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Defining a Course of Study for the Applied Pianist at the Eastman School of Music, the Juilliard Schoo

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Defining a Course of Study for the Applied Pianist at the Eastman School of Music, the Juilliard Schoo How Much Do We Practice?: Defining a Course of Study for the Applied Pianist at The Eastman School of Music, The Juilliard School, and The Curtis Institute of Music from Their Inception to 1945 Janice Marciano Nimetz Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Janice Marciano Nimetz All rights reserved ABSTRACT How Much Do We Practice?: Defining a Course of Study for the Applied Pianist at The Eastman School of Music, The Juilliard School, and The Curtis Institute of Music from Their Inception to 1945 Janice Marciano Nimetz Histories of higher education isolate the conservatory/music school from their purview by omission, while histories of music education and individual music schools give overviews but do not address in depth the traditions, development, effects, and tensions buried within courses of study and the particular needs of the music student. That consideration is the purpose of this study. Toward the end of the nineteenth century, professional music education emerged as independent schools, or schools and departments within university settings. As the university accepted and acknowledged a broad and diverse range of fields of study, it developed new areas of specialization in its curricula. Concurrently, ‘art’ music as a cultural pastime was finding its place in the American social consciousness and inviting, as a consequence, a means of education directed to this pursuit. Encouraged by European immigrants who themselves were musicians, or those for whom art music was a cultural tradition, and also by responsible philanthropy of new wealth acquired from the Industrial Revolution, America began to embrace the currents and interests of its immigrant population. In so doing it created a need for teachers of music, for improved instruments and organizations to engage in music-making, and for performers to provide entertainment. The recognition of professional education in new university institutions made it an opportune time for music to establish itself as a viable part of American higher education. Music schools proliferated, standards notwithstanding with regard to courses of study, faculty, and student requirements. Gradually, however, America pooled its resources and called upon its own ingenuity to clarify the ideology of the professional musician and to define how the training and education for that ideology might be accomplished. By the twentieth century America could offer professional study for the applied musician on a par with its European counterparts. This thesis considers the environments of three prominent music schools founded in the 1920s, the Eastman School of Music, The Juilliard School, and The Curtis Institute of Music. It reviews the administration, faculty, and the evolution of their curricula for the applied major from their inception to 1945, and observes how each defined and clarified its course of study. Thus it serves as a foundation for understanding the trajectory that brought these schools to their present place of recognition. In so doing it offers one perspective of professional education, that of training and educating for performance, and contributes to the narrative of the history of higher education. TABLE OF CONTENTS Chapter Page I. INTRODUCTION .....................................................................................1 Review of the Literature ..........................................................................18 Methodology............................................................................................29 II. THE EMERGING UNIVERSITY OF NINETEENTH-CENTURY AMERICA ...............................................................................................32 Professional Education: A Place for Music .............................................44 III. PRECURSORS: MUSIC SCHOOLS IN THE NINETEENTH CENTURY...............................................................................................54 IV. THREE TWENTIETH-CENTURY SCHOOLS: EASTMAN, JUILLIARD, CURTIS.............................................................................87 Eastman School of Music ........................................................................87 Its Founder .........................................................................................88 Its History and Administrators.......................................................... 90 The Curriculum: 1921-1945 ..............................................................97 The Juilliard School ...............................................................................113 Founders, Administrators, History...................................................113 The Institute of Musical Art...................................................................133 The Curriculum: 1905-1945 ............................................................133 The Juilliard Graduate School ...............................................................143 The Curriculum: 1924-1945 ............................................................143 Example I.........................................................................................150 Example II........................................................................................151 Example III ......................................................................................153 Example IV ......................................................................................156 The Curtis Institute of Music .................................................................159 Founder, Administrators, History ....................................................159 The Curriculum: 1924-1945 ............................................................172 V. SUMMARY...........................................................................................185 BIBLIOGRAPHY..................................................................................196 i Appendix A. The Artist as Teacher.............................................................................208 B. Supplemental Charts ..............................................................................216 Chart A.............................................................................................217 Chart B.............................................................................................218 Chart C.............................................................................................219 Chart D.............................................................................................220 Chart E .............................................................................................221 Chart F .............................................................................................232 Chart G.............................................................................................233 Chart H.............................................................................................236 Chart I ..............................................................................................240 Chart J ..............................................................................................241 ii ACKNOWLEDGEMENTS Inspiration, guidance, encouragement, assistance come from many moments and people in one’s life, without conscious awareness often times. For those ‘un-named’ events and people from which and from whom I have benefited, I am deeply grateful. But those that follow are named, and their influence in their different ways are a conscious presence in my life. First, I am indebted to my mother, for her example and insistence on the importance of education, and to both my parents for making the opportunity of education possible for me. My mother herself became a student in her mature years to ease somewhat her educational limitations, which she felt so keenly. The scholars at Teachers College have guided me and challenged me, particularly E. Edmund Reutter, Jr., Professor of Education, who, back in 1996, encouraged me to go beyond the Masters degree. In addition, my committee members Professor Megan Laverty, Professor Randall Allsup, Professor Dwight Manning, and Professor Robert McClintock gave generously of their time and offered thoughtful suggestions and comments to make my document stronger, more interesting perhaps, while enabling me to feel more confident about the work. The new scholars at Teachers College, my peers, in History and Education have been a bastion of support, good cheer, and helpful suggestions, gently nudging and setting my thoughts straight when issues seemed unmanageable. They touch my heart deeply and I wish them well. Professor Gustave Reese from a generation ago and another environment, a great medieval and renaissance scholar, planted the first seeds of research: “Check and check again.” Five courses together!, but he made his point, while instilling an appreciation, knowledge, and enjoyment of this early music. For practical assistance I express my gratitude to Gary Ardan and Russell Gulizia in the Office of Doctoral Studies. They answered questions calmly, having to repeat the iii same information at times, and with encouragement—I could get through all the hoops. To Robert Schwartz, a dissertation-saver, who de-snarled significant formatting issues and generously, very generously, assisted on my return visits, and to Carol Marunas, who tirelessly added yet another
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