Liberty Ladies College - Liberty Yearbook (Liberty, MO)

Page 41 text:

:al course in conjunction ?Y may pursue. Candie zil 01' instrumental music mav enter the Conserva- Vm ibut will be Classified suantity, of past work. 2:5 may be used, will be the requirements Of indi- e grades. ix'e periods, as follows: Beringer, Damm, Urbacli, Earte. Emeryls Foundation ouppey, Lemoine, Kohler, Selected Sonatinas and Second PeriodsTeclmical exercises conducive to the development of strength, flexibility, enduranue and velocity. Varied rhythmical treatment of Chdrds, scales, arpeggio and passage work of all kinds. Studies of such grades as the following: Doring Progressive Studies Op. 8, Duvernoy School of Merchanism, 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 PeriodeExei-cises requiring a greater command of technique, more musical and mental control. Practice 0:17 scales. chords, arpeggio. with various accent and rhyth- mical treatment continued. Doring Octave Studies, Cramer Studies continued, Bach Two and Three part Inventions, The Class in ensemble playing is formed from the ads 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 ENSEMBLE CLASS. Czeruy 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 difficulties met With in the works of the great composers, Clementi, Gradus ad Parnassum con- tinued, Kullak, Octave School, Bach VVell-tempered Clavi- chord begun, Sonatas and Solo work from Mozart, Beeth- oven, Schumann, Mendelssohn and others. Fifth PeriodsAdvanced technical work continued. Clementi Gradus ad Parnassle finished, Bach Well-tem- pered Clavichord Concluded, Advanced Etudes from various composers, works in single and cyclical form from Beeth- oven, Schumann, Von Weber, Tschaikowsky, Brahms, Mac- Dowell and Schutt. easily undertaken as solos; this kind of practice is of ines- timable value in developing sign reading, firm rythmical feeling and a larger musical perception and grasp in gen- eral

Page 40 text:

0 give a broad and thorough the works of the best com- posers, 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 literary correct execution is impossible. We take the utmost care in cultivating a clear, even and classic touch,-so desirable in the production of a full, singing, musical tone, holding steadfastly to the principle that the development of the intellectual musical understanding must go hand in hand With the technical progress. All students The course is intended t musical education based on COURSE OF STUDY PIANO FORTE. are urged to take the full theoretical course in conjuncticm hatever special branch they may pursue. Candi- With w strumental music dates for graduation in either vocal or in Students may enter the Conserva- are required to do so. will be classifml at any stage of advancement, but he quality, not the quantity, of past work. ieces as may be used, will bt- tory according to t Such studies, exercises and p carefully selected and adapted to the requirements of indi- Vidual students in their respective grades. The course is divided into five periods, as follows: OUTLINE. P1ano Schools of Germer, Beringer, Damm, L'rbaclt. Second Period.- clevelopment 0f strcr Varied rhythmical and passage work as the following: Doring Progress Merchanism, Bei'tiii Velocity, Selected 3 Little Preludes. Easw representative comp.2 Third Periode' of technique. lllOYG of scales. ChordS. am mical treatment conti Studies continued. E Preparatory-Correct position and movements of tin- gers, wrists and arms established; proper execution of sime ple-passage work and various degrees of touch employed. Practice material selected from following list or its equiv- Dollls Introduction to the Pianoforte. Emeryls Foundatio Studies, Easy Studies by Le Couppeyn Lemoine, Kohlca' Bauer. Loeschhom, Czerny, etc, Selected Sonatinns any smaller pieces. The Clas vanceiil 33in suites. ctm alent; 5 quamtmm 3S

Page 42 text:

CHORUS CLASS. All vocal pupils will attend this class. and all other undertaken, consists of exerc1ses in Sight reading. based on students of music are urged to do likewise. The work the practice in golfeggio and part songs. PUPILST RECITALS. ' - . 11s usually experienced by young players. Flequent puhm These Recitals Will occur monthly, the object of which recitals are also held. is to accustom students to appearing before others, thereby iidity enabling them to overcome all nervousness and tin COURSE IN THEORY. music, to make practical and thorough musicians in the This course is designed to cultivate a better under- true sense of the word. standing and higher appreciation of the master works in LESSONS IN NOTATION AND ADDITION. The elementary principles of music are here taken up, T and to take down in musical notation what is heard. This the musical faculty is so trained that one may acquire the practice is continued throughout the entire course of ability to hear mentally what is seen on the printed page study. HARMONY. First PeriodeElements of Harmony. Second PeriodePraetieal work in harmonizing melodies and exercises in simple counterpoint. 4o First llez'iwl. ; the forms aim elis- progress from amen: This course wil' Musical Theory and