Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY)

 - Class of 1925

Page 1 of 53


Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1925 Edition, Cover

Page 6, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 7, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 6 - 7

Page 10, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 11, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 10 - 11

Page 14, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 15, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 14 - 15

Page 8, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 9, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 8 - 9
Page 12, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 13, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 12 - 13
Page 16, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collectionPage 17, 1925 Edition, Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection
Pages 16 - 17

Text from Pages 1 - 53 of the 1925 volume:

.-,..,.- -.... ---....... - .,'5NX x X1 ADMINISTRATION BUILDING IDEALS 'TO MAINTAIN a Conservatory of Music open to all students of talent and serious aim. TO RECOGNIZE but one standard of instruction, which seeks to accomplish possibilities, rather than work miracles. TO HELP pupils in developing ambition and ideals, and guide them into the practical realization of these. TO AWAKEN a deeper appreciation of the genuine, the real, both in life and in art in its relations to life. TO INSTILL in pupils the realization that while adequate technique for the expression of any art must be developed by persistent work, yet the develop- ment of the artist is a development of the real self from withing a deeper, more subjective devclopmcntg a per- sistent effort toward attainment as well as accomplish- ment, and that the expression of true art is but the expression of the biggest from within. Adopted 1915 Frederic ' A. Cowles Louisville Qnservatory of jiiusic O FREDERIC A. COWLES ARTHUR W. MASON DIRECTOR EDUCATIONAL DIRECTOR JAMES WESLEY McCLAIN JOHN L. GRUBER PRESIDENT VICE-PRESIDENT O INCORPORATED UNDER THE LAWS OF THE STATE OF KENTUCKY E ,. no , Address all Communications to the Vice-President LOUISVILLE CONSERVATORY OF MUSIC 214 WEST BROADWAY - LOUISVILLE KENTUCKY Arthur W. Mason james Wg McClain ' john L. Gruber Louisville Conservatory of Music September 8, 1925-- Novembcr 17, 1925 .... December 25, 1925--U January 2, 1926 .... February 2, 1926 ..,. April 13, 1926 .... June 21, 1926--- June 22, 1926--- August 2, 1926 ---- ,- CALENDAR 1925-1926 ------ .. .- . . . - -Academic year begins - - - - - -I - - -Second term - ---- - Christmas Holidays - Lessons and classes resumed .-- ------- Third term -- ,----- Fourth term - --Academic year ends - - -Summer school begins ----. ,- .. .- - ,- - - - ,--- -Summer school ends Students may enter the Conservatory at any time during a term and tuition will be charged only from the date of the first lesson. No students, however, will bc accepted for less than a term of twenty lessons. Calendar -.-- Certificates ....- . Choir Training --.. Composition. -. . - Counterpoint ..-- Credits ...-- . -- Diplomas .-...- Dormitory---, -- --- Dramatic Art . .. .. . . Ear Training ----------- - Ensemble .-.-- , ----.--. Entrance Requirements - ---- . Examinations.. ----. - . . -- Expression .. . - . . Faculty .--.--- .. - - Form Analysis --...-. General Summary .... . Graduation.. ..------ - Harmonic Analysis -..- . Harmony ..-------- History of Music.--.. Languages ..-.--.-. SCHOOL COLOR: PURPLE TAB LIC OF CON'l'l'lN'l'S P1130 Page 7 Orchestral Instruments- -- 1 26 I3 Orchestras --..---. ,, -- - 22 I8 Orchestration- .--- -, - 33 33 Organ Department--..- - I8 34 Outline of Courses .--. - I3 29 Piano Department-.-, , I5 I3 Piano Normal -.----- W 35 45 Public Appearances ., - - 22 42 Public School Music .-.- ,. 37 3I Recitals and Plays-H - 45 26 Regulations- ----, - ,-, - 47 I I Scholarships- ---- , 48 II School Year--,,.- - 9 42 Sight Singing----U .. 3I 8 Special Students-..-. 9 3I Teachers Training-- - - 35 9 Terms of Tuition----.. A 48 II Theory ------,.---- -, , - 33 34 Violin Department--. .. ., - - 23 30 Violoncello Department ., 26 34 Voice Department . - , - , .. .. I9 29 pllgc BBVGII Louisville Conservatory of Nluszc FACULTY PIANOFORTE CORNEILLE OVICRSTREET -JOHN REBARER ARTHUR W. MASON FREDERIC A. COWLES MINNIFI MURDOFR ICIMBALI. FLORENCE SOHOI-I'ENI-IORST W. LAWRENCE COOK -JENNIE VVATKINS MARY STEWART ALIOE CAMP SARAH MCCONATHY THOMAS STRADLEY FRANK HARMON LELAND BROCK MAYME HUNT BESSIE PERRY THEODORE IIICHBOURG MARIE FRANK NANNYE ILUDY ANDERSON MARGARET HAMMERSTEIN BESS MUSTAINE LAURA BOWMAN IWARY A. GRISSOM VOICE CULTURE AND THE ART OF SINGING ' RICGINALD W. BILLIN CAROLYN CHRISMAN CARA SAPIN SARA LEE JOHN SAMPLE HARP NIARRET SAVERNE VIOLIN ROBEIIT PARMENTER CHARLES J. LETZLER MARION NUGl'1NT CORA COOK PARMENTER ORGAN AND CHOIR TRAINING VIOLONCELLO W. LAWRENCE COOK' ICARI. SCIIMIDT ORCHESTRAL INSTRUMENTS LUIGI 1iES'1'A THEODORE VON BUEST THEORY, HARMONY, COUNTERPOINT AND COMPOSITION FRANK HARMON ARTHUR W. MASON SARAH MCCONIKTHY THEODORE RICHBOURG ALICE CAMP FLORENCE SCHOPPENHORST EAR AND EYE TRAINING ARTHUR W. IVIASON FRANK HARMON . ALICE CAMP PEDAGOGY AND PSYCHOLOGY BYRON W. I'IAR'I'I.I-:Y ELIZABETH BRECKINRIDOE PIANO NORMAL COURSE PUBLIC SCHOOL ART MARY STEWART LENA HILLERICLI PUBLIC SCHOOL MUSIC IIELEN MCHRIDE SELMA ICRANZ JAY W. FAY X LANGUAGES HISTORY OF MUSIC ROSALIE PARONY ARTHUR W- MASON H FLORENCE SCHOPPENHORBT ' DEPARTMENT OF DRAMATIC ART AND EXPRESSION -FLOYD cjRU'1'CHFIEI,D - MARTHA FRANCES BRANTLEY page f-ight BII.I.'IE NASH PERRY Louz'svz7Ilc Conservatory of Alusic GENERAL SUMMARY The Director and Educational Director of the Louisville Conservatory of Music are charter members of the assembly for the formation of the National Association of Schools of Music and Allied Arts, and the Academic Courses have been arranged to comply with the requirements of the Association. Any variance from the requirements will be corrected during the course of the year, the Com- mittee. on Curricula not having decided all requirements at the time this catalog goes to press. However, students graduating in 1926 will not be required to meet the requirements outlined herein but will follow the course prescribed hereto- fore. Training is offered in Pianoforte, Organ, Violin, Harp, Orchestral Instru- ments, Voice, Dramatic Art and Expression, Normal Training, Public School Music, and Public School Art. The Theoretical Department includes instruc- tion in Theory, Ear Training, Sight Singing, Harmony, Form Analysis, Apprecia- tion, Counterpoint, Harmonic Analysis, Composition, Orchestration, History of Music. French, Italian, English, and Diction, as well as the Professional subjects required of graduates from the Public School Music Department are obtained either through the facilities of the Conservatory, or at the Louisville Normal School, a fully accredited institution. The Academic Courses, with the exception of the Normal, Dramatic Art and Public School Music Courses, require four years for completion. The student, to be able to complete an Academic Course in four years, must pass the entrance examinations for the Freshman Class. Students are required to have a High School education before they are eligible for courses leading to Degrees. The most modern methods are used, and a graded recognized system of credits for advancement has been established. Information relative to instruc- tion in any department will be sent upon request. SPECIAL STUDENTS ' Students not wishing to pursue the outlined course for graduation, or if con- ditioned to a greater extent that five semester hours credit on High School require- ment, may enroll as special students at any time during the year, and secure training that will be credited toward an academic course when conditions are eliminated. PREPARATORY DEPARTMENT A fully equipped Preparatory Department is conducted by the Louisville College of Music. Students graduating from the College are accepted by the Con- servatory as Freshmen, provided the High School requirement has been ful- filled. SCHOOL YEAR-SUMMER TERM The regular school year consisting of forty weeks begins the Tuesday after the first Monday in September. One week is allowed for Christmas vacation. A Summer School of six weeks immediately follows the academic year, and offers opportunity for training to those who are unable to attend the regular academic course. It is especially attractive to teachers and those desiring intensive coach- ing. Principal teachers continue in attendance throughout the Summer, and special teachers are added for certain courses. page nine 1 v. ' 'ffm' ' ' If, 1 ,f ,1, v 1 x wk. , " In - ,,'.L,,., .' f'g."'.', . .fm ". ' A L' .Y ,..., I. 1 -1.-.g ,f . -,,'. Q ,,,, .4 ,s f .-': -X ,, . -V .,. . - . H, y X. . , .V X 3. ,W A-1 , X W r -' -A 1 ,fy . Y , I 1, - - ,I A .Q , , I -,1 1. 5 ' W ,Q , , -1 . If '., u.. ,. - f ,'f,:' . ,732 JA- .: gr- - i-,H A .,. ,g.45:. 1 . .1 f faux, V3 L - - -' . 1. - .' J-if . ' 'L' , . f IP f f, . A " fx." .Lf '. f ,, 1, V N 15 J 2 -.Q 4... , . f gg n Pai, ,, 4. ' 4 '-' it . lbw, 'W' I ji gy,-,xg 1'-V ' 'A X51 1 1 - ig-ga, 2 4 . fl .' 'lx J . ' '. A' f,.1 .im A g 1 .- --1' . IT-' 1 , F.. , J., ,,. , .1 ,. 'fm-. .1 I, 41.'v M f x . ' . f..,, h- , ,.'1w, ,gy-g,x2H' rv' ' 4 -. , 1 ,.. A ,I ,. xx l I K A ,. , . ,, .. . ., .,., , v. 1' , Nz,-,fi uf- xi ,ah :' . . :w '- .- -3 ' "',3fJ1"' Q16 'z' .1 , ,r,.'g ,jk , J " I .1515 , 'Iii 4. "fi ' V Ijix .: .gn ' " .5 . . , . xg' :N g 1.., f Charles Letzler Cari Sapin Corncille Overstreet s A L L 0 it i s v 1' I I e C7 n n. s e r v ll, L 0 r y o -I' M 'll s li 1: ENTRANCIC R EQUI REM IGNTS To enter any academic course, students must have completed a four year High School Course, or he conditioned not more than five SCIIIOSUPI' hours credit, and agree to continue High School work until such credits are earned. They must be able to play in a satisfactory and understanding manner an Invention of Bach, one of the easier sonatas of Haydn or Mozart., and play all scales and chords in all keys. Students should have a knowledge of elementary Theory and Harmony, be sufficiently instructed in Ear and Eye Training to recognize the different elements of music, and possess a knowledge of the major and minor scales and diatonie intervals. Students will he allowed credit for study in other institutions, or privately, and examinations will he held before assignment to academic work. ICXAMINATIC DNS Students wishing to enter the Conservatory for aeademie work should pre- sent, to the lilducational Director, Arthur W. Mason, Certificate or a transcript stating High School or College training. Upon acecptanee students will lie asked to appear for examinations for advanced standing as follows: History of Music, September 143 Harmony, Ciounterpoint, Harmonic Analysis, September l5g Theory, Ear and Eye Training, Form Analysis, September l8. Examinations in Applied Subjects will be conducted the second week of the term. No charge will be made for examinations unless students require special examinations after the regularly assigned examination days: then a reasonable fee will he requested. If credits are furnished from a School of Music that is a memlmer of the National Association ot' Schools of Music and Allied Arts, no examination is required. GRADUA'l'1t JN AND DIPLOMA Those who intend to lmecome teachers or artists, and to graduate as such, will follow the academic course in their chosen suhjeet as outlined elsewhere in this hook. Students must matriculate for their senior year not later than October 1. and any lessons that have been missed must be made up before the close ot' the first semester. Upon satisfactory completion ol' the work required in the various courses a Diploma or C'ertiticate will be granted. Those unalile to complete an Academic Course, either through lack of ability or desire, will he granted a Certificate ot' Attendance. A similar C'ert'ificat'e will lie granted to students following elcetive studies only. lfurther information regarding C'ertilicates, Diplomas, and Degrees will he found on page thirteen. page eleven I .Nga-'22-' 3- ' 7' w vw qv' sb Pt. c ' . ' 1 v - .R of . AU If X' .:,'tiff',". fkgfp " afivh bm Q 3 " "fl -, Img: gy tai, .., xii V, . x 4 Q 1 ohn Rebarer Robert Parmenter . A ml . r ' 1 -ijt J . I- ' 1 - ,Liv I .QM -' af ,-'. .9415 A ky .1 ,M . we QL ff? , . EJ, 'F L A if -K . .A 'J . , I , ' :lr lvl, ,.. ,, 1 , W. 1 4A"v y v . l Mt 4 .. 4. ':.,, , J, 72.7, ,,, iw L. 1 A . ' x ,wk 1 'V' 1 9 .Q , 4 1 1- fl Q 1 , -.-,'-SWK"-5 .P . . . 1, HK. VM , 1 l fyxt 1 3 L '-4"Q.'.. . J an '.,1 V M Vx, 'V U , .R ,, . M f-4 'fl "1 ,'W,f, ,. ,.f.-gb iw sms, , 1"'uM --pf ', 1 ' 4' -f If 'sm Vw fu 'uf ,E3?f'1"1'1'f - . H , ' l: ' f X ,,,-1 X, ,.v3W .fo -4' L' fxiwv- ft, 4 ffff .-. A amfqlnff NLQ3 ,X L X... W A av 4. KP. 5 ,Q gvxpl " f . .fp .af-H Qi. 'wk:LJ,4f.ff.- f -,.',,',. ',tha,ifi' Q film-fa ,ww P- w,m'yw.--'A r 3 . fl , if I -J -wg" n M .A M-'L .,l 'Gi' - "hr 77.4-' : .rx K' "A, fc" H v 'rf 1" '-l-."",37 vi L ' N "'H1 I ' -"" NYT?-fu. ag-J',.'!4 A',',rJi, 1-ww, "H, K x."'.! f f" "'T,w","P'!! "QP 'L-"V" 9 A , . few fm: vw.. ,V ,Q -, '4 ,. 5, '- ' 1 Aj- N ..:4v +.S?f-1:,,'?ja.1',:, , j Reginald W. Billin Louisville Conservatory of Jllusic CERTIFICATES, DIPLOMAS AND DEGREES CERTIFICATE OE A TTENDANCE. . Granted to students not taking the Academic Course, but who have been in faithful attendance, and whose averages have not been below 80 per cent- for one or more terms. CERTIFICATE AS TEACHER. Granted to students completing the equivalent of Junior work in the Academic Course, and in addition the Normal Course as provided in the various departments. 1 'ERTIFICA TE A S S UPERVISO R. PUBLIC SCHOOL MUSIC. Granted to students upon satisfactory completion of two year course in Public School Music. Certificates may embrace Public School Art, provided students complete satisfactorily a one year course of Art. DIPLOMA. PUBLIC SCHOOL MUSIC. Granted upon completion of a three year course in Public School Music. DI PLOM A . SOLOI ST. Granted to students completing required academic and applied work, and substi- tuting and earning twenty-four additional credits in music in lieu of the twenty-four cultural credits. DIPLOMA. B.-ICIIELOR OF MUSIC DEGREE. Granted all students who have completed satisfactorily a four year course of training in any academic department. DEGREE. MASTER Olf' MUSIC. Granted in accordance with the rules of the National Association of Schools of Music and Allied Arts. DEGREE. DOCTOR OF MUSIC. AN IIONORARY DEGREE. Conferred upon teachers, artists, and those who have accomplished noteworthy results in the advancement of music, with the approbation of the Committee from the National Association of Schools of Music and Allied Arts. Cerlrjicale of Allcnrlrmve ........... . - .... 8 5.00 Ccrlyicale as Teacher ...... .... 1 0.00 Certificate as Supervisor ..... .... 1 0.00 Diploma, B. M. Degree ..... .... 1 5.00 Diploma, Soloist .....,.,.,,, .... I 5.00 Diploma, MnsIer's Degree ...., -..-- 20.00 OUTLINE OF COURSES In the pages immediately following will be found an outline of the work required for each year of the academic course in the principal departments of the Conservatory. The material mentioned is merely to indicate the standard and type of material used, and to seine extent, the technical ability required of the students. page thirteen f,0u'1'sv1llG C071-SI?'l'Il!ll0l'?l of M it sic DEPARTMENT OF PIANOFORTIC ln no hranch of music do the personal characteristics and the physical lim- ions of the performer enter more prominently than in artistic performance at piano. Consequently, exercises and studies are carefully selected to meet individual need of each student to bring into fullest development and control the muscular equipment necessary for a dependahlc and facile technic. From the rudiments of technic to the interpretation of master compositions, the work of each teacher is planned for the individual student and presented in a logical, systematic, and scientific manner. The outline which follows, presents in a general way the standard literature of the Academic Course. and is only a part of the wide range of musical material with which the student hecomcs familiar. it at the the l"IfIfSIl.lI.fl N I D YIC.-llf, 32 semester hour credits. .'ll I LIICD, S0 private lessons and required preparation, 12 credits, N4-ales: Major and Minor scales in all keys, played in octaves, thirds, and sixths through four octaves. Arpeggi, triads, dominant seventh, dimin- ished sevenths. Sl1ul:'ws.' Czelny Op. 261 and 299. I-Ianon. IflIf'lI.' Dance forms, easy Preludes and Fngues, Two Part lnventions. Sonatas: llaydn. Mozart No. 2 in G and No. ti in F. lfonumlic Mendelssohn, Songs Without Words, Grieg Lyric Pieces. Wedding Day School: etc., Chopin, Mazurkas Waltzesg Schumann Forest Scenes, and other selections of like grade. rmltllllffll Schutt, Nollet, Chaminade, Scott. ltaclinianinofl. Tschaikowski, Rall, School: Moszkowski, Torjnssen, Schytte, Sczalit. .1lt'.AlDE.lllI'. l2 credits. 72 hours. Theory 72 hours, llarmony l and ll, T2 hours, lflar and lflye Training. t'l' I.7'I'li'.-1 I.. S credits. - English Composition, 108 hours, Acoustics, 36 hours. SUl'll0illOItIC Yllrllf, 36 semester hour credits. .flI'l'l,llfII, 80 private lessons and required preparation, 12 credits. Scales: ' Buell .' Sllulirfs: Sovmlos: lfonmnlir- School! .ll ollcrn School .' .ic Scales and .-Xrpeggi as in Freslunau year, added rhytlnns and faster tempi. tSee examination outlinej Three Part inventions, Little Prcludes and lfugnes. Czerny Op. 335. Op, 337. lfleethoven Op. I4 No. 2 and Op. 31 No. 1. Mozart No. ltl in ll flat, No. IG in A minor and No. 17 in l". Schumann Novclettes and Fantasie Pieces, Schulmert Impromptns. Chopin Nocturnes. Waltzcs. MacDowell, Leschetizky, Sinding, Dehnssy, Sjogren, Scott and others. lDlfllllt', I2 credits. Form Analysis I and ll, 72 hours, Harmony lil and IV, T2 hours, Ear and Nye Training, 72 hours. Cl' l,7'I.'Ii'A L. 12 credits. English Literature, 108 hoursg General Psychology, 108 hours. 30 semester hour credits. .lli.N'I0lx' YE.fllf. .-IPPLIEIJ, S0 private lessons apd required preparations, 12 credits. Scales: Boch : Sl ruI1'rs: Sonulos: lr'omunli1: School .' .ll orlcrn. School : Scales and Arpeggi same as previous years in more rapid tcmpi. Well Tempered Clavichord Book I, Suites. Czcrny Op. 7-'l0. Mozart No. 9 in A. No. IS Fantasie and Sonata, Beethoven Op. 10. No. 2, Op. 2 No. 3, Op. 10 No. 1, Op. 26, Op. 31 No. 2. Grieg E minor. Men- delssolm Concerto G Minor or D Minor. Chopin Etudes Op. 10 No. 5, 6, S, 9, Op. 25, No. 1, 2, 95 lmpromptns Op. 29, 66, Nocturnes Op. 9 No, 2. Op. 15 No. lg Polonaises Op. 26,Seherzo Op. 31, Schumann Op. 2, 12, 17, 213 Liszt Chant Polonaise No. 5, Lich- estraume, and other selections of similar grade. Lcsehetizky, Two Larksg Moszkowski, Caprice Espagnolg Godowsky, Triakontamerong and like grades of MacDowellg Saint-Sacns, Debussy, Raclunaninoft' and others. page fifteen Louisville Conservatory of illus-ic ACA IJEMIC, 12 credits. l - I-Iarmonic Analysis I and II, 72 hours, History of Music I and II, 72 hours, Counterpoint I and II, 72 hours. l,7UL7'URAL, French or 0 credits. Italian, 72 hours, Expression lDictionJ, 36 hours. SENIOR YEAR, 28 semester hour credits. APPLIED, 80 private lessons and required preparation, 12 credits. Scales: Bach: Slur1'z'cs: Sonatas : Ronmnlie School : M orlcrn School : .-I CA DEMIC, Harmonic Scales and Arpcggi in all forms. lSee examination.l Well Tempered Clavichord Book II. Fantasies and Fugues. Czerny Op. 365. Beethoven Op. 53, Op. 57 and Op. 81. Schumann G minor, Glazounow, Rachmaninoff, Tschaikowsky, A Concerto of Chopin, Tschaikow- sky, Beethoven, or Grieg. Schumann Etudes Symphoniqucs. Chopin Mazurkas, Etudes, Scherzos, Ballads, Liszt Rhapsodics. Repertoire pieces of Brahms, Arensky Scriabine, Rubenstein, Dohnanyi, Debussy, Albeniz, Franck, Godowsky and D'Albert. 12 credits. Analysis III and IV, 72 hoursg Counterpoint and Fugue III and IV, 72 hours. Composition I and II, 72 hours. CULTURAL, 4 credits. French or Italian, 72 hours. ELECT! VES, Appreciation I and II, 72 hours, 4 credits, Orchestration I and II, 72 hours, 4 ereditsg Harmony V and VI, 72 hours, 4 credits, Composition III and IV, 72 hours, 4 credits. The electives may be taken either during the Junior or Senior year or as special subjects. PIANOFORTE EXAMINATIONS The following outline constitutes a resume of the work of each year of the academic course in pianoforte, and forms the basis of gradation in the final examinations for each ot the four years. l"lfESH1llAN: Scales: Major and Minor of all Keys, octavo distance, thirds and sixths, through four octaves. Tempo m. m. 100-4 notes. Arpeggi: Triads and inversions, dominant seventh, and inversions, Tempo m. m. 76-4 notes. Bach: Two Part Inventions or Dance Forms. Sonata: Haydn or Mozart. Modern piece of the grade of To Spring, Grieg: or Gondoliers, Moszkowski. SOPHOIIIORE: Scales: Same as Freshman year Tempo m. m. 1264 notes. Arpcggi: As in Freshman with the addition of the diminished seventh, Tempo m. m. 100-4 notes. Bach: Three Part Inventions, or Little Prcludes and Fugues. Sonala: Mozart or Beethoven. See outline for selection. Modern Piece of the grade of Witches Dance, MacDowellg or Erotikon No. 3, Sjogren. .I UN I 0 lt: Scales: As in Sophomore year Tempo in. ln. 138-4 notes. Arpeggi: As in Sophomore year Tempo m. m. 116-4 notes. Bach: Prelude and Fugues from Well Tempered Clavichord, Book I. Sonala: Beethoven from third year list, or Grieg E minor. Chopin' Etude. See outline for selection. Modern Piece of the grade of Caprice Espagnol, Moszkowskig or Etude F sharp, MacDowell. SENIOR: Scales: As in Junior year Tempo m. m. 162-4 notes adding double thirds. Arpeggi: As in Junior year Tempo m. m. 132-4 notes and sixths at m. m. 138-2 not-es. Bach: Well Tempered Clavichord, or Fantasia and Fugue. Sonata: Beethoven, Modern Composer, or Concerto. Chopin: Ballade or Polonaise. Piece: By Liszt, or one equal to Transcriptions or Rhapsodies in difficulty. page seventeen LUIIIISIJIIIII' fl0IlS!'I'I7l1f0I'jj of Music DEPARTMENT OF ORGAN AND CHOIR TRAINING The eompletion of the Sophomore Year of studio work in the Pianoforte Fourse, or its equivalent, is required for graduation from the Organ Course. This course is designed to provide IL tliolrougzgh and complete education in Organ Playing and Choir Trainineg, the requirements of the church service being kept constantly in mind. An important feature of this Department is a course in Choir Training which may he taken any time after the Freshman year, and the eonipletion of which is required of all candidates for graduation. This includes a. detailed study of hymns, chants, and anthems, their struc- ture, approprate selection and rendition: the organ accompanimeut of the church service. adaptation of piano accompaniments to the organ, and practical instruct ion in the training of choirs. The arrangement of the course is sufficiently flexible to meet the needs ot those who wish to major in this Department with the ohject of entering the pro- fession as organists at motion picture theatres. At' stated times, lectures upon Organ Construction will he given. I"Ii'l6SIl.ll.fiN YE.-1lf', 32 semester hour credits. .fil"l'LlED, 80 private lessons and required preparation, I2 credits. Elementary manual and pedal technie. with espeeial attention to the :requisition of independence between hands and feet. Elementary registration. - Studies of Clemens, Nilson and Schneider. Easier pieces hy Duhois, Guilmant. llheinlaerpger, etc. .flI'.ftl2E,llIl', 12 credits. Theory, 72 hoursg Ilarmony I and ll, 72 hoursg Ear and Eye 'lfrauung, T2 hours. f'l'l,7'Ul?.fl I.. S credits. lhiglisli C'ompositiou, IOS hoursg Acoustics, 36 hours. NUl'llU.Il0lfIC YE.-1 lf, 37 semester hour eredits. .'il'l'LlElD, S0 private lessons and required preparation, 12 credits. Progressive study of manual and pedal technie and registration. Study in Pedal Phrasing hy Dudley Buck. Easier organ works of liaeh, and pieces and souatas hy Dulxois, Guilmaut, Rheiu- luerpger, llorowski, and others. .'ll'.-IIJEJIIIU, I3 eredits. Form Analysis I and II. 72 hoursg llarinouy III and IV, T2 hoursg Ear and Eye Training, 72 hours' Urran Construction and Choir Traininr 18 hours. 7 1 l'Ul,TUl?AL, I2 credits. English Literature, 108 hoursg General Psychology, 108 hours. .ll'.YIUlf l'E.All?. 30 semester hour credits. .'1I'I'LIl9IJ, S0 private lessons and required preparation, 12 credits. More diHieult organ works of liaeh. Sonatas of Rheiulmerger, Merkel, Mendelssohn and Guilmant. Easier Symphonies of Widor. Pieces hy Saint-Saens, Salome, Andrews and ot iers. ' Af'.-llJIf.lIll.', I2 eredits. ' Ilarmonie Analysis I and II, 72 hoursg llistory of Blusie, T2 hoursg Counterpoint I and II, 72 hours. , lflf'L7'l'I?AL, 6 credits. French or Italian, 72 hoursg Expression tllietionj, 36 hours. SIGN1Olr'I'I9.-Ilf, 28 semester hour credits. .'tI'PL1l0D, 80 private lessons and required preparation, 12 credits. Advanced work in all schools of organ composition. Preludes and Fugues and Sonatas of liach, Pieces hy Caesar Franck. Symphonies of Wider and Vierne. page eighteen Louisville Conservatory of Music .-1 CA DEMIU, 12 credits. Harmonic Analysis III and IV, 72 hours, Counterpoint and Fugue III and IV, 72 hoursg Composition I and II, 72 hours. , C ULTURAL, 4 credits. French or Italian, 72 hours. ELECTIVES, Appreciation I and II, 72 hours, 4 creditsg Orchestration I and II, 72 hours, 4. ereditsg Harmony V and VI, 72 hours, 4 creditsg Composition III and IV, 72 hours, 4 credits. The electives may be taken either during the Junior or Senior year or as special subjects. NOTE: Graduates of Organ may be required to give a public recital. 1 VOCAL TEACHERS TRAINING COURSE The following outlined plan is designed to give vocal graduates a thorough and comprehensive grasp of the principles of the art of teaching. No students will be admitted to the course except by special permission, until they have had the equivalent of three years vocal training. At frequent intervals throughout the course different voices are heard and criticized and example lessons given, thus 2l.l:f0l'Lllllg the student the opportunity of hearing the judgment of the Supervisor of the course. A general outline of the subjects included in this course is as follows: 1. The anatomical study of the physical in singing. 2. The art of breathing and the necessity of the correct use of the breathing apparatus. 3. Tone production with special emphasis on the placing of the voice. 4. Study of the location and character of the resonators and the important part they play in good tone production. 5. The correction of faulty habits likely to be encountered by a teacher. 6. How to diagnose and to classify t.he difTerent voices. 7. The study of the Child Voice and the necessity of careful guidance at certain ages. S. The proper use of vocal exercises best suited to the individual need and the harmon- ization of the same. 9. The Psychology of Vocal Culture. The correct mental attitude. 10. Interpretation and Song Literature. DEPARTMENT OF SINGING To enter the Freshman Class, a student must possess a normally good singing voice, and a sense of rhythm. Too much stress can not be placed on the funda- mentals of vocal production, and the first year is devoted principally to that phase of the art. The control of the breath and the study of the physical forma- tion of the throat and vocal organs are first taken up. The producing of clear, free tones is the primary object. A mastery of vocal difficulties, thorough grounding in the rudiments of music, and the use of proper scales and standard exercises obtain the establishment of equality of the voice. For more advanced training, there is study of more dif- ficult songs in both English and foreign languages, the study of opera and oratorio. An outline of the academic course follows: FRESHMAN YEAR. 32 semester hour credits. . A PPLIED, 80 private lessons and required preparation, 7 credits. 40 lessons piano and required preparation, 3 credits. 36 lessons accompanying and required preparations, 2 credits. Fumlrz- A comprehensive study of the vocal anatomy, breathing exercises and monlals: the correction of faulty habits. TliI7l171ff'llf.' Scales of the Fifth, Octave and Ninth in slow, sustained forms and others best suited to the individual voice. Slzulics: Sieber. Vaccai. Songs: Simple songs from the English, Italian :uid German schools. IJIIJZI' IITIIC ll ll Byron W. Hartley ' john Sample Elizabeth Breckinridge Jay W. Fay Louisville Conservatory of llfustc ACADEMIC, 12 credits. ' Theory, 72 hours, Harmony I and II, 72 hours, Ear and Eye Training, 72 hours. CULTURAL, 8 credits. English Composition, 108 hours, Acoustics, 36 hours. SOPHOMORE YEAR, 36 semester hour credits. APPLIED, 80 private lessons and required preparation, 7 credits. 40 lessons piano and required preparation, 3 credits. Chorus training, 36 hours, 2 credits. Funda- mentals: The continuation of the first year work. Technical: Scales leading to more rapid vocalization. Studies: S. Marchesi, Op. 15. Songs: MacDowell, Mendelssohn, Massenet, Schubert, Schumann, Beethoven, Modern American and English Songs. ACADEMIC, 12 credits. Form Analysis I and II, 72 hours, Harmony III and IV, 72 hours, Ear and Eye Train- ing, 72 hours. CULTURAL, 12 credits. English Literature, 108 hours, General Psychology, 108 hours. JUNIOR YEAR, 30 semester hour credits. APPLIED, 80 private lessons and required preparation, 7 credits. 40 lessons piano and required preparation, 3 credits. Chorus training, 36 hours, 2 credits. Techm'cal.' Major, Minor and Chromatic Scales in all positions. Advanced Arpeggi and Staecato work. Mastery of difficult forms of advanced vocal technique. Studies: Masterpieces of Voealization. tSpicker.J Oratorio: Messiah, St. Paul, Elijah, etc. Opera: Arias from Carmen, Faust, Herodiade, etc. Songs: Advanced and more difficult work best suited to the individual voice. ACADEMIC, 12 credits. Harmonic Analysis I and II, 72 hours, History of Music I and II, 72 hours, Counter- point I and II, 72 hours. CULTURAL, 6 credits. French or Italian, 72 hours, Expression tDicti0nD, 36 hours. SENIOR YEAR, 28 semester hour credits. APPLIED, 80 private lessons and required preparation, 7 credits. 40 lessons piano and required preparation, 3 credits. Chorus training, 36 hours, 2 credits. Technical: Advanced forms of all scales. Studies: General review of the work of previous years. Oratorto: Creation The Seasons, Judas Maccabaeus, etc. Opera: Louise, Lakme, Samson and Delilah, Traviata, Lohengrin, etc. Songs: Advanced work in Classical Lieder, French and Italian. Modern Concert arias and songs. ACADEMIC, 12 credits. Harmonic Analysis III and IV, 72 hours, Counterpoint and Fugue III and IV, 72 hours, Composition I and Il, 72 hours. CULTURAL, 4 credits. French or Italian, 72 hours. ELECTIVES,.Appreciation I and II, 72 hours, 4 credits, Orchestration I and II 72 hours, 4 credits, Harmony V and VI, 72 hours, 4 credits, Composition III and IVI, 72 hours, 4 credits. The electives may be taken either during the Junior or Senior Year or as special subjects. page twenty-one Louisville Conservatory of Jllusic VOCAL EXAMINATIONS FRESHJIIA N: Sustained tone work on all vowels. Scales of the Fifth, Octaves and Ninth on all vowels in slow and medium tempo. Singing at sight a simple English Song. Final exercise from Vaccai Exercises. Simple English, French or Italian Song. SOPIIOMOREH' Scale work in sustained and more rapid form. Singing at sight a song of medium difficulty. Final exercise from S. Marehesi Exercises. One song in English and one song in French, German or Italian of a classical nature. JUNIOR: Major, Minor and Chromatic scales in all positions. Arpeggi and Staccato work. One study from the Masterpieces of Vocalization by Max Spicker or from some study of equal difficulty. Singing at sight a modern American song. One Aria from the Oratorios. One song of a classical nature. One modern American song. SENIOR: - Advanced form of all scale work. Interpretation of a modern American song without the help of a teacher. Singing at sight a song of classical nature. One modern Con- cert Aria. One Aria from the Oratorios. RECITALS AND PUBLIC APPEARANCES The policy of the Conservatory places emphasis upon the importance of students appearing before an audience as early and as frequently as possible. Such appearances not only enable the student to gain in poise and self-confidence, but through the spirit of healthful competition are a great stimulus to better work. Ifriualc Recilals. Private students' recitals are given before the faculty each Wednesday morning at 9 A. M. Students who make the best showing in these private recitals are selected for public appearances. ' .Public Recilals. On Tuesday evening at 8:15 public recitals are given in the main audi- torium of the Y. W. C. A. Programs at these recitals are varied,and include all departments of the Conservatory. The Orchestras give a series of public concerts, and the department of Dramatic Art and Expression holds frequent evenings of readings and plays. In addition to the various student recitals, faculty recitals are held once each month throughout the season, and are open to the public. From this schedule of recitals it will be seen that students not only have ample opportunity for all manner of public appearances, but through hearing others, are able to form an intimate acquaintance with much of the best m musical literature. ORCHESTRAL SCHOOL The orchestral school consists of the Senior and the Junior Orchestras. Pre- paratory to these is the Violin Choir in which the student receives his first training in ensemble playing. Academic students of violin or orchestral instruments are required to belong to one of these organizations. Assignment to membership is made upon exam- ination by the conductor. Ear training, bowing in unison, following the baton and attack, together with an intimate knowledge of orchestral literature make this course an indis- pensable item in the training of every player of string and wind instruments. The value of practical drill in orchestra playing under an authoritative con- ductor of experience will appeal to the solo performer as well as to the student who desires preparation for orchestra playing. Each orchestra gives a series of public concerts during the season, playing not only some of the great Symphonies, but also the aecompaniments for art-ist pupils and seniors who appear in recitals. Rehearsals are held regularly once each week throughout the entire year and punctual attendance of all members is required. Students are graded in their work, which is added to the grade of their final examination. pngu twenty-two Louisville Conservatory of Nfusic DEPARTMENT OF VIOLIN . For entrance into the Freshman Class, students must be able to satisfactorily play the major scales through two octaves, played four notes to a bow, moderate tempo, in the first and third positions 5 an Etude of Kayser, or Wolfahrt, and a solo combining the first and third positions. The student will be classified on the correct manner of holding violin and bow, intonation and quality of tone. An outline of the academic work follows: l"RESHMAN YEAR, 32 semester hour credits. A PPLIED, 80 private lessons and required preparation, 8 credits. . 40 lessons piano and required preparation, 3 credits. Violin Choir, 36 hours, 1 credit. Teelmi'c: Scales' Sl allies: Pieces: Correct manner of holding violin and bow, correct position of left hand. Special stress on intonation and quality of tone. Schradieck Technics. Correct manner of shifting. Major scales two octaves through five posit-ions taught without notes, played both detached and slurred. Wohlfahrt, Mazas, Kayser and Dont. Sevcik double stop and bowing exercises. Dancla, Sitt, Bohm, Pierne, etc., combining positions from first to fifth. ACADEIIIIC, 12 credits. Theory, 72 hours, Harmony I and II, 72 hours, Ear and Eye Training, 72 hours. C7I,'1.7'URAL, 8 credits. English Composition, 108 hours, Acoustics, 36 hours. SOPIIOMORE YEAR, 36 semester hour credits. APPLIED, 80 private lessons and required preparation, S credits. 40 lessons piano and required preparation, 3 credits. Junior Orchestra 36 hours, 1 credit. Tcclmie: Scales: Sturlies: I 'i'cccs: Schradieck and Sevcik Teclmical Studies. Vibrato, shifting exercises. Major and minor scales through three octaves. Octaves, also arpeggi, played detached and slurred. Kreutzer Etudes. Sevcik double stop and bowing exercises. Trill excr- elses. Bohm, Raff, Ries, Godard, Delieriot, etc. .-ICADEMIC, 12 credits. Form Analysis I and II, 72 hours, Harmony III and IV, 72 hours, Ear and Eye Train- ing, 72 hours. CULTURAL, 12 credits. English Literature, 108 hours, General Psychology, 108 hours. JUNIOR YEAR, 30 semester hour credits. A PPLIED, 80 private lessons and required preparation, 8 credits. 40 lessons piano and required preparation, 3 credits. Senior Orchestra, 36 hours, 1 credit. Technic: Scales: Studies: Reperloirc: Advanced technical studies of Sehradieck and Sevcik. Major and melodic and harmonic forms of minor scales and arpeggi in single notes through three octaves. Krcutzer, Fiorillo, Rode, Sevcik double stops, Cassorti bowings. Musin, Viotti, Handel, Wieniawski, DcBeriot, Vieuxtemps, Grieg and Mendelssohn. page twenty-three 1 A' K '15 7 'S' X' , K1 vi ,tr x Q ,Q 5 1-A f ,ix v New X. 51 Li, K Pr R41 .M ,PX , .gb 'fill f I . X , X J I sd, l -r '-fi QXX Q., Q T l Wi N, 1 at YY" 4 .gf - X . .L . ,? Cora Cook Parmen Selma Kranz U. , . ,- .wpmgim by 5' jlfx V 15 . A - Q fn. Of- , Lillie Albany ter Minnie Murdoff Kimball Nannye Rudy Anderson Sara Lee Louisville Conservatory of ,llusic A CA DEMIC, 12 credits. Harmonic Analysis I and II, 72 hours, History of Music I and II, 72 hours, Counter- point I and II, 72 hours. CULTURAL, 6 credits. French or Italian, 72 hours, Expression tDictionj, 36 hours, SENIOR YEAR, 28 semester hour credits. APPLIED, 80 private lessons and required preparation, S credits. 40 lessons piano and required preparation, 3 credits. Ensemble, 36 hours, 1 credit. Scales: Major and minor scales in singles, thirds, sixths and oetaves and arpeggi Studies: Rode, Gavinies, Dont Op. 35. Sonatas: Handel, Grieg, Beethoven, etc. R6IIOI'IOI'l'l'.' Concertos and solos by DeBeriot, Mendelssohn, Wieniawski, Bruch, Bach, Vieuxtemps, Spohr, Mozart and others. ACA DEMIC, 12 credits. ' Orchestration I and II, 72 hours, I-Iarmonic Analysis III and IV, 72 hours, Composi- tion I and II, 72 hours. CULTURAL, 4 credits. French or Italian, 72 hours. ELECTIVES, Appreciation I and II, 72 hours, 4 credits, Counterpoint III and IV, 72 hours, 4 credits, Harmony V and VI, 72 hours, 4 creditsg Composition III and IV, 72 hours, 4 credits, The electives may be taken either during the Junior or Senior year or as special subjects. VIOLIN EXAMINATIONS FRESH .IIA N: Major scales two oetaves through five positions played four notes at S0 m. m. with slurred bowing. An Etude of Kayser Book III or Dont Op. 37, Mazas Book II. A solo ranging from first to fifth position. SOPIIOIIIORE: Major and minor scales three octaves, also arpeggi played four notes at S0 m. m. with slurred bowing. An Etude of Kreutzer. Solo containing tone work and some simple double stop staccato and trill work. J UNIOR: Major and minor scales three octaves, also arpeggi played four notes at 100 m. ln. with slurred bowing. An Etude of difficulty by Fiorillo, Rode. Solos containing double stops, octaves, staccato, spiccato and tone work. Scales in thirds, sixths and oetaves at slow tempo. SEN I OR: Major and minor scales and arpeggi three oetaves played four notes at 120 m. m. Scales in thirds, sixths and oetaves. Etude Gavinies or Dont Op. 35. Two move- ments from a standard concerto or sonata. page twenty-five Loztifszvzflle Conserzlatory of zllusic VIOLIN TEACHERS TRAINING COURSE The Violin Normal Course holds a special appeal to those teachers of violin who realizc the need of coaching and normal instruction. It IS also designed to give the graduates in violin definite ideas on how to successfully begm their teach- ing career. I Teachers taking this course are required to take two private thirty minute lessons each week. A teacher's certificate is granted upon satisfactory completion of the course. The general outline of the course follows: ' A-Modern methods of tone production and. teehnic, including the proper position of violin and grasp of bow. Then theory and application. I5--Fingerboard analysis, involving the study of theory in its direct application to tone, intonation and technic of the instrument. C-Modern fingering, changing of position and bowing, and the effect upon phrasing and tone quality. D-The vibrato: its use to be systematically treated from the standpoint of both student- performer and artist. E-Resume of teaching material, including Etudes and Study Pieces. I"-Repertoire, Interpretation and Ensemble classes. ENSEMBLE Ensemble is given a place in the regular curriculum because there are many beautiful compositions that can only be brought to the attention of the student through the study of chamber music. Hundreds of beautiful selections by the world's most famous composers are found in the suites, trios, and quartettes that are embraced in the study of ensemble. I VIOLONCELLO, WIND AND OTHER INSTRUMENTS Aside from the studies and other material used, the work required for grad- uation in Violoncello and the various wind instruments, corresponds in general to the outline given for violin. Students are required to belong to one of the Con- servatory orchestras, and those of the student body who are qualified are given opportunity for public work. At this point it may not be amiss to call attention to the unusual and urgent demand at the present for capable players of orchestral instruments. The trend toward more or less complete orchestras in all places of amusement including thousands of moving picture houses, is being checked in its movement only by the lack of capable players. 4 CULTURAL SUBJECTS Music is an art, and as such is related to all arts. The student specializing in music should 1'eceive certain training in cultural subjects in order that appre- eiation may be keener, and a more fertile field be formed for the reception of musical t1'aining. With this object in view, the course of instruction leading to graduation has been so arranged that the following subjects are required unless the Director accepts credits in other cultural subjects earned at a recognized college in lieu thereof. Each student is urged to forward a list of credits earned in both High School and College work in order thatproper classification may be made, and full credit granted. ' page twenty-six Louisville Conservatory of Illusic The following subjects will be found included in the various outlines given under the different departments of this catalog. ' Acoustics. ,,,,,,, . ,... , . ..A. -- --- 36 hours English Composition, - .. . 72 hours English Literature .,,,, 72 hours Expression fDictionJ- - -, - ,... 36 hours French for Italianj ...,. .u.. 1 44 hours Psychology . . ,- . -, IOS hours ACAD EMIC SUBJECTS Technical proficiency is but one side of musical education and deals only with the means of expression. Back of this should be a well-grounded knowledge of the principles that govern all expression and no amount of natural talent can 1'aise it to an artistic plane without such training. In addition to the applied work required for graduation, and the cultural subjects, there are certain academic studies which are required. It is this complete course of training that differentiates a conservatory from a simple collection of studios and places it on the basis of an educational insti- tution in the truest sense of the word. Furthermore, it is the degree of thorough- ness applied to the teaching of these subjects that largely establishes the standing of any school of music. The various collateral studies comprising the course of training offered by the Louisville Conservatory and the hours required in each for graduation, are as follows: Accompanying .....,...,. . - -.. - , -, - , 313 Composition I and II ..... , - - 72 Chorus Training I, II and III ,..,.... --- ,, ,-IOS Counterpoint I, II, III and IV ......... .-,, 1-14 Ear and Eye Training I, II, III and IV .... ,--. 1 44 Ensemble ....,,..,., , ,..,..-...,... .. ,..,. ,HU 36 Form Analysis ....,,...... .. ..... . ....,. ,,,, 7 2 Harmonic Analysis I, II, III and IV--- --,- 141 Harmony, Elementary .....,.,,,... ,,A, 2 SG Harmony I, II, III and IV- .. -- ---- 144 History I and II ..,....... ,,.. 7 2 Orchestra, Junior-. ..,,, ---- 3 G Orchestra, Senior- - . ,,,... - . ,,.. 36 Orchestration I and II ..,... - ,,,,.. ...,. M-.N 7 2 Organ Construction and Choir Training., -- ,,-. IS Theory- - .. ---- .. --------- . .------ ------- ---- 7 2 Violin Choir .------ ------------- - --------- - --------- . .-,. , ---- ,, ---- W - - - - - - , 36 The above subjects are prescribed according to the line of work in which the student is engaged. Each course includes part of these subjects, the exact quota of which may be ascertained by referring to the outline of thc particular course in which the reader is interested. Electives for which students may enroll, and the number of class hours and the c1'edits given therefor follow: Appreciation I and II, 72 hours, 4 credits, Orchestration I and II, 72 hours, 4 credits, Harmony V and VI, 72 hours, 4 credits: Composition III and IV, 72 hours, 4 credits, and Counterpoint and Fugue III and IV, 72 hours, 4 credits. page twenty-seven Margaret Hammerstein Leland Brock Marret Saverne Alice Camp Laura Bowman Bessie Perry Jennie Stapp Watkins Bess Mustaine Louisville Conservatory of Music LANGUAGES ROSALIE PARGNY Officier de l'Academic Francaise Students are required to take two years of French or Italian. Admission to all classes is determined by individual classification through examination. Credit will be given those who have passed satisfactory examinations, or to those who have advanced French credits from accredited colleges. For those who have such credits the question of French Dietion must be taken up with their individual vocal professors. COURSE I. 72 Hours: The important elementary rules of French Grammar, including some of the more important irregular verbs, and an ability to translate and correctly pronounce simple French. Credit 4 semester hours. COURSE Il. 72 Hours: French Grammar completed, French Prose composition. Ability to read and translate advanced French such as the plays of La Biche, Martin, Moliere. Extracts from Hugo, Balzac, ltostand. Credit 4 semcslcr hours. ADVANCED FRENCH. CElectiveJ: For students who translate and write French accurately. Practice in prose composition, reading and conversation. DICTION. 36 Hours: For pupils who have some knowledge of French exercise in pronunciation of verbs, nasal tones and consonants, modern French songs of Faure, Debussy, Bemberg, Berlioz, Chaminade are learned as well as the poems of Hugo, Verlaine, Prudhomme, Bourget and others. Exact literal translations of words and phrases and interpretation of songs. Credit 2 semester hours. CREDITS The credit system of the Conservatory is in conformity with the stand- ard in general use, and is based upon two lessons or recitations per week with adequate preparation. An average grade of eighty per cent is required on each lesson and also the examinations in order that credits may be earned. In class work Ccultural and academic subjectsj the number of credits required for graduation varies with the different courses. A credit in this work is based upon, and equivalent to, one semester hour recitation C18 hoursj with adequate home work, and a passing grade of eighty per cent on all examinations. MUSIC AND SUPPLIES A music store is conducted in the administration building where all standard compositions, novelties, studies, textbooks and supplies may be purchased at student's rates. This store is fully equipped and is a convenience to the students and patrons. Much time is saved by being able to get the composition a teacher wishes without leaving the Conservatory and the stock is carried in the editions preferred by the Conservatory teachers. page twenty-nine Loztisville C47nsei'vato1'y of' Mwesic HARMONY ELEMENTARY: In both the major and harmonic minor modes the principal and subordinate triads in root position, and first and second inversions are studied from the standpoint of a given Hgured bass, and a given ehorded soprano. This course is required of all excepting those matriculating in Junior and Senior Classesain studio subjects. HARMONY I: A review is made ol' that part of the Elementary course which deals with the principles of chord building, inversions of chords, and the naming of the different kinds of chords. After the review, the active and inactive scale steps are presented. Then in' open position, the principal triads are used in harmonizing given melodiesp following which, cadences, rhythmic variety, and the subordinate triads are introduced. Next, the minor mode is studied in con- nection with the material already learned. After the minor mode has been taken up, there follows a contrasted study of repetition and sequences, and phrases and periods. A thorough exposition of the first and second inversions of the triads already studied closes this semester's study. This course is a requirement in all departments. ffredil 2 semester hours. HARMONY II: This is a continuation of the subjects as outlined in the previous class, taking up as new material a close study of the first, second, third and fourth class discords. This course is required in all departments. C'7'erlil 2 scnzcslcr hours. HARMONY III: ' A thorough study of altered and mixed chords in both the major and minor modes and thorough instruction in next related and extraneous modulations is taken up in this class. This course is required in all departments. f'1'cdil 2 scmeslcr lmurs. HARMONY IV: A study of the different kinds of inharmonic tones. The organ point, the suspension. the anticipation, the neighboring note, the passing note, and the appoggiatura cover the mate- rial used in this division of Harmony. This course is required in all departments. Crcrlil 2 scmcsler hours. HARMONY V: Work in this class consists of harmonizing figured basses, unchordcd soprano, alto, tenor, and unfigured bass melodies both in the open and close positions in two, three, four and five part writing. Stress is placed on original illustrations of the different phases of the work as it is being studied, and on broader and more comprehensive discussions of the different natural divisions of the subject than is possible to have in the initial presentation of the same sub- jects in Harmony I, II, III and IV. The course of study is required of all postgraduates but is elective with graduates and undergraduates. Crcflzl 2 semester hours. HARMONY VI: A very exhaustive study of modulation is made in this class. The different points under discussion are treated in the same manner as those in Harmony V. This course of study is required of all postgraduates but is elective with graduates and undergraduates. Creflil 2 semcslcr hours. page thirty Louisville Conservatory of Music FORM ANALYSIS AND APPRECIATION This subject is a logical continuation of Theory, and deals with musical composition from the standpoint of construction. The composition is first heard as a whole and discussed with reference to its mood, and its most obvious char- acteristics, after which it is taken up in more minute detail. The thorough recog- nition ofthe cadence is followed by that of the period, the phrase divisions, and so on, down to the smallest figure, after which the composition is reassembled, and the period forms are followed in their growth to the larger forms, including the sonata and symphony in the instrumental, and the oratorio and opera in the vocal fields. Allthe varied forms into which the great composers have poured their thoughts, together with the various types of compositions are illustrated and studied. Credit 4 semester hours. EAR AND EYE TRAINING This course is one of the most vital in the list, and is designed to correlate with, and apply the material of the course in Theory and Form, and to demon- strate as far as possible all that is taught in these subjects. The object of the course is to establish the fullest intimacy between eye and ear, and a visual and aural recognition between the printed page and the sounds that are indicated thereon. The course covers four semesters, divided as follows: EAR AND EYE TRAINING I: ' This deals with the recognition of sounds as regards pitch and length, and the building of these into the scale forms and simple rhythms, together with the establishing of tonality. Dictation and reading are an integral part of the course throughout. Credit 2 scmesler hours. E.-XR AND EYE TRAINING II! This consists of the relation of tones as expressed by the interval. All kinds of intervals are thoroughly studied and identified in compositions submitted to the class. Dictation and the reading of two part music is n feature of this semester. Credit 2 semeslcr hours. EAR AND EYE TRAINING III: The three tone relation as expressed by the triad is the basis of this period of study. These :ire identified in compositions that are familiar, and especially in those that are being studied :xt the time by the student, and dictation in larger rhythms is given. The student should recognize by sound and sight the various triads in their several positions, and should become thoroughly acquainted with the different cadences by sound and sight. The class is divided into three divisions, and in the singing of three part music, each division will sing any part that is assigned. Credit 2 semester hours. EAR AND EYE TRAINING IV: This deals with the seventh chords, and dictation in larger rhythm, such as the phrase. All seventh chords are to be identified in compositions with which the student is familiar, und particularly those which he is studying at the time. Singing will be from more ambitious purl songs, the aim being to make a finished chorus of those who finish this semester. Credit 2 semester hours. page thirty-one Louisville Conservatory of Music SECONDARY PIANO AND ACCOMPANYING All candidates for graduation in violin and voice are required to study Piano. It is l' d k l d of the harmonic combina- necessary that these students should have an app ie now e ge . , tions and the piano is the only instrument wluch is capable of sounding all the tones of a given harnfony at one time. For those who are soloists in violin or voice, an intimate knowledge of accompaniments is a prime necessity, and it can be learned only through the experience of actual study on the accompanying instrument, the piano, and a certain degree of proficiency is required of all graduates of these two departments. ELEMENTARY THEORY This subject covers the general background of musical expression, showing how tones are produced, together with the properties of tones, and their arrangement into the fundamentals of musical language, of their pitch and duration, of the signs used to indicate these roperties, all the notation symbols, the different key locations and their signatures, the building of the scales, the meter signs, and all the principles of notation. This subject is a prerequisite to the regular Academic course in Theory. Students who can show a satisfactory standing in this subject will be admitted to the regular classes in Theory. THEORY A definite and systematic knowledge of this subject is an absolute necessity to any one yvho desires to understand music thoroughly, as it deals with the knowledge of musical idioms in the fullest sense. Music is made up of definite forms, as is the spoken language, and the musical forms should be as clearly understood as the language forms. In forms composed of single tones, the scales, major and minor, form the basis of conventional music. Where two tones are considered in their relation to each other, the interval is studied in all its varied relations. In the triads are found the three tone relationship, and following this, the seventh chords are studied. All these forms are fully explained and studied from the standpoint of sound and sight, and positively identified in composition submitted to the class. In connection with this, the rhythmic side is thoroughly drilled upon, the pulse, the accent, the measure, the metric phrase, its natural divisions and rhythms and the note rhythms are followed in their growth and 1n all their varied forms. During the year many correlative subjects, such as memorizing, the psychology of the lesson period, the practice period, and other topics that intimately touch the studcnt's musical life, are taken up. Credit 2 semester hours. COMPOSITION COMPOSITION I: This course consists of the original writing of phrases and periods fprincipally for pianoj in the many different ways they may be treated. Credil 2 scmeslcr hours. COMPOSITION II: Work in this class is composed of original writing in the two and three part song forms for piano, voice and piano, and violin and piano. Credit 2 semesler hours. ORCHESTRATION ORCHESTRATION I AND II. This course consists of a careful study of the tonal registers and characteristics of the different accepted orchestral instruments, together with the arranging of simple compositions for the small orchestra. This course is required of all orchestral instrument students. Credit 4 semcsler hours. page thirty-three L0'lt,I'Slf't'll0 Conservatory of xllusic HARMONIC ANALYSIS This cou1'se of 'study is only open to those students who have finished Harmony IV or its recognized equivalent. IIARMONIC ANALYSIS I: In this class the simpler vocal and violin solos with piano accompaniment, and simple compositions, of the classic, romantic and modern composers will be clearly analyzed from the harmonic standpoint. Tlns work is required of all graduates. Credit 2 semester hours. IIARMONIC ANALYSIS II: This is a continuation of Harmonic Analysis I, containing the careful study of more diflicult works of the same type. All graduates are required to complete this course. Credit 2 semester hours. HARMONIC ANALYSIS III: . Vocal and instrumental works of the classical period of more difficulty than those studied in Harmonic Analysis II will be taken up for discussion in this class. Credit 2 semester hours. IIARMONIC ANALYSIS IV: Compositions, both vocal and instrumental, of the more modern writers, such as Chopin, Debussy, and Scott will be analyzed m tlns course. Credit 2 semester hours. COUNTERPOINT COUNTERPOINT I: Work in this course consists of a. study of the single melodic line, and the two part writing or counterpointing of a given cantus firmus both above and below it with one two, and three notes to a beat, employing svncopated or shifted rhythms, the tie and rests. Original illustra- tions covering the work under discussion are also required. - Credit 2 semester hours. COUNTERPOINT II: 1 Original illustrations and the counterpointing of a given cantus firmus, both above and below it with four notes to the beat, using shifted rhythm, the tie and restsg and the small two part invention compose the work studied in this class. Credit 2 semester hours. COUNTERPOINT III: .Three part counterpoint, in its many different phases, is taken up in the division of the subject. Orlglnal illustrations are also a part of the work required. Credit 2 semester hours. COUNTERPOINT IV: The material under discussion in this class is the using of a given cantus firmus .as each of four parts in four part counterpoint, two, three, and four notes to the beat. Rhythmic diversity and motive development are taken up in the same manner as in the two and three part counterpoint studied in Counterpoint I, II, and III. Credit 2 semester hours. HISTORY HISTORY I: This deals with as full a knowledge of ancient history as possible, and this is followed by the development of music from the beginning of the Christian era down to the time of the Paris School. Following this, all the available time is given over to the development of the polyphonic school, noting the treatment of the different writers down to its culmination in Johann Sebastian Bach. HISTORY II: The course follows down through the time of the classicists, and the romantic composers, through to the moderns, with time for current events, the aim being to give the student a full knowledge of the beginnings of music, its growth through the various stages, and its culmina- tion in the great mastersg and also an acquaintance with contemporary music and artists. Credit 2 semester hours. Credit 2 semester hours. palm thirty-four I1 11 11. 1' s I1 1' I I 11 17 ll It s 11 1' 1' Il I 11 1' 11 11 f 111 Il s 1' 0 PIANO NORMAL TRAINING T110 1'0011g11iti1111 111' lIll1SlC', 111111 its 11ppr01-i111i1111, brings 1111 t1111ug11t1'ul A11101'i01111 p11r011ts to 1110 1-11oi1-0 of 1-11p11bl0 l1'lL1'1lOl'S for 1110 l7I'll11l1lI2j 111' 1l10ir 1-l1i111r011. 111 11r110r 111111 1C1l,C1l0l'S 11111y 111' 0qll1DD!'11 111 111001 1110 110111111111s now 11111110 111111 1'0111l01' 11 v11lu11b10 s0rvi1'0 111 pupils 111111 1'11111111u11i1i0Q, this 1'OlIl'S1' of pi111111 11111111111 1r11i11i11g 11ILS 110011 1l1Ill1gIlll'21,1011. For 0ll1I'11.l11'0, :1ppli1-11111 lllllSl' 1111110 111111 S11IT11'11'l1l1 11'1L1111llfI, both l101'1lll1K'211 111111 111H'Ol'1'1111'll,1, 111 IIl01'11 1-111ssifi1-11111111 11s RL Ill1'lll1Jl'l' 111' 1110 .1u11i11r 1-lass i11 1111- pi1111111'111'10 110171111 1110111. T110 work ol' 1110 111'D1L1'lT1lll'1ll' is CO-Ol'111llIl,111!11 111111 2Ll'l'iLllQQ1!11 i11 14111511 11 11:11'u1'11l S1'Clll1'll1'0 111111 it 01111 110 1'1l'2l1'1j' 171'0S0l11'011 111111 g1'11sp01l i11 11110 Y1'111'. hl1'l'1'1'1ODS 1, 1"IRS'1' SEh11'1ST1'Il1Z First '1l0l'lllI T110 sc11p0 of 10ctur0s for this 1101'111 i111:h11l0s 0111111 p-4y01111l11g1'g 1110 1yp0 11f work 111ugl1t l1ll'Ollg11 th0 11011s11ry p0ri1111 such 1111 1is1,011i11g lcssousg r11ytl1111i0 pluy: l'O1f'-I-l1llf,L'111g!QQ r11t0-p1:1yi11gg 11iQto1'1' storicsg 1l1ll1l'CC1lL11111l1. 130gi1111i11g work of 1110 :1ss11ci111iv0 ll0l'11111. S0c11111l 711011112 Ass110i111iv0 10ri1111 011111111111-11 with 0v01'v 11111140 of music' w111'k SIIITIOK1 . 1 111111 :1pp1i011. Nfllllf-111111 110l'lIlll1O1Ogj'Q 1111-11111ry writingg s01110 111111 c1111r1l 1111i11lingg trzznsposi- 1i1111sg i11101'v111sg 1110111111' writingg 1110 1lll'1'1l11ll1S!ll 111 t110 llillllll. S1l'0SH1l1g p0111111i11g. METIIODS 11. SECOND S1C3II'IS'1'E1i: First r1l01'l11I T110 111111les1r1-nt llf?l'1011Q 1lis011ssi1111 of 1110 1111111111111-11111ls of music 111' 1110 0111i1'0 0111Qsg pi'0p11r:11i1111 11f 21 p11p0r 1111 0VP1'j' 111111140 111' 111usi1- workg :1ppr00i11ti11n 11-c1111'0sg 1111101100 1161101111111 1111111 0111148 111111 p1'iv1110. S01-111111 T0r111: D01111111s1r11ti1111 by l?1l1111l'1'llQ f'X1'1f!llH1V0 Slllllj' of lll1l1C1'1111S of 1111 21111103 111111 ll11l'11Cl111l.l'1y the 111111011111 11s01l i11 :11'11110mi0 w111'11g 11iQ0ussi1111 111' 1110 1,1110 of 010111011t:11'1' w11rk ggiven 1110 111h111g 1111s0rv:11i1111 workg 111111111111' l'O11ll11 11211110 11is011s:2i1111s. T110 1J1'211'13lL'0 101101111115 is 1111110 by 1110 511111101118 i1111ivi11u1111y, just t110 s111110 IIS if th0y w01'0 lhiliflllllg i11 l11lO11' studios, 11ut it is SIIDCFVISCC1 by t110 1101111 of 1110 110p2L1'11IlCIlt. Both 0l11ss 111111 priv11t1: Dl'2lCf1lf'0 lossons il,l'0 1111121111 by 1110 91111101115 so 11105' may 1101-111110 f!l1l111l12ll' with ggroiip 101101111155 111111 i111livi1lu111 1l1S1l'lIC11l0ll. All l'0!1l111'0l1 0r011its fOl' work 1111211 1111s 110011 0011113101011 must 1JC Pl'0SCIltC1l to the Bo11r11 of Ex11111i1101's upon Cl11l'2IllC0. S11llC1CIl11S may 110 0o1111itio1111l1y 011rol101l, 111111 ll1IL1i0 11p 110ficiencics p1'ovi111111 thc a1l11itio11a1 work c1111 110 clone without 01111- flicting with 1110 regular course. All credits must have 1101111 11111-11011 to 1110 satis- f1101io11 of 1110 B11:1r11 by 1110 1-loso of th0 fourth 110l'll1, or 1-0rtifi011t0 will bo wit-h11011l. page 111ir1y-fi1'0 ,,.,......- ,-,.........,... .... -... ,.... -. -.......- -...-. ,.' V 4 i I R f I V r 1 I 1 I i l E 1 v , gn M, i , . , H Jw 4,5 5 I OI 1 ' ami f4'Ew: 1 , e 0 Q,-,,,-,gf xg Q,"-1: " V F 5'- F 2 V . f -g"f 9 ff- Milf, , 'Q' ew,gr,w,4al - Q -"z21eii's-.,J' ' fic' Floyd Crutchfield, Director of Dramatic Art and Expression. Scenes from plays Louisville Conservatory of Music PUBLIC SCHOOL MUSIC The growing demand for efficient teache1's and supervisors of public school music is due largely to the fact that, even in the States where supervisors are not required by law, the necessity for thorough musical training i11 the grades is being recognized. Many public schools are giving credit for music taken at con- servatories or under private teachers. Often music is given a place of equal importance with other high school studies. Consequently, the demand is for teachers of high ability and broad training, teachers who are capable of instructing the primary and elementary grades of school music, conducting choruses and orchestras and giving instruction in harmony and musical appreciation. Inas- much as the teachers of public school music exert a very definite influence upon the civic life in any community, the supervisor's general education, as well as musical, must be along broad lines. ENTRANCE REQUIREMENTS An academic education representing a four year high school course, or its equivalent, which includes the ability to speak, write and spell the English language correctly. The possession of an acceptable singing voice and a well developed sense of tone and rhythm. The ability to read at sight simple hymns and folk tunes. A fair amount of musical training. COURSES Cal A Supervisor's Certificate of Public School Music is granted upon completion of the two year course. tbl A Supervisor's Diploma of Public School Music will be granted upon completion of the three year course. Students wishing advanced standing must present credits and the proper credentials. In the absence of such, they will appear before the Board of Exam- iners for classification and standing. Reciprocal relations have been established with the Louisville Normal School where students of Public School Music will receive instruction in all professional subjects. The charge for subjects taken at the Louisville Normal School is included in the tuition quoted in this catalog. PUBLIC SCHOOL DRAWING A full year course in Public School Drawing is included in the curriculum of the Louisville Conservatory and is an elective subject in the Public School Depart- ment A large number of schools require supervisors who can teach drawing as well as music, therefore, it is recommended that all students qualify in this subject. IMI!-24' thirty-seven Senior Orchestra Auditorium Gymnasium if 'W L 0 11. 1' s I7 17 I I e fl 0 Il s c 1' ll fl l 0 1' y 0 f 1lI u S 1' 1: GENERAL OUTLINE METHODS I. First Year: First Semester: This course deals with rote singing and care of the eliild's voice. It also deals with treat- ment of so-called "Monotones". f7rc1l1'I 2 semester hours. BIETIIODS II. First Year: Second Semester: This course deals with materials and methods of presentation of the problems of tone and rhythm beguunng with the kindergarten and extending through the Hrst four years. f'rerl1't 2 Sl'lIll:Nf"l' hours. ME'l'I-IODS III. Second Year: First Semester: This course deals with materials and methods of presentation of the problems of tone and rhythm beginning with the fifth and extending through the eighth year. flrcflil .2 S!'IIlf'Nfl5I' hours. METHODS IV. Second Year: Second Semester: High School Music-The High School Chorus, Glee Clubs, classification of voices. In- struction in the care of the adolescent voice of the boy and girl. Conducting is also included in this course. f,'1'1'1.'iI f? sc111eslc1' INIIIVH. OBSERVATION TEACHING. First Year: n . For all students in the first year. Observation work is carried on throughout all grades in the clty schools. Observation :n the high school and orchestra work included. ffrcrlil 2 Nfllllhsllfl' hours, l'llAO'I'ICE TEACHING. Second Year: Each student upon completion of Methods I and II and one year of observation will have experience in practice teaching m all grades in the Louisville Public Schools. C'rc1lr'1' 4 sczlneslcr' hours. FOLK GAMES AND DANCES. First Year: First Semester: Kindergarten rhythmic play emphasizing free expression, folk games and dances for school, playground and suitable material for settlement work including pagcants and festivals. flrcrlil M senlesler hour, A PPRECIATION: Listening lessons with a phonograph are correlated with the work of the grades. In the first years of school life tduring sensory and associative periodsl the child becomes familiar with the best of children's songs produced by artistsg hears solos, ducts and trios of the instru- ments of the orchestra: associates folk tunes with different nations and learns names of difTerent kinds of music, composers, musical terms, etc. f'r1'rl1'! 2 NIfllll'Slf'l' hmzrs. P.XGEAN'l'RY. Second Year: First Semester: An Operetta is given each year with the children attending the Conservatory under the direction of the School Music Department. Clrcrlil If Nl'lIlt7-Sflfl' hour. OliCHES'l'R,A'l'ION. Second Year: A general understanding of orchestral instruments, study of orchestral scores and organ- ization of school orchestras. Students are asked to bring instruments with them. Crcrlil 2 Nl'lIIt'NflfI' 1'1o111's. ART OF CONDUCTING AND CIIORITS: First and Second Year: Interpretation of selections as used in Iligh School Choruscs, knowledge of tempo, attack. release, enunciation, phrasing. dynamics, etc. Also classification of voices and balance of parts. , f'1'cfl1I 2 scmcslcr ho'11rs. page thirty-nine Louisville Conser1,wlato1"y of Music PROFESSIONAL: English Composition I- FIRST YEAR SCHEDULE FIRST SEMESTER Hrs. Per Week Sem. Credit 3 n ---- -.------...- 0 Psychology.. ................ 3 Principles of Education ...... 3 Methods I ................ 2 Observation Teaching ..... 1 Acoustics ............... I ACADEMIC: Theory ................. 2 Ear and Eye Training ..... . 2 Harmony I ..... ,....... 2 History of Music ...... 2 U NPREPARED: Chorus ..,,...,, 1 Folk Dancing ..... I APPLIED: Piano ........,, 1 Voice--. ..-.---...-.... 1 Piano Practice -------------- 10 Voice Prnetic e, Minimum ---.- ,i Zi FIRST YEAR SCHEDULE SECOND SEMESTER u PROFESSIONAL: Hrs. Per We English Composition I- -.-. -.. ,------ 3 Psychology .-.------ ,--- 3 Methods II-..---.---,--- 2 Observation Teaching ----- 1 Acoustics --.--...------- 1 ACADEMIC: Form ---.----------- - 'I Ear and Eye Training --.-- 2 Harmony II ---.------ 2 History of Music- --. 2 Appreciation I -..- . 1 IINPREPARED Chorus ---- 1 APPLIED: Piano-I -..--..-- 1 Voice ......-.---- .- 1 Piano Practice ...-- - 10 3 Voice Practice ...-- pmze forty 3 3 2 1 1 2 2 2 1 M 36 1 I 1, 5 96 ek Sem. Credit 3 3 2 1 1 2 2 2 2 1 36 1 1 M Va ouisville Co'nsc1'1'atory of M ll s '1' 1: SECOND YEAR SCHEDULE FIRST SEMESTER PROFESSIONAL: . I-Irs. Por Week Sern. Credit School Management and Applied Psychology-. -- . - l 1 History of Education- ..... ......, . ..,.... , .- -. . -5 3 English Literature II ....,..... ..- --. - ..,. 3 3 Methods III ........,. 2 2 Practice Teaching ..... 2 " XCADEMIC: Harmony III ....,,. , ...,. 2 2 Ear and Eye Training ..... 2 2 Pageantry- ........ . .... . 1 M Orchestration .....,,,, 1 l I N PREPARED: Chorus ..,, l LQ APPI IED: Piano ...., . 1 1 Voice-- - .,........ 1 1 Piano Practice .... 10 16 Voice Practice- 3 M SECOND YEAR SCHEDULE SECOND SEMESTER PROFESSIONAL: Hrs. Per Week Sem. Credit. School lX'Ianagcment and Applied Psychology - . 1 1 Diction or Public Speaking ..... ,- - - - - . ,A - . .. 1 1 Methods IV ......,,....,., . . 2 2 Practice Teacl1ing.....- -, 2 2 English Literature II . -- 3 3 KC ADEMIC: Harmony IV- .- ., ...-- . 2 2 Orchestration . - -..---, . - 1 1 Ear and Eye Training --.-- 2 2 Appreciation II ..-.--..- 1 1 Orchestration - - -.. - - . . - 1 1 IJ N PREPARED: Chorus. - . ., 1 li XPPLIED: Piano ..--. . - .. - , 1 1 Voice ---..-....- l 1 Piano Practice .-.- 10 Pi 3 141 Voice Practice --.-- page forty-one LOIll'SI'I'l1l' C0llN!'I'l'l!,f0I'jj of Music DEPARTMENT OF DRAMATIC ART AND EXPRESSION In all fields of endeavor the keynote of success is personality. The vital significance of the study of expression to each individual lies .in the fact that it deals essentially with the development and expression of personality. Through reading comes the opportunity to enlarge one's intellectual, imaginative and emotional equipment. In oral interpretation of literature, the desire to harmonize feeling with thought, to gain a mastery of self in thought and emotion, and to express in our own lives the recognized relationships between the life inside us and the world without -us, means a gain in our ability towards self-expression, through the medium of the voice and body and as a consequence an enrichment of that inde- pendent psychologrical force which we term personality. The wo1'k of the department of Expression and Dramatic Art is presented in small classes combined with private lessons, each course of study being adapted to meet the needs of the individual. School children may enroll for one class or for two classes with the privilege of one private lesson a week for repertoire. OUTLINE OF COURSE FIRST YE.'lI?.' 22 credits. Slzzrlio ll'orL'.' Repertoire and Criticism CSO private lessonsf, 4 credits. FUNDAMENTALS OF EXPRESSION AND LITERARY INTERPRETATION The ability to interpret orally the printed page connates a training in clear and logical thinking, in physical poise, in conversational fluency, in emotional control, and in sympathetic appreciation, which is the purpose ofthe outlined course. Alertness, which is the first requisite of a reader, implies a focused attention, expectant interest and a mental and physical readiness to act, which transforms the words of the printed page into living thought, with the reader, as the medium for the expression of thc message. The desire to convey this thought, to present this picture, to portray this emotion sincerely and sympathetically means the elimination of self-consciousness, the stimulation of intellectual and emotional responsiveness and the broadening of the social sympathies. The awakening of personality comes with this desire toward self-expression, and to render the voice and body .more adequate for the expression of personality is the basic principle of the first year of study. CLASS lVORK Class llours Semister Ilour Credits Interpretation I. . ., . 36 2 Diction I ...,.,., ,,- 313 2 English Composition . , IOS ti Physical Culture.-- 72 fl Acousticsu-. ,,, ,.,,,W,,, , M , , 36 2 Play Production CDrama Clubl ., 36 2 page forty-two Louisville Conservatory of Music SECOND YEA IB: 22 credits. Slzulio Work: Repertoire and Criticism C80 private lessonsj, 4 credits. ARTISTIC READING In the second year through study of master speeches in epic, novel, and drama, the growth and development of the individual towards self-expression is continued. A study of the phil- osophy of expression with a study of the four criteria of vocal expression-time, pitch, force and quality- and the application of these principles in oral interpretation of the masterpieces of emotional and imaginative literature. Wit-h the development of greater ease in expression and a keener appreciation of the beauty and power of literature comes a heightened ability to interpret with creative power. Originality and individuality are stressed. CLASS WORK Class Hours Semester HourCreditS 2 Interpretation II.--. -- 36 Diction II .... , .,... 36 2 English Literature .... 168 6 ' Public Speaking. .. 18 1 Story Telling ................,.. 18 1 Physical Culture.. ............ ,- 72 4 Play Production tDrama Clubl ..... ...., . .. . 36 2 TIIIRD YEAR: 18 credits. Sluflio !l'orlr: Repertoire and Criticism C80 private lessonsj, 4 credits. DRAMATIC READING Analytical interpretation of characteristic poems of lirowning, presentation of selected scenes from Shakespeare, arrangement of plays and programs. The candidate for graduation is required to cut and arrange one modern play for presentation in public recital, and to direct and produce a one act play for public performance, selecting the cast from members of the Department. CLASS WORK Class Ilours Semester Hour Credits 2 DictionIlI---. .... . .. 36 Costuming and Stage Setting ..., 36 2 Modern Drama ..,,. .. ........., .. 36 2 Psychology- .. .. ..... ,. ......... . - . - . 108 0 Play Production CDrama Clubl..- ....., ,..,,,, 3 6 2 RESUME VOIKIE TRAINING AND DICTION. Interpretation ol' Modern Drama and Modern Poetryg Analytical Interpretative Studyg Advanced Public Speaking, Repertoire and Criti- cism in Private Lessons. Olfrlli INTERPISETA TION. Analysis of literary form with a study of grouping, group sequence, central idea, subordinate idea, punctuation, connotation, denotation, study of the laws of movement, repetition, contrast, atmosphere and climax, and the presentation of pre- pared reading for critical study by the members of the class, are features of the class work. MODERN DIRAIIIA. .Intensive study of representative modern dramas with special attention to characterization and plot development. Preparation and presentation of pro- grams of scenes from modern plays. STORY TELLING. A presentation of the principles and methods of story telling. Study of the literature of childhood. Selection of stories. Individual practice with criticism and suggestion. Preparation of programs for public use. PVBIJC SPEAKING. The training is especially directed to drills in extemporaneous speech. The selection and organization of materials as well as the most effective manner for delivery of addresses are studied in this course. Through practice in the presentation of original ideas, the tendency towards self-consciousness is overcome. The course develops ease and poise in manner and conversation. VOICE PRODUCTION. Breathing, articulation, enunciation and pronunciation. Study of the vowel, the consonant, the word and the sentence from the standpoint of voice production and correct diction. General attitude of body and its effect on the voice. Reading of various types of literature for diction and tone color. page forty-tln-ec Dormitory Interior Views Louisville Conservatory of Nlusvfc JUNIOR COURSE A class limited in number will be held for children where they are encouraged in original thinking, and any tendency towards mimicry or imitation is discouraged. The child acquires the ability to say what he has to say, whether it be l1is own words or the memorized words of another, with a sincerity and interest growing out of his understanding of the subject. Any effort to coach him towards a mechanical interpretation is carefully avoided. The child learns the fundamental principles of criticism,improvement in sight reading, and in the appreciation of the emotional value of words. The stimulation of the imagination and the direc- tion of the dramatic instincts are the ends sought in the course. Pantomine and extcmpo- raneous story telling are distinctive l'e:1tures. Two private lessons and one class lesson each week constitute the ehildren's course. RECITALS AND PLAYS ICECITA LS AND PLA YS. Every six weeks, a matinee recital is given by members of the department, and frequent recitals and plays are important events of the year. DRAMA TIC CLUB. The Dramatic Club and the Junior Dramatic Club of the Louisville Conservatory of Music, both of which are under the supervision of the Director of the Dramatic Art Department, appear at regular intervals throughout each season. Among the recent plays given are: 'The Piper," by Josephine Preston Peabody, "The Romantic Age," by Milne, "Poor Maddalenaf' by Louise Saunders, "The Pot Rolls" and "Overtones," by Alice Gerstens- berg, "The Nativity," by Douglas Hyde, "Dust of the Road" and "Dancing Dolls," by Kenneth Sawyer Goodman, "The Slave With Two Faces," by Carolyn Davis, "Sherwood,"'by Alfred Noyes, "You," by C. Colin Clements, 'tRosalie,l' by Max Maurey, "A Vicarious Romance," by Gertrude Jennings, "Six Who Pass While the Lentils Boil," by Stuart Walker, "Entr' Aete," by Mary Macmillan, "The Dragon," by Lady Gregory, ''Wuirzel-Flummery," by Milne, and "Maid of France," by Brighonse and "The Sidhe of Ben Mor," by Ruth Sawyer. TEXTS Hooks studied in the various courses and classes are "How to Teach Reading in the Public School," Clark, 'tlnterpretation of the Printed Page," Clark, "How to Read," Kerfoot, "Effective Speaking," Phillips, "Modern Literature for Oral Interpretation," Johnson, "Psychology of Public Speaking," Scott, "Social Aspects of the Drama," Chandler, 'tFirst Steps in Speech Improvement," Birmingham, and "Phonetics," by Jones. Other books which are indicated by t-he student's individual needs are used for collateral reading, as well as the representative works of modern drama, including all plays of Shaw and Ibsen. DORMITORY Mas. LILLIE ALBANY Dean of Women A "home" is the purpose of the dormitory. The word implies comfort, convenience, sociability, relaxation and pleasant surroundings. Such a home is the dormitory of the Louisville Conservatory located near the Administration building, in one of the old and fashionable residence sections of the city. There are few regulations other than those found in the average well regulated home. The management makes every effort to confine the residence enrollment to con- scientious and dependable girls so that only such rules as provide safeguards incident to maintaining high standards are necessary. The Conservatory is non-sectarian and students are expected to attend the churches of their faith. The building is equipped with modern heating and Ventilating systems, ample plumbing and lighting. There are well appointed reception rooms, and large, airy dormitories. A spacious dining room and sanitary kitchen insure wholesome well prepared food. The cuisine is in charge of a dietarian who devotes her entire time to supervising the preparation of the best and most seasonable food the market affords. In this connection it may not be amiss to mention that the L. C. M. dormitory is especially noted for the variety, the plentifulness and the unfailing excellence of its food. The dormitory home and the administ1'ation building are situated within the radius of a few squares of churches of all denominations, the beautiful Pres- pnge forty-five xx DORMITORY ,,,mz.,.-. Louisville Conservatory of Jllusic byterian Theological Seminary, the Baptist Theological Seminary, the University of Louisville, the Young Women's Christian Association,1and also within a few minutes walk of the shopping district. The Delta Omic1'on CZeta Chapterl, Mu Phi Epsilon CM11 Sigma Chapterj, Mu Iota Lamda and the Town Club are societies that add interest and pleasure to the dormitory life. Numerous social functions given by these societies and also those arranged by the Dean of Women afford opportunity for meeting old friends and acquiring new ones, and in this way keeps the student in touch with the social and musical activities of the city. EXPENSE All rooms are equally desirable so far as light, heat and location are con- cerned. The cost per term of ten weeks including board, furnished room, piano rent and plain laundry varies according to the number of girls occupying a room. Accommodations for two girls in a room cost 3595.00 to 35115.00 and single rooms 35125.00 per term. These rates apply to enrollments for the full academic year of four terms. Students entering the dormitory for the full season and with- drawing before the close thereof shall be charged at the 1'ate applicable to less than the full year for the time they remained in the dormitory. The less than full year rate is 20 per cent over the full year rate above quoted. APPLICATION Only a limited number of students can be accommodated at the dormi- tory 5 therefore it is advisable to send application for reservation as soon as possible with a deposit of 351-5.00, which amount will be credited to the student's account at the beginning of the fourth term. The reservation fee will not be refunded in case a pupil fails to enter. However, upon notification two weeks in advance of entrance date reserved the credit will be extended to a future term. Applicants are requested to give references as the management is careful to allow accommodations only to serious students furnishing evidence of highest character and integrity. GENERAL REGULATIONS All business matters connected with the Conservatory must be transacted at the business otlice and not with teachers. This includes payment of tuition, arrangement of lesson periods, change of lesson hours, etc. Teachers are not authorized to excuse absence from lessons and no deduction will be made for missed lessons except in cases of protracted illness when due notice in writing has been received at the office. Opportunity will be given students to make up occasional lessons missed from illness, but only when such lessons can be made up before the expiration of the current season and when notice of absence has been given the Registrar before 9 A. M. of the day of such lesson. Money paid by students and remaining to their credit will not be available for tuition unless applied for within the season in which such credit is made. Seniors are required to pay at the office the fees for diplomas or certificates not later than the beginning of the fourth term, and no diploma or certificate will be granted unless the averages upon final examination are of the standard required. A deposit of 355.00 is required of each student upon matriculation, as a break- age fee, and the unused po1'tion thereof will be returned to student upon presenta- tion of receipt at close of academic year. page forty-seven Louisville Conservatory of .Music DORMITORY REGULATIONS Applicants unknown to the management must furnish satisfactory references. Regular hours are assigned each student for practice and no extra charge is made for use of piano. Each student should be provided with bedding for a single bed, towels for personal use, six napkins and napkin ring, a drinking glass and teaspoon. CAll linen must be plainly marked with the student's full name.D Each student is allowed two sheets Cfor 3 x 6 bedj, six towels, three napkins and a pillow case, in the laundry each week, for more pieces and larger sheets regular laundry rates are charged. Students a1'e permitted the free use of the dormitory laundry, no laund1'y work is permitted in the bedrooms or bathrooms. No student is permitted to leave the building at any time, or to remain away over night without the consent of the Dean in charge. Students entering the dormitory are liable for the full term of their enroll- ment and shall not be released therefrom except upon the approval of the man- agement, and if so released shall pay at the rate applicable to "less than the aca- demic yearn for the time they have been in the dormitory. The Louisville Conservatory of Music provides a safe in its administration building where articles of value may be deposited for safe-keeping and shall posi- tively not be liable for loss sustained by students of articles of clothing or other personal belongings, either through theft 01' otherwise, nor liable in any way for damages, personal or otherwise, from causes beyond its control. The management reserves the right to remove any student from the dormi- tory when, in its judgment, the conduct of that student has been such as to warrant her removal, and the amount for the full term of enrollment shall become due at once whether or not the student has benefited to such an extent. Every effort is made to impress each student with the responsibility of her position, and violation of any regulation in effect at the present time or here- after adopted shall se1've as sufficient reason for dismissal. SCHOLARSHIPS The rates of tuition have been placed as low as possible in order to operate at a safe margin of profit, and, therefore, the Louisville Conservatory of Music docs not offer as many scholarships as institutions where higher rates are charged for general tuition purposes. With the consent of the teachers, the Director grants partial scholarships to a limited number of students unable to meet the regular payments, provided such students possess unusual ability, talent and general musicianship. Those wishing to apply should set out in detail the funds available for musical training in order that cou1'ses and partial scholarships may be discussed. LIBRARY - The full privileges of the Louisville Free Public Library Cwhich is one of the most magnificent and complete in the countryb are free to students of the Con- servatory. The library has recently added greatly to its collection of musical literature, textbooks, biographies, scores, et cetera, and reserves on notification by a member of the faculty, reference books for use in the Conservatory, and will add such new books as are suggested by the Faculty, for the benefit of the Con- servatory students. - TERMS OF TUITION The cost of tuition varies according to the grade and the teacher. PAYABLE STRICTLY IN ADVANCE EACH TERM OF TEN WEEKS An annual enrollment feeyof 31.00 a subject is charged each student and is payable at the time of matrieulation. page forty-c ight Louisville Conservatory of Music PRIVATE LESSONS QTWO Weeklyj PIANO .,,, ,.,.,,... . . ..... ..., 35 20.00 to 51580.00 VOICE ..... .H.. 4 0.00 to 150.00 ORGAN .,,,..,. ......- . .- ............ 60.00 VIOLIN ........i,,...,,I,.......I....-. .i,.,.........I,.. 2 5.00 to 60.00 VIOLONCELLO .... T .............................................. 60.00 ORCHESTRAL INSTRUMENTS QWood Winds, Brasses, etcj -30.00 to 40.00 LANGUAGESN .,.,.,., -,,,,............ Ie--.. .,,,.,,I, ,,,--- 30.00 HARMONY ..... .. ...,.,,..... . ..... .. ..................,... 25.00 to 40.00 COUNTERPOINT .... .....,........,... . ....--- , ...,. --- 40.00 COMPOSITION AND ORCHESTRATION ..... 40.00 COURSES QYearly Cost, SUPERVISORS COURSE PUBLIC SCHOOL MUSIC .,.,,,,,, ,,.. Sli 225.00 SUPERVISORS COURSE PUBLIC SCHOOL DRAWING .... . , I... 40.00 PIANO NORMAL COURSE .,,,,..,,, 0 III.,,,,. I ,...--I , 4,-,100.00 TEACHERS TRAINING CVoealQ ,.,I,,,, ,, .L 1- I,,,.,,,,, , I , , 25.00 TEACHERS TRAINING CViolinJ., .... - - 25.00 LANGUAGES CI11 Classj .........,, A 1, 30.00 ENGLISH COMPOSITION- - ., - - ,I v - - 30.00 ENGLISH LITERATURE- - , , 1 - 30.00 ENSEMBLE, .. .. - - ,. - .. ,. .- - I 1 - 50.00 ACOUSTICS, ,... O U, 15.00 DICTIONF--. MI..- 15.00 CHORUS ....... . ..... ,.,. 15.00 ACCOMPANYING ...........,..,,,....,,,,,,,,,,-,,,,-,,, 40,00 to 120.00 PHYSICAL CULTURE CRequired of dormitory studentsj ...... , .. - ,. .... 10.00 PSYCHOLOGY .,.. .I,...,,, I .,M,N,,,M,.,..,MdN-,,,, H 4 ,Y A 30,00 THEORETICAL SUBJECTS IN CLASSES THEORY .... I -,,3ii20.00 HARMONY.. -... .. - ,, , 20.00 COUNTERPOINTU-. . H- 20.00 COMPOSITION ...... . ...1. , , , 20.00 ORCHESTRATION - - .. - - . ,. , - - .. - .. 20.00 HARMONIC ANALYSIS --... .1 . 20.00 FORIVI ANALYSIS .,,...,,., , , - 20.00 EAR AND EYE TRAININGIW.. 20.00 HISTORY ,,.. ,, ,, .. ..I...,,,,,.. , 20.00 SCHOOL OF EXPRESSION AND DRAMATIC ART COMPLETE COURSE Cleacling to graduationj ...... ..,1., , . .- . -- . 55250.00 PRIVATE LESSONS Ctwo weekly for academic yearj M-.. -. . - - 200.00 JUNIOR COURSE--- ............................ , - .. 80-00 COURSE A Qtwo private lessons and one class lessonlm- , ,- 225.00 COURSE B Ctwo class lessons and one private lessonb ......... .. .- .. M.- 150-00 COURSE C Cone class lesson weekly and one private lesson every 75 00 other weekj .......... . ..... .. ....................... - p gg fn-ty-nine GRADUATES, YEAR 1923 - 24 ouisvillc Conservatory of illusic COMMENCICMENT PROGRAMS AND GRADUATION CLASS, 1925 DRAMATIC ART DEPARTMENT Friday, June Twelfth The Curtain ,......,,, . .i,,,-,MissBrach For Distinguished Service. . ..,.. Miss Brantley Allis0n's Lad ....... ,. .,,. .... A fiiss Demaree Enter Dora--Exit Dora , , , , . . .--Miss Sewell M ozurl ,lloszkmrslfi Chopin Rossi Chopin Bolzoni Sain!-Su r'1l s lirucli Lis zl Sunday, .Iune Fourteenth BACCALAUREATE SERVICE AND ADDRESS CALVARY EPISCOPAL CHURCH Monday, June Fifteenth PRESENTATION OF DIPLOMAS Symphony No. 41 "Jupiter" .... ,-. Caprice Espagnole ............ Impromptu I" Sharp ....... - - - - . - -Orchestra Miss Grissom . , - -Miss Nussbaum Aria: Ah! Rcndimi "Mitranc"..--- .... Miss McCrocklin Scherzo Opus 31 ,,,,,,,,,N,,,.,, Minuetto ..................... Etude En Forine de Valse- Miss Holman Orchestra . . . . -Mrs Sehoppenhorst Finale from Concerto G Minor .,,,,.,. ,,,, ..,.,,, ,, N U - ,,MlSS Poore Rhapsodie No, 12 ,,,,,,,,,,.,.,... Miss Trautman Robert Parmenter, Conductor of Orchestra MEMBERS OF CLASS Alexander, Mildred Zuline Allen, Frances Lewis Blakey, Anna Blye Brach, Elise Ada Brantley, Martha Frances Brightwell, Virginia Lee Christopher, Goldie Leah Claxton, Coch1'an Jewel C. , Doris Demaree, Ona Belle Dunn, G ladys Gaines, Mary Page Grissom, Carrie Elizabeth Hihhitt, Bcrthaglenn Holland, Verna Holman, Elizabeth Brents Husinan, Elsie L. Kastner, Agnes Laffoon, Lelia Lewis, Kathryn Litsey, Alameda W. Lutes, Amy Catherine Malkemus, Catherine Carr McClcllan, Hazel H. McCrocklin, Angeline Mcnah, Inez Miller, Jennie Morrow Nnnnclley, Clara Nussbaum, Hildegard Parrish, Katherine Wingate Poore, Mary Ernest Richardson, Sara Hill Ruharts, Anne Aillcne Sapp, Virginia Sehanzenhacker, Margaret L. Sehoppenhorst, Florence Gray Searcy, Louise Jane Sesmer, Esther Sewell, Clo Era Smith, Isabel Spalding Trantman, Ellen Cathryn Walker, Susie Mae page liffy-1 -r GIEBS INMAN COMPANY Nnmlu ANU rmoAnwAY IOIYISVH I V, KENTIJCKY

Suggestions in the Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) collection:

Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1926 Edition, Page 1


Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1927 Edition, Page 1


Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1925 Edition, Page 23

1925, pg 23

Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1925 Edition, Page 27

1925, pg 27

Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1925 Edition, Page 30

1925, pg 30

Louisville Conservatory of Music - Crescendo Yearbook (Louisville, KY) online yearbook collection, 1925 Edition, Page 43

1925, pg 43

1985 Edition, online yearbooks, online annuals 1970 Edition, online yearbooks, online annuals 1972 Edition, online yearbooks, online annuals 1965 Edition, online yearbooks, online annuals 1983 Edition, online yearbooks, online annuals 1983 Edition, online yearbooks, online annuals
Are you trying to find old school friends, old classmates, fellow servicemen or shipmates? Do you want to see past girlfriends or boyfriends? Relive homecoming, prom, graduation, and other moments on campus captured in yearbook pictures. Revisit your fraternity or sorority and see familiar places. See members of old school clubs and relive old times. Start your search today! Looking for old family members and relatives? Do you want to find pictures of parents or grandparents when they were in school? Want to find out what hairstyle was popular in the 1920s? E-Yearbook.com has a wealth of genealogy information spanning over a century for many schools with full text search. Use our online Genealogy Resource to uncover history quickly! Are you planning a reunion and need assistance? E-Yearbook.com can help you with scanning and providing access to yearbook images for promotional materials and activities. We can provide you with an electronic version of your yearbook that can assist you with reunion planning. E-Yearbook.com will also publish the yearbook images online for people to share and enjoy.