Lebanon Valley College Catalog: Department of Music Bulletin

Lebanon Valley College

BULLETIN

Vol. XXI

APRIL, 1932

No. 1

Department of

Music
1932 - 1933

PUBLISHED BY

LEBANON VALLEY COLLEGE

ANNVILLE, PA.

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

FACULTY

J. RAYMOND EXGLE, A.B., LL.B, LL.D., Acting President
MARY EDITH GILLESPIE, B.S., Director

Music Education
MARY EDITH GILLESPIE, B.S.

Piano

RUTH EXGLE BENDER, A.B.
R. PORTER CAMPBELL, Mus.B.

Voice
ALEXANDER CRAWFORD

Organ
R. PORTER CAMPBELL, Mus.B.

Violin
HAROLD MALSH

Theory, Harmony, Composition
ELLA R. MOYER. B.S.. M.A.

Band and Orchestra
EDWARD P. RUTLEDGE, B.S.. M.A.

Department of 3ttusic

Miss Mary E. Gillespie, B.S.

TV/TISS GILLESPIE began

■!-»•*• her college preparation at

Valparaiso University. Later she

attended Oberlin Conservatory

where she made a special study

of voice with 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.B.

TV/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

Tebcmon Valley (TolUge bulletin

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 Conservator}-. 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
position.

R. Porter Campbell, Mus.B.

~]\ /TR. 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
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 Avith 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 JItusic

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 perform-
ance of the Messiah in Denver, Colorado in 1915, he was requested
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 throughout
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 Na-
tional Opera Company, and New
York Stadium Concerts.

Xcbanon "Valle? (Tollege bulletin

Harold Malsh

TV/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. 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
M.A.

IV/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.

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department of 3ttusic

degree from the same institution. From 1920 to 1923 Miss Moyer 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 hefore coming to Lebanon Valley 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, M.A.

IV/TR. 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; continuing his work during Summer Sessions at
Teachers College, Columbia University, he received his M.A. degree
in 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, Farson, 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; 1926-1931. Sum-
mer Schools Instructor in
Music Education at Teachers
College, Columbia University.
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.

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Department of 3#usic

r I "* H E aim of Lebanon Valley College Conservatory is to teach
music historically 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, Violin, Organ, Cello, all the instruments of the Orchestra
and Band, 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 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.

MUSIC EDUCATION COURSE

For Training Supervisors and Teachers of Public School Music

This course has been approved by the State Council of Education
for the preparation of teachers and supervisors 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 Training) 5 2x/z

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

10 Tebanoit Valley (Tollcgc bulletin

Second Semester

Harmony and Melody (1) 3 3

Sight Reading (2) 3 1$4

Dictation (2) (Ear Training) 3 1J/2

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 V/2

Dictation (3) 3 V/2

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 lj4

Violin 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

Department of 3#usic 11

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
field.

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.

The senior class of the Music Education Course do their student
teaching in the Derry Township Schools, at Hershey, Pa. This work
is under the guidance of Mary E. Gillespie, Director of the Conser-
vatory; Dr. J. I. Baugher, and Esther Bingham, of Hershey Public
Schools.

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Xebcmon "Valley College bulletin 13

OUTLINE OF COURSES LEADING TO BACHELOR OF
MUSIC DEGREE

First Year Cred;t

Piano, Organ, Voice or Violin 2

Sight Singing 4

Sight Playing 1

Elementary 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

Psychology' and Child Study 3

Educational Psychology • • 3

Physical Education • • 2

"Is

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 Psychology 2

Physical 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 Playing 1

Choral Works 1

Language Elective ■ • 6

Principles of Education 3

Technique of Teaching 2

Physical Education 2

Senior Recital 4

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Xcbanon Valle? (TolUge bulletin 15

DESCRIPTION OF COURSES

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
harmony.

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
Counterpoint).

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

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

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Xebanon Valley College bulletin 17

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
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.

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 cf Mtusic 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 Pennsylvania.

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 well-
rounded and many-sided acquaintance with various musical
techniques.

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 S50.00, 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.