USA > Illinois > Cook County > Chicago > Columbia School of Music, Chicago > Part 4
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THE PUBLISHED MATERIAL INCLUDES:
Keyboard Chart, which constitutes the only special equipment required in the class room.
"Ten Ideal Class Lessons in Child Training". Kathleen Air (An outline for one year's class work)
"Music Writing Book for Scales and Chords" Kathleen Air
"Introduction to Harmony Through Melody". Kathleen Air
"Finger-Songs' Edna Densmore
"Finger-Songs of the Woods" Pearl M. Barker
"Finger-Songs for Two" (Duet Book) Helen M. Gilmore
"Songs for Arm and Finger Relaxation Games" Marie Briel
"Sight Reading Preludes" Arthur Oglesbee
"One-Three-Five Chord Reading Book" Pearl M. Barker
"Nursery Rhymes in Duet Form" Pearl M. Barker
PROMOTIONAL CREDIT CLASSES OF GREAT POPULARITY
Page Twenty-seven
COLUMBIA SCHOOL of MUSIC . .
PUBLIC SCHOOL MUSIC
The Public School Music Department of Columbia School of Music is one of the most successful of any private school in America, and graduates are holding positions of leadership in 39 states and 316 cities.
COMMUNITY MUSIC
The study of music as one of the factors of Art Education necessary to the highest development of American youth, is now 'recognized throughout this country. Towns and cities, large and small, Normal Schools and Colleges are employing teachers especially trained for their work, paying excellent salaries and giving them every opportunity to feature music in the School activities.
Daily lessons in every grade, classes for Systematic Instrumental Instruction, Orchestral Organization, Voice instruction in High Schools-a thorough study of Music Appreciation fundamental instruction in Theory and Music History all find their place in the school program. The great task of engaging the in- terest and finding the latent talent and stimulating the aesthetic nature of the girls and boys of our schools is worthy of the greatest talent, the finest training and
the most tremendous effort of the teacher of music and increasingly it is true that worth while men and women with musical ability are turning to Public School Music teaching as a vocation.
ACCREDITED
Columbia School of Music offers a three-year course in Public School Music upon the completion of which the student is awarded a supervisor's diploma which is fully accredited.
A four year course leading to the Degree Bachelor of School Music, equips students for the highest posi- tions available.
It should be noted that some State Boards of Educa- tion require more Liberal Arts than are offered in Columbia School of Music courses and in such places students must attend a University or State Normal School during Summer School.
TRANSFER STUDENTS FROM OTHER SCHOOLS AND THOSE APPLYING FOR ADVANCED STANDING WILL BE FURNISHED INFORMA- TION BY CORRESPONDENCE. ADVANCED STU- DENTS MAY COMPLETE THESE COURSES IN LESS TIME.
OUTLINE OF COURSE
METHODS
A systematic and exhaustive study of the pedagogical development and a survey of the special systems of music study now in use in the American Schools, an acquaintance with text book series of all publishers is acquired through their use in these classes. The prob- lems of Elementary, Intermediate, Junior and Senior High and Normal School music and the adaptation of music teaching to new ideas in education and its correlation with the other subjects in the curriculum as well as the working out of projects by large groups, are all carefully analyzed. Music is presented as one of the fundamental elements of education from the Kindergarten to the High or Normal School or College, carrying on into home and community life. The work is designed to meet the needs of music supervisors, high school music teachers and departmental teachers in all grades.
HIGH SCHOOL MUSIC
This series of lectures explains High School Music organization, assembly singing, material and methods, glee clubs, programs and operettas, the High School orchestra, voice, instrumental and theoretical instruc- tion and other related subjects and is a part of the Methods class.
HARMONY AND EAR TRAINING
The theoretical foundation of scales, major and minor, intervals, triads, four-part writing, keyboard facilities, melody harmonization, melody writing, transposition, altered chords, composition and modulation and har- monic analysis are given due attention in their logical places in the class. It is not sufficient that the Public School Music teacher be well trained to play and con- duct, but he must also be a constructive theorist in music, acquainted with its forms and its harmonic con- tent. He must be able to analyze what he plays, sings and hears and put together melodies and their accom- paniment, supplying these where necessary from his own store of harmonic material. This must be avail- able through constant practice at the keyboard and in written composition. No merely written exercise is sufficient to develop this skill. To hear, to see, to sing, to write-all these elements enter into the study of Harmony which is correlated at all points with Sight Singing and Ear-Training.
SIGHT SINGING
The development of Sight Singing is presented through an attractive study of drills and exercises, all of which can be put to practical use in the school room and provides for a broad acquaintance with school music texts which is a pre-requisite to successful teaching.
ORCHESTRA CONDUCTING
Members are given a term of violin class lessons and study orchestral material for orchestras of all grades and types. Each student is taught to direct the orches- tra with constructive criticism from the teacher and also observe the rehearsals of the Columbia School Symphony Orchestra and thus acquire an acquaintance with the standard instruments of the orchestra-a clear idea of tone color, balance of parts, good bowing, in- strument tuning and all the other details that enter into orchestral ensemble.
Each student must have a violin to use in connec- tion with this class.
CHILD VOICE
This class studies the care, nurture and development of the voice from kindergarten age through adolescence. The delicate vocal mechanism is analyzed and ways and means to prevent permanent injury through un- skilled handling.
SONG LITERATURE
The class is given an acquaintance with the wealth of beautiful songs for children as an essential part of the perfect equipment of the teacher of school music. They are taught to make a discriminating selection of songs for all grades and occasions, their artistic in- terpretation and the best methods of their presentation.
CHORAL CONDUCTING
Each student in the class conducts and receives the expert criticism of the teacher. Choral material, new and old, is presented and program making is dis- cussed. These classes are a part of High School Methods and present valuable material, giving fine ideas in In'erpretation, Choral Effects, Diction, Rhyth-
A NOTEWORTHY PLACEMENT BUREAU
Page Twenty-eight
. COLUMBIA SCHOOL of MUSIC ..
mic Appreciation and the other elements which go toward the mastery of conducting. The class is taught the principles of the art of conducting and is of extreme importance to the teacher since his skill in conducting is the measure not only of his musicianship and his appreciation of musical and aesthetic values, but also of his power to inspire those under his leader- ship.
CHORUS SINGING
The class studies and participates in the singing of the highest type of part-song literature. The selections are of the finest type musically, always very unusual and frequently are given their first performance in this part of the world. The making of chorus concert programs and their public performance, the remark- able opportunities of observing the work of an experi- enced conductor and the development of the inter- pretation and the methods of securing ideal tone quality from all parts is presented in the weekly rehearsals of the Columbia School Chorus.
HISTORY OF MUSIC
These lectures present the story of the development of civilization expressed in music. To understand music of present day, we must know its connection with the past. There are no isolated periods-all is a part of race continuity. History is a vital study to the active musician since he must develop some foundations already laid. The daily work of the teacher demands that his decisions be based on sound understanding and reasoning. He must know that the child develops as a tribe or nation from simple to complex-from known to unknown, and from this standpoint music history is only a part of the great story of the race. The History of Music is correlated in a very definite way with the History of Art. Musi- cians should find stimulation, growth and understand- ing in a survey of other arts whose development parallels that of music. This is essential since the spirit of art is greater than any one expression of it and to understand to some degree, the spirit of art, is to have the aesthetic insight demanded of intelligent musicianship.
PRACTICE TEACHING
Theory without practice cannot give the highest efficiency. Hence, the Columbia School of Music has perfected a remarkable system of practice teaching and observation in well organized public schools. Every student has abundant opportunity to observe and to participate as teacher in many phases of school music activity under expert supervision. The Practice Schools present opportunities for the working out of all music problems, including the presentation on a large scale of many special programs, cantatas, pageants and op- erettas. First year students observe in all grades, teach in the lower grades, assist in special work. Second
and third year students teach two semesters in the Practice Schools.
PRACTICE SUPERVISING
Third year students are given opportunity for out- lining and carrying on music in schools where they use their initiative and develop leadership and prove their executive ability.
CRITIC TEACHING
Fourth year students do critic teaching in practice schools, assisting Junior students in their practice teaching and developing their own technique in teacher training.
COUNTERPOINT
A part of the equipment in Advanced Theory is the interesting subject of Counterpoint-approached through analysis of contrapuntal composition with a thorough review of four-part writing contrapuntally developed, coming to the study of two-part Counterpoint, two-part Invention, three-part Counterpoint and three-part In- vention. No musician should feel thoroughly well balanced in his art without this survey of the wonder- ful art of Counterpoint.
ANALYSIS OF FORM
The class is taught how to analyze various types of compositions with a view to their intelligent inter- pre.ation.
LIBERAL ARTS
The following studies and credits are required for the completion of the Three Year or the Four Year Course in this Department. Credits are computed in Semester Hours.
I. English :
Composition and Rhetoric. 6
Public Speaking 2
II. Education :
General Psychology 3
Educational Psychology 3
General Methods and Principles 3
Class Room Administration . 3 History of Education 3
III. General Cultural Subjects:
Sociology 3
Electives, chosen from any field other than
I, II, or Music; Mathematics, History, Languages, Science, Economics, etc., may be chosen 7
EXAMINATION REQUIREMENTS
Note: Students must pass satisfactory tests in all subjects.
. A NOTEWORTHY PLACEMENT BUREAU
Page Twenty-nine
COLUMBIA SCHOOL of MUSIC.
Special Subjects
Columbia School Symphony Orchestra
COLUMBIA SCHOOL CHORUS LOUISE ST. JOHN WESTERVELT, Conductor
A special feature of the work of the School is the Columbia School Chorus, which meets weekly and is an unusual opportunity for students to become fa- miliar with this branch of musical liter- ature. This privilege to join the chorus is open to students of all Departments of the School who pass the requirements of the Director.
The chorus appears frequently in pub- lic and takes a prominent part in the School concerts and Commencement Ex- ercises. All students who are taking the regular voice work must sing regularly in the chorus unless excused by the Di- rector of the School.
RECOGNIZED BY THE STATE OF ILLINOIS
Page Thirty
. COLUMBIA SCHOOL of MUSIC.
COLUMBIA SCHOOL SYMPHONY ORCHESTRA LUDWIG BECKER, Conductor
Columbia School Symphony Orches- tra, under the direction of Ludwig Becker, meets in the School once a week for rehearsal. All students of orchestral instruments are eligible for membership upon examination. The Orchestra each season takes part in the School concerts and in the series given in Orchestra Hall,
plays not only the great symphonies but the accompaniments for the soloists who are students in the Piano, Voice, Violin and Violon-cello departments. The high standard of excellence attained is indi- cated by the many encomiums received at the hands of distinguished newspaper critics.
-
Columbia School Chorus
RECOGNIZED BY THE STATE OF ILLINOIS
Page Thirty-one
COLUMBIA SCHOOL of MUSIC . .
EXAMINATION REQUIREMENTS
PUBLIC SCHOOL MUSIC DEPARTMENT
Examinations are held twice a year in all subjects.
APPLIED MUSIC
At the end of the first year the student must pass a satisfactory test in piano to show his ability to play the accompaniments of folk songs, hymns, etc., found in the standard school text books. In Voice he must be able to sing at sight acceptably and correctly the same type of songs.
At the end of the second year the student must pass a satisfactory test showing his abil- ity to read at sight the accompaniments found in standard school text books, and without more than one or two hours preparation, to play a more difficult composition rhythmically and harmonically correct. Compositions may be Schumann op. 68, Heller Etude op. 45- 46-47, or compositions of corresponding grade, and a representative accompaniment from the standard Song Literature. He must also pre- sent from memory a composition corresponding in difficulty to the Beethoven Bagatelles, Ron- dos or a composition of corresponding grade by Mozart, Haydn or some other classical com- poser.
In Voice the student must pass a satisfactory test to show his ability to sing the songs found in the standard school text books, and in addi- t'on must sing one exercise to show flexibility, one legato exercise, and from memory two standard songs.
At the end of the third year the student must present from memory one composition of Bach, a sonata movement of one of the classic com- posers, and one modern piece.
In Voice the student must present in addition to the requirements of the second year, major, minor and chromatic scales and two classic songs or one of the simpler operatic arias.
PIANO:
At the end of the fourth year the student should play major and minor scales correctly in moderately rapid tempo, also broken chords in octave pos tion in all keys and should have acquired systematic methods of practice.
He should have studied some of the standard etudes-such as Czerny, Op. 299, Book I; Heller, Op. 47 and 46 (according to the in- dividual needs of the pupil) ; Bach, Little Pre- ludes ; a few Bach two-part inventions and com- positions corresponding in difficulty to Haydn, Sonata No. II, G Major No. 20 (Schirmer) ; Mozart, Sonata C Major No. 3, F Major No. 13 (Schirmer) ; Beethoven, Variation on Nel Cor Piu, Sonata Op. 49 No. 1; Schubert, Im- promptu Op. 142 No. 2, etc.
VOICE :
Candidate should have acquired a knowledge of breath control, principles of enunciation, and pronunciation as applied to singing, tone place- ment and the essentials of interpretation. He should demonstrate his ability to sing major, minor and chromatic scales, Arpegii, contrasting exercises for agility and for sustaining tone, and the classic vocal embellishments. He should demonstrate a knowledge of recitative and the ability to sing one or more of the less exacting arias of opera and oratorio and several standard songs from memory.
FREE ADVANTAGES OFFERED QUALIFIED STUDENTS
Page Thirty-two
. COLUMBIA SCHOOL
MUSIC.
PUBLIC SCHOOL MUSIC Required Credits GENERAL SUPERVISORS' COURSE
EDUCATION :
Semester Hours
General Psychology 3
Educational Psychology 3
General Methods and Principles. 3
Elective-School of Education. 6
GENERAL ACADEMIC: 15
English
6
Public Speaking
2
Electives IO
Note: Electives may not be in School of Education-Department of English or Music. They may be in Mathematics, Languages, His- tory, Economics, Art, etc.
MUSIC EDUCATION :
Special methods, observation and directed practice teaching .. 14
COURSES IN MUSIC THEORY :
Harmony, Sight Singing, Dictation and Keyboard Harmony. I8
History of Music. 6
Choral or Orchestral Conducting. . 2
Theory Electives IO
APPLIED MUSIC: 36
Voice I2
Piano I2
*Electives
6
ELECTIVES : 30
To be allocated in accordance with individual needs 7
*It is recommended that these 6 hours should be taken in orchestral instruments. They may, however, be obtained in courses in ensem- ble or by additional work in piano or voice.
Required Credits I20
INSTRUMENTAL SUPERVISORS'
COURSE
Semester Hours
MAJOR INSTRUMENT
I2
MINOR INSTRUMENTS
I8
The completion of one year's work in each of three minor instruments (the selection of instruments studied must include a representative of the string, wood-wind and brass sections of the orchestra.
The following same as for general supervisor.
EDUCATION 15
GENERAL ACADEMIC
I8
MUSIC EDUCATION 14 MUSIC THEORY 36
ELECTIVES
7
I20
STATE CERTIFICATION
The course in music offered by Columbia School of Music is accredited by practically every State Board of Education and candi- dates are certified upon presenting a certified statement of credits from the school when ac- companied by credits in the required college subjects.
The requirements for certification of the various State Boards of Education vary and credits in these subjects from a College, Uni- versity or Normal School must be presented from accredited institutions.
Care should be exercised by each candidate to see that sufficient credits are earned in all academic subjects to meet the requirements of the State in which he wishes to teach.
DEGREE MASTER OF MUSIC
Candidates must present for admission a Bachelor of Music Degree from a reputable school. At least two years must elapse between the award of the Bachelor's Degree and the award of the Masters' Degree. A special project will be assigned each Candidate which will be developed in connection with actual school room activities.
Composition as required for the Senior Class in Applied Music: Examination in Applied Music must be presented equal to the Junior Year in the Applied Music Department.
The Major subject in Applied Music must be studied in the School for at least one year prior to award of the Degree.
FREE ADVANTAGES OFFERED QUALIFIED STUDENTS
Page Thirty-three
COLUMBIA SCHOOL of MUSIC.
PUBLIC SCHOOL MUSIC DEPARTMENT of COLUMBIA
One of the Most Successful for Graduates in America
IT LIES IN MUSIC! Striking Success of others Encourages young women and young men to become Supervisors of Music
COLUMBIA SCHOOL GRADUATES AT WORK
No. I. High School Orchestra, Thornton Township, Harvey, Illi- nois. Isabel Montelius, Director of Music.
No. 2. Scene: The Marriage of Nannette; produced by E. Carl Lundgren, Springfield, Illinois, High School.
No. 3. High School Band, Nobles- ville, Indiana. Walter R. Elliott, Supervisor of Music.
No. 4. Proviso High School Choir, Proviso, Illinois, Township High School. Robert Lee Osburn, Direc- tor.
No. 5. Another scene from the Marriage of Nannette.
1
2
3
4
5
A SYMPHONY ORCHESTRA OF ARTISTIC TRIUMPH
Page Thirty-four
COLUMBIA SCHOOL of MUSIC ..
THE FUTURE OF THE HIGH SCHOOL GRADUATE
Now is the time all high school graduates give thought to a career. Music has much to offer, especially to those interested in School Music teaching. Here is a field of endeavor, pleasant and agreeable with excellent pay for the thoroughly trained supervisor or depart- mental teacher. There are also stimulating professional associations and fine opportunities for social advancement.
This is a broad field including vocal, instru- mental and appreciation of music-useful throughout the school system from kinder- garten on through the Junior College.
What more delightful work than to organize glee clubs, develop the band and orchestra and produce cantatas and operettas. This indeed becomes a wonderfully constructive force for the community in which one works and lives.
The salaries paid to the young graduates are more than can be earned in the field of com- merce. The teacher has a long Summer vaca- tion-all holidays and Saturdays usually free. Contrast this with other employment where every day and every week must be given over to one's occupation.
The young beginner in his or her first posi- tion as a teacher of music-may reasonably expect to receive $1500.00 a year for nine to ten months' work. This can be materially increased by accepting private pupils-or as soloist or choir director in churches or as a director of an industrial or fraternity band or orchestra.
See what a few of the graduates of Colum- bia School have accomplished and some of the splendid positions held and then realize that you too can achieve success in this profession.
See what these graduates of Columbia School of Music have accom- plished. You too may do equally as well. Fine positions with excellent pay awaits the graduate in public school music. ... Columbia graduates in 39 states and 316 cities.
Columbia has done so much for me that I cannot begin to express my ap- preciation and I shall never forget the kindness and help received from the members of the faculty.
It was a great treat to be fortunate enough to have my training with such fine instructors. Were I to do my work over again, it certainly would be at Co- lumbia, for I remember my experiences with the greatest source of satisfaction and shall always recall my student days at Columbia as the happiest of my mu- sical training.
WILLIAM D. REVELLI, Director of Music, Hobart, Indiana.
I am gratified that you should want a scene from one of my operettas and you will receive two pictures of my first pro- duction-"The Marriage of Nannette."
There were about two hundred people in the cast and chorus and it was all pre- parcd outside of school time. The scenery
for this particular operetta was rented. as was the lighting equipment. It was produced with members of the senior and junior choir of the high school and was played in our high school auditorium to a capacity audience of about fifteen hun- dred each time for three performances.
With kindest regards. Yours very truly, E. CARL LUNDGREN, Springfield High School, Springfield, Illinois.
It was through the efforts of the Co- lumbia School of Music I came out here to do project work in the Junior High School-in fact, have been out here six vears. After a person has visited the Public School Music Department of other schools one begins to realize just what Columbia School offers a department which heads the list in the field.
There is only one Mrs. Vernon and one Columbia School. The only thing I want
A SYMPHONY ORCHESTRA OF ARTISTIC TRIUMPH
Page Thirty-five
COLUMBIA SCHOOL of MUSIC ..
to do now is come back and get my Mas- tcrs. ELSA S. MILLER,
Head of Music Department, Washington Junior High School, Rochester, New York.
As repeatedly as I have recommended Columbia School of Music to my pupils and friends, I am not sure that I have ever expressed to the School what it has done for me. In the first place, I think the atmosphere of Columbia is most ex- hilarating; it is so charged with good fel- lowship and genuine interest in every- body; the teacher is a comrade rather than a superior officer. One of the best things Columbia did for me was to give me a happier outlook on life - a con- fidence in myself and an attitude toward my profcssion that makes it so much more worth while.
The courses offered at Columbia are broad-practical and thorough; there is scarcely a week passes that some problem does not arise in which I thank Columbia for preparing me to solve whatever suc- cess I may attain in the field of Public School Music. I owe a large part of it to my Columbia teachers, especially that one whom all 'school music students love for her untiring effort in our behalf-her extreme loyalty and continual inspiration -Mrs. Vernon.
JEANETTE ARTERBURN, Ass't Prof. of Public School Music, Winthrop College, Rock Hill, S. C.
I feel that your Public School Music Department is second to none in the country; that the course is unusually thorough and that the graduates are always well prepared. It seems to me that one of the outstanding recommenda- tions for the School is the fact that there is personal attention given by the faculty
to every student. I do not believe that any student who graduates from either the diploma or degree course of Columbia School of Music leaves without feeling that he had the personal attention of and contact with the faculty and has thereby grown immeasurably.
Personally, the school has meant a great deal to me-it has helped me always to promotion in my profession. I am at present directing the music work of the Elementary and Junior High Schools in the Public Schools cf Lake- wood, Ohio. We have eleven elementary and three large Junior High Schools.
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