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

Page 35 text:

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

Page 34 text:

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

Page 36 text:

,,.,......- ,-,.........,... .... -... ,.... -. -.......- -...-. ,.' 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