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

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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

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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