Lebanon Valley College
BULLETIN
Vol. 17
JULY, 1928
No. 4
Department of
Music
i 92 8 - 1 929
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 zJxCusic
1 928-1 929
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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 5tlusic
Ruth Elizabeth Engle, A.B.
TV/riSS 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.
"]\ /T 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
Xcbanon Valle? (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, ajso, 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 5tlusic
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 Valley (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
IV/TR. 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.)
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'THE 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^
Dictation (1) (Ear Training) 5 2}4
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
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Department of 3Tfcusic
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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
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Third Semester
Harmony and Melody (3) 3 3
Sight Reading (3) 3 1 j£
Dictation (3) 3 \y2
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
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Fourth Semester
Harmony and Melody (3) 3 3
Sight Reading (4) 3 1 J4
Dictation (3) (Harmonic) 3 1J4
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 3 3
Elective 3 3
Physical Education (4) 3 1
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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
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Department of 5ttusic 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
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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
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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
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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 Valley 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.
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IS Xcbanon Valle? 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 5ttusic 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 tast6, 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.
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