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The Philadelphia Conservatory of Music

FOUNDED, 1S77 Aiahi School INCORPORATED, 18S4 Branch School

216 South Twentieth Street The Rittenhouse, 52 East Lancaster Ave.

Philadelphia 3, Penna. Ardmore, Penna. Telephone, LOcust 7-1877

WiLLEM EzERMAN, President Allison R. Drake, Dean

Maria Ezerman Drake, Director

Catalogue 1955-1956 SEVENTY-NINTH SEASON

Mary V. Hagerty Alice E. Stallman Secretary to Director Hendrika S. Jurrjens Assistant Secretaries "The best insurance against material losses is

the education that develops inner resources."

Olga Samaroff Stokowski THE PHILADELPHIA CONSERVATORY OF MUSIC

The oldest chartered Music School in the State of Pennsylvania

SEVENTY-NINTH SEASON

While highly endowed institutions provide opportunities Not only to teach professional players, but also to start the for a free musical education to a limited number of out- musical training of children in the right way, to teach standing talents, the task of offering a thorough musical the layman to enjoy the art of music, to prepare capable training to the general public on a sane and sound basis teachers and give them a valuable musical background, cannot be neglected if music is to take its rightful place is the aim of The Philadelphia Conservatory of in the civic and national life of the United States. Music.

DEGREES

By virtue of the power granted to The Philadelphia Conservatory of Music in its charter, the Philadelphia Con-

servatory is empowered by Article Two to "grant to its students diplomas of honorary testimonials in such form as it

may designate, and grant and confer such honors, titles and degrees as are granted and conferred by any University in the

United States for proficiency in music."

The Philadelphia Conservatory of Music is a non-profit corporation.

The three degrees conferred by this institution are: Bachelor of Music Master of Music Doctor of Music

Page Three F ACU LTY

Edward Steuermann, Piano Boris Koutzen, Orchestra Allison R. Drake, Chorus

Vincent Persichetti, Composiiioti Enzo Serafini-Lupo, Opera

Piano Harp Voice

Allison R. Drake Edna Phillips Clyde R. Dengler Marion Bradley Harvey Claire B. Schapiro Violin Stella Ferrari Conaway Joseph Arcaro Serafini-Lupo Boris Koutzen Enzo Winifred Atkinson Frank Costanzo Gertrude B. O'Brien Joyce Bosler William Bless Margaret Buehler Katherine M. Hoopes Piute Jon Carlin Janet Spicer Kenton Terry Margaret Collins Claire Polin Viola Barbara Day Oboe and English Horn Lilburn Dunlap Leonard Mogill William Bless Lewis Raho Calvin Johnson

Dorothea Persichetti Violoncello Clarinet and Saxophone Kathleen Petry Pierce Elsa Hilger Anthony M. Gigliotti Evelyn Christman Quick GuiDO Mecoli Joseph Sullivan Doublebass Bassoon Edith Ulmer Mileham Max Strassenberger William Gruner

Tyiiipani and Drum Organ Horn E. Russell Williams Clarence Mayer Robert Elmore Newell Robinson Trombone Trumpet Robert Browne Fred C. Stole Harold W. Rehrig

Page Four Composition, Counterpoint and Piano Methods and Materials Contemporary Music Literature Modern Hannony Joseph Arcaro Dorothea Persichetti Piano Sight Reading Alusic of the United States Conducting and Score Reading Lilburn Dunlap Dorothea Persichetti Vincent Persichetti Herman C. Giersch Preparatory Theory English Robert C. Posey Ear Training and Keyboard Harmony Kathryn R. Grube Lilburn Dunlap Kathryn R. Grube French and German Sightsinging Michael Baumann Form and Analysis Evelyn Christman Quick Dorothea Persichetti Italian

Robert P. Cialoni Harmony Sightsinging for Singers Stella Ferrari Conaway Vincent Persichetti Opera Kathryn R. Grube Evelyn Christman Quick Teacher Training Acting and Interpretation Lilburn Dunlap Winifred Atkinson, Piano Enzo Serafini-Lufo William Bless, Violin Methods Choral Directing of Kathryn R. Grube, Theory String Ensemble Clyde R. Dengler Boris Koutzen Musicology Methods and Fundamentals (Piano) Dorothea Persichetti Two-Piano Ensemble Allison R. Drake Claire Polin Evelyn Christman Quick Allison R. Drake Orchestration and Principles Vocal Ensemble of Conducting Allied Arts Ferrari Bruce C. Beach Claire Polin Stella Conaway'

Pedagogy History of Music Wind Ensejnble Claire Polin Evelyn Christman Quick Herman Giersch

Page Five Biographical Sketches

EDWARD STEUERMANN was born in Samhor, Poland. After BORIS KOUTZEN, Mus.D , Violinist and Composer, was born studying extensively with Professor Kurz, Steuermann became in Lfman, Russia. He entered the Moscow Conservatory, study- a student of Busoni in 1911, also studying composition with ing under Professor Leo Zeitlin (violin) and Rheingold Gliere Schoenberg. He made his debut as a concert pianist in Berlin (composition). After his graduation in 1922 he went to Ger- in 1912. many to complete his studies. Mr. Koutzen gave numerous as in In the first world war Mr. Steuermann enlisted in the Austrian recitals and chamber music concerts in Europe as well Army. After the Armistice in 1918 he started teaching and America. has continued without interruption up till the present day. Mr. Koutzen's compositions cover a wide field including Mr. Steuermann is well known as an interpreter of contem- "Solitude" and "Valley Forge" (Publica- porary music. Symphonic poems, tion award for 1944 of the Juilliard Foundation), a Symphony, In 1936 Mr. Steuermann came to the United States. After a and other Symphonic works which have been performed by short stay in Los Angeles, California he moved to New York the Philadelphia, Boston, Cleveland, San Francisco, Chicago, City, teaching privately as well as at the New School for N.B.C., New York Philharmonic and other Symphony Orches- Social Research. He is currently a member of the Piano Fac- combina- tras ; also several chamber music works for various ulty at the of Music. tions, three string quartets, the second of which has won the Society for Publication of American Music; His appearances in the United States include: Emperor Con- award of the "Music for Saxophone, Bassoon and 'Cello" has been awarded certo, Ansermet conducting at Hollywood Bowl ; concerts with prize in the American Composers Alliance competi- Klcmperer in Los Angeles and Santa Barbara; with Rodzinski the first tion; a Act Opera, choral works and compositions for in New York; and with (N.B.C.), the One piano, violin, cello and organ. Recently his violin concerto first performance of Schoenberg's Piano Concerto ; and many its first performance by the Philadelphia Orches- solo recitals. was given tra with his daughter, Nadia, (who is also his pupil) as soloist. Mr. Koutzen received the degree of Doctor of ALLISON R. DRAKE received his musical training in Philadelphia, Music from the Philadelphia Conservatory of Music. He is studying piano with D. Hendrik Ezerman at The Philadelphia also Associate Professor at Vassar College. Conservatory of Music, graduating from that institution in 1927. Mr. Drake studied with Madame Olga Samaroff Sto- kowski for five years, obtaining his soloist diploma in 19.tO. EVELYN CHRISTMAN QUICK, B.S.Ed., Mus.M. received her Mr. Drake is well known for his ensemble playing, both as a Bachelor of Science in Education Degree at the University of member of the Drake two-piano team, and for his frequent Akron, Ohio. She received the Knight Fund Award from chamber music appearances, notably with Elsa Hilger, cellist, the Akron Beacon Journal and entered the Philadelphia Con- with whom he has played in the Vermont State Music Festival. servatory of Music, studying piano with Madame Olga Sam- He has also appeared in recital concerts at Town Hall and aroff, and received her Bachelor and Master of Music Degrees in New York. from the Philadelphia Conservatory. She has attended the

Pii^e Six Teachers College of Columbia University, , is a graduate of the Curtis Institute of Music, an exponent for graduate study, and has been active as a lecturer and of the method of and is one of the authors of recitalist in Akron and Philadelphia. a four year course in harp to be used for credit in High Schools. KATHRYN R. GRUBE, Mus.M., of Lancaster, Pa., entered The Philadelphia Conservatory of Music as a piano major, study- ELSA HILGER made her professional debut at the age of eight ing with D. Hendrik Ezerman, and afterward with Madame as 'cello soloist with the 'Vienna Philharmonic Orchestra at a Olga Samaroff, Later, Miss Grube became interested in joint concert with Lotte Lehmann and Leo Slezak. She gradu- Theory and received both Bachelor and Master Degrees from ated two years later from the Imperial Conservatory in 'Vienna, The Philadelphia Conservatory of Music with a Major in with first honors. After numerous concert tours through Theory and Education. She is widely known for her progres- Europe and the United States, she became a member of The sive Theoretical courses at The Philadelphia Conservatory of under Leopold Stokowski in 1936. Music. She organized, and is the present Director of the She is at the first desk of the 'cello section of the Orchestra. Lancaster Studio of Music, Lancaster, Pa. Miss Hilger is widely known as a chamber music artist and was soloist with the Philadelphia Orchestra in 1950 under ENZO SERAFINI-LUPO was born in Abruzzi, Italy, and studied . music in Naples. Among his teachers were: Carlo Sebastiani, was soloist with the Lepoldo Mugnone and Adolph Block. He VINCENT PERSICHETTI, Mus.D., an American composer, was Sistine Chapel Choir at the age of ten. Later, he made his born in Philadelphia. He is an active pianist, conductor, or- Baritone in the Theatre Belline in Naples, operatic debut as ganist, writer and editor. An early musical education began the opera "Favorita." In 1939 he revived the "Comedia in at Combs College of Music; continued with Olga Samaroff giving Chamber Operas and acted on the American dell'Arte" in piano and Paul Nordoff in composition at the Philadelphia in "They Knew What They Wanted." Mr. dramatic stage Conservatory of Music; Fritz Reiner in conducting at the as an acting instructor, song and opera Serafini is well known Curtis Institute; and Roy Harris in composition. coach and is Conductor and Stage Director of the Comic Opera Guild in New York. He has received a diploma in conducting from the Curtis Institute, a Bachelor of Music Degree from the Combs Col- EDNA PHILLIPS was solo harpist of the Philadelphia Orchestra lege of Music, Master and Doctor of Music Degrees from from 1930 to 1946. She has performed all the standard reper- the Philadelphia Conservatory of Music, a grant from the toire for solo harp and orchestra, and also the world premiere American Academy of Arts and Letters and other prizes and of Harl McDonald's "From Childhood" Suite (Victor Album), awards. Nicolai Berezowski's "Concerto" and Paul White's "Sea Chanty" (Columbia Album), which were dedicated to her. He has been commissioned by the Serge Koussevitzky Founda- Miss Phillips has also recorded the Danse Sacree et Danse tion of the Library of Congress, the Louisville Symphony, Profane by Debussy with Leopold Stokowski conducting the the Pittsburgh International Music Festival, Martha Graham, Philadelphia Orchestra. Miss Phillips has interested many the American Bandmasters' Association, Pi Kappa Omicron other contemporary composers in writing for the harp. She and the Samaroff Foundation. His works number 67 opus numbers, and include five symphonies, a song cycle, three WILLIAM BLESS, Mus.M. received his musical training at the works for band, ten piano sonatas, a concerto for four hands Philadelphia Conservatory of Music under Boris Koutzen. and eight serenades for various media. They have been per- Graduating in 1933, he received his Bachelor of Music Degree formed by the Philadelphia, Cincinnati, Louisville, Rochester, in 1935, Soloist Diploma in 1936 and Master's Degree in Buffalo, Tokyo, Amsterdam Concertgebouw and London B.B.C. 1948. Mr. Bless is a member of the Faculty at Beaver College. Orchestras; the Goldman, Eastman and various University Bands; the Martha Graham Dance Company; the Kroll, Roth and Stringart Quartets; the New York Woodwind Quintet DOROTHEA PERSICHETTI, Mus.M., majored in piano and and Philadelphia Woodwind Ensemble and outstanding musicology in Kansas at Southwestern College, and in Colo- choruses and soloists throughout the country. His music is rado was the winner of scholarships with Joseph and Rosina published by Elkan-Vogel, Schirmer, Fischer, Ditson and Lhevinne. Later she was awarded several scholarships in piano Mercury, and is recorded by Columbia and Mercury Records. under Madame Olga Samaroff at the Philadelphia Conserva- tory where she received the Bachelor and Master of Music Composition Department; teaches com- He is head of the Degrees. Mrs. Persichetti has given lecture recitals and is the Juilliard School of Music; is editor of the position at active in performing and promoting music for contemporary Music Publishing Company, music critic for the Elkan-Vogel composers. With her husband she has presented many Musical Quarterly and Notes Magazine. premieres in New York and the West.

CLAIRE B. SCHAPIRO, Mus.M., entered the Philadelphia Con- servatory of Music at the age of twelve, later winning the FRANK COSTANZO was born in Philadelphia, and has studied Hood Scholarship in piano with Madame Samaroff for three violin with Achille Cocozza, Albert Meiff and Sasche Jacobi- consecutive years. Miss Schapiro received the degrees of noff. After graduating from South Philadelphia High School Bachelor and Master of Music from The Philadelphia Con- he was awarded the Hurley-Cross Scholarship at the Univer- servatory of Music. She is active both as a teacher and sity of Pennsylvania, where he received his Bachelor of Music concert pianist. Degree in 1941. Since that time he has been a member of the

first violin section of the Philadelphia Orchestra. During the CLYDE R. DENGLER, Mus.D., studied voice in Philadelphia summer season he is visiting professor at Colorado College, with Nicholas Douty and Warren Shaw, in New York with While there he has been associated with Roy Harris, Hinde Isadore Luckstone. Mr. Dengler was awarded a Fellowship in mith, , Vincent Persichetti and Schonberg voice at the Juilliard Graduate School of New York under Schoen-Rene. He received the degree of Bachelor of Science He is also a member of the faculty of the Philadelphia Con is of the orchestra at Miseri and the degree of Master of Arts from the University of Penn- servatory, and conductor Mater sylvania, the degree of Doctor of Music from the Philadelphia cordia Academy and concertmaster of the Philadelphia String Conservatory of Music. Orchestra under Arthur Cohn.

Page Eight The Philadelphia Conservatory Enrolhuent Begins on Thursday. Septejnher 1, 1955

BEGINNERS, as well as advanced students, in order to develop Public Concerts to be given in one of the concert halls in the city. steady and effective progress, are recommended to a Course of An artistic atmosphere is created by means of these artists' and forty weeks study beginning September 19th. Parents' attention students' recitals, and by FACULTY CONCERTS and Lectures is invited to our efficient system of grading, requirements, examin- given during the school year. These activities broaden the scope ations and degrees which have been established in order to insure of the individual student and encourage a fuller understanding of starting and maintaining a child's musical training in the best musical art. It is this atmosphere, and the friendly contact between possible way. Consequently the ambition of the student is aroused students and Faculty that students, parents, graduates, and those and steadily maintained. Students work toward achievement of interested in the Conservatory, value so highly. artistic musicianship, and the element of competition is intro- duced in a constructive manner. At the end of the school year RECORDS are kept of all instruction during the student's entire examinations are held and at that time students are graded. These tenure and can be referred to at any time. Transcripts of credits examinations are of great value to the pupils and teachers since are available upon request. A progress record is evaluated for progress can thereby be definitely observed and oificially stated. Degree Students at the end of each semester and reports are fur-

nished for all Regular and Degree students every year. Upon com- ADULTS, music lovers, and special students may enter at any pletion of the Degree Course, the students are awarded their time and for any number of lessons. No previous knowledge is respective degrees: Bachelor of Music, Master of Music, or Doc- required for admission to the Philadelphia Conservatory of Music. tor of Music. Special students participate in Recitals and student life to the ex- tent of their own choice. THE PREPARATORY DEPARTMENT classification of the following grades: "Pre- RETURNING VETERANS, men and women released from military Piano and 'Violin Departments include the paratory 1" to "Preparatory 6" inclusive and "Intermediate 1" to service, may, if properly qualified, register for full or part time 4" inclusive. Students entering these departments study in the school. "Intermediate are graded after taking an audition. Upon completion of grade RECITALS are given in the school auditorium where parents, rel- "Intermediate 4" a student is considered eligible to enter the atives and friends are invited. Each regular student will be obliged four year Conservatory Degree Course, leading to the Teacher's to perform unless excused by their teachers and the Director. The Diploma and Bachelor of Music Degree. In the catalog these most deserving students will then be selected to participate in the grades are designated as 5, 6, 7 and 8 for each instrument.

Page Nine THE DEGREE COURSE provides study for each branch of musi- AUDITIONS in applied music (instrumental and voice), and cal art, including everj'thing necessary for the training of an placement examinations in elementary theory, are required for artist, a teacher or any serious amateur student of music. These entrance to the Degree Course. A preliminary year of study may courses, none of which should be neglected, correlate and amplify be arranged upon the advice of a Faculty Committee. A High each other, with the objective of providing a well-balanced musi- School diploma, or its equivalent, will be required for admission. cal education. Teachers of the highest caliber, each selected for For detailed information regarding admission requirements, write excellence in his special field, are in charge of the courses of the Registrar. instruction, Four SUMMER TERMS of six weeks each, of one hour private SCHOLARSHIPS: The D. Hendrik Ezerman Foundation will lessons, may be substituted for two semesters. award a Scholarship for study with Edward Steuermann tu an outstanding piano talent, for the Season 1955-1956 in open REGULAR ATTENDANCE at all classes and lessons is required competition, September 1955. in the Degree Course. One cut in each class is allowed per sem- A Scholarship in Composition under Vincent Persichetti will ester. Work missed because of absence must be made up either be given on submission of the original compositions in note-book or by examination. Absence not excused will reduce required. the student's class average. Failure to make up work missed, or The following Departments offer Scholarships for talented unexcused absence will be cause for discontinuing the student. students, awarded in open competition in September: Cello—Elsa Hilger Piano— Edward Steuermann THE GRADING SYSTEM is defined as: "A" (excellent): "B" Harp—Edna Phillips Violin— Boris Koutzen (good); "C" (fair); and "D" (failure). The minimum satis- Piano—Allison R. Drake Voice— Stella Ferrari Conaway factory grade being "C" (fair). If at any time a student does not Marion Bradley Harvey maintain a standard of at least "C", he is informed of his CREDITS of applicants from other accredited Universities or shortcoming immediately, and placed on probation for a period

Schools of Music will be honored and recognized by the Phila- specified by the instructor. If marked improvement is not shown delphia Conservatory of Music. However, it reserves the right to during this period the student is required to take private tutoring. require examinations with regard to technical subjects or profici- Any course in which the final mark is less than "C minus " must encies and to accept or reject credits offered if, in its sole opinion, be repeated. A student requesting permission to re-enter without they are not adequate. Training time will be shortened propor- having met these requirements must take a placement examination, tionately and, in the case of veterans, the Veterans Administration or maintain a standard of at least "C", during a probationary so notified. period specified by the instructor.

Page Ten Courses Leading to Teacher's Diploma and Bachelor of Music Degree

Majorhig hi Piano or Or^

FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR

Piano 5 Piano 6 Piano 7 Piano 8 tOrgan tOrgan tOrgan jOrgan fPiano 5 tPiano 6 tCounterpoint tChorus 2

fEar Training 1 fEar Training 2 tEnsemble (Piano) t**Composition C

fEnglisli 1 tHarmony 2 tForm and Analysis 2 tEnsemble (With Strings) tForni and Analysis 1 tHistory and Literature tOrchestration 2 ***Methods and Fundamentals tHarmony 1 of Music 2 ^**Piano Sight Reading 2 for Advanced Pianists fHistory and Literature Teacher Training 1 fSightsinging tModern Harmony of Music 1 tOrchestration 1 Teacher Training 2 tPedagogy fKeyboard Harmony *Ensemble tPiano Sight Reading 1 t***Music of the United States Piano Sight Reading 1 fChorus 1 jElective Course tPiano Sight Reading 2 fEnglish 2 or Allied Arts *Elective. Foreign Language ^*Not required for Teacher's Diploma, **Can be taken in any year of the course tSubjects required for Organ Major.

Mcijoring in Theory and Arranging

FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR

Ear Training 1 Composition T. 1 Composition T. 2 Conducting and Score Form and Analysis 1 (Seminar) (Seminar) Reading 1 Harmony 1 Ear Training 2 Counterpoint Ensemble

English 1 Form and Analysis 2 Ensemble Fugue and Modern History and Literature Harmony 2 Modern Harmony Orchestration of Music 1 History and Literature Wind Instrument C Pedagogy Keyboard Harmony of Music 2 Secondary Piano Secondary Piano Orchestration 1 Orchestration 2 Chorus 2 Teacher Training Theory Secondary Piano Secondary Piano * Music of the United States English 2

Chorus 1 String Class C Piano Sight Reading I Elective Elective Allied Arts Sightsinging

Page Eleven Majoring in Violin, Cello and Wind Instruments

FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR Major Instrument 5 Major Instrument 6 Major Instrument 7 Major Instrument 8 Secondary Piano Secondary Piano* Sightsinging Modern Harmony Ear Training 1 Ear Training 2 Counterpoint *Composition C Harmony 1 Harmony 2 Orchestration 2 Ensemble English 1 History and Literature Ensemble Pedagogy History and Literature of Music 2 Form and Analysis 2 Orchestra of Music 1 Orcliestration 1 Orchestra Teacher Training Form and Analysis 1 Ensemble Chorus 2 Conducting and Score Ensemble Orchestra '**Music of the United States Reading 1 Orchestra Chorus 1 Allied Arts English 2 or Foreign Language

*It is required to complete Grade 6 of the Preparatory Piano Department

Majoring in Composition

FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR Composition 1 Composition 2 Composition 3 Composition 4 (Seminar) (Seminar) (Seminar) (Seminar) Secondary Piano Secondary Piano Secondary Piano Secondary Piano Ear Training 1 Ear Training 2 Counterpoint Fugue and Modern English 1 Harmony 2 Orchestration 2 Orchestration Harmony 1 History and Literature Ensemble Conducting and Score

History and Literature of Music 2 Form and Analysis ^ Reading 1 of Music 1 Orchestration 1 Chorus 1 Ensemble Keyboard Harmony String Class C Wind Instrument C Chorus 2 Form and Analysis 1 English 2 or Modern Harmony * Music of the United States Foreign Language Allied Arts Elective Sightsinging 'Not required for Teacher's Diploma. ***Can be taken in any year of the course.

Page Twelve Courses Leading to Teacher s Diploma and Bachelor of Music Degree

Majoring in Voice FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR Voice 1 Voice 2 Voice 3 Voice 4 Secondarj' Piano Secondary Piano* Sightsinging Modern Harmony Ear Training 1 Ear Training 2 Counterpoint •'Composition C 1 2 Harmony Harmony Form and Analysis : English 2 or English 1 History and Literature Vocal Ensemble 2 Foreign Language Histor)' and Literature of Music 2 Opera Chorus 4 of Music 1 Vocal Ensemble 1 Chorus 3 Form and Analysis 1 Sight Reading for Singers 2 German Opera Chorus 1 Chorus 2 Rehearsing with *Music of the United States Sight Reading for Singers 1 French Accompanist Italian Opera Allied Arts

*It is required to complete Grade 6 of the Piano Preparatory Department.

Majoring in Harp FIRST YEAR SECOND YEAR THIRD YEAR FOURTH YEAR Harp 5 Harp 6 Harp 7 Harp S Secondary Piano Secondary Piano Sightsinging Modern Harmony Ear Training 1 Ear Training 2 Counterpoint •'Composition C English 1 Harmony 2 Orchestration 2 Ensemble Harmony 1 History and Literature Form and Analysis 2 Pedagog)' History and Literature of Music 2 Ensemble Orchestra of Music 1 Orchestration 1 Orchestra Chorus 2 Form and Analysis 1 Orchestra Piano Sight Readmg 1 *Music of the United States Chorus 1 Allied Arts English 2 or Foreign Language

**Not required for Teacher's Diploma. ***Can be taken in any year of the course.

Page Thirteen Regulations for the Master of Music Degree Soloist Diploma

Candidates for the Master of Music Degree must have received For the Soloist Diploma the student must complete the entire the Bachelor of Music Degree from The Philadelphia Conservatory teachers' course and the post-graduate course in the instrument of Music or from another institution of equal standing or they in which he majors, at the end of which a public recital will be must present satisfactorj' evidence that they have received training required. equivalent to that required by The Philadelphia Conservatory of Music Degree. Music for the Bachelor of Data Relative to Applicants for the Degree The minimum of two years of study is required for the Master of Doctor of Music of Music Degree after having been awarded the Degree of Bachelor of Music. Period of Study Required (Three Years in Residence) Candidates for the Master of Music Degree may concentrate A period of two years should elapse between the award of the in Applied Music, Composition, Theory, Musicology or Music Master's Degree in music and the entrance into the period of ad- Education. vanced study terminating in the eligibility' for the Doctorate. This, however, may be set aside by the action of the advisory committee With Applied Music as the major subject and Composition as a on examining the credentials offered by the applicant. secondary subject the following requirements must be met: A recital program on the instrument in which the Candidate Credentials Required is majoring. 1. Evidence of previous degrees granted. Original Compositions for the instrument in which the Can- 2. Credits accorded in all courses completed in other institutions didate is majoring. 3. Works submitted as a testimony of previous graduation for A four-voice fugue, vocal or instrumental and scoring a com- introductory consideration. (Thesis and Compositions.) position for orchestra.

For Candidates concentrating in Composition, the thesis will take Personal Data the form of an original work scored for full orchestra. The work 1. The applicant's present professional duties. submitted must be sufficiently mature musically and technically to 2. Past professional activities. make possible an effective public performance. 3. Reference relating to the applicant's professional standing. A written thesis will be required of Candidates concentrating in 4. His technical ability on his major instrument. Musicology, Theory of Music or Music Education. The thesis will not necessarily represent a contribution to knowledge but must show independent and intensive work based in part on source Regulations for the Doctor of Music Degree material. A thesis which shows power of independent research and is a The Candidate must demonstrate a thorough acquaintance with contribution to knowledge, is required. For Candidates concen- the literature in his field and must display the ability to present trating in Composition the thesis will take the form of a symphony, in orderly fashion the result of his study. opera, oratorio or other similar work in large form.

Pjgt^ Fourteen Ear-Trah/hig 1 and 2 Methods of Choral Directing

The purpose of this course is to develop the rhythmic sense and The organization, direction and actual technique involved in merg- train the musical memory through the recognition, singing and ing individual voices into a unified group.

writing from dictation, first, of pitches, simple rhythms and melodies, later, intervals, all triads, seventh chords and inversions Aiusicology and modulations in melodic and harmonic dictation. A Post-Graduate Course designed for those preparing Theses for Master of Music or Doctor of Music degrees, or those interested For/n and Analysis 1 and 2 in the Field of Systematic Research. Material is integrated so A comprehensive study of orchestral, instrumental and chamber that the student may secure an insight into Musicological methods music, both old and new from a harmonic, rhythmic, melodic and and gain practical experience in research. formal standpoint. Part 1 —A survey of the Fields of Historical and Philosophical

Research ; Problems and Technic of Research ; Comparative Musicology. History and Literature of Music 1 Part 2—Methods of presentation; Application of Methods in An intensive course designed to familiarize the student and Practical Field Work; Intensive Criticism and Composition. layman with the development of music historically and thereby awaken a true appreciation of the qualities that differentiate great periods, i. e., Gregorian, Polyphonic, Homophonic, etc., illustrated Music of the United States with phonograph records. The student is given, also, a compre- A survey covering the development of music in America from the hensive background of relative historical events that enrich his earliest times to the present day. understanding of the part music plays in the evolution of culture. Students may enroll as participants or auditors. The lectures will be illustrated by the instructor, by students, and recordings. History and Literature of Music A more intimate study of composers and their works, empha- Modern Harmony sizing their contributions in the various periods of composition. (Deielopinenls in Tu'entietlj Century Harmony) The first semester is devoted to analysis of different forms, using phonograph records of songs, masses, symphonies and operas, with A study of the new treatments given old harmony and the hand- special emphasis on Bach's B minor Mass and the "Niebelungen lings of new harmony by composers of this century. The course is

Ring ". The second semester is conducted as a seminar with special put on a four-part harmony basis and is a continuation of Har- assignments and papers by individual students. mony 2;

Piige Fifteen opera Class Writing for special instruments—harp, percussion, etc. Modern harmony and orchestral color. The history and analysis of opera styles are studied in connec- The possibilities of the symphonic band. tion with participation in acting and singing of arias, scenes and — complete roles. There are also special classes in basic training of Text "Technic of the Baton"—Stoessel plastic movements and fencing. Rudiments of baton technique. Graded Exercises in score reading at the piano. Problems of interpretation. Orchestra Rehearsal procedure. The Orchestra consists of students of the Conservatory. Rehearsals, which take place once a week, include representative forms of Piano Sight Reading 1 and 2 orchestra works, affording the student every advantage for thor- The study of Sight Reading accompaniments and such material ough orchestral training. as will give the student experience and a better efficiency in reading at sight. Ensemble Sight Singing The study of chamber music takes a very important part in our plan of musical education. This form of musical performance should Training in Sight Singing is a fundamental necessity in music be one of the aims of musical education and should be developed at study. Special drills are given in units of rhythm and basic rhythms an early stage. It is the art of giving and receiving. Self-expression encountered in music of medium grade. Exercises will be used depends entirely upon the keenest ability to listen to others as well containing diatonic and chromatic tones, intervals and simple modu- as to one's self. lation in all keys. Part songs will also be studied.

Orchestration 1 — Sight Reading for Singers 1 and 2 Text "Project Lessons in Orchestration"—A. E. Heacox (Ditson). Scoring for Strings, Woodwinds and Brasses, separately and An elementary course designed especially for Singers who have in combination. had little previous theoretical training. The object of this course Lectures and demonstrations on the ranges, technical possi- is to read music correctly while studying the application of essen- bilities and orchestral usage of the instruments of the orchestra. tial musical fundamentals. The music used will include single Reading from score, using phonograph recordings of compo- and part exercises and songs, as well as compositions in the stand- sitions by standard composers. ard vocal literature.

Teacher Traini)ig 1, Piano Orchestration— 2 and Conducting Reference Text "Principles of Orchestration"—Rimsky-Korsakoff a. Music Fundamentals. Scoring for full Orchestra and small ensembles. b. Study of essential problems and manner of presentation to Harmonic Texture as applied to instrumental writing. pupils.

Page Sixteen Teacher Training 2, Piano Alusic Literature Methods and Teaching Material. A review and analysis of Music from all periods to enlarge and course devoted to the study of material illustrating A all teaching enrich the students' knowledge of the general literature. problems. Designed to further illuminate the points stressed in Teacher Training la.

English 1 and 2 Teacher Training, Violin The first year includes Composition and Literature and the second Will include consideration of methods and material and analysis year, Creative Writing and Oral English. of requisite points for the building of good playing.

Teacher Training, Theory Vocal Ensemble. 1 and 2

A study of materials, procedure, and class psychology necessary in Vocal Ensemble 1 includes the fundamental principles of Ensemble the successful presentation of courses in Preparatory Theory, Har- Literature for Mixed Voices including analysis of classical songs,

mony, Ear Training, and Keyboard Harmony ; includes practice reading, clearness of diction and elasticity of expression. teaching. Composers' Seminar Vocal Ensemble 2 includes Voice Methods and book reviews; program building and further study of vocal literature. One year of Composers' Seminar is equivalent to any one year of private Composition lessons for the degree student majoring in Composition. Preparatory Department Composition T. 1 or 2 Classes in elementary theory, ear-training and keyboard harmony Seminar is equivalent to any one year of private Composition are given in preparation for the advanced courses. lessons for the degree student majoring in Theory and Arranging.

Composition C Allied Arts A comparative history of music, painting, literature, and dance with Class for students majoring in Applied Music. an analysis of the times which created each new trend. String Class C and Wind Instrument Class C Piano /Methods and Materials Courses in fundamentals and technicalities of stringed and wind instruments, for those majoring in Composition or Theory and Survey of teaching repertoire and problems with emphasis on the Arranging. intermediate grades. A Graduate Course designed for Teachers.

Page Seventeen In order to encompass the material connected with the various Degrees the following distribution of hours is required. In addition, the candidate must spend whatever hours of practice and research necessary to attain the respective Degrees' pro- ficiency qualifications. Bachelor of Music Degree Hours Hours Major Instrument or Subject 80 Orchestration 1 & 2 60 Chorus 1 & 2 60 Ensemble 1 & 2 60 Conducting & Score Reading 1 & 2 60 Counterpoint 30 Eartraining 1 & 2 60 Sightsinging 30 Enghsh 1 & 2 60 Sight Reading for Singers 1 & 2 60 Form and Analysis 1 & 2 60 Composition C 30 German 1 & 2 60 Methods & Fundamentals 30 Italian 1 & 2 60 Modern Harmony 30 Elementary Score Reading 30 String Class C 30

." Harmony 1 & 2 60 Woodwind Class C 30 History of Music 1 & 2 60 Fugue & Modern Orchestration 30 Keyboard Harmony 30 Teacher Training Theory 30 Piano Sight Reading 1 & 2 60 Allied Arts 30 Teachers' Training 1 & 2 60 Music of United States 30 Pedagogy 30 Opera Class 30 Total Hours 1370 Master of Music Degree—Two Years Hours Major Subject—Applied Music, Voice, Composition, Musicology or Music Education (on a post-graduate level) 160 Minor Thesis or similar project with necessary research 160 Laboratory or Concert Preparation 80 Electives, among undergraduate course not already taken 120 Practice Teaching 80

Total Hours 600 Doctor of Music Degree—Three Years Hours Major— f A Thesis which shows power of independent research

I \ A Composition in the form of a symphony, opera, oratorio

I Applied Music 800 I Electives, among regular undergraduate course not already taken Choice of Instrument; voice; composition; musicology 400

Page Eigljteen Total Hours 1200 CONCERT AND COMMENCEMENT Hindemilh . . .Music of Mourning for Viola and String Orchestra Lento—Poco mosso—Vivo—Chorale Evening, 19'35 Monday June 6, Sidney Curtiss, \''iola BELLEVUE-STRATFORD BALL ROOM ( Sonetto 12.3 del Petrarca Liszt I Legende—St. Francis Walking on the Water PROGRAM Robert Carrol Smith

Vivaldi Concerto Grosso in minor Beethoven The Heavens are Telling D Allegro Bjr/ok Four Slovak Folk Songs Largo Conservatory Chorus—Allison R. Drake, Director Allegro Conservatory Orchestra Sara Jane Culp at the Piano Address Bjch Brandenburg Concerto No. 5, in D major Allegro Dr. Willem Ezerman, President Aft'ettuoso Presentation of Diplomas a>id Degrees Allegro Janet Spicer, Violin—Claire Polin, Flitte Loretta Kachline, Piano SCHOLARSHIPS were awarded on 1954-1955 as follows: Conservatory Orchestra, Boris Koutzen, CouJtu-tor

The D. Hendrik Ezerman Foundation (Piano) . .Loretta Kachline Handel Sound an Alarm—Recit. and Aria from "Judas Maccabaeus" The Stolp and the Samaroff Foundation "Grant in Aid" (Piano) Robert C. Smith S'<^^P Now Barber \ The Steuermann (Piano) . .Roksolana ( 1 Hear an Army Ogrodnik and Mary Wang Conaway, Tenor Wayne The Drake (Piano) Roman Rudnytsky Robert Carrol Smith, Piano

Haydn . Concerto in C major for Violin and Orchestra Guest Artist Recitals Allegro moderate THOMAS BROCKMAN, pianist. Recital, Wednesday, October Albert Desiderio, Violin 20th, 1954 Staniitz Concerto No. 2 in A for Violoncello and Orchestra SAMUEL SORIN, pianist, Recital, Friday, December 3rd, 1954 Romance—Rondo Janet McCarron, Cello CARROLL GLENN, violinist, Recital, Thursday, March 3rd, 1955

Page Nineteen Resume of Current Activities 1934-1953

Two Faculty Concerts at the New Century Club on Concert and Sally Culp, piano on March 5th, a recital February 2nd and March 29th. of Piano Music by Loretta Kachline, Roksolana Ogrodnik, Mary 'Wans; and Mignon Linck on March Opera Class under the direction of Enzo Serafini-Lupo gave 26th. a performance of Hansel and Gretel at the Bensalem High School, January 10th; The Coffee Cantata at the Two Concerto evenings; pupils of Jon Carlin on February Avon Grove High School, April 1st and operatic 27th; Allison R. Drake on March 24th. scenes and the Blessed Damozcl at the New Century Ensemble Program by members of Boris Koutzen's En- Club, May 9th. semble Class, May 22nd. Advanced Piano Students of Edward Steuermann, in recital May 2nd and May 23rd. Two Concerts by members of the Allison R. Drake Two Piano Class, February 23rd and June 1st. Seven Concerts by Students of the Vocal and Operatic Departments. Piano Recitals given by 'Wayne McEvilly, Anita Hollen- bach, Allen Brennan and Lauren Persichetti. Twenty Concerts by Students of the Instrumental Depart- ments. 'Voice Recital by 'Wayne Conaway, April 26th.

Children's Concerts, the final one at the New Seven Recitals for Bachelor of Music Degree — Joseph Casello, Century Club, June 4th. Voice; Sally Culp, Piano; Mary Jane Miller, Piano; Noble, Piano; Marie Rotunno, Voice and Eliza- The Fellowship Christmas Concert at the Conservatory, Joy beth Crossley, Piano. December 21st.

Chorus: Bach "Christ Lay in Death's Dark Prison," Holy Recital for Master of Music Degree: Ethel C. Bright, Trinity Church, March 6th and with the Philadelphia Organ ; 'Wallace Stephen, Piano. Orchestra on March 11th and 12th. The Students of the Teacher Training Department under Three Concerts were given in the University of Pennsyl- the direction of 'Winifred Atkinson, presented their

vania Museum Series ; 'Wayne Conaway, Tenor and pupils in three recitals on December 12th, February

Robert C. Smith, Piano on November 20th ; Ensemble 20th and April 24th.

P^tge Twenty BUSINESS of all kinds, arrangements as to lessons, pay- ministrative Staff; avoidance of unnecessary noise which ments, and so forth, must be made with the Secretary of the might distract fellow students; avoidance of illegal or im-

Conservatory. The Conservatory ofiEce is open from 9:30 moral acts at the School or in public. Failure to meet any

A. M. to 5:30 P. M. In the case of a withdrawal or dis- of these requirements will, at the School's discretion, be continuance after the course has begun, the student is cause for dismissal. Pupils are not permitted to take part in charged only for the amount of instruction received and the concerts outside of the Conservatory without the approval unused portion of the tuition is refunded. of their teachers. The presentation of flowers at the stu-

dents' concerts is not permitted.

REGULAR attendance and promptness is expected of all students, and a pupil arriving more than fifteen minutes late BULLETIN board notices must be examined by the students. forfeits the lesson. Leave of absence will be given only in Failure to do this results in many misunderstandings and the case of illness or any similar emergency. Musicians of disappointments. the Country have adopted the rule which requires students to pay for missed lessons, except in the case of protracted The MAIN BUILDING consists of three floors and a base- illness. ment (total of 4920 square feet; ceiling height 14, 10, 8

feet), there are four class rooms and nine small private

STUDENTS are required to maintain generally accepted studios furnished with twelve grand pianos and seven up- standards of conduct at the School and in public, having in right pianos. There are three stationary record-players and mind particularly the requirements of a School of the Arts; two portables, besides a projection machine for slides. Ref- specifically: compliance with all regulations regarding erence books, records and music are available to the student smoking; courtesy toward members of the Faculty and Ad- upon request.

Puge Twenty-one All tuition fees are due and payable strictly in advance and may be paid semi-annually. The Conservatory season consists of forty teaching weeks, divided in two semesters.

September 19 February 4 February 6 June 23

entire First payment 50'~r of the entire amount due September 19, 1953. Balance of the amount due

February 6, 1956.

Half-Hoar Lessons, Once a Week, Per Season PIANO AND VIOLIN BAND AND ORCHESTRAL INSTRUMENTS Elementary and Intermediate {Flute. Clarinet, Bassoon, Oboe, Trumpet, Trombone, etc.) Grades $120.00 to I6O.OO Half-hour lessons, once a week $120.00 to 200.00 Degree Course 200.00 to 400.00 Post-Graduate Course (Piano) (20 Half-hour lessons) 200,00 to 400.00 Post-Graduate Course (Violin) 240.00 THEORY AND COMPOSITION DEPARTMENT Violoncello 200.00 to 240.00 Half-hour lessons, once a week $120.00 to 400.00 Orean 1 60.00 to 320.00 Composer's Seminar or Seminar T 225.00 Voice Culture I6O.OO to 240.00

Opera and Lyric Coaching 1 50.00 Musicology, Post Graduate Seminar 225.00 Rehearsing with an Accompanist 60.00 Harp 200.00 to 320.00

Pjge Tweiity-lu-o CALENDAR FOR THE THE SEASON 1955-1956 TUITION FEES FOR CLASSES PER SEASON FOR REGULAR STUDENTS OF THE CONSERVATORY Registration Days on and after September 1st Chorus $15.00 Conducting and Score Reading l.$50.00 2 70.00

'. First Semester. . .Monday, September 19th to February 4th Ear Training 1 . . $60.00 2 60.00 Ensemble, Piano, Voice, String, Wind 50.00

Second Semester February 6th to June 23rd Form and Analysis 1 $50.00 2 70.00

German Grammar and Literature, Post-Graduate. . . 75.00 Special Summer Term — June 25th to August 4th History of Music 1 $50.00 2 50.00 Keyboard Harmony 50.00 Pupils whose lessons fall on Holidays should arrange for Language 50.00 these lessons at mutual convenience. Methods and Fundamentals for Advanced Pianists. . 70.00 Modern Harmony 70.00

Classes in Theory, Harmony, Ear Training, History, etc.. Modern Orchestration and Fugue 70.00 Music of the United States 50.00 will start on October 3rd.

Opera $60.00 Special Students . . 70.00 Orchestra Free SPECIAL FEES Orchestration 1 $50.00 2 50.00 Pedagogy 50.00 Annual Registration $ 3.00 Piano Sight Reading 1 and 2 50.00 Degree Student Registration 5.00 Sight Singing .$50.00 Sight Reading for Singers 50.00 Special (or missed) Examination 5.00 String Class C. $50.00 "Wind Class C 50.00 Examination for Advanced Standing 5.00 Teacher Training 1 $50.00 2 50.00 Teacher Training Theory 70.00 Entrance Audition Fee 3.00 Theory and Composition Department Teacher's Diploma 25.00 (a) Preparatory 50.00 Soloist's Diploma 25.00 (b) Intermediate and Graduate. .. .$50.00 70.00 Degree 30.00 (c) Post Graduate 225.00 Practice Pianos 25c per hour (A limited number of pianos (d) Organ-Theory Post-Graduate 100.00 are available). Choral Directing Methods 60.00 " Allied Arts . . 50.00 Piano Methods and Materials 70.00

^D Be Co., Mfgs.. Phila., Pa. Piige Tweiity-lhree