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Lebanon Valley College 


Vol. 20 JULY, 1931 No. 4 

Department of 

I 9 3 I - I 9 3 2 



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

Lebanon Valley 

T^epartmeiit of -jJ\tiaic 




Music Education 








Theory, Harmony, Composition 

Band and Orchestra 


Dcparlmcnl of !ftlusic 

Miss Mary E. Gillespie, B.S. 

ly/riSS GILLESPIE began 

-^^^ her college preparation at 

Valparaiso University. Later she 

attended Oberlin Conservatory 

where she made a special study 

of voice \vith Mr. Harroon and 

piano with Mr. Davis. At the 

same time she was making a 

study of Music Education with 

Mr. Karl Gehrkens. Later she 

went to Columbia and in 1925 

received her B.S. degree in 

Music Education. While at 

Columbia she studied piano 

with Mrs. Cowel. 

She has been highly success- 
ful as a supervisor and teacher 

of Public School Music in the 

public-schools of the states of Indiana and Pennsylvania. From 1925 

until 1930 she was director of Music at the University of Delaware 

Women's College. From the University she came to Lebanon Valley 

College highly recommended for the duties connected with the posi- 
tion of Director of Lebanon Val- 
ley College Conservatory. 

Ruth Engle Bender 

A/TRS. BENDER'S musical 
preparation has been thor- 
ough and extensive. Having com- 
pleted her academic course at 
Lebanon Valley College in 1915, 
she resumed the study of music 
in a more specialized manner. 
At the end of a year's study of 
piano and harmony at Oberlin 
Conservatory, she entered the 
New England Conservatory in 

Xcbanon Valley (Tollcgc 2&ulUlin 

Boston, Massachusetts, 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 
College Conservatory. She spent two successive summers at Chau- 
tauqua 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 Mrs. Bender 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 present 

R. Porter Campbell, Mus.B. 

"[\ /TR. CAMPBELL began his musical career at Lebanon Valley 
-'-*-*- College Conservatory. After obtaining his diploma in Piano- 
forte in 191.S, the diploma in Organ and the Bachelor of Music de- 
grees in 1916, he was retained on the Faculty for two years as 
teacher of piano and theory. At this point the World War intervened 
but in 1920 he resumed his teaching at Lebanon Valley College Con- 
servatory. 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 organist. 
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 Street Lutheran 
Church, Lebanon, Pa., but in 
January, 1924, accepted the posi- 
tion as organist of St. Luke's 
Episcopal Church, Lebanon. 

Department of !lttustc 

\Miile on European tour, Air. Campbell won favorable comment 
from the most distinguished music critics and music authorities of 
Italy; he played at St. Peter's in the \'atican, the Pontifical School of 
Sacred Music, and the Academy of St. Cecilia in Rome and appeared 
in public recital at Milan and Settimo \'ittone. 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 da}-, 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 perform- 
ance of the Messiah in Denver, Colorado in 1915, he was requested 
to open a studio there, which be did and remained there until 1923. 
In that year he was urged by 
Percy Rector Stephens, eminent 
vocal teacher, to return to New 

Mr. Crawford has been a suc- 
cessful vocal teacher for thirteen 
years. His pupils are engaged as 
singers and teachers throughout 
the country, and his work is 
recognized by such men as 
Percy Rector Stephens, Vocal 
Teacher, F'ulgenzio Guerrieri, 
conductor of the Philadelphia 
Opera Company, Max Schmit, 
formerly with the Boston Na- 
tional Opera Company, and New 
York Stadium Concerts. 

Xebanon "Valley (TolUgc 2^ulUtln 

Harold Malsh 

-LVX graduate of the Institute 
of Musical Art, New York City, 
of which Dr. Frank Damrosch is 
director, has been engaged as 
teacher in the VioHn 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. He is a 
member of the "Harrisburg 
String Quartette" and the "Har- 
risburg Symphony Orchestra." 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.) 

Miss Ella Moyer 
B.S., M.A. 

ly/riSS MOYER was first a 
student of piano at the 
Sternberg School of Music, 
Philadelphia, receiving a Teach- 
er's Diploma in 1915. She 
graduated from Institute of 
Musical Art, New York City, 
in 1920. In 1922 she received a 
diploma from Fontainbleau 
School of Music, France, in 
1927 a B.S. degree in Music 
Education from New York Uni- 
versity, and in 1931 her M.A. 

IDcpartmcnt of 5tlusic 

degree from the same institution. From 1920 to 1923 Miss Mover was 
head of the Theory and Piano Departments of Westminster College, 
New Wilmington, Penna. The next year she was head of the Piano 
and theory Department at Chatham Hall, Chatham, Virginia. Summer 
schools of 1924 and 1925 she taught piano at New York University. 
The three years before coming to Lebanon \'alley College, Miss 
Moyer was on the faculty at State Teachers College, California, Pa. 
Miss Moyer is a concert pianist, besides being unusually well 
prepared to do excellent work in the Theory Department of Lebanon 
Valley College Conservatory. 

Edward P. Rutledge, B.S. 

IV/r R. EDWARD P. RUTLEDGE studied at the Institute of 
^^^ Musical Art. New York City, from 1919 to 1921. He attended 
Teachers College, Columbia, receiving his B.S. degree in Music 
Education in 1925. He is nov.- a candidate for his M.A. degree at 
Teachers College, Columbia University, this degree to be conferred 
the summer of 1931. 

Mr. Rutledge has had a varied and extensive experience in Music 
Education work. 1918-1919 he was leader of the Ottumwa High 
School Orchestra; 1921-1922 Organizer and Leader of Community 
Orchestra, Parson, Iowa; 1923- 

1924, Conductor of High School 
Chorus of the Social Motive 
School, New York City; 1924- 

1925, leader of the School Or- 
chestra, Edgewater, N. J.: 
1925-1930. Supervisor of Music 
in the Public Schools of Neo- 
desha, Kansas; 1926-1930, Sum- 
mer Schools Instructor in 
Music Education at Teachers 
College, Columbia L'niversity. 
Mr. Rutledge is a professional 
cornetist, and has made a 
specialty in the study of all the 
instruments of the orchestra 
and band. We are indeed fortu- 
nate to have him a member of 
Conservatory faculty. 

department of 5tlusic 11 

'T^HE aim of Lebanon Valley College Conservatory is to teach 
music historicall}^ and aesthetically as an element of liberal cul- 
ture; to offer courses that will give a thorough and practical under- 
standing of theory and composition; and to train artists and teachers. 

The conservatory offers complete courses of instruction in Piano, 
Voice, \'iolin, Organ. Cello, all the instruments of the Orchestra 
and Band, and theoretical subjects. 

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


The requirements for admission to the courses in the Conservatory 
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. 


For Training Teachers of Public School Music 
(Bachelor of Science Degree in Music Education) 

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 Trainmg) 5 2>4 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for great- 
est benefit of students 4 2 

Educational Biology 3 3 

English (1) 3 3 

Physical Education (1) 3 1 

26 17 

12 Xcbanon ValU^ (TolUsc ^ullclin 

Second Semester 

Harmony and Melody (1) 3 3 

Sight Reading (2) 3 1^ 

Dictation (2) (Ear Training) 3 Ij^ 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for great- 
est benefit of students 4 2 

Introduction 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 1^4 

Dictation (3) 3 1^/4 

Violin Class (1) 2 2 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for great- 
est 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'^ 

Dictation (3) (Harmonic) 3 1^4 

VioHn Class (2) 2 2 

Voice, Piano, Organ, Violin, Chorus, Orchestral 
and Band Instruments — Arrange work for great- 
est 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 great- 
est benefit of students 4 2 

History of Education 3 3 

Elective 3 3 

19 17 

Deparlmcnl of Sttusic 13 

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 great- 
est 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 great- 
est 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 great- 
est 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 

The rate for Music Education Course will be $220 for a year. This 
will include two private lessons per week, use of piano two hours 
daily for practice, and Theoretical and Academic Courses not to 
exceed seventeen points. Charges will be made for extra private 
lessons at the rate of $25 per semester for one lesson a week. Extra 
hours in Theoretical or College Courses will be charged at the rate 
of $7 per semester hour. 

X4 Xcbanon Vallc^f (TolU^e 25ullelin 


First Year Credit 

Piano, Organ, Voice or Violin 2 

Sight Singing ... 4 

Sight Playing 1 

Elementarj^ Harmony and Composition 6 

English 16 6 

Dictation • • 4 

Educational Biology 4 

Introduction to Teaching 4 

Physical Education • • 2 


Second Year 

Piano, Organ, Voice or Violin 2 

Sight Singing 3 

Sight Playing 1 

Harmony, Composition and Counterpoint 6 

Language Elective • • 6 

Harmonic Dictation 3 

History and Appreciation 6 

Psj^chclogy and Child Study 3 

Educational Psychology • • 3 

Physical Education • • 2 

Third Year 

Piano, Organ, Voice or Violin 2 

Harmony, Composition and Counterpoint 6 

Psychology of Music 2 

Musical Form 3 

Language Elective • • 6 

Choral Works 2 

History of Education ■ ■ 3 

Educational Psycliology 2 

Phj'sical Education • • 2 

Junior Recital • • 2 

Fourth Year 

Piano, Organ, Voice or Violin 2 

Harmony, Composition and Counterpoint 6 

Harmonic Analysis 3 

Science and Theory of Music • • 2 

Ensemble Plaxing 1 

Choral Works 1 

Language Elective • • 6 

Principles of Education 3 

Technique of Teaching 2 

Physical Education ■ • 2 

Senior Recital 4 


16 Xcbanoti X^alUy (Tollegc 25ulUtm 


Elementary Harmony. (1) Three hours throughout the year. 

Prerequisite: a study of the rudiments of Music including notation, 
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 

Advanced Harmony. (3) Three hours throughout the year. 

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

Keyboard Harmony. (4) Three hours — Fifth Semester. 

It includes the harmonization at the keyboard of familiar folk songs 
and of melodies, familiar and unfamiliar, of the rote song type, utiliz- 
ing the various harmonies at the disposal of the class; and in the 
reading at sight of music of moderate difficulty, with emphasis upon 
the playing of accompaniments, and with some experience in reading 
from the vocal score and in transposition. 

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 throughout 
the year. 

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

Methods. Three hours throughout the year. 

(1) Child Voice and Rote Songs — with materials and methods 
for grades 1, 2, and 3. First Semester, 

(2) Materials and methods. Grades 4, 5, and 6. Second Semester. 
Methods, Junior and Senior High School. Three hours credit. 
The Junior and Senior High School problems are treated separately 

through an analysis of the specific problems, year by year or in spe- 
cial groups. Attention is given to materials and methods relative to 
the organization and directing of choruses, glee clubs, orchestra, 
band, elementary theory, music appreciation and class instruction in 
band and orchestral instruments. Study in the testing and care of 
the adolescent voice. 

Counterpoint. Two hours throughout the year. 

Elementary work in strict Counterpoint (five species in Two Part 

Harmony (5). Form and Analysis. Three hours sixth semester. 

The construction of simple binary, and terniary forms, and the 



18 Xcbanon ValU^ (Tolk^c !5ullclin 

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

Harmony (6). (Composition.) Three hours credit. 

The work includes secondary chords of the tonic and dominant, 
altered chords, additional embellishments. Original composition is 
continued in various vocal and instrumental styles. 

History of Music and Appreciation. Three hours throughout the 

Development of Music in its various forms from the beginning of 
the Christian Fra 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. 

Orchestral and Choral Conducting. Three hours per week. 

Principles of conducting; study of methods of conductors, adap- 
tation of methods to school situations, a study of the technique of 
the baton with daily practice, score reading, making of programs. 
Selection of suitable materials for various school groups. Readings 
and reports. 

Community Singing. One hour per week. 

A discussion of the purpose of community music; of the ideas and 
forces underlying the movement; of the lines of work included, of the 
qualifications necessary for success as a director of community move- 
ments; of the relations of the supervisor to the community; and of 
the organization and practical details of handling the various musical 
activities involved. 

Games and Pageantry. Three hours per week. 

This course considers the utilization of music in connection with 
games, with pageants, and with folk dancing. This utilization is two- 
fold — viz., applying music to existing games, pageants, and dances, 
and developing games, pageants and dances suitable to existing music. 
The entire work centers about effective school procedures. 

Violin Classes. 

The aim for this work is to teach methods by which class instruc- 
tion on the violin is carried on in the public schools. 

Violin Class (1). Two hours per week. 

Class discipline, instruction in tuning instruments, and acquainting 
the student with the principles and possibilities of violin playing. 

department of !iltusic 19 

Violin Class (2). Two hours per week. 

A continuation of the above with ensemble work, materials which 
can be used for class instruction, and Practice Teaching. 

Practice Teaching. Thirteen hours Fourth Year. 

This consists of actual experience in teaching music in the Public 
Schools of Pennsj'lvania. 

Voice, Piano, Organ, Chorus, Orchestral and Band Instruments. 

Four hours per week. 

The work in the foregoing fields will be organized from the stand-' 
point of the development of musicianship in the individual student. 
The work continues through eight semesters and assures a Avell- 
roundcd and many-sided acquaintance with various musical 


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 b}' 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. 


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. 


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.