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October 15, 1931 - Image 4

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Publication:
The Michigan Daily, 1931-10-15

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T.E MICHIGAN DAILY

Published every morning except Monday during the University year
by the Board in Control of Student Publications.
Member of the Western Conference Editorial Association.
The Associated Press is exclusively entitled to the use for re-
publication of all news dispatches credited to it or not otherwise
credited in this paper and the local newsv published herein.
Entered at the Post Oifice at Ann Arbor, Michigan, as second
class matter. Special rate of postage granted by Third Assistant
Postmaster General.
Subscription by carrier, $4.00; b mail, $4.50
Off ies: Ann Arbor Press Building, Maynard Street, Ann .Arbor,.
MSiebigun. Phones; Editorial, 4925; Business, 21 ,21A4.
.EDIToRIAL STAFF
Telephone 4925
.MANAGING.EDiTR
RICHARD L. TOBIN .
Plews Ed'tor....................................David M. Nichol"
Editorial Director.............. .,.....Beach Conper, Jr.
City Editor... ...... ...... . ....Cal Forsythe
Sports Editor ............ ...............Sheldon C. Fullerton
Women's Editor...........................Margaret M. Thompson
Screen Reflections...........................Bertram J. Askwith
Assistant News Editor........... .... . ....... . Robert L. Pierce

w
.; ;

IEDITORllAL COPMMEINT

l

Frank B. lilbreth
Roland oodman
Karl Seiffert

NIGHT EDITORS
J. Cullen Kennedy James Inglis
]enton C. Kunze Jerry E. Rosenthal
George A. Stauter

Wilber J. Myers
B~rian 3Joneb

Stanley Arnhem
Sara Bagley
Lawson L. Beeker
Thomas Connellan
IRalph R. Cooper
Lester Ib. Harrison
Morton Helper
Joseph Hoffman
Josephine Woodhams
Annette Cummings
Dorothy Brockman
Alma Wadlsworthl
Marjorie Thomson
Georgia Ceisman

Sports AssIstants
aohn W.. Thomas
REPORTERS
James Krotozyner
RobertMeerritt
Ilenry Meyer
Marion Milczewskt
Albert Newman
.erome Pettit
John Pritchard
Joseph Renihan
Beatrice Collins
Ethel Arehart,
Barbara Hall
Susan Manchester
Margaret O'Brien
Louise Crandall.

John S. Townsend
Charles A. anford
Alfred Stresen -Reuter
William 'JLhal
C. R,. Winters
Charles Woolner
Brackley Shaw
Ford Spikerman
Parker Snyder

OUR LIBERAL FACULTY
(University of North Carolina Daily Tar Heel)
It is a common classroom practice in most uni
versities, and this institution is no exception to th
rule, to speak loudly and bravely of the intellectua
and economic freedom that the professoriat in libera
universities enjoy. Freshmen and visitors are much
impressed with the greatness of these men.
Practically, all state institutions have come sr
completely under the domination of the legislatures
of the budget commissions, and the intimidations of
wealthy patrons that freedom of expression and
action on the part of individual professors is a thing
of the past. The security of academic tenure, much
lauded, is a beautiful theory. There is great differ-
ence between class-room freedom and that in actual
practice. The lions of the class-room goaded from
their lairs, by liberal pressure for expression, into
the light of day become gentle lambs gamboling upon
conservative greens and baaing docilely at the com-
mand of their masters-the legislatures, the budget--
eers, and industrial magnates.
The Daily Tar Heel, wearing no man's collar, as
poor as the tenant farmers of our state and depend-
ent upon no one, has ,been waiting for the past month
for the University of North Carolina to express itself
upon the uinwarranted and unjustified dismissal of
Dr. Carl Taylor, a man whose worth to the state has
been proven so many times, a great and good man.
A latest rumor will shake the complacency of some
of our paper liberals. Dr. Carl Taylor was dis-
missed ostensibly because of a shift in the budget
of State College. Conservatism is said to be sworn
to accomplish the dismissal of professors at the Uni-
versity within the academic year. The faculty here
divided and silent are the prey of reactionaries. A
united stand and the fearless protection of those
faculty men coming under the displeasure of the
North Carolina Inquisition will save several faculty
lives which will otherwise inevitably be cut off this
year.
. Approximately 103 members of the Varsity band
will go to - Princeton with the football team. Does
that include the man who carries the front end of
the bass drum? '
It is gradually being whispered about that Jack
Sharkey and Primo Carnera recently engaged in a
prize fight. Michigan played Chicago last Saturday.

PALMER CHRISTIAN'S
SECOND CONCERT

t

Cile Miller
Elsie Feldman
Eileen Blunt
Eleanor Rairdon
Martha Littleton
Prudence Foster

BUSINESS STAFF"
Telephone 21214
CHARLES T. KLINE .........................Business Manager
NOIRIS P. JOHNSON..........................Assistant Manager
Department Managers
Advertising ................................vernon Bishop
Advertising...................................Robert B. Callahan
ZAvertising.............'........ .... William W. Davis
Service..... ...... ..............Byron C. Vedder
P'ublications............... . . William T I. l3rown
Circulation ......... .... ................. . Z~a~ry R. IBegley
Accounts ... ................:.....Richard Stratcmeier
Women's Business iManager+...................,.Ann W. Vrner
Asistants
Orvil Aronsen Willard >reehling Thomds Roberts
Gilbert E. 3ursley herbert Greenstone I. A. Saltzstein
Willard A. Combs- John Keyser B~ernard F. Sehnacke
Allen Clark Arthur F. Bohn Grafton W. Sharp,
Custave Dalberg Bernard H. Good Cecil E. Welch
Robert E. Finn James Lowe
Kathryn Baylsas Ann 'Gallmeyer Helen Olsen
Donna Becker Ann Hiarsha Marjorie Rough +
Genevieve Field Kathryn Jackson :Mary E .Watts
Maxine Fischgrund Dorothy ILayhin

NIGHT EDITOR-KARL SEIFFERT
THURSDAY, OCTOBER 15, 1931.
University Versus
Etudent Expectations
XW HAT does the University expect of its stu-
dents? Better still, what do students expect
of their University? Truthfully, it is doubtful if
one ever thought very much about this particular,
question; yet an attempt was made a few days
ago to arrive at some conclusion on the subject.
If we were prepared to hear that the University
expected its students to subscribe to certain defi-
nite laws which in turn would call out cries of
"paternalism," we were disappointed. And if we
expected to be enlightened as to the nature of the
relationship between the student and the Univer-;
sity, as to what attitude the University should
adopt, we were again disappointed.
In presenting their views, Prof. Daniel L. Rich,
director of classifications, and Wilfred Sellars, a
junior in the Literary college, agreed that there'
exist in the minds of both students and University
certain definite expectations; and that theseare
the basis for the very existence of the University.
No one will deny their existence ; without them'
the University would cease to be an institution.
But just what are these fundamentals?
First of all, says Professor Rich, "The Univer-
sity expects its students to grow, to grow in its
knowledge and in favor with their fellow men."
Secondly to allow for the source of one's informa-
tion, "particularly sources of propaganda." In
other words, the University expects its students
to separate the wheat from the chaff. Thirdly, the
University expects its students to accelerate this
growth by fraternizing with fellow-students and
faculty, 'browsing around,' and cultivating the
ability to weigh evidence that will enable one to
discrimihate between false goods and true. On
the student side, Mr. Sellars, in summing up his
conclusions, believes the student expects to achieve
an education and experience suitable to later en-
able him to fit into his social and economic corner.
He believes the burden to rest with the student;
the student is obligated to join with his fellow-
students to discuss and look beyond the University
to the conditions which were the cause of his dis-
appointment.
There should be, he continues, an "individual-
ization of education," a closer contact between the
student and teacher.
It is not difficult to see that these fundamentals
are the very essence of education. It is more the
social rather than the scholastic phase which
should be cultivated; for contacts made by stu-
dents are those that are everlasting. The man who
employs only his scholastic faculties is not lost,
as it were, but he is not as wealthy as the one who
learns facts for the purpose of applying them in
his daily routine. Here in the University are rep-
resentatives from nearly all the countries of the
world; here is a chance to gain first-hand political,
economic, and social knowledge that is better than
the knowledge disclosed in any book. Here, too,
are any number of extra-curricular activities in
which one's nent-un enermv may be released. This

-_- - __. in II~ N
Stravinsky: Symphonie des Psaumes, for Orchestra
and Chorus Igor Stravinsky, conducting Orchestre
des Concerts Straram and Alexis Vlassoff Chorus in
six parts, on three 12-inch records Columbia-
Masterworks Set No. 162.
Seldom have compositions of any composer pro-
voked such hot debate, such violent hatred and in-
tense enthusiasm, as has the work of Igor Stravinsky.
His very complicated polyphony, his dissonance, re-
sultant of a definite clash of melodic lines, his revo-
lutionary contrapuntal devices, his superimposed
rhythms-all these are foreign to the hearing habits
of most people. One either l9ves or hates such music,
according to one's previous training. It is unfortun-,
ate that most of our ears are trained to hear ver-
tically. It is unfortunate that most of us associate
beauty in music with mere melodic prettiness, simple
harmony in thirds and fifths, and the barest essen-
tials of rhythm. These people who must have har-
monic chord structure, these people who cannot
abide conflicting rhythms, who are confused by dis-
sonances, who are unable to discern the fundamental
tonality which is invariably present in Stravinsky-
these people will first have to establish new habits of
hearing before they can appreciate such music as
Stravinsky's.
The "Symphony of Psalms," composed in 1930,
"to the Glory of God," was dedicated to the Boston,
Symphony Orchestra upon the occasion of its fiftieth
anniversary. It is scored for five flutes (one inter-
changeable with piccolo), four oboes, English horn,'
three bassoon's, double bassoon, four horns, four
trumpets, three trombones, tuba, hasp, two pianos,
violoncellos, and double-basses. As he has often done
before, the composer leaves out violins and violas.,
The Prelude of the "Symphonie" is a hymn of
supplication, commencing in - a monotonous minor
melody, and rising in chant to a mighty swell of
intense fervor. There is profound religious feeling
manifested here. The closing passage, especially,
stands out with sharply definied clarity,
Part Two introduces flute and oboe in fugue. Eng-
lish horn and piccolo add variety of color in the
fugal development. Stravinsky seems to have gone
back to Bach for his counterpoint here. Despite
occasional dissonances, there is strictly measured
phrasing and rigid cadence. The Fugue movement
swells to an anti-climax. The music is bare and
severe. Each phrase stands out with great clarity.
A ,subdued, depressive atmosphere is dominant. Bas-
soons, cellos, and horns seems to suck the spirits
downward. There is deep humility here.
In the Allegro movement, Stravinsky uses voices
to produce percussive effects. This is an unprece-
dented innovation. The percussive effects are almost
imperceptibly attained, horns and cellos muffling the
human voice quality. This last movement is joyous
and elevating. There is an added tenseness of mood,
a deliberate soaring, at times erratic, which leaves
one breathless. It is notable that at various times
the entire chorus and orchestra hold a single, sus-
tained note in different registers; the difference in
timbre of male and female voices, flutes and bassoons,
oboes and cellos, all sustaining the same note, blend-
ing diverse tints and shades, is extremely effective.
In the middle part of the Allegro movement there is
a sudden effervescing of trumpets and trombones.
Melodious variations contrast most effectively with.
the dissonance of the preceeding designs. The Finale
is atonal, dissonant, confused. Withal a graciousness
is preserved, a definite mood of exaltation is created.

,1 By Richard L. Tobin
Yesterday's audience at Hill au-
ditorium fell heir to one of the
richest displays of organ music Mr.
Palmer Christian has yet consent-
ed to play. Contrast of every con-
ceivable form, power and reserve,
music from the late 17th century
and our most recent contemporar-
ies linked the eight selections.
"Air Majestueux," by Rameau
opened the program but rather
than being "majestueux'" was h auty
ard cold. It was the n'iost disap-
pointing of the eight events. "Mus-
ette en Rondeau," by the same
composer, is short and extremely
light,'not at all like Rameau's con-
temporary Bach, nor like music
which one would expect even from
the very lightest of the great
French writer's moments. To be
followed, as it was, by the "antasia
and Fugue in C Minor" by the
.deep, enthralling Bach only exag-
gerated the contrast. The Bach
number, although one of the mas-
ter's earlier works, ends with a ter-
rific interspersion of overapping
runs, chords, and themes in both
hands which so closely identify the
writer to this sort of organ music.
Gustav Hagg, the most famous
of the contemporary Scandinavian
musicians, supplied the fifth uin-
ber in "Aftonfrid" (Evening Peace)
and the selection was startlingly
reminiscent of the queer, resonant
Greig themes, what with all its
simplicity and its oboe and flute
and violin strains. The chances
and ranges of the University or-
gan seem well adapted to such a
versatile composer.
"Chorale in B Minor" by Cesar
Franck is a peculiar thing. The
theme starts simply enough, and
ever the program tells us that va '
iation and elaboration is interest-
inrg in its recurrent simplicity. The
theme in this particular case
(which, incidentally, resembles the
Chopin "Funeral March" at the
outset) is evident throughout, but
the way it is presented attracts our
attention immediately. After a
rather soft, subdued beginning, a
series of piercing treble notes
startle us only to be modified into
a delicate, rhythmic ending. "Min-
uet Scherzo" by Joseph Jongen, a
Belgian, is different, too, from the
usual run of such theses. The ma-
jor strain is almost Oriental in its
character; carries through in a ser-
ies of thirds and queer combina-
tions; and plays heavily upon the
treble toward its abrupt ending.
The semi-final yesterday drew
forth one Mr. Held nd a "Cradle
Song" which was dedicated to Mr.
Christian himself. It is gentle and
important but, rather uninterest-
ing when placed between the "Min-
uet Scherzo" and the tremendous
"Finale" (Symphony 6) by Widor.
This last is one of the most virile,
thrilling night-caps Mr. Christian
has even presented. There is hard-
ly a dull moment and the Univer-
sity organ is suited for nothing
better. Mr. Christian is, for that
matter, at his very top-most on a
writing which requires the .attack
and vigour the "Finale" calls ou
Mr. Christian continues to leave
nothing undone, nor poorly execut-
ed in his Wednesday afternoon ex-
cursions.
A1
W~sh~~9tI

By Kirke Simpson
WASHINGTON -- The challenge
Ohio has hurled at Virginia for
that coveted honor of being kfnown
among the states as "the mother
of presidents" has come painfully
close, from a Virginia point of view,
to being realized.
Eight of the 31 presidents were
Virginia born; seven Ohio born.
And the chances seem to favor
Ohio in the race. Only the fact
that Woodrow Wilson, elected from
New Jersey, was born in Virginia
enabled the Old Dominion to re-
tain her narrow margin this long.
Now, what are today's prospects?
So far as the Bystander has
heard nobody has mentioned a Vir-
ginian as a reasonable 1932 presi-
dential nomination prospect except
that Ritchie of Maryland was Vir-
ginia born.

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