering self - absorption,
seems to me a far more insidious
The encouragement of our cul-
tural life on the broad scale neces-
sary to the fulfillment of our
vast potential cannot be left to
individual donors and foundations.
however noble their purposes.
While our political leaders and in-
stitutions are beginning to respond
to the needs to which I refer, re-
forms are likely to arise slowly
and with anguish. In such a con-
dition of default, it is natural
that the university, the custodian
and symbol of humanistic values,
should assume leadership. It has
done so to a considerable extent
and its mission extends far into
the future.
THE TRADITIONofcos n'xst-
ence of the creative artist and the
scholar of art in the university
community is emerging with force.
In many places (among them the
University) it is firmly establish-
ed. It makes sense. Is not the
presence of the living artist in his
studio a necessary adjuvant to the
presence of the art historian? The
range of musical activity is com-
plete only when the theorist-
historian, composer and performer
play together their vital and com-
plementary parts. Students learn
the means of analysis of the thing
at the same time that they have
direct experience of the thing
itself. These precepts sound plati-
tudinous; yet not a few institu-
tions of higher educationncon-
tinue to practice the false notion
of talking and writing without
doing-of pursuing studies about
art while considering the practice
of art unworthy of involvement

in the academic world.

The artist who finds his way
into the university world becomes
aware of many advantages, and
I think it important to mention
some of them. While I cannot
presume to speak for university
artist-professors as a group, the
factors listed here seem to me to
be of general significance.
I would mention among them
the stimulation of artist-colleagues
in the academic community-the
opportunities for exchange of
views, of criticism, of concerns-
as an important resource which
the artist-professor enjoys. The
reasonable academic security of
his position is a further advantage
not too obvious for inclusion here.
The intellectual stimulation of
the total environment is a con-
stant privilege which the artist
feels and by which he is moved
even when he cannot participate
actively in many of the provoca-
tive opportunities with which he
is surrounded.
THE ARTIST in the academic
community is a man caught up
in a vigorous, constantly agitated
social milieu-a milieu in which

retive t h e o r y and scholarly
HAVING SAID all this, I must
argue that the artist-professor
suffers a major handicap-one
that is often decisively destruc-
tive: he too often lacks time and
energy to realize his full potential
as an trtist, and is sometimes so
consumed by academic respon-
sibilities that he can realize no
more than a fraction of it. In a
sense, I make this statement in
behalf of many members of the
faculty in other pursuits and dis-
ciplines, but I see the problem as
an especially acute one for the
Many artist-professors, because
society does not place on them
the kind of premium it nlaces on
engineers and scientists, are
obliged to accept conditions that
nearly exclude from their lives
these activities which are their
primary reason for being. I am ap-
palled to look about the Univer-


tia a

PROF. WALLACE T. BERRY of the music
school is a widely known composer and
pianist. He joined the University in 1957
after ogtaining a doctorate from the Uni-
versity of Southern California. He has writ-
ten a book, Studies in Music Form, and in
193 was the recipient of a University Dis-
tinguished Service Award for outstanding
achievement and performance.

the vital issues of man and so-
ciety are never far from view. I
consider this condition imperative
to an artist's growth and full
realization. Thus, the university
provides one important source of
the kind of involvement without
which the artist is easily led to
the stifling alienation of the ivory
tower. The artist's response to this
kind of challenge disproves again
and again the 19th- and 20th-
century idea that portrays him
as a child-like genius. incapable
of dwelling actively and construc-
tively amid the practical functions
of society. In a world in which
human life and liberty lie under
ominous and terriblershadows, the
artist must do more than gather
flowers. University life makes de-
mands and projects issues toward
which he cannot easily mainatain
the insouciant indifference once
expected of him.
The university often provides
financial assistance (at the Uni-
versity, Rackham Faculty Re-
search Funds and Fellowships are
available in liberal measure to
artist members of the faculties.):
a few examples are the annual
Festival of Contemporary Music,
the Professional Theatre Program
and the Museum of Art.
* * *
TEACHING itself is often satis-
fying, and it affords the artist
an occasion for his own exposure
to and penetration of many views
and areas (in the interest of broad
education for his students) that
he would eschew if he were left
to his natural persussions; this
is true, at least, if his teaching
is what it should be. And the
presence of sophisticated, some-
times responsive and critical com-
munity audience is a resource of
specialy importance to the crea-
tice artist.
A supreme advantages accrues
to the university in the dialectic
of which the creative artist-
professor is a part. With living,
productive artists in its midst, the
university is restrained from all
possibility of becoming an effete
repository of the vestiges of the
past. The artist keeps the univer-
sity culturally alive, and in his
contact and interaction with the
scholars who interpret his tradi-
tion, he is kept alive. Indeed,
the disciplines of the university
often lead the creative artist into
the productive pursuit of inter-

sity comparing average teaching
loads in art, music and certain of
the humanities with assignments
in, for example, the sciences. The
latter are highly subsidized fields,
with assured grants from govern-
mental and institutional sources.
The artist - professor should,
ideally, have time and energy for
the entire range of faculty re-
sponsibilities (I think of the Uni-
versity Senate, of important com-
mitteesand administrative duties);
he has a necessary function to
perform in the articulation of edu-
cational policy. But his teaching
duties, if he performs them with
the kind of devotion andtcreative
thought they require, often leave
him drained and indifferent.
The problem is acute with re-
spect to his drives as an artist;
he cannot meet these with in-
difference. Nor are they adjunctive
to his performance as a teacher;
they are the basis for it.
IN MOST FIELDS the recogni-
tion of need for time for research
and independent growth is assum-
ed and assured. In some, any-
thing in excess of a one-or two-
c o u r s e teaching responsibility
would be thought an outrageous
infringement on the professor's
capacity for professional develop-
ment. But the artist who is obliged
to endure unendurable frustra-
tions is a norm in university life.
One cannot be a weekend painter
or a summertime poet. The inusi-
cal performer should not have to
rely upon late evening hours for
practice time, nor should the com-
poser be shackled with classroom
responsibilities (not to mention
extra-curricular obligations ex-
tending even to official corre-
spondence which he invariably
prepares himself).
The artist will not find real
security inthe university, whose
need for him I have tried to ex-
press as strongly as his need for
it, until his time and energy to
be an artist are accepted as one
of the budgetary requirements of
the institution. Such a person is,
after all, brought into the univer-
sity because he is a productive
artist. Surely he must be accord-
ed the necessary opportunities for
continued creativity.
THERE ARE several things that
the university-this University-
might seek to do in furtherance

of its support of art. If it is con-
tent with half a role or with a
careless performance, the future
of the cultural progress of our
entire society is visibly dimmed.
The relief of the pressures of
unusual work loads requires the
enlargement of the teaching staffs
in affected units and, to that end,
the allocation of adequate re-
sources to those units.
Many of the cultural activities
to which the University lends its
facilities need to be studied: do
their policies serve the education-
al purposes of the University? Are
not many of the activities of the
University Musical Society stereo-
typed and unilluminating? Does
the Professional Theatre Program
contribute what it might to the
education of student actors and
other student aspirants in drama?
Is the University Press devoted
significantly to the promotion and
recognition of scholarship and
other creative achievement even
when such recognitionsentails, as
it often must, serious financial
risk? Other University activities
and organizations could be cited
for study and reappraisal as well.
* * *
THE University's practice of
commissioning works for the Stan
ley Quartet has brought into
existence and presented to Ann
Arbor audiences a distinguished
group of new works over the past
several years. This kind of enter-
prise should be expanded: there
should be commissions and uur-
chases of outstanding works of
art for display in many of the
University's buildings and on its
grounds, to mention only one type
of subsidy that could be explored
and pursued.
The construction of adequate
facilities for the production of
opera and drama is an urgent
To say that the University lags
behind many institutions that lack
its academic distinction in the
commissioning and promotion of
good contemporary architecture
would be an understatement. How
often one hears expressed the
wistful hope that the architectural
consequence represented by the
new music building will become a
trend in the future developent
of the campus.
A MEANS should be found-by
increased subsidy or reduced costs
-to make available at lower cost
to the students and low-income
community families many of the
concerts and theatrical events of-
fered on this campus.
I believe that the programs of
festivals and special events for
the expression of contemporary
and traditional art might well be
broadened. The Festival f Con-
temporary Music for instance
could be a Festival of Contempor-
ary Arts (drama, painting, sculp-
ture, architecture, film, Poetry,
dance, etc.) with central and of
ficial University sponsorship and
Thetmagnitude of current and
projected responsibilities and per-
formance in the arts may well
require the appointment of a
major administrative officer, pos-
sibly a vice-president, to coordin-
ate all cultural affairs of the Uni-
versity, and to supervise budget
requests (to many p o s s i bl e
sources) and all planning directed
toward their improvement and
expansion in the vital interest of
Since academic life can offer
a measure of security for only
a tiny fraction of the artists so-
ciety needs, universities must lend
their considerable influence in the
agencies of government to the
end that the palpable means of
cultural expression in an enrich-
ed society are assured for all time.
Kenneth E. Boulding



The '68 Republican Nominee

ing in the wilderness. Some say that
it is searching for its soul; others that it
i looking for a final resting place. One
thing is certain: 27 million Americans
may not be wrong, but they cannot elect
a President.
Twice before the Republican Party has
undergone somewhat similar presidential
election-year debacles, 1912 and 1936.
Both times they made a radical innova-
tion and again became a competitive par-
ty. In 1916 the Republicans looked to the
Supreme Court and chose Chief Justice
Hughes as their candidate; in 1940 they
chose Wendell Willkie, a Democratic busi-
Safet Belt
THE SUBTITLE for the University's $55
million fund drive is "To Insure the
Vital Margin."
Sounds like the latest Madison Avenue
attempt to sell stretchable belts.
Managing Editor Editorial Director
ANN GWIRTZMAN .. .....Personnel 'Director
BILL BULLARD...........Sports Editor
MICHAEL SATTINGER .... Associate Managing Editor
JOHN KENNY . .. ......Assistant Managing Editor
DEBORAH BEATTIE ..... Associate Editorial Director
LOUIS LIND .......... Assistant Editorial Director in
Charge of the Magazine
TOM ROWLAND............. Associate Sports Editor
GARY WINER.............. Associate Sports Editor
STrEVEN HIALLER......Contributing Editor
MARY LOU BUTCHER...........Contributing Editor
JAMES KESON ................... Chief Photographer
NIGHT EDITORS:. David Block, John Bryant, Robert
Johnston, Laurence Kirshbaum, Karen Weinhouse.
Benoit, Bruce Bigelow, Gail Blumberg, John Mere-
dith, Leonard Pratt, Barbara Seyfried.
Business Staff
JONATHON R. WHITE, Business Manager
SYDNEY PAUKER ............. Advertising Manager
JUDITH GOLDSTEIN ............ Finance Manager
BARBARA JOHNSTON ............ Personnel Manager
JAY GAMPEL.. .. ...Associate Business Manager

nessman, to carry their standard. In each
case the electoral comeback was signifi-
In searching for a candidate for 1968
the GOP faces the need for similar origi-
nal thinking. They must find someone
who will excite the country as Willkie
did. They cannot choose a run-of-the-mill
politician and expect victory.
WHERE WILL the Republicans turn?
At this point in the political calendar,
any answer is mere speculation. One
year after both the previously mentioned
defeats Republicans were still in disarray;
the next candidate had not emerged and
probably had not even been mentioned.
Such is the situation today, but some in-
triguing possibilities do come to mind.
Take Jacob Javits, for instance. What
would happen if the Republicans ran a
real Jew from a key industrial state?
Surely by 1968 Americans will have be-
come tired of the corn that Johnson is
certain to dish out, and will have realized
that his Great Society is not particularly
Or perhaps another Rockefeller, Win-
throp of Arkansas. Nelson's brother ran
against Governor Faubus lasthyear and
garnered over 40 per cent of the vote in
this once one-party state. Although he
too has a divorce in his background, it
is 10 years past. If he can beat Faubus
in 1966, he would be a unique star in the
Republican . constellation-a moderate
southern Republican governor.
OBVIOUSLY these candidates have dis-
advantages which they may not be
able to overcome. Who would suggest that
the conservatives in the party will bow
down to the liberal senator from New
York? And Winthrop still has to be elect-
Other than these, potential Republican
presidential candidates are not in sight.
Still, much happened from 1912-16 and
1936-40. It is safe to predict that much
will happen in the next three years. The
elections in 1966 may bring other unusual

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Important Tr(
Jazz Band, prior to departure
for a fourteen-week goodwill tour
of Latin America for the State
Department, will present a con-
cert tonight in Rackham Lecture
Directed by Bruce Fisher, '65SM,
who organized the group in 1961,K
the 19 band members will present
a program illustrating some of
the important traditions in big-
band jazz during the past two'
Compositions representing the
swing style of the late 1940's, the.
progressive movement of the '50's
and '60's and some avant-grade
developments of the past few years
are included in the band's reper-
toire. There will also be several
Latin American selections.
m~r c~ZT T ..F/" ir 1:7CP .0

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aditions in Big-Band Jazz


Brothers" and "Four Others"; an
alto saxophone solo provides the
primary interest in "Early Au-
tumn," a ballad from Herman's
book. A single Stan Kenton ar-
rangement, "Collaboration," com-
pletes the list of works made
popular by big name bands.
SOMEWHAT more progressive
is another group of numbers, in-
cluding "Billy's Bounce," a blues
by Charlie Parker played by a
small group from the band;
"Stockholm Sweetin," highlighted
by a unison trio for alto sax,
flugel horn and flute; and "Reggie
of Chester," a bop-style number
spiced with Latin rhythms, fea-
turing alto sax and flugel horn,
with a cadenza by the latter. "A
Modale," written by the band's
director, moves in 5/4 meter and
is based on the medieval church
modes rather than the traditional

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