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Just now I am busy directing the pag- eant which I told you about last week. We are using a chorus of 1,000 children and a cast of 3,000. It will be given on the High School Field on June 5 and 6, and it is designed as an outgrowth of the year's work in all departments of the school system, and will include pupils from Kindergarten through Senior High School.
Very sincerely yours, MARGARET E. TAYLOR, Supervisor of Music, Lakewood, Ohio.
I have always been proud of the fact that I graduated from an institution as well known and as highly respected by all public school music people as Colum- bia. I am confident that my degree from Columbia has been a great factor in securing desirable positions. The fac- ulty personnel is unusual in that besides being expert-it has a common sense attitude along all angles of the public school music profession.
Sincerely yours, HELEN DEE OVERMAN, Public Schools, Tulsa, Oklahoma.
A SCHOOL THAT LIVES UPTO HIGHEST STANDARDS
Page Thirty-six
COLUMBIA SCHOOL of MUSIC ..
What the Columbia Public School Music Course Does for Graduates
Columbia Placement Bureau and Teachers' Agencies
The Columbia School of Music assists its graduates to positions, for which serv- ice there is no extra charge. Our grad- uates have been placed in 39 states and 316 cities.
The placement bureau is in close affili- ation with schools, colleges, school super- intendents and teachers' agencies who
look to Columbia School for candidates to occupy important positions through- out the country.
This service is available alike to every graduate and its value to the student can- not be estimated. It actually assists you to a good paying position.
A Noteworthy Placement Bureau.
Advantages of Definite Salary and Steady Position
The supervisor of music-unlike many other professions-has a definite salary from the School Board. This makes liv- ing expenses assured and as the salaries in this field are generous-one may save a substantial sum for other purposes. The young graduate trained in Columbia School of Music can earn $1500.00 or more each year and as one gains in ex- perience or reputation-is usually pro- moted or called to more remunerative
positions-positions that pay $3000.00 to $4000.00 a year or more. The regular salary is by no means the only income for there are extra earnings to be had from private pupils and church positions, and the supervisor, by reason of the spe- cial training, is first choice for these remunerative places.
Columbia School Courses Are Fully Accredited.
How to Enroll for Public School Music
This announcement gives only a par- tial outline of the great possibilities of the work in Public School Music.
The first step in choosing a school is to consult some one who is familiar with the work. No one is better qualified than your own supervisor. Go then at once to him or her for advice and learn something of the standing of the school in which you are interested.
Upon request you will receive an out- line of the course that seems best suited to your individual needs and will be ad- vised by the directors of this great School of Music as to the best plan to pursue. You will be given advice as to the prob- able length of time required to graduate and also be given an estimate of the cost of the entire course.
Columbia School of Music Invites Correspondence.
RECOGNIZED THROUGHOUT THE WORLD
Page Thirty-seven
COLUMBIA SCHOOL of MUSIC . .
THESE MEANS FOR EARNING ADDITIONAL INCOME
CHOIR CONDUCTING
CHURCH POSITIONS: The graduate with a good voice is frequently engaged as soloist in one of the leading churches and often appointed to lead the choir and direct all the church music. The sti- pend received from these positions adds considerably to one's regular income from the school work.
The training as a part of the Columbia School of Music curriculum prepares for these positions. The choral directing classes meet every week and there are also weekly rehearsals of the Columbia School Chorus under an eminent and dis- tinguished director.
A Training of National Merit.
BAND AND ORCHESTRA CONDUCTING
The competent band and orchestra conductor in any community has a fine chance to do some very constructive work outside the school room. He may organ- ize a community band or engage in like work for the Rotary Club, Kiwanis or one of the Fraternal Lodges of the city. This all means extra pay and very often private pupils for instruction on the vari- ous instruments.
The study of the instruments and the work of a conductor is a regular part of the course in Columbia School of Music. You are taught the use of the baton-
the range and compass of all the instru- ments and their position in the band and orchestras.
You are prepared to put this knowl- edge to practical use immediately upon entering your work.
A Brilliant Band and Orchestral Course.
PRIVATE TEACHING
The School Music Teacher can aug- ment his or her income by the private teaching of piano and voice and those who play a band or orchestral instru- ment will find this field unlimited. Ar- rangements can usually be made to use the school rooms and the instruments and pianos in the school, and since there is no expense for rent or equipment, all the fees for lessons are net profit.
The supervisors will invariably have the first opportunity to secure these pu- pils by reason of the every day contact in the school room.
You are given definite instruction in Columbia School of Music in Methods of Teaching and ways and means of pre- senting the lessons so that they become interesting to the student as well as to the teacher.
Special efforts should be made by the supervisors to develop this work from the altruistic as well as the monetary side.
Make Music the Supreme Gift.
A Record-Accomplished by Walter R. Elliott in Noblesville, Ind.
Organized high school band and built it up to fifty members.
Organized high school orchestra and built it up to forty members.
Installed a system for teaching vocal music in the grades so that all teachers follow a definite plan and get the same results in music that they get in other subjects.
Organized choruses and glee clubs in the high school that do systematic part work.
Introduced teaching of Theory of Music in high school.
Have given all individual instrumental instruction outside of school hours.
Introduced a systematic course in Music Appreciation in the grades.
He had no assistance in either the vocal or instrumental work. Of course the regular teachers teach under his su- pervision.
The above was accomplished in three years.
A SCHOOL THAT LIVES UP TO HIGHEST STANDARDS
Page Thirty-eight
COLUMBIA SCHOOL of
MUSIC.
THE FACULTY
ROBERT MACDONALD, Director EDUCATIONAL DIRECTORS
Ludwig Becker George Nelson Holt Arthur Kraft
Gertrude H. Murdough Louise St. John Westervelt Dudley Buck Mary Whipple Lindsay
ADVISORY BOARD
Adolf Brune Lillian Price
Helen B. Lawrence William Hill
William Montelius Arthur Oglesbee
George Nelson Holt Louise St. John Westervelt
Kathleen Air
Gertrude H. Murdough
Alice Wolfgang Keller
Mary Whipple Lindsay
William Montelius
Arthur Oglesbee
PUBLIC SCHOOL MUSIC
Mary Strawn Vernon
Ann Trimingham
Kathleen Air
Adolf Brune
Lester W. Groom
William Hill
William Montelius
Arthur Oglesbee
Robert Lee Osburn
Florence Abrahams
Kathleen Air
Pauline M. Anderson
Pearl M. Barker
Florence W. Breyfogle
Marie Briel
Ludwig Becker
Frederik Frederiksen
William Montelius
Ruth Ray
Arthur Oglesbee
Virginia M. Davis
Genevieve Davison
ACADEMIC FACULTY
Antonio L. Chuiminatto
Margaret Conrad
Aldo Del Missier
Dorotha Powers
ORCHESTRA
Winifred Jones Olga Junge
VIOLONCELLO
Hilda Hinrichs
PROFESSIONAL ACCOMPANYING
Juanita B. King Mary Curry Lutz Emma Menke
ORGAN
Robert Macdonald
Hazel Milne
Marie Briel Lester W. Groom
ORCHESTRA CONDUCTING
Dorothy McManus
Robert Macdonald
Bessie Williams Sherman
Walter Spry
Esther Rich Francina Wilcox Ryder
DRAMATIC EXPRESSION
Jessie E. Sage
HARMONY, COUNTER- POINT COMPOSITION
Ann Larkin
Helen E. Taylor
Ruth Hahne Tegtmeyer
Phyllis Ke.logg White Mary Esther Winslow
Adolf Brune Lester W. Groom Mary Strawn Vernon
ENGLISH PSYCHOLOGY PEDAGOGY Lewis Institute
VOICE COLLEGIATE FACULTY
TEACHER'S TRAINING
George Nelson Holt Louise St. John Westervelt Arthur Kraft
Dudley Buck
Leslie Arnold
COLLEGIATE FACULTY
Estrid Buck
Clare Osborne Reed
Jurien Hoekstra
Pearl M. Barker
Walter Spry
George Lane
Helen Frish Cunat
Lillian Price
Helen Protheroe
Mary Wilkins Holt
William Hughes
Helen B. Lawrence
ACADEMIC FACULTY
Mary Whipple Lindsay
Clifford Bair
Lola Fletcher
Frances Grund
Grace Parmele
Marion Capps Stewart
Ann Trimingham
Evelyn Wienke
B. Fred Wise
VIOLIN COLLEGIATE FACULTY
CHORUS Louise St. John Westervelt
HISTORY OF MUSIC CORRELATED ARTS
Zella M. Clarke
Laura H. Coupland
Bertha Farrington Evelyn M. Goetz
William Hill Ruth Ray
Edna Nelson Hanson Katherine P. Hedglin
Elaine Rich Hill Gertrude Janitz
Ludwig Becker William Montelius
Ellwood Kraft
Margaret McArthur
Elizabeth H. Logan
Blanche Strom Nordberg Elise G. Orr
William Montelius
Clare Osborne Reed Gertrude H. Murdough Ludwig Becker Lester W. Groom
BRASS AND WOOD WIND INSTRUMENTS Members Chicago Symphony Orchestra
POST GRADUATE COURSES RECOGNIZED BY THE PROFESSION
Page Thirty-nine
Walter Spry Mary Strawn Vernon Kathleen Air
Bessie Williams Sherman Ruth Ray
PIANO
William Hill
Robert Macdonald
Arthur Oglesbee
Bessie Williams Sherman
ACADEMIC FACULTY
Louise St. John Westervelt
Anna Chinlund
ENSEMBLE
Elizabeth H. Logan
William Clifford
COLUMBIA SCHOOL of MUSIC.
MRS. REED
EDUCATIONAL DIRECTORS
ROBERT MACDONALD, Director
CLARE OSBORNE REED
LUDWIG BECKER
GERTRUDE H. MURDOUGH
WALTER SPRY
GEORGE NELSON HOLT
LOUISE ST. JOHN WESTERVELT
MARY STRAWN VERNON
ARTHUR KRAFT
DUDLEY BUCK
KATHLEEN AIR
MARY WHIPPLE LINDSAY
MR. BECKER
MRS. MURDOUGH
MR. SPRY
MR. HOLT
RECOGNIZED THROUGHOUT THE WORLD
Page Forty
. COLUMBIA SCHOOL of ] MUSIC ..
OFFICERS OF ADMINISTRATION
ARTHUR KRAFT, President
ROBERT MACDONALD, Vice-President
C. E. FEELY, Secretary and Treasurer
Administration Directors ARTHUR KRAFT ROBERT MACDONALD C. E. FEELY
MISS WESTERVELT
MRS. VERNON
MISS AIR
MR.BUCK
MRS. LINDSAY
RECOGNIZED BY THE STATE OF ILLINOIS
Page Forty-one
COLUMBIA SCHOOL of MUSIC.
ยป
ADVISORY BOARD
ADOLF BRUNE
HELEN B. LAWRENCE
RUTH RAY
ARTHUR OGLESBEE
BESSIE WILLIAMS SHERMAN
LILLIAN PRICE
WILLIAM HILL
WILLIAM MONTELIUS LESLIE ARNOLD
MR.BRUNE
MISS LAWRENCE
MISS RAY
MR.OGLESBEE
MISS SHERMAN
MISS PRICE
K
MR.HILL
MR.MONTELIUS
MR.ARNOLD
. A NOTEWORTHY PLACEMENT BUREAU
Page Forty-two
COLUMBIA SCHOOL of MUSIC ..
ROBERT MACDONALD, MUS. B., Mus. M.
Piano and Organ
Director of the School.
Post-Graduate Columbia School of Music.
Training: Piano, Henrietta Weber, Charles Grade, Clare Osborne Reed; Organ: Several well known teachers.
Experience : Numerous concert tours in Europe, United States and Canada. Soloists with leading symphony orchestras; accompanist for many famous artists, including Elena Gerhardt, Attilio Baggiore, Maria Ivogun, Maria Kurenko, Charles Hackett, Arthur Middleton, Margery Maxwell, Allen McQuhae, Doris Doe, Benuo Rabinof, Marie Morrisey, Jose Mojica, Barre-Hill, Richard Crooks, Gladys Swarthout, Alma Peterson, Helen Freund, Irene Pavloska, George Morgan and many others. Conducted private studio, Davenport, Iowa; Director of Music, William and Vashti College, Aledo, Illinois; Member of Faculty Augustana College, Rock Island, Illinois. Taught Columbia School of Music since 1918. Member Board of Directors since 1925 and Director of the School since 1930.
Organist : Calvary Baptist Church, Davenport, Iowa; First Church of Christ Scientist, Daven- port, Iowa; First Church of Christ Scientist, Rock Island, Illinois; First Congregational Church, Evanston, Illinois; Second Presbyterian Church, Chicago, Illinois; at present, First Baptist Church, Oak Park, Illinois.
Teaches piano, organ and conducts classes for professional accompanists. Repertoire coach for singers.
ARTHUR KRAFT, LL.B.
President of the School. Voice
Graduate Kent College of Law.
Training : Voice, Arthur Burton; Oratorio, Dr. Charles E. Allum; Coaching Repertoire, Frank La Forge.
Experience : Appeared with most of the principal organizations in the country in Concert and Oratorio. Soloist, sixth consecutive year, Bach Festival, Bethlehem, Pa. Soloist, past nine years, St. Bartholomew's Episcopal Church, New York. Festival appearances include Newark, New Jersey; Ann Arbor, Michigan; Lindsborg, Kansas; Pittsburg, Kansas; Hays, Kansas. Soloist with New York Oratorio Society, Handel and Haydn Society, Boston; Hartford Oratorio Society, Hartford, Conn .; Mendelssohn Choir, Pittsburgh; Apollo Club, Chicago; Mendelssohn Club, Chicago; Swedish Choral Club, Chicago; Marshall Field Choral Club, Chicago; Orpheus Club, Omaha; Pageant Choral Club, St. Louis, Mo .; Joplin Choral Club, Joplin, Mo .; Mendelssohn Club, Rockford, Ill .; Chicago Sang Verein, a Cappella Chorus, Mil- waukee, Wis.
Guest Teacher (Master Classes), Salem, North Carolina and Akron, Ohio. Taught Govern- ment School of Vocational Training.
Member Board of Directors since 1925 and President beginning 1931.
POST-GRADUATE COURSES RECOGNIZED BY THE PROFESSION
Page Forty-three
COLUMBIA SCHOOL of MUSIC.
CLARE OSBORNE REED
Piano
Master Musician, Artist Teacher and Founder of the School.
Clare Osborne Reed is noted for the exceptional and important position she has earned as a musician and educator, a position she maintains by her constant interest and enthusiasm in everything pertaining to the advancement of music and association with eminent and distinguished artists and pedagogues.
Her well-merited fame as a concert pianist, through her appearances in recital or as soloist with leading orchestras, was accepted as a professional triumph worthy of an achievement attained by only the truly great artist, an honor bestowed upon her by her colleagues and fellow musicians. Her public appearances became less frequent as the demands of teaching became more onerous, and she is now accounted one of the gifted exponents of the many forms of both classic and modern art.
The artist classes under her guidance have always been attended by many thoughtful musicians, themselves leaders as artists and teachers in their communities. These classes in the form of a seminar are open to advanced players who have a concert program or repertoire ready for coaching. Listeners are also admitted and receive the benefit of these discussions and criticisms. A no less important phase of study under Mrs. Reed is featured in the Teacher's Training Classes, a field in which she has been most successful. Her devotion to the problems of the teacher has been untiring and the remarkable successes attained by many who have availed themselves of this schooling is attested by the important positions they now hold as heads of schools and colleges and as leading teachers in important cities throughout America. These special classes, in which teachers are really taught to teach, will be strengthened by a course in Creative Har- mony and Interpretation, of which Mrs. Reed is author. This 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 sub- jects of technic, elementary harmony, ear training, rhythm, sight reading and physical culture are thus presented with most successful results through her system of class instruction, which is in all cases supplemented by individual work in the private lesson.
LUDWIG BECKER
Violin
Ludwig Becker was born in Kromberg, near Frankfort-on-the-Main. At the age of fourteen he was awarded a free scholarship for five years at Dr. Hoch's Conservatory in Frankfort, studying under Prof. Hugo Heerman. At sixteen he played first violin at the Museum's Concerts under the directorships of Koegel, Grahams, Richard Strauss, Mott and Weingartner, and was later appointed concertmeister of the Concert House Orchestra of Frankfort. After touring Germany for a time with great success, he accepted the appointment as concertmeister at Kroll's Theater in Berlin. From there he was brought to America by Theodore Thomas in 1896. Here also his unusual gifts won instant recognition. For many years Mr. Becker regularly appeared as soloist with great success on the symphony programs of the Theodore Thomas Orchestra, now the Chicago Symphony, of which he was also first concertmeister.
Mr. Becker brings to his work as a teacher not only the unusual gifts of the concert artist, but an enthusiasm for the advancement of his pupils which has placed many of them in prominent professional positions with the best orchestras of the United States.
He is also Director of the Tri-City Symphony Orchestra of Davenport, Rock Island and Moline, a position he has held since it was founded.
GERTRUDE H. MURDOUGH
Piano
Gertrude H. Murdough is fitted for her profession through years of conscientious work in America and by instruction from some of the ablest European masters, notably Oscar Raif of Berlin, Theodore Leschetizky of Vienna and the well known French Pianist and Pedagogue, E. Robert Schmitz. Mrs. Murdough, like all teachers of distinction, is herself a constant student, drawing from each year of her personal experience fresh inspiration and new ideas with which to reinforce her work for others. She has a strong individuality, to which is added an ever-ready sympathy for the most progressive ideas along the lines of educational endeavor.
The greatest part of Mrs. Murdough's time is given to the preparation of advanced students, as is well demonstrated by the many professional players and teachers throughout the country who
A STRONG FACULTY OF NATIONALLY KNOWN INSTRUCTORS
Page Forty-four
COLUMBIA SCHOOL of MUSIC ..
have been prepared under her personal direction. She is also a recognized authority upon the important subject of musical education of children, and brings to this part of her work in the School an invaluable experience.
WALTER SPRY
Piano
Walter Spry holds a prominent place among American pianists and teachers of the piano. He studied piano with August Hyllested and organ with Clarence Eddy. He spent six years abroad under the greatest masters; Piano with Leschetizky, Rudorff, Breitner; Theory : Navratel, Urban, Rousseau. Awarded Diploma Royal High School of Music, Berlin, 1893. Positions held. Director Quincy Conservatory, Quincy, Illinois. Editor Summy's Music Review, Instructor Sherwood Music School, Director Chicago Institute of Music. First President of the Society of American Musicians. Guest Teacher (Master Classes), Alabama College, Montevallo, Alabama. Public appearances: Soloist Chicago Symphony Orchestra; soloist Spiering String Quartette, Chicago; soloist Hoffman String Quartette, Boston. Piano Recitals and Lecture Recitals in all principal cities of America.
GEORGE NELSON HOLT
Voice
George Nelson Holt is an eminent authority on voice placement and diction. His training included years of study in the French and Italian Schools and he was one of the earliest pupils of the late Jean de Reszke. With M. de Reszke, Mr. Holt spent three years, during the last of which he was an assistant to the great Polish Maestro. On his return to America, Mr. Holt was engaged by the Columbia School of Music and has since been a valued member of its vocal staff. From his studio have come forth some of the finest vocal artists on the American concert stage, and the list of teaching and choir positions held by his pupils is imposing and of excep- tional importance.
Mr. Holt will conduct special courses for Professional Artists in Interpretation and Coaching and splendid opportunity is offered concert singers to add to their repertory under his remarkable leadership. His experience with the problems of the voice teacher is so broad and varied, that his mastery of this difficult but interesting phase of voice culture is invaluable to the ambitious teacher who is seeking correct methods and the presentation of new material. These problems are thoroughly analyzed and made of practical benefit in the Normal Training course.
LOUISE ST. JOHN WESTERVELT
Voice
Travel: Four years' residence in Paris; Several trips or stays in England; Three trips in Ger- many, Switzerland, Belgium and France; One Italian trip. Education: Ithaca, New York High School; three and one-half years' study of Music in New York City, Metropolitan School of Music and private teachers; Voice: H. W. Greene, Georges Green, Emilio Agramonti ; Piano : Albert Ross Parson; Chorus: Dudley Buck, Sr .; Harmony: Harry Rowe Shelley. Four-year study in Paris; principal teachers Mme. Leonard, Alfred Giraudet of Paris Con- servatoire, various coaches, opera class, etc. Graduate Work-Voice: Oscar Seagle, assistant to Jean de Reszke, modern French repertoire coached with E. Robert Schmitz. German Lieder with Alexander von Fielitz, George Henschel and others; Oratorio with Orton Bradley of London, Dr. Allum, Henry Gordon Thunder and others. Major Field of Special Study: While in Paris special study of French language, history and literature, the latter especially in the line of drama (classic and modern) and dramatic poetry. German language with non-English speaking teachers. Language attainments: French, reads and speaks fluently; German, reads and speaks fairly well; Italian, reads and speaks a little; Latin, four years in High School. Experience : Elementary and Secondary; Director Voice Department, St. Katherine's School, Davenport, Iowa; Private class in Davenport. Teachers College, Chicago; Teacher of Voice Chorus and general training in Music. National College of Education, Evanston, Illinois; director of all voice and choral work, Columbia School of Music; Teacher of Singing and Chorus Conductor. Conducting : Cathedral Choir, Davenport, Iowa; Girls' Choir and Full Choir, Church of the Ascension, Chicago; Harmonic Chorus, Davenport, Iowa; Three Festivals with Chicago Sym- phony Orchestra, Columbia School Chorus, Sherman Park later Harmony Chorus, Chicago. Membership in Professional Organizations; charter member National Association of Schools of Music (Member Commission on Curricula) and official representative of Columbia School of Music in the Association.
A PIANO DEPARTMENT OF RECOGNIZED FAME
Page Forty-five
. COLUMBIA SCHOOL
of MUSIC.
MARY STRAWN VERNON
Public School Music
Teachers : Piano, Mrs. Crosby Adams; Theory: Adolph Weidig; Voice: College and private teachers. Experience : Supervisor of Music, River Forest, Illinois and other Chicago suburbs. Teacher, Pestalozzi-Froebee Kindergarten School and visiting Professor in Public School Music, University of Southern California. Composer of Cantatas and choruses for several publishers. Mrs. Vernon's knowledge of the needs, possibilities and opportunities of the supervisor of music, has enabled her to work out a complete system of teaching both in the grades and high school where, under her direction, large classes in practice teaching are conducted by the students of Columbia School of Music throughout the regular school year.
DUDLEY BUCK
Voice
Training : Voice, Vannucinni, Florence, Italy; Bouhy, Paris, France; Frankfort, Germany; Randegger, London, England; Shakespeare, London, England; Lilly Lehmann, Jean de Rezke. Theory : Dudley Buck, Sr .; Experience: Guest teacher, University of Kansas, Summer School; Guest teacher Columbia University, Summer School. Private class New York City for twenty- two years and since 1929 Teacher of Voice and member Board of Educational Directors, Colum- bia School of Music. Public appearances: Opera, Covent Garden, London, England; Carl Rosa Opera Company, England; Castle Square Opera Company, New York. Concert and Oratorio all the principal cities of Great Britain and Ireland (four-year tour). Soloist in America with Worcester Festival, New York and more than 100 other cities. Chairman, Voice Department of the National Federation of Women's Clubs. Organized the Dudley Buck Singers.
Dudley Buck, teacher of singing of national and international reputation, has had a most remark- able career. As a son of one of America's most famous composers, Dudley Buck Senior, he was brought up in an atmosphere of musical activity which early determined his career. A concert violinist of considerable ability at a very early age, Mr. Buck finally decided in favor of vocal development, and after several years of study and singing in Europe returned to his native land where he has long been recognized as a leading authority on the subject of voice-training.
Mr. Buck's own training, together with constant research and the exercise of an unusual critical faculty, have fitted him not only for the notable concert and operatic career which has been his, but also for his later vocation as a teacher. Long residence in Italy and England, followed by successes in opera both in the United States and abroad, put him in touch with all that was best in vocal art, and experience in developing some of the finest voices now before the public is the proof of his pre-eminence in this later field.
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