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October 23, 1948 - Image 5

Resource type:
The Michigan Daily, 1948-10-23

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Chrs aechDirects
Orchestr NationalHee

Plectric Eye


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Following their much-applaud-
ed debut in New York City last
week, the Orchestre National of
France will appear at 8:30 p.m.
Monday in Hill Auditorium as
part of the Choral Union Series.
Top-ranking French conductor
Charles Muench will direct the
symphony in its local appearance,
one of 36 it will give on its pres-
ent American tour.
SRA Invites
20 elegates
To Convention
Program Will Focus
On Religious Work
A conference on Small Group
Methods in religious work will be
held today under the auspices of
the Student Religious Associa-
The cell group conference will
bring about 200 delegates, includ-
ing faculty and students from
other colleges and seminaries.
on Small Dynamics, the psychol-
ogy department and the social sci-
ence department, as well as cam-
pus religious organizations are in-
terested in the discussion.
At 10 a.m. in Rackham Lec-
ture Hall Prof. D. E. Trueblood
of Earlham college, J. o. Nelson,
Director of the Commission on
the Ministry of the Federal
Council of Churches, Prof. Ross
Snyder of the Chicago Theologi-
cal Seminary and Prof. James
Luther Adams, of the Medvill
Theological Seminary will
speak on phases of group rela-
Campus and community relig-
ious aspects will be discussed at a
noon luncheon in the Union.
Open forums' from 2 to 4 p.m.
and from 7:30 to 9 p.m. will close
the conference.

tra has performed before the na-
tion's audiences since Toscanini
brought the La Scala Symphony
to this country in 1920.
For their New York appear-
ance, attended by Dr. Charles
Sink, director of the University
M1usical Society, the French
goup was showered with high
praise from music critics, who
were greatly impressed by the
orchestra's cleanness and ac-
curacy of interpretation.
The 96-piece Orchestre National
was organized in 1935, and since
that time has become the fore-
most symphony of France. Dur-
ing the Nazi occupation, members
used Free French Marseilles as
their base of operations.
Muench was conducting various
groups throughout the country in
an attempt to keep French music
before the nation. For his services.
Muench was decorated Chevalier
in the Legion of Honor.
Returning to the capital up-
on French liberation, Muench
took over the direction of the
Since that time, the group has
toured major European eitie,
while Muench has been guest
conductor withsix Americaneor-
chestras. He also led last year's
London Music Festival symphony.
In their Ann Arbor program,
the French orchestra will play
favorite works of Berlioz, Dukas
and Debussy, as well as the new
Piston toccata, composed 'es.-
cially for the ensemble's American
Tickets for Monday's concert
are still available in limited num-
bers in the University Musical So-
ciety Offices in Burton Memo-
rial Tower.
In the entire history of the Ot-
toman Empire, according to the
Encyclopedia Americana, no Turk
had a family name! All Turks
were considered, not as individ-
uals, but as pieces of Ottoman

tsPictures By RALPH MATLAW
One of the lesser tribulations Prokofiev has undergoneoccurred
IIRecordTi me on Christmas Day, 1916, when a scathing review of the Scythian
Suite appeared in a Moscow newspaper. The critic, Leonid Sabaneiev,
DETROIT-(AP)-A new electric wrote: "If one says it's bad, that it is cacophony, that a person with a
eye that can take a picture and differentiated auditory organ cannot listen to it, they will reply, 'But
make a print of a line drawing in this is a Larbaric Suite' and the critic will have to retreat in shame. So
45 seconds has been developed y.--.
here. Iwill not criticize this suite. Quite the contrary, I shall say that it is
After more research, it might be magnificent barbaric music . . . but if I'm asked whether this music
used to take pictures or portraits, gives me pleasure or an artistic sensation, or produces a deep im-
or to turn out print in a new kind pression on me, I must categorically say 'No.' The composer himself
of printing press, its developers conducted with a barbaric abandon."

THIS EYE is a coated metal
plate that sees and remembers an
image by static electricity, instead
of by chemicals in present pho-
tographic films, which are chemi-
cal eyes. Printing the drawing is
done simply with a dry powder
and static electricity. No chemi-
cals or liquids are used.
The new process is so differ-
ent that a new name was coined
for it-Xerography (Ze-rog-
ra-fee). It comes from the Greek
Xeros, - meaning, dry, and gra-
phos, meaning writing.
Xerography was announced and
shown to the Optical Society of
America by Dr. R. M. Schaffert of
the Battelle Memorial Institute,
Columbus, Ohio, and Joseph C.
Wilson, President of the Haloid
Company, Rochester, N.Y.
XEROCOPYING machines are
being built to reproduce line work,
like drawings, blueprints and doc-
uments, Wilson said. Such images
can be printed en paper, wood.
cloth, metal or other materials in
black and white, or colors.
Portable Xerocameras may be
possible after further research,
Dr. Scha.ffert said. With them,
"the picture taken can snap the
shutter and in a few seconds pull
out a finished Xeroprint.
(Continued from Page 1)

The amusing thing in this incident is that there had been no
performance of the suite. Prokofiev replied that "in view of the im-
possibility in time of war of gathering the augmented orchestra re-
quired for the work, its performance was cancelled . . . I hereby tes-
tify (1) that I never conducted in Moscow, (2) that my suite was not
performed in Moscow, (3) that the critic could not acquaint himself
with the music even from the score, for the only manuscript copy is
in my hands."
THE SCYTHIAN SUITE, Op. 20, ("Alla and Lolly") is Prokefiev s
first work of symphonic proportions. Although the subject is similar
to Stravinsky's Le Sacre du Printemps ("Scenes of Pagan Russia"),
relating the nomad conquest of Russia in early historical time, the
musical treatment is distinctive. In spite of Sabaneiev's views, the
suite is not only extremely successful in evoking paganism, but also
is quite effective and enjoyable as music.
Four parts of the suite are played in the recording by the Chi-
cago Symphony Orchestra conducted by Desire Defauw (Victor DM-
1040). The first, Adoration of Veles and Alla, is wildly tumultuous and
immediately succeeds in setting a mood of savage fanaticism. Next is
the Dance of the Dark Spirits, a grotesque piece capturing the primi-
tive fear of deities. The Night is an eery section which leads to the last
part of the suite, The Departure of Loijy and Cortege of the Sun. This
last section is a tribute to the warrior and a hymn to God and ends
the provocative suite.
The score of this work is extremely brilliant, fully utilizing all or-
chestral resources to produce strange effects and vicious rhythms. The
performance of Desire Defauw takes advantage of the highlights of
the score, but the recording is muddled through excessive resonance.
The SUITE No. 2 from Romeo and Juliet, Op. 64b, is so highly evo-
cative that one can practically visualize the ballet from which the
music is drawn. Prokofiev demonstrates a broad melodic line in this
suite, and combines with it fine tone portraits of the persons in the
ballet. The first part, Montagues and Capulets, succinctly indicates
the arrogance and disdain of the families. Juliet the Maiden is a ly-
rical and justly romantic portrayal. The Dance, a spirited and ironic
interlude, leads to the final scene, Romeo and Juliet's Grave, an af-
fecting lament. Here the Montague and Capulet theme is reintro-
duced, but changed to reflect the personality changes resulting from
the tragedy. The performance by Serge Koussevitzki and the Boston
Symphony Orchestra of these excerpts is brilliant and moving, and
the recording exceptionally good (Victor DM-1128).
A SIGNIFICANT contribution to violin literature is Prokefiev's
Concerto No. 1 in D Major, Opus 19. The first movement of the
concerto, andantino, is a standard development of a lyrical theme.
The percussive and humorous scherzo second movement, is probably
the best known and certainly the most popular part of the concerto.
Here the orchestration is particularly dexterous, contrasting the
strange effect of muted chroniatic passages in the solo instrument
with the highly rhythmical orchestral background. The last move-
ment, moderato, is very melodic, and ends on a repetition of the
opening theme of the concerto.
Joseph Szigeti, who introduced the concerto in Europe and Amer-
ica, is famous for his superlative understanding and execution of this
work. This performance is available in his recording with Sir Thomas
Beecham and the London Philharmonic Orchestra, who provide a
sensitive accompaniment (Columbia MM-244).
Last week Ann Arbor Jazz enthusiasts had a rare opportunity to
compare first hand the nation's two most dynamic and progressive
dance bands. Woody Herman and Stan Kenton appear to be maintain-
ing and supplementing the tradition of creativeness and integrity in
bi -band jazz originally laid down by such leaders as Count Basie,
Duke Ellington, and Benny Goodman. Like Basie and Ellington, Ken-
ton and Herman have enjoyed almost universal popularity-and fi-
nancial success. And like their predecessors they have seldom allowed
the smothering effects of fame and fortune inhibit their attempts to
develop and expand the jazz form. Both Herman and Kenton employ
young enthusiastic musicians. Their arrangers are inventive and
well-trained. Each band has a distinctive and unmistakable sound.

Conference To
Discus's ifor
The University will play host to
500 accountants today as it en-
tertains the 23rd annual Michigan
Accounting Conference.
The Business Administration
school and the Michigan Associa-
tion of Certified P'ublic Account-
ants are co-sponsoring the day's
sessions. which will spotlight a
discussion of labor's concern with
financial information.
Otis Brubaker, director of re-
search, United Steel Workers of
America, willspak at the morn-
ing session on Lahri Interest
in Financial Information." The
conference will also consider in-
ternational problems as Prof.
Marshall Knappen of the political
science department, a recent ad-
visor to Gen. Clay in Germany,
talks on "The Re-Education of
"Financing European Recov-
ery" will be the topic of Eric
Kohler, comptroller of the Eco-
nomic Co-operation Administra-
Cliff of To Py
At Listeningo Party
Cliff Hoff and his -rchcstra will
provide music for stay-at-home
students at the secondI cmi nax-
tion mixer and listening party to
be held from 2 to 5 p.m. today in
the Union Ballroom.
Members of the Union s:aff
will diagram the Minnesota game
during dances and a radio will be
tuned in for non-dancing guests in
the Terrace Room.
The mixers, held during away
games, are sponsor-d by Assembly
Association and the Union. Re-
freshments will he served.

Culture free today-get yours
at 4:15 p.m."
That's one notice that has
never actually appeared in the
Daily Official Bulletin, but it's ir-
tid. whenever a University lec-
ture is announced.
cst dope on almost every subject
from French art to molecular
ture at this "extra" lecture
epreeed very year by
University depatments.
r'aionl tim of the lee-
res (after re tn three
ii~~txlies)is 4:15 p..ac-
to Dr. Frank Robbins,
asant to the president, al-
though the time has been known
to vary.
Last year, more than 50 schol-
ars spoke on campus. This year
department chairmen have "re-
quisitioned" Dr. Robbins for 41

speakers so far. He expects that
10 or a dozen more will be sched-
uled before the year is over.
the talks have been slated for
Rackham Amphitheatre, where
comfortable seats make even the
most abstract subject easier to
take. Rackham Lecture Hall and
Kellogg Auditorium are also pop-
ular spots.
Purpose of the lectures, Dr.
Rbissaid, is to bring to stu-
dents outside scholars who can
give a fresh point of view on
subjects taught at the Univer-
sity. The lectures are also open
to -the general public.
Among the speakers scheduled
in the near future are Sir Lawr-
ence Bragg, Nobel-prize winning
physicist, and John A. Pope, of
the Freer Gallery in Washington.
Both will appear Nov. 4.

Lecdre Series ffers Varied
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denorninations-any store will accept them.
' 1 F Y? R A'NK



pointed out that although there
had been some mistakes, it is fool-
ish to junk a whole necessary pro-
gram just because a few correc-
tions should be made.
Connecting civil liberties with
education, Jack Summerfield, a
University of Texas graduate
student said that students at
his university, "on the whole,"
are ready for admission of Ne-
The unsuccessful attempt of
Heman Marion Sweatt, a Houston
Negro, to enter the university's law
school in 1946 focused attention
on education segregation in his
state, he said.

101 South Maim

330 South State Stre




............-.. --

I .iG " ' '+ T ' a y/ ;.iv ,s L, ,Y M3~' c...' ' , 4 4 :1.° .t-' w.- F r ,/ ° . 8b' fl ! , t4 ',, 1 r ye' e1 i ti

This Italian operatic com-
poser had a fine dramatic
gift. His operas are still
perennial favorites, though
they were first produced
in the period 1839-1886.
His works include: Oberto,
Contec di San Bonifazio; I
Lombardi; Ernani; Rigolet-
to; It Trovatore; La Travi-
ata; Un Ballo in Maschera;
Aida; Monteunwa; and

r m
A Great Name in Music

ARGUING THAT the "separate
but equal" education facilities for
Negroes could not be maintained,
Summerfield explained:
#'No one can deny that inequal-
ities exist between the University's
law school and the law school for
Negroes which holds classes in a
The Texas student spoke fol-
lowing a speech by Mrs. Ada Lois
Sipuel Fisher, who has repeat-
edly been denied admission to
the law school at Oklahoma Uni-
versity because of segregation
regulations against Ne;roes.
Mrs. Fisher, whose case is still'
being appealed, commented that
"it looks as though I may be an
old woman before I become a
11 5


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Emile Passani Choir and Orchestra
Conducted by Jean Fournet
POULENC-Concerto in D Minor for Two Pianos
Whitemore and Lowe, Pianists
GERSHWIN--An American in Paris
Leonard Bernstein and RCA Victor Symphony Orch.
MOZART-HINDEMITH-Mozart Sonata in A Minor
and Hindemith Sonata No. 2
Jaques Abrom, Pianist
VIEUXTEMPS-Concerto No. 5 in A Minor, Op. 37
Heifetz, Violin; Sir Malcolm Sargent conducting
2 rndon Symphony
W AGNER-Five Songs
Eileen Farrell and Leopold Stokowski
eonard Warren, Baritone
Harvest Moon Album-Pied Pipers and Paul Weston
Soft Lights and Sweet Music-Morton Gould
Paul Whiteman Selects Records for Millions
Cocktail Capers-Art VanDamme Quintette
11 See You in My Dreams-Carmen Cavallero
Johnny Mercer Sing
Gypsy Drearm sasha Datsko and Gypsy Ensemble

* *


Andre Gide's

Mid-Western Premier
Saturday, Sunday
Proceeds to Famine Drive

STAN KENTON is preoccupied with dissonence. And being a
large man he seems to like large sounds-at all times. He also feels
that jazz doesn't depend on a steady beat, but that jazz can still be
jazz if played in 3/4, 6/8 time, or with a mixture of all. Jazz is a par-
ticular "feel" to music, he claims.
Harlem Holiday and Don't Want That Man Around (Capitol
15284) is his latest release. Holiday is what is known as a "screamer."
But this does not mean that is is disordered. There is a logic and co-
herance to the tremendous blocks of sound. They are held together by
a driving beat, unusual for Kenton these days. It also illustrates Ken-
ton's attempts to superimpose Latin rythems over the conventional
4/4 of modern jazz.
One of the main criticisms of Kenton's type of jazz is that it
doesn't swing, that his experiments with harmonic expansion and poly-
rythem have made his music too tense and cumbersome.
WOODY HERMAN'S band, on the contrary, is characterized by
a tremendous swing and fluidity that is closer to the jazz tradition.
Woody's touch is lighter than the heavy-handed Kenton. Bassist
Chubby Jackson and drummer Don Lamond give his band a lift and
drive that matches the pulse of the old Basie band. Woody is a firm
believer in the fact that jazz must be at bottom monorythemic, that
this is what makes jazz distinctive from other forms. The 4/4 must be
there all the time, actually or by inference.
FOUR BROTHERS by Woody (Columbia 38304) is most excellent.
Notice the opening theme statement by the reed section. The curious
sound results from dropping the conventional alto sax and leaving only
a blend of three tenor and one baritone sax. The rest of the record is
very "boppish," featuring excellent solo work by baritone saxist Serge
Chaloff, a genius who has transformed this clumsy snorting instru-
ment into a very acceptable solo vehicle. This record is also a step
forward harmonically in that the tune is recognizable as Idaho, Chero-
kee, or some other hackneyed standard.

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" F . A l c c'- K ? " r. 7 "l:e




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