Facu lty and A dministration

J H D I E L L B resident O N LANTON , P

J H NE B ice. residen t O N WYN ARTON, V P D B B N D I Vice resident AN REW ELL E E CT , P

B oard of M u sical D irectors LAWRENCE GOOD M AN Pian o STETSON HU M PHREY Voice

KENNETH D . ROSE Violin

HENRY S . WESSON Org an

I GG LAWRENCE H . R S M u sica l S cien ces

S tafl of I nstru c tion D M LAWRENCE N . GOO AN ire c tor S chool o ia no D , f P

' o f rnes c e so n Jo se e n ne a n d S ie g ismu n d S tojo wski ; e n o f Pupil E t Hut h , f Lh vi , Stud t ’ err cc o B u so ni s as e r S c o o f or a n sts a s e w zer an c o a r F u i M t h l Pi i , B l , S it l d ; S h l

s e ab o Co ns er a or o i s c a more . ; o rmer hip Pupil , P dy v t y Mu i , B lti , Md F ly Te er f a n o n e c o o o f s c N ew Yor C ac o o V n . h Pi , E d S h l Mu i , k ity

ALI CE KAVANAU GH LE FTWI CH Piano

et e C nse r a o r . o s f Ar r o o e a nd J an ra a e o f e o n o ; o . . G du t B h v v t y , St L ui Pupil thu F t B L g, ws n er w e T re Y ars i ar s w . o sz o a a B osto n : h e e n P i ith M M k ki a d W g S yn .

HAZ EL COATE ROSE Pian o

m erw le n n ard of i a . oo G nn and c o r e nze ormer Pupil W lli H Sh d, Dill Gu . Vi t H i ; F ly Tea c er o f an o Co smo o an c o o o f s c In ana o I s nd. e a h Pi , p lit S h l Mu i , di p li , : P d ie l n er rnes c eso n A o s or . ro ess o na cc m n s g z W k u d E t Hut h P f i l o p a i t.

E STELLE ROY- S CHMI TZ Piano

' o f S . . ll s a n d R . Jose fi N ew Yo r V n M ickw t y, ; o i z and Jo se e nne Pupil B Mi k f Lh vi . C ca o O o Ne ze and e n a er erman i C ; S o S c onti ca o . hi g tt it l St i h u , G y ; ilvi . hi g

AMELI E THRONE

i of a r ce Aro nso n e nna Jo se e inne er n Pup l M u i . Vi ; f Lh v , B li ; M A R Y DOU T HIT Pian o

- Co n serva o r o f s c o f awren ce oo man Gra duate of Ward Bel mo nt t y Mu i ; Pupil L G d ,

aro vo n M ickwit z S ieg ismu nd S to jo wski, a er o e . H ld , W lt G ld

CLE MENCE T HU S S Pia no

f ar - e mon Co nser a o r o f s c T ree Yea rs Ins e Gra duate o W d B l t v t y Mu i ; h , titut of s ca Ar s N e w Yor ; i o f s e e R o y- c m z Mu i l t , k Pup l E t ll S h it

m n e rzo o se R ob n o S cio nti. Sig u d H g , L ui y , Silvi

M ARY VENAB LE B L YT HE M usica l S ciences S ig ht Playing a nd Pian o ’ oma on o mer Ins e now . ary s a l S an An o n o l o f V o n Dipl , M tg y titut , St M H l , t i ; Pupi ic wit z an arr R e man M k d H y d .

HENRY S . WESSON Org an

ra a e an d os ra a e o f the Gu ilma nt Or an c o o o f N ew Yor ec a G du t P tg du t g S h l , k ; Sp i l

o f W . C . Car W . I . Ne v ns a nd C e me n R a e o f N e w Yo r S u h Pupil l , i , l t . G l . k ;

stitu te Or an s o ne s mmer f or W . Car] in rs re sb t e r an g i t u C. Fi t P y i C rc N e w Yo r T ree Yea rs O r a n s in th e C rc o f th e hu h , k : h g i t hu h o A s es sco a N ew Yor C o ( ) . H ly p tl Epi p l , k ity

S TE TS ON HUM PHR E Y irector Voice e artmen t D , D p Graduate of Co lumbia Unive rs ity and R o che s te r Co nservato ry of Music ; Private or in ro e a n d Ame r ca n er e nr c Jacobse n o f res e n an d W k Eu p i u d H i i h , D d Vie n n a ; D e R eske Studio s o f Paris : Ludwig W u hlne r an d M ax H e n r c of e r n : no r o r ll e o f a n : a nd no r Tan ara i h , B li Sig M i . Mil Sig , ' Car so s Co a c : ormer re c o r o f os o n s c c oo u h F ly Di t B t Mu i S h l , a nd rec o r o f ne Ar s e ar me n C oa e c o o . Di t Fi t D p t t, h t S h l

F B LORENCE N . OYER Voice

e n of s c in Ober n Co e e ; o f n o r V a nan ni I a es ames de Stud t Mu i li ll g Pupil Sig , t ly ; M d a es a nd osse n c Oscar ea an d D es z e ; e e R ar s . S l B tti , Mu i h S gl k , P i

HELEN TOD D SLOAN Voice

o f eo r e e ane os o n Is ore ra re e I a ; o o nc . Pupil G g D , B t id B ggi tti , Fl , t ly

I RENE CRANE HUM PHR E Y Voice

e at o s o n n e rs N ew n an Co nse r a o r o f s c os o n c o o o f Studi d B t U iv ity , E gl d v t y Mu i , B t S h l Music : Private Wo rk in Euro p e two ye ars un der M anna and Castell a no in Mil an and Mo relli in Lo ndo n ; Private Wo rk in Ame rica under Ste tso n Humphrey and Oscar S aen ar ormer w a e a ran era Co m a n g : F ly ith Phil d lphi G d Op p y.

KENNETH ROSE

o f M cGibe n In a na o s A r r ar mann ar s ; eo r e e mann Pupil y , di p li ; thu H t , P i G g L h , er n S o u ra e o rmer Te ac e r e ro o ta n c oo o f s c ky . B li ; , P gu ; F ly h . M t p li S h l Mu i In ana o s : a nd Co nce r as er In ana o s m on Orc es ra. di p li t M t , di p li Sy ph y h t

H R I GGS LAWRENCE . M usica l S cien ces

C e e es S c o ar at O x o r n ers n an mmer Co rses D . A e o o R o ; B l it ll g : h d h l f d U iv ity , E gl d Su u C C N we e r n ers c oo o f s c c a o s ca o e e o r s n , hi g Mu i l ll g , th t U iv ity S h l Mu i a n d Ame ric an I nstitute o f No rma l Me tho ds : Gra duate of s Ame rican Institute o f No rmal Me th o d . — Ward B elmon t Conservatory of M u sic GENERAL STATE M ENT

- H E Ward Belmont Conservatory of Music continues ,

with enlarged faculty and equipment , the Belmont School of Music and the Ward Conservatory of i Mus c , departments , respectively, of Belmont Col i is lege and Ward Seminary . Our mus cal faculty now probably the largest and most expensively maintained one in any school for girls and young women in America .

N0 teacher is chosen who has not had the best of advantages , in i n ho most of them both th s cou try and Europe, teachers W have supplemented graduation from the leading conservato ries with years of special study under the recognized masters of two continents .

A ims and A dvantages It is our aim to create and mai ntain in Ward -Belmont n r1 a wholesome and i nspi ring musical atmosphere, 1 su ng breadth of culture and love and enthusiasm for the work . e in Such an atmosphere, which is possible nowhere exc pt a large school with a full faculty of musical enthusiasts , can i i not fa l to make practice less irksome, to inc te the student n i i to greater ambition and effort, a d to result n rap d ad

e i . E i vancem nt to a high plane of musiciansh p _ xtens ve courses of study have been prepared after an exhaustive examination of the comparative merits of the best systems

“ employed in this country and in foreign lands . The ' pu rpo se of the Ward-Belmont Conservatory of Music

' “ ” but is not simply . to give lessons in some special branch ,

“ “ to give all the instruction the student can digest, all that i i I n i s required to develop a broad and cultured mus c an . addition to the very best individual instruction at moderate i i cost, class work is offered under special sts in the theoret cal Th i in and cultural branches of music . e results obta ned these classes are entirely beyond the reach of mere individ ual instruction , and without these results no musical edu

' i i cation is complete . Th s class instruction is not ntended to supersede or take the place of the private lesson,but merely in ima -l to supplement it , and is of est b e value to the student , whe ther the aims are those of the amateur or the profes siou al . [Five] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Nashville and I ts A ttractions i i Nashv lle has an env able record as a historical , educa i n l t o a , and cultural center . i i The chosen location of great universit es, profess onal i schools , colleges , and preparatory schools , Na shv lle has es

- tablished a far famed reputation as a center of learning .

Ward Seminary and Belmont College, through their long

and honored careers , and in more recent years Ward

Belmont, have contributedmuch toward winning for the city “ of Nashville her merited title of the Athens of the South . i These schools , in cooperation with Vanderbilt Un versity

and Geo rge Peabody College for Teachers , have g iven a dis tinct charm and atmosphere of culture whic h makes this

city an ideal home for students . a Twelve miles from Nashville is the Hermit g e, the home i and bur al place of Andrew Jackson , President, statesman , i - and warr or . Not far from the Ward Belmont campus is the battlefield of ashville, and near by stretches the scene _ N i of the battles of Franklin and Stones River . With n a few ’ hours ride are Lookout Mountain and Mammoth Cave . Nashville is within easy reach of all the historical points of

Tennessee . In addition to the cultural advantages offered by Nash o ville through its educational and historical interests , an p po rt u nity is g iven by the city to hear many of the most

t c e . famous ar ists , readers , and le tur rs Nashville thus

aff ords the means for acquiring a most liberal culture .

Edu ipment The equipment of Ward-Belmont Conservatory of Music

is unsurpassed. Studios and practice rooms are convenient i i and well l ghted . Ten Grand and n nety recently purchased i upright p anos are in use . Each piano studio is equipped with a Grand piano . Our magnificent music hall is fitted with a g reat three manual Kimball pipe organ , built especially for teaching is purposes . It , we are assured , second to none in the coun tr o y, whether regarded from a t nal or mechanical point of i - . i v ew A fine two manual practice organ , w th motor attach ment , completes an investment in the organ department i alone of approx mately ten thousand dollars . A Steinway Duo -Art Pianola and a Victrola with a large [S ix] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

selection of records are used in the History and Apprecia

- tion department . The Ward Belmont library contains the standard reference works in musical literature and offers excellent facilities for research study .

L iterary and L angu age Cou rses The Ward-Belmont Conservatory of Music offers to music students supplementary work in Literature and the Modern

Languages and other literary branches . The talented player or singer who lacks general education will be at a a w disadvant ge tomorrow more than ever before, and ill be Th regarded j ust so much less a musician . e best musical educators are agreed that general mental discipline should not precede, but should continuously accompany, musical studies ; and schools of music everywhere are seeking what we have already at hand—intimate affiliation with literary u classroom work . Under our system, musical st dy and no f practice are t allowed to suf er or be crowded out, but the student is shown how she may become both a cultured woman and a thoroug h musician .

’ Stu dents Recitals In addition to the many public appearances o f our pupils during the session , frequent informal or studio recitals are given , only the pupils and their friends being present . One aim of a musical e ducation is to be able to perform before others, either publicly or privately ; and the frequent recital opportunities our pupils have are of untold benefits to them T in this particular . hey acquire confidence, poise, and self

. th e r possession Incidentally, all pupils attending these e citals hear and become familiar with a wide range of ma i s cal literature, and thereby gain a musical j udgment which is much broader and more varied than their own individual experience could possibly give them .

From re mote antiquity cymbals and hand bells were used in religious ceremonies . In Egypt it is certain that the feast of Osiris was announced by ringing bells . The J ewish a to high priests wore golden bells att ched their vestments ,

. and in Athens the priests of Cybele used bells in their rites .

[S even] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

The Greeks employed them (koda) in camps and garrison , and the Romans announced the hour of bathing and of busi ness by the tintinnabulum . The introduction of bells into i Christ an churches is usually ascribed to Paulinus , Bishop

a 3 53 of Nol , in Campania ( That they were first made in Campania is inferred from the name given to them

“ ” “ “ ” e — campan e ; hence, campanile bell tower .

i e i Clocks were ntroduc d nto the towers , and bells were i struck to mark the pass ng hours . Other bells were added ; “ ” u a rili n m hence the word carillon , from the Latin q d o e , which was applied to sets of four bells that were erected in

towers of the Low Countries centuries ago . A carillon as we know it today is a set of bells of the finest i - musical quality and tun ng, advancing by semi tones in the i i chromat c scale, and contains a m nimum cf two octaves of

— - bells that is , twenty three bells with the first t wo semi Th ll tones omitted . e b e s are made of the purest copper and tin . The lowest bell is often many tons in weight, with each succeeding bell smaller, so that in the highest octaves i the we ght of each bell is but a few pounds .

- - The carillon at Ward Belmont has twenty three bells , the largest of which weighs more than pounds , the small est 2 0 pounds , and a total weight of more than pounds . il The bells , which are of the finest quality, were cast by G lett and Johnston , of Croydon , England , makers of the i carillons of the Rockefeller Memor al , Princeton University,

University of Louvain , and many others . The system of tuning of these bells is such that others can be added from time to time without removing and recasting the entire is accommo carillon . So well built the tower that it can i date fifteen tons of bells w th safety .

' are themselves Set in Singing Towers , which symbols of i e spiritual aspirat on and civic fre dom , the carillon has stirred multitudes of listeners or rejoiced thousands peace i fully at work in prosaic occupations . Thus generat on after i generation has come and gone, while the vo ce of the carillon in tender folksong and patriotic melody has sustained no i blest qualities of national ty .

Now this superb music has crossed the Atlantic , and i e already there are many carillons in America . The v n - i s - clad tower of Ward Belmont, by t crown of twenty three

[E ig ht] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i —o ne bells , has become a S nging Tower of the most beauti ful in the United States . And through all years to come its music not only will awaken truest college spirit , but will ever recall the loyalty and devotion of the alumnae of the b two schools , past and present, who y their donations made ” possible “ The Bells of Ward-Belmont through the idea pre

i . sented by Miss M lls , former Dean of Residence

Concerts L ectu res and M u sica A ttractions , , l In order to aid in creating an artistic and musical atmos here p for the inspiration and benefit of its students , Ward Belmont arranges each year a choice course consisting of ten or more attractions . These represent the best talent i that is obtainable in Mus c, Art, Expression , and Literature, and may be heard for a very small fee . Frequent recitals and lectures are also given by members of the Ward -Belmont i e own faculty . In add tion to th se attractions within our doors , the periodical visit of other great artists and musical organizations to the city afford excellent opportunity for the development of a broad culture and musical apprecia f tion . N0 city in the entire South can of er more than Nash ” o f ville, the Athens the South , in providing a musical and educational atmosphere . Among eminent artists and organizations which have

- appeared in Nashville, at Ward Belmont and in the city, during recent years , may be mentioned the following :

Tetrazzini , Melba, Paderewski , Liebling, Saville, Ovide i E R Mus n , Clarence ddy, oyal Italian Band , Metropolitan é b Grand Opera Company in Parsifal , Calv , Ku elik, Leandro i Campanari ( viol nist) , Cecil Fanning ( baritone) , Madame Z immerman ( soprano ) , Oscar Seagle (baritone) , Leopold M cMillin Kramer, Francis , Max Bendix , Maud Powell , Ar r Grienauer thur Ha tmann , Fritz Kreisler, Emil Sauret, Carl , S teindel P , Edward Baxter erry, Leopold Winkler, Sherwood ,

Gertrude Peppercorn , Burmeister, Josef Hoff man , Mark Z i Hambourg, Bloomfield eisler , Percy Gra nger, Augusta k Cotlow, Harold Bauer , Carrena, eisenauer, Godows i, De _ R

Pachmann , George Hamlin , Glenn Hall , Bonei , Bispham , i - r De Reszke, Mur el Foster , Homer , Schumann Heink , Ma y i Gadski Garden , Nord ca, Sembrich , , Alice Neilson , Alma Gliick , Frances Ingram , Christine Miller, Julia Culp , Fred Jo eric Morley, Angelo Cortese ( harpist) , Ricardo Martin ,

[Nine] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

G R eache Z r Tollef melli , erville , the oellner String $ ua tette, T V sen rio ; the Strauss , ictor Herbert, Russian , Minneapolis , i m and C ncinnati Sy phonies ; the Damrosch Orchestra, the i Un ted States Marine Band , the Savage Opera Company, a the Aborn Opera Company, the Lomb rdi Opera Company, the Boston Grand Opera Company, the Scotti Grand Opera . i m Company, the New York Ph lhar onic Orchestra , Spiering, - M rma k Galli Curci , John cCo c , Joseph Bonnet, Mischa E l Werrenrath Stracciari man, Novaes , , , Caruso , Rudolph Reu a t t u ter, Gr nd Opera $ uar et e, Farrar, Bresla , Lhevinne, L evitzki Heifitz , Erna Rubenstein , , Martinelli , Rosa Pon eritzka selle, Edward Johnson , Ukranian Choir, Maria J , San

Carlos Opera Company, Frieda Hempel , Ernest Hutcheson ,

Matzenauer, Giuseppe de Luca .

[ Ten ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Cou rses of Stu dy

The Ward-Belmont Conservatory of Music offers com prehensive courses of study in all the most important i V V branches of Music, ncluding Pianoforte, oice, iolin , and T o other stringed instruments , Pipe Organ , Harp , he ry , Ear

Training, and Solfeggio , Harmony, Counterpoint, Composi i tion , History and Apprec ation of Music, Interpretation , e Sight Playing, Chorus , Ensemble and Orchestra , R per toire and Memorizing . i Individual instruction is given in instrument or vo ce, while class instruction is given in the theoretical and his torical branches of Music . Students who do not wish to follow any specified course may have private and class lessons in any department . R ec o nizin u g g that rapid progress, broad training, and tr e musi cianship depend upon the combining of private instruction with class lessons in theoretical subjec ts adapted to the pu ’ - f pil s needs , the Ward Belmont Conservatory of Music of ers thorough instruction in classes in General Theory ( Musical

Essentials) , Ear Training and Solfegg io , Harmony and His i i tory of Music . Th s class nstruction is arrange d to supple ff ment the private lesson , and o ers indispensable knowledge to advancement and true musica l understanding .

Certificates and D iplomas In rec og nition of the satisfactory completion of definite r c m courses of study, combining a majo subje t of Instru ent V o or oice, with prescribed the retical and cultural subjects , - and a required amount of practice, Ward Belmont confers i Certificates and D plomas . Students intending to enter the music profession as teachers or performers , or those desiring a broad training, making possible the acquirement of true musicianship , are advised to enter the certificate course . Inasmuch as talent, previous instruction , mental concentration , and ability to perform publicly are vital factors in determining the length of time required for completion of these courses , no exact time can be stated .

[E lemen] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Theor Harm n Cou nter oint and Com osition y, o y, p , p Nothing is more necessary in the education of a musician than a thorough knowledge of the laws governing the con i struct on of music itself . An acquaintance with harmony i i s ind spensable . It and its related branches constitute the grammar and rhetoric of music, and are just as important to the student of music as are grammar and rhetoric to the student of English . A pupil may be taught to play many i d fficult compositions without this knowledge, but such play u ing lacks mat re understanding and interpretation , and in ’ such cases the pupil s musical education consists chiefly in i finger automatism . To learn to l sten to music and think in tones and tonal combinations should be an ultimate aim of

- all musical training . The Ward Belmont Conservatory of

Music insists upon an exhaustive study of harmony . In the preparatory classes , special instruction is given in the Rudi ments of Music and the laying of a solid foundation for the fi more advanced courses . Instead of the almost obsolete g u red i m bass method of teach ng Har ony, a progressive and modern system is used , by which the pupil learns a practical working knowledge of its principles and acquires the ability to harmonize, distinguish chords by sight and sound , modu i im late, and do orig nal work . Ear training is given an portant place . To those who have completed the regular work in Har mony, special courses in Counterpoint, Analysis , Form , and

Composition are off ered .

History and Appreciation of M u sic Ward-Belmont offers excellent facilities for the thorough study of the History and Appreciation of Music . i Wh le pupils are studying to become performers , they should also be given a thorough understanding and appre ciation of the higher forms of music , from the historic and i aesthet c viewpoints . Unfortunately, in many music schools , adequate provision for these educational subj ects is not made . Often , after long periods of study, pupils who have become even creditable performe rs still have but scant in i i formation o n mus cal subjects , and but little appreciat on and understanding of either the intellectual or emotional content of the music they play . The courses in Musical His

[Twe lve] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

tory which are provided at Ward-Belmont do muc h to obvi - i ate this one s dedness of culture . All students are urged to pursue these courses as far as in n possible, order to de velop and broaden their musical u derstanding .

Choral Society and Glee Clu b These societies will be given an important place among i the activities of the school . With the assistance of visit ng artists and prominent local soloists , operas in concert form, cantatas,and various choruses and chorals will be presented from time to time . Too much stress cannot be placed upon th e ' impo rtance i of this training, which is indispensable for students of vo ce particularly and of great value for all students in the ac quiring of general musicianship . In developing skill in reading, acquaintance with the standard choral literature, and providing a stimulus which results from concerted ci fort, a chorus is always a vital factor in musical education . — Ward B elmont Orchestra Th e Ward -Be lmont Orchestra is a complete organization of strings , wood wind , brass , and percussion , numbering about forty playe rs . It offers the necessary routine and experience to become an efficient orchestra player . . The drill , under the guidance of an experienced conductor , is of the greatest value to all pupils of orchestral instruments . The standard classic and modern works are studied , and the members acquire a practical knowledge of much orchestral literature .

Weekly rehearsals are held , and several public appear ances are made by the organization during the year . Under ffi e the e cient direction of Kenneth Ros , the concerts given by i the orchestra have reached a h gh standard of excellence . Students sufficiently advanced are required to attend the u i orchestra rehearsals . No charge is made to them . O ts d ers are admitted upon the payment of a nominal fee .

Ward-B elmont Glee Clu b 1 The Glee Club , organized in 92 8; is under the direction of the head of the Voice Department . Since it is especially

[ Thirteen] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i desig ned for choral work, there s no limit to the number v that may be in it . E ery member must stand an examina tion for entrance and show continued proficiency in order to remain in it . The advantages that membership off ers are i too obvious to be detailed . The privileges of membersh p , i as in all other things , are accompanied by responsibil ties , such as prompt and regular attendance at all rehearsals . The public programs given the past year were greatly ap preciated and were distinct musical contributions . Two hourly periods of rehearsal under an able coach are provided each week for the Glee Club and choral work .

Credit toward graduation is given for this work .

CURR ICUL UM O F THE SCHOOL O F M USIC

Certificates and D iplornas

N o one may apply for a certificate or dipl oma wh o h a s n ot com e h i h- ni pl ete d th e e quivalent of fifteen a cc ptable g scho ol u ts. Pupils desirin g to be come can didate s f or certificate s an d dipl omas must announ ce themselve s thro ugh their respe ctive teachers not l ater 2 th an October 0 . The re will be held be tween Februa ry 1 an d 1 5 and betwe en M ay 1 i m n r i e a s a n d 1 5 examin ation s on the requ re e ts f or ce t ficat s and diplom . The candida te s mu st in February stan d an examin ation bef ore the mu sic directors on one-h a lf th e tech nic require d and one-h alf the

A x mina ion o he remainin a f of h e re iremen s repertoire . n e a t f t g h l t qu t must be taken bef ore May 1 5. Ca ndidates f or certificates an d diploma s must appear in public h rin th ssion recita l at least t ree times du g e se .

Cou rse of Stu dyfor Certificate in Piano e h i — M a a wi o an n ara e mo ion T c n c. 1 . j or S c le played th b th h ds i p ll l t ir s r a minim m ee 4 n o e M M . 1 1 2 th oug h f our o ct ves ( u sp d , t s to . ) Th d , h r m i 4 o M M i n en s an on ra o on s ee n es o . S xths, a d T t , d c t y t ( p d , t t .

2 Min or S ca es : armonic an d M e o ic a e wi o an s in . l H l d , pl y d th b th h d a m ion s e 4 n o t M M par llel ot ( p ed tes o . . ,

3 Th a e of i s ra in arie r m and e a o s acca o . e sc l llu t t g v d hyth s l g t t t , , and portamento to uches .

4 C or s : M a or Minor and D iminis e ria s ominan and . h d j , , h d T d ; D t

D iminish ed S evenths, a ll with a dded octaves.

A r e ios in ario s forms on M a or or M in or ria s ominan 5. p g g v u j T d ; D t M M 2 iminish e S e en C or ee 4 n o es to . 7 an d s s . D d v th h d ( p d, t )

D o T ir s M o a on s ee 4 no e s 6 . uble h d : aj r S cales playe d h nds al e ( p d, t M M to . .

ia ni roma i a es all Tonic ria s s ee 7 . c a es : o c and C c S c O t v D t h t l , T d ( p d , 4 n o e o M M t s t . . [Fourte en ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Pia o o itio s -Fo m o a a i rame ie s n Comp s n . ur co plete S n t s ; e ght C r stud “ ” r m Fif e e e die B a h I n n ion s at as f o r f o ty S l ct d S tu s ; twelve c ve t , le t u of them three-part ; eig ht Czerny studie s from Opus 2 99 ; f o ur Ch opin ’ “ Prelude s ; f our sel ections f rom S chumann ; f o ur M en del ssoh n s S ong s Witho ut Words ; ten piece s by well-known cl assica l an d mo dern com posers .

i ht Pla i — Th n r i m a to S g y ng . e ca dida te f or th e ce t ficate ust be ble a a i h i h m ra iffi e a ecom pl y t s g ht ymn s , e t er part of a o de tely d cult du t, anim n i i i ie e s of p e ts f or mo derate ly difficult son gs or v ol n solo s, p ano p c hir ra t d g de .

Th eor an E ar Tr in in 1 1 1 2 a o ine on a e 2 2 . y d a g , s utl d p g

H ar 1 i mon 3 I a o n e n a 2 2 . y , t s utl d o p g e

H is A i 1 1 6 o i n a e 2 2 2 3 tory and pp re cia tion of M us c 5 , a s utl ned o p g s , ,

Piano Certificate Examination

i a h 4 o e 1 . e chn c a s s a e in ara r 1 2 5 7 a . T t t d p g p s , , , , b v ,

’ — 2 M emorize e rtoire On o in Pre e e ec e f rom N os . . ol R pe . e Ch p lud s l t d , 3 6 1 0 1 1 1 4 1 1 2 1 2 2 2 e ion rom ch mann s ch , , , , 5, 7 , , , 3 ; or one sel ct f S u , u , “ ” a a h k or n M n e n W i o W o r s s ch a s s N c tstu c ; o e e d l ssohn S o g s th ut d , u M i r N o s . 1 1 o i h n h erz in E no , 8 f ur p eces suc a s M e delssohn , S c o ; ; _ ,

’ L isz Con so a ion in F a M a cD owell E fin D an ce D eb ss A ra t, l t D l t ; , l ; u y, 2 n mo m n on a a h B e e h e O 2 besqu e No . ; o e ve e t of a S t , suc a s t ov n , p. , N 1 w - r B h n e ion n re - ar B a in en ion o . ; on e t o pa t ac i v nt a d one th e p t ch v t ;

n r m z o e C a er or on e C erny study.

i h Pla i — n s C emen i a n iabe S on a in a s an 3 . n m d i S g t y g . Hy ; l t D ll t ; m i e asy a cco pan ment f or a song .

’ Cou rse of Stu dyfor Certificate in Voice — e. ni r e o men re a or i hr ma i T ch c. Ca eful dev l p t of b th supp t and d ap ag t c n i e r a o i e ro i in co trol and bu ldin g, as n a ly s p ss ble perf ct p duct on of s g le h i a wi h l ton e t roug hout en t re r nge and t a l vowe ls. M a or an d M inor S ca e s M a or and M in or A r e ios cre scen o j l , j p g g , d an d imin en o e a o an d s a cca o sin in i ion a cc ra c an d d u d ; l g t t t g g , d ct , u y n i a o n r purity of vowel in to a t on , nd study of c n so ants and th eir impo

an a ce t t pl .

o ca lis e — S ix oca ise s to be c o sen at th iscre ion o th e ma s V s . v l , h , e d t f r r m n h w - n own com rs i h w o te , f o a y of t e ell k pose , de s g ned to s o a g o d le gato and to give illustration s of various examples of voca l embellish me s nt .

é r oir —A a e son s me morize r m th ri s R pe t e . t le st t n g , d , f o e va o u — h w r i i wo scho ols E n glish I ta lian Fren c , etc . ; t o ope a t c a r a s an d t , , om e ro e f r m h an ar ra orios c plet l s o t e st d d o t . Th e candida te must pre sent a voice fully a dequate to th e above me n ione r iremen in ran e ea i i i i o t d equ ts g b uty, flex b l t an d fidel t t , y, y i p tch .

[Fifteen] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i Pla in —The can i a e m s S g ht y g . d d t u t be able to sin g at sight a part o i n an mo era e iffi f a g ven hym , y d t ly d cult son g ; must be a ble to play hymn s and accompaniments to moderately difficult songs on the pian o ; and m s a e finish e th hir ra e in ia u t h v d e t d g d P no . The re iremen s f or armon is or of M sic E ar rainin qu t H y, H t y u , T g, and M sica Voca ar are th e me a in Pia o u l bul y sa s n .

Voice Certificate Examinatio n

e i 1 . T chn c a s state d above.

2 nm m rize ix i rom h n r o i . U e o d , s stud es f t e sta da d v cal ses.

i rom r r 3 . Memorize d , two select ons f th e ope as, two f om the orato

rios and ei son s . ossib e exce ions e en en on the in i , ght g P l pt d p d t up d vidual .

Cou rse of Stu dyfor Certificate in Violin ma or n minor a e in ario r m and owin s S cale s, j a d ; pl y d v us hyth s b g , both in the diatonic fo rm and in thirds ; octave s ; a rpe ggio s in various m for s. r Fi ri o n R o e wi h emen ar s ies E tude s of K eutzer, o ll , a d d , t suppl t y tud

i i S hradieck to e e o a i i of e h an and acc rac of S evc k, S tt, c , d v l p g l ty l ft d u y n of bowi g.

os i — er oire o en com osi io s inc in one Violin Com it ons . R ép t f t p t n lud g p , — N n r io o 2 2 2 3 R o e No 6 D eberiot o . 7 com lete co ce to V tti N . , ; d . ; , ; p , , ma r ona as —Han e ar in i Nar ini S o r No 2 M ozar a o . S p h , . ; t, j t d l , T t , d , e zo a i Le en e b Wieniawski etc. An an e and S c r b . d t h , y D v d ; g d , y

—Th an i a e m be ab e o a at si h e s b S ig ht R eading . e c d d t u st l t pl y g t du t y m r iffi e e Vio i or sona as of the sa e a e of c . Pl y l, tt , t g d d ulty The re iremen s in armo n is or of M sic an d E a r rainin qu t H y, H t y u , T g a r h m a n ian e t e sa e s i P o . The candida te must have a ttende d orchestra or ensemble pra ctices f or at lea st on e session ; must be able to play on th e piano a ccompani ments to solo s of moderate difficulty ; and must ha ve finish e d the third

g rade in Pian o .

Violin Certificate E xamination

i a a a min Technic as stated above . All diaton c sc les to be pl ye d at m M m me no mark 1 00 M . imu tro e of . i ri R o i s a i ario E tude s selected f rom Kreutzer, F o llo , de , llu tr t ve of v us n i an ra in st les of bowing and rhythm into at on d ph s g . y ,

i — m ona a two rin ci a mo e M emorized R éperto re . One co plete s t ; p p l v i n r v on r ie es re resen in c a ssic ments from a class c co ce to , fi e c ce t p c , p t g l

and modern schoo l s.

e e t i — r m osi i n o ike ra e two Unm morized R ép r o re . Th ee co p t o s f l g d ; ona r n movements of a s ta p epared alo e .

la in —Com osi ion s not to excee in iffic the re er S ig ht P y g . p t d d ulty p

toire s o utlined a bove .

[S ixteen]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Al so a certa in amount of ensemble work or a ccompanying will be re

ir qu e d . — S ig ht Pla ying S ight playin g of simple hymn s or easy song s with m mo a i ns si ple dul t o . The re iremen s in armon is or of M sic an d E ar T rain qu t H y, H t y u , i r h m a n Pi no m w i ng a e t e sa e s i a . S o e kno ledge of p an o playing will a s re ired l o be qu .

H arp Certificate Examination

1 Te hn i a s a e a o e . c c s t t d b v .

’ 2 e — m a E tu d s . On e s fro lzedo M od r r . tudy S s e n S tudy of th e H a p.

’ 3 M embrize R é r ir — Fi i . a. pe to e . ve p e ce s sel ected f rom th e classics tran scribed f or h arp by S alze do and two from th o se tran scribed by M a rie M iller; th ree composition s by H a sselmans or o th ers o f the , same ra e of diffic Th e Fo n ain b Za B g d ulty ; u t , y bel ; E n atea u b , y D eb ss and one re S alze o u y ; p lude by d .

Cou rse of Stu dyfor Certificate in Pu blic S chool M u sic

Prere u isites — Th e o sse ssion i q . p of a f air vo ce ; Th e ory and E ar T rainin 1 1 1 2 r i g , o its equ valent . ,

First Year S ec ond Yea r

E ar T ra in in 2 1 2 2 m n ar o 2 3 2 4 . g , . H y , a rmon 1 3 1 4 . is or of M sic 2 5 2 6 H y , H t y u , . History an d A ppre ciation of Public S ch ool Music M ethods M sic 1 5 1 6 2 u , . 7 2 8 . , P b ic S ch oo M si M s Pia u l l u c ethod no or Voice .

1 7 1 8 . C or s , h u . Pia no or V oice . s ch o o 2 1 2 2 P y l g y , .

C or s. One e ec i e h u l t v . E n is 1 g l h , 2 . E ca ion 1 1 1 2 du t , .

A ttainm n — i io rst- ear o e e co rse o r its e ts . V o ce complet n of fi y c ll g u , e i a en ian o com e ion of Gra e I I I an d abi i to a at si h qu v l t ; P , pl t d l ty pl y g t mo e ra iffi m im al o rse s a i h o rs d tely d cult a cc o pan ents ; l n l c u , qu l ty u

e i a n t a a r qu v le t o n ve a ge g rade of C.

Cou rse of Stu dyfor D iploma in Piano

i — 1 M a r an Mi r a s wi h bo h an s in ara e Te chn o . . j o d n o S c le , t t h d p ll l M M T ir s h h f o r o a s s ee 4 n o e s to . . motion t roug u ct ve ( p d, t h d ,

i 4 e o M M . S ixth s an d T enth s a nd c ontrar mot on ( spe ed n ot s t . , , y ,

2 C or s : M a or M inor a n d D iminishe Tria s D ominan M in or . h d j , , d d ; t, ,

and iminish e S e en C or s all wi h a e oc a es . D d v th h d , t dd d t v

3 r e ios on M a or an d M inor Tria s D ominan M inor a nd . A p g g j d ; t, ,

[E ig hteen] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

iminis e S e en C o r s in all o si ion s s ee 4 no es to M . M . D h d v th h d p t ( p d , t

4 o e ir s M a or an d Minor S ca e s wi o an s in . D ubl Th d , j l , th b th h d m io e 4 n e o M M 4 roma i Minor Thir s paralle l ot n ( spe d , ot s t . . 8 ) Ch t c d e 4 no e o M M 92 ( sp ed , t s t . . )

Di n i r ma i a 4 n M M 5 c a es : a o c and C o c S c es s ee o es o . . O t v t h t l ( p d, t t .

6 a e s Ar e io M a r Min T ri of . O ct v : p g g s of j o and or ads and Chords th e e h e S v nt . — Pian o Compositions Two c omplete sona tas ; o ne prin cipa l move “ men t of a con certo ; f our prelude s and fug ues from Th e W ell-Tem ” pere d Clavich ord ; a t lea st h alf of a Bach Pa rtita or S uite ; f our se e ion r m o in in w e e s wo e i r m l ct s f o Ch p , includ g t o tud ; t sel ct on s f o ’ “ m i ion rom Czer O 40 m n i ra s S chu ann ; s x select s f ny, p. 7 , or Cle e t s G du ” a d Parn assu m; two sele ctions from L iszt ; fo ur se lection s f rom we ll n ow si n mo r om r a -B a a i w k n cl as cal a d de n c pose s, such s Glinka l k re ’ ' L Al ou ette rifies S c erzo Brahms R a so i in E F a D eb ss ; G , h ; , h p d e l t ; u y, ’ efle an e a R ts d s l u .

E ar ra i i T in ng 2 1 , 2 2 a s o utl ne d on pa ge 2 2 .

H armon 2 3 o i n 2 y , 2 4 a s utl ned o pa ge 2 .

’ H i r A i i i i e s to and e c a t o o M u s c 2 5 2 6 a n n a e 2 3 . y ppr n f , s o utl d o p g

i h la in —The can i a f or ra a ion m s be a e to a S g t P y g . d d te g du t u t bl pl y ’ a si ra M oz n h a t g ht seve l of art s so atas and t e easier on es of H ydn .

Piano D iploma E xamination

- 1 . e chnic a s s a e in ara ra s 1 6 a o e T t t d p g ph , b v .

i r o —n 2 . M emor ze R é e t ir O e rin i a m m o r o d p e . p c p l ove ent of a c nce t ; one com e on a a on r n m B h e pl te s t ; e p elude a d fug ue fro ac ; one etud , S c erzo Ba a e or o on aise f rom C o in one se e c ion f rom S ch h ll d , P l h p ; l t u mann ; one sele ction f rom L iszt ; f our diflicu lt se lection s from well known i a n o r m o er cl ass c l a d m de n co p s s.

Cou rse of Stu dyfor D iploma in Voice — Te chnic Careful d evel opment o f breath support an d diaphra gmatic n ro an i i a ne r a o i r co t l d bu ld ng, s a ly s p ss ble pe fe ct production of sing le n h ro h o ire ran a n wi l o to e t ug ut ent ge d th a l v wel s. M a or an d Minor S ca es M a or an d Minor Ar e io s crescen o an d j l , j p g g , d diminue ndo ; leg ato an d staccato sin g ing diction a ccura c and urit , , y p y of owe in on a ion an d s of c on sona n s an h ei im r n e v l t t , tudy t d t r po ta t pla c . With a greater de gree of facility th an require d f or certifica te and in a i io h a i s r i ( dd t n ) c rom t c scale , exe c se s in second s tri lets f ourths , p , , and ri s if s i a f or oice of an i a e t ll u t ble v c d d t .

o ca l —A wor in kn ow e V is es . k g l dg e of th e standard voca lises f or vari ou s voices and a careful study o f f our not studie d f or certificate two , s e s e b the ma s er and two se ec e th ug g t d y t l t d by e student .

[Nin e teen] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

R é e ire -A ea s en son m m r z r m h i s p rt o . t l t tw ty g s e o i ed f o t e var ou h — i h ia r n i sc o ols E n g l s , Ital n , F e ch , e tc . ; two opera t c aria s and two complete roles from th e standard o ratorio s o th er th an those studie d r er i a f o c t fic te . — S ig ht Playing The candidate must be able to sin g at sig ht a part a m an m er i of hy n, y od a tely d fficult song , and be able to play hymn s an a m anim n s to mor n h i d cco p e t e adva ce d song s on t e p an o . Th e candida te f or gradua tion in Voice must h a ve finished th e r ra i iano fou th g de n P . Th e re ire men s in armon is or of M sic E ar ra inin an d qu t H y, H t y u , T g, i r a r h am ia Mus ca l Vocabula y e t e s e a s in P no .

Voice D iploma Examination

Al e i o 1 . l T chn c as stated ab ve .

2 nm moriz — i ie rom h an r o i e . U e ed. S x stud s f t e st da d v cal s s.

M o i —Fo re a r h is th 3 . em r zed. ur son gs p p ed wit out a ss tance from e master ; two operatic arias ; two aria s from the ora torios ; ten song s rom h ario oo f t e v us sch ls .

h i m s re a e to i e i a a e manner om T e cand date u t be p p r d g v , n c p bl a c , r en i re i a o a i s ol n new a n m s in in p eh s ve c t l f cl ss c , d a d , d u t be able to s g i at lea st one f oreign languag e other than Ita l an .

Cou rse of Stu dyfor D iploma in Violin

a — ia ic ma r an mino M M re e a e S c le s d ton j o d r ( . . th oct v s ; , , ar e ios hree oc a es ma o r and minor ominan and imin ish e p g g ; t t v , j ; d t d d

s n o i n al ke s ir s ix s a s . eve ths ; double st pp ng i l y ; th d , s th , oct ve etc , E es and Ca rice s of on ra s Gavinie R o e i a anini tud p D t ( g du ) , , v ll , P g , wi me a i i hra i i etc . , th supple nt ry stud es of S tt, S c d eck, S evc k, etc.

ioli om osition s —Fif een works mem rize m c a ssi ro n . o ro c V C p t , d , f l , i m n — B r h M e n mant c, and mo dern schools ; one co plete co certo uc , h i i zar a a ni om a delsso n W eniawsk Mo ni etc . one c e e son a , , t, P g , ; pl t t m ers Core i an e ar in i Bach etc . and s an ar concer n ll , H d l , T t , , ; t d d t u b , s c a s o onaise E Minor Wieniawski Zi u enerweisen b S arasate u h P l , , , g y ,

etc.

a i — i i i S ig ht R e d ng . S elected compos t ons of a rea sonable deg ree of d f l ficu ty. The re iremen s in armon is or of M sic and E ar T rainin qu t H y, H t y u , g m a Pi are the sa e s in ano . The candidate must have a ttended o rche stra an d ensemble rehe ar or a t a s wo i n s n m a a n he iano sal s f le t t sess o , a d ust be ble to pl y o t p m imen mor iffi o a cco pan ts to e d cult sol s. Th e candida te for g raduation in Violin mu st have finishe d th e f ourth

r ian o g ade in P . Violin D iploma E xaminat ion

m iz i e c ion rom ario s All scale s, me or ed as o utl ne d above ; s le t s f v u , studie s and caprice s ; two mo vements from a Bach sonata ; one com

[Twenty] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

m na a en om o si ions of concer ra e plete concerto ; one co plete so t ; t c p t t g d ,

all by memory.

Cou rse of S tu dyfor D iploma in Pipe Organ

i -Th re iremen in man a e c ni are the same a s in Te chn c . e qu ts u l t h c

ia no exce in h a the ran e of sca es an d ar e ios as a a e to P , pt g t t g l p gg d pt d h r i i t e o gan is l m ted . — Org an Compositions Two a dvance d prelude s an d fugues and two ora e of Ba w sona s of i her M en e sso n u ilmant and ch l s ch ; t o ta e t d l h G , , einber er o r one son a a an d a m hon of Wi or en an ar R h g , t sy p y d ; t st d d

m o i ions fiv f em mo er Frenc com o sers co p s t , e o th by d n h p .

i ht la in — The can i a e m s be a e to a at si rios S g P y g . d d t u t bl pl y ght t of intermediate gra de ; sh ort se lections of voca l score in f our stave s in r a e C, G, and F clef s ; to transpose a sho t p ssa ge in r duced score to any key within a M a j or Third a bove or be low the orig in al ; to make an ffe i a ion ia om an im e ct ve a dapt t of p no acc p ent . The re iremen s in a rmon is or of M sic and E ar rainin qu t H y, H t y u , T g h am i are t e s e a s in P ano .

Pipe Org an D iploma Examination

1 e chnic a s a e a o e . T s t t d b v .

2 nmemorize R e rtoir —Tw re Ba on . U d pe e o p lude s and f ug ues of ch ; e

m e son a a on mo emen o sona or i a n re co ple t t ; e v t f a ta equ v le t, to be p r r i pa e d without assistance or inst uct on ; two standard compo sitions .

M emo e R e rtoir — a om si i 3 . riz d pe e N o st ndard c po t ons . i 4 . ht P a in a e o S g l y g a s st t d ab ve .

MUSICAL SCIENCES

A cademic credit will n ot be a llowe d f or M usica l S cience courses

n e ss a en in conn ec ion wi at e a s two le ssons a week in iano u l t k t th l t P , i in V oi e n e h ise no i e r an V o or c ss o erw e . P p O g , l , , u l t t d

—R e ision ar bein ma in co rse i M si a i e o NOTE . v s e g de u s n u c l S c enc s t r be announ ced late .

High S chool Cou rses

Appreciation

A o r esi e to i e he s en an a c ain an e wi ari I . c u se d gn d g v t tud t qu t c th v ou s types of music and to promote in tellig e nt listening throug h a

i s orms es an d ins r men s on idera ion f study of per o d , f , styl , t u t ; c s t o i i th a artists and musica l a ctiv t e s of e d y.

n r - r en s Open to third a d fou th yea stud t .

Tw o r we ek o h u s a .

Firs n e on eme s ers Cr i one ni . t a d s c d s t . ed t, u t

[Twenty-on e] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Theory and E ar Training

h i a n of o e o r 1 II . T e equ v le t c ll g e c u se 1 , 1 2 .

en to fo r h- ear s en s Op u t y tud t .

r e o r a week Th e h u s .

Firs an e on em s r . i d s c s e e s r ni . t d t C ed t, one u t

College Cou rses

Theory and E ar Training

1 1 2 The r imen s of m sic n o a ion ermino o ca orma 1 , . ud t u : t t , t l g y, s le f h m i h e r i a n orr tion , interva l s, c ords and rhyth , stud ed t o et c lly i close c e , a i wi x r i in a rainin si in a n i a i n l t on th e e c ses e r t g, ght s ging, d d ct t o .

Three hours a week.

r e n eme s r r i r m s o r Fi st and s co d s te s. C ed t, fo u se e ter h u s.

2 2 M a an e work in e ar rainin i h in in and di 2 1 , . ore dv c d t g, s g t s g g , c in roma i m a i m t ation, includ g study o f ch t c tones odul t on , and co plex , mi rn i h -sin in x r is n o i rhyth c patte s ; s g t g g e e c es a d s ngs n three parts .

rere isite co rse 1 1 1 2 . P qu , u , h w Two ours a eek.

F an o eme s ers r i tw m s e o r irst d sec nd s t . C ed t, o se e t r h u s.

i w sca s in r a s r rma i 1 3 , 1 4. R ev e of le , te v l , and cho d f o t on ; study of h i chord progression emplo ying tria ds a nd t e r in versions, se ven th and ninth chords ; modulation to closely rel ate d keys ; harmonization in f our voices of me lodie s and of figure d and u nfig ured basse s ; o rigin a l w m n ork ; keyboard har o y.

m i r Must be prece ded or a cco pan e d by cou se 1 1 , 1 2 .

r w k Th ee hours a ee .

n me r r i m First an d seco d se ste s. C ed t six se ester h o urs . ,

2 2 4 armoniza ion in o in r her s r ma eria 3 . of c o , H t v lv g fu t tudy h d t l , n o - or one m a ion o is an r a e ke s h armOn i nal n ch d t s, o dul t t d t tly el t d y ; c a y ri m i a rmon sis and o g inal co po s tion ; keybo rd ha y. P r i o rs 1 2 1 1 4 o r om re e quis te s, c u es 1 1 , ; 3 , . S h uld be p eceded or aec panied by course 2 1 , 2 2 .

o r we ek Three h u s a .

ir n e on em rs Cr i ix em s o rs F st a d s c d s e ste . ed t, s s e ter h u .

H istory and Appreciation of M u sic

e e ( Op e n to Co lle ge A ca d mic as we ll a s to Music stud nts . )

1 A ene ra s r of th e e o men of m sic f rom he ar 1 5 6 . g l u vey e d v l p t u t e , M sic rio to th e se en een en r lie st time s to the pre sent day. u p r v t th c tu y is studie d as ba ckg round f or a f uller considera tion of the epoch of

[Twen ty -two] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

h s i n R oman i erio h in strumental polyphony t e Cla s c a d t c p ds, and t e , M rn ra ode e . r in re ri i a an re a i is i o Text, refe ence read g, le ctu s, c t c l d c t ve l ten ng t i th i r D o-Ar ro in iano many illustrat on s on e V ct ola and u t rep duc g p .

Three ho urs a week.

Firs and se con seme s ers Cre i six seme s e o rs t d t . d t, t r h u .

2 2 ri i a a re ia i f ari s e m si 5 6 . A c t c l and pp c t ve study o v ou t p s of u c , y i ope ra ora torio , symphonic and chamber mus c ; th e repertory for so lo , , s r m n n oi a i a r a en ion i i n t wor the in t u e ts a d v ce . P rt cul tt t s g ve o ks of h h ri ra i n ine teent an d twentiet centu e s . Copious illust tions on V ctro la and D u o -A rt reproducing piano ; study of programs of visiting artists ; reference re a ding an d reports.

P i i o 1 rerequ s te c urse 5 1 6 . , ,

Tw r we o hou s a ek .

Fir an on me s rs re i o r m s r st d sec d se te . C d t, f u se e ter ho u s .

Pu blic Schoo l M u sic

ma ia se in r r r - 1 7, 1 8 . Metho ds and ter ls u d in k de ga ten and g a de s I VI ; study of child deve lopment as ba sis f or con sideration of metho ds pre

en in th Pro e ssi e U ni ersa M sic E a i o i s ted e gr v , v l , u duc t on , and H ll s ann ri s se r a ion an rac i ea in D S e e ; ob v t d p t ce t ch g.

P i i h a ar T r ini rereq u s te, T eory nd E a ng 1 1 , 1 2 .

mo 1 i R e ire co a era s a r n 3 1 4 s or of M sic 1 5 1 6 . qu d ll t l tudy, H y , ; H t y u , w Two hours a ee k.

F n m r r i ir an d se o se es e s. C ed f o r m s r st c d t t, u se e ter h ou s.

2 7 2 M o s in ni r n i i i i , 8 . eth d Ju o a d S en or H g h S choo l ; spec a l top cs on si re : h a o es en io i c de d t e d l c t per d , care of vo ce , mana gement of chorus and e e c b th chin r i i gl lu , e tea g of theo y, h story and apprec ation of m sic ch or s con c in a d ra c i e eac in u ; u du t g n p t c t h g .

Prere u isites T eo r and E ar rainin 1 1 1 2 armon 1 3 1 4 y _ l q , h T g , ; H y , ; i r f M ic 1 5 1 6 P ic S c oo M si 1 7 1 s o o s c 8 . H t y u , ; ubl h l u ,

R e ire o a era E ar ainin 1 2 2 ar c s r 2 mon 2 3 2 4. qu d ll t l tudy, T g , ; H y ,

w o r w T o h u s a eek.

Firs a n s on eme s rs r i r d ec s e . C e r m s t d t d t, fou se es ter hou .

I mportant Points All Music students residing in Ward -Belmont are ex pected to meet the minimum requirement of twelve hours a wee k or its equivalent . D a ei y students , n ther wishing to take the full course nor m a . intending to graduate, y select such studies as they desire Students must be at least sixteen years of age before they

[Twen ty-thre e] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

can enter the certificate class , and must have completed the i - equivalent of fifteen h gh school units .

i - Upon leav ng Ward Belmont, each pupil may receive a i i in i i test mon al , wh ch the time spent at the institution , dil gence in study, and progress will be clearly stated . t i Reports showing at endance, practice, and mprovement are issued at least four times a year .

The M u sic Facu lty

The Ward-Belmont Conservatory of Music is fortunate in the streng th of its teaching staff and in the completeness of its curriculum . Endeavoring at all times to maintain the i i highest possible standards , the nst tution has engaged only those instructors whose qualifications are of the highest order . Among the faculty are to be found recognized artists of i i l n internat onal reputat on , addition to a carefully selected corps of specialists . Opportunity for instruction under masters is afforded which can be equaled in only a few of i the largest mus cal centers . The school takes justifiable pride in the results of the methods used as reflected in the accomplishments of its graduates , many of whom are holding responsible pro fes siou al positions .

Piano D epartmen t The demand on the modern pianist in respect to technic and skill in the management of the improved instruments of today is radically different from what was expected of the average player in the past . Parents , realizing the ex pense attending the musical education of their daughters , are becoming more exacting, and are insisting, to their i r r credit, that the nstructor must be an adept and a ep e i i i i sentative pupil of a d st nguished teacher . Art st c piano i h is i playing, l ke t e use of language, a result of educat on and -da defini association with masters of the art . Our present y tion of technic does not mean digital skill alone ; it properly means also tone development, a correct understanding of

[ Twen ty-fou r]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Duo-Art records of Lawrence Goodman

Old Vienna Humore sque E cstasy Pierrot I n Autumn

ma i ri ia ia i ai ss Mr Lawrenc ood n a n n s cer n of s cce . . e G s b ll t p t, t u — rman . h on er L isz fla ain S ome o f his perfo ces e g . , t e c c to of t in E t, S t e min r n s ai ows in B -fia mi or— I h a e se om S a n s in G o , a d T ch k ky t n v ld a r A a r h h a man h o er fo m. he ard excelle d on t e c nc t pl t s a te che , e s y ye ars of a ctivity in one of the mo st prominent New York conserva i h a -Be mon Co e ma we be con ra a e on th e to r e s. T e W rd l t ll g e y ll g tul t d i m i a ersona i a cquisition of so strik ng a us c l p l ty.

E R N T TC ON ES HU HES , i is A u s tralia Pia n a n T eacher Dis t ng u he d n is t d .

I can hig hly recommen d Lawrence Go o dman a s a pianist of first i in ir osi of the hi he s or er wi m sica f ee qua l ty, po sse ss g v tu ty g t d th u l l r ma mem er of th f a c i i en a in M . Goo n a s a e ing and ntell g ce . H v g d b r a a an a e of an sch oo am s re u lty would be to the g e t dv t g y l , I u .

Josnr LHEVINNE , el e bra ted R ussian ia nist C P .

Press Notices

man amaze and de i h e his a ience wi th e ri iance M r. Good d l g t d ud th b ll a n —N ew Yor it ws of his remarkable piano pl yi g k C y Ne .

The feature of the evening wa s the performance of Lawrence Go od er M r oo man n er re his man in th e Tschaikowsky Conc to . . G d i t p te d t mann r an b i u h con in ass a es great work in a broa d e , d u lt p t e clud g p g in ffe ct —B a ltimor N ews with dramatic an d tell g e e .

M r oo man con rib e rea eas re to the reci a The work of . G d t ut d g t pl u t l at or an a and e ed t o ma e the af e rno on a s cce ss —B os ton J d H ll , h lp k t u t Trans crip .

S ome of th e finest piano playin g o f the sea son wa s exhibited at th e ’ a a - h i hi ri concert la st e venin g. M r. Goodm n s cle n cu t tec n c and s b l m h on er m n o a —Cleve liant styl e went fa r to ake t e c c t a ost e j y ble one .

la nd Plain D ea ler.

enin M r oo man a e a ro ram f i At his recital la st ev g . G d pl y d p g o h g h , m i he h i i m s a r is i man er The i an acco s s n a o c n . est qual ty, d pl d t t t t “ ” ma n r al wa ri i n th climax to th e S chu n Ca n ev s b ll a tly done , and e mar wa n the r o i iri . M r oo man h a re k Chopin g ro up s i t ue p e t c sp t . G d s able command over his instrument , and plays with intelligence a nd

m — ashin ton imes te perament W g T .

[ Twen ty-six] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ Lawrence Goodman s piano recital Friday nig ht in th e Ward-E ekh ou t i i h e s a uditorium was a delicious men u f or the mus ca l appet te . At t e f tive bo ard were th e student body an d fa culty of th e n ote d sch o o l f or g irls with a g oo dly representa tion o f pian o lo vers f rom the city at , r la ge .

On is occa sion a s on f ormer one M r oodman th e a in r is th , s, . G , e l d g a t t ’ e a c er of th e in s i ion s e ar men of iano im resse his h ea rers t h t tut d p t t P , p d a e in a ri th m si a m ia r wh rin h s b g de vout p est of e u c l cult, a ed to o b g s t e ’ ma s e rs messa e t hi a ssemb a e in a h en i ins i e d an in t g s o s l g s ut t c, p r , d s irin rm p g fo .

’ The ins ira ion in M r oodman s ca se inh ere s n hi rin in h e p t . G , i s b g g t , m ica i e in o r ie h iff r w him h us l d a o u t t e l f . T e d e ence be t een and t e run o f oo ianis is o m min a h e er—e h r o g d p ts , t y d , th t e n v ven in t e st e ss f — the techn ically most exa ctin g pa ssa g es do se s sig ht of the idea th a t h i x r in n h i i m im h e s e p e ss g , a d t e ru n of go o d p an sts do so et e s l o se sig t

f h e m si or h n o I h h hi h a r o t c f t e es . o o f s c ar c e is ic e s u , t t ug t t t t pe

' cially wh en he playe d th e Ch opin S cherzo ( Opus with its f a st two-han e w s h d d octave ork f a ultle sly perf ormed . The same th o ug t o ccurred to me a l so wh en h e ra ise d the somewh at ha ckn eye d Chopin Wa ltz in E min or o u t of th e common place into which it t oo often ten ds to f a ll .

” ’ B u t the well-known a cid te st o f the player s a dh erence to the musical e ssen ce ca me in his la st two n umbe rs th e L iszt transcription , ’ “ ” of Wa g ner s L ove -D eath score f rom T ristan and I so lde and the Hutches on a rrang emen t of the R ide of th e Va lkyrie s: It wa s a te st simply be ca use the musica l idea s come so thick an d f a st in th ese orch e stra l score s tha t the ten dig its of two hands ha ve a de uce of a task in pre senting wha t Wa g ne r in ten de d to be th e job of a hun dre d a ers h Tri i h pl y . T e stan pag e s w th t eir sustain ed sur e s do n ot suit , g , h i l h r n i t e p ano at a l . T e ar a g er of the g allop n g Va lkyrie music h a d a a ier a s M r o ma wa s r i h pp t k . . G od n , t o be su e completely e qua l to h s , if c a k in o h n m rs h a m h d fi ult t s b t u be , but t e l tter wa s uc more effective . ’ The ro ram was nami a ima i I a i h h n p g dy c lly cl ct c . t beg n w t S c uman s ” ’ “ ” ’ oman L isz F r M rm r i R ce , t s o e st u u s, and Ch op n s Nocturne Opus , 2 7 No l — hr n m er w i n h i a i , . t ee u b s h ch fo u d t e rec t l st in on e of his h ap i m h i - i m o i e s o o s t e r o e c o . I e h Lisz i p t d , ly c p t d l k d t e t p e ce be st . I t s a i m i i w ne o mome pl c d , elod c l ne as ver f r a nt lo st in th e florid run s th at f s o one ' an win e a o Th o h e t d d t d b ut it . e N cturne mig t we ll h ave been ” ’ ca e a son wi h o wor s an d M r an ll d g t ut d , . Go odm s rea din g of th o se h ra se s was more e o e n h an an wor s co ha been — e p l qu t t y d uld ve . Ge org u llen a ckson in a shville Banner P J , N .

A lice K avanau g h L eftwich

Alice Kavanaugh Leftwich , a graduate of Beethoven i Conservatory, St . Louis , studied a year w th Arthur Foote

n in . and B . J . La g, Boston For two years she was a student

' in Paris under Moszkowski and Wager Swayne . The sum

[Twenty-seven ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

1 9 05 1 9 09 mers of and were also spent under Swayne, in 1 Paris . At the close of the 9 05 period her distingu ished i : i . teacher wrote of her I consider my pup l , Miss Al ce K i Leftwich, capable of mparting to her pupils a compreh en i i sive mus cal understanding and a clean , sure techn c . It is with pleasure I recommend her as a brilliant and talented ff ” i pianiste, as well as a thoroughly e icient teacher . S milar “ testimony was borne by Moszkowski in these words : I take great pleasure in recommending Miss Leftwich as a i ” very capable and ntelligent teacher and pianiste . Mi ss Leftwich spent the summer of 1 92 1 in Chicago doing spe i c al study with Alexander Raab and Percy Grainger . Miss Leftwich spends practically every summer in fur ther study and preparation for her special work . She has for many years been numbered among the successful teach ers of Nashville .

h in er re a i a rt Miss Lef wic is s b e an s ron an I n er t p t t ve , t h u tl d t g , d there seemed la st nig h t a s if there we re no sha de of coloring or vari h r Th r i ation of dyn amics s e could not p o duce . e a t culation wa s all n a i th o e cam n r s on s th mma so clear an d clea , s f e n t s e i e p e to e co nd

in ink m si a . ho n mo em r iri of a m d that th s u c lly Alt ugh, i v ents e qu ng it, ’ i L wic a s a mo s wi a man er or and ren h a M ss eft h pl y l t th s f v st gt , yet in delicious deg ree at other times she sh ows feminine delica cy and per i en ss — a hville B anner suas v e . N s .

“ The na ro com rise mores e f of ri htness and fi l g up p d Hu qu , ull b g “ ’ ” h nia i a ra e i i charm ; S u r L E au , in t e ge l ve n so ch ct r st c of M osz “ kowski ; and th e excee dingly brilliant MacD owell E tude de Con ” w r i i rimina e e wee h ri ia nd cert . I f it e e poss ble to d sc t b t n t e b ll nce a ’ h a o Mis Lef wic s in er r a ions h a iscrimin a ion t e be uty f s t h t p et t , t t d t wo uld probably be in f a vor of th e la tter gro up in which h er fine , m i i i w e ia wn H i i h us c ansh p as esp c lly sho . er a ud ence la st n g t was a

“ ’ ar on man of h i es -known m si ian ein r sen nd l g e e, y t e c ty s b t u c s b g p e t, a m r eme o e a mor a h a s — a s il a r ea ch n u be se d t pl se e th n t e l t N hv le B nne .

’ A strong f eature conducive to Miss Leftwich s continuous success a an r i i h e r- ai in re n e ow r as a te cher d a t st s er nev f l g f sh ss of p e , due in m a re t h e om in ar h I n a s a e su o r cust of a dd g ye ly to er reperto ire . l t ’ evening s prog ram th e ma gnificent S chytte S onata wa s given f or the ’ i M i wi r i io h first time in Na shv lle . ss Left ch s end t n of t e pro duction e nh anced the en thusia sm with which musicians wh o have heard it ha ve r i th sona a — ashville Tenn ess an ece ve d e t N e .

Miss Leftwich is well known a s a tea cher and player of sta ndard m an h r n m ers a s ni a i ce h r i erit , d e u b l t g ht g ve ev den that er a t st soul ha s driven h er onward an d still further onward in h er musical re

[ Twenty-eig ht] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i a s Th a a se af er se arches an d the atta inment of h er h g h ide l . e ppl u t ea ch of h er g roups a tte ste d the apprecia tion on th e pa rt of th e a udi i ro ram which ence of the hig hly artistic wo rth bf her interest ng p g , , “ o enin wi h th e iffic a i on s of S c mann ro cee e ro h p g t d ult P p ll hu , p d d th ug representative n umbers of Ch opin an d R ubin ste in to a group of th e i h ori an d in s ch more modern which she a lwa s interprets w t a uth ty, u , y convin cing mann er th at h er a udiences a lwa ys l o ok forward t o some — a hville in terestin n ovelt in which sh e doe s not disappoin t them. N s g y, e a Tenn sse n .

Hazel Coate Rose

Hazel Coate Rose, pianist , the gifted and charming wife i of Kenneth Rose, enjoys an enviable dist nction as artist h r and teacher, and is recognized throughout t e count y as an advan accompanist second to none . Mrs . Rose has had the i ’ i tage of tuition under Amer ca s greatest teachers , and br ngs to her professional work a sincerity and artistry of achieve me nt that have made her work unique in the pianistic field . c P Mrs . Rose has been conne ted with the iano Department of the Ward -Belmont Conservatory of Music for the past eleven years . Among the prominent artists for whom she has played and who have enthusiastically indorsed her re i markable ab lity are Fraser Gange, Scotch baritone ; Sascha tenbr Jacobsen , famous Violinist ; Paul Reimers , , of the

Ju illiard Graduate School faculty ; Catherine Brown , of the i R i Chicago Opera Company ; Maxim lian ose, concert v olin ist ; Mary Cornelia Malone, American soprano . Mrs . Rose was for four years the official accompanist for all artists i appearing with the Indianapol s Symphony Orchestra, and has been sole accompanist for Kenneth Rose . i i o f Of recitals wh ch Mrs . Rose has g ven in various parts . the country the press speaks as follows :

’ M r R o s s r s . e Hazel Co ate R o se made th e sen sa tion of the afte noon . iri wa s a mira e and s on ane o s a brilliancy an d bou yancy of sp t d bl , p t u p — a o l ews plau se followed I ndnki n p is N .

Hazel Coate R o se a gain g ave an e xample of wh a t a perfe ct aecom

h e work wa s a s it a wa s is ri ian and in panist sh ould be , and r , l y , b ll t i h h r o oist —A lvin Wi ers in N a shville Ten splen did a ccord w t e s l g g ,

nessean .

aze Coa e R o se wh o a e accom an imen s f or all ree con H l t , pl y d p t th — M o sen wa in com ara e a s sh e a wa s is . A lnin certs fo r r. Jac b , s p bl , l y

i r n a sh ille ennessean W g g e s, i N v T .

[Twenty-nin e] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ M r R o se erf rman c wa smo h s. s p o e s ot l sustaine d rh t hmica ll y , y y c armin an d showe e vi ence o e h g, d d f g r at technica l ability and fine — a re cia ion f s e . B loomin to i i pp t o tyl g n Un vers ty.

’ M rs R ose s work wa s c ear-cu t an d ni a h i . l fi shed, nd er a ccompan men were x n H e r ch arm i a men ts e celle t . s ug ted by a plea sin g person a i an a ra c i e a e ara n ce an d i i l ty, tt t v pp , a de l ghtful an mation . Her

e scri i e se e c ion f o nd re a e s a o h i — o d pt v l t s u g t t f v r wit th e a ud ence . L g ans ort ou rna l p J .

I n the work of M rs R o s a M arion a i n r h . e ud e ce hea d t e best it h a s e er h ear f rom an a om anis H v d cc p t. er skill h er careful attention h er , , e ica e o c her h oro h erce ion e ir d l t t u h , t ug p pt o f r qu ements disclosed in a pronounce d deg ree both th e n a tura l artist and the conscientious stu W n i r ’ en . e ca e ex e ssion to n o raise f or M rs e w r a d t g v p p . R os s o k th t is n ot f meri e —M ari D ai ully t d on ly Chronicle .

The a ccompanimen ts we re playe d in fin ishe d musicianly style by az M r R o i e Coa e R o se . s. se a e w race and e a se and her H l t pl y d th g , wor s ows in el i en ce an d fin iscrimin a ion I n e n m r k h t l g e d t . ev ry u be sh e was in com e e s m a wi th o is — i a pl t y p thy th e s lo t Nashv lle B nn e r.

M rs R ose is a ian is wh o se e chn i i fi m a . p t t c s r , cle n , and at th e same ime e ica e bea i h t d l t ly ut ful , and s e plays in a manner th at at once in di m i i i — ca es r e s c an s . lkha r t t u u h p E rt ( Inch) T u th .

E stelle Roy»Schmitz

R - Mrs . oy Schmitz is a pianist and teacher of exceptional attainments and extensive study in America and Europe un P der celebrated masters . ossessed of a high of na _ degree tive talent, this training and a successful professional expe ricu ce of more than fifteen years contribute to constitute her a most complete and thoroug h teacher of Pianoforte ’ . i a playing Among Mrs . Schm tz te chers may be mentioned i ff Mi k i . . Jo se V on c w tz . S B M lls , y, , Dr Otto Neitzel , and

Steinhauer, all of whom speak of her in the most glowing terms . The summer of 1 92 5 she spent in study with Josef

Lhevinne, the famous Russian pianist . Previous to her ex perience of eighteen years as a teacher in Ward Seminary - . i two and Ward Belmont, Mrs Schm tz taught for years each in North Texas Female College and the Baptist University, i of Dallas, and in her own stud os in New York City and

Dallas .

M r mi z ha s i w h m o o im i i s. S ch t s tud ed it e f r a l ng t e , dur ng wh ch “ ye ars sh e has compl ete ly mastere d a ll deta ils of th e so-called L eschet

[ Thirty] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

hi h h r in ex on H m si ian izky method of w c s e ce ta ly is an p ent . er u c , ship an d h er experience a s t ea ch er qua lify h er eminently f or high r i — r i i cl ass scho ol s or con se vator es H a old von M ckw tz.

M rs E s e e R o -S chmi z h a s aken e sson s of me f or some ime . t ll y t t l t h h a n e m sica o n (three years ) , and a s proven erself a t le t d and u l y u g

a on si er h er f com e en o i e th mo s oro in l dy. I c d ully p t t t g v e t th ugh i r n h ia of or a — B M ills struct on in all b a c e s of p n te pl ying S . . .

i S eldom h ave I me t such an e xcee din gly mus ca lly g ifted la dy, pos r h ss sessing e qu a lly the art of interp eta tion and con ception er pro gre , , ore i e x ra or in ar I r a r h er e a o ica work as a theref be ng t d y . e g d p d g g l , “ ” h h h e r grea t ble ssing ( se r segen sreic ) to her pupil s, an d er app a i n s iri — t it e an ce in concert a s e d fyi g an d in p ng O to N e z l .

S he evinces in h er ren dition a th oroug h and e venly roun de d tech

i a firm m an e a if warm con ce ion a wa s i in n c, rhyth , d a b ut ul , pt , l ys u t g

h s he om o ser I i e m e a s re to wri e hi es i t e tyle of t c p . t g v s e pl u t t s t t — monia in h er eh a f . C. S tein ha u er R o a l a nd it M u sic ire ctor l b l , y C y D , u sseldor German D f, y.

Th e w M r E R o - S c mi z— o h ersona and hro ork of s . stelle y h t b t p lly t ugh h e Fran e r—h a om n r m on si er i n or er stud nt, c s S cudde s c e u de y c d at o f s e im n I am a to a a h a w om t e, a d h ppy s y th t s e is a te cher of ell r n e n m ern a wi th i i t o m r m a w as g ou d d a d od ide s, th e ab l ty i pa t the s ell

m m h r w a in I is ra if in to e s ima the e body the in e o n pl y g. t g t y g t te

i an dar h ow im a i value of work ba se d on h gh st ds, an d st ul t ng is such w r h a i n r rs mm i — il i i o k to t e educ t o al p og e s of a co un ty l S v o S ciont , America o er a tor o M i n C ns v y f u s c.

M r mi z w m si i n a i ie r i a a d s . S ch t sho ed u c a ly qu l t s th oughout de l c c n , y

rmn e ss o o ch c e ar and acc ra rasin and abo e all o h fi f t u , l u te ph g, , v , th ug t in er r i I i h r i M hmi n a i on to r wo k a s so o s rs . S z ful t p etat on . dd t e l t c t , i eser in e i m i h ra m a im s d v g of sp c al ent on f or er accu te acco p n ents.

N as hville ail enn essean D y T .

H er C o in B a a de O 2 3 wa s a re a n o ab r n i ion e a h p ll , p. , lly t le e d t , rev l in th inmo s e a an me anin o i ro a th m w n g e t b uty d g f th s, p b bly e ost o ’ derfu l of Ch in -man com o si ion wa ai i is i op s y p t s . It s cert nly a p an t c ri m h — as hville ail B ann er t u p N D y .

Amelie Throne

i M ss Throne was for twelve years a pupil of the late Mrs .

Mary Weber Farrar, one of the most capable teachers of i i i P ano of Nashv lle . M ss Throne gave a public recital when

she was only twelve years old . Under the advice of Camille h Urso, t e great violinist , who heard her play, Miss Throne

Tkirig -one ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i adopted mus c as a profession . She went abroad in 1 9 1 1 to V ienna, where she took lessons with Maurice Aronson . In 1 9 1 2 i i i i h she stud ed w th Josef Lhevinne, n Berl n . S e has in - had several years private teaching, and during 1 9 1 2 1 3

taught at Belmont College, and for the past ten years at - i in i Ward Belmont . She stud ed New York dur ng the sum 1 9 1 9 i i i mu n i mer of w th S e g s d S to jowsk , a pupil of Pade r ki i i ews , and she aga n studied w th him during the winter of ’ 1 2 - i her year s leave of absence in 9 2 2 3 . Miss Throne s re i i markable because of the versat l ty of her teaching ability . She not only has had successful experience in teaching the — well trained older pupils , but she has specialized in teach i ing beginners to start right in their mus cal education .

Mis hrone h e ianis wh o i from B e mon o e e a s i s T , t p t, s l t C ll g N hv lle , , h h i H r wor h ow wa s heard here on t at oc casion f or t e first t me . e k s s

ri ian chnic a richn s of ex r ssion an e i a h b ll t te , e s p e , d a d l c cy of touc z h r r i ish m i i h o h o which ch ara cteri e t e t ue a t st an d fin e d us c an . T se w h i i a na imo s x r h heard were profuse in t e r pra se, nd u n u ly e p e sse d t e h h h mi m in — B owlin K es r a . e M ope t a t s e ght co e ag g Gre n ( y . ) seng e .

M i hr n a re r com risin a ro ram o a ssic ss T o e g ve th e g oups, p g p g f cl

hi h h r n he e ra e L h inne . I t i beauty, w c s e wo ked u p u der t c l eb t d ev s seldom th e music lovers of Na sh ville have th e opportunity f or he arin g

o r m on n o a ion an it i n t sa in too m c so heavy a pr g a such a cc s , d s o y g u h r a hi i r to sta te that Miss Throne met e ve y dem n d of t s d fficult p o gram.

— a h il Tennessea n N s v le .

M is hrone wh is a ri ian ianis a e a c ean nis e in er s T , o b ll t p t, g v l , fi h d t i h r r pretation of th e difficult select ons sh e h a d c o sen f or h er p og am.

H r e h i fin e an her a in is marke b exce ion a s i e t c n c is , d pl y g d y pt l k ll an d ower H er in er re a ion s of th e ro of mo ern com o sers p . t p t t g up d p G in a-B alakirew S i e i s C ri S co and o n an i —was a re l k , b l u , y l tt , D h y — il a n e ma rkable piece of work Nas hv le B n r.

hr m w i a r Miss Amelie T one g ave five n u bers, h ch r ng e d f om the ia m o er ar a i th i een en r h m s r Ital n co p s , S c l tt , of e e g ht th c tu y, to t e co po e s da h h a a s en i e hnica e i men and h er a in of to y. S e s pl d d t c l qu p t pl y g , h r a re an o o e arn s an a ra h a as g e t son ce f t ne , cl e s, d ccu cy. S e g ve a h i i m r Th r wa wonderfully sympat et c interpretat on of th e n u be s . e fi st s “ ” ” Pa s ora e S car a i-T au si Th e n e rmezzo O 1 1 7 No 2 a t l by l tt g . I t , p. , . , “ ’ Br ms wa ri ian exe e The Ch an d Amo r wa mo s by ah , s b ll tly cut d . t u s t a h i i i n Mi ron hi a s mmer e lusive in its symp t et c rend t o . ss Th e t s p st u i N w Yor wi to owski the com o ser an d one of Pa e stud e d in e k th S j , p , d ’ m amo i s I wi r membere ha a er ws i rewski s o st f us pup l . t ll be e d t t P d e k “ ’ ” r al so played th e Ch ant d Amou r upon his recent appea ance here . “ ” r Po i h M o s Ch o in-L isz w in The la st numbe a l s song y J y , by p t, a s , ,

Thirty-two ]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ i l on n e a in ta n e e c . er e y d t d t h g Oth p ople nee d yours. S o keep u p the work and make it com a i e wi h o r na ra i i p t bl t y u tu l ab l ty. ’ Y a m o s in o r on e f r e e e s . T i wn u ll p d th l hey come unsol cited , dra o u t only by a feeling of gratifica tion over the news that you are doin g in th gs .

S ieg ismund Stojowski speaks of Miss Douthit as follows

Miss M ary Douthit is an excelle nt pianist and also an experienced teacher.

Mi k i Harold von c w tz, a former instructor, says

I take pleasure in te stifyin g th at Mis s M ary Douthit is a brillian t ianis of i a i m H e hni l p t h g hest tta n ents . r te c c meets a l deman ds of a mo ern ir oso and sh e is be si es n ow wi r m i a d d v tu , , d , e d ed th ra e us c al n a r i i bi i i I m i n s c a e s. n nio M i D o i t t l t y op , ss uthit wo uld meet w th in s an reco ni ion of ose a i ie s b i a ri i s w r h t t g t th qu l t by pu l c nd c t c , e e s e t o a e ar in C ica o New Y or r E r pp h g , k , o u opean music centers . A s a concer ianis h er ccess wo s r t p t, su uld be a su ed .

Clemence Thu ss

Miss Clemence Thuss comes back to the Ward -Belmont

Conservatory as a member of the faculty, having spent seven ye ars as a pupil in the college under the instruction

- - . i of Mrs Estelle Roy Schmitz . S nce leaving Ward Belmont, Miss Thuss has done work at the Institute of Musical Arts i i i at New York , also hav ng stud ed under S gmund Herzog, i n i S c o ti R . Silvio , and Lou se obyn Miss Thuss has done i in most cred table work in the teaching of piano , both Nash

in i . ville and Birm ngham, where she has spent the past year She has shown ability to take full advantage of the training off ered by her several teachers , and now shows remarkable i efficiency as an artist, as well as ability to nspire her stu dents to serious work .

i Miss Clemence Thuss h a s mu sical intuition and mental capac ty, — both re quisite s n ecessary f or the making of a true artist S ilvio

S cion ti.

Miss Clemence Thu ss h a s studie d the pe dag og ica l b ackg round o f ’ i i m r ion e a h s h rinci e s children s pianistic tra n ng un der y di ect , t c e t e p pl of my course,and sh ows a well-defined a bility to a da pt herself to th e th a in ro s ion ne eds of this important department of e te ch g p fe s . i a h r iano I can sincerely recommend h er to th e publ c a s a te c e of p . ’ L ou is e R ob n D ire ctor o the orma l ea chers e artment Ameri y , f N T D p , M u s ic hica o can onserva tor o C . C y f , g

[ Thirty fou r] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Wi a firm e an e chnic h o ni M i em h s th , cl t , t e y ung pia st ( ss Cl en ce T us ) score d a grea t success in eig ht difficult pie ce s by cla ssica l an d mo de rn m o ers h i a si i i o r hr in co p s . S e d spl yed a sen t ve f ee l ng f or c lo and p a s g , — and playe d with a bea utiful tone qua lity A lvin Wi g ers in the g , a i l e es an N shv l e T nn se .

Miss Thuss displ aye d a surprising perfe ction of te chn ic as well a s , unusual ability in th e in terpreta tion of th e varie d program which sh e ha d h o sen f or h o a sion - a il n e c t e cc . N shv le B a n r.

Voice D epartmen t

It is the purpose of the Voice Department of the Ward Belmont Conservatory of Music to develop the students i along the broadest l nes , and to that end , while the technical i i side of the art w ll be g ven careful , thorough , and pai ns i tak ng consideration, the ability of t he students to use this — technical skill in self expression is the chief motive in the i i direct ng work of the several teachers . A consc ous mas r te y of se lf, founded upon intelligent understanding of the u i n basic principles of breath s ffic e cy a nd control ; a clear ,

i i o i - i i defin te dea . the inherent and too often h dden beaut es i of English , spoken and sung ; and an insistence upon a h gh type of vocal quality, resulting from a minute and detailed study of the color of vowels and the phonetic value of sim i ple works , mark some of the deals of this department . I n i short , in all of the larger life of the school the Vocal Mus c Department strives to become a factor in the cultural value - i of Ward Belmont to its immed ate patrons .

S tetson Hu m hre D irec tor p y, In these days of intense specialization it is very much worth while to have as a head of the Voice Department one who has achieved not only signal success as an artist and teacher, but also one who has had broad training in the i var ous fields of music , thus broadening the scope of his experience so that it directly affects the character of his i teach ng . Fortunately for us , we have as the head of this department one who has the combination necessary, as have few other men in our experience . to Mr . Stetson Humphrey comes us after having had suc cessful experience in his chosen field over a period of nearly

[ Thirty-fiv e] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i fifteen years . H s early school preparation was in Europe in R . and ochester, New York He is a graduate of the a i i Rochester Athen eum and Mechan cs Inst tute, and also ’ i i holds the Bachelor s degree from Columb a Un versity . His i i mus cal preparat on is based on a broad piano training, hav in i ’ g been under one of Leschet zky s outstanding pupils , and is a g raduate of the old Rochester Conservatory of Music . His vocal work while in Rochester was under Oscar Garrisin and Tom Carl , and in Columbia under Professor Jeolieff . To show the breadth of his training over an extended period i i of years , he has had work under such people as He nr ch i Jacobsen , Dresden and Vienna ; Marguer te Clark, of the i B i P Metropol tan Opera ; De eske Stud os , of aris ; especial n i i hln r work i German L e der under Dr . Ludw g Wu e and Max i in Henrich . He was especially tra ned concert and oratorio i i a M ee s . under such teachers as Dav d B sph m and Dr . y Other teachers under whom he has studied over an extended period i i i R of t me are S gnor Mor lle, Milan and London ; Percy ec S er ie Klabansk tor Stevens and g y, New York ; and Signor

i Ti f . Tanara, the operat c coach of Caruso and tto Ruf o $ uite as extensive as has been his training is also his i i in exper ence as a teacher . He began teaching pr vately ff Rochester , and was later on the vocal sta of the Old Roch i ester Conservatory . He was also for a t me on the vocal i i i staff of the Syracuse Un vers ty . He has conducted pr vate i studios in New York and Boston . Poss bly the most out standing work that he has done was as director of the Bos

i . ton Mus c School , where he served for six years For four years he was Director of Music at the Choate School . He has done solo work in such churches as the First Presbyt e i r an Church , of Syracuse, and the Broadway and West End

t . Presby erian Churches , of New York For two years he has done concert and oratorio work under the direction of i o Walter Anderson . For two years he handled lead ng r les in light opera under the management of Klaw and Erlanger E i G and the Century ngl sh rand Opera Company, of New i - York . He has been a d rector of chorus and glee club work

ct in various places . During the World War he was dire or of camp music under the War Department’ s direction in two

of the largest cantonments .

’ A teacher s work is always based on the results he has i hi i i obtained with h is individual pupils , desp te s own tra n ng

[ Thirty-six] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

i and experience . Here aga n Mr . Humphrey has had signal success . Several of his pupils have had distinct success in grand opera , oratorio, and church music , as well as concert work and teaching . It is his idea to stress not only the value of the individual voice with respect to operatic work , but he is also sane with reference to all of the work that can be comprehended under the general terms of vocal teaching .

A good singer himself, he inspires others . The technical part of his work is highly indorsed by those who have been closely associated with him . We could easily quote refer ence after reference bearing on this point . i We are exceed ngly fortunate to have him , and it is a pleasure to announce him .

S ome Comments from the A merican Press

’ i M r m re s o ice is f in all re is ers. H s er no e s a re . Hu ph y v ull g t upp t — i r a e o particularly good . N ew H aven R eg ste , N ew H v n, C nn .

a ra i wh i The qualit of his voice full and sweet, is the n tu l g ft ch y , Mr m re h as h a d rom the e innin of his care er and n ot a . Hu ph y f b g g , c i a e one as is the case wi man sin ers —B os ton ost-H era ld ult v t d , th y g P , Bos ton M as s , .

’ m ari were i en wi the em eramen a ar or Mr. Hu phrey s as g v th t p t l d a i a a i T i oi i a ea and appreciative expression of n t on l qu l ty. h s p nt s f ’ i na s iri in a ll r of M r m re s work. H e in er re s na o tu e . Hu ph y t p t t l p t — w ork ime N ew York his son s N e s . g Y T ,

i i i a a an m re mo rn a ssica I n Ital an ar as, Old E ngl sh b ll ds, d o de cl l m i i i M r H m hre r e hims o e th osse ssor co pos t ons al ke, . u p y p ov d elf t b e p i i r i of a sure technic an d a versat lity of expression , wh ch , reinf o c ng a i i him naturally pleasing and consisten tly tra ne d vo ce , have rounded

i h r —R ochester emocra t and into a sing er whom it is a del g t to hea . D hronicle R he ster C , oc , N . Y.

m w i ma M r. re is a ari on h kn w h w n A n of Hu ph y b t e o o s o to s g. comman in a re h rin s to hi m si rama i i i whic d g st tu , e b g s u c a d t c ab l ty h — is er sa is in The. M eriden R ecord M er en onn v y t fy g , id , C .

B o e Florence N . y r

Miss Boyer came to Ward-Belmont in 1 9 1 3 from an -e n i tire year in Par s under Oscar Seagle and Jean de Reszke . She had formerly spent a year in Italy under Sig nor Va nanni , and two years in Munich with Mesdames de Sales and

[Thirty-seven] - W A R D B E L M O N T C O N S E R V A T O R Y. O F M U S I C

i i Bossett , and , bes des , had trained with various prominent i coaches n Germany . All of this was done on the fine foun dation which nearly four years in the Oberlin Conservatory i i had g ven her . Her teach ng experience was mainly gained o at Southwestern University, Ge rgetown , Texas , where she in P spent five years , and aris , where she was an accompa l ’ nist in Mr . S eag e s studio .

53 R u e de la Fa isan erie a ris Fran ce A ri 2 0 1 9 1 3 . d , P , , p l , My Dear Miss Boyer : L m Before your departure f or on don, I ust expre ss to you my com

“ plete satisfaction a t th e g rea t prog re ss which you h a ve ma de in the a r sin in AN DE K t of g g . JE R ES Z E .

h r o ran oi w i h i Miss Boyer as a pu e s p o v ce , h ch s e uses w th skill and , m si a a AR R in wi h fin c s e . T S KI M AL s s e . g t u l t t HU B L, ro e or in i berlin olle e ss o S n C . P f f g g , O g

Miss Florence Boyer is a sterling youn g sopran o and te ach er of the r —M u s ica ou r vocal a t l C rie .

’ Mi o r ra oi o n s a e om i wi h ss B ye s sop no v ce f u u u l b auty, c b ned t a n i o a i h ma ri — i ple asin g and i spir n g pers n l ty, a s de her a favo te M us ca l

i in oi H AR L E W M RR A n r a c ear e ce . C S O I ON s s e . g , l , t ll g v S , ' irector berlin onserva tor D , O C y.

’ A nythin g mo re exquisite than Miss Boyer s sin gin g cann ot be im a ine H er bea if one acc aime h er the erf ec ar i t — g d. ut ul t s l d p t t s Nas h

ville Tenn essean.

' ’ Miss B oyer s voice reve ale d to h er hearers a richness and streng th tha t wa s surprising e ven to th ose wh o had kn own h er bef ore h er splen

i r n di ion r er iffi m r — a sh i e n ess a d d e t of seve a l v y d cult nu be s N v lle T n e n.

’ ” Miss B o er s sin in o f L O ear the Gen e L ar b Bis o wa s y g g , H tl k, y h p, h i h ion — h il nn ea a cco rded w at wa s l ttle s ort of an ova t . Nas v le Te ess n .

i h i h rm B r I take pleasure in spe ak ng in t e very h g e st te s of Miss oye ,

h a i h i i i h w o wa s f or sever l ye ars conn ected w t th s in st tut on . S e is a cultured and sensible woman of the h ig h e st chara cter ; ma de th e fin e st

m r i h n h mm ni h a i p e ss on bot on o u r student body a d t e c o u ty. I f t e pl ce h e ormer e wer a an I wo n si a or a mom t o s f ly fill d e v c t, uld ot he t te f ent ask her to e rn C M B I O r . . . tu SH P , res e o es i r i P id nt, S u thw tern Un ve s ty.

I f u ar o o in or h o ro e a r a e on to ro ose yo e l k g f a t ug h t che , I h v e p p . It is n ot ve ry o ften I ha ve the opportunity to sug gest any one so capable

[Thirty-eig ht] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

F r n o h h x m i a s M iss lo e ce B yer. S e as an e tre ely pre tty vo ce is an , i ia h r n excellent mus c n , and as ha d g ea t experie ce a s a voca l tea ch er ,

ainin ee c s c or ses e tc . h oo a c om anis a d tr g gl lub , h u S e is a g d c p t al so , n , we u on ré er oire an d an a es a we a s oice ro c ion ll p p t l g u g , s ll v p du t . I th i h e s o inion o h r n o m i h e ro h have e h g t p f e , a d s e pup ls s b ug t t o me a w r x r m we ai s fa e e e e e r n . CAR E A l t ll t ly ll t ed OS S GLE .

A very te lling example illu strating the h ig h excellence of Na sh ” vi e -ma e oo s is comin in o or i week in hi i I i a ll d g d g t p t th s t s c ty. t s n i s r ion n o n an I M i mm r a i e s d b oo . t i s E e ine Bo e llu t t y u g fl h l d s s l y , a s i ir wh i o a e n th ram i h N hv lle g l , o s t pp a r o e pro g w t the g re at M e tro o i an en or M a r ine i a hi a s is in a is h a h r p l t t , t ll s s s t g rt t. S e w s c o sen f o , this po sition by th e f amo us sin ger himse lf -af ter sh e h ad come under ,

“ his no ce in New Yor w ere she wen a a oa in he ti k , h t f or dv nced c ch g. S h a n wi h him ma in a r r s su g t , k g l ea dy g ea t s uccess.

H er a arance ere wi b a er ppe h ll e e g ly greeted , n ot a lone by tho se o n to her b ie s of b o o o r f rien i i ize h i b u d y t l d dsh p . C t n s w o be l eve in Na shville an d th e va lue of her in stitutions will we lcome th e succe ss of is o n ir a s a ro of o f heir i f e a s h h a om th y u g g l p t bel e , b c u e s e s c e to

is is inc ion ro th e rainin h e h a rec i er A th d t t th ug h t g S s e ve d h e . s a student in: th e W ard-Be lmon t D epa rtment o f Mu sic she wa s t raine d , fiv ea n i mi e n oi h r i for e rs b o of ts e n e a e M F re . y y e t v c te c s, ss lo n ce N

Bo er R eco nizin the ea of the o n oi e i n em r h y . g g b uty y u g v c b yo t e , each er a e it rsis en r i i i t g v pe t t, skillful and a t st c cult vation . S lowl it , y m i ’ ca e to ts resen ea . Th e o n sin e r s rs oice esson p t b uty y u g g fi t v l s. r we e taken here .

H elen To dd Sloan Miss Helen Todd Sloan has a soprano voice of unusual i i i br ll ance and sweetness , s a singer of rare charm and a , teacher of proved force and power . For about two years o she was a student of Ge rge Deane, of Boston ; later was e t n F for a y ar a pupil of Isidore Braggiot i , i lorence, Italy . Her teaching experience embraces a period of four years i in Trin ty University , Texas ; a year at Lucy Cobb Institute, r - Georgia ; and the past seven years at Wa d Belmont .

Bra io i Voc a S c oo F orence a e em g g tt l h l , l , It l S t be r 1 5 1 9 1 2 . y, p , Miss He len To dd S loan h as studie d voice pla cing and tone pro duc ’ ’ ion wi me o from a i s and each r t th , b th pup l t e s stan dpoin t. S h e is th e o sse ssor of a bea if so rano o ice p ut ul p v , very sympathetic and o f a , “ ” o e resh ea sin a nd at the same ime ri ia im l v ly, f , pl g , t b ll nt t bre . M iss

S oan is an exce en m sician and all h er work sh ows serio s and c n l ll t u , u o scientiou s t o h n xe i n I h ug t a d e cut o . sho uld con sider any con serva tory

' o f music very lucky in dee d to be able to coun t M iss S lo an among its aff o f ea s m warm o s c er . os r c mme r t t h I t ly e nd he . S i ne I OR BR A IOT I ( g d) IS D E GG T .

[ Thirty-nine ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

W axa ac i T xa s n h h e , e , Ju e 3 , 1 9 1 6 . Miss H elen T odd S loan wa s a teach e r of voice in Trinity Univer r h sity fo a perio d of four years . S e is very musica l and h a s a most ’ i f i rin he f o r ea rs onne i wi rini n i del ght ul vo ce . Du g r u y c ct on th T ty U versity she not only won the student body an d faculty with h er ch a rm in son s h e n ire comm ni a w i h g g , but t e t u ty s ell . I g ve er my mo st cor ia in orsemen a s to ersona i and as o a i i e h r d l d t p l ty t b l ty as a t ac e . S i ne L OR N AK S . . ( g d) H BE , President rinit niversit , T y U y .

ens a Fe r ar 1 2 Ath , G . , b u 5 9 0 . y , It give s me much pleasure to indorse M iss Helen S l oan a s a te ach er h wi o i of voice . S e was th u s at Lucy C bb last year and d d excellent , h a work, and it was with keen re gret t t illness in h er f amily made h er n h h r resig ation necessary at t e end of t e yea . I cordially commend h er. S i ne M R T E R OR D ( g d) . U H F , President Lu obb nstitu te , cy C I .

i h wo h o a m h n To M ss S loan fell t e hea vy rk of t e pr gr . S e sang U a ” “ ” Voce Poco Fa f rom Th Bar er of S e i e wi ark in and dra , e b v ll , th sp l g ma i eff we i wi h ro n a i a x t c ect, and follo d t t a g up of so g s th t de lly e pre sse d th e versatile qua lities an d th e brilliance and sweetness o f h e r “ ” w r h L o o s man a B ohemian rad e ones . e e e : T e o k b e c t Th y , y H u ; l ’ “ son of S in er i er s en er ric Ah Lo e B a D a an d g ch dl ; G lb t t d ly , , v ut y “ ’ ” Th Wi i h o a ew an o m i i n e r e x e nd s n t e S uth , n d l vely co pos t o , v y h i h pressive of the joy a nd fre s ness of spring . A ssociate d w th t e m si a if War -Be mon and at the sam im a i o f S i nor u c l l e of d l t , e t e pup l g de L ca avin re io s s ie n e r no e mas ers in F oren ce u , h g p v u ly tud d u d t d t l n B Mi an h a ha a if i a io i en t a oice a d oston, ss S lo s d be ut ul cult v t n g v o v i i i h n d of fine n a tura l rang e and poss b l ty. S h e sing s with t e ea se a i i i i - a h i l rm ir n i f x i an ac . N s v l e cha of a b d , a d a del ght ul fle b l ty d f l ty Banner .

r Na shville wa s a gain indebted l ast n ight to the generosity of D . B a on W ar -Be mon f or his in i a ion o ear Gio anni M ar l nt , of d l t, v t t t h v

ine i of th e M e ro o i an and the a ssis in ar is Miss e en S oan . t ll , t p l t , t g t t, H l l ’ r - we n o M iss S lo an s girlish appea ance, self po ssession , and rare s et ess f i h firs a ria voice made quite a hit with th e a ud ence, and, after er t ,

“ ” ’ “ ” M zar D o io anni he wa r a e o i Non mi dir f rom o t s n G v , s s ec ll d t g ve ,

” o i R bin S in Me a S on b S ross. Her ones a re i h a nd R b n o , g g , y p t l g t ,

’ “ ’ h a min im i Mi s S o a n a so san The Win s birdlike an d c r gl l p d . s l l g d , y

” “ ” i B r i s i r an the er in the S outh b S cott ; the a ry utte fl e , by S e le ; d v y , y

“ a M der H e r n s ri s and s acca i difficult S taccato Polk , by ul . r u , t ll t t , a re all execute d with th e g rea te st ea se an d for encore sh e a dde d ,

’ ” - i i T aran e e s n h er b Ga i C rci and Ca r so . R o ssin s rap d t ll , u g e y ll u u “ ” h ea ef oreh a he e f rom R i o e o With only one s ort reh rsal b nd , t du t g l tt — h w oi n in ex isi e . a shville wa s perf e ctly done , t e t o v ce s ble d g qu t ly N

T enn e sse an .

[Forty]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

The a ppro va l and appla u se given by o u r mo st critical of R oman W c an mo s r in a se a ren e a udience s was un an imous . e t ce ta ly s rt th t I — Crane Humph re y can look f orward to a very brilliant f uture L a

na ama ta l . Nu ova R oma g , R , I y

i h w eri a o e a i s c n ia ion H er E ng l s songs ere a v t ble j y, r ve l ng u h enu c t h i i i in i E n i h i as to convert one to t e f ea s b l ty of s g n g in gl s by an art st . The B os ton os t B oston M as s P , , .

i H er vo ice is co lorful in all re gisters, and every tone is illustrat ve of h m i in ic ra e ffec whic ro se th ma ina ion t e oo d , thus g v g a p tu l t h u s e i g t

h e ie an o i —N ew York H erald N ewYork of t a ud nce d h lds t . , .

H i i ian o on sh owe h bea of he r oic in one flow er S c l f lk s g s d t e uty v e t , in in a r i r r a ion —Th ri er R e cor eride g l e nd are nte p et t . e M e dl n d, M n, ,

Conn .

e Org an D epartment

-The demand for well-trained pipe-organ players is grow i - ing all the t me . Pipe organ playing has a beneficial eff ect i on pianoforte study, espec ally in the direction of part play in i g . The two nstruments practiced together should react advantageo usly by emphasizing and developing the charac

“ teristic features of each . We wish to so train students that they will not be content to know just enough to get through i a a se rvice, remain ng ad mantine to the charms of the more delicate and personal side of the instrument whose power i i i i and poss b l t es have been revealed by modern thought, in feeling and invention . Then , to o , the organ the school , has e ' special value as a factor of influence upon those who are fitting themselves for responsibilities of leadership in the world .

e son H enry S . W s The Pipe Organ Department of the Ward-Belmont Con servato ry of Music has bee n placed in the hands of a special ist who will make it contribute liberally to the musical at r i a mo sphe e , the relig ous life, and the gener l good of the school . Henry S . Wesson , teacher of Organ and Musical i is a Gu ilmant Sc ences , a graduate and postgradu te of the i e Organ School in New York C ty . He spent sev ral years in f H u . organ study in Houston , Texas , under T Huf man , later i teacher in the New England Conservatory. In connect on

[Forty-two] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

with his literary studies in Austin College, Sherman , Texas , he studied organ for something less than two years under

George E . Case . Later Mr . Wesson entered the Guilmant

Organ School in New York City, and in three years com pleted the undergraduate and graduate courses of that in s i u i n t t t o . During the entire three years he was a special i i r pupil in organ of W ll am C . Ca l , Chevalier of Legion of n uilman Ho or of Paris, director of the G t Organ School .

Mr . Wesson has also studied organ under Willard Irving N u ilman hi evins in the G t Organ School . Among s teachers in o e the r tic branches are Clement R . Gale, Warren R . Hed den , and George A . Wedge .

Mr. Wesson was for three years organist of the Church i of the Holy Apostles ( Episcopal) , of New York C ty, and e i 1 2 5 was call d aga n to that position for the summer of 9 . ’ ’ So highly is Mr . Carl s rating of Mr . Wesson s ability that he made him his substitute for one summer at his own u organ in the First Presbyterian Ch rch , of New York City . M r . Wesson is an exponent of the French method , which is so generally recognized in New York as best adapted to the modern organ that practically every church of impor

- tance in New York City has now a French trained organist .

W e sson i if e m ica in a hi re e H Mr enr S . s e . e is . H y g t d us lly g h d g o i i r i r s an in defatiga ble wo rker and c n scent ous in eve yth n g he un de take . n i a ri ian reci a is and a ea c e r wh h a a rea Mr. W e sso s b ll t t l t t h o s l dy n r s s achieved wo de rful e ult .

‘ e s on h a an o or ni to exem if his talent in su bsti M r. W s d pp tu ty pl y s

' mm r m h Firs Pr s t rian r w tutin g one su er fo e at t e t e by e Chu ch , of Ne

r mo s ear i re commen him an d wis h im he es f su c Yo k. I t h t ly d h t b t o D R I IAM AR W C. C cess . . LL L, ’ hevalier de la Le ion d H onneu r‘ r anist and irector First res C g ; O g D , P b ria hu rch N ew York it yte n C , C y.

m r I a wa wi in r h w r r For so e yea s h ve tched th te est t e o k of H en y S . h o n r American or anis s Hi a in wa s We sson one of t e y u g e g t . s pl y , a l y , g ’ a ri ian a n h o ar n a re con in e to row M r es on s of b ll t d sc l ly tu , t u s g . . W s

e chnic is n s ione an hi a i ri e in hi ro e s i n o h a s t u que t d, d s r p d s s p f s o , b t a e a her an erformer r es the ar is r wh ich hi t c d p , p o v t t y is s . B W . ARRL N R N M u s . j . HEDDE , , ha irma a i a tio ittee A merican u ild o r anis ts C n, E x m n n Comm , G f O g .

I t i e me re a a s o kn ow h a o a r M r enr g v s g t ple ure t t t y u h ve secu ed . H y We ss n a ir a m S . o s D e c or of th e r en of r an in o r c o o t e D p t t O g y u s h l . a in een a ssocia e wi Mr We sson f or man e ars a s a H v g b t d th . y y

[Forty-three ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

r an a ri n w tea che d s a f end , I k o that his marked a bility will make him a a e mem r o r a W R e f o f c . I IAR IN N IN v lu d b y u ulty LL D I V G EV S, r anis t and D irector Fou th resb eria h r h N w Yor it r t n u c e k . O g , P y C , C y

Violin D epartment

i Whether in solo , w th human voices , or in grand orches tral symphony, the violin may become the most soulful and i express ve interpreter of the human emotions . The study of violin should never be begun except with a good teacher i who plays well . A g fted pupil too often fails through the neglect or ignorance of his first teacher . If particular care be not given from the beginning to the establishment of the correct principles of position , if any of the inflexible laws of good playing are overlooked at the start, the student ao quires defects , which, while they may not greatly affect his execution of ea sy bowing and fingering, will a little later probably arrest the development of a satisfactory technic .

A wrong position of finger, hand , or arm , which at first n seems unimportant, afterwards proves to be an almost i surmountable barrier to further advancement . If a pupil has been unfortunate in the early teachers , it should be deemed essential to secure as soon as possible the most care ful and competent instruction . Ward -Belmont prides itself upon the streng th of its Vio lin and Orchestral Department . Only the most approved and modern methods which insure the rapid and complete i development of the pup ls are used .

K enneth ose D irec tor R , V i Mr . Kenneth Rose is in charge of the iol n classes and - orchestra in Ward Belmont . In addition to extensive instruction of the best kind in ’ Of America, Mr . Rose has had the advantage several years European instruction under such eminent masters as George S o uk Lehmann , Arthur Hartmann , and y, the successor of the i great Sevcik at the Prague Conservatory , and pedagog cal i work with Leopold Auer . He enjoys the friendsh p of all b his former teachers , and is held in high regard y eminent violinists all over the United States .

[Fortys fou r] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

- Previous to his association with Ward Belmont , Mr . Rose had charge of the violin and orchestra departments of the

i r . Metropol tan Conservato y , of Indianapolis For some years he was also concert master of the Indian a o lis i p Symphony Orchestra, wh ch position marked him as i the leading violin authority in that musical commun ty , and gave him an experience which makes him especially fitted

- for the important orchestral work at Ward Belmont . At n prese t Mr . Rose is serving as concert master of the Nash i i ville Symphony, and has ach eved distinction as solo st and i guest conductor with that organ zation .

Mr . Rose has a truly wonderful technical equipment , and as a violin soloist he is remarkably successful . He pro duces a tone of luscious sweetness and great power, and i plays with fine dash and d scrimination . A single touch of his bow convinces one imme diately of complete mastery of his instrument .

While Mr . Rose has perhaps few superiors among native i Amercian violinists , h s extensive study and preparation have given him also a remarkable teaching caree r . A close student of the violin, its literature and its history, he com bines in his teaching an exhaustive knowledge of all meth i his instru c ods , and his pup ls respond quickly to eclectic tion . Over twelve members of the Nashville Symphony i . R Orchestra have studied w th Mr ose, and his students are i filling responsible positions over the country . Miss Cla re

Harper, artist pupil of Mr . Rose, was a brilliant success as soloist with the orchestra . The following personal letters and excerpts from critics ’ i ’ reports give splendid ev dence of Mr . Rose s ability and artistry

I just want to tell you h ow delig hted I wa s to h a ve h a d you a ssist h e a A r F s i a hi ar I e e me on my pro gram f or t e L a s V g s ts e t v l t s ye . f l sure yo ur spl en did playing of my n umbers helped to ma ke th e wh ole thin g successful . — It is a ple asure to be a ssociate d with such an artist a s you to kn ow that one is sure an d solid in all h e does and con scio us of a superb o n r i a wi h e fin e musician ship such a s you possess. Y ur rece t ec t l , th t , - ro ram o i n isc o se ou we ll built an d beautifully played p g y u de s g ed, d l d y , “ ” a s an a rtist of th e first water. A ssuring you of my continue d intere st and friendship and wishin g h w er o ar I am you a sure success in t e field h e y u e , ,

CHAR LES WAKEFIELD CAD MAN . i r ( Amer can Compose . )

[Forty-five] W A R D -B E L M O N T C O N S E R V A T O R Y O F M U S I C

i h s I t wa s a re a l plea sure to hea r you a g a n after t ese many ye ar .

ma e r a r r n I an Your bea uty of tone an d yo ur i g y e e ver appa e t, and c n wi o r on in s n r wth but re ew my best shes f or y u c t ued succe s a dg o . M AR THUR HAR T ANN . ( Violinist )

m m ai m i s u I t is always a pleasure f or e to ee t on ce a g n y old pup l , b t it h a s bee n particularly g ratifying to me to meet you on ce more after h e ear his ra i ca ion arise from th f ac t e lapse of sevente n y s . T g t fi t s e t

w a r is i a i h o l a w en tha t you h ave developed so ell , t t c lly s nce t e d d ys h , Y o r m si a in eri an enera you studie d with me in B e rlin . u u c l s c ty d g l ability are what I mig ht n a turally h ave expected from one wh o h ad i i in hi s en a s er e ess been so serious and con sc ent ous s tud t d y . Nev th l , I wa s g rea tly plea se d to ha ve the opportunity of hearin g you play and r r en a ai men s to be o ffere d the pro of of you p es t tt n t .

A e m oo wis e s for the f re an d be ie e me as a wa s cc pt y g d h utu , l v , l y ,

GEORGE LEHM ANN . i ( Teacher of Viol n . )

M ay I express to you my unbo un de d joy an d genuine satisfa ction in your violin art $ Y our tonalit technic and total l o ss of yo urself in your tran sfer of y, ,

o a mf r and ran i iza ion of s iri . ee f eeling was a s l ce, co o t, t qu ll t p t N d $ more be said of a disting uish e d perf orman ce h r o My gre etings and best wishes f or t e future a e y urs.

in ere AM RON MCL AN . S c ly, C E E ( B aritone )

in 1 92 8 Of his New York concert December, , the metro politan reports follow :

i inis a a ro ram son a a as ni in a Kenneth R ose , v o l t, g ve p g of t s l t ght we - o a e S einwa a a in the ami iar sona a of Ce sar ll p pul t d t y H ll , pl y g f l t r i ar a s an th nu Fran ck the less familiar early wo k of R ch d S tr u s, d e , M s a e A exan re h aninoff . r R o e f amiliar son ata, Op. 87 , of l der G tc . pl y d e a i — w York Tri with a technical skill and a tone of lov ly qu l ty. N e

bune ecember 1 9 1 92 8 . , D ,

r rs n h ro ram and th e The Cesar Franck son ata appea e d fi t o t e p g , i wor M r R o se artists g ave a commendable re a d ng of the k. . h A we -fille sa on rea c e performed his part with spirit an d da s . ll d l t d

- D cemb r 1 9 1 9 2 8 . most f avorably. N ew York S u n , e e ,

A sonata recital wa s given at S teinway Hall yesterday evening . Kenn e R ose violinist carrie off th e on ors of the e enin —N ew th , d h v g , ,

York E venin World ecember 1 9 1 92 8 . g , D ,

i i i m n The recital reve aled ca tholicity of ta ste and art st c atta n e t, a i i in the concer field —N ew York Ameri can ecember b l ty t , D

1 9 , 1 92 8 . [Forty-six] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

D r L e n i n i Ken h o e i i is a a son a a o ys ve e , p a st, and net R s , v ol n t, g ve t reci a at S e inwa a on D e cember 8 in c in the f ami iar Franck t l t y H ll , lud g l ’ - ff son a a s ra E fla w r an h 7 o retch anin o . t , S t uss t o k , d t e Opus 8 f G h e se wo ar is a w e r T a a ca ab e ech T t t ts pl y ell tog the . hey both h ve p l t i i rf ffec s n c , firm and brilliant tone an d a f on dne ss f or b g , powe ul e t , w i i e h i r h off r s ona a s The h ch su t d t e substant a l G etc anin and S t a u s s t . readin h i r n h i n e a r e g s of t e art sts we e consistent, a d t e a ud e c pp o v d en sia s i — ri D e 1 9 8 thu t cally. M u sica l Ame ca e cemb r 2 9 2 . , ,

His Nashville appearances have elicted noteworthy com ments

Th ir i i i a r i h n er h m e the e th d nd v du l t a t of t e co c t, t e ele ent a dd d by s oi m h ra rize h m e era e a in io in ol st, ust be c a cte d a s t e o st g n lly pl s g v l r Cer ain playing ever h eard in conjun ction with th e local orche st a . t ly th e Wa r M emoria l h a s n e ver bee n filled with a more complete ly bea u

i in n a h e M r R o se e from his old Gu arn a riu s . tiful v ol to e th n t one . pull d Certainly n othing of th e difficulty of th e Wieniawski Con certo h a s

r ma er Cer a in the a ccom an imen be en handle d with g eater st y. t ly p t wa s real grown-u p music and most care ssing to th e ear ; and th e pian o

rs e a exa c in f o n eir a ccompanimen ts to th e shorter numbe , qu lly t g, u d th

m m e n M aze Coa e R ose . co plete ast r i rs. H l t ’ ff rin s I o i e to Thinking back through the afterno on s o e g , sh uld l k

iz M r o f or hi ime a in of th e R oman ce Offer a ve rbal pr e to . R se s subl pl y g

ri o movement of the concerto and his interpre ta tion of th e B a ch A o s .

e a s n a shville B anner. Georg e Pu ll n J ck o , N

K enn e R ose ea of the Vio in e ar men at W ar -B e mon wa s th , h d l D p t t d l t ,

o is s lo t.

M r o a e more ri ian and wi o e ier on e Never h a s . R se pl y d b ll tly th l v l t th an e sterda an d we do n ot wish to disparage his playin g on pre y y,

a n B t in th e Fina e o f Wie vions o cca sion s because it is a lw ys fi e . u l ,

’ n iawski s celebrate d Concerto in D min or he dash ed off th e rapid pa s

i a ion an d acc rac . sages with amazin g spe e d , nton t , u y

m hi 2 44- e ar-old I n the l ove l R oman za which all violinists atte pt, s y y ,

e whi th r es ra a ccom an i Gu arnariu s sang with a g o lden ton , le e o ch t l p

m im s M o se wa re ca e an t e . mir e . r R s ment wa s a d abl . ll d y

h ro ram h e a e a B a ch A rio so a r I n the se con d h a lf of t e p g pl y d ,

i n D an ce No 2 b B ra ms o achim the r n Franko n ar a . a g ed by ; Hu g , y h ; J , ’ ’ R ose s Com laint b Franz R ozen ; and B azzini s D an ce of th e Gob p , y lin s displayin g a ga in all th e splendid qualities which gave him such , i i i preem n ence a s a vio l n st .

’ His en cores we re Kreisler s arrang ement of th e S ong of the V olga

m n r i on ce - ow Boa e and E s e a b L . t , t ll t , y P ud

M rs aze Coa e R o se a e f or his ro of ieces wi her s a . H l t pl y d g up p th u u l ri ian e n a in r e r e i i b ll c , a d ga p o v d he s lf a sympathet c and fin she d a ecom

' anist ar exc en —A vi i r a i e e a p p ell ce l n W g g e s, N shv lle T nn sse n .

[Forty-seven ] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

I t wa s vio lin mastery of a high degree that g a ve joy to a larg e a udi ence in th e auditorium of th e Wa rd-B elmont S chool on Thursday eve ’ nin h sion Kenn e R o e i a I om ri n i g on t e oc ca of th s s rec t l . t c p sed , i a dd io th W ar -B e m n en od ra i ll h d ans t n to e d l o t stud t b y, p ct cally a t e fid le f — of the city a growin g gro up which is a lways in evidence when Ken ri h r n eth R o se, th e dean of their co te e , is to be ea d . i i m n h a s i h His Mr. R ose a tta ne d to a new h gh ark i is art l t n g t . i h i h mo a in a s a e s and plushl ke tone , is clear exec ut on of t e st ex ct g p s g , h i m r r e i h cr i n s ari a s e s virile , aste ful inte pr tat ons of t e ea t o , v ed th y w h ff m o e —al a i i am r ri e ere, of t e di erent co p s rs l the se qu l t es c e as a su p s wh ow hi work se even to those o have f oll ed s clo ly. And in justice an d honesty it mu st be said th at Nash ville a udiences have rarely heard piano a ccompaniments as e ffective a s were th o se of — aze Coa e R ose a s e enin Ge or e u llen a cks on in a shville. H l t l t v g g P J , N B a nn er.

M u sical Science D epartmen t

i s L awrence H . R g g

Mr . Lawrence H . Riggs presents an unusually well rounded pre paration for his teaching of the Musical Sci ences . Mr . Riggs graduated from Beloit College with a de B A u mma cu m lau de i t gree of , s , hav ng a tained member i ship in Phi Beta Kappa scholarship fratern ty . Following the above work , he was a Rhodes scholar from South Dakota i E i o at Oxford Univers ty, in ngland , where he stud ed The ry

i i . of Music , Choral Tra n ng, and Organ Upon his return to in V i his native land , he took further work o ce and Teaching i V i Methods at the Ch cago Musical College, also work in o ce i and Public School Music at Northwestern Univers ty, in

1 92 6 . i Evanston . In the summer of , Mr R ggs graduated from the American Institute of Normal Methods with his work in Public School Music . Since that time he has taken i special preparation in Voice at the Chicago Mus cal College, i i i Conduct ng and Orchestrat on at Northwestern Un versity, where he also did furthe r Instrumental Composition and

Choral Music work .

M ary Venable B lythe i Miss Blythe, teacher of Sight Read ng and Piano , is a graduate of the Montgomery Institute . She has since stud i d i d e Harmony w th Harry Re man , of the New England Con

[Forty-eig ht]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Charg es and Terms

The sch ool ye ar consists of one term of thirt -six weeks be inning y , g the secon d We dnesday i n S eptember and ending the first Thursday in ne wi a Chris ma s aca ion a r xi Ju , th t v t of pp o mately two weeks . The ch arg e s here name d are f or the whole scho ol year and are du e and , a ab e on th e o e in a p y l p n g d y of sch ool , but f or the convenience of a rons ma be ma e in wo ins a men s p t y d t t ll t , in S eptember and J anuary, re s ec i e a s i a p t v ly, st pul ted below, and are subj ect to sig ht draft after a es the se d t . The c ar f or oar oom i i w h g e b d , r , tu t on in t o or more subj ects in the Li era r D e ar men in c in La in Fr n h rma a is t y p t t ( lud g t , e c , Ge n, S p n h ) , h sica rain in A e ics S wimmin u se of L ibrar aries from P y l T g , thl t , g, y, v 850 to 950 a ccor in to oca ion arran men a D $ $ , d g l t , g e t of b th etc . e , ai e inf rma ion wi e o n in he ra a a t l d o t ll b f u d t g ene l c t l og.

Char es or Piano Voice E tc . g f , ,

a a e hree-fifth s on en rance a ance on an ar 1 P y bl t t , b l J u y iano in i i a esson s two er week P , d v du l l , p ‘ i i in i i a son s o r we e w Mr o ma _ _ ano es tw e . G o n P , d v du l l , p k , th d ’ iano in i i a essons e inner s ra e n er s ecia eac P , d v du l l , b g g d , u d p l t h ers

o i e in i i a essons two er wee V c , d v du l l p k , i e n i i a esson s wo er we ek wi h M r m re Vo c i t . , d v du l l , p , t Hu ph y r i iano n an one-h a f o r er a r e ar U se of p act ce p , o e d l h u s p d y, pe y i i o r 1 0 ( each a dd t onal h u , $ ) i a essons w er week wi M r R ose Violin ind vidu l l , t o p , th . , m n r r a Violin practice roo , o e hou pe d y ,

‘ a r in i i a e sson s two er week H p, d v du l l , p i e r an two essons er week P p O g , l p rac ice on rac ice or an five o r six h o rs er wee P t p t g , u p k rac ice on ar e or an two and one- a or hree h o rs er P t l g g , h lf t u p week r e r Vio in i s O ch stra class, f ee to l pup l

Theory, in class a rmon is or of M sic E ar rainin o r ic S c oo H y, H t y u , T g , Publ h l M i in a s us c, cl s armon in i i a e ssons two er week H y, d v du l l , p S i a in in c a ss ght Pl y g, l Pupil s enter for th e entire term or pa rt of term unexpire d at time i ma r im rin the rs of entrance . No reduct on will be de fo t e lost du g fi t f o ur or last six week s of th e term; nor will reduction be ma de f or h r a i n ss absence during other periods, except in ca se s of t e p otr cted ll e h r e w e h ro-ra a cos f or th im o s wi of t e student he s lf , h n t e p t t e t e l t ll be sh are d equally with the patron if the illn ess h as kept th e student i i f or five we eks or more out of th e school bu ld ng. i wi ma n a e s en sion ismissa or vol N O re duct on ll be de i c s of su p , d l , u ntary withdrawa l during the term. Fo r f her inf rma ion see War -Be mon Genera Ca a o or urt o t , d l t l t l g write to THE WAR -BE LM S C L D ONT HOO , i B l o t ei hts N as hv lle Tenn . e m n H g , , W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Prog rams ls and Concerts

The following programs given by visiting artists , faculty i members , and pup ls of the Conservatory of Music are exhib ited in order that some concrete idea may be had of the per nn l so e and range of repertoire . In the list will be a number of radio programs which have been presented through the

WS M . courtesy of Station , of Nashville — Ward B elmont Conservatory of M u sic PRESENTS M ARGARET M ATZENAUER Contralto of the [Metropolitan Opera Company

c o be r 15 192 8 O t , PR OGR AM

I . Widmu ng S apphische Ode On Wing s o f D ream Chanso n No rve g ie nne

Aria : Ah mo n fils M eyerbeer (from L e Prophete)

Gro up o f Piano So lo s E R M R . DWA D HART

I V.

“ Aria : Vo ce di D o nna Ponchielli (from L a Gioconda) Giro metta I n M ezzo al mar

D awn in t he D esert Sleep So ng E strellita E n Cuba E M R . DWARD HART Accompanif t for M adame M atzenau er

a mont Conservator u si Ward B el y of M c PRESENTS T E E FESTIVAL OPERA COMPANY IN T HE B ARBER OF S EVILLE Co mic Opera I n Two Ac ts B y R o ssini

c o ber 17 l 92 8 O t , Co unt Almaviva R HYS MORGAN

D r. B ar o o a h sician C B S t l , p y HARLES OGG [Fifty-on e] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

sina his rich ward N R o , M E L y E A PASSMORE n B asi i a m sic m s e r r r D o o a . S co l , u t I HENRI Fi aro barber and wi ma er Wi L L I A u P g , g k HILLIPS r r M B e ha ho se ee e r to D r. B a o o t , u k p t l ARGOT HAYES Fio rillo ser an to A ma , v t l Ambro sio HOWARD CARM AN A Serg eant

Pianist M M CO , ARTHA C RMICK

SYNOPSI S OF THE SCE NE S

Time and Place Seville in the Seve nteenth Ce ntu ry

cene 1 . S ree in Se i e . Act I . S A t t v ll ’

R in r l s o se . S cene 2 . A o o m B a to o H u

’ A R o o m in B arto lo s o u se . Act I I . H

PRESENTS CARLOS SA LZE D O I n a Prog ram of Period M u ric for the Harp

Ward-Belmo nt Audito rium

M . o ember 19 l 92 8 P. N v ,

Sarabande Francoi: Couperin 1668—173 3

Gig a Arcang elo Corelli 1658—1713 Theme and Variatio ns f ore] Haydn 173 2 —1809

R ig audo n j ean-Philippe R ame au 1685—1764

R II . OMANTICS Impro mptu-Caprice Gabriel Pieme a d Chaco nne A . Du r n

F M I I I . AVORITE ELODIES Deep R iver.

B e ie e M e if All T ho se E ndearin Yo n Charms. l v , g u g r The L ast R o se o f Summe .

C A I V. ONTEMPOR RIES E n B ate au Clau de B eban y ’ L e B o n Pe tit R o i d YvetOt M arcel Grandjany M irag e lo: S alzedo I ntro spectio n Car Whirlwind

[Fifty-tn) o] W A R D -B E L M O N T C O N S E R V A T O R Y O F M U S I C — Ward B elmont Conservatory of M u sic PRESENTS FR ANCIS M ACM ILLEN

Violinirt

Ward-B elmo nt Audito rium

em r D ec be 5, l 92 8 P. M . PR OGRAM

I .

’ Po em D E rlan er — g Prelude and Alleg ro Pug nani Kreirler

Co nce r o A M ino r Carl Goldma rk t , Alleg ro mo de rato Aria Alle g re tto (Finale)

Habane ra Sere nade a Colo mbine B arcaro lle — Valse Caprice S aint-S aem Yraye

L eg ende Flag eolets Gig ue Po o naise D M a o r l , j

R ALPH AN-GELL at the Piano — Ward B elmont Conservatory of M u sic PRESENTS FRASER GANGE

Febr ar 4 192 9 u y , Ward-B elmo nt Audito rium

Hear M e $ Ye Winds and Waves $ Un bruit des rames L ung i dal c aro be ne ' Vitto ria Vitto ria $ Carirrzmi

Seven So ng s fro m Die Se-ho ne M ulle rin S chubert “ D as Wandern

“ ” Halt $ D anksag ung am B ach ” Am Fe ierabend ” D e r Ne ug ie rig e ” Ung eduld [Fifty-th ree] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

I n Summertime o n Bre to n I so bel Diaphenia An Old So ng R e-su ng

Tu rn Ye to M e Old S cottish “ ’ The B o nnie E arl O M o ray T rade Winds Ff ederick Keel ’ M o ther Carey s Chickens Frederick Keel

HAZEL COATE R OSE at the Piano

We dnesda Febr ar 13 192 9 R M . y, u y ,

Ward-B elmo nt Au dito rium

- i Tow Org an Cho rale Preludes B ach B uson Nun ko mm de r He ide n He iland -Nu n fre e ch ieben Chris e n ut u , l t So na ta in B M ino r Alleg ro maesto so S che rzo L arg o Finale

de r ach I n N t S chumann D es Abends - M ino r Co nte I n B flat - d I n D flat O . 8 No . 10 E tu e , p ,

- M ino r O . 42 No . 5 E tude I n C sharp , p , - E de I n F shar O . 7 NO . tu p, p , Prelude I n E -flat Prelude in B -flat

Wardo B elmont Conservatory of M u sic PRESENTS JOSEF L HEVINNE Pianist

ri 12 192 9 Ap l ,

- i m Ward B elmo nt Audito r u

— B rahms n ermezzo I n E flat M a o r O . 1 17 . I t j , p “ S ee sof m bairn no w swee s ee , l p t, y , tly l p ” M y heart 15 wae to see the wee p$ ’ (S cotchfrom Herder s Volkslieder) [P1fty four] W A R D -B E L M O N T C O N S E R V A T O R Y O F M U S I C

- 7 n ermezzo in A flat M a o r O . 6 I t j , p i - 7 Ca r cc io in C shar M in r . p p o , Op 6 E tudes Sympho niques

Scherzo I n C-sharp M ino r I mpro mptu I n G-flat Chopin TWO M azurkas I n A M ino r and G M ajo r Po lo naise I n A flat

Feux Folle ts Two Prelude s “ L a Te rrace des Audie nces ’ Feux d Artifice

Gypsy Airs Tau ssig w dre Slo , amy Amo ro us Fas exa ed t, lt Very fast Program of Percival

Dedication of WARD-BELMONT CR IMES

ri 12 1929 Ap l , to P. M . America t he B eautiful Ode to Jo y Andante Lo ndo nderry Air (Irish)

' Harmo nio u s B lac ksmith FIOral D ance Selectio n fro m D o n Gio vanni M ozart Deep R iver R ed Whi e and B e , t lu The Bells Of Ward-B elmo nt The evening prog ram will be B avarian L ullaby Co nsola tio n M inue t D awn To a Wild R o se Selectio n fro m Orpheus Ho ming Del Rieg o B illy B o y Larg o Dvorak The Star Spang led Banner o0 r The Bells of Ward-Belmo nt

Conservatory of M u szc PRESENTS IN RE CITAL L AWRENCE GOODMAN Pianist Ward-B elmo nt Audito rium

Frida ar a 8 192 9 . n 1 P M . y, J u y , R o mance Fo rest M u rmu rs [Fifty-fivel W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

o c rne O . 2 7 No . 1 Cho in N tu p , p Valse I n E M ino r Chopin 9 S cherzo Op. 3 Chopin

5 . 1 Pre de and Fu e O . 3 NO M endelssohn lu g u p , L iebesto d (fro m T risto n and I solde) Wag ner-L iszt T he R ide o f t he Valkyries (fro m D ie Walkure) Wag ner-Hu tcheson

Ward' B elmont Conservatory of

PRESENTS IN RECITAI. STETSON HUMPHREY

B aritone

Ward-B elmo nt Audito rium

r 9 M a ch 1 , 1 2 9

Visio n F i i e 1 . ug t v He ro diade M assenet

n Fu ssre ise - s M o ndlicht p Alle rseelen u Der So ldat

B E FO L E SO 3 . OH MIAN NGS — $ Ho meland A Natio nal Anthem $ — F T he $ uest A D ance So ng “ i d . Goo dn g ht B elo ve ’ k The Lo ve rs $ uarrel

f a L ass fio h T e M e No t o Lo e n ll v ly ‘ ’ F Yo u ll Wander Far Foote ’ s M othe r o M ine ' S A T ave rn So ng Fisher

I C at the iano RENE RANE HUMPHREY, P

PRESENTS IN RECITAL I RENE CR ANE HUMPHREY S oprano Ward-B elmo nt Audito rium

r M a ch 15, 192 9

R GRAM —“ P O 1. Aria Mano n Air and G avo tte a D ie Fo re e 2 . ( ) ll (b) D ie L o tusblume (c) Nu r we r die S ehnsuc ht Ke nnt (d) Verg eblic hes St andche n SICILIAN FOLK SONGS IN COSTUME (a) Canto di Cacc ia (b) M ia Po vera So rella (c) Viva B acco $ (d) Su D anzate $ [Fifty-six]

W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

m ho n M in r ozar 2 . Sy p y G o M t alleg ro mo lto

Co ncer o No . 4 fo r io in ieuxtern s 3 . t v l V p adag io—relig io so Finale marziale BETSY LUSK a Cou n r G arde ns 4. . t y Va se T ris e b. l — t M arch P m m nc . s c o p and Circu ta e . — Ward B elmont Conservatory of M u sic PRESENTS I N CONCERT THE WARD-B E L MONT GL E E -CLUB

M R . STETSON HUMPHREY

Director

Ward-Belmo nt Audito rium

a 14 192 9 M y , PR OGRAM ’ a . S e S So n 1 . olv jg g ’ i mber n b. The Virg n s Slu So g ’ Allah s Ho liday G LEE CLUB

R eflec tio ns o n the Water b C ncer E de . o t tu M ISS MARGARET L IPSCOMB SMITH

d Wer th Te nde r A e B o sso m 4 . Go I e e 3 . Wo uld ppl l I rish Air fro m Co unty D erry Arrang ed by William Arms Fish nc S chu ber b. I mpa tie e t l e i' Dvorak c. AS M y D ear O d Mo th ’ Go in Ho me Dvorak From the L arg o of the New World Symphony

e w c s e. Th T o Clo k G LEE CLUB So lo s by M ISS JOSEPHINE B RUN and M ISS L OIS STOUT

ncer o in E M inor 4. Co t Alleg ro M o de rato M R . WELDON HART M ISS WILLA M A E WAID at the Piano

5. a . Sere nade At E ve I eard a Fu e b. H l t sie s c. The Gyp G LEE CLUB So lo s by M ISS R UTH WELTY and M ISS LOIS STOUT

' M u sic Ward B elmont Conservatory of PRESENTS IN RECITAI.

M B S o rano ISS NANCY ASKERVILLE, p ASSISTED BY

M R S ia nist ISS UBYE PROUSE, P

’ Thu rsda E e nin M a 9 192 9 at c o c y v g , y , , O l k

L oewe (a) Canzo nette [Fifty-eig ht] W A R D -B E L M O N T C O N S E R V A T O R Y O F M U S I C

(b) D er Nu ssbaum (c) D ie Bekehrte M ISS NANCY B ASKERVILLE

’ Ah$ fo rs e lu i (L a T raviata) M ISS NANCY BASKERVILLE

So na a O . 3 1 No . 2 B ee hoven t p , t M ISS R U E YE SPROUSE

a) M alg re M o i ’ b) L Heu re E xquise c) Nymphes et Sylvains M ISS NAN CY B ASKERVILLE

(a) Prelude 2 2 seco n m emen (b) So nata Op. ( d ov t) (c) E tude D e Co ncert M ISS R UBYE S PROUSE

(a) So ng o f Su nshine (b) L ullaby (c) The Sing er M ISS NANCY B As RVI L L E

Ward' B elmont Conservatory of PRESENTS

W M ianist HITFIELD ORELLI , P I n Diplo ma R ecital ASSISTED BY

N B A S R E RYI L L E S o rano ANCY , p

Thu rsda E e nin M a 2 3 192 9 y v g , y ,

’ At o clo ck

R ondo Capriccio so M endelssohn WHITFIELD M ORELLI

Ah$ Je Veux Vivre (R o meo and Julie t) Gou nod NANCY B AS E E R VI L L E

M acD owell WHITFIELD MORELLI

Swiss E cho So ng So ng o f Pro vence NANCY B ASKERVILLE

R ico rdanza WHITFIELD MORELLI L a Capinera B enedict NANCY B A s R vI L L E

Co ncer o FM ino r firs mo eme n Cho in t , ( t v t) p WHITFIELD MORELLI

’ Sa r a M a 2 5 192 9 at o c o ck tu d y, y , , l Ward-Belmo nt Audito rium

ian —Th ar B alakire 1 . P o e L k w MISS CATHERINE SCRUGGS [Fifty-nine] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ ian — i m r 2 . P o Cant que D a o u M ISS MARG ARET WIL E ENS

“ ” ic is 3 . Vo k Aria fro m L o u e Carpentier M ISS R UT H WELTY

“ ” i — a - 4. P ancr ( ) M es Joies Chopin L iszt b) G no menreig e n M ISS M ARTHA LINDSEY

ic — r m i m R i S . Vo e Ca o No e (Ar a fro g oletto ) M ISS L OIS STOUT

ia — ho i 6 . P no (a) Prelude in B Flat C p n (b) Papillo ns M ISS E LIZABETH HAYNES — ia a r be s 7. P no ( ) A a que b) M arch Wind M ISS M ILDRED AN N SMITH

— s ende ss hn 8 . Pia no Co nce rto in G M ino r (fir t mo ve ment) M l o M ISS M ARGARET L . SMITH

T esda M a 2 8 192 9 u y, y ,

’ At O clo ck

Ward-B elmo nt Auditorium — Piano (a) The E ag le (b) Air de B alle t M ISS I S OE -E L -GOODLOE — Vo ice She Wandered D own t he Mo untain Side M ISS WILLY D ELL GOLDSMITH — Piano D u bist die R u b S chu bert-L iszt M ISS E LLEN M OORE

— - Vio lin (a) Ario so B ach Fra n ko (b) Gu it arre M oszhowshi-S aras ate L M M R . OUIS ERTENS — Piano Co ncerto in C Mino r (first mo vement) B eethoven M ISS L YD AR E E N E M AJO R S — Vo ice M o n Co eu rs Ouvre S t a Vo ix (Aria fro m S amso n

and D elilah) S aint-S am: M ISS JOSEPHINE B RUN — ‘ Org an Prelude and Fu g u e in B Flat M ajo r M ISS NANCY NOLA ND — Piano Papillo ns R osenthal M ISS D OROTHY D ETRICK

Vo ic&Staccato Polka M ISS NANCY B ASKERVILLE — Piano Scherzo in B F a M ino r 10 . l t M ISS KATHERINE KEAN W A R - B E L M N N S E R V A R Y O F M U S D O T C O . T O I C

’ Stu dents Recital

Frida E enin D ecembe r 14 192 8 y v g , ,

’ At O clo ck Ward-B elmo nt Audito rium 5- i 5 Piano R g audo n M acD owell (b) L eg ende M ISS WHITFIELD M ORELLI

VOiCH (a) She Wandered D o wn the M o u ntain Side ’ (b) Little Shepherd s So ng Proctor M ISS WILLY D ELL GOLDSMITH — Piano At Su ndown B u tler M ISS M ILDRED CLEMENTS — Violin Adag io R elig io so Vieu xternps M ISS B ETSY LUS E — . iano On in s f n P W g o So g . . M ISS LAVELLE T HOMPSON

ian — c r I . P o No tu ne n FM ajo r

. M E L I ZA H — ISS EE T HAYNES 7 ice a T he L a r . Vo ( ) st Ho u Kramer (b) L et All My L ife B e Music M ISS JOSEPHINE B ROWN — . Piano Sonata (first mo vement) M ISS KATHERINE KEAN

’ Stu dents Recital

Fri a Af erno o n Febr ar 8 192 9 d y t , u y ,

’ At o clo ck — Piano (a) Impro visatio n (b) Shado w D ance M ISS M IRIAM WOODSIDE

Cede la Sera (b) Gaily Chant the Su mmer B irds M ISS HELEN SEARCY

Pia — . no Prelude I n B Flat M ajo r M ISS M ARGARETL . SMITH — Piano Lo tus Land M ISS M ILDRED ANN SMITH

Voicc_ a r he s and His L e ( ) O p u ut . S u llivan b eares I B rin Yo u Vio e s M e er-Helman ( ) D t, g l t y M ISS WILLIE D ELL GOLDSMITH

Pi n — r 6 . a o C acovie nne Fantasie Paderewski M ISS CATH E RINESCRUGGS — 7. Vo ice (a) The D ance (b) Swiss E cho So ng

M R S . CALDWELL BENNETT — 8 . iano E u e O . 2 5 NO . 5 Cho in P t d p , p — M ISS ANNIE SULLIVAN o ice c an l . 9 . V Lu ev o s Stella (Aria fro m To sca) Pu ccini D R . R OBERT T HURMAN [S icity-one] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ Stu dents Recital

Frida f erno o n Febr ar 2 2 192 9 y A t , u y ,

’ At o clo ck Ward-B elmo nt Audito rium — Piano Valse Arabesque Gu ion M ISS D OROTHY DETRICK — Piano Panto mime M oszkowski M ISS PAULINE M CCOLLUM

— ’ Vo ice (a) D aflo dils ’ (b) The R o bin s So ng M ISS HELEN FERGUSON

— - 4. Piano D u bist die R u h - S chubert L iszt M ISS EL L E N MOORE

r — illi an 5. O g an Alleg ro Jubilant M g M ISS CATHERINE SCRUGGS — Piano So nata in C M ino r (first mo ve ment) B eethoven M ISS M ILDRED ANN SMITH — Piano R eflectio ns o n t he Wate r Debussy M ISS M ARGARET L . SMITH — Violin R everie Vieuxtemps M R . WELDON HART — Piano Craco vienne fantastique Paderewski MISS CATHERINE S CRUGGS

Frida f erno o n M arch 8 192 9 y A t , ,

’ At o clo ck Ward-B elmo nt Audito rium — Piano No ctu rne L eschetizky M ISS E LEANOR FA I R CH I L D — Org an Adag io in B Flat M ISS VESTA KITCHELL

' — r Vo ice (a) R o se and Nig hting ale Rimsky Korsa leofi b anza n FanCI u lla D u rante ( ) D , D a za, M ISS L OIS STOUT

— ' Piano Tendre Ave u S chu ett M ISS M ARGARET R OT H E R T

— ‘ B ru ch Vio lin Adag io (Co ncerto G M ino r) . R D A R M R . HAR Y R PE

— 5 Cho in Piano E de s 10 NO . . tu Opu , p M ISS KATHERINE KEAN — — VOI ce Aria fro m T o sca L ucevano le Stelle Pu ccini R T M R . OBERT HURMAN

— - Piano M es Jo ies Chopin L iszt M ISS M ARTHA L INDSEY

— — B orowski Org an Alle g ro co n spirito So nata I I I M ISS JEAN B ARRY

[S ixty-two] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

’ Stu dents Recital

Frida f erno o n M arc h 2 2 192 9 y A t , ,

’ At o clo ck Ward-B elmo nt Audito rium — Piano (a) An I rish So ng Valse M ISS E LLEN WHITEMAN Pi —' anO Au M atin Godard M ISS D OROTHY TINSLEY — Piano B rer R abbit M acD owell M ISS M ILDRED CLEMENTS — Vo ice Vo ce de Primavera S traurr M ISS JOSEPHINE B OYER

— r Piano o c rne O . 3 NO . 2 Kar c mo N tu p , g fi M ISS M ARGARET WILKENS — Org an Cantiline Pasto rale I n B M ino r Gu ilmant M ISS KATHERYN HINSON — Piano On Wing s o f So ng M endelfi ohn-L i) zt M ISS E L iZA E E T HHAYNES

i i — - V o l n Alleg ro and Praeludium Pu g nani Keeirler M ISS CHARLOTTE STRONG — Piano From t he L and o f Tho usand L akes (a) Air Castle s S ibeliu s (b) No c tu rne M ISS E LEANOR SAPP — 10 . Org an Alle g ro co n M o to fro m So nata I V Gu ilmant M ISS NANCY NOLAND i — 11 . Vo ce I ndian L o ve L yrics (a) Kashmir So ng Finden (b) Till I Awake M ISS L UCILE B RUN i — 12 . P ano (a) The E ag le (b) R ig audo n M ISS I SOBEL GOODLOE

’ Stu deuts Recital

Frida f erno o n ri 5 192 9 y A t , Ap l ,

’ At O clo ck — Wa rd B elmo nt Audito rium — I . Piano Ve nitienne Godard — M ISS E MMA JEAN WILLIS i a 2 . Vo ce ( ) Laug hter Has Co me (b) lThe Pipe r o f L o ve M ISS E LIZABETH CLEVELAND

S tojowrki M ISS KATHLEEN L A R UE

ic — ar m fr m R i e 4. Vo e C o No e o g ol tto M ISS L OIS STOUT

r — ili e Pas ra e 5. O g an Cant n to l Guilmant M ISS KATHERYNHINSON

[S ixty-thre e] W A R D -B E L M O N T C O N S E R V A T O R Y O F' M U S I C

’ Stu dents Recital

Frida f ernoo n ri 2 6 192 9 y A t , Ap l ,

’ ' At o clo ck Ward-B elmo nt Audito rium — H Piano (a) S carf D anc e (b) Nig ht M are M ISS IDA S U E SMITH — N Piano (a) Andante in F B eethwen-Krentzlin (b) Puck Grieg M ISS E LIZABETH CORNELIUS

i in— a Air u. V ol ( ) (b) M adrig ale S immonetti M ISS E LLA L U CHEEK

— man 4. Piano R o mance S chu n M ISS KA THERINE KEAN

i — sid Kar ano 5. P ano B y the Bro o k e g fl M ISS L OIS STOUT

— Vieuxtem s Vi in nce r No . 4 6. ol Co to p Ada io—R elig io so Finage M arziale M ISS B ETSY L USK

7 i — c r irs eme n B eethoven . P ano Co n e to (F t M ov t) M ISS L YDA R E N E MAJORS

’ Students Recital

Thu rs a f erno o n M a 16 192 9 d y A t , y ,

’ At o clo ck Ward-B elmo nt Au dito rium So nata A M ajo r S chubert M ARTHA L INDSEY

’ Know st Tho u the L and Thoma; FRANCES B URGESS R o mance F Sharp M ajo r ” M ando linata M ARTHA L INDSEY L amen to Pro vencale Open Thy B lue E yes FRANCES B URGESS $ ” Cho in-L iszt M es Jo ie s No c tu rne p MARTHA LINDSEY

“ R onald A L ittle Winding R o ad “ The M o rning is Calling FRANCES B URGESS Clair dc L u ne M ARTHA L INDSEY

Unfo re seen “ R ive r B o ats I n t he L uxembou rg Garde ns FRANCES B URGESS

“ Gno menreique n M ARTHA L INDSEY

[S ixty-four]

W A R D - B E L M O N T C O N S E R V A TO R Y O F M U S I C

PRESENTED T HROUGH THE COURTESY OF S A WSM T TION , NASHVILLE

D ecember 1 2 8 4 , 9 — Piano First M o vement fro m G rieg So nat a in E M ino r M ISS KATHE R INE KEAN — Vo ice (a) Over t he Stepp (b) T o t he S u n (c) So ng o f t he Open M ISS R UTH WELTY — Piano R ig o u do n M acD owell M ISS WHITFIELD M ORELLI

— ’ Vo ice M ic aela S Prayer (fro m Carme n) M ISS L OIS STOUT — Piano Arabesque D ebu ssy M ISS M ILDRED AN N SMITH

' — ieu xtem s Vio lin Adag io (Fro m Co ncerto No . 4) V p M ISS B ETSY L USK — Vo ice (a) L ullaby (b) Su nshine So ng (c) Waltz So ng (fro m R o meo and Julie t) M ISS NANCY B ASKERVILLE

D ecember 1 8 1 2 8 , 9 — Vo ice (a) I n t he Time o f R o se s (b) Nina M ISS L UCILLE B RUN — Piano (a) B arcaro lle (b) No ctu rne M ISS M ARY M CL A R R Y — Vo ice (a) To the S u n (b) Co me u nto Him (Fro m t he Messiah) M ISS D OROTHY S HELLY — Piano No ctu rne I n F M ajo r Chopi n M ISS E LIZABETHHAYNES — Vo ice (a) T he L ast Ho u r (b) L et All M y L ife B e M u sic M ISS JOSEPHINE B RUN

— - Piano On Wing s o f So ng JVI endelsso/I n L iszt M ISS M ARGARET WILKENS — Vo ice (a) Fo r Yo u Alo ne (12 ) S erenade c A A A ( ) y, V, Y T M M R . R OBERT HUR AN

[S ixty-six] W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

Febru ar 2 6 1 2 y , 9 9 — Piano (a) I mpro visatio n (5) Shado w D ance M ISS M IRIAM WOODSIDE — Violin R everie Vieuxtemps M R . WELDON HART — Piano D u bist die R u h S chu bert-L iszt M ISS E LLEN M OORE — Vo ice (a) Cade la Sera (b) Ho neysuckle L ane (c) Gaily Chant t he Summe r B irds M ISS HELEN SEARCY

M arch 1 2 1 2 , 9 9 — Piano At Sundo wn M ISS M ILDRED CLEMENTS

cc- (a) The Nig hting ale (17) At Nig ht M ISS L OIS STOUT — Violin Adag io (fro m Co ncerto in G M ino r) B ru ch M R . HARRY D RAPER — Piano Witches D ance M acD owell M ISS E LIZABETH HAYNES

M ISS M ARY D OUTHITT

Teacher of Piano

M arch 1 1 2 5 , 9 9

Prelude and Fug ue in A M ino r E d a e s 10 No . 3 ( ) tu Opu , b E d e s 10 NO . 8 ( ) tu Opu , Capriccio E tude I n F M ino r

M arch 2 6 1 - 2 , 9 9 — Piano No cturne L echetiihy M ISS E LEAN OR FA I R CHI L D — Olin (a) Git anerias Greaer-Hartmann — (b) Praeludiu m andAlle g ro Pug nani Kreisler M ISS CHARLOTTE STRONG — Piano No c tu rne Karg anofi M ISS M ARGARET WILKINS — Vo ice (a) M o rning I s Calling (b) I ris MISS FRANCES B URGESS — Piano E tude in E M ajo r Chopin M ISS ANNIE SULLIVAN W A R D - B E L M O N T C O N S E R V A T O R Y O F M U S I C

A ri 1 2 p l 9 , 9 9 — Piano (a) Andante fro m So nata in G M ino r S chu mann (b) E tude de Co ncert Von S ternbu rg M ISS R UBYB RIGGS SPROUSE — Vo ice (a) Kashmiri So ng (b) L e ss T han the D ust Finden (c) Till I Awake (Fro m I ndian L o ve L yrics) M ISS STELLA CHRISMAN — Vo ice Prelude I n A M ino r B ach-L iszt M ISS R UBY B RIGGS SPROUSE

A ri 2 1 2 p l 3 , 9 9 — Vio lin (a) Air fo r G String B ach Wi lhelmi (b) M adrig ale S immonetti — M ISS E LLA L U CHEEK Vo ice (a) L aug hte r H as Co me (b) All Fo r Yo u (a) The Piper o f L o ve M ISS E LIZABETH CLEVELAND — Piano (a) The E ag le b) R ig o u do n M ISS I SOBEL GOODLOE

M a 1 2 y 7 , 9 9 — Piano R eflectio ns o n the Wate r Debu ssy M ISS M ARGARET L IPSCOMBSMITH — Vo ice (a) T he R u ssian Nig hting ale (b) Nig hting ale an d t he R o se M ISS JOSEPHINE BOYER — Piano Co ncert E tude M acD owell M ISS M ARGARET L IPSCOMB SMITH Vo ic&(a) S o ng o f Two L o vers and t he Wo o d Pig eo n (b) T he B o bolink and t he Chickadee M ISS JOSEPHINE B OYER — Piano (a) Prelude (b) M instrels M ISS E LIZABETH HAYNES

M a 2 1 1 2 y , 9 9 — Piano S che rzo M endelssohn M ISS OLGA M AESTRI — Piano Valse S towjowslei M ISS KATHLEEN L A R U E — ” Vo ice ( a) Aria fro m L o uise ’ (b) L E sclave M ISS R UTH WELTY — Piano L iebest ram Fire Flies M ISS L AVELLE T HOMPSON — Vo ice (a) L ull aby Gretchanin017 r (b) Hymn t o t he S u n R imsky-Korsaleofl M ISS R UTH WELTY

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