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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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12  Xebanon  Valle?  College  bulletin 

'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 

26  17 


Department  of  3Tfcusic 


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  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 

24  17 

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 

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  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 

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  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. 


w 


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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