New England Conservatory of Music - Neume Yearbook (Boston, MA)

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STANLEY HASELL Trombone, Alto, Baritone, Euphonium RICHARD HOWLAND Fine Arts HOMER HUMPHREY Organ, Harmony PERCY F. HUNT Voice HARRISON KELLER Viol in ALFRED KRIPS Violin GEORGES LAURENT Flute ABDON LAUS Saxophone CLEMENT LENOM Oboe, Woodwind Ensemble ERNST LEVY Solfege, Pianoforte ANNA S. LOTHIAN Pianoforte GEORGES C. MAGER Trumpet MARGARET MASON Pianoforte, Harmony CARL McklNLEY Organ, Harmony, Counterpoint, Com- position GLADYS C. MILLER Voice GEORGES E. MOLEUX Contrabass LUCILLE MONAGHAN Pianoforte MARY L. MOORE Pianoforte BOWER MURPHY Trumpet, Cornet JOHN D. MURRAY Violin RAYMOND ORR Violin CARL PIERCE Violin VICTOR POLATSCHEK Clarinet W. JUDSON RAND Organ C. ROLAND REASONER Violin SIMONE RIVIERE French NORINE ROBARDS Pianoforte, Assistant in Pianoforte Nor- mal Course ARTHUR ROBERTS Physics RULON Y. ROBISON Voice JESUS MARIA SANROMA Pianoforte DONALD S. SMITH Pianoforte, Pianoforte Sight-playing WARREN STOREY SMITH Theoretical Subjects CARLO BRUNO SORESINA Italian ALICE H. STEVENS Voice RICHARD E. STEVENS Pianoforte VIRGINIA STICKNEY Violincello MARIE SUNDELIUS Voice LURA TAYLOR European and American History EVERETT TITCOMB History of Church Music, Choir Training CHARLES K. TRUEBLOOD Psychology, Education WILLEN A. VALKENIER French Horn BEVERIDGE WEBSTER Pianoforte LAWRENCE WHITE Tympani, Percussion Instruments ALICE WHITEHOUSE Solfege WILLIAM L. WHITNEY Voice SUSAN WILLIAMS Pianoforte STEUART WILSON Vocal Normal CLEORA WOOD Voice ALFRED ZIGHERA Violoncello BERNARD ZIGHERA Harp

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7 The New England Conservatory of Music has played an important role in the building of a musical America. It has been one of the first conservatories to be planted upon our soil, and its growth has been representative of the trends and progress of music in our country. Prior to its founding, young aspiring musicians were forced either to suffer the loss of conservatory training or to cross the vast Atlantic to ob- tain it in a foreign city. Eben Tourjee well realized the urgent need of establishing conservatory methods here and when in 1867 he announced the opening of the New England Conservatory, enough students enrolled to make the venture worth while. Mr. Tourjee had rented three floors of the Music Hall annex building. The rooms were bare and unattractive. Room 13, used as a recital and lecture hall, was equal to the size of the Jordan Hall platform. The Director ' s office was unpreten- tious. It was the faculty, comprising some of the leading musicians of Boston, which attracted students. In 1870 the first class of thirteen members graduated. Also that same year Mr. Tourjee made the school a non- profit institution by incorporating it under the laws of Massachusetts. The rapid increase of students meant the moving, of the Conservatory to larger quarters. Mr. Tourjee bought the St. James Hotel at Franklin Square to serve both as a school and dormitory. The Home eliminated the expense,