Everybody's Little History of Music
Identifieur interne : 000A94 ( Istex/Corpus ); précédent : 000A93; suivant : 000A95Everybody's Little History of Music
Auteurs :Source :
- Music educators journal [ 0027-4321 ] ; 1938-10.
English descriptors
- Teeft :
- Accomfor baritone voice piano, Accompanieach song, Album ballad, American cance, Approval copies, Arts colleges, Associcorate editor, Aural training, Author paniment, Book advanceon music, Book books, Bridal chorus, Cantata harvest caravans, Cantatas operettas, Carl sixfischer, Cents books, Cents repertory, Certain sections, Certification requireclose, Cessive ranges minutes, Chapter warrants especial consideration, Charles abeth barrett, Choral, Choral groups, Choral music woodwind ensembles, Choral paper church, Chorus voice parts, Christopher price, Classroom equipment, Collection items, College music courses, College programs, College students, Color principle illustrations, Columbia university, Complete catalog, Complete program piano, Continuous process, Contrapuntal hearing, Contrapuntal ments, Contrast tionships notes, Conventional performin voice parts, Critical analysis, Cultural adear training, Cumbersome notes, Curof school, Curriculum content, Daily companies, Degree curriculum education, Depaul university school, Dieges clust, Different curriculum patrepresenting tern, Different degrees, Divergent tables, Dominican republic, Earedited laforge, Easy arrangements, Easy parts, Eden cantata spirits, Edna mceachern, Education riculum music teachers, Educators teachers, Eduof school music teachers, Eduschool music, Everyone chapters, Excellent study, Exin character, Famous ones, Favorite songs tion, Final analysis, Fine music endeavors, First chorus book, First imvancement, Folk hymns morris buchanan, Fourcontains material, Franklin chorals, Full information, Full treatment, George dasch, Godard thomas, Grave need, Harvard university, High quette, High school, Higher degree, Higher school music teachers achievement levels, Hugo leichtentritt, Illinois fournew franklin choralbooks repertory franklin, Important phase, Institutionsand evaluation, Irene haynes, Irving cheyette, John powell, John street, Junior grades, Latter lists, Liberal teachers universities, Little history, Major objectives, Male voices, Many organizations, Massachusettsll chicago, Maximum effect, Metropolitan edition, Mezzo2 basses, Middle ages, Minimum enthe need, Modifications changes gested practice, Moments notice, Much history, Multiple tone lines, Music conservatories, Music corp, Music education, Music educators journal, Music makers, Music opera departments, Music problem, Music profession, Music pubfellowships, Music publishers, Music reviews, Music schools, Music subjects, Music teachcoiperating, Music work, Musical accomplishment, Musical education, Musical instrument, Musical progress, Native ability, Need trance requirements, Newspapers music societies, Occasional work, Optimistic note conthe status, Orchestra music, Orchestra music pestival program, Orchestration ment, Other folk tunes, Other sections, Other york, Patriotic spirituals, Period involvthrough, Physical conditions, Piano accompaniments, Pierre pierre music yearbook, Present articulation practice, Present pracof school music tice, Probst edirevised, Professional musicians, Professional teaching, Program classes, Proper voice range, Provisional program, Real contribution, Relathey offer variety, Reviews work, Rienzi chorus, Rimsky korsakoff, Robert opera, Roman overture, Roman sailors, Russell ditson, Scholarly style, School children, School music curriculum, School music education, School music teachbe, School music teachers, Scopethe procedure, Score violin, Second book, Second chorus comm, Second tenor, Secular hymns, Secular program christmas, Semester information, Significant tables, Signifihistory ground, Silver burdett mcconathy, Similar detail, Simpler combinations, Sional musicians, Sofor solos, Song collections, Song collections pive folk songs, Special occasion, Spencer performance, Standplishment ards, State boards, States cobperated, Steady increase orchestras, Students notes, Students others, Subject mastery matter, Such growth, Sugschool music teachers, Superior educators, Superior music school, Teacher education, Teaching techniques, Text hancock voices, Total semester morehours, Training course, Treble voices, Tremont street, Trust funds, Tution types, Understanding music, Unique features, Unique work, Various books, Various instipractices, Various sections, Victor bergby ella, Vocal numbers, Wabash avenue boston, World origin.
Url:
DOI: 10.2307/3385356
Links to Exploration step
ISTEX:42582B7C0EEAE879C6519E7B598C31873659C08ELe document en format XML
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CORP.</json:string><json:string>Harvard University</json:string><json:string>Canada, Cuba, the Dominican Republic, and Mexico</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>Russell Ditson</json:string><json:string>G. 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<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3385356</article-id><article-id pub-id-type="publisher-id">10.2307_3385356</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Everybody's Little History of Music</article-title></title-group><pub-date pub-type="ppub"><month>10</month><year>1938</year></pub-date><volume>25</volume><issue>2</issue><fpage>62</fpage><lpage>63</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Reviews</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Book BOOKS A Survey and Evaluation of the Education of School Music Teachers in the States. United By Edna Mc Eachern. Teachers Col[Bureau of Publications, 1937, pp. 183.] lege, Columbia University, this study, as stated by The purpose' of is “to the author in the Introduction, make a critical analysis of present pracof school music tice in the education it (1) by and to evaluate teachers, criteria validated by a jury of superior music of school educators teachers, needs (2) by the expressed professional in the field. of school music teachers in 39 One hundred and fifty institutions different states cobperated in this survey All of the institutionsand evaluation. liberal teachers universities, colleges, and conservatories-offer arts colleges, for the a four-year degree curriculum education of school music teachers. The material of the study is presented in five chapters respectively dealing with (1) problem, purpose, and scopeindicating the procedure used in securofing the data; (2) critical analysis present practice in the 150 cooperating institutions-this including administration, curriculum content, problems, and trends in the education of school music teachers; (3) evaluation of data in terms of criteria validated by a jury of 32 (4) in terms of the superior educators, needs of 370 professional expressed and (5) sugschool music teachers, of and modifications changes gested practice whereby programs for the edumay cation of school music teachers more adequately meet present-day needs. That there is grave need of” changes in teacher education and modifications “programs is evidenced in every page of Data and this very excellent study. the widely divergent tables showing in the various instipractices prevalent tution types are presented. One of these significant tables gives the following” The range in semester information: hours in required music subjects in the school music curriculum in the 150 inis from 24 to 106, or from stitutions 19.1 to 86.8 per cent of the total semester Morehours required for graduation. “over, the study shows that seven different degrees are given in school music education by 148 institutions: B.A., B.E., B.F.A., B.M., B.M.E., B.S., B.S.M., each a different curriculum patrepresenting tern and varying greatly in the amount of credit allowed music subjects. On the subject of the most effective means of raising the level of teacher education, Miss Mc Eachern emphasizes minimum enthe need for establishing in music, the need trance requirements for testing of native ability and accomin effecting improved standplishment ards in college programs, and the need between articulation high for closer Such school and college music courses. would obviate the present articulation practice of giving college questionable credit for music work which should be done in the high school. properly Also she recommends extending the curof school for the education riculum music teachers to five years. An effective this, she avers, way of accomplishing is through extended certification requireclose which should necessitate ments, cooperation between state boards of eduof school music cation and educators teachers. Further, the author believes that the selection of school music teachbe a continuous process ers should period involvthrough the preparatorying (1) admission of only those students who possess qualities that bespeak success; (2) admission of those who possess and Music Reviews music and their critics, newspapers music societies, foundations, trust funds, musicians' aid, composers, competitions, music pubfellowships, commissions, local foreign managements, lishers, a listand festivals-including agents, Aing of the famous ones of Europe. artists closes directory of professional the book. Commenting editorially in the Preface, Mr. Key sounds an optimistic note conthe status of music in the cerning he points United States. Particularly, in symphony to the steady increase orchestras and choral groups, and to the rising response given aesthetically fine music endeavors. He finds a highly factor for our musical encouraging future in the interest of school children of opportunities to avail themselves to sing or play some musical instrument. that difficulties are Though conceding being experienced by certain sections of this country, as well as by a good many music makers, Mr. Key says, “Any surmust vey of nation-wide proportions take account of what prevails for the number. greatest good of the greatest It is on this basis that the findings of what is happening musically discloses more of a plus order than a minus order.” Contrapuntal Ear Training. By Irving [Fitz Simons: Gingrich. pp. 127, clothbound, $ 2.50.] An advanced course for music schools and colleges. A unique work; no other like it available. Not a textbook on counterpoint but a training course in contrapuntal hearing, designed to assist the student to hear gradually multiple tone lines by beginning with the simpler combinations and progressing to the more complex. Part I deals with two-voice counterpoint in the five species, and Part II presents three-voice work based on the preceding two-voice exercises. Purpose and procedure are explained in the Introduction, following which classroom equipment is described. Whether the student wishes to study for the profession or for cultural adear training is of first imvancement, portance to his development, the ear being, after all, the only medium of music. This book should, therefore, represent a real contribution to musical education. Serious of its application is highly recommended principles for increased developing of understanding music and for ensuring a higher degree of musicianship to all who seek such growth. Mr. Gingrich is professor of aural training at De Paul University School of Music, Chicago. Little History of Music. Everybody' s By Hugo Leichtentritt. [Associated Music Publishers, Inc., pp. 61, 60 cents.] Here is a very much worth-while history of music in a vest-pocket edition. It covers two thousand years of musical progress beginning with tho music of and of the Middle Ages and antiquity continuing through a discussion of music in America. Written in simple yet scholarly style, the book, in its eighteen to everyone chapters, makes accessible interested in music the facts regarding progress and change in the art throughout the centuries. This is accomplished without the inclusion of cumbersome notes and details. the book is recommended Therefore, as a source of information for amateurs, and as an introduction to the history of music for high school, conservatory, and college students, as well as for professional musicians. When used as a text- of subject mastery matter, teaching techniques, personality; (3) graduation of only those who are able to meet an agreed standard of musical accomplishment. In planning a curriculum for the education of school music teachers, Miss Mc Eachern suggests three major objectives: training for musicianship, provision for a liberal and education, education for professional teaching. she outlines a four-year Accordingly, curriculum to accomplish these ends. that there may be However, realizing differences of opinion regarding her entire “Provisional Program for the Education of School Music Teachers,” as set forth in Chapter V, the author believes, that the program “should nevertheless, and if e n c o u r a g e experimentation, adopted, leave a residue of tested practice which may carry the education of to still higher school music teachers achievement levels.” Certainly, the chapter warrants especial consideration by this in improving all those interested important phase of music educahighlytion. In conclusion, the author indicates that the data presented in the study are of two types, objective and subjective. Therefore, it follows that “It is quite possible to set up a program for the education of school music teachers which is mechanically correct and yet which to realize ultimate fails completely Thus values in school music education. the letter of the law may be fulfilled but the spirit be lacking. In the final analysis the education of school music teachers is primarily concerned with evoking the spirit of music. The mechanics of school music education are merely a means of physical conditions whereby controlling this end may be best accomplished.” Seven pages of the book are devoted to the Bibliography. Following this are Appendixes A, B, C, D, and E, in which full information is given concerning the institutions and music teachcoiperating ers, and the facts of securing the data. Pierre Pierre Key' s Music Yearbook. V. R. Key, editor; Irene Haynes, associ Corate editor. I Pierre Key Publishing An 1938, pp. 495, $ 3.00.] poration, book for profesreference invaluable m u s i c educators, sional musicians, and all of music, publishers, students others engaged in, or connected with, the music profession or trade. In a most way, the book covers the comprehensive musical scene in the United States, and, to some extent, that of Canada, Cuba, the Dominican Republic, and Mexico. The full treatment given the various sections of the volume may be exemplified by citing the section devoted to orchestras - professional, semiprofessional, and amateur. Under this heading, one finds listed alphabetically by state not only the names of the many organizations of this type now existing, but also information concerning the number of players, names of officials and conductors, number of concerts per season, soloists engaged, if any. and professional In the United States, it is encouraging states have between to note, forty-four them some 280 such symphonic organizations. Upon comparing these figures with those of the 1935 volume, we find states that the latter lists thirty-six with some 180 orchestras. Treated in similar detail, other sections of the 1938 book include information on music conservatories, college and music opera departments, university choral organizations, daily companies, Page 62 Music Educators Journal Book BOOKS A Survey and Evaluation of the Education of School Music Teachers in the States. United By Edna Mc Eachern. Teachers Col[Bureau of Publications, 1937, pp. 183.] lege, Columbia University, this study, as stated by The purpose' of is “to the author in the Introduction, make a critical analysis of present pracof school music tice in the education it (1) by and to evaluate teachers, criteria validated by a jury of superior music school of educators teachers, needs (2) by the expressed professional in the field. of school music teachers in 39 One hundred and fifty institutions different states cobperated in this survey All of the institutionsand evaluation. liberal teachers universities, colleges, and conservatories-offer arts colleges, for the a four-year degree curriculum education of school music teachers. The material of the study is presented in five chapters respectively dealing with (1) problem, purpose, and scopethe procedure used in securindicating ofing the data; (2) critical analysis present practice in the 150 cooperating administrainstitutions-this includingtion, curriculum content, problems, and trends in the education of school music teachers; (3) evaluation of data in terms of criteria validated by a jury of 32 (4) in terms of the superior educators, needs of 370 professional expressed and (5) sugschool music teachers, of and modifications changes gested practice whereby programs for the eduof school music teachers may cation more adequately meet present-day needs. That there is grave need of” changes in teacher education and modifications “programs is evidenced in every page of Data and this very excellent study. the widely divergent tables showing in the various instipractices prevalent tution types are presented. One of these significant tables gives the following” The range in semester information: hours in required music subjects in the school music curriculum in the 150 inis from 24 to 106, or from stitutions 19.1 to 86.8 per cent of the total semester Morehours required for graduation. “over, the study shows that seven different degrees are given in school music education by 148 institutions: B.A., B.E., B.F.A., B.M., B.M.E., B.S., B.S.M., each a different curriculum patrepresenting tern and varying greatly in the amount of credit allowed music subjects. On the subject of the most effective means of raising the level of teacher education, Miss Mc Eachern emphasizes minimum enthe need for establishing in music, the need trance requirements for testing of native ability and accomin effecting improved standplishment ards in college programs, and the need between articulation high for closer Such school and college music courses. would obviate the present articulation practice of giving college questionable credit for music work which should properly be done in the high school. Also she recommends extending the curof school for the education riculum music teachers to five years. An effective this, she avers, way of accomplishing is through extended certification requireclose which should necessitate ments, cooperation between state boards of eduschool music of cation and educators teachers. Further, the author believes that the selection of school music teachbe a continuous process ers should period involvthrough the preparatorying (1) admission of only those students who possess qualities that bespeak success; (2) admission of those who possess and Music Reviews music and their critics, newspapers music societies, foundations, trust funds, musicians' aid, composers, competitions, music pubfellowships, commissions, local foreign managements, lishers, a listagents, and festivals-including Aing of the famous ones of Europe. artists closes directory of professional the book. Commenting editorially in the Preface, Mr. Key sounds an optimistic note conthe status of music in the cerning he points United States. Particularly, in symphony to the steady increase orchestras and choral groups, and to the rising response given aesthetically fine music endeavors. He finds a highly factor for our musical encouraging future in the interest of school children of opportunities to avail themselves to sing or play some musical instrument. that difficulties are Though conceding being experienced by certain sections of this country, as well as by a good many music makers, Mr. Key says, “Any surmust vey of nation-wide proportions take account of what prevails for the number. greatest good of the greatest It is on this basis that the findings of what is happening musically discloses more of a plus order than a minus order.” Contrapuntal Ear Training. By Irving [Fitz Simons: Gingrich. pp. 127, clothbound, $ 2.50.] An advanced course for music schools and colleges. A unique work; no other like it available. Not a textbook on counterpoint but a training course in contrapuntal hearing, designed to assist the student to hear gradually multiple tone lines by beginning with the simpler combinations and progressing to the more complex. Part I deals with two-voice counterpoint in the five species, and Part II presents three-voice work based on the preceding two-voice exercises. Purpose and procedure are explained in the Introduction, following which classroom equipment is described. Whether the student wishes to study for the profession or for cultural adear training is of first imvancement, portance to his development, the ear being, after all, the only medium of music. This book should, therefore, represent a real contribution to musical education. Serious of its application is highly recommended principles for increased developing of understanding music and for ensuring a higher degree of musicianship to all who seek such growth. Mr. Gingrich is professor of aural training at De Paul University School of Music, Chicago. Little History of Music. Everybody' s By Hugo Leichtentritt. [Associated Music Publishers, Inc., pp. 61, 60 cents.] Here is a very much worth-while history of music in a vest-pocket edition. It covers two thousand years of musical progress beginning with tho music of and of the Middle Ages and antiquity continuing through a discussion of music in America. Written in simple yet scholarly style, the book, in its eighteen to everyone chapters, makes accessible interested in music the facts regarding progress and change in the art throughout the centuries. This is accomplished without the inclusion of cumbersome notes and details. the book is recommended Therefore, as a source of information for amateurs, and as an introduction to the history of music for high school, conservatory, and college students, as well as for professional musicians. When used as a text- of subject mastery matter, teaching techniques, personality; (3) graduation of only those who are able to meet an agreed standard of musical accomplishment. In planning a curriculum for the education of school music teachers, Miss Mc Eachern suggests three major objectives: training for musicianship, provision for a liberal and education, education for professional teaching. she outlines a four-year Accordingly, curriculum to accomplish these ends. that there may be However, realizing differences of opinion regarding her entire “Provisional Program for the Education of School Music Teachers,” as set forth in Chapter V, the author believes, that the program “should nevertheless, and if e n c o u r a g e experimentation, adopted, leave a residue of tested practice which may carry the education of to still higher school music teachers achievement levels.” Certainly, the chapter warrants especial consideration by this in improving all those interested highly important phase of music education. In conclusion, the author indicates that the data presented in the study are of two types, objective and subjective. Therefore, it follows that “It is quite possible to set up a program for the education of school music teachers which is mechanically correct and yet which to realize ultimate fails completely Thus values in school music education. the letter of the law may be fulfilled but the spirit be lacking. In the final analysis the education of school music teachers is primarily concerned with evoking the spirit of music. The mechanics of school music education are merely a means of physical conditions whereby controlling this end may be best accomplished.” Seven pages of the book are devoted to the Bibliography. Following this are Appendixes A, B, C, D, and E, in which full information is given concerning the institutions and music teachcoiperating ers, and the facts of securing the data. Pierre Pierre Key' s Music Yearbook. V. R. Key, editor; Irene Haynes, associ Corate editor. I Pierre Key Publishing An 1938, pp. 495, $ 3.00.] poration, book for profesreference invaluable m u s i c educators, sional musicians, and all of music, publishers, students others engaged in, or connected with, the music profession or trade. In a most way, the book covers the comprehensive musical scene in the United States, and, to some extent, that of Canada, Cuba, the Dominican Republic, and Mexico. The full treatment given the various sections of the volume may be exemplified by citing the section devoted to orchestras - professional, semiprofessional, and amateur. Under this heading, one finds listed alphabetically by state not only the names of the many organizations of this type now existing, but also information concerning the number of players, names of officials and conductors, number of concerts per season, soloists engaged, if any. and professional In the United States, it is encouraging states have between to note, forty-four them some 280 such symphonic organizations. Upon comparing these figures with those of the 1935 volume, we find states that the latter lists thirty-six with some 180 orchestras. Treated in similar detail, other sections of the 1938 book include information on music conservatories, college and music opera departments, university choral organizations, daily companies, Page 62 Music Educators Journal supplementary book, however, be requiredtion will according for which purpose particular to the and according is used ment of the students. is lecturer Dr. Leichtentritt at Harvard University. informato the the book advanceon music AND CANTATAS OPERETTAS for mixed Cantata Harvest Caravans. text Hancock voices. Miles; By Russell Ditson: [Oliver pp. Cooper. by Charles for Ten seven numbers, 86, $ 1.00.] and one for men' s, two mixed voices, divoices. Certain for women' s parts no exin character; visi. Conventional Performin voice parts. cessive ranges minutes. Medium. thirty-five ance, for women' s Eden Cantata Spirits. text by Elizvoices. Wood; By Charles abeth Barrett [Birchard: pp. Browning. occasional two-part work, Mainly 32.] sofor Solos and threefour-part. and altos. Medium. pranos of Normandy. The Chimes By Planschool and for high quette, adapted J. Spencer performance by community and W. O. Robinson. Cornwall [Carl six Fischer: Two acts, pp. 100, $ 1.25.] 1 numibers. One baritone, teen musical 1 mezzo2 basses or baritones, tenor, 2 female 1 soprano, speaking soprano, inumber for choruses. parts, and optional the and time, Locale during Normandy XV. Medium. Requirereign of Louis on rental. Orchestration ment, 15 copies. VARIOUS BOOKS AND SONG COLLECTIONS Pive Folk Songs. Virginian By John Powell. [J. Fischer: pp. 37, 9 times 12, $ 1.25.] with accom For baritone voice piano asks that these The author paniment. than as a suip' rather songs be regarded of heterogeneous as a collection items; as to mode, key relathey offer variety in mood, feeling, and contrast tionships notes precede and balance. Explanatory attractive accompanieach song. Very in style. contrapuntal ments, and Collected of America. Folk Hymns Morris Buchanan. by Annabel arranged hymns Fifty [J. Fischer: pp. 94, $ 1.25.] and backmodes on their notes with and and their signifihistory ground, music and hymnody. in American cance the tunes of old world origin, Though from seventeen were obtained and texts as to Maine from California, states for the south. Adapted well as from Durable use. or choral paper church bound. attractively cover, Four. Volume of Song. Pathways and translated, C o m p i led, arranged, and Will Earedited La Forge by Frank and low voice, pp. hart. high [Witmark: songs by each.] Twenty-six 64, $ 1.00 Handel, Grieg, Debussy, Caldara, Bach, and Strauss, Schumann, Haydn, Schubert, all prefolk as several as well songs, For students notes. ceded by program classes of voice in studios, and teachers is voice and wherever in high school, Medium. Piano accompaniments. studied. their aim have achieved The compilers of a of proportion great including and comparatively unhackneyed worthy songs. of Verdi' s Aida. The story greatest and Lawrence by Robert opera adapted Bur Bart. illustrated [Silver by Barry 60 cents.] dett: clothbound, 42, pp. of the Metropolitan edition Authorized format. attractive Inc.; Guild, Opera musical Color principle illustrations, Suited and suggested recordings. themes, in the classes for use in appreciation intermediate high through junior grades as well as for study preparatory school, the Metropolitan to attending performto the broadcasts. or listening ances, First Chorus Book for Boys. Compiled and J. Victor Bergby Ella M. Probst edirevised pp. 68, [G. Schirmer, quist. favorite songs Forty-four $ 1.00.]tion, for four in easy parts: arrangements first and second first and second tenor, in Contests Regional Are entitled to wear the medal of honor for Classes A, B and C in Band, Orchestra, Marching and Vocal. Send for samples of these medals. When you see their beauty you will not fail to purchase them for your winners. DIEGES & CLUST 17 John Street NEW YORK, N. Y. 73 Tremont Street 185 N. Wabash Avenue BOSTON, MASSACHUSETTSll CHICAGO, ILLINOIS FOURNEW FRANKLIN CHORALBOOKS THES.A. REPERTORY FRANKLIN TWO-PART of CHORALS FOR HIGH AND LOW TREBLE VOICES Arranged by Christopher O' Hare Price 60 cents THES.S.A. REPERTORY OF FRANKLIN THREE-PART CHORALS FOR TREBLE VOICES Arranged by Christopher O' Hare Price 60 cents THES.A.B. REPERTORY OF FRANKLIN THREE-PART CHORALS FOR MIXED VOICES Arranged by Christopher O' Hare Price 60 cents THET.T.B. REPERTORY OF FRANKLIN THREE-PART CHORALS FOR MALE VOICES Arranged by Christopher O' Hare Price 60 cents Books that help solve your music problem in a moments notice. Each book contains a varied assortment of material, some original and others selected from the Works of Masters, enabling you to meet the emergency of practically any special occasion. Proper voice range throughout. The maximum effect with the minimum of difficulty. Examine these books, send for approval copies or descriptive circular. Send for our complete catalog of choral music Outstanding works of the Masters: Beethoven-Mozart-Corelli-Tartini-Schubert-Schumann Dvorak-Tschaikowsky - Grieg- Franck- Rimsky Korsakoff- Godard - Thomas- Gluck- Volkmann complete catalog of Ensembles for Woodwinds or Brass will -Boccherini-Elgar-Lemare-Fibich-Our be sent upon request. Send for it. INEXPENSIVE-AUTHENTIC-INTERESTING WOODWIND ENSEMBLES KAY KAY PUB. 1658 AND MUSIC CORP., Broadway, York, New N.Y. a well-balanced The book offers bass. of both sacred and secular program Christmas including hymns, material, and patriotic spirituals, songs, songs, other folk tunes. For junior high school. Easy. Book for Boys. Second Chorus ComM. Probst and J. Victor piled by Ella [G. Schirmer, Inc., pp. 74, Bergquist. revised for junior Also $ 1.00.] edition, The Second Book contains high school. 58 songs in easy arrangements for four Contains material both part singing. in character: sacred and secular hymns, Christmas patriotic songs, spirsongs, and other folk tunes. ituals, Edited and arranged Keep on Playing. New by Irving Cheyette. [Paull-Pioneer, 75 cents; all other York; piano, books, 40 cents.] The unique features of this in the reviews work are mentioned published in the 1938 issue of the May, Journal under Song Collections. Orchestra Music and ORCHESTRA MUSIC Pestival All-Wagner Program. By Frederick A. Stock, and George Dasch, Osbourne [Silver Burdett Mc Conathy. of eight Company: complete program piano first numbers, $ 1.75; conductor, conductor' s score violin, for $ 1.00; Senta' s Ballad and Sailors' Chorus, Selections contained: $ 2.40.] Rienzi Chorus of Roman Overture, Soldiers, Album Senta' s Ballad and Sail Leaf, ors' Chorus, Prelude to Act I and Act III from Bridal Chorus. “Lohengrin,” For performance or by orchestra alone, and orchestra. by chorus Voice parts cued in instrumental also parts, published in octavo, 28 thirty-eight pages, cents. Vocal numbers: Chorus of Roman Senta' s Sailors' Soldiers, Ballad, October, Nineteen Thirty-eight Page 63 </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Everybody's Little History of Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Everybody's Little History of Music</title></titleInfo><typeOfResource>text</typeOfResource><genre type="review-article" displayLabel="review-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-L5L7X3NF-P">review-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1938-10</dateIssued><copyrightDate encoding="w3cdtf">1938</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1938</date><detail type="volume"><caption>vol.</caption><number>25</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>62</start><end>63</end></extent></part></relatedItem><identifier type="istex">42582B7C0EEAE879C6519E7B598C31873659C08E</identifier><identifier type="ark">ark:/67375/M70-NCP5BCKN-5</identifier><identifier type="DOI">10.2307/3385356</identifier><identifier type="ArticleID">10.2307_3385356</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/42582B7C0EEAE879C6519E7B598C31873659C08E/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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