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Page 33 text:
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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
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Page 34 text:
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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
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