USA > Illinois > Cook County > Chicago > Columbia School of Music, Chicago > Part 3
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10 Classic Songs.
10 Modern Songs.
The Board of Examiners selects one number from each group to be sung by the candidate.
Analysis of Form as prescribed for Junior class in piano department.
SUPREME IN THE TRAINING OF TEACHERS
Page Twenty
COLUMBIA SCHOOL of MUSIC.
Choral Conducting must demonstrate a knowledge of the use of the baton, elements of conducting and methods of securing tone quality from all parts.
Piano: Student must have completed sufficient piano study to be able to play accompaniments of average difficulty.
NOTE: Students in voice department may substi- tute work in academic subjects in place of counter- point and analysis.
POST GRADUATE COURSE
For examination the student is judged by the per- formance of a public recital which must be of a high professional character.
Composition :
1. An original composition for at least four voices.
2. A fugue showing the usual contrapuntal devices.
3. Original songs.
Orchestration as prescribed for Senior class in piano department.
VIOLIN PREPARATORY COURSE GRADES I TO VIII
The student passes an examination to demonstrate the fundamentals of violin technic, rhythmic sense and ear training.
Presents two standard compositions in first and third positions.
Keyboard harmony and improvisations as prescribed for the preparatory course in piano department.
ACADEMIC COURSES GRADES I TO IV
For examination student presents:
1. An etude of Wohlfahrt, DeBeriot, Kaysor or Mazas or one of corresponding grade.
2. Sevcik, preparatory scales.
3. Two compositions of moderate difficulty.
Keyboard harmony as prescribed for academic course in piano department.
Some knowledge of piano is urgently recommended.
COLLEGIATE COURSE FRESHMAN CLASS
For examination student plays:
1. Etude by Dont, (Preparatory to Kreutzer).
2. Three Octave scales by Schradieck.
3. Two compositions which may be concertos by Accoly, Seitz, Sitt or compositions of corresponding grade.
Keyboard harmony as prescribed for Freshman class in piano department.
Written harmony as prescribed for Freshman class in piano department.
SOPHOMORE CLASS
For examination student plays:
1. Etude by Kreutzer or Fiorello.
2. Concerto by Viotti, DeBeriot or corresponding grade.
3. Sonata by Handel or Tartini.
4. Two modern compositions.
Keyboard harmony as prescribed for Sophomore class in piano department.
Written harmony as prescribed for Sophomore class in piano department.
Piano, must demonstrate ability to play simple accom- paniments.
JUNIOR CLASS
For examination student plays:
1. Etude by Rode.
2. Caprice by Dont.
3. Two movements from a concerto by Mendelssohn, Wieniawski, Vieuxtemps or Mozart.
4. Two classical compositions to show style and in- terpretation.
Counterpoint as prescribed for Junior class in piano department.
Analysis of Form as prescribed for Junior class in piano department.
NOTE: Students in Violin department may substi- tute orchestra playing in place of senior ensemble.
SENIOR CLASS
For examination student plays:
1. Sonata by Bach.
2. Concerto by Tschaikowsky, Sinding, Bruch, Dvorak or Lalo.
Student prepares a dignified recital program. Com- position as prescribed for Senior class in piano depart- ment.
Orchestration as prescribed for Senior class in piano department.
POST GRADUATE COURSE
For examination student is judged by the perform- ance of a public recital which must be of a high pro- fessional character.
Composition as prescribed for Post Graduate Course in Piano Department.
THEORY OF MUSIC
The Degrees Bachelor of Music and Master of Music may be earned in composition.
SENIOR COURSE BACHELOR OF MUSIC
The following original works are required:
1. One movement in Sonata form for one or more instruments.
2. A fugue in at least five sections showing the usual contrapuntal devices.
3. Songs or pieces for the instrument in which the candidate is majoring.
4. The scoring of a composition for full orchestra. This composition need not be an original work but may be an orchestral arrangement of any suitable com- position.
NOTE: It is understood that the above work need not demonstrate originality in thematic or talent in composition, but merely an understanding of the technique of the elements of composition, harmony, form, counterpoint and orchestration.
Student is required to continue the study of his major subject in applied music for at least one full year.
POST GRADUATE COURSE MASTER OF MUSIC
The following original compositions are required :
1. A String quartet in three movements.
2. A doub'e fugue.
3. A symphonic Poem of at least fifteen minutes duration for full orchestra.
Student is required to continue the study of his major subject in applied music for at least one full year.
SUPREME IN THE TRAINING OF TEACHERS
Page Twenty-one
COLUMBIA SCHOOL of MUSIC.
ORGAN
To enter the four year degree course in organ the student should have completed suffi- cient piano study to enable him to play some Bach inventions, Mozart Sonatas, Easier Bee- thoven Sonatas, Compositions by Mendelssohn, Grieg, Schubert, Schumann, etc.
END OF SOPHOMORE YEAR
At the end of the Sophomore year the student must have the ability to play the fol- lowing compositions or others of correspond- ing grade :-
Bach
Vol. III Prelude and Fugue G minor. Vol. IV Prelude and Fugue G minor (Peters Ed.)
Vol. V Choral Prelude (Selected). Mendelssohn-Sonatas No. II, IV, V. Guilmant-Sonata No. IV.
Compositions for modern organ by standard American and Foreign composers.
He should also demonstrate ability in sight reading, in the accompaniment of the classic
oratorios and masses, and in general service playing.
END OF SENIOR YEAR
The student must have the ability to trans- pose at sight, open score reading and improvisa- tion. He should have a large repertory of organ literature of all schools, classic and mod- ern, of the degree of difficulty indicated by the following :
Bach
Book II-Fantasia and Fugue G minor. Prelude and Fugue B minor.
Book IV-Prelude and Fugue D major.
Book I-Sonatos (Peters Ed.)
Franck, Chorales and Piece Heroique.
Widor-Symphony No. V.
Guilmant-Sonata D minor No. I.
Vierne-Symphony No. I.
Compositions for modern organ by standard American and Foreign composers.
Note: The theoretical requirements are the same as prescribed for the corresponding courses in the piano department.
ORCHESTRAL INSTRUMENTS
The entrance requirements for students of violoncello, viola, bass, harp, woodwind and brass instruments stipulate the same degree of knowledge of the pianoforte as in the violin course. The student should also have acquired the elementary technique of his instrument.
END OF SOPHOMORE YEAR
At the end of the Sophomore year the stu- dent should have acquired sufficient orchestral routine to fill satisfactorily a second desk posi- tion in symphonic works of lesser difficulty.
He should have acquired sufficient pianistic ability to be able to play simple accompani- ments.
DRAMATIC EXPRESSION
The work of this department is open to all students in private and class lessons. The course covers all phases of the subject in infinite de- tail. Special stress is given to fundamental training and the use of the speaking voice as well as the study of literature, drama and platform reading. Thorough training is avail- able for those appearing before the public in the following special classes :
Professional Coaching.
Personal Culture classes.
Music students class for the development of poise and correct relation to audience.
Classes designed for the need of Club Women. Classes for ministers, lawyers, and business men.
Children's Classes.
END OF SENIOR YEAR
The student must demonstrate a well ground- ed technique and an able control of his instru- ment. He should be able to appear success- fully as soloist with orchestra in a concerto or concert piece for his instrument. He should have acquired thorough orchestral routine suffi- cient to enable him to hold a first desk posi- tion in a professional orchestra. He should also be able to read at sight simple piano music.
The student should have completed, during his course, four years of orchestral training and a minimum of two years' training in the per- formance of chamber music.
Note: The theoretical requirements are the same as prescribed for the corresponding courses in the piano department.
LIBERAL ARTS LEWIS INSTITUTE
Columbia School of Music is justly proud of an arrangement with Lewis Institute to con- duct courses in the required academic subjects.
Lewis Institute is a College of science, liter- ature and technology and has earned an envi- able reputation for the thoroughness of its in- struction and with requirements that conform to the standard American College. Credits for courses completed in Columbia School are issued by Lewis Institute and are fully accred- ited by State Boards of Education, other Col- leges and Universities.
THE SUPREME SCHOOL FOR CHILD TRAINING
Page Twenty-two
COLUMBIA SCHOOL of MUSIC ..
TEACHERS' TRAINING
Columbia School of Music graduates in the Teachers' Training Department in Piano, Voice and Violin are holding important positions as teachers and as directors in Schools and Col- leges throughout the country.
The vocational value of this course cannot be too strongly emphasized. The School recog- nizes the need of placing the science of teach- ing on a practical basis, and by the thorough and well rounded courses offered it does what few specialized schools make sufficient effort to accomplish- it teaches teachers to teach.
Graduates from the Columbia School of Music leave with a feeling of surety that they are prepared to meet the requirements of what- ever professional situation confronts them.
This work is especially valuable to students whose principal object in studying is the prep- aration for music teaching.
MODEL PRACTICE SCHOOL
The practice school is a laboratory and school combined in which all the phases of teaching are used and applied. The actual work consists of giving lessons to students of different grades and types before the student teachers of the class; the student teacher an- alyzes the contrasting phases of piano training, both technical and musical; tests are made by various members of the class as to the pupil's rhythmic sense, tone sense, ear, musical observa- tion, memory, etc. These are the much dis- cussed Classes that attract so many visitors.
CHILDREN'S CLASSES
A novel feature of the course is the model school in which several hundred children receive instruction in Ear-training, Sight Reading, Pre- liminary Harmony and Appreciation under the direction of faculty teachers. Each student is required to attend these classes every Saturday morning throughout the school year.
The work of the teacher is considered from as many points of view as possible. Beginning with the children's work, music study in the preparatory, intermediate and advanced grades is reviewed.
Knowledge of good teaching material, a fair theoretic idea of what to do with various types of pupils, and a working knowledge of the subject in its musical and technical aspects is all necessary equipment, but practice in apply- ing it develops the successful teacher.
LECTURES
A series of lecture conferences are a part of the course. These are held once a week and cover every phase of teaching.
SUBJECTS
A. Practical Methods of Study and Practice : How to analyze the musical and technical difficulties in compositions of various grades from the standpoint of student prac- tice.
B. Musical Analysis : General principles of interpretation ; rhyth- mic and harmonic forms; phrasing; voice values; intelligent listening.
C. Technical Analysis : Principles of tone production; analysis of technical material; modern methods of fingering.
D. Use of Pedal :
Variety of effects; why, how and when to use.
E. Memorizing :
Concentration; discriminating between ear memorizing and brain memorizing.
F. Applied Psychology : Practical psychology in relation to music study; from the teacher standpoint; from the pupil standpoint.
G. Esthetic Values :
Mood in music; harmonic and rhythmic means of expression; direct reflex of sen- timent or feeling, serving as inspiration for the composition; indirect reflex of the same; illustrations ranging from child songs and the simplest child music to standard works of any grade.
MUSIC MAKING
A. Ear Training :
Developing the ability to listen to music intelligently from the simple tone relation- ships to the larger harmonic forms.
B. Keyboard Harmony :
Training in the easy use of the piano as a means of spontaneous expression, lead- ing to improvisation and ability to create small compositions, vocal and instrumental.
C. Applied Harmony : Application of the harmony to the study of compositions of various grades; also as a means underlying musical appreciation.
TEACHING YOUNG CHILDREN
A. Definite Study : Definite and practical application of inter- pretation, technic and applied harmony to the work of children in the first grade.
B. Lists :
Lists and analysis of teaching material for children.
C. Demonstration of actual work : Practical demonstration of what is accom- plished by pupils in various stages of pro- ficiency.
THE SUPREME SCHOOL FOR CHILD TRAINING
Page Twenty-three
COLUMBIA SCHOOL of MUSIC. .
PIANO
Students in this department are required to take private lessons to develop interpretation and to acquire a thorough understanding of the principles of teaching.
KEYBOARD HARMONY
From the beginning the course is designed to train the power of perceiving the harmonic, rhythmic and melodic structure of music-in other words, to hear music, to think music and prepare intelligently to produce music. The commonly dry subjects of technic, elementary harmony, ear training, rhythm, sight reading and physical culture are thus presented with most successful results through the school sys- tem of class instruction, which is in all cases supplemented by individual work in the private lesson.
CHILD TRAINING
Children are taught in the presence of the class. Pupils prepared exclusively by each member are presented to illustrate the success in applying the principles as practiced in Co- lumbia School of Music. The course includes an analysis of elementary teaching material.
HISTORY OF MUSIC
An outline of this subject will be found on page ?
OBSERVATION CLASSES
Attendance is obligatory at the children's classes on Saturday mornings, held in the model school.
VOICE
The Teachers' Course in voice has been care- fully planned to be as comprehensive as pos- sible and yet be practical. George Nelson Holt and Louise St. John Westervelt, both vocal authorities and eminent as voice teachers, have arranged to supplement their individual in- struction by class work and lectures that em- brace repertoire (Opera under Mr. Holt, Songs under Miss Westervelt).
VIOLIN
The Violin Course includes: Methods of teaching and an analysis of teaching material for all grades. The regular classes in Theory and History of Music are a requirement.
COLLEGIATE COURSE EXAMINATION REQUIREMENTS IN THEORY OF MUSIC
I. MELODIC DICTATION
(To be passed normally at the end of the first year and not later than the end of the second year.) A melody should be taken from dictation by the student. The melody should be played over not more than three times in two-measure fragments. The stu- dent should also be required to indicate a simple harmonization and to note any mod- ulations.
2. RHYTHMIC DICTATION
(To be passed normally at the end of the first year and not later than the end of the second year.)
An exercise should be played through once for the student to feel the beat and deter- mine the meter. It should then be detailed in two-measure fragments, each fragment played three times, after which the exercise should be played once as a whole.
3. CONTRAPUNTAL DICTATION
(To be passed normally at the end of the second year and not later than the end of the third year.)
An example in two-part counterpoint should be dictated to the student in the same man- ner as in exercises 1 and 2.
4. HARMONIC DICTATION
(To be passed normally at the end of the second year and not later than the end of the third year.)
An example in harmonic dictation should be played for the student three times slow- ly and two times at normal tempo for pur- poses of correction.
5. SIGHT-SINGING
(To be passed normally at the end of the first year and not later than the end of the second year.)
The student should be able to sing at sight a melodic passage of the moderate degree of clifficulty.
He should be able to sing accurately any in- tervals with either the lower tone or the upper tone of the interval given as the in- itial tone.
6. HARMONY
(To be passed normally at the end of the second year and not later than the end of the third year.)
a. A student should be able to harmonize a chorale, using triads, 7th chords and 9th chords, and employing the devices of sus- pension, passing notes and pedal point.
BRILLIANT CHORAL TRAINING
Page Twenty-four
COLUMBIA SCHOOL of
MUSIC.
b. He should be able to add alto and tenor voices to an example given in bass and soprano.
c. He should be able to continue the accom- paniment and the figuration of a given ex- ample in the same manner.
d. He should be able to work out the sym- bolization (or a figured bass example of equal difficulty) in good four-part writing. Explain symbolization and then rewrite the same according to the figured bass system.
e. He should be able to write a choral setting of a folk song.
f. He should be able to write an original eight- measure melody using a colorful harmoniza- tion, employing modulations and altered chords and any other devices that seem musically logical.
7. KEYBOARD HARMONY
(To be passed normally at the end of the second year and not later than the end of the third year.)
a. The student should be able to play the cadence : I-III-V7-I (Explain) in any major or minor key.
b. He should be able to modulate to any key asked for by the examiner.
c. He should be able to transpose at sight, either up or down a whole tone, a song of medium difficulty.
d. He should be able to harmonize at sight a simple folk tune.
e. He should be able to read at sight a com- position of the difficulty of the Mendelssohn "Songs Without Words."
f. He should be able to continue a sequence at the keyboard.
8. ANALYSIS
(To be passed normally at the end of the third year.)
a. The student should be able to analyze from the standpoint of form the first movement of a Beethoven sonata.
b. He should be able to recognize by ear such smaller forms as :
(I) A Phrase extended by a cadence evasion :
(2) A period in parallel construction :
(3) A period in contrasting construction :
(4) A period with extension in either antecedent or consequent phrase.
(5) A period in irregular construction.
c. He should be able to analyze harmonically one of the Bach chorales, accounting for each note as a harmonic or non-harmonic note.
d. He should be able to analyze from the standpoint of form any one of the fugues of the Well Tempered Clavichord.
9. COUNTERPOINT
(To be passed normally at the end of the third year.)
The student should be able to write the exposition and one section of the develop- ment of a three-voice invention.
10. COMPOSITION
At the end of his four years a student should be able to write a three-part song form, carrying out given motive or using an original motive if preferred.
BRILLIANT CHORAL TRAINING
Page Twenty-five
. COLUMBIA SCHOOL of MUSIC ..
PREPARATORY DEPARTMENT
And in their first learning of notes they shall be taught the great purpose of music .- Ruskin.
ADULT DIVISION
Columbia School of Music welcomes beginners of mature age and those who have been without recent study and wish to resume their work.
Special teachers are assigned to this division who by experience and training make the study of music interesting and assure greatest progress. Grades are assigned to students in this division if desired.
CHILDREN'S DIVISION
Children's music study should be two-fold in pur- pose. It must include the development of means whereby the child learns to express himself in music with ease and happiness. He should also be given a background of understanding which will enable him to love and appreciate the best in music, even though the study may not be possible in later years. This is accomplished in the Saturday irorning classes.
CHILDREN'S CLASSES
The children's department is famous and many visit- ors are attracted to the Saturday morning classes. The
work is carried on under teachers especially trained for this division with the added direct co-operation of leading members of the piano faculty.
Owing to the increasing demands for the work and the difficulty in providing suitable hours for the many children interested, a series of classes have been arranged on Saturday which, beginning with the work of the first grade, will include the succeeding grades of the Preparatory Department, thus affording students and parents interested in modern education methods as applied to music an opportunity to watch the evolu- tion of musical growth in the child. These classes are also used as a Model School for the teachers of the Normal Training Course in piano.
The mode of instruction is unique- based as it is on Mrs. Reed's scholarly system of Keyboard Harmony. Designed to develop in the child the real feeling for music which many methods of pedagogics so often kill.
Here the work is carried on to instill a love of music. Interest is not dulled-it is stimulated; individuality is not cramped-it is encouraged; imagination is not held down to mechanics-it is allowed free play; the creative instinct to turn music into definite expression is given every possible assistance toward fullest develop- ment.
WHAT KEYBOARD HARMONY WILL DO
From the beginning the course is designed to train the child's power of perceiving the harmonic, rhythmic and melodic structure of music-in other words, to hear music, to think music and prepare intelligently to pro- duce music. The commonly dry subjects of technic, elementary harmony, ear training, rhythm, sight read- ing and physical culture are thus presented with most successful results through the school system of class instruction, which is, in all cases, supplemented by individual work in the private lesson.
EAR TRAINING AND ELEMENTARY IMPROVISATION
The child is taught the free use of the chords, as he learns them. From the simple cadence forms he creates original chord combinations of his own. With the introduction of each new harmony he learns how it may be combined with those already known. From the first he is encouraged to write and improvise little melodies and harmonize them, thus learning to express himself musically. It has been found that all of har- mony may be made a source of genuine interest as well as of most practical value through the new methods employed in these classes.
RHYTHM
Much stress is laid upon the development of rhythmic feeling through special exercises devised for the musical growth on this side.
MEMORIZING
Musical memory is made possible to all through the correct study of a composition. The mental and musi- cal understanding can be acquired in short time by analysis of the rhythmic, melodic and harmonic struc- ture of music. A child may easily learn his own little pieces, so that he knows them as an artist knows his repertoire.
INTERPRETATION
The work of interpretation is done in private lessons, and an informal recital is given in the Recital Hail, when those who play have the advantages of personal criticism by the Directors of the Department.
Parents or students interested in this work are cordially invited to visit the classes any Saturday morning.
ENSEMBLE PLAYING
This course in ensemble playing offers a splendid opportunity for the younger students to participate in the playing of the easier sonatas and compositions for violin and piano. It also affords practice in accom- panying and sight reading that is of inestimable value in developing rhythm and the value of playing in unison.
CHILDREN'S RECITALS
Columbia School of Music gives children the oppor- tunity to appear frequently in public. In the School Recital Hall, an informal program is given once a month and at mid-year a formal concert is held. The Annual Concert, given exclusively by the Children's Department, is an important event and it is accounted a high honor to be selected to appear on this program.
PROMOTIONAL CREDIT CLASSES OF GREAT POPULARITY
Page Twenty-six
COLUMBIA SCHOOL of MUSIC ..
THE PIANO IN THE PUBLIC SCHOOL
GROUP MUSIC INSTRUCTION ESPECIALLY DESIGNED FOR PUBLIC
SCHOOL MUSIC TEACHERS
These classes are designed to embody the fundamental principles of piano study, including Sight Reading, Ear Training, Keyboard Harmony, Memorizing and Rhythm, presented in a clear outline for Public School classcs.
These classes are conducted by Kathleen Air, who will demonstrate the work during the course, using children from the public schools, assisted by members of the class, who will thus gain practical experience in the work.
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