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.