Serveur d'exploration sur William Byrd

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Back Matter

Identifieur interne : 000495 ( Main/Corpus ); précédent : 000494; suivant : 000496

Back Matter

Auteurs :

Source :

RBID : ISTEX:F91674073424445539A6D5BAF1B421F3215AE090

English descriptors


Url:
DOI: 10.2307/3385831

Links to Exploration step

ISTEX:F91674073424445539A6D5BAF1B421F3215AE090

Le document en format XML

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<meta-value> Visit America's Complete Music Store this summer. Among the unusual things to be seen at Lyon & Healy's during the World's Fair is the EVOLUTION OF THE PIANO with photos and Steinway Pianos; the Chickering Piano that stood in the Ford Theater in Washington, D. C., at the time of Abraham Lincoln's assassination. … TLe Cententerr Center dUSic NEW RHYTHM BAND April Fool Joke…………………………Vandevere …. On Valentine's Day. Vandevere…. Easter Chick's Parade……………….Vandevere…. For Lincoln's Birthday ………………Vandevere…. Three Cheers for Washington……Vandevere…. St. Patrick's Day in the Morning.Vandevere… American Patriotic Medley…………Vandevere . 50 50 .50 50 .50 .50 .75 CHICAGO with its many outstanding music schools, celebrated teachers and great musical organizations, is today regarded as the music center of America. Within this circle of musical learning is the parent-store of Lyon & Healy which for four generations has supplied teachers and supervisors with their musical needs. Don't miss visiting this famous store when you come to Chicago this summer. …. Any music, instrument or accessory you may require for next season's classwork, we can supply quickly and reasonably. Experienced salespeople are in attendance to help you. NEW CORNET COLLECTIONS Chappell's Famous Cornet Solos with Piano accompaniment, containing such numbers as Roses of Picardy, The World Is Wait, 1.00 ing for the Sunrise, etc…………………………… Ditson Album of Cornet Solos with Piano accompaniment, containing 14 well, known compositions such as A Dream by Bart, lett, At Dawning by Cadman, Carry Me .75 Back to Old Virginny by Bland, etc……… Check Over this List of NEW INSTRUMENTAL ENSEMBLES Finale-from Sonata Op. 10 No. 2-Wood wind Ensemble Ensemble l)ivertimento-Woodwind Adagio-From Brass Sextet-in String Quartet Op. 64 No. 5 Eb Minor in 4 parts Beethoven Beethoven Haydn Bohme Briegel Mozart Grieg Fibich FitzSimons Haydn Haydn Brahms Mendelssohn Tartini Elgar Arensky Rossini Mendelssohn Litolff Brahms Mozart Dohnanyi Borodin Borodin Ravel Scarlatti Haydn Haydn Haydn Respighi Beethoven Gal Reinstein Score, 75c - parts, 15c each Score, $1.50 - parts, 20c each Score, 35c - parts, 15c each Complete with score, $2.50$5-Score, parts, 50c each Price, with score, 50c Complete with score, 75c $1.50-score, sep. parts, 35c Price, score and parts, 75c Price, 75c Score and parts complete, $1.50 each Score, 40c-parts, each Score, 40c-parts, each Parts, 60c each Parts, 60c each Parts, 60c each Price, $1.75 Price, 50c Price, 90c Price, 40c Price, Price, Price, Price. Price, Price, Price, Price, Price, Price, Price, Price, Price, $1.80 $2.00 $9.00 $3.00 $2.40 $4.00 $3.75 80c $1.60 80c $3.60 $2.25 $2.70 60c 60c NEW SCHOOL MATERIALS Read.Easy Music Rack-for beginners in music study-$2.50 Extension Pedal-for beginners in class Piano work-$7.50 aid to the study of rhythm Rhyth-O-Phone-an Lyon & Healy Catalog of Musical Literature (New) Lyon & Healy Catalog of Harp Music (Just off press) Educational Phonograph Records Taps and Echo Taps-Bb Trumpet and 4 Trombones Divertimento No. 5-2 Clarinets & Bassoon Birdling-Woodwind Quintet OPERETTAS and O'Neill Days O Kerry Dancing-Paynter -$1.00 and Breitenbach In Old St. Louis-McLaughlin -$1.50 Prince of Peddlers-Clark and Treharne-$1.00 Chauntecleer-Robinson-60c. Poem-String Orchestra Pro-Art Ensemble Series-Selected compositions arranged for Brass Quartette-2 Volumes Largo Assai-From String Quartette Op. 74 No. 3 Minuetto-from Quartette Op. 76 No. 4String Quartette Lullaby-String Quartette Venetian Barcarolle-String Quartette Andante-String Quartette Romance-Bassoon & Piano The Cuckoo-4 Bb Clarinets Piano Una Voce M'Ha Colpito-Tuba Nocturne-From Midsummer Night's Dream -Quartette for 4 Horns Scholasticum-Vol. 4-String Orchestra Brahms Walzer-Op. 39-Quintet Quintet No. 6 in A Major 26 Quintet in Eb Minor-Op. First Quartette-String Quartette Second Quartette-String Quartette Quartette for Strings Suite-Piano Solo & Strings Quartette No. 10-Strings Quartette No. 14-C Major Quartette No. 12-B Major Quartetto Dorico-String Quartette Early Quartettes-Piano Quartette Viola, & Cello Serenade-Violin, Clarinet, Violin & Musik-Op. 34-Flute, Piano CHORUS COLLECTIONS Master Choruses-Mixed voices sacred-Selected by Ross, Smallman and Matthews-Voice $3.00 Edition, $1.00-Accompaniment, BOOKS and Art of A Cappella Singing-Smallman Wilcox-$2.00 Human Values in Music Education-Mursell $2.40 Grade School Music Teaching-Giddings-$2.00 Music in the Grade Schools-Gehrkens-$2.00 Check the items you wish-in any of the above lists-tear out this page and mail to the nearest Lyon & Healy Store. (Fill and Mail This Coupon) Lyon & Healy Please send to me, free of charge, the catalog indicated below: NEW LYON & HEALY HARP MUSIC CATALOGD LYON & HEALY MUSICAL LITERATURE CATALOGE CATALOG OF EDUCATIONAL RECORDS O Name …………………… Send to Lyon 6 Healy for Complete Music Material ONE ORDER * ONE BILL ? ONE POSTAL CHARGE LYON Wabash at Jackson CHICAGO I May, Thirty-four May, Nineteen Thirty-four & Q w HEALY 1007 Huron Rd. CLEVELAND Address I Page 45 Page 45 vvvvvvvvvvYvvvvvvvvVVVVVvvvvvvvvvvyV vvvvvvvvvvvvvyvvvvvvvvvvvvyVV vvv, VVV vvvvvVVV JUST PUBLISHED x CHAPPELL CONCERT FOLIO VOLUME TWO For Band or Orchestra Arrangedby EdgarRussellCarver This new and attractive Volumecontains fourteen numbers, consisting of two SymphonicOvertures, three Tone Poemand other equallyima Concert Paraphrases, VienneseWaltz Medley, Oriental Reverie, Dramatic pressive compositionsby variouscomposers. It is unquestionablyone of the greatest Band or Orchestra Folios published. The arrangementsare so devised that they may be played singly or by combiningany or all of the band and orchestraparts. Thisnew Foliowillbe a most valuableaddition to any library. Instrumentation this Volumeis the same as VolumeOne. of. ………………… …. ….Price PianoConductor.-…………….-$1.00 Each Part —————–. “ .50 CHAPPELL'S FAMOUS MELODIES ForPianoSolos, ViolinSolos, Duets, Trios, Quartettesand Ensembles BECAUSE BELLS OF ST. MARY'S, THE IN THE GARDEN OF TOMORROW 0 DRY THOSE TEARS ROSES OF PICARDY SONG OF SONGS, THE UN PEU D'AMOUR VESPERS ON THE NILE WHERE MY CARAVAN HAS RESTED WORLD IS WAITING FOR THE SUNRISE, THE Instrumentation Piano, ViolinA, Violin B, ViolinC, 2nd Violin, Viola, Cello, Bass. Price $1.00 Piano–…. ……….———————-.60 Parts, Each …–….–…-…….-….-.-“ String CHAPPELL'S FAMOUS MELODIES ForSaxophoneor ClarinetSolos, Duets, Triosand Quartettes Solo Eb Alto Saxophone or Eb Clarinet Solo Bb Tenor Saxophone or Solo Bb Clarinet 2nd Eb Alto Saxophone 2nd Bb Tenor Saxophone or 2nd Bb Clarinet 3rd Eb Alto Saxophone or Eb Alto Clarinet 3rd Bb TenorSaxophone or 3rd Bb Clarinet 4th Eb Alto Saxophone or Eb BaritoneSaxophone 4th Bb Tenor Saxophone or Bb Bass Saxophone 4th Bb Clarinet or Bb Bass Clarinet SAMEAS STRING ENSEMBLE CONTENTS Price 1.00 Piano —————————————————- $100 a Pa———ce EachPart .-.-.–.-….-….-…-.-….-….60 CHAPPELL'S FAMOUS CORNET SOLOS With Piano Accompaniments May also be used as Duets, Triosand Quartettesby the use of additionalcornet parts Cornet and Piano …-….——-.-.Price 2nd Cornet Part.“ 3rd Cornet Part” CONTENTSSAME AS FAMOUS MELODIES 3rd Cornet Part —.————————-. $1.00 50 .50 .50 4th Cornet Part .—.——-…. “ .50 INC. CHAPPELL-HARMS, INC. CHAPPELL-HARMS, AAAAAAAAAAAA May, Nineteen Thirty-four May, Nineteen Thirty-four AAAA 60 West 45th Street, 60 West45th Street, New York NewYork 3 AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA 47 Page Page 47 new! MASTER WOODWIND ENSEMBLE SERIES An Edition of Classic, Romantic and Modern Compositions by Famous Composers Arranged for new! CARL new! FISCHER EDITION OF EDUCATIONAL STRING ENSEMBLES Published at the request of prominent educators in accordance with a special plan to make the muchloved string quartets of in an Haydn available edition that will meet the needs of school musicians. The Following Movements from String Quartets by WOODWIND QUINTET (Flute, Oboe, 1st and 2nd Bb Clarinets and Bassoon, with augmentation to full woodwind choir, F Horn ad lib. Augmenting instruments may also be used as substitutes for deficiencies in the quintet.) By CHEYETTE& ROBERTS I Schubert Scherzo, Op. 166 …………. Rondeau ……………….Buononcini Score & parts $1.50 Parts @ .20 Score .50 II Humoreske, Op. 101, No. 7 ……Dvorak ……………….Hasse Two Dances. Score & parts $2.00 Parts @ .25 Score .75 III Finale from “La Reine” Symphony… H aydn ………………………. Menuet …………………….Bach Score & parts $1.50 Parts (.20 Score .50 IV Gossec Tambourine ………………. Knight Rupert ………….Schumann Score & parts $1.50 Parts @ .20 Score .50 V Minuetto, from “L'Arlesienne” Suite N o. 1 …………………….Bizet Score & parts $1.50 Parts @ .20 Score .50 VI Larghetto from 2nd Symphony……. ……………………. Beethoven Irish Folk Song Londonderry Air……. Score & parts $2.00 Parts @ .25 Score .75 VII Air Louis XIII ……………. hys New Year's Song …………Schumann Score & parts $1.50 Parts @ .20 Score .50 Copies on Approval ROSE OF THE DANUBE The Latest and Funniest Work of Those Two Seasoned Collaborators F. GEOFFREY MORGAN and ARTHUR A. PENN AN OPERETTA FOR SENIOR HIGH JOSEF HAYDN are now available in this special school edition (Two Violins, Viola and Cello) Largo Cantabile (from the String Quartet, Op. 9, No. 5) .75 Complete with Score ………… Score .35 Parts @ .15 Adagio (from the String Quartet, Op. 17, No. 1) .90 Complete with Score ………… Score .40 Parts @ .20 Finale-Adagio, Presto, Adagio (from the String Quartet, Op. 54, No. 2) .90 Complete with Score ………… Score .40 Parts @ .20 Each of the quartets is supplied with a brief and interesting biography of Haydn, in addition to very important notes on each movement. Copies on Approval $1.50 ARRELL DAVIS, attractive Hollywood cameraman, comes to the beautiful Danube kingdom of Eurolania for the Rose Festival. He finds the king in dire distress over the threat of conspirators to overthrow the monarchy. In the proverbial nick of time arrives Hollywood's biggest-and loudest-director, the great Percival McPipp, on vacation with his wife and daughter to recover from his latest super-feature. McPipp's decision to hire the population for a super-film nearly has fatal consequences when in the big scene the conspirators are discovered with lighted bombs in their possession. All ends well! The book is chock-full of side-splitting lines and the music is pleasantly Viennese. The conspirators (Sergius Popova, his right-hand man, Demetrius Doodledorf and his left-hand man, Trombonius Tootletop) are alone worth the price of admission. Orchestration & Stage Guide on Rental Copies may be had On Approval OXFORDPIANO COURSE SINGING AND PLAYING .75 FIRSTBOOK ………- .75 (These two books cover the first year of study) SECOND BOOK (normal2nd year) 1.00 THIRDBOOK (normal 3rd year).-………-. 1.00 FOURTHBOOK (normal 4th year)…………………… 1.00 BOOK FOR OLDERPUPILS…………. BEGINNER'S 1.00 (This book covers work in Singing and Playing and Firstand Second Books) TEACHER'S FIRSTMANUAL ……………. 2.00 rEACHER'SSECOND MANUAI 2.00 The All-Purpose Course SOMEof the reasonsfor the popularityof Oxford are these: the successful application of the “Song Approach”; carefully planned materials leading from book to book, not allowing the pupil's interest to lag; adequate provision for individual differences, permitting slow and quick pupils to continue together; the guarantyof a roundedpianismthroughvaried types and styles of the best in piano literature;the gradual introduction of harmony, form, etc.; emphasis on fluent sight reading and on creative practice and composition. [*C‘*“’”“yVk'lc Your Dealer, or CHICAGO: Kimball Hall .AKL *4y rl9nfcKj Niete Inco SCOOPER Thryf; SQUARE YORK Page 5z NEW May, May, Nineteen Thirty-four 252 Tremont Street: BOSTON aeS -t1 Introducedwith marked success I during the National / / Conference / Chicago / ii? . =>. r? / / / /I !r .?r t ?; 1 -, .i-; 11. -. .i i ‘“ Slta‘ (4*“e tE ?r -$ .t 7 / / and selected MELODIES of the classics [set with new and original I V novelties that are truly choruses lyrics. Two-part rare musical gems. ALONE DANCE, IN THE GLOAMING ….F. YE GYPSIES…Johannes Chopin Brahms COMBINATION of famous compositions for colorful and arrangements modern, instrumentalists rendition effective by young material in this new folio orchestral provides of the highest musical worth. Moderately easy. A LIGHT CAVALRY-Overture…Fr. von Suppe COME, LET US GO A-MAYING………. ………………………. Chr. W. Gluck DAINTY DAMOISELLE……………. ……………………. Luigi Boccherini Kawelo ALOHA………………….Ioane HARK! ARE THE VILLAGE BELLS RINGING ……………. Lefebure-Wely THE MILL WHEEL…….Walter E. Miles THERE ARE FAIRIES ON DANCING THE LAWN.Adapted by J. S. Zamecnik NOBODY KNOWS THE TROUBLE I'VE SEEN ……….Adapted by J. S. Zamecnik CRADLE SONG ……….Johannes Brahms SONG OF THE DANUBE… Johann Strauss THE SPRING IS HERE AGAIN……… ……………………….J. S. Zamecnik EMBLEM OF LIBERTY.,. Fr. von Suppe ELEGY OF THE SEA…. P. Tschaikowsky BOBOLINK …………….J. S. Zamecnik THE BOHEMIAN ……………………………. AMERICAN ……………… WHO GIRL-Selection…… M. W. Balfe NATIONAL AIRS-Selection… Compiled by J. S. Zamecnik ……………Fr. Schubert Fibich G. F. Handel P. Tschaikowsky by J. S. Zamecnik WOODS…… Johann Strauss H. Berlioz IS SYLVIA? POEM …………………….Zdenko MINUET-From THE SLEEPING “Berenice”…… BEAUTY. AIR.Arr. VIENNA LONDONDERRY TALES FROM THE ………………………… BALLET OF SYLPHS…………. COUNTRY GARDENS…………………. ……………….Adapted by J. S. Zamecnik MARCHE FANTASTIQUE …….Georges Bizet PRICE 60 CENTS PRICE, EACH PART, 50 CENTS PIANO ACC., $1.00 r Copiesavailable foi examination %h Take full advantage of our Special “Selection Service.” Our catalog includes a varied assortment of material for Orchestras, Bands, Glee Clubs, Choruses, Small Instrumental Ensembles (String, Woodwind, Brass, Saxophone, etc.) as well as other interesting items. Send for a complete “Selection” list. I I / Page 53 May, NinleteenThirty-four May, Nineteen Thirty-four Page 53 Papers and Addresses “preview” price for at the Chicago Conference This list affords an inviting Conference. (Pre-publication page 70.) of the Music Educators of the 1934 Yearbook National See coupon on now available to members. the volume Social Betterment Through Art, Ernest H. Wilkins, President, Oberlin College, Oberlin, Ohio. The New Culture and the New Era, Philip LaFollette, former governor of Wisconsin, Madison. The Relation of the Arts to the Purposes of Democracy, Alexander J. Stoddard, Superintendent of Schools, Providence, R. I. Fusion of Art Forces with Life, Frederick M. Hunter, Chancellor, Denver University, Denver, Colo. Education Through Music, from the School Viewpoint, C. H. Lake, Superintendent of Schools, Cleveland, Ohio. Education Through Music, from the General Viewpoint, Rabbi James G. Heller, Cincinnati, Ohio. The Value of Music in Education, Reverend D. F. Cunningham, Superintendent of the Archdiocesan Schools of Chicago. Music A Fundamental in Education (Address of Welcome), William J. Bogan, Superintendent of Schools, Chicago. Problems of Leisure, Lorado Taft, Chicago. The Conierence and the Leisure Time Program. Osbourne McConathy, Gien Ridge, N. J. Music and the New Leisure, Eugene T. Lies, National Recreation Association, New York City. Music and the New Leisure-Papers by: Mrs. Elmer James Ottaway, President, National Council of Women, First Vice-President National Federation of Music Clubs; August J. Pacini, Lions International; Mrs. William Arms Fisher, President, American Choral and Festival Alliance; Mayme E. Irons, repreNational Congress of Parents and Teachers; Harry F. senting Glore, Supervisor of Community Music, Recreation Commission, Cincinnati, Ohio. The Supervisor in Relation to Civic Agencies, Augustus D. Zanzig, National Recreation Association, New York City. The Integrated Educational Program, Will Earhart, Director ot Music, Pittsburgh, Pa. Response to Address of Welcome, Clarence C. Birchard, Boston. Our Conference, Walter H. Butterfield, Director of Music, Providence, R. I. The Sectional Conferences-“Our Problems and Our Progress.” Symposium by the Presidents of the Sectional Conferences: Laura Bryant (Eastern), Frances Smith Catron (Southwestern), Charles R. Cutts (Northwest), J. Henry Francis (Southern), Fowler Smith (North Central), Arthur G. Wahlberg (CaliforniaWestern). Psychology: The Foundation of Teaching, James L. Mursell, Professor of Psychology, Lawrence College, Appleton, Wis. Training School Music Teachers: The Story of a Questionnaire, Edna McEachern, State Teachers College, Upper Montclair, N. J. Musicology in the American University, Otto Kinkeldey, Cornell University, Ithaca, New York. Music in the Liberal Arts Program, Carl Bricken, University of Chicago, Chicago, Ill. Round Table Discussion led by Paul J. Weaver, Cornell University, Ithaca, N. Y. (Tests and Measurements) Research in Music Education, Jacob A. Kwalwasser, Professor of Music Education, Syracuse University. Music Research and Modal Counterpoint, Glen Haydon, Assistant Professor of Music, University of California, Berkeley A Brief Report of a Prediction and Guidance Program in School Music, Ruth Larson, Music Psychologist in the Public Schools, Rochester, N. Y. Research Applied to Creative Music and to Power with Rhythm and Rhythmic Notation, Will Earhart. The Influence of the Study of Musical Talent on Trends in Music Education, William S. Larson, Chairman of the Music Education Department, Eastman School of Music, Rochester, N. Y. An Experimental Study (of Intelligence, Music Talent and Music Achievement as They Influence the Music Program of the Junior High School), Mary Ethel Wise, Director of Music, Theodore Roosevelt Junior High School, Syracuse, N. Y. Music Supervision, Russell V. Morgan, Director of Music, Cleveland, Ohio. The Function of Research, John W. Beattie, Acting Dean, School of Music, Northwestern University. The Function of Inspection, T. P. Giddings, Director of Music, Public Schools, Minneapolis, Minn. The Function of Teacher Training, Herman F. Smith, Director of Music, Milwaukee Public Schools. The Function of Guidance, John C. Kendel, Director of Music, Denver, Colo. The Function of Administration, George L. Lindsay, Director of Music, Philadelphia, Pa. W. Wright, Director of Music, Indianapolis, Ind.; Discussion-Ralph Fowler Smith, Director of Music, Detroit, Mich.; M. Claude Rosenberry, State Director of Music, Harrisburg, Pa.; Edith M. Keller, State Director of Music, Columbus, Ohio. Benefits in Speech and Appreciation of Language Derived from Training the Singing Voice, Marshall Bartholomew, Director of Yale Glee Club, New Haven, Conn. Voice Training as a Basis for High School Choirs, Alfred Spouse, Supervisor of High School Vocal Music, Rochester, N. Y. Senior High School Voice Training Classes, Frederick H. Haywood, Teacher of Voice, New York City. and Senior High School, Russell Carter, State Vocal Music-Junior Director of Music, Albany, N. Y. The Inclusive Chorus in the High School, Laura Bryant, Supervisor of Music, Ithaca, N. Y. M. Hosmer, State Normal School, After High School-What?-Helen Potsdam, N. Y. The Junior School Chorus, Kenneth G. Kelley, Supervisor of Music, Schenectady, N. Y. GENERAL TOPICS Elementary Choir, Ernest Ability Grouping in Music Education-The G. Hesser, Director of Music, Cincinnati, Ohio. The Elementary Choir-Its Organization and Administration, Howard N. Hinga, Supervisor of Elementary Music, Rochester, N. Y. The Development of Small Vocal Ensembles in the Junior High School, Lawrence Yingling, Winnetka, Ill. The Spirit of the Sixteenth Century Polyphonic Music, Reverend Edwin V. Hoover. Ensemble Writing by Contemporary American Composers, Jacob A. Evanson, Protessor of Cnorai Music, Western Reserve University, Cleveland, Ohio. Voice Problems in the Ungraded School, Irene L. Schoepfle, Santa Ana, Calif. The Development of Small Vocal Ensembles in the Senior High School, Marian Cotton, New Trier Township High School, Winnetka, Ill. Small Vocal Ensembles in the Large City System, Russell V. Morgan. Determining a Fair Balance Between Music Reading and Skills and Social and Recreational Singing, Margaret Taylor Shepard, Supervisor of Music, Riverside, Ill. Higher Standards for the School Orchestra, George Dasch, Conductor, Chicago Little Symphony Orchestra. The Place of the Band in the Making of a Musical People, Lee M Lockhart, Supervisor of Instrumental Music, Pittsburgh, Pa. Some Aspects of the Marching Band, Mark H. Hindsley, Supervisor of Instrumental Music, Cleveland Heights, Ohio. Community Service Through Instrumental Music, William D. Revelli, Supervisor of Instrumental Music, Hobart, Ind. Materials and Equipment for the Instrumental Class, LaVerne Irvine, Westchester, Pa. Instrumental Music in Elementary Schools, Helen M. Hannen, Supervisor of Music, Cleveland, Ohio. Problems of Class Instruction from the Teaching Standpoint, Lena Milam, Beaumont, Tex. Organization of Free Classes, Fowler Smith, Detroit, Mich. Organization of Tuition Classes, Sherman Clute, Rochester, N. Y. Violin Class Teachers, Wilfred Schlager, Demonstration-Cooperative Kansas City, Mo. Class Piano Instruction, Rudolph Reuter, Chicago. Music Theory in the High Schools (Introduction), Francis Findlay, Director Public School Music Department, New England Conservatory of Music, Boston. Summary of the Final Report of the Committee on Music of the Secondary Education Board, Peter W. Dykema, Teachers College, Columbia University. The Importance of Solfeggio as a Secondary School Subject, Melville Smith, Professor of Music, Western Reserve University, Cleveland, Ohio. Discussion-Karl INSTRUMENTAL MUSIC MUSIC THEORY IN THE HIGH SCHOOLS TEACHER TRAINING COLLEGE AND UNIVERSITY MUSIC J. Weaver, Head of Music Department, Cornell University, Ithaca, N. Y.; Peter W. Dykema, Teachers College, Columbia University; M. H. Rusch, State Teachers College, Milwaukee, Wis. W. Gehrkens, Oberlin College, Oberlin, Ohio; Paul RESEARCH IN MUSIC EDUCATION How Music Appreciation May Function in the Leisure Time Movement, Geoffrey O'Hara, New York City. Music Appreciation as Applied to a Singing Lesson, Mabelle Glenn, Director of Music, Kansas City, Mo. Music Appreciation as an Integral Part of the Orchestra Progranm, George Dasch, Chicago. The Present Trend of Music Appreciation in Lower Grades, Lillian L. Baldwin. Director of Music Appreciation, Public Schools, Cleveland, Ohio. Three Years of Elementary Radio Music Instruction, Myrtle Head, Supervisor of Music, Cleveland, Ohio. Music Instruction by Radio, Louis Woodson Curtis, Director of Music, Los Angeles, Calif. Problems in Radio Music Education, Edgar B. Gordon, University of Wisconsin, Madison. An Outlook on Festivals and Contests, C. M. Tremaine, Director, National Bureau for the Advancement of Music, New York City. Philosophy and Practice of Adjudication, Sir Hugh Roberton, Glasgow, Scotland. Discovering and Developing Vocal Talent in the High Schools Through Contests, Thomas N. MacBurney, President, Chicago Council of Teachers of Singing. Constructive Comments from the Judge, Max T. Krone, Director, Arthur Jordan Conservatory of Music, Indianapolis, Ind. Keeping the Festival Vital and the Contest Educational, Frank A. Beach, Kansas State Teachers College, Emporia. The Importance of the Contest and Festival Management, Edgar B. Gordon. The Festival Contest, Adam P. Lesinsky, President of National School Orchestra Association, Whiting, Ind. Contests and Festivals in New England, Harry E. Whittemore, Sommerville, Mass. Contests and Festivals in Pennsylvania, M. Claude Rosenberry. Contests and Festivals in Iowa, Charles B. Righter, University of Iowa, Iowa City. Contests and Festivals in Ohio, Louis Pete, Ashland. Contests and Festivals in Kentucky, Mildred Lewis, University of Kentucky. Contests and Festivals in Colorado, John C. Kendel. High and Low Spots in Rural School Music, Ada Bicking, Arthur Jordan Conservatory of Music, Indianapolis. in Rural School Music, MarThe Normal School's Responsibility guerite V. Hood, State Supervisor of Music, Helena, Mont. The Relationship of Music in the Rural Schools to the Four H Movement, Catharine E. Strouse, Kansas State Teachers College, Emporia, Kan. Music Theory in the Rural Schools, Edith M. Keller. MUSIC APPRECIATION MUSIC INSTRUCTION BY RADIO MUSIC SUPERVISION FESTIVALS AND CONTESTS VOCAL MUSIC MUSIC IN THE RURAL SCHOOLS May, Nineteen Thirty-four Page 55 The National Music INTERLOCHEN, MICHIGAN Camp ORTUNATE, indeed, is the music student who spends one or more summers here amid the fragrant pines of the Michigan north woods! The best of music instruction (class and private lessons), daily orchestra, band and chorus rehearsals, weekly concerts under noted conductors, unexcelled facilities and equipment, with expert supervision in matters pertaining to recreation and health, provide a combination of music and outdoors, fine associations, work and play, that make for the utmost in musical, physical, mental, and spiritual development. Fortunate the student whose life is this enriched; thrice blessed the teacher, supervisor and parents who aid that student in securing such an experience! F Qualified high school students may enroll for the full 8-weeks term or for 4 or 2 weeks…. Excellent hotel for visitors.-plan come to Interlochen this summer for a few days, a week, or more. Write for program and full information. to 1934 Season: June 24-August THE FACULTY Piano: famous pianist and teacher. Guy Maier, internationally Stanley Fletcher, assistant to Mr. Maier Emil Heermann, Concertmaster, Violin: Cincinnati Symphony Orchestra Viola: Mikail Stolarevsky, fornier assistant solo viola, Cincinnati Symphony Orchestra Cello: Walter Heerman, assistant solo cellist, Cincinnati Symphony Orchestra Bass: Oscar Zimmerman, bassist Philadelphia Orchestra Flute: To be announced Oboe: Andre Andraud, oboist, Cincinnati Symphony Orchestra Clarinet: Marius Fossenkemper, solo clarinetist, Detroit Symphony Orchestra Bassoon: Vincent Pezzi, solo bassoonist, Rochester Orchestra Horn: Albert Stagliano, solo hornist, Detroit Symphony Orchestra Patee Evenson, trumpeter, Minneapolis Trumpet: Symphony Orchestra Trombone: Armand Ruta, solo trombonist, Cleveland Orchestra Tuba: Oscar Zimmerman, Philadelphia Orchestra Harp: Henry J. Williams, solo harpist, Minneapolis Symphony Orchestra Frank Tichy, former member, Cleveland Orchestra Percussion: Voice: Milan Petrovic, Professor of Voice, Cincinnati Conservatory of Music 19 Vladimir Bakaleinikoff, assistant conductor, CinConducting: cinnati Symphony Orchestra Ensembles: Burnet Tuthill, examiner, National Association of Schools of Music Theory: William Skeat, composer, Lansing, Mich. Instrument Classes: Arthur L. Williams, assistant Prof. of Public School Music, Oberlin College Band Arranging: of Bands, Harry F. Clarke, Supervisor Cleveland Schools Conductors: Vladimir Bakaleinikoff, Cincinnati Symphony Orchestra F. Melius Christiansen, Conductor St. Olaf Choir T. P. Giddings, Director of Music, Minneapolis Schools Edwin Franko Goldman, New York Howard Hanson, Director, Eastman School of Music A. A. Harding, Director, University of Illinois Bands Adam Lesinsky, Director of Music, Whiting Schools A. R. McAllister, Director Joliet High School Band Joseph E. Maddy, Prof. of Music, University of Michigan Charles O'Neill, Band, Director, Royal 22nd Regiment William Revelli, Director, Ralph Rush, Director of Cleveland Quebec Hobart High School Band Music, Glenville High School, 8 weeks, $250.00; 4 weeks, $125.00; 2 weeks, $75.00. Write for application forms and further particulars. Address until June 15, Box 606, Ann Arbor, Michigan. THE NATIONAL HIGH SCHOOL ORCHESTRA CAMP ASSOCIATION-A MICHIGAN NON-PROFIT CORPORATION. Joseph E. Maddy, President; Howard Hanson, Director; Thaddeus P. Giddings, Vice President; C. M. Tremaine, Treasurer. This advertisement contributed by an interested friend May, NieenTityfu_ae May, Nineteen Thirty-four Page 57 ?– Ensembles Interesting Instrumental THESE ARE particularly suited to the needs of the High School Supervisor. All of this material is obtainable on approval. If you will kindly send a list of the scores you desire to examine, we will gladly forward them to you immediately. - THE GALAMUSE LIBRARY INSTRUMENTAL Under the Editorship of A. WALTER KRAMER An entirely new series, which in its entirety will embrace every form of instrumental ensemble, including full orchestra and band. The first three numbers of this library have just recently been issued-they are No. 1 Chopin-FUGUE IN A MINOR Transcribed for string orchestra by A. Walter Kramer No. 2 Schumann-ANDANTINO from Sonata-Op. 22 Transcribed for string orchestra by A. Walter Kramer No. 3 Poldowski-SUITE MINIATURE Transcribed for flute, oboe, clarinet, horn and bassoon by Georges Barrere Nos. 1 and 2 are for Violins I and II, Viola, Cello and Bass, with a piano part in the score. The piano part is to be used only when especially desired. Edited by EDMUND H. FELLOWES Eight Short Elizabethan Dance Tunes, for Quintet or Small string orchestra ELIZABETHAN STRING MUSIC William Byrd FANTAZIA No. 1, for String Sextet or Small String Orchestra–(Two Violins, Two Violas and Two Violoncellos) FANTAZIA No. 2, for String Sextet or Small String Orchestra(Two Violins, Two Violas and Two Violoncellos) PAVAN AND GALLIARD, for Strings-(Three Violins, Viola and Two Violoncellos) Orlando Gibbons PAVAN AND GALLIARD, for String Sextet-(Two Violas and Two Violoncellos) Violins, Two Also, these may be obtained on approval: THE POLYCHORDIA STRING LIBRARY (More than 50 Albums in 5 grades) THE POLYCHORDIA STRING TUTORS (in 12 steps) THE OSTERLEY VIOLIN BOOK (for individual or class instruction) EASY FOR BOTH (A series of recreative pieces for piano and violinfor individual or group performance) GALAXY z?-M–May, Nineteen Thirty-four MUSIC CORPORATION ST., NEW YORK —Page 59 2 EAST 46TH “‘Voice-culture classes in the Senior High School have aroused much enthusiasm… That vocal training will be offered in every High School in America in the near future is the prophecy of many.”-Mabelle Glenn. I * ot1 nrsl-yedlar =0 uIre uuVya, u:iilig “This year I experimented with a class ur. l - Cr _-,e h;.sh, IIh r nI1II-CnIIuui :n th-Lite “The students preparing for the Cali_ 1;oe* orniLa, x +,c Iwt * estLern ” r“‘-,r - r-r n ionilerilence Pnorus a.11 i1 f lessons of Book I. The result was most surprising; in spite of their changing voices they sang well. And how proud enthused over the they were-just lessons!“ -Edith Marie Hoffman, James M. Coughlin High School, Wilkes-Barre, Pa. ”I find that classes show improvement sooner under this method than under any other I have tried.“ M. Martin, -Lorraine 203 Central Ave., San Francisco, Cal. ”The children and I are very enthusiastic about it. It is a splendid course, and will do a world of good for our youngsters.“ -Ida Edenburn, Music Supervisor, Columbus, Indiana. 1933 studied the lessons in the first book of Universal Song and learned two of the Sieber vocalises. The combined rehearsals and each daily rehearsal commenced with vocal drills for the improvement of the group in tone production and breath control.“ -Glenn H. Woods, Director of Music, Oakland, California. Frederick H. Hayuood “I am mnuch delighted with the new Universal Song Volume I. Including the Sieber exercises has made this volume even more valuable than before. The 75-cent price also is inmportant, making the studies miore available to the average student under present conditions.” -M. Beryl Childs, Reed Point, Montana. PURPOSE: To place in the hands of High School teachers a concise method of instruction embodying valuable information presentedin a practical working routine. THE COURSE complete, covers four seasons' work, each of 35 to 40 weeks. Universal Song is in three volumes (20 lessons each). with written examinations, one volume for each season. The fourth volume is Woodside's Style in Singing and Song Interpretation-an outline of study presenting step by step the essentials of effective song rendition. TEXT-BOOKS: Each student should have a copy of the text-book, UNIVERSAL SONG. The text-book is as essential to the successful teaching of this subject in classes as it is to the teaching of any other subject in which a text-book is used. ALL EXERCISES given in ensemble: All vocal drill should be conducted with the entire class, and little attention should be given the individual before the first solo test. Tliereafter no more should be given than can be without interfering with the work of the class. WRITTEN EXAMINATIONS are given at every fifth lesson (four each year). They ensure the understandingof the theory of the course by each student. Beginning with second examinations of first year study, each examination thereafter includes an individual singing test. This provides a practical basis for granting credits. SUPPLEMENTARY MATERIAL (Song Singing): Songs consistent with the constructive sequence of the lesson material are used throughout the course, beginning with the fifth lesson of the first terni. I ITr Page 63 May, Nineteen Thirty-four “Till TO We Meet Again!“ May We Present Our New Officers? H ERE are the new officers and board members of the M. E. E. A. (This stands for Music Education Exhibitors Association; we want you to become familiar with our initials.) They were elected at the annual meeting held in conjunction with the Conference. Any or all of them will be glad to have you write to them personally whenever you have ideas or suggestions which you think should be carried out by the M. E. E. A., or if you desire information about the Association. President-ARTHUR A. HAUSER, Carl Fischer, Inc., 62 Cooper Square, New York City. Vice-President-CHARLES E. GRIFFITH, Silver, Burdett & Co., 39 Division Street, Newark, N. J. GREENE, Sam Fox PubSecretary-Treasurer-LEONARD lishing Co., 158 West 45th Street, New York City. Board of Directors-NELSON M. JANSKY, C. C. Birchard & Co., 221 Columbus Avenue, Boston, Mass.; KARL SHINKMAN, York Band Instrument Co., 1600 Division Street, S. E., Grand Rapids, Mich.; HARRY T. FITZSIMONS, H. T. FitzSimons Publishing Co., 23 East Jackson Boulevard, Chicago, Illinois; JOSEPH A. FISCHER, J. Fischer & Bro., 119 West 40th Street, New York City. ALL MUSIC EDUCATORS of the National Conference, members of the Music Education Exhibitors Association wish to convey their appreciation for a wonderful time in Chicago. We enjoyed your hospitality. It was a pleasure to have you with us at the Cotillion. (And may we whisper in your ear, “Your dancing is divine!”) Returning to our desks, all of us feel a combined sense of elation and responsibility. It is a very stirring thing to feel the enthusiasm of a National Conference. We know that educators and exhibitors alike attend these meetings for purposes of serious accomplishment. But the most inspiring and lasting part of the Conference is its spirit. Your good cheer and fellowship when you visited our displays brightened every corner of our work-a-day world. More of you came to see us this year than we expected even in our most hopeful mood. The arrangements made on the program for visiting exhibits were very much appreMany thanks! Both individually and as nmembers of the Exhibitors Association, we accept the responsibility which your continued good will places upon us. ciated. Greetings to the New Conference Officers! the new officers of the Music Educators National Conference, we extend our cordial greetings and our best wishes for their administration. We pledge our co6peration during the conling years. O 1T Plans for Next Year and directors of the M. E. E. A. are already making plans for the swing around the circuit at the Sectional Conferences next year. President Hauser has called a meeting for early in May at which arrangements will be discussed. The purpose will be to make it as convenient and as economical as possible for every exhibitor to attend most, if not all, of the Sectional meetings. Watch for detailed announcement early in the fall. FFICERS Observe This Symbol -USIC EDUCAT, O- NLY REGISTERED MEMBERS of the M.E.E.A. are permitted to use the official emblem of the Association. It distinguishes firms dealing in educational 5, music and merchandise who have agreed to co6perate in working for the best b interests of the Conference. Look for it in the advertisements published in the official s;rt Members of the M.E.E.A. are urged to use it wherever possible. They JOURNAL. bind themselves to advance the cause of the Conference at all times and to observe the highest principles of friendly service and fair dealing. Supervisors Journal 1O Page 66 Page 66Music Music SupervisorsJournal IN THE LiME LIGHT of POPULARITY EVER before, in the history of the world, have musicians had so great an opportunity to win nation-wide popularity. In the so-called good old days, audiences were limited to the hundreds who packed about the bandstand or the thousands who could be seated in a concert hall. Today, the microphone carries the magic of their music to untold millions-and outstanding performances can win nation-wide fame with the turn of a dial. Every day new favorites are coming into prominence and old reputations are being enhanced. With it all there is a sweeping trend toward Conn instruments with their outstanding improvements. Successful artists have learned the folly of handicapping their performance with anything less than the best. Try a late model Conn NOW at your dealer's. Or write us for latest literature. Mention instrument. C. G. CONN, Ltd., 612 Conn Building, Elkhart, Indiana WHEN 3 DAYS EQUAL6 YEARS-Here's the Ingeniousdevice that's used to find out just how much and clarinetspringswill Connsaxophone punishment botholdtype and new, were of stand.A number springs, backand forth at the rate placedon test and oscillated 5 of 40,000an hourwitha movement timesgreaterthan calledforin actualuse. The old-typespringsbrokeafter stoo 1 Connsprings an hourormore.Thenew, improved the ordealfor 3 full days, without breaking, equal to morethan 6 years of actual playinguse. WE _0 OUR PA“ TWIN SAXESAND TWIN SAXOPHONISTS-You'veheard of TwinSixesbut the latestis twinsaxes.Meet the Bryantwins, Franklin Wallace, studentsin NorthSideHighSchool, and Fort Wayne, Indiana, who recentlybought two Conn 10M Tenor after trying all others.Incidentally thesetwo saxosaxophones othertwo or moreConninstruments the same of phones(or any model) are sure to be morenearlyidenticalthan Connscientific any twinsthat naturecan produce. methodsinsure eachinstrument beingan exact duplicateof the mastermodelwhichit reproduces in in everydetail-a perfection manufacture impossiblewitholdstyle, so-called“hand made” products. All Conn testimonials are guaranteed to be voluntary and genuine expres. sions of opinion for which no payment of any kind has been or will be made. THE ALKOF DETROIT-Aerodynamic autos are not the only big noise in the To motorear city. Quiteas biga sensation musiccircles LarryTeal, phenomenal in is star Benn Kyte'sOrchestra; MotorsBuildy broadcasting overWJRin the General Of daily tics ing. Cri go into ecstasiesoverLarry'stechnic, executionand tonal quality.They has that goes to makeup saxophonic say he I everything He perfection. plays a Conn tes and wri us underdate of February 1934:“Aftertryingall leadingmakes, I can 1, truthful say that thenewConnAltois by farthe bestinstrument haveeverplayed.” I Uy VICTOR SHARES who Newman, VICTORY-Guy is playsan 80AVictorConnCornet, the starsoloist of VeseyWalker's LegionBandof great American Milwaukee-Blatz Post No. 373. This band is a musicalunit that has won widerecogmagnificent state championships nition.Sevenconsecutive from 1927 to 1933, inclusive, and four nationalchamin pionships the last five yearsis a recordin competitionthat has few equals. I BAN D CON IN STRUM NT ENT S School Concert Course WILLIAM MILLER JohnMcCormick“ ”the American (Herman Devries in the Chicago American) and Henry Jackson HENRY JACKSON American Pianist In Joint Recital William Miller The Chicago Philharmonic Trio DorissWittich, pianist DorothaPowers, violinist Goldie Gross, cellist An establishedchambermusic ensemble of the highestmerit. Hansel and Gretel Humperdinck'sFairy Opera Goldie Gross Featuring a cast of distinguished opera singers Produced under the personal direction of Willard Rhodes This course of three concerts may be booked for the season 1934-35 at a price that is within your means. Dorotha Powers write further information, …. financingof school concerts and For suggestions regarding the I ILL RHODES 721 N. Michigan Ave. ILL. CHICAGO, Doiss Wittich Institute of PUBLIC i M Music Education RICHARD GRANT W. Director SCHOOL S and U I supervisors edeSlfaa C PENN STATESUMMER SESSION July2 to August 10 Reduced room, board and railroadrates. Wide variety of courses for teachers and supervisors of music. Voice, Piano, Organ, Violin, Theory, Harmony, School Music, Orchestra Conducting, Band Conducting, Class Instruction, Music Appreciation, Sight Singing. Excellent opportunity to learn recent developments in teaching methods and materials. Graduate courses in Voice, and Free Composition for teachers seeking new stimulus. Special courses for Directors of Bands and Orchestras. All work state approved as applicable toward certificate or degree. For illustrated bulletin descriptive of the forty courses in this institute for teachers amc3 tmet i I I L CARNEGIE INSTITUTE A i OF TECHNOLOGY … SIX WEEKS … JUNE 22 TO AUG. 3 * Carnegie offers three comprehensive music courses: (1) Graduate work for the Master's degree (2) Undergraduate work, and (3) Instrumental or Vocal Work. Each course covers a broad range of subjects, vital to all professional musicians. * Two prominent guest instructors have been added to the regular faculty: Prof. Morten J. Luvaas of Allegheny College and Dr. James L. Mursell of Lawrence College. * Carnegie's nationally known Drama School offers courses in Play Production, Diction, Stagecraft and Aesthetic Dancing. Other departments offer courses in Psychology, Education, Fine and Applied Arts. * For catalog, address Box C-Summer Session, Carnegie Institute of Technology, Pittsburgh, Pa. Address Director of Summer Session THE e PENNSYLVANIA II STATE COLLEGE STATE PA. COLLEGE, May, Nineteen Thirty-four Page 7r </meta-value>
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