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T H E   U N I V E R S I T Y   S C H O O L   O F   M U S I C


ADRIAN M. NEWENS, A. B.. Director

   Graduated New England Conservatory, Boston, 1885. Student with Alfred Turner, Louis Elam and Stephan Emory. Taught privately 1885-96. Private student with Rafael Joseffy in New York 1896-97. Instructor in pianoforte 1897-. Twenty-fifth Anniversary Recital May 26,1922.

   Graduated Oberlin Conservatory, 1887. Student Royal Conservatory, Leipzig, 1899. Private vocal study with Vincenzo Vannini, Florence, Italy. 1899-00. Bachelor of Music, Oberlin, 1906. Student with and assistant to Edmund J. Myer, Chautauqua, N. Y. 1902-03. Studied in Paris with Oscar Searle, 1910. Composer of Opera "Olaf." Song cycle, "Fireworshippers," many Anthems and Songs, Nebraska Pagrant, etc. Instructor in Voice and History of Music, 1900-. Twenty-fifth Anniversary May 26, 1925.

   Graduated Oberlin Conservatory, 1897. Instructor in Pianoforte, Columbia Institute, 1897-00. Student, Ernst Jedlicka, Berlin, 1900-03. Assistant Head of Department and Instructor in Pianoforte, Belmont College, 1903-04. Private student, Regina Watson, Chicago, summer 1905-14. Bachelor of Music, Oberlin, 1906. Private student, Rudolph Gans, Portland, Me., 1915. Kansas City, summer 1920. Private student, Glen Dillard Dunn, Chicago, summer 1924. Private student Rudolph Ganz, Denver, summer 1928. Instructor in pianoforte, 1904-.

   Graduated Chicago Musical School, under Jacobson, 1902. Assistant Professor Hugo Heermann's Violin School Frankfort-on-the-Main, Germany, 1904-05. Graduated Hoch Conservatory, Frankfort. Private student with Ysaye and Sevcik. Instructor, Violin Department, 1905-.

   Completed course Nebraska Conservatory of Music 1900. Private Instructor in Voice 1900-05. Student Wm. Burritt, 1906. Instructor Nebraska Wesleyan University, 1907-08. Coached German lieder under Arthur Nickische 1908. Student with Randegger and Celine de Polkowski, London, 1909-10. Student with Albani and Correspondent Western Musical Herald, London, 1911. Student Richard Von Zur Muhlen, London, 1913. Student Percy Rector Stevens, summers 1918-19. Herbert Witherspoon, summers 1920-28. Instructor Voice, Chicago Musical College, summer session 1929. Instructor in Voice 1910-.

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   Graduated University School of Music, 1910; post-graduate 1911; student in Harmony with Thomas Tapper and In Song Interpretation with Jessie L. Gaynor in Chicago; Private Pupil of Rafael Joseffy, 1912 and 1913: Colleague of American Guild of Organists; contributor to leading musical magazines; writer of six volumes, "Steps for the Young Pianist," and "Essentials of Piano Technic," Schirmer, Victor Records. McDowell Artists' colony, summer or 1918. Instructor in Pianoforte, 1910-.

   Graduated The University School of Music, 1915. Graduated Institute of Musical Art, New York, 1916. Honor Pupil of Rudolph Gans, New York, 1915-17. Special study of Counterpoint and Composition with Percy Goetschius, 1916-17. Recital Debut Chicago, 1921. Recital Debut, New York City, Aeolian Hall, and Boston, 1923. Advanced Repertoire study, Rudolph Ganz, New York, 1927-28. Instructor in Pianoforte, 1917-.

   Instructor in Pianoforte, University School of Music, 1916-17. Service U. S. A, 1917-19. Bachelor of Music, University School of Music, 1920. Student with Maurice Aronson, Chicago, 1916. Pianist and Soloist at Metropolitan Theatre, Washington, D. C. Accompanist for Elias Breeskin, violinist. Instructor in Pianoforte, 1919-.

   Graduated The University School of Music, 1900: post-graduate 1902. Private student with Martinus Sieveking, New York City 1909. Private student with Josef Lehvine 1922, Chicago. Special study in Pedagogy and composition under Sieveking and special theoretical study under Mortimer Wilson. Instructor in Pianoforte, The University School of Music 1900 and 1915-16. Head of department of music of Western Normal College, Shenandoah, Iowa, 1908-15. Head of music department Luther College, 1916-21. Private instructor in piano and theory 1921-27. Instructor in Pianoforte 1927-.

   Student for two years in Organ and Piano with Ernest Kroeger, St. Louis. Five years at Northwestern, with Peter Christian Lutkin. One year private study in Piano with Fritz Hartvigson, Royal College of Music, and in Composition with Steward McPherson of the Royal Academy, London. Two years Piano study with Martin Krause and Composition with Hugo Kaun, Berlin. Organist Fountain Park Congregational Church, St. Louis; five years First Church of Christ Scientist, Evanston, Illinois; two years at the Choralion Saal, Berlin, Germany; two years Westminister Presbyterian Church; four years at the First Church of Christ Scientist, Lincoln. Published work art Diatonic Harmony, 1912. Master at Music, Northwestern University, 1920. Instructor Theoretical Department, 1910. Conductor A Cappella Choir, 1922. Dean of The University School at Music 1919-.

   Graduated University School of Music, 1917. Student with David Bispham, summer 1920. William Shakespeare II, 1922-23. Instructor in Voice, 1917-.

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   Graduated The University School of Music, 1912. Post-graduate, 1916. Bachelor of Fine Arts, University of Nebraska, 1919. Artist course The University School of Music, 1919. Instructor Children's Pianoforte Departmant. 1912-19. Student with LaForge and Stojowski, New York, 1919-21. Student with Ernest Hutcheson, New York, Summers 1923-24-26. Instructor Pianoforte Department, 1921-.

   Graduated University School of Music, 1906. Instructor in Pianoforte University School of Music, 1906-08. Post-graduate, 1908. Graduated Chicago Musical College, 1910. Pupil Consolo in Pianoforte; Borowski Composition; Faulk, Organ. Head of Conservatory Graceland College, 1910-11. Instructor in Pianoforte and Pipe Organ, Louisiana State Normal, 1911-13. Concert tours, 1913-15. Head of Pipe Organ and Pianoforte Department Shorter College, Rome, Georgia, 1915-18. Pupil Clarence Eddy and Frank Frysinger, Organ. Instructor in Pianoforte and Pipe Organ, 1921-.

   Graduated University of Nebraska, 1912. Graduated University School of Music in Piano, 1913, and In Voice, 1915. Post-graduate, 1918. Student Percy Grainger, summer 1919. Student with William Shapespeare II, summers of 1922-23. Student with Ernest Hutcheson, summer 1924. Private student, Pianoforte, Tobias Matthay, London, England, 1927-28. Instructor in Pianoforte. 1919-.

   Graduated University School of Music, 1918. Post-graduate, 1920. Bachelor of Fine Arts, University of Nebraska, 1920. Student with Ernest Hutcheson, New York. 1923-24 and Chautauqua, N. Y. summers 1924 and '26.Instructor in Pianoforte, 1919-.

   Graduated University School of Music, 1904. Post-graduate, 1905. American Conservatory, Chicago, 1905. Private student with John Dennis Mchan, 1905-06. Instructor in Voice, University School of Music, 1906-11. Student with Oscar Saenger, Frank Sealey, Dr. Carl Dufft, 1911-12. Soprano Soloist four years First Church of Christ Scientist. Soloist First Congregational Church since 1916. Director of Music Jewish Synagogue since 1912. Student with William Shakespeare II, summer 1922. Instructor in Voice, 1912-.

   Graduated the University School of Music, 1916. Private student, trumpet, with Edward Llewellyn of Chicago Symphony Orchestra, 1916 and 1924. Overseas service U. S. A, 1917-19. Private student, Composition with Arthur Olaf Anderson, Chicago, 1924. Solo trumpet, Colorado Springs Municipal Band, summer 1925-28. Instructor in Trumpet and Trombone, 1916-: Harmony, 1919-.

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   Graduated The University School of Music, 1917. Graduated University of Nebraska. 1926, B. F. A. Service U. S. A., 1917-1919. Student of Edwin Dietrich 1915-16 and summer of 1921. Public School Music with Howard Davis, Chautauqua Lake Summer School, 1919. Private pupil with Sevcik and Czerwonky, summer 1933. Director Instrumental Music, Lincoln Public Schools, 1919-. Instructor in Violin, 1920-.

   Private student in 'Cello with Lavettelll?, New York; with Frisble, Los Angeles; Bruno Steindel, Chicago. Theoretical brancehes, Henry W. Matlack. Instrumentation and Orchestration, Score Analysis, William McCracken. Private study in Voice, Adolph Engstrom, Chicago; Ralph Lyman, Los Angeles; Sebastian Bernetti, New York; J. W. Paris, Boston. Concert and Operatic Tenor Soloist with Penella Operatic Company; French Opera, New Orleans; also with Aburn and San Carlo. 'Cellist with Damroch, Victor Herbert and Creatore. Instructor in 'Cello and Voice, 1923-.

   Graduated University School of Music, Pianoforte, 1911. Graduated in Voice, 1914. Student of Voice with J. C. Wilcox, Denver, 1918. William Shakespeare II, Chicago, summers of 1921-22-23; and Oscar Sengle, summer 1925. Instructor in Pianoforte and Voice, 1914-.

   Graduated University School of Music, 1914. Post graduate, 1920. Student William Shakespeare II. summer 1922-23. President National Sigma Alpha Iota Sorority, 1922-28?. Instructor in Voice, 1920-.

   Graduated Cotner Conservatory in Piano, 1907; Voice, 1914. Graduated University School of Music, Voice, 1921. Student with William Shakespeare II, Summer 1922. Post-graduate 1926. Instructor in Pianoforte and Voice, 1922-.

   Private student with Dr. A. Rommrel. I. W. U., Van Kutwick. Henri Ruifrock, Paul Stoye, Drake University. Private student Dramatic Art, Laura Kramer Moschel, Adrian M. Newens. Director Ottumwa School of Music and Dramatic Art, 1916-24. Instructor Dramatic Art, 1924-.

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   Graduated University School of Music, Pianoforte, 1924. Private student, Organ, with Edgar Nelson, Chicago, winter 1924. Professional accompanist. Organist First Presbyterian Church 1918-19; First Christian Church 1921-26; Westminster Presbyterian Church 1927-28. Instructor Pianoforte. 1925-.

   Graduated University School of Music, Pianoforte. 1911. Flute student with Rex Elton Fair, 1914-18. Graduated New England Conservatory Pianoforte, 1924. Special honors in ensemble with Joseph Adamowski. Flute student with Georges Laurent, Boston Symphony Orchestra, 1922-24, with Rudolph Ganz, Denver, summer 1928. Instructor Pianoforte and Flute, 1926-.

   Private student with Joseph Schreners, Clarinet, 1918-19, Chicago; solo Clarinet, Washington S. H. Band, Milwaukee, 1921-23; solo Clarinetist, Mason City Municipal Band, 1922-23; Symphony Orchestra Solo Clarinetist, 1922-26; Instructor in Clarinet and Saxophone, Kankakee Conservatory. 1918-19: Private Instructor, 1919-26, Lincoln. Instructor Clarinet anti Saxophone, 1926-.

   Graduated Kansas State College School of Music, 1923, B. Mus. Graduated Drake University, 1927. A. B. Student with Arthur E. Westbrook, I. W. U.. Bloomington, Ill.; student with Theodore Harrison, Voice. Chicago; Public School Methods, I. W. U., Bloomington; Supervisor Music Cherryvale, Kansas, 1923-25. Director of Music, West High School, Des Moines, Iowa, 1925-26; Private Instructor Voice and Orchestral Instruments, 1928-26; Director Men's Glee Club, Drake University, 1926-27. Instructor in Voice and Public School Methods. 1927-.

   Graduated Dramatic Art Department The University School of Music, 1924. Specialized in dramatics for drama production, play reading and children's dramatics. Instructor in Dramatic Art Department, 1926-.

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   Graduated The University School of Music, 1925. Student with Ernest Hutchenson, New York, summer 1926. Instructor in Children's Pianoforte Department, 1925-.

   Graduated The University School of Music. 1928. Instructor Violin, 1926-.

   Graduated The University School of Music, 1926. Instructor, Pianoforte, 1926-.

   Graduated the University School of Music. 1927. Children's Pianoforte Methods, summer 1927. Instructor Pianoforte for Children. 1927-.

   Instructor in the Theory and Practice of Piano Tuning, 1902..



   Assistant Registrar.






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   Thirty-four years ago The University School of Music was established as a conservatory of music open to everybody. Hundreds of students have graduated, many of whom are now distinguished artists or are holding positions of musical prominence. The school is not affiliated with any other institution and anyone may register and take music or dramatic art under his chosen teacher privately, to any extent he may desire or as a regular candidate for graduation. The policy of the school throughout the thirty-four years of continuous service has been to hold to high musical standards and long ago it was given a place of recognition among the conservatories of the land.


   The University School of Music is one of the approved conservatories for extension scholarships in the Juilliard Foundation of New York. The Juilliard Foundation consists of several millions of dollars, the interest of which goes to music education. An undergraduate school and a graduate school are conducted in New York and support is given to certain highly talented students in their undergraduate music study in a few approved schools throughout the United States.


   ANY person interested in and wishing to study music or dramatic art may enroll in The University School of Music as a student. Our doors are thus open to beginners, to those who may have studied previously, to advanced students and to professional musicians and dramatists. Some credits are extended for acceptable work pursued in other schools, but The University School of Music degree or diploma is granted only to students who do the major part of their work, not less than two years, in this institution.

   Those who DESIRE TO GRADUATE in Piano, Violin, Voice, Pipe Organ, Theoretical work or any of the Orchestral or Band Instruments, must take the course as

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outlined for graduation on pages 22 and 23. This course comprises all theoretical branches and private lessons in major and minor subjects and leads to diploma or the degree, Bachelor of Music. There are no restrictions on the amount of work one may take in his major subject beyond the required two lessons a week throughout the course, or the minor beyond the required two lessons a week for two years.

   CHILDREN are welcomed into the Institution to take private or class lessons in any of the departments. There are children's classes in violin, children's classes in piano, children's classes in dramatic art, children's classes in 'cello and other instruments and children may take private lessons in any of the lines of work offered in this catalog.

   The University School of Music especially invites Students of ADVANCED STANDING to specialize in their respective lines. Many special students who have received diplomas elsewhere, and those who have studied to a greater or less extent elsewhere, are received annually. Many of these pursue post-graduate courses and receive such distinction on completing a post-graduate course as the Institution offers for such work satisfactorily done.

   ANY University of Nebraska student in any of the departments where music credits are accepted, may enroll for, University credit. They may take their work of our teachers who are accredited to the University of Nebraska. Many of the accredited teachers are on the faculty of The University School of Music. Students should regisister (sic) at the University in the regular way, bring their registration slips to the office of The University School of Music, choose their teachers and enter in upon their studies as regular music students without paying an additional registration fee.

   A SUMMER SESSION is annually conducted. All departments of the Institution are open and a certain few credits may be made during the six weeks summer school to apply on the regular school year requirements. During

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the course of the summer session, students are admitted to the Institution on the same basis as during the regular year. Many University summer school students take advantage of the summer session to study music, and for such work they may receive credit at the University.


   The degree, Bachelor of Music, is granted to all students who successfully finish the full course as outlined in the catalog providing they have finished at least the work in a high school accredited to any college or university of rccognized standing.

   A diploma is awarded to all students who successfully finish the course in music as outlined in this catalog providing they present not less than sixteen high school credits, and to those who fulfill the requirements in public school music. Certificates are awarded to those who fulfill the requirements for the music certificate course; also to those who finish successfully the certificate Institutes in the Kinscella, Method.

   Applicants for post-graduate work must hold at least a diploma from The University School Of Music, or must present credentials of a musical education equivalent to the course which our diploma represents. The Dean must be consulted in all cases. See Requirements for Post-graduation.

   Admission to Pi Kappa Lambda, honorary musical fraternity, is an award offered to not more than one-fourtb of the graduating class of each year for notable work in theoretical and technical accomplishments, and for notable work in performance on public programs.

   The honor of appearing in public recitals is granted to all students whether taking the full course or not. All students enrolled in the Institution whether working for the degree, Bachelor of Music, diploma, certificate of credit in the University, or any others are accorded this honor under the recommendation of instructors.

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   All students who arc candidates for certificate, diploma. degree, or who are pursuing post-graduate courses, must consult the Dean of the School and receive his direction for their studies and his approval of their development. While the Dean does not have authority over the private lessons, the studio work of the student, he does hold an authoritative position with reference to the student's theoretical work, and is advisor of the student's general musical education.


   The University School of Music maintains all the usual departments of applied music, piano, pipe organ, voice, violin, cello, and all orchestral and band instruments, theoretical and dramatic art departments. Each department has a strong faculty which has grown up through the years by careful selection. Each instructor conducts his studio activities on plans of his or her own making, subject to certain definite rules and regulations resulting from traditional musical requirements. Certain musical standards, universally recognized are observed in each department of the Institution.

   Not all students are candidates for graduation. Many desire to take a course in piano, pipe organ, voice, violin, or other orchestral and band instruments without any of the prescribed theoretical work. Such students are welcome to each and all of the departments.


   The studios are well equipped. The faculty of artist teachers is capable and efficient. The courses are so arranged and the studios so designed as to equip all students with facility in piano activities. The various degrees of previous training are always taken into consideration and

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due credit is given for any pupil's work with other teachers before coming, into this department


   The children's pianoforte department is conducted in the southeast part of the city, convenient to many of the best homes. An especially devised system adapted to the particular demands and needs of children in piano technic has been arranged and is under competent direction. The best elements of many systems have been correlated into one plan which has produced and is producing most satisfactory results. When the children have finished the elementary and beginning work in piano they are graduated to higher grades and eventually into the regular conservatory classes and studios.


   The organ department is equipped with two two-manual pipe organs of fifteen or more stops each, and two other practice organs, all of which are available to the students for practice at reasonable rentals. The organs are of the latest model and design, abundantly equipped in every respect to offer to all students everything necessary in pipe organ instruction, for church, concert and theatre. Theatre organ instruction is a specialty and the head of the organ department has had special training in the Wurlitzer Organ School in theatre organ requirements. Frequent organ recitals are given, both in the corridors and at one of the several churches in the city, thus enabling the pipe organ student to attain efficiency and much experience in pipe organ playing.


   Successful singing is dependent on two things:--a high degree of musicianship, and the selection of a voice teacher who can bring out the best voice qualities of the pupil. To

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become a good vocalist, one should not overlook the fact that only good musicians hold good singing positions. Great care has been taken in preparing a full course of study and in selecting teachers under whom ambitious voice students may study with confidence. No student should feel that he is too immature to begin, or too far advanced to find an artist instructor who can carry his vocal education to still greater results. Whatever the student is capable of doing he will find he can do under the efficient leadership offered in the voice department.


   Little has been left undone to make the violin and 'cello instruction strong and commanding. The teachers of both violin and 'cello have had long experience in solo and symphonic work. This department maintains a faculty of men and women of wide study and experience. They have been, and still are, concert-meisters and conductors and first violinists and 'cellists and have been soloists whose successes have been widely heralded. All students in violin and 'cello who can, by their successful playing, are required, without further cost, to enter the school symphony orchestra, thus commanding a further experience that will make the soloist a still greater soloist.

   All candidates for graduation with violin as major are required to take one term of viola.


   Violin and 'cello classes for beginners and more advanced pupils are among the more modern developments of this department. Numerous young people who have had only class instruction are able to play solos independently, reliably and musically and are able to read difficult scores with ease. There is no department more active in the School than the string department.

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   This department includes all of the other major instruments in orchestra and band, the flute, trumpet, cornet, trombone, French horn, clarinet, etc. Every teacher in this department is either now holding, or has held, first position in bands and orchestras, and each is, therefore, very capable in the direction of the work of his particular studio. Out of these studios the students enter the school symphony and orchestra organizations of the School. They play in state and local bands, high school bands, and other such organizations.


   The theoretical department embraces all subjects of musical study outside of the other departments above named. All of the subjects are studied in class groups, though special arrangements may be made for the study of certain subjects privately. Under the head of "Required Class Subjects" on the following page will be found a short explantation of the theoretical subjects. Of the theoretical subjects, Harmony is the only one that may be taken as a major or a minor. By consulting the head of the theoretical department, those students who wish to graduate with Theory as a major or a minor instead of some musical instrument or the voice, will be given the course outlined.



   The course in Harmony is divided into eight terms. The first four include those subjects related to diatonic scales, and the fifth and sixth are a study of the various forms of the chromatic scale and chromatic chords. The seventh and eighth terms are Keyboard Harmony. The subjects in each term are as follows:

   I. Rudiments of music, the diatonic scales, intervals and triads.

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   II. The study of concords in their simplest uses for four voices, cadences, voice leading and the four measure phrase.

   III. The study of the simple discords, the inversions of triads, passing tones, suspensions and the four phrase hymn.

   IV. Modulation to near keys and the harmonization of melodies requiring the use of the material studied in the first three terms.

   V. Chromatic scales, chromatic chords and a comparison of the different theories on chromatics.

   VI. Continuation of the subjects in Term V. Enharmonics, the science of notation, chords of the ninth, eleventh and thirteenth and modulation to distant keys.

   VII. Students are eligible to this first term of Keyboard Harmony who have satisfactorily completed the first four terms of the regular harmony course. Most of the time is spent at the piano and organ.

   VIII. Students are eligible to this second term of Keyboard Harmony who have satisfactorily completed the first five terms of the regular harmony course.

   (Thus Harmony VII may be pursued at the same time as Harmony V, and Harmony VIII at the same time as Harmony VI.)

   ADVANCED HARMONY is offered to those students who display special ability and possibly some talent for writing. It may be pursued privately under the direction of the Dean.

   COUNTERPOINT covers one term on the strict school of counterpoint in the various species in exercises graded from two to four parts, and two terms of invertible, double counterpoint, various forms of canon, contrapuntal elaboration of hymns and harmonization of melodies, original and dictated.

   MUSICAL COMPOSITON (sic), is a further study of modern harmony through the harmonization of more difficult melodies, introducing the contrapuntal style; an analytical study of the vocal and instrumental forms and practice in writing according to the talent of the student.

   EAR TRAINING covers one full year and cannot be begun until Harmony I is finished. Two classes are developed in ear training; one elementary and one advanced

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course. Students are placed in these classes as a result of a test at the beginning of the course.

   GENERAL THEORY is a four term course. The first term is a study of the science of sound as connected with music commonly known as Musical Acoustics. The second term is a study of the instruments of the symphony orchestra, the history and tone of each instrument, something of the lives of famous conductors and their orchestras, the string quartet and other chamber music. The third and fourth terms are the study of Musical Appreciation and include any subject that will lead to a better understanding of musical content, of how to listen. and what to listen for in music. Program music, notation, scales, folk music, and other subjects are followed particularly.

   ANALYSIS begins with an extended review of harmony with complete outlines of all the subjects previously studied. One term is spent in the anaylsis (sic) of chords only. Lectures on musical design traced through the development of the dances, the fugue, contrapuntal school and the sonata form and all the influences contributing to the Classic, Romantic and Ultra-modern periods of music.

   MUSICAL HISTORY traces the development of the science and art of music from 700 B. C. to the present day, with a chronological survey of the chief events of science, art, literature. religion. politics and society. It covers a close study of virtuoso composers, conductors, instrumentalists and singers. Current musical events are studied; research work and a course of reading are required.

   PIANO PEDAGOGY No student is well equipped who is not familiar with the pedagogy of teaching his musical subject and especially the piano. This course is required of all piano students and is conducted by members of the faculty, who through years of experience in class room and studio, and through specialized courses in pedagogy are most

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capable of giving the student vital information, outlines and methods of how to conduct his own studio.

   PIANO REPERTOIRE is required of all students for graduation. It is desired that only students of the junior and senior years shall be members of this class. Any irregularly classified student of sufficient advancement may elect to take the course. Mr. Herbert Schmidt conducts the class and the work consists of a series of twenty lecture recitals in which Mr. Schmidt discusses, analyzes and plays master works of all periods of composition and all schools, from the time of Renaissance to the present day. This is a very important course because it gives the piano student a most complete and comprehensive survey of piano literature. No advanced student is really prepared to be a keen observer or a qualified teacher who is not familiar with the material with which the piano repertoire class deals.

   SIGHT READING AND ACCOMPANYING are fundamentally practical subjects to all piano students. This course is required of all candidates for graduation and all candidates for teachers certificates.

   ENSEMBLE, is practice in reading at sight one of the parts of instrumental trios, quartettes or quintettes. This is not the same course as Sight Reading and Accompanying, which course is a prerequisite to Ensemble.

   ITALIAN AND FRENCH DICTION are required of all candidates for graduation from the voice department. This course is preceded by another course in Spoken English which is designed to develop good English diction. There is no attempt in either Italian. French or English diction to give courses in the study of the language. The object is only to develop the ability to sing the language true to the form of the language in which the text is written.

   The CONCERT CLASS conducted by Howard Kirkpatrick is primarily a class for public appearance. and all

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of Mr. Kirkpatrick's students are required to take this course. There is careful attention given to tone production, diction, style, stage presence, interpretation and personality.


   ADVANCED ACCOMPANYING. The fine art of accompanying is as distinct an art as solo playing. The distinguished work of soloists, singers, violinists, cellists and others, is always supported by and dependent upon the accompanist. There is a special course of instruction for professional accompanists who have the special knack and disposition for accompanying. That special instruction in this catalog is provided for by three courses offered in this catalog, the elementary accompanying which is studied along with sight reading and is a required course; advanced accompanying which as an elective may be taken in classes of two, three, four or more; and private lessons in accompanying, also elective for those who wish to make accompanying a special profession.

   COACHING PROGRAMS. A limited number of professional singers, violinists, cellists and others who are preparing recital programs and programs for particular occasions, will be taken by our special program coaches, Miss Marguerite Klinker and Mr. Earnest Harrison, during the regular school year. Artists may feel at ease on the point of interference with tone production and previous violin or 'cello technic when coaching under these two masters of program. They give attention primarily to interpretation and the professional traditions of the great composition which are common to artist programs. Application for enrollment should be made in advance that reasonable time may be given for the arrangement of definite hours for instruction.

   STRING QUARTETS. Chamber music is a goal to be sought by every violin and 'cello player. A peculiar artistry

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is necessary to accomplish the things which quartet or ensemble playing require. The groups for quartet playing for which a student may register are especially designed to give practical experience in this specialized accomplishment. The classes are an hour in length; four or more pupils may enroll in any class or group under either of the leading violin teachers. A certain advancement in violin, 'cello and viola playing is required, but no definite statement of prerequisites is possible except that of fair technique and ability accurately to read music.

   BRASS QUARTETS. Too much cannot be said concerning the advantages of the Brass Quartet organizations. What the string quartet is in chamber music so the brass quartet is to an almost new field of brass instrument activities. The brass quartets are usually made up of two trumpets and two trombones and for the most part the literature for these groups is especially written or transcribed. The Brass Quartet is a very much sought after organization and besides being very popular it carries a refinement almost entirely unknown to the average music lover and to the participant in his playing that he cannot get in any other way.


   In order to meet a demand for home work in certain lines of the School's activities, a correspondence course has been prepared in Harmony.

   The course is prepared by John M. Rosborough of the Theoretical Department of The University School of Music. It is thorough, complete and reliable in every detail.

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