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Full text of "Lebanon Valley College Catalog: Department of Music Bulletin"

Lebanon Valley College 

BULLETIN 



Vol. 18 



APRIL, 1929 



No. 1 



Department of 

Music 
1929 ■- 1930 



PUBLISHED BY 

LEBANON VALLEY COLLEGE 

ANNVILLE, PA. 



Entered as second class matter at Annville, Pa., under the Act of August 24, 1912 



Lebanon Valley 
College 

'Department of ^Music 



1928-1 929 



FACULTY 

GEORGE DANIEL GOSSARD, B.D., LL.D., President 
RUTH ELIZABETH ENGLE, A.B., Director 

Piano 

RUTH ELIZABETH ENGLE, A.B. 
R. PORTER CAMPBELL, Mus.B. 

Voice 

ALEXANDER CRAWFORD 
EDITH FRANTZ MILLS 

Organ 
R. PORTER CAMPBELL, Mus.B. 

Violin 
HAROLD MALSH 

Harmony, Theory, Counterpoint, Composition 
and History of Music 

RUTH ELIZABETH ENGLE, A.B. 
R. PORTER CAMPBELL, Mus.B. 






^Department of 3ftusic 




Ruth Elizabeth Engle, A.B. 

IV/TISS RUTH ENGLE re- 
turns to Lebanon Valley 
College as Director of the Con- 
servatory after two years' study 
with prominent artists in New 
York. Her musical preparation 
has been thorough and extensive. 
Having completed her academic 
course at Lebanon Valley Col- 
lege in 1915, she resumed the 
study of music in a more special- 
ized manner. At the end of a 
year's study of piano and har- 
mony at Oberlin Conservatory, 
she entered the New England 
Conservatory in Boston, Massa- 
chusetts, where for two years, 
she was a pupil of Lee Pattison. 

She graduated from New England Conservatory and then accepted 
the position as teacher of piano and theory at Lebanon Valley Con- 
servatory. She spent two successive summers at Chautauqua in the 
study of piano with Ernest Hutcheson, the eminent artist and teacher. 
While in Chautauqua, she did ensemble work with members of the 
New York Symphony Orchestra. 

The desire for more advanced work led Miss Engle to continue 
her study ^in New York City with celebrated artists, such as Ernest 
Hutcheson, Francis Moore, and Frank LaForge. Graduate courses 
at Columbia University, Composition, Improvisation, and Musical 
Pedagogy under Frederick Schlieder, amply equip her for her posi- 
tion as Director of the Conservatory. 

Miss Engle has had many engagements throughout the East, 
appearing in Scranton, Pen Argyl, Greenwich, Conn., and at the 
American Institute of Applied Music, New York City. 

R. Porter Campbell, Mus.B. 

"|\yT R. CAMPBELL began his musical career at Lebanon Valley 
College Conservatory. After obtaining his diploma in Piano- 
forte in 1915, the diploma in Organ and the Bachelor of Music de- 
grees in 1916, he was retained on the Faculty for two years as 



Xebanon Valley (College bulletin 




teacher of piano and theory. At 
this point the World War inter- 
vened but in 1920 he resumed his 
teaching at Lebanon Valley Col- 
lege Conservatory. During the 
summer of 1921 he studied piano 
in New York City with Aloys 
Kramer and Arthur Friedheim. 
In the summer of 1923 he began 
his study of organ with Pietro 
Yon, the renowned Italian or- 
ganist. He continued his organ 
study throughout the year and 
in the summer of 1924 accom- 
panied Mr. Yon on his annual 
visit abroad, where he lived and 
studied at the Villa Yon in Italy 
for four months. For three years 
he was organist and choirmaster of the Seventh St. Lutheran Church, 
Lebanon, Pa., but in January, 1924, accepted the position as organist 
of St. Luke's Episcopal Church, Lebanon. 

While on European tour, Mr. Campbell won favorable comment 
from the most distinguished music critics and music authorities 
of Italy; he played at St. Peter's in the Vatican, the Pontifical 
School of Sacred Music, and the Academy of St. Cecilia in Rome 
and appeared in public recital at Milan and Settimo Vittone. Since 
his return he has appeared with great success in recitals in Lebanon 
and the Eastern part of the State. 

Alexander Crawford 

A LEXANDER CRAWFORD is a native of Glasgow, Scotland. 
Born in a musical family, he began singing at the age of fifteen 
years. His first instruction was given by the elder Crawford who, 
in his day, was a singer of prominence in the Old Country. 

The family migrated to America and settled in the west where 
Mr. Crawford received his initial training. He made his first pro- 
fessional appearance at the age of nineteen. The following year 
he returned to London, England to continue his studies with Wm. 
Shakespeare; it was there, also, that he began teaching. After two 
years abroad Mr. Crawford returned to America and appeared in 
concert and oratorio throughout the country. Following a per- 



Department of Jtlusic 



formance of the Messiah in Den- 
ver, Colorado in 1915, he was re- 
quested to open a studio there, 
which he did and remained there 
until 1923. In that year he was 
urged by Percy Rector Stephens, 
eminent vocal teacher, to return 
to New York. 

. Mr. Crawford has been a suc- 
cessful vocal teacher for thirteen 
years. His pupils are engaged 
as singers and teachers through- 
out the country, and his work is 
recognized by such men as 
Percy Rector Stephens, Vocal 
Teacher, Fulgenzio Guerrieri, 
conductor of the Philadelphia 
Opera Company, Max Schmit, 

formerly with the Boston National Opera Company, and New York 
Stadium Concerts. 




Edith Frantz Mills 




Case and other celebrated artists, 



'THE ability of Mrs. Mills, as 
an artist, is well known and 
far reaching. Having graduated 
in voice from Lebanon Valley 
College Conservatory in 1908, 
she spent two years in New York 
City and four summers at Lake 
George studying with A. Y. Cor- 
nell. Later she was a pupil of 
Madam Omstrom-Renard. In 
1912 she accepted the position as 
vocal teacher at Lebanon Valley 
College Conservatory. For sev- 
eral seasons, including the past 
year, she studied with Mme. 
Cahier, the world's greatest con- 
tralto. 

Having appeared with Anna 
Mrs. Mills has won much success 



10 



Xcbanon "ValU? (Tollegc bulletin 



by her colorful voice, charming personality and dramatic interpre- 
tation. In 1923 she resumed her teaching at Lebanon Valley College 
and has been enthusiastically welcomed as a member of the staff 
of vocal teachers for the ensuing year. 

Harold Malsh 



IX/fR. HAROLD MALSH, a 
graduate of the Institute 
of Musical Art, New York City, 
of which Dr. Frank Damrosch is 
director, has been engaged as 
teacher in the Violin Depart- 
ment since 1924. Besides his 
studies in New York City, 
Mr. Malsh taught at the Music 
and Art Institute, Mount Ver- 
non, N. Y., for two years, and 
also gave private instruction in 
the metropolis. He is well known 
in Harrisburg musical circles, 
having appeared to advantage on 
many concert programs. His 
playing is marked for its beauty 
of tone, fine musical perception 
and superb technic. (Besides his regular teaching at the Studios, 
Mr. Malsh will also be in charge of the violin ensemble class which 
will be open to all violin students.) 








ft 



12 Xcbanon ValU? College bulletin 

r T y HE aim of Lebanon Valley College Conservatory is to teach 
music historically and aesthetically as an element of liberal 
culture; to offer courses that will give a thorough and practical un- 
derstanding of theory and composition; and to train artists and 
teachers. 

The conservatory offers complete courses of instruction in Piano, 
Voice, Violin, Organ, and theoretical subjects. 

Certificates, Diplomas and Degrees are granted by the Trustees 
of Lebanon Valley College to students who have satisfactorily com- 
pleted their course of study. 

GENERAL REQUIREMENTS 

The requirements for admission to the courses in the Conserva- 
tory of Music leading to a diploma are practically equivalent to those 
of the College. An applicant for admission must (1) be a graduate 
of a four year High School, and (2) possess a reasonable amount of 
musical intelligence. 

MUSIC SUPERVISORS' COURSE 
(B. S. in Music) 

Entrance Requirements 

The possession of an acceptable singing voice and of a fairly 
quick sense of tone and rhythm. 

Ability to sing at sight hymn and folk tunes with a "fair degree 
of accuracy and facility. 

Ability to play the piano or some orchestral instrument represent- 
ing two years study. 

A general academic education, representing a four-year high school 
course or its equivalent. 

The outline of the curriculum follows: 

First Semester 

Elementary Theory 3 3 

Sight Reading (1) 5 2 l A 

Dictation (1) (Ear Training) 5 2^ 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Educational Biology 3 3 

English (1) 3 3 

Physical Education (1) 3 1 

26 17 



Department of Mtusic 13 



Second Semester 

Harmony and Melody (1) 3 3 

Sight Reading (2) 3 V/ 2 

Dictation (2) (Ear Training) 3 V/2 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Introduction to Teaching 3 3 

English (2) 3 3 

Physical Education (2) 3 1 

Oral Expression 2 2 

24 17 
Third Semester 

Harmony and Melody (3) 3 3 

Sight Reading (3) 3 1J4 

Dictation (3) 3 lj£ 

Violin Class (1) 2 2 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Psychology and Child Study 3 3 

Elective 3 3 

Physical Education (3) 3 1 

24 17 

Fourth Semester 

Harmony and Melody (3) 3 3 

Sight Reading (4) 3 1}4 

Dictation (3) (Harmonic) 3 1J^ 

Violin Class (2) 2 2 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Educational Psychology x . 3 3 

Elective 3 3 

Physical Education (4) 3 1 

24 17 

Fifth Semester 

History of Music and Appreciation (1) 3 3 

Child Voice and Rote Songs with materials and 

methods for grades 1, 2, 3 3 3 

Harmony (4) (Keyboard) 3 3 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

History of Education 3 3 

Elective 3 3 

19 17 



Department of 3Tfcusic 15 



Sixth Semester 

History of Music and Appreciation (2) 3 3 

Materials and Methods, Grades 4, 5, 6 3 3 

Harmony (5) (Musical Form and Analysis) 3 3 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Educational Sociology 3 3 

Elective 3 3 

19 17 
Seventh Semester 

Harmony (6) (Composition) 3 3 

Games, Pageantry and Folk Dancing 3 3 

Orchestral and Choral Conducting 3 3 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 4 2 

Principles of Education 3 3 

Elective 3 3 

19 17 

Eighth Semester 
Materials and Methods, Junior and Senior High 

School 3 3 

Community Music 1 1 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for 

greatest benefit of students 2 1 

Student Teaching 13 10 

Technique of Teaching 2 2 

21 17 

N. B. — The fifteen hours of elective work must be chosen from 
one field. 

The Rates for the Public School Music Supervisors' Course will 
be $220 per year. This will include all theoretical classes, two private 
lessons weekly, and two hours daily practice. 

OUTLINE OF COURSE LEADING TO A DIPLOMA 

First Year 

Piano, Organ, Voice or Violin 2 

Sight Singing and Melodic Dictation 5 

Sight Playing 1 

Elementary Harmony and Composition 2 

Appreciation of Music 2 

English 16 3 

Four hours daily practice 10 



16 Tebanon Vallc? College bulletin 



Second Year 

Piano, Organ, Voice or Violin 2 

Sight Singing and Interval Dictation 3 

Sight Playing 1 

Harmony, Composition and Counterpoint 2 

History of Music 2 

English 26 3 

Four hours daily practice 10 

Third Year 

Piano, Organ, Voice or Violin 2 

Sight Singing and Chord Dictation 2 

Harmony, Composition and Counterpoint 2 

Psychology of Music 1 

Musical Form 2 

French or German 3 

Four hours daily practice 10 

Choral Works 1 

Fourth Year 

Piano, Organ, Voice or Violin 2 

Harmony, Composition and Counterpoint 2 

Harmonic Analysis 2 

Science and Theory of Music 2 

Ensemble Playing 1 

Four hours daily practice 10 

Choral Works 1 

DESCRIPTION OF COURSES 

Elementary Harmony. Three hours throughout the year. 

Prerequisite: a study of the rudiments of Music including nota- 
tion, formation of scales, major and minor. Study of intervals, triads, 
inversions, and chords of the seventh. Harmonization of simple 
melodies and basses. Original work, hymn tunes and keyboard har- 
mony. 

Advanced Harmony. Three hours throughout the year. 

Secondary Seventh chords, dominant ninths, modulation, suspen- 
sions and ornamented tones. 

Sight Singing and Ear Training. Four hours throughout the 
year. 

Rhythmic notation, singing and dictation of intervals, chords and 
melodies. Melody writing. Transposition. 

Advanced Sight Singing and Ear Training. Three hours through- 
out the year. 

Dictation of Seventh Chords in Four part Harmony. Modulation 
and Melody Writing. 



18 Tebanon *ValU? College bulletin 



Counterpoint. Two hours throughout the year. 

Elementary work in strict Counterpoint (five species in Two Part 
Counterpoint). 

Form and Composition. Two hours throughout the year. 

The construction of simple binary, and terniary forms, and the 
analysis of musical works of different periods. Free Composition: 
improvisation of simple terniary and contrapuntal forms, such as 
"The Pin Head Fugue." 

History of Music. Three hours throughout the year. 

Development of Music in its various forms from the beginning of 
the Christian Era to the present, with an introduction on ancient and 
primitive music. Text, lectures, and collateral reading. Lectures are 
illustrated by examples of the particular art forms or from the works 
of the particular composer under discussion. 

MUSICAL PEDAGOGY 

The value of music as an educational subject is clearly shown 
(1) by the increasing number of college students who elect music 
as their major subject, (2) by the growing tendency for high schools 
to grant credits for study to those who are pursuing music either in 
special music schools, or with private teachers. Because of this 
granting of credits, a higher degree of preparation, skill, and efficiency 
is demanded of the private teacher. 

The aim of this course is to give Juniors and Seniors practical 
teaching experience under the instruction and supervision of mem- 
bers of the Faculty. After a course of lectures and demonstrations 
by the Supervisor, the student gains actual experience in teaching 
pupils both in class and private lessons. 

Lectures will be given on all phases of piano playing. The 
instruction will be based on the most modern pedagogical and 
psychological principles. All presentation of material will be first 
made through the ear, the most spiritual sense, then the eye and 
touch. 

The chief duty of the teacher is to develop within the child a 
consciousness of music as the universal language and to lead him to 
a proper unfoldment of the impulse for self-expression. 

NORMAL CLASSES 

These classes are formed of children who possess musical ability 
A large number of young people thus acquire, at a nominal expense, 






Department of 5tlusic 19 

the rudiments of a musical education, sufficient to fit them later 
to enter the regular courses of the Conservatory. 

TUITION 

Tuition fees are payable in advance unless otherwise provided. 
Rates for private lessons are determined by the classification of the 
pupil and the rates charged by the different professors. 

The rates per semester, two lessons per week, range from $34.00 
to $50.00, and one lesson per week, from $17.00 to $25.00. 

The rate for all theoretical courses given as class work is $18.00 
per semester per course. 

RULES AND REGULATIONS 

A student is not permitted to enroll for a shorter period than one 
full semester, or the unexpired portion thereof, thus the instructor's 
time is engaged by each student for that period. 

No reduction is made for absence from recitations except in case 
of illness extending beyond a period of two weeks, in which case 
the loss is shared equally by the College and student. No reduction 
is made for late registration unless at least one-fourth of the semester 
has elapsed. 

RECITALS 

Faculty and Student Recitals will be given at stated times 
throughout the year. The recitals are of great value to the student 
in acquainting him with repertoire, in developing musical taste, and 
in giving young musicians poise and experience in appearing before 
an audience. Music students are required to attend these recitals. 

Conservatory students are under the regular college discipline. 

The Men's Glee Club and Eurydice Choral Club are organized 
under the direction of the Department of Music.