Liberty Ladies College - Liberty Yearbook (Liberty, MO)

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thorough t compos- tance that in technic out these We take d elastic , singing, ' that the ling must dents are tion With dates for c are re- atory at ccording 1 studies, Biully se- iual stu- hWS I i of fin- tion of lCh em- ' list or Urbach, ndation Kohler, xas and Second PeriodeTechnical exercises conducive to the development of strength, flexibility, endurance and veloc- ity. Varied rhythmical treatment of chords, scales, arpeggi and passage work of all kinds. Studies of such grades as the following: Doring Progressive Studies Op. 8, Duvernoy School of Mechanism, Bertini Selected Studies, CZerny School of Velocity, Selected Studies from Heller and Cramer, Bach Little Preludes, Easy Sonatas and standard compositions by representative composers. Third PeriodeExercises requiring a greatef command of technic, more musical and mental control. Practice of scales, chords, arpeggi with various accent and rhythmical treatment continued Doring Octave Studies, Cramer studies continued, Bach Two and Three part Inventions, Czerny School of Finger Dexterity, Clementi Gradus ad Parnassum begun, Sonatas and other compositions of mod- erate difficulty. Fourth Period.-Special exercises and etudes designed for overcoming the difhculties met with in the works of the great composers, Clementi Gradus ad Parnassum contin- ued, Kullak Octave School, Bach Well-tempered Clavi- chord begun, Sonatas and Solo work from Mozart, Been thoven, Schumann, Mendelssohn and others. Fifth PeriodeAdvanced technical work continued. Clementi Gradus ad Parnassum finished, Bach Well-tem- pered Clavichord concluded, Advanced Etudes from vari- ous composers, works in single and cyclical form from Bee- thoven, Schumann, Von Weber, Tschaikowsky, Brahms, MacDowell and Schutt. ENSEMBLE CLASS. The class in ensemble playing is formed from the ad- vanced piano pupils. Standard overtures, symphonies, suites, etc., are studied, thus enabling one to become ac- quainted with important work in the larger forms not eas- ily undertaken as solos; this kind of practice is of inestie 27

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umjvzqwgz s 3H- 3.. . aw .Iekhg- 19.7741':T W' T s a M3: :7 p erghzzvrtf Hum . COURSE OF STUDY. PIANOFORTE. The course is intended to give a broad and thorough musical education based on the works of the best compos- ers, classic and modern. It is of primary importance that students should acquire a thorough foundation in technic and elementary theoretical knowledge, as Without these even a literally correct execution is. impossible. We take the utmost care in cultivating a clear, even and elastic t0uch,-so desirable in the production of a full, singing, musical tone, holding steadfastly t0 the principle that the development of the intellectual musical understanding must go hand in hand with technical progress. All students are urged to take the full theoretical course in conjunction with Whatever special branch they may pursue. Candidates for graduation in either vocal or instrumental music are re- quired. to do so. Students may enter the Conservatory at any stage of advancement, but Will be classified according to the quality not the quantity of past work. Such studies, exercises and pieces as may be used, will be carefully se- lected and adapted to the requirements ofindividual stu- dents in their respective grades. The course is divided into five periods, as follows: OUTLINE. Preparatory-Correct position and movements ofifin- gers, wrists and arms established, proper execution of simple passage work and various degrees of touch em- ployed. Practice material selected from following list or its equivalent: Piano Schools of Germer, Beringer, D'amm, Urbaeh, Dollis Introduction to the Pianoforte, Emeryis Foundation Studies, Easy Studies by Le Couppey, Lemonine, Kohler, Brauer, Loeschhorn, Czerny, etc., Selected Sonatinas and smaller pieces. 26 .v-taxt' . .mm-,w HF , , e h A as H. Al

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mable value in developing sight reading, firm rhythmical feeling and a larger musical perception and grasp 1n gen- eral. CHORUS CLASS. All vocal pupils Will attend this class and all other stu- dents of music are urged to do likewise. The work under- taken consists of exercises in sight reading based on the practice in solfeggio and part songs. PUPILST RECITALS. These Recitals Will occur monthly, the object of Which is to accustom students to appearing before others, thereby enabling them to overcome all nervousness and timidity usually experienced by young players. Frequent public Recitals are also held. COURSE IN THEORY. This course is designed to cultivate a better under- standing and higher appreciation of the master works in music, to make practical and thorough musicians in the true sense of the word. LESSONS IN NOTATION AND AUDITION. The elementary principles of music are here taken up, the musical faculty is so trained that one may acquire the ability to hear mentally what is seen on the printed page and to take down in musical notation What is heard. This practice is continued throughout the entire course of study. HARMONY. First Period.-Elements of Harmony. Second Period.--Practical work in harmonizing melo- dies and exercises in simple counterpoint. 28 tl tc ammo :