PA Mr. !OUR
THE M I ITI N
DA TL ,
WN~SDA, MAY22, 29'
c
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WEDNESDAY, MAY 22, 1929
Night Editor-WALTER WILDS
DO YOU HIDE LIQUOR?
From Brown university comes
the news, and incidentally chagrin
that students will be paid $5 a day
for obtaining evidence against
their fellow students of ownership
of prohibited alcoholic beverages.
In other words a sneaky, under-
handed method of espionage is
being subsidized in an effort to
make college students stop drink-
ing. We should like to point out
to the Providence prohibition ad-
ministrators that if the past has
told us anything about the stub-
born drink tradition in American
universities, it has almost yelled
that students cannot be persuaded
into the path of temperance by
threats, spite, or third degrees.
Liquor has gradually become a
sort of tradition in our universi-
ties-at least it is a venerable in-
stitution more fraught with fun
and more reverentially preserved
than many a hoary custom such
as commencement. Students are
bound to resent any blind effort to
take this institution from them. In
it are bound up their personal
rights, their pretentions to manli-
ness, their recreation, and their
surcease from the sorrows of edu-
cation.
Physicians can rant about stom-
ac4 ulcers, cirrhosis of the liver,
and habit formation; whether the
individual wants to take a chance
(and the successful men who drank
hard in college show that the odds
are at least even) is a question for
the individual. Not until the
drunken student offends another
has any one in a free country the
right to take his liquor from him,
and a sober student hiding a boot-
leg quart in his bureau drawer is
certainly inoffensive. Here is the
new Brown system peculiarly vic-
ious, for it invades a man's sacred
privacy and seeks evidence not of
drunkenness but merely of own-
ership.
The employment of spies to re-
port the names of staggering stu-
dents is a rather common practice
on university campuses; the sec-
recy of the spies' names makes the
practice contemptible, but it can-
not be called vicious. It serves,
albeit underhandedly, the desirable
end of eliminating that ungentle-
manly student who must needsl
display his intoxication before the
HIGHER STANDARDS
In seeking to revise the regula-
tions governing the admission ofg
candidates to West Point, the au-
thorities there have seen the ne-
cessity for the elimination of the '
unfit in building men for Uncle'
Sam's army. By raising the stand-
ards of the academy, West Point
is doing practically the same thing
that President Little wished to ac-
complish through the establish-
ment of a University college at
Michigan.1
Up till the present, a certificate,
from high school or preparatory
lschool has been enough to admit a
candidate to the military academy,
but it was found that under this'
system, there were a great per-
centage of failures in certain sub-
jects due to poor preparation. Con-
sequently, these cadets have been
a drag on the institution and have
retarded the progress of the other
students. By reducing the number
of failures after admission, the pro-
posed plan will tend to do away
with much embarrassment.
Some individuals are not fitted
either by temperament or capacity
for the work required by colleges.
By recognizing this fact, consider-
able saving in time, effort, and
money on the part of the pros-
pective student as well as the uni-
versity can be effected. The reit--
eration of subjects which should
have been learned in high school
can be eliminated, and the gain
in the efficiency of every depart-
ment will be more than doubled.
Thd new standards set up by West
Point and the proposed system of
admission by which only the most
suitable are accepted deserves the
careful consideration of every col-
lege in the nation.
THE ROAD TO RUIN
T Fearing that their college is "on
the road toward becoming a rich
man's school," students of Dart-
mouth college, have protested
through their undergraduate pub-
lication, the Daily Dartmouth, a
rising tuition, and other augment-
ed expenses concurrent with edu-
cation at the New Hampshire In-
stitution.
The high cost of college is an
'attempt to produce an aristocracy
of brains," the students say. How-
ever, it has resulted, they claim,
in breeding "an aristocracy based
solely on the chance of economic
factors," and the college is lean-
ing toward "snobbery."
Dartmouth's plea for an "aristoc-
racy of brains," inaugurated by
' President Hopkins, is well ground-
ed. Brain power is but one of many
natural resources of the human
race. Being the specialized de-
veloper of this one factor, colleges
should produce a distinct class of
intellectual superiority.
Dartmouth's problem is not one
I of purpose, but one of method. It
. is the means of determining the
members of the superior brain
class, that is the prime question.
Wealth as a means of discrimina-.
tion has long been considered in-
consistent with the purpose of edu-
cation. Evidences of this have
been plentiful and the Dartmouth
icase is further strengthening of the
principle.
Some higher attribute than the
possession of money should be
used as the measuring rod for en-i
trance to educational institutions.
Moral purpose is a more fitting re-
quirement. Stock for the nobility
of brains, should come from the
basic aristocracy of integrity,
initiative and industry. This prin-
ciple has been strongly advocated
by President Little, and has, to a
limited degree been applied in de-
termining students for the Uni-
versity.
Dartmouth's trouble in practic-
ing its educational policy may be
relieved if it would apply moral
purpose, and not evidences to with-
stand higher rentals, as its ma-
triculation prerequisite. But,
whatever, may be its experiences
with procedural matters, their in-
tent to develop an "aristocracy of
brain" is worthy of commendation.
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Music adDrama'
... ....:....... .................. 3i..auunsu.................. ............... ..... .............
TONIGHT: A presentation of "The Green Goddess" by William
Archer, in the Lydia Mendelssohn Theater, commencing at 8:15,
with the curtain at 8:30 o'clock.
THE BRAHMS CONCERTO I ANTON RUBINSTEIN
A- x 4.T.".T1C~iyZ- .-tri .Lcnwar 4 A- xast1ri"__ly a es tran I
. E- _'
An Article By Herbert Schwartz
This work is a most eloquent re-
buttal of the thesis that Brahms
An Article By Day les Frantz
By the nature of things musical
there will always be those whose
struggles too much in the act of I names in the history of music sig-
composition. It is a truism that
art conceals itself and yet therej
are times when art is, quite legiti-
mately, interested in itself and lays
bare its mechanism - which is
pretty much the mechanism of theI
artist's organization. CrystallizedI
nify tragedy. Beethoven, Schu-
bert, in a sense Cesar Franck, and
the American, Charles Griffes, to
call to mind the outstanding ones;
and because of the failure of the
world to acclaim him as a great
dramatic composer, (not even
I
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RADIO
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FOR ALL MAKES
GEO. WEDEMEYER
r
attitudes are a much more enjoy- recognition as one of the world's
Want Ads Pay
able means of communication (for
the audience), but the tremendous
question arises: "Is the creator's
experience always adequately con-
veyed in such summary terms?"
Classicists will say yes, adding that
the other elements of an experi-
ence are peculiar to the individual
and of no universal, that is, ar-I
tistic relevance; but somehow the
creators themselves seem to beI
quite interested in the effort tof
crystallize, as a distinct experi-
ence in itself; Contrapuntal forms
are formalisations of this process:
the creation of attitudes from im-
pulses. The step from chaos to or-
der is too large a part of an art-
ist's experience to be dismissed as
irrelevant and too universal (at
least among artists) to be outlaw-
ed as incommunicable. This as-
pect of composition becomes in-
significant with the more facile
thinkers like Handel, Mozart, the
early Beethoven, and Tchaikovsky.
greatest piano virtuosi could com-
pensate him for this failure), Rub-
instein adds his to the list of these
tragic names.
Anton Rubinstein was born in I
Vichvatinets, in 1829, of Jewish
parentage. Though Russian by
birth, his pen produced work that
have about them an air chiefly
cosmopolitan, rather than the
characteristic national flavor one
expects of the Russian school and
which one finds in most of its
exemplars.
Rubinstein was a prolific com-
poser. From his pen came 5 piano
concertos, 6 symphonies, 9 operas,
and 5 or 6 oratorios or biblical
operas, besides numerous other
works for voice, orchestra, solo- in-
struments and ensembles. It was
his pathetic misfortune to watch
his own creations in the field of
, piano literature, chamber music
and the opera, eclipsed by the re-
rlfc ffamtiro ~cs r~vo
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It is a mighty element of Bach's suits ozJthejeius UI Liszt, Brahms
thought, of the later Beethoven's and Wagner. He had wished to be
and of Brahms'. If Brahms artic-fr Russia what.Wagnerhad aee
ulates this phase of hisexperience for Germany. It was his tragedy
clumsily at times (and this is un- ; that the wings of his genius did
deniable), we may question his not bear him to the realms attain-
technique, but that he has accept- ed by the Wagnerian flight.
ed his tradition and extended it, Like that of MacDowell, though
and succeeded in so large a de- to my mind of lesser importance
gree, makes him very great. Where than the works of the American,
he is less successful he is human- the music of Rubinstein possesses
ly more understandable, and in the { undoubted merit, charm and
end his efficiency (if we may refer beauty, but lacks excellence of de-
to an artist as an entity) is the tail and appreciable depth in the
greater since a man's clumsiness sense that one speaks of profundity
evokes our sympathies even as we i music. At least the worth of
J disapprove of it. But here one his own compositions cannot be
would have to introduce definitions w compared to that evidenced in the
and purposes which are always works of his many superiors. At
argumentative. its best, Rubinstein's music is char-
The fact is that Brahms can acterized by a certain virile tone
write in both idioms-and he has coloring, a splashy sort of brilli-
chosen the simpler one for this ance, frequent bits of beautiful and
concerto. There is little cryptic b pure lyric melody, and to quote
introversion, and twisting and Combarieu's summarization: "It is
turning of themes to wring out new characterized by a brilliant eclec-
material; there is little comment ticism in which one may discover
of the composer on his own experi- the influence of Schumann and
ence. In this composition Brahms Mendelssohn, of Berlioz and Liszt;
has abandoned himself to youthful yet which lacks the imaginative
straightforwardness and simplic- ardor, the intensity of sentiment,
ity and yet, without any awkward in a word, the power of personality,
insistence on his reflection, there which constitutes Romanticism." It
is the melancholy glow, beneath is interesting to quote Rubinstein's
the virtuoso's ardor, of one who own bitter summary of himself: "I
has looked upon the world and appear quite illogical to myself. As
himself, and who has been sorely regards life I am a republican and
puzzled by both. The guess is that a radical, while in art I am a con-
Brahms here has empathetically servative and a despot.... The Jews
reverted to the virtuosity of his regard me as a Christian; the
youth-but with the sad submis- Christians look on me as a Jew.
sion of a frustrated intellect. For the Russians I am a German;
One never feels (as one must for the Germans, a Russian. The
confess to in the symphonies and classicists think me a futurist, and
later piano works) that too many the futurists, a reactionary. My
things are going on at the same own conclusion is that I am neith-
time. The orchestration is remark- er fish, flesh, nor good red herring
ably transparent for Brahms and -a pitiful individual."
very often it pretends to no more The Concerto
than subtle background for the The first movement-D minor,
solo. 2-2 time, Moderto-propounds the
Those who love Brahms for his principal theme, followed by fits
lugubrious richness may be dis- trestatement by the solo instrument.
appointed in this work; those who Alterations of orchestra and piano,
require primarily fluency of ex- frequently using new material,
pression will prefer it to much that lead to the second subject, F. maj-
is more pretentious. Probably the or. In the "development" and "re-
latter are right. This music has capitulation" are discovered high-
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in our clothing sale---no
ex-
ceptions, not even our new
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attained a simplicity which implies ly original exploitations of
all the struggle so crudely put material -already put forth,
down elsewhere; Brahms here is a justified introductions ofi
conquering fellow with all that, ideas. In the "recapitulation"
and the world likes to be con- second subject appears in B.
rijuararl rtrif uiie 'aucpeLLS 1jUt . dInni- JL mJ.i t fha nnUUU n is
the
and
new 1
the
fiat
11
MAY FESTIVAL
TICKETS
A Limited Number of Season Tickets
($6.00, $7.00, $8.OO), and tickets for
individual concerts ($1.50,
$2.50) are still
available
AT THE SCHOOL OF MUSIC
Beginning Wednesday Noon
TICKET SALE WILL CONTINUE AT HILL AUDITORIUM
Editorial Comment
CASH FINES ,
(The Ohio State Lantern)
Another blow may soon be dealt
the student's purse, already report-
ed to be in an unhealthy condition.
The Student Court may decide to
assess cash fines.
Court officials look to cash fines
as a solution to their troubles.
They have only two types of sen-
tences. For a grave offense they
may suspend a student from school.
For a less serious violation, they,
only issue a warning.
This is their difficulty; some
quered. But one suspects that
Brahms himself had more respect
for the meek, perplexed human be-
ing who was more nearly conquer-
ed than conqueror. A concerto is
written, after all, chiefly for the
performer and Brahms could never
subscribe completely to the domi-
nance of the virtuoso. But it may
be that Brahms had elsewhere lost
too much of the virtuoso's spirit.
It would be impossible for him to!
lose the manner of his musical
thinking even in a concerto. Thus
the happenings in the orchestra,
while at times subsidiary to the
solo, are, on the whole, extreme-
ly important. The introduction of
the first theme by the oboe in thej
maoir, ar n n e coaa, as is us-
ual in compositions in which tle
possibilities of an instrument are
stressed, we find dazzling passage
work for the piano, with contrib-
utary phrases by the orchestra.
In the second movement--F
major, 3-4 time, Moderato assai-
the principal subject is introduced
after twelve measures of intro-
ductory material, the first eight for
the orchestra. The progress of this
movement is so clear and self-ex-
planatory that no words of analysis
can be of assistance.
The third movement is indicat-
ed "Allegro." There are three
themes, and a short orchestra in-
troduction which reappears
I
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III
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