A CENTURY OF MUSICAL DEVELOPMENT IN TUCSON, ARIZONA, 1867-1967

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Authors Cordeiro, Joseph Lemos, 1926-

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CORDEIRO, Joseph, 1926- A CENTURY OF MUSICAL DEVELOPMENT IN TUCSON, ARIZONA, 1867 - 1967. University of Arizona, A.Mus.D„ 1968 Music

University Microfilms, Inc., Ann Arbor, Michigan

| C COPYRIGHTED BY JOSEPH CORDEIRO 1968

ill A CENTURY OP MUSICAL DEVELOPMENT IN TUCSON, ARIZONA, I867 - I967

by Joseph Cordeiro

A Dissertation Submitted to the Faculty of the SCHOOL OP MUSIC In partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA

1968 THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

I hereby recommend that this dissertation prepared under my direction by JOSEPH CORDEIRO entitled A flF.NTTIRY OF MUST fl AT. DEVELOPMENT IN TUCSON,

ARIZONA, 1867-1967 be accepted as fulfilling the dissertation requirement of the degree of DOCTOR OF MUSICAL ARTS

Dissertation Director Date

After inspection of the final copy of the dissertation, the following members of the Final Examination Committee concur in its approval and recommend its acceptance:''-

3-

_J/3I /cr

This approval and acceptance is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination. The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. STATEMENT BY AUTHOR

This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allow­ able without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the copyright holder.

SIGNED s V, ^V^?c /^-T^^/-^

is ACKNOWLEDGEMENTS

The writer wishes to express his deep appreciation to Dr. 0. M. Hartsell for his invaluable guidance and advice during the preparation of this chronicle.

Secondly, the writer will always be grateful to the Arizona Pioneers' Historical Society and to the Special Collections Department of the University of Arizona Library for the use of their collections of otherwise unattainable material.

Last, especial thanks to the writer's wife, Joann, and to their daughter, Lyn, without whose support, encour­ agement and assistance the compilation of this dissertation would have been an impossible task.

iv TABLE OF CONTENTS

Page LIST OP ILLUSTRATIONS . . • . viii

CHAPTER I. INTRODUCTION ...... 1 II. THE OLD PUEBLO , 6 PART I - Tucson: Early History . , 6 PART II - Tucson: 1867 - 1880 10 Early Educational Facilities 13 Military Musical Organizations ...... 16 III. THE LAST OF THE TERRITORIAL DAYS 20 Tucson: 1881 - 1911 20 The Establishment of The University of Arizona 24 The Beginning of Musical Instruction in Tucson's Schools ..... JO First Community Musical Enterprises 40 The Tucson Philharmonic Club 42 Mariner's Juvenile Groups ..... 44 The Saturday Morning Musical Club ...... 49 IV. ARIZONA, THE NEWEST STAR 52 Tucson: 1912 - 1924 52 Musical Activities at The University of Arizona . 55 Certification of Music Teachers 63 Music in the Schools 66 Community Musical Activities ...... ?0

v vi TABLE OP CONTENTS—Cont inued

Page V. RISE TO PROMINENCE ...... 72 Tucson: 1925 - 1949 72 The University of Arizona School of Music ... 76 Changes in Certification 99 The Schools of Tucson 100 The Temple of Music and Art ...... 106 The Tucson Symphony Orchestra , . 108 The Tucson Music Teachers Association 114 Other Musical Organizations 114 VI. MIRACLE IN THE DESERT 117 Tucson: 1950 - 19&7 117 The Expanding University 118 Musical Activities In the Schools 132 Continuing Community Musical Activities . . 141 The Tucson Festival of the Arts 144 The Opera Guild of Southern Arizona . . o © 147 New Community Musical Activities 150 The Changing Musical Scene . 151 APPENDIX A: LIST OP MUSIC FACULTY: THE UNIVERSITY OF ARIZONA . 155 APPENDIX B: LIST OP GRADUATES IN MUSIC: THE UNIVERSITY OF ARIZONA 159 APPENDIX C: STATE SUPERINTENDENTS OF PUBLIC INSTRUCTION ...... 173 APPENDIX D: MUSIC TEACHERS IN TUCSON SCHOOL DISTRICT NUMBER ONE 174 APPENDIX E: MUSIC TEACHERS IN FLOWING WELLS SCHOOL DISTRICT 178

APPENDIX F: MUSIC TEACHERS IN AMPHITHEATER SCHOOL

APPENDIX G: MUSIC TEACHERS IN SUNNYSIDE SCHOOL UXolxlJ-UJ...... xOU APPENDIX H: MUSIC TEACHERS IN THE PAROCHIAL SCHOOLS . . 181 APPENDIX I: MUSIC TEACHERS IN THE PRIVATE SCHOOLS ... 183 APPENDIX J: TUCSON SYMPHONY ORCHESTRA CONDUCTORS ... 184 APPENDIX K: TUCSON CIVIC CHORUS DIRECTORS 185 APPENDIX L: PRESIDENTS OP THE TUCSON MUSIC TEACHERS ASSOCIATION ..... 186 LIST OF REFERENCES .....so...... 18/ LIST OP ILLUSTRATIONS

Figure Page 1. The Tucson Philharmonic Club at Los Angeles, August 15, I896 ^5 2. Mariner's Juvenile Orchestra, c. I897 ^7 3. The Oratorio Society, 1924 6k K. Tucson High School Band, 1923 69 5. Arthur Olaf Andersen, Dean, The College of Pine Arts, The University of Arizona 91 6. The Tucson Symphony Orchestra, 1929 112 7. John B. Crowder, Dean, The College of Pine Arts, The University of Arizona ..... 122

viii ABSTRACT

The history of musical growth in Tucson, Arizona, for one hundred years, has "been the history of exploration and development: a search for ways of providing and using music in community living. Centuries before this chronicle commences, Indians of the region considered music an inte­ gral part of their ceremonial observances. With the advent of the mission system, Indians were introduced to the music of the Catholic church, and the missions established by Father Kino maintained well-trained native choirs. The land area that is now Southern Arizona was originally a part of Mexioo, and the majority of the music heard a century ago in Tucson was provided by people of Mexican ancestry. As railroads were built in the southern portion of the Arizona Territory, it became easier and safer for new settlers to reach Tucson. They brought their own songs and other music with them. Some of these new citizens had acquired musical training in the eastern part of the United States or in European countries, and the music they knew and performed was different from that of Tucson's Spanish and Mexican heritage.

ix X Even in Territorial days, there were Tucsonlans sufficiently interested in music to found the city's first bands, orchestras, church choirs, and musical clubs. Al­ though few of these first endeavors survived the test of time, they did provide commendable contacts with music for Tucsonlans as well as stimulated the development of other musical organizations. As the new State of Arizona and the City of Tucson expanded, so did local musical activities and facilities for musical events; within the past half- century, residents of Tucson have been offered an increasing number and variety of musical events - many of them undoubt­ edly beyond the expectations of even the most far-sighted musical pioneers. It is interesting to note that, in spite of the many problems confronting Tucsonlans in Territorial and early Statehood days, they were always deeply concerned with the establishment of a lasting musical education for their children. Tucson"s public school system, which was started in I867 with a one-room, one-teacher school for a few boys, now includes four major school districts, all of which currently offer varied and excellent music study opportunities. These four districts now have a total of 84 teaching specialists in music alone, and approximately 20,000 students annually participate in school-sponsored musical activities. Tucson's parochial school system, first established in 1870 when the Sisters of St. Joseph opened a Female Academy, initially included music as a part of the curriculum as it continues to do in all three of its high schools at the present time. Instruction in music at The University of Arizona progressed from a very small and hesitant beginning in 1892 to a fully accredited and nation­ ally recognized School of Music. During this period of seventy-five years from I892 to 1967, the University has awarded 365 Bachelor's, 202 Master's, and 6 Doctor's degrees in music. Throughout this document, emphasis has been placed on establishing an historical frame-work in which to relate the musical events which occurred during the past one hun­ dred years. References are made to the many ways in which music was used in dally living in a frontier environment, in Territorial and early Statehood days, and finally as an integral part of Tucson's cultural expansion of recent years. Although the cultural growth of other parts of the State of Arizona has been equally impressive, this study deals only with persons and events related to Tucson itself. Finally, it is hoped that the information presented in this dissertation may become a permanent record of the unique and interesting musical growth and development in The Old Pueblo from 1867 to 1967. CHAPTER I

INTRODUCTION CHAPTER I

INTRODUCTION

Music has always played a major role in the com­ munity life of Tucson. Long before Tucson was settled by the Spaniards, Indians of the region considered music an integral part of their ceremonial rites. In addition to the poetic chanting which constituted a large portion of their musical activities, they constructed musical instru­ ments from available materials and learned to play them. The Arizona State Museum has on display two box elder flutes which date as far back as the Basketmaker Period, prior to 500 Ao D. With the advent of the mission system, Indians were introduced to the music of the Catholic Church. In 1523. Pedro de Gante, a lay-brother of the Franciscan order, opened a school for the sons of the native chiefs in Mexico in which they were taught "reading, writing, singing, playing on various instruments, copying musical manuscripts, and constructing instruments."-1- Father Kino, himself, often took Indian boys into his home, instructing them in the singing of the litanies of the church. Many of his missions

1. Henry, Nelson B., ed. Basic Concepts In Music Education (Chicago: The University of Chicago Press, 1958), P. 197. 1 maintained a well-trained native choir, and this music often succeeded in drawing Indians toward Christianity when other means failed. Undoubtedly much of the interest shown in music by the Mexican people is a direct result of the influence of these early Spanish missionaries. Since Tucson's population was so predominately Mexican in the early days of its set­ tlement, it is understandable that Spanish and Mexican music, serenades, and small Mexican orchestras provided the majority of the music heard in Tucson at that time. Fortunately this heritage has never been completely forgotten, and contempor­ ary composers still employ Mexican and Spanish rhythms and - melodies, especially in compositions reminiscent of the southwest. During the past century, the musical development of Tucson itself can often be traced to the many changes affect­ ing the community. As forts were established throughout the Arizona Territory for protection from the warring Apache Indians, residents were able to enjoy the music of the mili­ tary bands. The Cavalry bands stationed at Port Lowell near Tucson meant years of pleasure for Tucsonlans for they fur­ nished the only music heard in the city, with the exception of the few small Mexican ensembles.

1. Bakkegard, B. M. "Music in Arizona Before 1912" (Journal of Research in Music Education, v. VIII, no. 2, Fall, i960), p. 68. 3 In 1880, railroad routes were expanded to include the southern segment of the Arizona Territory, and, as in the remainder of the United States, they became its major developmental forceo Tucson experienced a surge of growth as new settlers of varied backgrounds came to live in this area. Many of these new residents had acquired their musical training in the eastern part of the United States and in European countries, and they brought with them music of a very different nature than Tucson had previously ex­ perienced. Tucson's community orchestras, bands, and musical clubs were later organized by these people. Details concerning these groups will be found in succeeding chapters, beginning with Chapter III. Although few of these musical organizations remained in continuous existence over a period of many years, they did provide a measure of activity during this time as well as establish a precedent for the formation of other groups and are thus worthy of mention. Those organizations that did continue on an annual basis, such as the Saturday Morning Musical Club and the Tucson Symphony Orchestra, to name only two of the many, are traced throughout the chap­ ters of this study. It is interesting to note that Tucson*s pioneers realized that musicianship must have its roots in the very young, and they sought to accomplish a lasting education in music for their children. Educational opportunities in ft music evolved over a period of many years and eventually resulted in the adoption of courses in music as an integral part of the curriculum of the public and parochial schools of Tucson as well as to establish varied curricula leading to Bachelor's, Master's, and Doctor's degrees in music at the University of Arizona. Most regrettably, early Tucson residents were often too involved in problems connected with the settlement of a frontier territory to keep detailed records of musical activities, so that information about many events remains lost forever« In later years, however, remembrances and reminiscences of various periods in Tucson's history were written by a few prominent Tucsonians. These reports, along with personal interviews with living pioneer Tucson musicians, have been used in this historical presentation. Throughout this document, emphasis has been placed on establishing an historical context or frame-work in which to relate the musical events occuring during the period of the last one hundred years. References are made to the many ways in which music was used in daily living, first in a frontier environment and later in territorial and early Statehood days. By the 1950's, the phenomenal growth in population and resources in the forty-eighth State is often referred to as a "Miracle in the Desert," and music has been an important part of the cultural expansion that went with such growth in recent years. 5 While the population and cultural expansion has been equally impressive in other parts of the State, this study will deal only with Tucson, the seat of government for Pima County. It is hoped that the information presented in this dissertation may become a permanent record of the unusual and interesting musical development from I867 to 1967 of Tucson, the City often referred to as The Old Pueblo. CHAPTER II

THE OLD PUEBLO

PART I - Tucson: Early History PART II - Tucson: I867 - 1880 CHAPTER II

THE OLD PUEBLO

PAST I - Tucson: Early History

The City of Tucson has had a long and colorful history. Its name, most authorities agree, is derived from words of the Pima or Papago Indians1 who inhabited its re­ gions long before the white man arrived in the new world. Tucson itself was settled by the Spanish in the mid-sixteenth century,2 thus making it the second oldest set­ tlement in the United States. The Franciscan and Jesuit priests were active in their missionary work in the area now comprising southern Arizona, with Father Kino first visiting the Indian village, Bac, in the year 1692. A mission

1. A variety of Indian words are used by different authorities: Hunter, Audrey. "When Old Pueblo Was Fairly Young" (The Arizona Daily Star. October 5, 1958, p. 10A) accounts for its derivation from the Pima Indian word "Tuksune", meaning "Black Wat&r." Arizona Highways, February, 1958, p. 1, uses the Piman "'sluyk-son«, meaning 'dark or brown spring'", or the Papago "'stuyk' for 'black' and 'zone' or 'son' for foot or base of a hill, or near a spring." 2. The date 1560 is given by: Barter, G. W., oomp. Directory of the City of Tuc­ son. 1881 (San Francisco: H. S. Crocker and Co., 1881), p. 2»

6 7 building was erected at that location but was replaced by the present Mission San Xavier del Bac which was completed in 1797.1 By 1776, Tucson proper had its formal beginning. The Mission at Bac and its visitas in the Tucson area needed more protection from the raiding Apaches. The Presidio of Tucson was established, and about fifty Spanish troops were trans­ ferred from the Presidio at Tubac to this new fort. A wall was gradually built, commencing "at the northwest corner of Alameda and Main Street, going along Main to Pennington, up Pennington to Church, along Churoh to Alameda again."2 Houses were placed in rows around the inside wall, and, about 1779. San Agustin Churoh was erected within the fortress.^ The walied pueblo of Tucson remained unchanged throughout its period of rule by Mexico after Mexico won her independence from Spain in 1823. However, shortly after the Gadsden Purchase of 1854, at which time what is now southern Arizona became part of the United States, Tucson outgrew its walls. Adobes from the walls were even used in the construc­ tion of new buildings. By 1858, travel to Tucson was much improved with the addition of Tucson to the Butterfield Overland Stage Route

1. Cosulioh, Bernice. Tucson (Tucson: Arizona Sil­ houettes, 1953). P. 27. 2. Hunter, Audrey. "When Old Pueblo Was Fairly Young" (The Arizona Daily Star. October 5, 1958, p. 10A.). 3. St. Augustine's (1964), p. 25. 8 from St. Louis to San Francisco, although the trip from St. Louis to San Francisco was a twenty-five day Journey on a rigid schedule. But even this was short-lived as the American troops were recalled from Tucson in 1861 to serve in the Civil War. Tuoson was at times occupied by either Confederate or Union forces but neither were stationed there permanently. Without military protection, the Apaches became so fierce that stage companies were forced to move their routes further north, virtually cutting off Tucson's means of communication with the rest of the country. The Catholic Church, San Agustin, was the only church in Tucson during this period. Unfortunately, it had been allowed to deteriorate, so that visiting priests were forced to hold services in a little house. But in I863, Father Donato Rogieri was appointed to Tucson on a perman­ ent basis, and he started rebuilding the Church at the present site of the Greyhound Bus Station, facing the Plaza.2

On February 24, I863, Arizona was formally estab­ lished as a Territory, and in 1864, Pima County was created by its first Territorial legislature. By May of I865, the

1. Hunter, Audrey. "Butterfield Stage Waited for Nobody - Not even Passengers" (The Arizona Daily Star. Sep­ tember 28, 1958, p. 7A.). 2. St. Augustine's (1964), p. 26. 9 military garrison was relocated at Tucson's Military Plaza and named Camp Lowell, again opening the southern portion of the new Arizona Territory to travel and future develop­ ment. PART II - Tucson: I867 - 1880

I867 was an important year in Tucson's history for in that year Tucson created the first free public school in the Arizona Territory, and it had the added distinction of becoming the Territorial Capital., But important or not, it was still relatively hard to reach. A typical journey from New York to Tuoson was related by Mose Drachman in his rem­ iniscences of early Tucson.•*• In 1868, Mr. Drachman's father brought his new bride to Tucson by way of the Isthmus of Panama. Since the Panama Canal had not yet been built, they crossed the Isthmus by wagon; took a steamer to Califor­ nia; and finished the trip by stagecoach from San Diego to Tucson. An increasing number of people managed to reach Tucson and, by I87O, its population had surpassed 3,000. Stagecoaches still provided the only means of transportation to and from Tucson, and a typical newspaper advertisement read: Tucson, Arizona City and San Diego U. S. Semi-Weekly Mail Line

1. Drachman, Mose. "Reminiscences, 1863-1912" (Arizona Pioneers1 Historical Society), p. 1. Pour horse coaches leave Tucson every Thursday at four P. Mo, and two-horse vehicles every Mondi at the same hour. Time to San Diego, Five Days.

In I87I, the village of Tucson held its first elec­ tion for a mayor and councilmen. Facilities for travel and communication were rapidly improved: by I873. the first telegraph line reached Tucson, and in 1875. daily stage­ coach service was initiated by the Texas and California Stage Company from Ft. Worth to San Diego. Tucson was also on the mule-team freight route, and many fine wagons and carriages were built in Tucson in later years. The Territorial Capital was moved back to Prescott in 1877. but Tucson remained a growing community and, on February 7, 1877» it was incorporated as a city.2 This new city contained: two hotels, a county court-house and jail, fifteen general stores, a branch U. S. depository, two breweries, six attorneys, five physicians, one news depot, ten saloons, two milliners, two flouring mills, three barbers, four boot and shoe stores, four feed and livery stables, a public schoolhouse and about three hundred pupils, a Catholic school under the charge of the Sisters of St. Joseph, with about two hundred pupils, one photographic gallery, two jewelers, several small establishments, and one newspaper, the "Citizen", edited and published by John Wasson, Esq.3

1. A typical advertisement appearing in issues of The Arizona Citizen of I87O. 2. Barter, op. cit.. p. 19. 3= Hodge, Hiram C. Arizona As It Is: or The Coming Country (New York: Hurd and Houghton, 1877). P• 15^•

1 "Water was furnished to the people here...at five cents a bucket;"•*• and since there were no indoor bathrooms, Tucson's male population bathed weekly at a public bathhouse near Little Eye Springs.2 By 1880, Tucson had over 7,000 people, and the city was well on its way to a new era of growth and development. The first train reached Tucson in March of 1880 on the Southern Pacific Railroad - a railroad that was destined to become one of the major developmental forces in the south­ ern portion of the Arizona Territory, just as other railroads opened other western regions to settlement and expansion,

Tucson's oldest church, San Agustin, was completed in 1868, under the direction of Father John Baptiste Sal- point e, although new features were added throughout the years. Its organist, Antonio Coenen, arrived in Tucson In 1877 and was, in addition, Pima County Assessor and Assis­ tant Postmaster.3 Although the first Protestant church was not built until I878, the Presbyterian Church was organized under Reverend Sheldon Jackson In 1876.^ Services were held in

1. Drachman, op. olt.. p. 22. 2. Ibid., p. 22. 3. Cosulich, op. pit., p. 261. 4. McDougall, Fanny H. A History of Trinity Presbyterian Church. 1902-1962. p. 9. the Court House, and a cabinet organ was presented to the church by John P. Clum who would later become a ruling elder of the church.1 In the Pall of 1876, Reverend Jackson was replaced by Reverend John Anderson, and by 18?8, the cornerstone was laid for the Presbyterian Church building. This building, located in the western part of the Court House Plaza, was completed in 1879.2 The First Methodist Episcopal Church was organized in Tucson in 1879. Pounded by Reverend William Gill Mills, Methodist services were held in the Court House and in the Presbyterian Church building.3

Early Educational Facilities The public school system of the Territory of Arizona originated during this period. For, on November 18, I867. Tucson adopted a resolution which created District Number One, Tucson, Pima County - the first free public school in the Territory. The first school opened in 1868 in a rented adobe building in Tucson. The class, consisting of boys only, was taught by Augustus Brichta. Unfortunately, lack of funds doomed this first effort, and the school was closed in six

1. Ibid., p. 10. 2. Ibid., p. 10. 3« The Story of Sixty-five Years of Service. The First Methodist Church, Tucson, 1879-19MJ-, p. 2. 14 months. But the public school would soon stage a come-back, largely due to the efforts of Governor Anson P. K. Safford who was so instrumental to the development of education in Arizona that he became known as the "Father of the Public Schools."1 There is some controversy over the date of the re­ opening of Tucson's public school. John Spring states, of opening day, "I think this day was the second Monday in the month of March, I87I,"2 but many other sources place the opening day on March 4, 1872.3 At any rate, the public school, again for boys only, was restarted "in the old Stein- feld house at the northwest corner of Meyer and McCormick Streets," under teacher John A. Spring. In February of 1873, a free public school for girls was opened in Levin Park by Mrs. L. C. Hughes. By 1875. Tucson's first building constructed espec­ ially for a public school was being erected on Congress Street between Scott Street and Sixth Avenue. It was a

1. Weeks, Stephen B. History of Public School Edu­ cation in Arizona (Washington: Government Printing Office, 1918), p. 130. 2. Spring, John A. "Teaching School in the Early Days" (Arizona Pioneers' Historical Society). 3. Cosulich, op. clt.. p. 304. The Arizona Citizen. March 15, I873, p. 2. 4. Bonlllas, Ignacio. "Reminiscences of Governor Safford" (Arizona Pioneers' Historical Society, 1926). 15 three-room, dirt-floored, adobe building with a wooden ramada covering the front walkway. Money for this school was raised in a variety of ways including band con­ certs, "social parties", and Minstrel shows. Parochial schools also had their beginning at this time. The Sisters of St. Joseph opened a school for girls in Tucson in May of I870 at which music was taught. A typical advertisement read: Music and use of instruments |50.00 Private lessons, per month- ——$10.002 By 1874, a second parochial school was established in Tucson by the Reverend Bishop Salpointe. Tucson also had two private schools In 1870 - "one kept by a professor from the capital of Sonora and the other by a sacristan of the church."^ In one private school, instruction was given in reading, writing and arithmetic during the day, and "toward evening a second relief falls in to study vocal and instrumental music."^

1. Hunter, Audrey. "First School in Tucson Real Com­ munity Project" (The Arizona Dally Star. May 31. 1959. p. 10A.). 2. The Arizona Citizen. October 22, I870, p. 2. 3. Lockwood, Dr. Frank C. "Reminiscences of Ignacio Bonillas" as told to Dr. Lockwood (Arizona Pioneers1 Histori­ cal Society, 1940). 4. The Weekly Arlzonlan. July 10, I869, p. 3. 16 Military Musical Organizations There were few community musical enterprises during this time. With the exception of several small Mexican ensembles which provided music for dances and serenades, the majority of the music heard in Tucson was performed by the visiting Cavalry Bands. On March 19, 1873. Tucson's military post was moved outside the city limits to the site of the present ruins near the Rilllto Hiver. From that time until Fort Lowell was abandoned in 1891. bands of the Fourth, Fifth and Sixth Cavalry and the Eighth Infantry were sta­ tioned there, and Tucsonians had the opportunity to enjoy many musical programs. Conducted by Colonel Frederick William Lewis, the Fifth Cavalry Band consisted of twenty-five pieces - fine German silver and reed instruments; the or­ chestra band of nine pieces - clarinet, flute, cornet, baritone, first and second violins, viola, violoncello, and bass viol. The collection of music for both military and orchestra bands, we are reliably Informed, embraces the works of all the great musical composers and also all the popu­ lar music of the day.l

The first concert presented by the Fifth Cavalry Band in Tucson was completely sold out. In fact, the Band had to schedule a second concert later in the week for the many disappointed people who could not get in to hear the first one. The first program included the following selections:

1. The Arizona Citizen. March 9, 1872, p. 3« 17 Wedding March from Midsummer Night* s Dream Mendelssohn Airs from II Pirata Bellini Cujus Animam from Stabat Mater Rossini Echoes of the Night- Riviere Poet and Peasant Overture —Suppe Airs from Torquato Tasso Donizetti The Duchesse Farmer Selections from Pra Diavolo Auber Grand National Melody Heinicl-e1 The Fifth Cavalry Band was so popular that many townspeople drove to Fort Lowell to hear the daily five P. M. rehearsal. Last Sunday evening the Fifth Cavalry Band gave a splendid entertainment of instrumental music on the parade ground. Hundreds of citizens were on hand to enjoy it, and the common expression was one of satisfaction that such music is now with us, and of thanks to the officers in charge and to the band for affording such an opportunity.2

During the 1870ss, the Fifth Cavalry Orchestra Band gave indoor concerts in Tucson. A typical program was pre­ sented in April of 1873 and featured the following selections: The Zephyr and the Rose Overture Landpainter Leben and Lieben • Faust

1. The Arizona Citizen. March 16, 1872, p. 3. 2. The Arizona Citizen. March 22, 1873, p. 3. Selections from William Tell > Rossini Aria from Emilie- • .-— .—Wethkepel My Fatherland Speler Bandittenstreiche — — —Suppe Narren Lanz- — —Gung'l Selections from Elixir of Love Donizetti Cavatina from Preciosa Von Weber1

Port Lowell became the center of social activities for Tucson, and residents were invited to attend the weekly dances. They were very popular for "the proficiency of the band is noted wherever heard. Its music for dancing is said to be unsurpassed."2 In addition, the Port Lowell bands per­ formed for charitable causes. The Fifth Cavalry Band gave concerts in Tucson in 1874 in order to raise money for a court house floor, and proceeds from a January, 1875» pro­ gram helped in the erection of the public school house.

By October of 1878, Tucson had its first theater, called an Opera House, which was built in Levin Park by Alex Levin. Tucsonians were then treated to musicals presented by touring companies, typical of which was the November, 1879, performance of H. M. S. Pinafore by the English Opera

1. The Arizona Citizen. April 5, 1873, p. 3. 2. The Arizona Citizen. March 9, 1872, p. 3. 19 Company.1 Musical instruments were advertised for sale by local newspapers at Townsend, Mead, and Company,2 and they were repaired by J. M. Berger, "Watchmaker and Jeweler."^ But, although Tucsonlans were interested in and appreciative of music, the establishment of musical activities as a purely community enterprise in Tucson did not come about until the 1880's.

1. "Theater Was Lively in Early Tucson" (The Arizona Daily Star. February 14-, I962, p. V?). 2. A typical advertisement appearing in the Arizona Weekly Star. April 10, I879, p. 2. 3. A typical advertisement appearing in the Arizona Weekly Star. May 3. 1877, p. 2. CHAPTER III

THE LAST OP THE TERRITORIAL DAYS

Tucson: 1881 - 1911 CHAPTER III

THE LAST OP THE TERRITORIAL DAYS

Tucson: 1881 - 1911

Many changes took place in the Arizona Territory in the l880»s. There was a mining boom, for the mines could be worked at a profit with the ore hauled by the new Southern Pacific Railroad. Agricultural resources became important, and new methods of irrigation were under consideration.1 In spite of the fact that the Apaches were still on the warpath, many people came to settle in the new Arizona Territory; in 1880, the federal census reached a high of 4?.,580 for the Territory. In the early 1880's, Tucson still retained the appearance of a typical Mexican village with its one-story adobe buildings, narrow and ungraded streets without side­ walks, and lack of street lights - with the exception of a few oil lamps on business corners. The extreme limits of Tucson in those days were as followsi Stone Avenue on the East, with the excep­ tion of a few residences on East Congress Street. Alameda Street was the North boundary. The ceme­ tery was located just outside the built up portion

1. Paullson, C. "Arizona, The Wonderful Country" (Tucson, Arizona Territory: The Arizona Star. 1881), pp. 5-10. 20 of Tucson. The Southern limit was Kennedy Street, while Main Street was the Western limits.l

But Tucson was soon to be changed. By 1881, tele­ phones were introduced into the city, and Tucson was in the process of constructing a city water works, a gas works which would include street lighting, and a street car system. Real estate was doing well, and realtors looked forward to even greater prosperity with the addition of the new city utilities.2 In 1886, Geronlmo was captured, and shortly after that the Apaches ceased fighting. Even though the Indian wars were ended, Tucson1s population suffered a set-back in I890, but ten years later in 1900 had increased to more than 7,000. Facilities For Worship Tucson's growth was reflected in its churches; new congregations were rapidly organized, with most Protestant denominations using the church building that had been built by the Presbyterians until their own edifices could be com­ pleted. The First Congregational Church, founded in 1881 by nine members under the leadership of Reverend L. B. Tenny, has always considered organ music, congregational singing,

1. Drachman, op. olt.. p. 4. 2. Barter, op. cit.. pp. 21-23. 22 choir and solo music an integral part of its Form of Wor­ ship.1 In I883, the Presbyterian Church building was sold to the Congregational Church, and the Presbyterians met with the Congregationalists until 1902 when Trinity Presbyterian Church was founded. The Presbyterians then held their ser­ vices in the "Odd Fellows Hall over what was then Kltt's Store at Congress and Belknap Streets."2 By 1909. the new Trinity Presbyterian Church building at Scott and Ochoa Streets was completed. The First Methodist Episcopal Church building, com­ pleted in 1881, was located on the northeast corner of North Stone Avenue and East Pennington Street. Music for their services was furnished by Josie Schreiber. By 1906, the growing congregation of the First Methodist Episcopal Church necessitated its relocation in a larger, new building on Sixth Avenue near Broadway.3 The First Baptist Church, founded in 1881 by Dr. Uriah Gregory, met in various places including the Presby­ terian Church building, the reading room of the Southern Pacific Railroad depot, a rented room in the courthouse, and

1. Riesen, E. R., comp. A History of the First Con­ gregational Church of Tucson on the Seventy-fifth Anniversary of its Founding' Tucson, 1956, pp. 8-14. 2. McDougall, op. olt., p. 17. 3. The Story of Sisty-flve Years of Service. The First Methodist Church, Tucson, 1879-1944', pp. 2-4. several private homesi In 1882, the Baptist Church building was completed at the northwest corner of Stone Avenue and Council Street. This building was considered unsafe for occupancy and was razed in 1906. Baptist services were then held in a tenthouse until a new brick building was completed in 1907, at the same location.1 Although Episcopal services were held in Tucson prior to 1882, that was the year that Grace Mission became a station, and its twenty-one members held regular meetings in the Probate Court room of the new Court House. By I893, Grace Episcopal Church had completed and dedicated its edi­ fice on Stone Avenue, and in 1909 it became a parish.2 Catholic Church services were held in San Agustin Church through the 18808s; new additions were made to the building including its towers which were completed in 1881. But a larger building was needed, and, in I896, the corner­ stone was laid for the new Cathedral of Saint Augustine^ in a ceremony that included music by Tucson's Philharmonic Band, conducted by Frederick Honstadt. The old church

1. A Seventy-fifth Anniversary History of the First Baptist Church, 1881-1956 (Tucson: First Baptist Church), pp. 3-10. 2. Smith, Myra Kellam "History of the Episcopal Church, Tucson, Arizona" (The Arizona Church Record, October, 1929, PP. 4-5.). 3. Most sources employ the spelling "San Agustin" for the old church and "Saint Augustine" for the new Cathe­ dral. Sees Cosulich, op. olt.. p. 26l. 24 building was made into a hotel and later converted into the town's musical center»•*• The first Jewish congregation to be organized in the Territory of Arizona was Tucson's Temple Emanu-El. The Temple building was finished in 1910 on South Stone Avenue.2

The Establishment of the University of Arizona In I885t the University of Arizona was established by an Act of the Territorial Legislature. The Legislature awarded the University to the city of Tucson, but Tuosonians were unappreciative of this decision for no one really wanted the University. At that time, the main Arizona cities were all competing for what they considered the biggest prizes: the return of the Territorial Capital or the Asylum for the Insane.3 But, by 1886, a few prominent Tucsonians were far-sighted enough to see that the required forty acres of land was donated for the University in time to retain its accompanying $25,000 appropriation. The original Act establishing the University pro­ vided for five departments: 1) The Department of Science, Literature and the Arts 2) The Department of Theory and Practice, and Elemen­ tary Instruction

1. St. Augustine's (1964), pp. 27-29; 56. 2. Cross, Jack L., Elizabeth H. Shaw, and Kathleen Scheifele, ed. Arizona, Its People and Resources (Tucson: The University of Arizona Press, I960), p. 344. 3. Martin, Douglas D. The Lamp in the Desert (Tuc­ son: The University of Arizona Press, I960), pp. 22-24. 25 3) The Department of Agriculture 4) The Normal Department 5) The Department of Mineralogy and the School of Mines1 Lack of funds made it impossible to start all five departments at once, so it was decided to begin with the Departments of Agriculture and Mining since these were the two main Territorial industries. It was felt that the Normal School could wait as one had already been established in the Territory at Tempe; the Department of Science, Literature and the Arts and the Department of Theory and Practice, and Elementary Instruction would be founded as soon as funds became available.2 By 1891, when The University was ready to open its doors to students, it was forced to establish a third de­ partment: the Preparatory Department. The Preparatory Department was designed to take over high school work, for there were no high schools as such and few high school courses in the Arizona Territory. The Preparatory Depart­ ment was the largest of the three departments with twenty-two students; The University also enrolled three special students and six freshmen for its first school year, from 1891-1892.3 Four Tucsonians served on the Board of Regents that year: Merrill P. Freeman, President; John Mo Ormsby,

1. The University of Arizona Eeoord (Phoenix: Phoenix Herald Print, 1892), p. 8. 2. Ibid., pp. 8-9. 3. Ibid., p. 5. 26 Secretary; Sellm M. Franklin, Treasurer; and John Gardiner. The University did not have a President u.itil 1893 when Theodore Bryant Comst©ck was appointed to that post. Music instruction was first offered in the Univer­ sity during its second school year from I892-I893. A "School of Music" was listed in its catalog with W. M. Foss, a New England Conservatory of Music graduate, appointed Instructor of Music. The reader will find a complete list of all persons appointed to the University Music Faculty in Appendix A. Fees were not charged for "general instruc­ tion as may be required for the ordinary assembly exercises to all students."2 However, those students who wished special Instruction in vocal or instrumental music were subject to the following rates: Two lessons per week, Term of ten weeks - Voice Culture and Development —$20.00 Sight Reading and Teohnic $ 5.00 Class and Chorus Study —— $ 5»00 Fees payable to the President, Invariably One Term in Advance.3

For those applying for instruction in piano or organ, the schedule reads

1. The University of Arizona Annual Register, 1892- 93., P. 86. 2. Ibid., p. 87. 3. Ibid., p. 87. Per Term of Ten Weeks - One Lesson Per Week— — ———112.00 Two Lessons Per Week— ~—-J20.00 Three Lessons Per Week- '$27.00x Unfortunately, lack of funds prevented the School of Music from becoming firmly established. The work in music, auspiciously begun under the di­ rection of Professor Poss last year, was continued with very satisfactory results until the close of the scholastic year. Our inability to continue this most beneficial training is cause for sincere regret, but again we have an instance of a need which only Territorial appropriations can supply. The Congressional grants cannot be applied to the teaching of music."

In 1895, the University of Arizona graduated its first-class of three students: Charles 00 Rouse, Mercedes A. Shibell, and Mary F. Walker. There was no graduating class in I896, but a Commencement Exercise was held for the students completing the preparatory course. Clara Pish, George Hilzinger, and Mark Walker received their diplomas from the University in 1897 at a Commencement Exercise featuring music by the Mandolin and Guitar Club. Musical selections for that occasion Included a Processional, "Boys' Brigade," and a Recessional, "Jolly Students." Informal musical groups were organized at the University and their endeavors were favorably received.

1. Ibid., p. 88. 2. Annual Report of the Board of Regents of the University of Arizona (1894). p. 16. The musical given by the Glee Club on the third of this month was an enjoyable affair. A pleas­ ing program was presented, all pieces being executed in a worthy manner. Great credit is due Mrso Hall for her care in the musical instruc­ tion of the members of this club.1

In 1902, a sixteen-member brass band, called the University of Arizona Cadet Band, was organized. This Band was directed by Prank C. Kelton and contained some former members of the local Mariner's Juvenile Band. Since the Band was under the auspices of the Military Department, it furnished music for military ceremonies and drills. Fine Arts courses were added to the University curriculum in 1903, but music did not oome into its own un­ til September of 1906 when the Department of Music was established under C. G„ Hoover, Instructor in Music. This new Department offered a general chorus, two glee clubs, and an orchestra in addition to private instruction by Mr. Hoover in both vocal and instrumental music. Vocal music was stressed, however, for the Department had the "primary object of furnishing instruction in vocal music, especially in the form of choruses and glee clubs." Beginning with the I907-I908 school year, the University first allowed academic credit for work in music:

1. The Sage-Green and Silver, March, I899, p. 2.

2. The University of Arizona Annual Registerf 1906- 01, P. 75. Elementary Chorus Work « 1 Unit Advanced Chorus Work— 2 Units Glee Clubs and Orchestra 1 Unit1

At a musical entertainment given in Herring Hall on March 8, 1907, both instrumental and vocal selections were presented by the orchestra, quartet, and glee clubs as well as piano, violin, and vocal solos. "It was a pronounced success, financially and otherwise...All were so good, it would be unfair to mention any particular one." By November of 1907, Mr. Hoover had organized a band consisting of a piccolo, an E flat clarinet, three B flat clarinets, four cornets, a meliphonia, three altos, two tenor trombones, a slide trombone, a baritone, a B flat bass, a tuba, and drums. And in April, 1908, the orchestra, which was composed of three violins, a flute, a clarinet, two cornets, a trombone, a saxophone, and a piano, was suffi­ ciently advanced to present a program which was considered "the best amateur musical performance that had been given in Tucson."3 The program contained such typical selections as: Overture, Festvorspell- ——-Zimmerman Melody of Love—• ——Englemann

1. The University of Arizona Annual Register. 1907- S&. pp. 83-85": 2. The University of Arizona Monthly. March, 1907. pp. 288-89. 3. The University of Arizona Monthly. April, 1908, pp. *J4-45. Cavalleria Rusticana— • Mascagni Serena ta Moskzawski Fantasia from II Trovatore Verdi1 On May 16, 1908, the University of Arizona pre­ sented a program which included vocal selections by Mrs. W. J. Kirkpatrick, Jennie Simpson, and E„ J. Whisler, accompanied by Mrs. Sam Heineman and Mrs. A. E. Douglass, as well as piano selections by Mrs. Douglass.

The Beginning of Musical Instruction in Tucson's Schools In 1881 Tucson's one Public School was located on Congress Street near the Railroad Depot. About two hun­ dred thirty pupils, boys and girls, were enrolled in its eight grades - four grammar and four primary. This school was headed by George C. Hall who was Principal and City Superintendent and teacher of the first end second grammar grades. Tucson's rapid growth in the 1880's was reflected in the enrollment of its public school. At the beginning of the 1881-1882 school year, there were two hundred eighty students in the school; this number increased to three hundred fifty by December of 1882. In 1882, Principal Hall wrote a course of study for the school and began dividing the school into separate grades. That meant that boys and

1. Ibid., pp. 44-^5. 31 girls were mixed in the same classroom - an innovation that was viewed with alarm by many parents. Music was not a required part of the public school curriculum but was strongly advocated. In 1881, the Terri­ torial Board of Education stated: While no provision is made for music in the course of study, it is nevertheless strongly recommended that all teachers who- understand music sufficiently, shall give some time to systematic drill in the rudiments of singing. Teachers who can lead their pupils in rote singing, should teach two or three carefully selected songs each term. Do not permit boisterous singing.2

Principal Hall first introduced music into the Tucson public school; the first songs studied in the music class were "The Swanee River" and "Fairy, Fairy Moonlight."-' Later, the School Board employed a special teacher for music, Jessie Medberry, in addition to the four regular teachers and a special teacher of Spanish. Although Tucson School District Number One Records prior to 188*1- were lost in a fire, Weeks^- names 1881 as the date Miss Medberry was first

1. Carter, Ida. "Rise of the Public Schools of Tucson, 1867-1936" (Unpublished Master's Thesis: The University of Arizona, 1937), p. 21. 2. Sherman, M. H. Course of Study for the Public Schools of the Territory of Arizona (Prescott" 1881), p. 16. 3. Jones, Gladys V, Gibbs. "Anne E. Rogers, Pioneer Educator of Tucson" (Unpublished Master's Thesis: The University of Arizona, 1941), p. 41. 4. Weeks, Stephen B. History of Public School Education in Arizona (Washington: Government Printing Office, 1918), p. 44. employed in the Tucson public school as a special teacher of music. The reader will find a listing of all persons em­ ployed to teach music in Tucson School District Number One in Appendix D. Existing Minutes of School Board Meetings show that Miss Medberry was still teaching in District One in 1884. Unfortunately, by 1885, the Board rules against this added instruction: On motion the applications of C. H. Tully and Miss Jessie Medberry were rejected for the reason that in the opinion of this Board the teaching of Span­ ish and Music in the Public Schools is not considered necessary.-^

In I883, Tucson issued its first school bonds - $40,000 in short term bonds - which were used to erect a twelve-room modern brick building on Military Plaza, at the site of the present Safford School. Tucson's first high school classes were organized during the 1886-1887 school year, and just one year later there were twenty-one pupils enrolled. However, there was no graduating class until I893. Tucson School District Number One again included music instruction in its curriculum in I89O, although it was not taught by a music specialist. The School Board employed "Miss Nellie Pomeroy at a salary of $70.00 per month, and for special instruction in music $10.00 extra."2 By the

1. Minutes of School Board Meetings, Tucson School District Number One Record, Boole I, p. 19. 2» Ibid., p. 133. 1896-1897 school year, music was under the direction of Mrs. A, M. Dyer, Sixth Grade and Teacher of Vocal Music, and Ethel McCormick, Second Grade and Teacher of Vocal Music. At that time, a written course of study in music followed. Course of Study in Music for the Tucson Public Schools First Year or Grade Sing the scale written in different positions but with no explanation of changes of key. Sing the scale in order and the first three tones of the scale in any order from hand signs. Most of the time should be spent in singing appropriate rote songs. Second Year or Grade Chart A, Natural Music Series Simple dictation exercises. The first five tones of the scale to be sung in any order from hand signs. The scale to be sung from different posi­ tions on the staff. Give breathing exercises once each week. Third Year or Grade Finish Chart B, Natural Series. Music primer in hands of pupils. Drill on all tones of the scale from hand signs. Learn a number of rote songs, attention being paid to patriotic songs such as "America" and "Red, White and Blue." Fourth Year or Grade Music Reader Number I, Natural Series. One lesson of fifteen minutes, four days each week. Patriotic songs as "America," "Red, White and Blue", and "Star Spangled Banner", and "Home, Sweet Home." Fifth Year or Grade Music Reader Number II, Natural Series. One lesson of fifteen minutes four days each week. Patriotic songs, see fourth grade. Sixth Grade or Year Music Reader Number III, Natural Series. One lesson of fifteen minutes four days each week. Repeat patriotic songs of lower grades and learn "Hall Columbia", "Men of Harlech", "March of the Men of Columbia", and "Flag of Columbia." Also selected songs from Songs of the Nation and Riverside Song Book, Seventh Grade or Year Music Reader Number IV, Natural Series. One lesson of fifteen minutes four days each week. Learn Centennial Song Number 3 - the Patriot's Song, and review patriotic songs of the lower grades. Select songs from Songs of the Nation and Riverside Song Book. Eighth Year or Grade For the present the same as Grade Seven.

But in the public schools, as at the University of Arizona, music does not appear to have been a consistent offering until 1902. At that time, the School Board recom­ mended employing Grace Glidden "For Music and Drawing."2 In 1893, Tucson's high school graduated its first senior class, but this high school work was suspended in I896 as students preferred attending the preparatory depart­ ment of the University of Arizona. By 1906, as the University began to eliminate its preparatory work, the need for a high school was again felt in Tucson. High school work was reestablished; $50,000 in high school bonds were issued, in 1907; and the high school was built at the present Roskruge School location. The first mention of a

1. Report of the Principal for the Year 1896-1897 (Tucson, 1897). PP. 12-23. 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book I, p. 399. piano in a Tucson school was found at this time* The chief feature of the high school building is...the fine Assembly Hall, with a seating capa­ city of more than eight hundred. With the assistance of the Saturday Morning Musical Club, a parlor grand Enabe piano was purchased last term for the Assembly Room.1

Miss Harriet Vail was appointed Supervisor of Music in 1907; she was replaced in 1909 by Ruby Russell who was assisted by Helen Ee Porter, Instruction in music and draw­ ing was given throughout the grades and in the high school. Although certification was not required for special teachers of music and drawing, they and the fifty-three other teachers in Tucson School District Number One were subject to the following requirements: Only graduates from colleges of unquestion­ able standing, who have had successful experience in teaching their chosen subjects, are considered eligible to positions in the high school. In the appointment of grade teachers, those who are graduates of normal schools, or colleges, have been given preference. Applicants who have had no successful experience in the actual work of teaching are not considered eligible, although their academic training may have been good.2

By 1910, the Territorial Board of Education out­ lined a complete course of study in music through the eighth grade. A portion of this reads:

1. Public Schools of Tucson. Arizona. 1909-10. pp. 3-5. 2. Ibid., p. 5. Course of Study General Suggestions Make the music lesson alive and full of interest. See that the air in the rooms is good and that the pupils are oomfortable and happy. A happy quality of tone comes from a happy heart. Don't scold. Make the music a genuine pleasure. Vocal Drill Insist upon soft singing. For light, flexible tone sing descending scale with la, ba, boo, coo, etc., from different pitches. Give exercises with arpeggios and octaves in the same manner. Such vocal drill should be sung from the upper tones to the lower ones. In this way the child produces all his tones correctly. Expression In all grades GET expression in song singing. Good enunciation, and the proper observance of accent helps; but true expression comes from the heart. Arouse the enthusiasm of your pupils for the work in hand. Do not tolerate music; exalt it. Sing standing frequently, especially when singing patriotic songs. Note Singing In note work, study the song thoroughly before attempting to teach it. Interest yourself in the words and music to such an extent that your inter­ est shows in your voice, face, and manner. Kindle your own enthusiasm if you expect fire from your pupils. Rote Singing First, sing the song as a whole to the children as you would like them to sing it. Next, teach the song phrase by phrase, adding new phrases when the class is able to sing the preceding phrases alone. Teaching the words of a song first usually detracts from the interest, except whereas with Mexioan children the words form the chief difficulty. Sight Singing In this work, the teacher should not go unpre­ pared to her class. She should look through the lesson for possible difficulties in pitch and rhythm and prepare to meet them, with special drills if necessary, making it possible for the pupils to sing their exercises at sight. Interval Drilling Supplementary interval drills from the black­ board or chart, keeping pace with reading lessons, should be given in all grades. Drill from the staff from scales, or series of notes. Individual Singing Individual singing forms part of the regular work in the first four grades. No pupil should be neglected. Beginning with the fifth grade the singing should be voluntary, though all pupils should be urged to take part. During individual singing exercises, the pupils of the room should give attention to the notes being sung - not to the pupil singing. Syllables Syllables should be used as a means, not as an end. Dispense with their use when possible, espec­ ially in easy music, asking the pupils to think the syllables and sing with la, loo, or the humming voice. This non-use of the syllables should accom­ pany the work of all grades, the aim being to enable the pupils to sing words to the music at sight. Written Work At least five minutes every day in the first four grades and one period or its equivalent a week in the grammar grades should be devoted to written work. The difficulty of this work should keep pace with the musical progress of the children. Part Singing In the modern music books, part singing Is approached mainly through Hounds and Canons. Until the sixth year, the music has no real alto part, hence the class may be divided as they sit, half and half, singing alternately the upper and lower parts.1

Hoped-for accomplishments for each year were out­ lined completely:

1. Course of Study for the Common Schools of Arizona (Territorial Board of Education, 1910), pp. 85-92. First Year Rote songs, scale work* interval work, ear training, rhythm, monotone work, scale singing, symbols, written work, vocal drill. Second Year Review and enlargement of all technical first year work, new symbols, key and time signatures, rests, sight-reading, interval drill, ear train­ ing, rote songs, vocal drill. Third Year Review and enlarge on technical work of second year, scale structure, written work, value of dot and divided beat, chromatic work, two-part work, sight reading, notes and corresponding rests, rote songs, vocal drills. Fourth Year Review and enlargement on the technical work of the third year, scale structure, studies in triplets, modulation, chromatics. Fifth Year Review of the nine major scales, chromatic work, rhythmical forms, modulation. Sixth Year Review fifth year work in major scales and rhythmical forms, minor modes, sight reading, part singing, written work, vocal drill, modula­ tion. Seventh Year Review of major keys, all different forms of rhythm, written work, oral dictation, chromatic studies, relative minor keys, two and three part singing. Eighth Year A review of all technical work taught in pre­ vious years. This review should be through songs showing the application of such technical points. Much time should be devoted to singing good music; two, three and four part songs with more applica­ tion of what has been taught and less theory than before. Let the children sing with piano accom­ paniment when possible.^

During the 1880's, settlers north of Tucson found it increasingly difficult to transport their children into the city to attend school. In I889, Rillito School District Number 22 was formed as an elementary district, and a school was built at Rogers and Romero Roads. This school district operated continuously,from I889 on, although its name was changed to Rillito School District Number Eight in 1900. This was not a fast-growing district; it still had only one school in 1912 and no formal music instruction.2

A third elementary school district was established in 1893: the Amphitheater School District. The first school in this district was located at North First Avenue and Prince Road. It, too, had not grown beyond one school by 1912 and had no specialized music teachers.-^ Music has always been considered very much a part of the curriculum of St. Joseph's Academy. Its music depart­ ment, in 1881, consisted of thirty students, under the direction of Sister Entichiana. The Academy had four pianos

1. Ibid., pp. 85-92. 2. Flowing Wells School District. Written Question­ naire, I967. 3. Amphitheater School District. Written Question­ naire, 1967. and a church organ available for music instruction. Near the turn of the century, St. Joseph4s Female Academy offered "music on the piano and guitar"1 with a musical performance presented at the end of the school year.

First Community Musical Enterprises As we have seen, music was always of great importance to Tucsonians, and the 1880's saw the beginning of a real variety of musical activities in the city. Frederick Ronstadt, who moved to Tucson in 1882 at the age of fourteen, was very active in Tucson's musical growth. He spent many evenings playing flute in an ensemble consisting of Anton V. Grossetta, a clarinetist, Mrs. Grossetta, and their son Warren, a violinist. Mr. Ronstadt was an active member of the Railroad Band which was organized by Mr. Grossetta. The Railroad Band was composed of Southern Pacific machinists and rehearsed at the Southern Pacific Railroad shop in the evenings. It "lasted for two or three years and furnished music for many parties, entertainments, and political cam­ paigns and serenades." During the 1880"s and 1890's, Tucson had two or three small orchestras made up of professional players who

1. "A Souvenir of Pima County" (Tucson Dally Citi­ zen, January 1, 1895), p. 1?. 2. Ronstadt, Frederick. "Music in Tucson - 1880's" (Arizona Pioneers* Historical Society, 1943), p. 2. made a living playing for dances, picnics, parties, and serenades. Their repertoire included Strauss waltzes, Spanish and Mexican mazurkas, polkas, quadrilles, and selec­ tions from popular musical comedies and operettas.1 "A Mexican orchestra discoursed wonderful music at midnight and it was not unusual to be awakened from your dreams to listen to a wonderful serenade."2 One of Tucson's favorite celebrations was the annual Feast of San Agustin which was held in back of Levin's Park and lasted about two weeks toward the end of August. "In the middle of the square was a dirt floored dance pavilion and a band known as the 'Rawhide Band' played for the dan­ cers. The band consisted of three pieces - a fiddle, a bass fiddle, and a bass drum. They played only one piece and they played this over and over every night for the two weeks."3 Many other aspects of the Feast sounded more enjoyable in­ cluding programs by the Military Band from Fort Lowell which "gave concerts once or twice a week if not oftener. This was one feature of the Fiesta everyone enjoyed."^

1. Ibid., p. 2. 2. Power, Veronica. "Some Phases of Tucson, 1880- 81" (Special Collections, The University of Arizona Library, 1925). 3. Drachman, op. cit.. p. 18. k. Power, op. cit. The Tucson Philharmonic Club In 1889, Frederick Ronstadt organized the "Tucson Philharmonic Club" with members Rufino Velez, Tomas A. Legarra, P, J. Willaescusa, Lucas Co Estrella, Richard Ronstadt, M. G. Samaniego, Santos G. Arcs, Ignacio E. Gonzales, Angel Romo, Enrique Levin, Miguel Barba, Miguel To Carrillo, F. Aguilar, and Manuel Orduno.1 The members of this group paid dues and drew up specific rules and regula­ tions: Regulations of the Tucson Philharmonic Club For the proper regulation of our association, and conservation of order in its procedure, we have agreed upon the initiation and observance of the following regulations: I. To attend practice regularly, and when for some valid reason one cannot attend, to give proper no­ tice in good time, without which the member shall be in danger of losing his rights. II. Payment of dues shall be made punctually on the day on which it is decided to fix this opera­ tion, and the member who through negligence or some accident of equal naturalness delays his payments more than fifteen days after their due date shall be expelled from the association. III. When a member for whatsoever reason drops membership, he shall have no rights to reclaim any furniture or property belonging to the association. IV. Whatsoever proposition may be made at regular or special meetings shall be subject to vote. V. Members are strictly prohibited from bringing visitors to the studio on days of obligatory

1. Archives of the Arizona Pioneers' Historical Society. practice, and in such a case they shall be obliged to persuade them to leave at the hour practice is to begin. VI. Any member whomsoever may be impeached and expelled from the association for bad conduct even though he has not infringed the foregoing rules. VII. Good conduct in language and manner is an Indispensable prerequisite which every member ought to observe faithfully for the decorum and good name of this club.-*-

Only a few members of the Tucson Philharmonic Club knew anything about music, so Mr. Ronstadt had to teach them to play the violin, viola, cello, bass, trombone, and cornet. He himself learned to play the clarinet, and his brother, Richard, played the flute. Mr. Ronstadt made arrangements of a few well-known selections with simplified accompaniments for the beginners. Some music lovers who knew of our efforts made a suggestion to us about raising a fund to buy band instruments if we would play gratis at the City Park onee a week. A band stand was built in the center of the City Park and in a short time the weekly concerts started. We had to use small kerosene lamps for lights until we could prevail on the City Council to give us electricity. The park concerts proved very popular. Sometimes we would also play on Sunday afternoons.2

This Philharmonic Band remained together several years with new members added as old ones left. It was

1. Archives of the Arizona Pioneers1 Historical Society. 2. Ronstadt, op. oit.. pp. 3-ty. completely supported by the members1 dues so that most public concerts were free. But, on one occasion, the band gave a concert to raise money to support its activities. The event was such a financial success that the band was able to go on a month's tour of Southern California. A picture of the band at the Los Angeles stop of their con­ cert tour is shown in figure 1. The Railroad gave us one-half fares in exchange for one concert at Santa Monica and another one at Santa Barbara. Other concerts were given at Los Angeles and Hedondo. One of the Los Angeles con­ certs was given gratis for the benefit of the Los Angeles Spanish American Club at the Mechanics Pavilion. They charged one dollar admission and had a full housed

In I898, during the Spanish-American War, the entire Band enlisted in the Arizona National Guard. Mr. Eonstadt was appointed Band Master with the rank of Sergeant Major. But as activities in the Guard slowed down with the end of the War, and because his carriage-making business demanded all of his attention, Mr. Ronstadt resigned.

Mariner's Juvenile Groups During the late I890«s, Mr. B. M. Mariner arrived in Tucson from Lisbon, Maine, where he had organized the Lisbon Band. He immediately set about starting a children's or­ chestra, known as the Mariner's Juvenile Orchestra, and a

!• Ibid., pp. 4-5. Pig. 1. The Tucson Philharmonic Club** at Los Angeles, August 15, I896

Back Row: Luis Rodriguez, Carillo, Dick Honstadt, , Pete Grijalva, , Santos Aros. Third Row: , Jose Dorreros, , , Carlos Jacome, Barrero, , . Second Row: Domingo Doraso, , Fred Ronstadt, , Braulio Elias. First Row: Tomas Legarra, Genaro Manzo

^Photograph Courtesy of the Arizona Pioneers' His­ torical Society band, the Mariner's Juvenile Band. These groups became extremely popular in Tucson. The orchestra, pictured in figure 2, frequently appeared between acts at the Tucson Opera House. Typical of such programs was the one presented there on January 12 and 13, 1899, at which the orchestra played the following selections:^- William Tell Overture ——Eossini In Old Madrid Mlssler II Trovatore —— Verdi Over the Waves—— -Rosas Trumpet Polka • Rollinson

Reviewers were always most enthusiastic about this group. One newspaper account was as follows: This orchestra is something that cannot at the present time be duplicated on either the Pacific or Atlantic coasts. There are several children's orchestras, but not of the same instrumentation as this one. This orchestra's instrumentation is first and second violins, and the second violin is something that cannot be found in one orchestra in twenty throughout the country...In this orchestra there are first and.second violins, first and second clarinets, cornet, trombone, and bass.^ The same clipping named three outstanding young artists who were members of the orchestra: Lizzie Dickenson, cornet player; Warren Grossetta, violinist; and Manuel Montijo, double bass.

1. A clipping found in Mariner's Juvenile Band Scrapbook, Arizona Pioneers' Historical Soeiety. 2. Ibid. Pig. 2. Mariner's Juvenile Orchestra, c. I897**

Seated: Mary Roletti, , Warren A. Grossetta, Estelle Goldtree Hatoher, Mr. B, M, Mariner Standing: Leslie Hardy, Lulu Bartlett, Morris Holliday, George Martin, Pearl Huff, Arthur Ferrin, Manuel Montijo, , Charles Boletti, Grace Holliday

^Photograph Courtesy of the Arizona Pioneers' His­ torical Society 48 Mariner's Juvenile Band performed at the City Park during the summer and marched in parades. It also drew favorable notices. Tucson not only leads the southwest, but the United States and even the world in the possession of Mariner's Juvenile Band. For where can any city be found that can say it has a band, organized only eight weeks, that can play as this little band did on Decoration Day?-*-

Although neither the Tucson Philharmonic Band nor Mariner's Juvenile groups proved to be lasting organizations, still many former members of these groups were induced to either found or play in other bands and orchestras. In 1901, a new Tucson Concert Band was started which enrolled many members of the old Philharmonic Band. Frederick

Eonstadt even served as assistant to its Director, C. J0 Stollard. Officers included L. Amdril, President; M. Ortez, Vice-President; M. G. Ruez, Secretary; A. Verdugo, Treasurer; and L. Franco, Librarian. Tucsonians remained engrossed in their musical activi­ ties at the turn of the century. As Mr. Ronstadt remembers, "Tucson has always been quite a musical town. Since I came here I had the pleasure of knowing and playing with many

1. Ibid. 2. "Tucson Band New Organization" (Arizona Daily Citizen. August 1, 1901, p. 2.). 49 nice people who devoted a lot of their time to music for the love of it."1 By 1907, a Music Festival was held with the people of Tucson invited to join the Tucson Festival Association. The Festival chorus was scheduled to sing Rossini's Stabat Mater with the Chicago Symphony Orches­ tra, conducted by Alexander Von Felitz. Mrs. Zimmerman, Soprano, Miss DeSellem, Alto, Mr. Towne, Tenor, and Mr. Schussler, Bass, made up the solo quartet.2

The Saturday Morning Musical Club Mrs. Madeline Heineman, later to be Mrs. Harry Berger, who arrived in Tucson in 1898, was to become one of Tucson's most active musical organizers. Mrs. Heineman, along with Mrs. W. J. Kirkpatrick, was responsible for the formation of the Saturday Morning Musical Club in 1907. The local newspaper carried the following account concern­ ing the purpose of the Club: It is the intention of the members to make this society one of benefit to the music lovers of the city. At a meeting held at the home of Mrs. Heineman last week plans were discussed as to the course of study to be pursued during the winter. It was decided to study the selections

1. Ronstadt, op. cit., p. 6.

2. "Music Festival Is NOT* Assured" (The Arizona Daily Star. February 28, 190?, p. 1.). of the great masters, both instrumental and vocal, and to include the reading of biographies and musi­ cal history.1

The Saturday Morning Musical Club was so named be­ cause all of its programs were given on Saturday morning until the group became so large that it had to meet in an auditorium in the evening. Mrs. Heineman was appointed the Club's third Presi­ dent, serving from 1909 to 1912. Under her management the Club by-laws were drawn up. By-laws of the Saturday Morning Musical Club 1) To develop the musical talent of its members. 2) To stimulate musical interest in Tucson and to promote social intercourse in the club.2

As stated by Frederick Ronstadt, "Tucson certainly owes a debt of gratitude to Mrs. Berger for the great work that she carried on for many years in this community in the interest of better music..."3 p0r the Saturday Morning Musical Club would prove to be the only one of these early musical organizations to remain in continuous existence

1. The Tucson Citizen, November 16, 1907, p. 2. 2. Lutrell, Estelle. "History of the Saturday Morning Musical Club" (Souvenir of the Dedication: Temple of Music and Art. Tucson: P. HD Keddington Co., 1927, p. 8.) 3. Honstadt, op. oit., p. 9. throughout the years and, during the first years of Arizona's Statehood, would provide residents of Tucson with the majority of the music heard in the city. CHAPTER IV

ARIZONA, THE NEWEST STAR

Tucson: 1912 - 1924 CHAPTER IV

ARIZONA, THE NEWEST STAR.

Tucson: 1912 - 192*f

We pray Thee, Oh Lord, that this body of men, the representatives of the people of Arizona, may frame such a constitution as will meet the approv­ al of every citizen and that it may grant unto Arizona statehood and a place among the grand galaxy of states of these United States, and that Arizona may be the brightest star in the Union.I

With these words by its chaplain, the Arizona Con­ stitutional Convention was opened in Phoenix in October of 1910. This Convention was to become another milestone in Arizona's long struggle toward achieving statehood - a struggle which was begun in 18?2 and was culminated with the admission of Arizona to the Union on February Ik, 1912. Tucson was a relatively small city in 1912, encom­ passing approximately ten square miles with a population of 13,000 variously-employed people: "railroad workers, mer­ chants, miners, university professors and students, clergy­ men, doctors and barkeeps." Tucsonians were all very busy with their many activities: trips to San Xavier

1. Reprinted in the Tucson Dally Citizen. February Ik, 1962, p. 9. 2. Ibid., p. 10.

52 S3 Mission and Sabino Canyon, plays and musicals at the Tucson Opera House, and dances, vaudeville, movies, baseball, and skating at the new roller skating rink at popular Elysian Grove1 which was located on South Main Street at the present Carillo School site. In addition, there were all sorts of clubs available: Los Amigos, Royal Arch Masons, Knights Templar, Eagles, Moose, Saturday Morning Musical Club, Club Concordia, Pima County Medical Association, Knights of Pythias, Pima County Bar Association, Wrangler's Club, Loyal Temperance Legion, Mandolin Club,2 to name just a few. The El Paso and Southwestern Railroad reached Tucson in 1912, giving Tucson two railroads, "a customs smelter, a good copper market, agricultural development and excellent prospects for many other good things."3 Tucson could boast of a thirty-six man fire department, thirty of which were volunteers, a police chief, two sergeants and six patrolmen, thirteen churches, eight hotels, seven parks, three munici­ pal playgrounds, four hospitals, a Carnegie library, four miles of street car tracks, two Indian schools, two news­ papers, a telegraph, and an up-to-date telephone system with former ten-party lines reduced to six-party lines. In addition, Tucson had one hundred miles of streets, largely

1. Ibid., p. 21. 2. Ibid., p. 10. 3. The Tucson Citizen. January 2, 1912, p. 4. 54 unpaved, for its two hundred seventy-five automobiles. Members of the Tucson Automobile Club and Good Roads Asso­ ciation traveled to Nogales in a caravan in a record four and one half hours.1 Rules drawn up for this caravan read: "No car will be allowed to pass another unless the car ahead has broken down or otherwise come to a halt. This is to prevent racing and unnecessary raising of dust."2

Church membership increased with Tucson's growth, and most church buildings became Inadequate for the enlarg­ ing congregations. By 1914, Grace Episcopal Church sold its old property and erected a new building in a residential area at North Stone and University Avenues.^ The fifty-nine members of the First Congregational Church built their new edifice in 1916 at its present loca­ tion on North Second Avenue. At the dedication, "John McBride played the organ, the quartet were Mesdames J. Metzger and A. V. Grossetta and Messrs. E« K. Miller and H. H. Foster."^ By 1920, Trinity Presbyterian Church had completely outgrown its building at Scott and Ochoa Streets and was

1. Tucson Daily Citizen, January 2, 1912, p. 10. 2. Ibid., p. 10. 3. Smith, op. cit.. p. 5» k. Riesen, op. cit., p. 19. 55 forced to hold services in Eeid*s Opera House.^ Martina A. Powell was appointed organist for Trinity Church during its residence at the Opera House and held that position until her death in 1956.2

Musical Activities at The University of Arizona At the beginning of Arizona's Statehood, in 1912, the University of Arizona campus encompassed fifty-five acres and contained seventeen buildings, a faculty of thirty-seven, and three hundred and one students.3 The Preparatory Depart­ ment was scheduled for a gradual reduction, with its eventual discontinuation planned. Music remained an on and off course of study but was greeted enthusiastically each time it was resumed. "At last, after several struggles which have amounted to practically nothing, the University has a band of which it may well be proud."-5 The 1913 University Year­ book, El Sahuaro, was pleased to report that "both the orchestra and the band have become very popular with the students and have aided materially in making assemblies more

1. McDougall, op. cit.. p. 18. 2. Ibid., p. 43. 3. Martin, op. cit., p. 278. *f. "The President's Report to the Board of Regents for the Year 1911" (The University of Arizona Record, v. V, no. 5' Tucson: The University of Arizona, 1912), p. 5» 5. University Life. February 19, 1913, p. 2. attractive.,,J- The band, consisting of eighteen members, was directed by P. C. Kelton, and the ten-member orchestra by Charles F. Willis, who also taught cornet. But this attempt was also doomed; the band was discontinued in April, and all work in music was stopped by the 1912-1913 school year.2 Although the University did not offer courses in music, it was encouraged to sponsor musical events. There would be no more useful form of extension work than the patronage of good music by the Uni­ versity; the presentation of musical numbers of high character in connection with extension lectures would add to public interest in our extension sys­ tem. 3 University students formed musical groups on their own, also; in 1914, four men started a Quartette which was directed by coach C. E. Stewart. They made successful appearances on many programs with such typical selections as "Where the Corn is Waving" and "A Song of College Days", both of which were presented by the Quartette at the Y. M. C. A. "Stunt Night" program on February 28, 1914. By the 1914-1915 school year, the University first offered for credit:

1. El Sahuaro (The University of Arizona, 1913)» p. 24. 2. "The President's Report to the Board of Regents for the Year 1912-1913" (The University of Arizona Bulletin, v. I, no. 9. Tucson: The University of Arizona, 1914), p. 2. 3* Report of the Superintendent of Public Instruc­ tion, State of Arizona (Phoenix, 1914), p. 35. History of Music - two hours, first semester, two units History of Music - two hours, second semester, two units-'-

In 1915, the Girls' Glee Club was organized and con­ sidered "one of the remarkable features of this school year."2 Directed by Anita Post, the seven member double quartette sang "My Heart at Thy Sweet Voice" by Saint-Saens and "The Sun Worshippers" by Loomis as part of a January 12, 1915, program. The University also continued its policy of sponsor­ ing Tucson concerts by visiting artists. Featured during the 1915-1916 school year were groups such as the New York Metropolitan Company with singers Florence Hawkins, Soprano, Molly Byerly Wilson, Contralto, Clara Freuler, Mezzo-So­ prano, and Francis W. Cowles, Baritone; violinist Alex Skovgaard; and pianist Alice McClung.3 During the 1916-1917 school year, the History of Music classes, taught by Ida Whittington Douglass, were re­ tained. A harmony course was added to the program along

1. The University of Arizona Record (Tucson: The University of Arizona, 1915). P» 114. 2» The Desert (The University of Arizona, 1915)» p. 148. 3. The Arizona Wildcat. January 20, 1916, p. 1. with piano and voice classes, and Clark Learning was appointed Director of Musical Organizations. There were three musical organizations that year: Glee Club Students of the University who have some pro­ ficiency in chorus singing, or who have good voices are urged to enroll themselves in the Glee Clubs which are organized for both men and women. The Orchestra The University Orchestra furnishes a very de­ lightful and useful training to those who have orchestral instruments and some knowledge of their use. The Military Band The Military Band is under the control of the Military Department. It possesses a complete set of band instruments and a very good library of music. Young men who have their own band instru­ ments are advised to bring them and become members of the band. The members receive regular military credits and are exempt from drill.l

The Military Band became very successful under Mr. Learning's direction. Band members were given new uniforms, and the Band presented many programs at the University. Typical selections included: Star Spangled Banner Smith Happy Chaps • Losey Light and Airy • Bergenholtz

1. The University of Arizona Record (Tucson: The University of Arizona, 1917), pp. 135-36. Wearing of the Green Irish Melody St. Patrick's Day-- Irish Melody1

Most University students were naturally concerned with World War I during 191? and 1918. But music was firmly enough entrenched at the University of Arizona that courses in music were offered continuously throughout that period. Music Appreciation classes, taught by Ida Whittington Douglass, were added to the curriculum in 1917, and Mrs. Douglass inaugurated a series of evening lectures in music appreciation which became extremely popular. Weekly con­ certs were given by the University Military Band, and, on January 18, 1918, Mr. Learning's vocal students presented the first recital ever given by the music department of the University of Arizona. In 1919, the University of Arizona was accepted as a member of the Association of American Colleges,^ and its student enrollment increased sizeably. William D0 Wheatley, who was appointed Director of Musical Organizations in 1918, was replaced by Orlee Ellis Weaver in 1919• Maude Darling Weaver became the new Assistant Professor of Voice.

1. The Arizona Wildcat. March 22, 1917. P« 1. 2. The Arizona Wildcat, January 18, 1918, p. 2. 3. Martin, op. clt., pp. 135-36. In that year, the Department of Music offered in­ struction in voice culture, solo singing, piano, pipe organ, orchestral instruments, harmony, theory, musical apprecia­ tion, interpretation, fugue composition, musical history, choral singing, and ensemble playing. Voice culture was stressed with the course described as follows: Voice training is given especial prominence and attention, particular.care being taken to develop pure vowel sounds and rich resonant tones on the basis of the best Italian methods. The course of study is broad and comprehensive, giving every possi­ ble aid to the rapid and natural strengthening of the vocal organs without forcing them and to the awakening of the artistic sense and poetic feeling in the expression of musical ideas.2

There was no extra charge for class instruction in harmony, musical appreciation, and musical history at that time, but fees were required for private lessons in voice, piano, pipe organ, and orchestral instruments, as follows: One lesson per week per semester $27.00 Two lessons per week per semester §5^*00^

In 1920, Julia Marie Rebeil, a native Tucsonian and a graduate of the Chicago Musical College, was appointed Instructor of Piano and Violin at the University of Arizona. In that year, also, university credit was allowed, for

1. The University of Arizona Record (Tucson: The University of Arizona, 1920), p. 172. 2. Ibid., p. 173. 3. Ibid., p. 173. orchestra and band work. The band, under Professor Weaver, was no longer listed as a purely Military Band; it was com­ posed of University students and furnished music for University games as well as other occasions.1 The Men's Glee Club, which was reorganized that year, gave successful per­ formances throughout the State as well as at the University. All groups were very popular: "this year the musical organi- p zations have been exceptionally good." Dance music was provided by the Desert Harmony Dispensers, and pianist Tom Brandt composed "Arizona's Victory Song...the first original song composed for the student body of the University of Arizona."^ By the 1922-1923 school year, the University of Arizona had an Alma Mater. "All Hail, Arizona," composed by Mr. and Mrs. Ted Monroe, was selected as the winning compo- sition in a song contest conducted by The Arizona Wildcat. Accredited by the Association of American Universi­ ties in 1924,-5 the University of Arizona embarked on a

1. The University of Arizona Record (Tucson: The University of Arizona, 1921), p. 155« 2. The Desert (The University of Arizona, 1921), p. 155. 3. Ibid., p. 159. **• The Desert (The University of Arizona, 1923), p. 165. 5. Martin, op. oit., p. 146. 62 period of musical growth and development. More students participated in musical activities than ever before; courses in oratorio, ear training, sight-singing, theory, form and analysis, counterpoint, canon and fugue, and free composition and orchestration were added to the curriculum;1 and new pro­ fessors were appointed to teach these courses. A notable addition to the staff was Charles Fletcher Rogers who began his University of Arizona career as Assistant Professor. He was later to become Acting Head of the Music Department and eventually Dean. Mr. Rogers Immediately set about organiz­ ing the University Oratorio Society. This Society was the largest organization of its kind in the State of Arizona in

1924 and included musicians from the entire City of Tucson as well as the University. Its chorus numbered two hundred, and its orchestra was considered "one of the best orchestras that had ever been assembled in the University and the city."2 The Society planned three concerts during the 1924- 1925 school year, the first of which was the presentation of The Messiah by Handel. Performed on December 1?, 1924,

1. The University of Arizona Record (Tucson: The University of Arizona, 1925), pp. l?2-?4. 2. The Desert (The University of Arizona, 1925). p. 115- in the new Tucson High School auditorium, The Messiah was directed by Mr. Rogers. The entire Oratorio Society and Mr. Rogers are pictured in Figure 3« Soloists for this event were Marjorie Dodge, Soprano, Edna Gill, Contralto, William Wheatley, Tenor, and C. P. Rogers, Baritone.1 They, also, are shown in Figure 3« This performance marked the first time that The Messiah was given in its entirety in the State of Arizona. The presentation was so successful that future plans called for the establishment of The Messiah as an annual event and of the Oratorio Society as a permanent institution.

Certification of Music Teachers Arizona1s Statehood meant important changes in its public schools as well as at the University of Arizona. In 1912, under State Superintendent of Public Instruction Charles 0. Case, music teachers were first issued certifi­ cates. This first ruling stated: In the certification of teachers we have in the past few months successfully applied the principle of specialization. We have been issuing Commercial, Kindergarten and Manual Training certificates and certificates in Drawing, in Music, and for the teaching of Agriculture.3

1. The Arizona Wildcat. December 9, 1924, p. 1. 2. The Desert (The University of Arizona, 1925). p. 120. 3. Report of the Superintendent of Public Instruc­ tion. State of Arizona (Phoenix. 1912). p. 5. 64

IS^Wff?^r ' 1.1!|' M t^fi' jTKl^Wifcj^J

Fig. 3. The Oratorio Society, 1924® Charles Fletcher Rogers, Director

^Photograph Courtesy of the Special Collections Department, The University of Arizona Library The next major change in State certification came in 1922, at which time music teachers were issued "Specific Certificates" after meeting the following requirements: Specific certificates are granted on presenta­ tion of evidence of having completed an approved course of at least thirty semester hours above a High School in the subject for which certificate is desired. This certificate entitles the holder to teach in any grade, but only the subject desig­ nated, and is valid for four years.1

By 1924, certification requirements became more exact. Music teachers were issued "Special" Certificates, a requisite for which was graduation from a four-year high school course and, in addition, graduation from a two-year special course from "a special school or special department in a Normal School or University approved by the Arizona State Board of Education, providing that not less than forty per cent of the work taken in such special school or depart­ ment shall be taken in the special subject or subjects for which special certificates are granted."

1. Sixth Biennial Report of the State Superintend­ ent of Public Instruction to the Governor of the State of Arizona (Phoenix: The Manufacturing Stationers, Inc., 1922), p. 8. 2. Seventh Biennial Report of the State Superintend­ ent of Public Instruction to the Governor of the State of Arizona (Phoenix: The Manufacturing Stationers, Inc., 192^-), p. 2. 66 Music in the Schools At the time Arizona achieved Statehood, Tucson School District Number One remained Tucson's largest school dis­ trict. In 1912, District Number One had six schools: high school classes were taught by nine teachers, and grade classes by fifty-seven teachers and principals.1 By 1913. there were separate supervisors of music and drawing in District One, with Margaret Eldred appointed Supervisor of Music.2 But the musical growth of District One really began with the appointment of W. Arthur Sewell ("Prof" Sewell) as Supervisor of Music, on May 8, 1919,3 under Superintendent F. A. Nims. Mr. Sewell was born in Kansas in 1890, graduated from Bethany College (Kansas), earned his Master's Degree from DePaul University in Chicago, and studied at the Chicago Musical College. He began his Tucson career as teacher of band, orchestra, theory of music, and vocal music - two Glee Clubs - at the Tucson High School in 1919. The entire music department of the District One high school was only allowed a total of $300.OCr for the 1919-1920

1. Minutes of School Board Meetings, Tucson School District Number One Record, Book I, p. 594. 2. Ibid., p. 610. 3. Minutes of School Board Meetings, Tucson School District Number One Record, Book II, p. 106. 4. Ibid., p. 123. school year. Instruments were furnished by Mr. Sewell for the first half year, but District One budgeted money for the purchase of instruments by the second semester. Since that time, instrumental music has been continuously offered In the sehools of District Number One, and many fine musi­ cians owe their start to Mr. Sewell's music program. By 1921, under Superintendent C. E. Rose, Tucson School District One began construction on its new high school building, Tucson High School. Madge W. Utterback joined District One as its first high school vocal teacher in that year, and Mr. Sewell's expanding program resulted in an increased budget: the 1920-1921 appropriation for band instruments alone reached over $1100.00^ District One grew rapidly and, by 1923, had a stu­ dent enrollment of 6,373 with a teaching staff of 198.3 There were twenty boys and eighty-three girls in high school music, and forty-eight boys and eleven girls participating in instrumental music classes in the high school.^ The orchestra had thirty-seven members which included twenty

1. Sewell, W. Arthur. Written Questionnaire, 19&7• 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book II, p. 215. 3. Tucson Public Schools. Report of the Superin­ tendent, 1923-24. p. 72. 4. Tucson Public Schools. Report of the Superin­ tendent. 1924-25. p. 43. violins,-1- and it and the various choral groups won first and second place honors in the Southern Arizona Contests, held March 28 and 29, 1924. The forty-two piece band, which is shown in Figure 4 with its Director, Mr. Sewell, in the front center, won the State Championship during University Week.2 All of the vocal and instrumental groups were active participants in school and civic functions.

Tucson's other two school districts remained small throughout the years from 1912 to 1924. Amphitheater School District and Rillito School District Number Eight each re­ tained only one school and remained elementary districts, and neither offered formal instruction in music. In 1921, Tucson's fourth elementary school district was formed: Sunnyside School District Number Twelve. At that time, Sunnyside School District was located south of the City of Tucson, proper, but within Pima County. Its first school was taught by Cora Jones and located near San Xavier Mission. Since a music-specialist was not employed there until much later, any music instruction would only have been part of the general classroom experience.-^

1. Ibid., p. 55. 2. Tucson'Public Schools. Report of the Superin­ tendent. 1923-24, p. 58. 3. Sunnyside School District Number Twelve, Written Questionnaire, 1967. 69

Pig. 4. Tucson High School Band, 1923* Wo Arthur Sewell, Director

^Photograph Courtesy of the Arizona Pioneers' His­ torical Society Tucson's parochial school, St. Joseph's Academy, operated continuously throughout this period. By 1920, its music curriculum included instruction in piano, violin, guitar, and music appreciation.1

Community Musical Activities Tucson's only active musical organization during this time, the Saturday Morning Musical Club, prided itself on its many community endeavors. The Club presented annual concerts, such as the March 5» 1912, performance of "Trial By Jury" by Gilbert and Sullivan.2 By 1919. the Saturday Morning Musical Club began sponsoring concerts by visiting artists as well.^ The Saturday Morning Musical Club also undertook the musical education of the children of the community. It organized the La Campanella Club for the musical enrichment of children of ages fourteen to seventeen and, by 1918, added the B Sharp Club which was designed for children from eight to fourteen.

1. St. Joseph's Academy. Written Questionnaire, 1967. 2. Ryan, Pat. M., Jr. "Big Stars Played Tucson Opera House" (The Arizona Dally Star, February 14, 1962, p. 46). 3. Lutrell, op. cit., p. 8. 4. Souvenir of the Dedication; Temple of Music and Art (Tucson: F. H. Keddington Co., 1927), pp. 16-21. Although there was certainly not an overabundance of musical activities during the early years of Arizona's Statehood, by the 1920's, local musicians began to be more involved in community events. Several Tucson musicians joined together to form the Tucson Musicians Association in 1920, electing Gaynor Stover its first President. Many local musicians presented recitals during the early 1920's, and local talent was utilized in large musical productions. For example, Frederick Ronstadt directed the orchestra for the May 8, 1922, performance of The Red Mill which was given in the Safford School auditorium. These musical activities are probably typical of the types of community interest in music in comparable small areas throughout America following World War I. CHAPTER V

RISE TO PROMINENCE

Tucson: I925 - 19*1-9 CHAPTER V

RISE TO PROMINENCE

Tucson: 1925 - 19^9

Arizona progressed rapidly in the years following its admission to the Union, and, in the period from 1925- 1949, Arizona's expanding resources gave the State especial prominence. Copper mining remained an important industry in the State, and the cattle-raising industry grew, amazingly. Irrigation in Maricopa County meant that fruit could be grown on an experimental basis, and enough cotton was planted that cotton-raising became Arizona's newest in­ dustry.1 Transportation was always important to the State and, as the railroads expanded their routes, tourists were able to enjoy Arizona's marvelous climate. The population of greater Tucson had reached almost 33,000 by 1925, and, as Tucson was a leading resort area, this number increased dramatically during the winter months. Many civic improvements were made in the city with the result that many more streets were paved, parks beautified,

. 1. Condron, A. H. "The Old Pueblo of Arizona" (Progressive Arizona, v. I, no. 4, October, 1925, pp. 22- 27). 72 and a new water system installed.•*• Tucson became "the first city in the country to provide a municipal flying field"2 with the November 1, 1925, dedication of Davis-Monthan Field. This field was so named in honor of the late pioneer aviators Howard F. Davis and Oscar Monthan. It was planned to serve the needs of "aerial mail" as well as commercial and military aircraft, and Tucson hoped to make its airport the "aviation base of the southwest."3 Two years later, in November of 1927, the first passenger plane reached Tucson, and regular air service between Los Angeles, Phoenix, and Tucson was provided by the Aero Corporation of California. Two six-passenger Fokker cabin planes were scheduled to make three trips a week each way. Flying time took about seven hours: planes that left Los Angeles at ten A. M. arrived in Phoenix at 3:20 P. M. and in Tucson at five P. M.2*"

This service was extended to El Paso in I928. New planes were ordered for this lengthened route which were expected to be faster than those already in service, and

!• Ibid., p. 48. 2. White, John E. "Tucson - Past, Present and Future" (Progressive Arizona, v. II, no. 1, February, 1926, p. 41). 3. Condron, op. cit., p. 22. 4. The Arizona Daily Star, November 25, 1927, p. 1 74 ...having a top speed of at least one hundred thirty miles per hour, and a cruising speed of one hundred five miles per hour. Features of the new ships will be the increased capacity to eight passengers, balsa wood lined cabins for quietness, and cabin heaters.1 Air mail service was scheduled for Tucson by January of

1929. In 1931, upon recommendation of the aviation com­ mittee, the City Council approved changing the name of the airport from "Davis-Monthan" to "Tucson Airport."2 This field served Tucson's needs until 1941 when it became a United States Army Air Corps Station. As civilian flyers were no longer allowed to use the field, Tucson began con­ structing a completely new and modern municipal airport located six miles south of the city near the Nogales high­ way. During the 1940's, Tucson became a leading manufac­ turing center with Douglas, Hughes, and Consolidated aircraft plants located nearby. The city's population in­ creased drastically with the influx of the defense workers in World War II, and, although many workers left after the War, enough remained so that, by 1949, the population of Tucson proper reached 45,454 with many residents living outside the city limits.

1. The Tucson Citizen. September 30, I928, p. 10. 2. The Arizona Daily Star, November 4, 1931• p. 16. In 1925. Tucson had about twenty churches which re­ presented twelve denominations. All of the founding churches felt the need for more space to house their growing congre­ gations and were forced to either enlarge their present buildings or move to more spacious quarters. Trinity Presbyterian Church dedicated its new build­ ing, in 1925, at its present site on the corner of Fourth Avenue and Third Street. It is interesting to note that, at that time, the location was considered a controversial one because of its distance from the city proper. Its congrega­ tion numbered almost six hundred under the leadership of Dr. Hoy Wollam. William D. Wheatley, of the University of Arizona music faculty, was appointed choir director, and Mrs. Martina Powell continued as organist. Mr. Wheatley was succeeded by Charles P. Rogers of the University Music De­ partment, and, in 1935. Rollin Pease, also a faculty member of the University, became Director of Music - a post he was to hold for twenty-one years. Grace Episcopal Church chose to enlarge its facili­ ties in 1926, doubling its space.2 In that same year, the first Baptist Church, with over one thousand members, com­ pleted its new building at its present location on East

1. McDougall, op. cit., pp. 20-21. 2. Smith, op. cit., p. 7. Fifth Street and North Sixth Avenue.1 The First Congrega­ tional Church, which had moved into its present building in 1916, dedicated its new $6,000 pipe organ in 1928.2 The First Methodist Episcopal Church completed its new edifice in 1931 at its present site on the corner of North Park Avenue and East Fourth Street. Reverend Chester R. Montague was Minister of the church at that time.3 Tucson's first Jewish congregation, Temple Emanu- El, moved to its present quarters on North Country Club Road in 19^9.^

The University of Arizona School of Music The University of Arizona had also expanded from its 1912 size of fifty-five acres. By 19251 it encompassed approximately seventy-five acres and had twenty-one build­ ings on the campus. The student enrollment had reached almost 1600. The campus was connected to the City of Tucson by an electric car line but maintained separate facilities, including its own water system which was drawn from deep wells. At that time, the University Library contained over

1. A Seventy-fifth Anniversary History of the First Baptist Church. 1881-1956. op. oit., p. 13'. 2. Riesen, op. oit., p. 21. 3. The Story of Sixty-five Years of Service, op. oit., p. 5. 4. Cross, Shaw, and Scheifele, op. cit., p. Jkk. 77 300,000 volumes, and the University itself was divided into five Colleges. The five Colleges comprising the University were: College of Letters, Arts and Sciences College of Mines and Engineering College of Agriculture College of Education College of Law1

The Music Department, which was a part of the College of Letters, Arts and Sciences, expanded so rapidly that the University was forced to grant it more sizeable accomoda­ tions. Consequently, Apache Hall was remodeled for the use of the Music Department, and the University Cooperative House was acquired as a practice house. The total budget of the Music Department was only $7,960.87 in 1925;2 Just one year later this had increased to $17,331•21.3 Charles Fletcher Rogers headed the Music Department at that time. He was assisted by Julia Marie Rebeil, Head of the Piano Department; William Vogel, Head of the Theo­ retical Department and Director of Glee Clubs; and Guy E. Tufford, Band Director.

!• The Desert (The University of Arizona, 1925), pp. 23-27. 2. "Annual Report of the Board of Regents" (The University of Arizona Reoord. Tucson: University Station, 1925), p. 18. 3. "Annual Report of the Board of Regents" (The University of Arizona Record. Tucson: The University of Arizona, 1926), p. h2. The course offerings for the 1925-1926 school year were: Appreciation of Music Vogel Oratorio Rogers Harmony Vogel History of Music Vogel Ear Training and Sight-Singing Rogers Theory Vogel Voice Rogers Piano -Rebeil Violin No Listing Form and Analysis Vogel Counterpoint, Canon and Fugue Vogel Free Composition and Orchestration Vogel Orchestra No Listing Band Tufford1

The annual student publication, The Desert, carried the following information about the Music Department: "this year has been marked by a splendid development of the Music Department of the University. A greater number have taken part in the musical activities this year than ever before and also many more have had the opportunity of hearing the o best in music." Weekly student recitals were presented by the musi­ cal organizations. The fifteen-member Men's Glee Club toured the State as well as being featured in local concerts. The Ladies1 Glee Club, which was not allowed to go on tour, appeared in several local concerts. This twenty-six member

1. The University of Arizona Record (Tucson: The University of Arizona, 1925), pp. 172-74. 2» The Desert (The University of Arizona, 1925). p. 115• 79 Glee Club had three soloists and two quartets - the quartets often learned different repetoires and performed separately. The Military Band, which was under the supervision of the Department of Military Science and Tactics, was furnished with a set of fifty-four instruments by the War Department. This Band provided music for University games, military ceremonies, assemblies, and other functions. Under Mr. Tufford's direction, it was consolidated with the Concert Band for special occasions. "The best musical talent in the school was enrolled, and by hard practice the organization became one of the best in the State."1 By March of 1925, the Band, supplemented by the Glee Club, presented the first of a series of outdoor concerts in front of the School of Mines building. Typical selections performed by the Band included: Pit Panther March Panelia Lion du Bal --• Gillet La Czarina Russe-Ganne Chinese Patrol Flieze2

The Ukelele Club was active on campus with eight registered members. Organized in 1923, the Club played mainly for Y. W. C. A. meetings but also entertained at Kiwanis, Rotary, and Lion Club luncheons.

!• Ibid., p. 119. 2. The Arizona Wildcat, March 31, 1925, p. 1. 80 Directed by C. F. Rogers, the first annual Music Week Festival was held at the University from May 3-9, 1925* It was one of the largest musical events presented in Tucson up to that date. Music Week Festival Events May 3 - Concert "by the University Concert Band in front of the School of Mines building

May 2+ _ Concert by the Ladies' Glee Club in the University Patio May 5 - Advanced Students' Recital in the Patio May 6 - Men's Glee Club Concert in the Patio May 7 - Concert by the University Concert Band May 8 - University Week Events: Band, Cornet Solo and Trombone Solo Contestsi

The 1925-1926 school year showed an eighty-five per cent increase in enrollment over a two-year period with the largest number of music majors in the history of the school. The Music Department, no longer a part of the College of Letters, Arts and Sciences, had become a unit by itself. Charles F. Rogers offered the following remarks concerning the Department: Never has there been such interest shown in the music department, prior to actual registration on the campus, as there has been this year. We were beginning to register music students a week ahead of the actual registration. There have never been

!• The Arizona Wildcat. May 1, 1925, p. 1. 81 so many students majoring in music. We have al­ ready so many students signed up for the concert and military bands that we do not have sufficient instruments to supply them, so many will be turned away. Thanks to the wonderful work of our president, we have this fine new building in which to work. Not only that, but we have the type of equipment needed by such a school, this including 1^,000.00 in new studio pianos. We now have twenty-two pianos in the school, with ample class and practice rooms In which to use them.l

A new faculty member that year was Karl Andrist who was scheduled to direct the thirty-five member orchestra. Handel's The Messiah was presented in December of 1925. and, on April 7, 1926, Martha by Flotow became the first opera to be performed at the University. In 1926, the Music Department became the School of Music and was headed by C. F. Rogers. Several new music courses were added to the curriculum, and the degree Bache­ lor of Music was offered with a major in piano, voice, violin, and theory and composition. Students were allowed to register in the School of Music as: a. Regular students in candidacy for a degree. Such students shall have fully met the academic requirements for entrance and passed a satisfactory examination before the music faculty. b. Special students In music. Students of over sixteen,years of age who do not wish to elect a curriculum leading to a degree

1. The Arizona Wildcat. September 22, 1925. P» 3« 82 may take such subjects as they desire when the en­ rollment in the courses elected will permit.1

Two bands seemed to be the important instrumental organizations that year. The Military Band, which was under the jurisdiction of the War Department and functioned as a unit of the Arizona E. 0o T. C. Corps, played only for military parades and other military occasions. The Concert Band, which was more of a campus organization, played for all of the athletic events and traveled on concert tours. The Concert Band was outfitted with new uniforms so that it would be more easily distinguished from the Military Band. The uniforms consisted of dark blue serge trousers with a red stripe on the side, a cardinal red jersey with an emblem - a music lyre with a wildcat head in the center - on the front, and a red and blue turban with "Arizona" on the side. A white shirt and either a red or dark blue neck­ tie completed the ensemble.^ The Men's Glee Club, directed by William A. Vogel, made a two-week tour of northern and central Arizona. The campus newspaper stated that the Glee Club "will be taken in two small Cadillac buses and a Chevrolet sedan belonging to H. Edward Lannon. The two buses are necessary because

1. The University of Arizona Record (Tucson: The University of Arizona, 1926), pp. 95-96. 2. The Arizona Wildcat. October 15, 1926, p. 1. the roads are too narrow to make the use of a large Fageol bus possible."1 The local chapter of Phi Mu Alpha, a national hon­ orary music fraternity for men, was established on the University of Arizona campus in 1927. The granting of this chapter was considered an indication of the rapid progress made by the School of Music for Phi Mu Alpha chapters were located in all schools with accredited music departments. By October of 192?, Sigma Alpha Iota, a national honorary and professional music fraternity for women, was also in­ stalled at the University of Arizona. In the 1926-1927 school year, "The New Earth" by Hadley and "Hymn of Praise" by Mendelssohn were presented by the Oratorio Society. "All Hail Arizona", written by Mr. and Mrs. Ted Monroe, won first prize for a college song. Beginning with the 1927-1928 school year, the School of Music offered a larger variety of majors for the Bachelor of Music degree: Piano, voice, orchestral instru­ ments, composition, and public school music. Requirements for admission were stated as follows: To meet the requirements for admission to the School of Music, the student, in addition to the general requirements, must pass an examination in the preparatory course in the chosen applied field.

1. The Arizona Wildcat, November 24, 1926, p. 7. Piano Scales, four octaves, major and minor with all forms; Heller Etudes or Czerny School of Velocity; Bach Little Preludes and Fugues, and the easier sonatas of Haydn, Mozart, and Beethoven. Violin The easier studies by Kreutzer, Mazas Volume II, or other studies of the same grade. They must also have a knowledge of the first five positions and be able to play such compositions as the sonatas by Handel and selections by Alard DeBeriot and others. Voice ...technical and musical development equivalent to one year of study in voice. This includes the proper breath control, correct tone production and tone placing through the medium range of the voice.1

Concerts were presented at the University by the faculty, advanced students, and the large musical organiza­ tions. The University Trio, which was composed of members of the School of Music faculty, was started and gave con­ certs locally as well as throughout the State. The University Band, requested to play at Wymola in commemora­ tion of the men who died in the battle of Picacho Peak, was forced to borrow a Tucson School District Number One bus for the occasion as the University bus had been destroyed in a recent fire. The new Opera Class studied and performed operas. And the School of Music sponsored the Artist Course, presenting programs by world-famous artists such as

1. The University of Arizona Record (Tucson: The University of Arizona, 1927), p. 190. 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book III, p. 492. Alma Peterson, Soprano, Reinald Werrenrath, Baritone, the London String Quartette, and Alexander Brallowsky, Pianist. The chief aims of the School of Music became "progress, standardization, and musical development. "-1- The first Bachelor of Music degrees conferred by the University of Arizona were awarded in June, 1928, to: Alene Drake Girton (with distinction) Sister Mary Eulalia Kelly2

At the beginning of the following school year, there were about two hundred and fifty students enrolled in music classes including fifty-four registered music majors. This number increased to four hundred fifty by May of 1929. with fifty-eight students seeking the Bachelor of Music degree. The reader will find a complete listing of persons having received degrees in Music from the University of Arizona in Appendix B. A new faculty member that year, Joseph 0. DeLuca, was appointed Director of the Concert Band. He was a nationally known composer and former soloist and guest con­ ductor with John Philip Sousa's Band. Mr. DeLuca1s "University of Arizona March" was played by Mr. Sousa's Band, and his new composition, "Kick and Fight", which was

1. The Arizona Wildcat, January 20, 1928, p. 4. 2. The University of Arizona Record (Tucson: The University of Arizona, 1929), p. 295. written for the University of Arizona football team, was played at the 1929 dedication of the University's new $160,000 stadium. Another new faculty member, Ernest John Schultz, served in a dudl capacity as Head of the Public School Music Department as well as supervising elementary music instruction in the Tucson District One schools. In 1928, the local chapter of Kappa Kappa Psi, a national band honorary fraternity, was established at the University. During the 1928-1929 school term, the Master of Music degree was first offered in the fields of piano and -voice. The first Master of Music degree was awarded in June of 1929 to Sister Mary Eulalia Kelly whose thesis was entitled "John Sebastian Bach, His Catholicity and Progres­ sive Modernism."•*• Five graduates received the degree Bachelor of Music in that same year. Starting in 1929. the School of Music was changed to a full College of Music under Dean C„ F„ Rogers. It was accredited with all national accrediting organizations and was an institutional member of the National Association of Music Schools. It had also been designated a district exten­ sion school by the Juilliard Foundation of New York, and from one to five music scholarships each year were made available by that organization.

1. The University of Arizona Record (Tucson: The University of Arizona, 1930), p. 307. The band flourished under Mr. DeLuca's direction. Its forty-nine members Included students Robert McBride, a clarinetist, and Henry Johnson, who played the cornet, both of whom would later become prominent University of Arizona Music faculty members. Mr. McBride and Mr. Johnson also played clarinet and violin, respectively, in the twenty- three member University Orchestra which was directed by Hoy Williams. The Oratorio Society enrolled three hundred and gave two presentations of Handel's The Messiah - one in Tucson and the other in Phoenix. Elenore Altman joined the College of Music faculty beginning with the 1929-1930 school year. Mme. Altman was born in Rumania and studied piano under Paderewski and Stojowskl. She taught at the New York Institute of Musical Art until 1927 and at the Arizona School of Music in Phoenix until 1929. The nine Bachelor of Music graduates at Commence­ ment in June, 1930, included Heloise Marion McBride who would become a vocal teacher in Tucson School District Number One. Rollln Pease, nationally known baritone, was appointed to the music faculty in 1931 as Head of the Depart­ ment of Voice. He directed the Men's Glee Club whose 1931- 1932 repertoire included music school student Robert McBride's setting to Scott's "Ballad of Sir Patrick Spence."1

!• The Desert (The University of Arizona, 1932), p. 11?. 88 In the Spring of 1933, the University Oratorio Society presented Mendelssohn's Eli.1 ah, utilizing all student soloists for the first time. These soloists were: Heloise McBride, Soprano Marion Brownless, Soprano Edith Leverton, Contralto H. Barret, Contralto Andrew White, Baritone Herman Novick, Baritone Robert McBride, Tenor Ray West, Tenor1

The June, 1933, Bachelor of Music graduates in­ cluded Henry Pickens Johnson, Jr., Band and Orchestral Instruments, and Robert Guyn McBride, Public School Music. Both were graduate teaching fellows at the University the following year. Although the depression years forced the University to curtail much of its building program and to reduce faculty salaries, most musical acti-vities were carried on as before. The tenth annual production of The Messiah by Handel was given by the Oratorio Society in December, 1933. in the Tucson High School auditorium. Directed by C. F. Rogers, the presentation included two music faculty members: Rollin Pease who sang the Baritone solos and Julia Rebeil who was accompanist for the tenth consecutive year.2

!• The Desert (The University of Arizona, 1933). p. 170. 2. The Arizona Wildcat. December 15, 1933, p. 1. The tenth annual Spring Music Festival was held in 1934 and included a full week of musical events. Spring Music Festival - 1934 March 21 - "The Seasons", presented by the Oratorio Society March 22 - Concert by the University Concert Band, J. 0. DeLuca, Director March 23 - Recital by Thelma Gwin, Violinist March 24 - Recital by Porter Heaps, Organist March 25 - Concert by the Tucson Symphony Orchestra, featuring solo violinist Edna McDonald March 26 - Joint Recital, presented by Phi Mu Alpha and Sigma Alpha Iota March 27 - An Original Composition Program by the College of Music students of faculty member Otto Luening March 2? - Recital by Myra Hess, Pianist1

The College of Music continued its policy of spon­ soring visiting artists. Featured on the 1933-1934 University Series were Nelson Eddy, Baritone, Lorado Taft, Art Lecturer, the Aguilar Lute Quartet, and Gregor Piatigor- sky, Cellist. In August of 1934, the new College of Fine Arts was formed, and C. Fc Rogers was appointed Dean. The College of Music was merged with the departments of art, drama, and esthetic dancing aiming toward providing the students with

1. The Arizona Wildcat, March 23, 1934, pp. 1 and 4. 90 "a balanced program of music, art, dancing, and lectures which will send them from this institution with an increased cultural background."1 The new Artist and Lecture Series included dramatic performances by the University Players and by visiting companies, and several current events lec­ tures as well as programs by faculty members and visiting artists. Two separate series of programs were planned, each series to include both student and faculty programs, several outstanding musical artists, two lectures, and a visiting dramatic company production. Arthur Olaf Andersen, well known composer and former Head of the Theory Department of the American Conservatory of Music in Chicago, was appointed Head of the University of Arizona's Theory Department in 193^« He was to become Director of the School of Music and, by February of 1935, Acting Dean while Dean Rogers was on a leave of absence. Later in 1935, Professor Andersen was appointed Dean of the College of Pine Arts; he is pictured as he appeared at that time in Figure 5. It is interesting to note that original composition was stressed in the School of Music. A 193^ program pre­ sented by Phi Mu Alpha fraternity included the following selections which were composed by School of Music students:

1. The Arizona Wildcat, August 1, 193^. P. 2. 91

Fig. 5. Arthur Olaf Andersen, Dean* The College of Fine Arts, The University of Arizona

•^Photograph Courtesy of The Arizona Dally Star Sonata in C Minor Buchhauser Andrew Buchhauser Variation for Two Flutes Murdock Robert Cory and David Murdock Lament Johnson Elizabeth Dearing and Robert McBride Fugue for Oboe and Two Clarinets McBride Maurice Anderson, Austin Riesen, and Robert McBride1

In 1935. the University Band, directed by Joseph DeLuca, was invited to be the official band of the Western States Musical Conference which was held in California from April 16 to 18. After Mr. DeLuca1s death in October of that year, the Band was directed by Maurice Franklin Anderson, a 1935 Bachelor of Music graduate from the University of Arizona. Master of Music graduates in 1935 were Henry P. Johnson, Jr., Band and Orchestral Instruments, Robert McBride, Composition, and David Nathaniel Murdock, Theory. Mr. Murdock, a talented composer, would lose his life in World War II. The Men's Glee Club of that year included student member Andrew Buchhauser who would later become Di­ rector of the University of Arizona School of Music. All departments of the University had grown rapidly with the total 1935 enrollment reaching approximately 2600. The College of Fine Arts was no exception, and it soon

1. The Arizona Wildcat. November 13, 1934, p. 1. outgrew its building. The College of Fine Arts offices and the School of Musio were still housed in the Pine Arts building, but the other departments were moved to remodeled Herring Hall. In 1936, a survey by Gladys Parsons for Phi Beta, a national professional fraternity of dramatic arts and music, placed the University of Arizona School of Music with that of the University of Michigan "as having the finest music department of any university in the United States."1 193& Master of Music graduates were M. P. Anderson, Band and Orchestral Instruments, a member of the School of Musio faculty, and Camll Van Hulse, Composition, a musician and composer who was the first Direotor of the Tucson Symphony Orchestra. The present University Auditorium was opened on April 22, 1937. with a program that included compositions by University faculty and students. Listed on the program were: Land of Light Onstott-Andersen Prelude for Orchestra2—— McBride Pageant of the Mission — Anson^ New faculty members in 1937 included Iver Coleman, Assistant Professor of Organ and Theory, and Instructor of

1. The Arizona Wildcat. March 6, 1936, p. 1. 2. Premier Performance 3. The Arizona Wildcat. April 20, 1937. P- 1. 9k Violin Anna Mae Sharp. Mr. Coleman directed the annual per­ formance of The Messiah in December, which was presented for the first time in the new University Auditorium. The chorus numbered one hundred, all of whom were members of the Univer­ sity Glee Clubs and various church choirs. The soloists, all Tucsonians, were: Mrs. Holland Dorsey, Soprano Miss Connie Pease, Mezzo Soprano Miss Ruth McKale, Contralto Dallas Uhrig, Tenor Rollin Pease, Bass1 The production was accompanied by pianists Martina Powell, organist for Trinity Presbyterian Church, and Flossie Neil Hagan; organist Andrew Buchhauser; and trumpet soloist Samuel Posner. In 1937, the School of Music graduated thirteen Bachelor of Music students which Included Andrew W. Buch­ hauser, Theory, and Tom King Burges, Band and orchestral Instruments, who would teach in Tucson School District Number One. Anna Mae Sharp, Composition, received the degree Master of Music. Leslie Odell Brewer, Public School Music, who would also teach in Tucson School District One, and Ulysses Simpson Kay, Public School Music, a composer who would later twice win the Prix de Rome, were among the 1938 graduates. Andrew W. Buchhauser was awarded the Master of Music degree in Theory at that time.

1. The Arizona Wildcat, December 3, 1937. p. 1. 95 The 1938-1939 music faculty numbered eighteen. New members included Hartley D. Snyder who replaced Ernest Schultz in the dual position of Head of the Department of Public School Music and Elementary Music Supervisor in Tucson School District Number One, and Assistant Instructor Andrew Buchhauser. By 1939. George C. Wilson joined the faculty as Head of the Band and Orchestral Departments. He was assisted by William E. Koogler, who also headed the woodwind department. For the first time the Tucson Symphony and the University Orchestra were combined into one group and sponsored by the University. Directed by Mr. Wilson, its membership consisted of students, faculty, and inter­ ested townspeople. Two major programs were planned for the year, one of which featured the following selections: Prelude, Chorale, Fugue Bach-Abert Symphony No. One Beethoven Prelude to Hansel and Gretel Humperdinck Tales from the Vienna Woods—- —Strauss L' Arliesienne Suite •—Bizet1

In 1940, the University graduated 482 students, the largest class in its history. The College of Fine Arts had eighteen graduates of which seven received the degree Bachelor of Music. Two of these graduates were Paul Lonsdale Grimes, Band and Orchestral Instruments, and William L.

1. The Arizona Wildcat. February 2, 19^0, p. 1. Knighton, Band and Orchestral Instruments, both of whom joined the Tucson School District Number One Music Staff. In the 1940-19^1 school year, the Tucson Symphony, still directed by George Wilson, planned two formal con­ certs, one children's concert, and one "pop" concert. Anna Mae Sharp, concertmistress of the Organization, was soloist for the first program. The Glee Club, directed by Rollln Pease, toured nor­ thern Arizona again, including on its program "The Singer" by Gaul, "Evening" by Kodaly, and Pease's setting to Lin­ coln's Gettysburg Address. In addition to the annual presen­ tation of Handel's The Messiah, the Glee Club planned to perform The Gondoliers by Gilbert and Sullivan and to parti­ cipate in a Kate Smith program to be given in the University auditorium. The Artist and Lecture Series continued with con­ certs by artists Nathan Mllstein and Jan Peerce, and extra concerts were presented under the auspices of the University which featured artists Nelson Eddy and lehudi Menuhin. Both students and faculty gave recitals with many music faculty members presenting annual programs. The first Arizona All-State High School Band Festival was held at the University in December of 19^0. Conducted by Glenn Cliffe Bainum, Director of the Northwestern 97 University Bands, it was composed of one hundred twenty-five students from eighteen high schools throughout Arizona.1 In 19*1-2, Professor Elenore Altman began a weekly series of broadcasts from the University radio bureau which were called "The Piano Clinic." These broadcasts were de­ signed to instruct pianists and music-lovers in the interpretation of piano music. World War II reached the campus in the form of war economies, rationing, shortened semesters, newly stressed physical fitness courses, and classes which were directly related to war topics. Women outnumbered men, and football was completely dropped. By 19^3. fraternity houses were turned over to women students, and Edith White became the first woman to be acting President of the student body. Both faculty and students were either drafted or enlisted in the services; the College of Fine Arts alone lost one hundred eighty-nine students. The Band was reduced to only twenty-four members. Even the twentieth annual presentation of The Messiah had problems to overcome: The choral groups will be effective, but not as balanced as usual due to the slim men's section. However, those men available will be stationed immediately behind a special amplifier which will make the volume of their voices comparable to that of the feminine group.3

1. The Arizona Wildcat. December 10, 1940, p. 1. 2. Martin, op. clt., p. 205. 3. The Arizona Wildcat. December 10, 19^3. P« 1. 98 The first football game since 1942 was played in October of 1945• But, although the Band had increased to thirty-seven members, it was considered too small to march between halves of the game. In the post-war years beginning with 1946, the cam­ pus was jammed with students including many returning veterans. The University registered 4,300 students in September of that year. New music faculty members were Samuel S. Pain, Director of the sixty-fi-ve member Band and the Tucson Symphony Orchestra, Anita Kalis, who would later become Mrs. Joseph Sammarco, and returning veteran Andrew Buchhauser. By the following year, Hartley D. Snyder was Director of the largest choir yet in the history of the University - one hundred twenty-eight members. New faculty members in 1948 included Marguerite Ough, teacher of Voice, Edna E. Church, teacher of Piano, and George W. Lotzenhiser, Director of the fifty-member University Orchestra. For the first time in the history of the University, the Orchestra was no longer restricted to music students. In December of 1948, The Messiah received its twenty- fifth annual presentation before an audience of 2,500.

1. The Arizona Wildcat. October 10, 1947, p. 3« Directed by H. D. Snyder, the soloists included two School of Music faculty members: Marguerite Ough, Contralto, and Rollin Pease, Baritone.

Changes in Certification As the University revised its policies concerning music to meet its changing needs, requirements for teachers of music in the public schools of Arizona were also changed to fit the times. In 1926, under the supervision of State Superintendent of Public Instruction the Hon. C. 0. Case, Special Certificates were granted to teachers of band and orchestra upon the recommendation of their superintendents. By 1932, requirements were increased for all certificates, and applicants for a teaching certificate in music were ex­ pected to meet the following specifications: Special Certificates Special certificates shall be granted upon evi­ dence of graduation from a regular four-year high school course, or the equivalent, and in addition thereto evidence of graduation from a regular four- year course in a special school, special department of a teacher's college or university accredited by the Arizona State Board of Education.

1. The Arizona Wildcat, December 17, 1948, p. 1. 2. Ninth Biennial Report of the State Superin­ tendent of Public Instruction to the Governor of the State of Arizona (Phoenix: The Manufacturing Stationers, Inc., 1928), p. 17. 100

Requirements include: 1) Not less than thirty semester hours, or the equivalent, in the special field for which certi­ ficate is granted. 2) Not less than eighteen semester hours in Education and Psychology appropriate to the field and including not less than five semester hours of practice teaching or approved experience, teaching preferably, in the special field for which certification is granted. 3) The name of the special field shall be desig­ nated on the face of this certificate. These fields are - a. Agriculture b. Art c. Commerce (Business Subjects) d. Home Economics e. Industrial Education (Manual Arts) f. Music g. Physical and Health Education 4) This certificate shall be valid for four years and shall entitle the holder to teach in grades one through twelve inclusive, but only the subjects designated on the face of this certificate.!

The Schools of Tucson Tucson School District Number One had fifteen schools in 1925 and was headed by Superintendent C, E. Rose. The music department at Tucson High School flourished under the direction of W. A. Sewell and Madge Utterback; its band, orchestra, and vocal groups were active competitors in

1. Twelfth Biennial Report of the State Superin­ tendent of Public Instruction to the Governor of the State of Arizona (Phoenix: The Manufacturing Stationers, Inc., 193*0, P. 31. 101 State contests. In 1925, Tucson High School student Wayne Webb won the State Championship for solo trombonists.-1- By the 1926-1927 school year, a class in music theory was added to the curriculum, and also in that year, a concert given by the High School Orchestra featured two piano concertos with orchestral accompaniment - the first Tucson instrumental group to perform a concerto with orches­ tral rather than piano accompaniment. The following year, the High School Orchestra was so large that it was divided into two orchestras. And in that same year, the High School vocal groups won the Southern Arizona High School Music Contests for the sixth consecutive year. In the Spring of 1928, Superintendent Rose collabor­ ated with the University Music Department in order to secure a teacher who could assume charge of the Department of Public School Music at the University and supervise music in the grade schools of Tucson District One. Ernest J» Schultz was appointed to this dual position. Under his supervision, all children in the elementary schools received instruction in vocal music and. music appreciation, and, in addition, some of the elementary schools offered classes in rhythm band, and string, reed and brass instruction as well. An

1. Tucson Public Schools. Report of the Superin­ tendent (1924-25), p. 56. 2. Tucson Public Schools. Report of the Superin­ tendent (1926-27), p. 5^. 102 elementary school All-City Band and Orchestra had already been established, and an All-City Elementary Festival Chorus was being planned.1 Music in the Primary Grades was under the jurisdiction of P. Pern Howell at that time. Tucson District One's junior high school system-began to function in the Fall of 1930. Junior high schools were established in the Mansfeld, Roskruge, Safford and Dunbar buildings and included grades seven through nine. New music teachers were added to the District One staff, including Heloise McBride (1931), Leslie Brewer (1938), Tom Burges (1938), and Elizabeth Dearing (1939). And in 1939, Hartley D. Snyder replaced Mr. Schultz as Super-visor of Music in Elementary Schools as well as heading the Department of Public School Music at the University of p Arizona. By 1940, the elementary school budget of District One reached $711,176, and the high school budget $236,523.3 All new teachers were required to remain on probation for two years before being granted tenure.

1. Tucson Public Schools. Report of the Superin­ tendent (1928-29), p. 54. 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book III, p. 784; Book IV, pp. 1229, 1347, 1357. 3. Minutes of School Board Meetings, Tucson School District Number One Record, Book IV, pp. 1413-1415. 103 In 1941, Robert D. Morrow became the new Superin­ tendent of Schools for District One. New faculty member Paul Grimes (1942) was appointed Supervisor of Elementary Instrumental Music, and W. Arthur Sewell became Supervisor of Music in senior high school and in junior high school - "especially the ninth grade."1 Hartley D. Snyder's duties covered the supervision of music in the elementary schools up to the eighth grade. The tremendous increase in population in the 1940's was reflected in all of Tucson's schools. By 1948, the District One enrollment was almost 16,000 with 3,000 in the high school alone. There were five hundred and eighteen classroom teachers and only four hundred and five class­ rooms. Overcrowding resulted in some split sessions, and Tucson High School operated as two complete schools. Many school buildings had to be remodeled for use in early morning and evening hours, for some of the schools were originally built without any artificial lights. At one time, the High School was the only building with lights at 2 all, and some of those lights were considered inadequate. In 1943, also, full high school credit was allowed for the subjects of music and art in the District One

1« Ibid., p. 1556. 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book V, p. 1810. 104 schools. New music teachers were added to the staff, In­ cluding Max Brillhart (1949), Sidney Dawson (1949), and William L. Knighton (1949).

Tucson's second established school district, Rillito School District Number Eight, changed its name to Plowing Wells in 1928. It remained small, with only one school in the period from 1925-1949, and did not employ an official music teacher until much later.-*- The third Tucson school district, Amphitheater School District, also had one school in 1925. Although its early records were eaten by termites, the Pima County records show that its first music teacher, Helen Brazelton, was appointed in 1933* Amphitheater's first high school was built in 1940, making a total of three schools in that district by 1950. High school music teacher Lawrence Wilson was employed in 1945, and high school music instruction included both vocal and instrumental music. There was still only one school in Tucson's fourth elementary school district, Sunnyside School District, in 1925. But that District became very overcrowded with the influx of defense workers in the aircraft plants in that

1. Plowing Wells School District. Written Question­ naire, I967. 2. Amphitheater School District. Written Question­ naire, I967. area during World War II and was forced to expand, adding a second school. However, Sunnyside School District did not have a teacher-specialist in music until much later.-1-

The parochial schools of Tucson were also active during this period. St. Joseph's Academy transferred to its present site on North Wilmot Road in 1931 and, in 1935. ' built facilities for music and art classes there. Its curriculum included music appreciation, piano, violin, gui- 2 tar, organ, glee clubs, and chorus. Immaculate Heart High School was established in 193^ but did not have special teachers of music until much later.3 Salpointe High School was not started until 1950, and no information was available concerning its early band directors.

Private high schools in Tucson included the Southern Arizona School which was started in 1930 at its present location on Sabino Canyon Eoad. Music has never been a part

1. Sunnyside School District Number Twelve. Written Questionnaire, 1967. 2. St. Joseph's Academy. Written Questionnaire, 1967. 3. Immaculate Heart High School. Written Question­ naire, 1967. ^. Salpointe High School. Written Questionnaire, 1967. 106 of its curriculum.1 Penster Ranch School, established at its present site on East Blacklidge Street in 1944, em­ ployed special music teachers at a later date.2

The Temple of Music and Art Tucson's community musical activities seemed to parallel its tremendous growth in other areas. On October 21, 1927, Mrs. Harry Berger (Madeline Heineman) and the Saturday Morning Musical Club achieved one of their major goals with the opening of the Temple of Music and Art. This event represented the culmination of years of devotion and hard work by Mrs. Berger. Even the financing of the Temple was largely due to her efforts. She secured "a gift of $116,000 from Alexander Berger" (her brother-in-law), "over $25,000 by private subscription" from the citizens of Tucson, and sold "$9500 worth of life seats in the Temple of Music."3 A tribute to the success of this venture was summed up by Dr. Rufus Bernard Von KleinSmid, President of the University of Southern California and former President of the Univer­ sity of Arizona, in his address which was given in honor of the opening of the Temple. "It is a wonderful thing to

1. Southern Arizona School. Written Questionnaire, 1967. 2. Fenster Ranch School. Written Questionnaire, 1967. 3. Berger, Mrs. Harry. "Biographical Sketch" (Arizona Pioneers' Historical Society). accomplish that at which one has aimed; it is doubly worth while to have aimed at something worth accomplishing."-'- The opening of the Temple of Music and Art was cele­ brated with a full week of programs which began on October 21, 1927. Dedication of the Temple of Music and Art Organ Selection • Leo Goldschmidt Invocation-— • -Eev. E. W. Strieker Greeting — --Mrs. S. Heineman Paean (Choral Number) William Voris Civic Advancement of the Saturday Morning Musical Club Estelle Lutrell Selection Lyric Club The Business Side of Our Organization—Lois Whisler Dedicatory Address Dr. Von KleinSmid Presentation of Portrait of Mrs. S. Heineman Benediction • • — Father Thomas Connelly2 On October 2k, 1927, the small recital hall of the Temple was opened with a program by the Little Symphony Orchestra^ which was directed by Cornelia van Hardeveld. This orchestra was organized in April of that year through

1. The Tucson Citizen. October 23, 1927• p. 8. 2. The Arizona Daily Star. October 21, 1927, p. 9< 3. The Tucson Citizen. October 24, 1927. p. 8. 108 the La Campanella Club in order to help prepare young people for future orchestral work. The week-long celebration was climaxed with a con­ cert by Jasha Heifetz, Violinist, on October 28. Although that concert ended the opening festivities, it was only the beginning of years of pleasure for Tucsonians. For The Saturday Morning Musical Club arranged concerts throughout that season by both local groups and visiting artists such as Lawrence Tibbett, Baritone, The English Singers, and Sigrid Onegin, Contralto. Since then, the Club has continued its sponsorship of such programs, always striving to obtain for Tucson the very best in musical entertainment. The Saturday Morning Musical Club has also stressed variety in its programs. Beginning in 193^» it conducted a bi-weekly Sunday evening "Fortnightly at Nines" at the Temple at which national music of various countries was featured.

The Tucson Symphony Orchestra Camil Van Hulse, first conductor of the Tucson Symphony Orchestra, who was born in Belgium in 1897 and studied at the Royal Flemish Conservatory in Antwerp, moved to Tucson in 1923. He had concertized as a pianist and organist but was perhaps best known for his many compositions

1. The Arizona Wildcat, January 12, 193^. P» !• 109 which won prizes in different competitions. In Tucson, Mr. Van Hulse founded a Society of Chamber Music with mem­ bers A. Kronkowski, Violinist, Lenard Kline, Violinist, Joe Karr, Violist, and Dr. John Mez, Cellist. This group played together for abotit two years before being incorporated into the Tucson Symphony Orchestra. • The Tucson Symphony Orchestra was first organized in September of 1928. Committees were appointed and plans formulated for the season. Harry Juliani is manager of the orchestra and has been an ardent worker in bringing fifty music­ ians together to form the organization. Camil Van Hulse will be director of the orchestra and plans a high grade of programs for the coming season. Arthur Sewell was chosen assistant director, and Ruth Montano Prautnick was elected secretary and treasurer.^

Many prominent Tucsonians were members of the orch­ estra, and several persons traveled from as far away as Casa Grande and Benson for the privilege of playing in the Symphony. The original membership was as follows: Violins A. Kronkowski, Concertmaster, Edna McDonald, William Hedgepeth, James Davis, Herbert Cook, Isabella Caldwell, John Alba, J. C. Clark, Anita Vasquez, Pern B. Collie, Louis Posner, Antonio Corrall, Jr., Henriquita Martinez, Ava Stover, Margaret Goebel, Clara McDearmon, Cress Eck, Jean Cairns, Antonio Corrall, Sr., Eva Evans

1. Van Hulse, Camil. Personal Interview, 1967. 2. The Tucson Citizen, September 9, 1928, p. 7. Violas Joseph Karg, Mrs. J. C. Clark Violoncellos Dr. John Mez, Ruth Montano Frautnick, Allan Craig, Mrs. Joseph Karg, Harry Buehman Double Basses Harry 0. Juliani, Leon Maldonado, Bruce Watkins, Henry Corrall Harp Helen Welch Oboe Crosby Lusk Flutes Percy N. Folsom, Archie Caldwell, Fred Ronstadt, Leonard Nally Clarinets Robert McBride, Maurice Anderson, Jesus P. Lopez, Mrs. ¥. A. Sewell, Fred Emery, Irvin H. Mauch Bassoons John K. Oliver, Louis Blaker Trumpets Walter Burrows, Betty Bandel, Samuel Posner, Randall Stover Trombones and Horns W. Arthur Sewell, Andrew White, Randall Stover, Antonio Sanchez, Gaynor Stover, George M. Snow Tuba George Snearly Tympani Russell Bertram Percussion Edward Breazeale, Gilbert Treahey Tambourine Helena Sayre Ill The Symphony's first rehearsal was held in the Pima Theater on West Congress Street. The old Arizona Hut on Scott Street, formerly the Presbyterian Chapel, was head­ quarters for the orchestra, its name later changed to "Symphony Hallo" After several postponements, the Tucson Symphony was ready for its first concert on January 13, 1929* A picture of the orchestra taken at this time appears in Figure 6, The local music critic was well pleased with the performance and stated that "the orchestra marks another great step ahead, musically, for Tucson;" due to its con­ ductor, Mr. Van Hulse, it "gives promise of a thoroughly professional orchestra and was sufficiently fine in its first appearance to be greeted with spontaneous enthusiasm and deep admiration." The first program given by the Symphony is shown below together with selected comments appearing in the Arizona Star concerning this concert in parentheses. Rosamund Overture Schubert ("balanced and complete assemblage") Unfinished Symphony Schubert Allegro Moderato Andante Con Moto

1. Ibid., p. 7. 2. The Arizona Star, January 14, 1929, p. 2. 112

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Pig. 6. The Tucson Symphony Orchestra, 1929* Camil Van Hulse, Director

^Photograph Courtesy of Camil Van Hulse 113 Finale from Symphony No. 7—————.—Beethoven ("...a test which the Tucson Symphony ade­ quately met and which the audience appreciated and loudly applauded.") Overture from Marriage of Figaro— —-———Mozart ("light and delightful") Egyptian Ballet-—— — ———Luigini Polovtzen Dances-- — —— -,«.—.—Borodin-1- (The concert was well arranged and balanced, just as the orchestra itself...to the conductor, sincere admiration for the Herculean task he had accomplished.)2

Succeeding conductors of the Tucson Symphony Orches­ tra included Henry Johnson, Jr., of the University of Arizona School of Music faculty. Mr. Johnson was the first conductor to introduce children's concerts and was also the first to feature visiting artists as guest soloists and guest conductors.3 Typical of such programs is the one pre­ sented on April 5, 1936, with guest artist Rudolph Ganz. The Symphony performed the following selections: Prometheus Overture- —• ———Beethoven Symphony No. 40 in G Minor — —Mozart Prelude and Fugue No. 22- —Bach-Lowell

1. Ibid., p. 2. 2. Ibid., p. 2. 3. Johnson, Henry P», Jr. Personal Interview, 1967« 114 Concerto for Piano in E flat Major Liszt Pinlandia —Sibelius A complete listing of conductors of the Tucson Symphony- Orchestra, together with the dates of their conductorships, will be found in Appendix J.

The Tucson Music Teachers Association The first attempt to consolidate the private music teachers in Tucson was made in September of 19^7 at which time Mrs. Gladys Hall organized the Tucson Music Teachers Association. This group was started under the auspices of the Arizona Federation of Music Clubs, thus automatically becoming a member of the National Federation of Music Clubs. The organizational meeting was held at the Old Pueblo Club and was attended by twenty music teachers. Irving Coretz was elected President of the Association, Mrs. 0. P. Knight Vice-President, and Mrs. Eugenia Bromburg Secretary-Treasurer.^ Succeeding Presidents of the Tucson Music Teachers Association will be found in Appendix L.

Other Musical Organizations In addition to the Tucson Symphony Orchestra and the Tucson Music Teachers Association, many other continuing Tucson musical activities owe their beginnings to the

1. Hall, Gladys. Written Questionnaire, 1968. endeavors of Tucsonians within the period from 1925-19^9. The Tucson Chapter of the American Guild of Organists held its first meeting on March 5, 1937* Organized "by Camil Van Hulse, Mr. William Voris and John McBride, the Guild's founding membership consisted of twenty-one persons. In 19391 "the Tucson Boys' Chorus was started by Eduardo Caso with an original enrollment of only six boys. By December of 19^0, it presented the first of its many Christmas con­ certs - concerts which would, in years to come, delight audiences around the world. In March of 1948, a group of people interested in chamber music joined together to form the organization known as the Arizona Friends of Music. It was intended that this remain a small, informal group, and it presented only four concerts each year. Harry Riokel, a graduate of the University of Arizona, was the first chair™ man of this organization. These five organizations - the Tucson Symphony Orchestra, the Tucson Music Teachers Association, the Ameri­ can Guild of Organists, the Tucson Boys' Chorus, and the Arizona Friends of Muslo - along with Tucson's oldest major musical organization, the Saturday Morning Musical Club, have remained in continuous operation from the time they were organized. While it is unfortunate that many musical activities were discontinued, still the years ahead would 116 see the establishment of many new musical organizations which would continue to provide a variety of musical acti­ vities for citizens of Tucson. CHAPTER VI

MIRACLE IN THE DESERT

Tucson: 1950 - I967 CHAPTER VI

MIRACLE IN THE DESERT

Tucson: 1950 - I967

Arizona's entire history has proven to be the his­ tory of an exciting, growing, progressive state. During the 19509s and 1960's, Arizona became one of the fastest grow­ ing states in the entire United States. Although its traditional four C's - copper, cattle, cotton, and climate - remained of utmost importance to Arizona, manufacturing became its newest major industry, especially in the urban Maricopa and Pima counties. Tucson itself was large enough and sufficiently developed to embark upon a program of urban renewal in the I960's. Its population had Jumped from k5,k5k in 1950 to 212,892 by i960, and by 1967 the population of greater Tucson was estimated at over 300,000 and was expected to reach 500,000 by 1975. Such an increase in population required numerous civic improvements including the construction of highways, parks, and other recreational areas. In addition to major construction at the University of Arizona and in the city's four main school districts, new parochial and private

117 118 schools, nurseries and kindergartens were built. Students were also able to receive training at numerous commercial schools, music and art schools, dance studios, aviation schools, and specialized education was provided at the Ari­ zona State School for the Deaf and Blind, the Tucson Indian School, and St. Mary's School of Nursing - which was sched­ uled for eventual discontinuation with the expansion of the University of Arizona School of Nursing. Hetirement commun­ ities were established in and near Tucson, providing an added stimulus for Tucson's real estate. In the Fall of i960, Tucson became an international airport with Aeronaves de Mexico scheduling regular flights into Mexico. Runways were lengthened to accomodate large jet aircraft, and by 1967, three transcontinental airlines - American, TWA, and Continental - and three local and re­ gional airlines - Apache, Frontier, and Bonanza - afforded Tucson fast, easy access to any place in the world.

The Expanding; University The University of Arizona grew so rapidly from 1950 to 1967 that it continually out-stripped all expectations. Certainly the pioneers who founded a University in the Territory of Arizona in 1885 could never have predicted such tremendous expansion. Although new buildings had been added, making a total of fifty-five in 1950, the University was still rather 119 contained on its eighty-five acre campus . The faculty num­ bered 468 at that time, and over 6,000 students were registered. By 1959. both students and faculty had doubled, and there were fifty-nine buildings on a campus that had reached Speedway Boulevard on the north and Sixth Street on the south and had crossed Cherry Avenue on the east and Park Avenue on the west.1 In 1967. the University campus covered one hundred ninety acres, and the University planned to acquire an additional one hundred ten acres within the next nine years.2 Enrollment surpassed 22,000 in the Univer­ sity's fourteen separate colleges - including the new College of Medicine - and more than 3,000 degrees were awarded in May of 1967•

In 1951, the University of Arizona appointed a new President, Richard A. Harvill. Dr. Harvill, who had been a professor and administrator at the University sinoe 193^. has been instrumental in guiding the University through its 3?©pid growth and expansion.

The College of Fine Arts was still headed by Dean A, 0o Andersen in 1950, but he planned to retire as aotive Dean in 1951, retaining the titles Dean Emeritus and Pro­ fessor of Music. At that time, only the music school and

1. Martin, op. clt., p. 264. 2. The Arizona Daily Star. December 17. 1967. P« !• 120 the Pine Arts offices remained in the Fine Arts building; the drama department was housed in Herring Hall, and the art department in the Library building. The University Concert Band, directed by Samuel Pain, enrolled seventy-five men and women, thus becoming the largest band in the history of the University. It recorded "All Hall Arizona" and "Fight Wildcats", toured the State, presented concerts in the University auditorium and on the Library steps, and played for Baccalaureate and Commencement programs. The marching Band, also directed by Mr. Fain, was an eighty-two member all-male unit, again the largest in the School's history. It played at the El Paso football game in El Paso, Texas, as well as at home games, at the University Rodeo, and marched in th<* Fiesta de los Vaqueros Parade. In May of 1950, faculty member George Lotzenhlser organized a new swing bf:

The College of Fine Arts was reorganized in 1951 by its new Dean, John B. Crowder. Educated at the University of Richmond in Virginia and the Eastman School 121 of Music of the University of Rochester, New York, Dean Crowder came to Tucson from the University of Montana where he was Dean of the College of Pine Arts. Dean Crowder, pictured in Figure 7t changed the departmental organization of the School of Music into a single administrative unit and developed two new programs in music education: undergradu­ ate work leading to the degree Bachelor of Music with a major in music education and a graduate program leading to the degree Master of Music Education. Both programs met the requirements of the National Association of Schools of Music.1 With these additions to the curriculum, the sixty- six registered music students were offered eighty-three courses, including individual instruction.

In 1951. John H. Bloom, a graduate of Cornell College and the University of Iowa, was appointed Director of Choral Activities. Jack K. Lee, an Ohio State University graduate who wrote the words and music for "Bear Down, Ari­ zona," became Director of Bands in 1952. And in that same year, Henry Po Johnson, Jr., a University of Arizona gradu­ ate and former faculty member, returned as Director of Orchestras, and James R. Anthony and Eugene T. Conley joined the school of Music faculty to teach music history and voice, respectively.

1. Martin, op. cit.. p. 250. 122

Pig. 7. John B. Crowder, Dean* The College of Fine Arts, The University of Arizona

^Photograph Courtesy of The Arizona Dally Star By 1953t the College of Fine Arts had one hundred music majors with about nine hundred students majoring in other fields registered for music courses. The University of Arizona hosted the bi-annual convention of the California- Western Music Educators Conference which was attended by one thousand music teachers and supervisors and seven hundred students. Men1s and Women1s Glee Clubs were combined into the two-hundred-sixty-voice Choral Society that year and di­ rected by John Bloom. The Choral Society presented the thirtieth annual performance of The Messiah by Handel in 19531 using all student soloists. Mr. Bloom also directed the Symphonic Choir - sixty selected mixed voices - and the Choraliers - a special group of sixteen mixed voices. In 1954, the choruses received the honor of being the first University groups asked to perform for the Arizona Educators Association. In February of 1954, the College of Fine Arts planned its first annual workshop in the fields of art, music, drama, and speech. It was organized, said Dean Crowder, in order "to stimulate creative activity and to give recognition and publicity to the artist and his work." The participants of this workshop included students,

1. The Arizona Wlldoat. February 12, 1954, p. 2. 124 faculty, and alumni of the University of Arizona with in­ terested residents invited to join. In addition to art exhibits, speeches, and dramatic presentations, there were programs by individual groups and the large musical organi­ zations. The University Orchestra, directed by Henry Johnson, featured contemporary American music written by students and faculty of the School of Music. The University Band, which was directed by Jack Lee, presented the follow­ ing selections: A Deserted Farm————— —McDowell-Lee Lonely Landscape—— ——-—-——MoBride Sequoia —— —— ——LeGalsey Variation in Variety Johnson March-— — —DeLuoa American Polk Rhapsody— Grundman1

The program presented by the Symphonic Choir, con­ ducted by John Bloom, included: Spring — « Parrish Year That Trembles Harris To Thee Harris Howl Ye Harris Paper Reeds By the Brooks Thompson Have Ye Not Known-—.—— —Thompson

1. The Arizona Wildcat. February 19, 195^. p. 2. Ye Shall Have a Song- —— ———Thompson Ballad of Brotherhood — Wagner2

In April, 195^. The University held its first annual regional solo and ensemble competition, which was attended by about one hundred high school students. And at the twenty-fourth annual Southern Arizona Band and Orchestra Festival, sponsored by The University in 1955. there were eight hundred participants from twelve high school bands and two orchestras. The University's Opera Workshop, established in 1952 under the direction of Eugene Conley, provided Tucson with another "first" in 1955: opera-in-the-round, in which the audience surrounds the cast. Two Menotti operas were pre­ sented in this manner - "The Medium" which was directed by Mr. Conley and "The Telephone", directed by new faculty member Diran Akmajian.

The University had long realized the necessity of new facilities to accommodate the ever-expanding College of Pine Arts. By 1956 the Art and Drama buildings were com­ pleted at their present location on the corner of Olive Road and Speedway Boulevard, and in 1957 the $195,000 Music building was added to the complex. At that time, the School of Music was the largest department in the College of Pine

1. The Arizona Wildcat. February 19, 195^. p. 2. 126 Arts with about twenty-four faoulty members, one hundred seventy music majors, and 1500 non-music-majors registered for music courses.

In 1957. the fourth annual Arizona Pine Arts Work­ shop was held on the campus with representations from all of the Fine Arts departments. Composer-conductor Morton Gould guest-directed several of his own compositions which were played by the University Band. The Band program also Included Jack Lee's tone poem, "Twilight Serenade." John Bloom directed the Choir's rendition of "Brazilian Psalm" by Jean Berger and "Psalm 150" by Lawrence Morton. And the University Symphony Orchestra, conducted by Henry Johnson, performed Howard Hanson's Symphony No. 2 and presented the world premier of "Concerto in Brazilian Forms" by Tavares.-1- A new band, the Hepcats, was formed during the 1956- 1957 school year. Directed by School of Music student Phil Stookdale, its main task was to provide music for basketball games and dances following the games.

0. M. Hartsell, a Columbia University graduate and former State Supervisor of Music with the State Departments of Education in Montana and Virginia, was appointed to the School of Music faculty in 1957. And in that same year

1. The Arizona Wildcat. March 8, 1957, P« 3« 127 former University of Arizona graduate and faculty member, Robert G. McBride, returned to the faculty. But 1957 was also a sad year for the School of Music. Dean John Crowder died unexpectedly at his home on October 12. Andrew Buchhauser became Acting Dean of the College of Pine Arts until 1958. At that time, the new Department of Architecture was added to the College of Fine Arts, and architect Sidney Wahl Little was appointed Dean. Mr. Buch­ hauser became Director of the School of Music. Activities continued in the School of Music: the Symphonic Choir traveled to San Diego to appear before the National Federation of Music Clubs; the University Band played at the State Capitol Building in Phoenix for the inauguration of Governor Fannin; and the University Orches­ tra performed in nearby cities. Faculty member 0. M. Hartsell was appointed a member of the National Study Com­ mission for Music in Senior High Schools and asked to speak at special sessions of the 1958 Music Educators National Conference.

The 1959-1960 school year was marked by several more "firsts" for the School of Music. A new degree, Doctor of Musical Arts, was offered; a music library was established in the School of Music building; and one of the many musical 128 features of The University of Arizona's Seventy-Fifth Anni­ versary observance was the appearance of the well-known Mexican composer and conductor, Carlos Chavez, with The University of Arizona Orchestra. Among the works performed was Panorama Mexioana which had been commissioned by The University of Arizona for this occasion. Other guest con­ ductors of The University Symphony Orchestra at later dates were Howard Hanson and Aaron Copeland. The University Artist Series featured twelve pro­ grams during the 1959-1960 school year which included the National Ballet of Finland, Carlos Montoya, Pamplona Chorale, the Japanese Takarazuka Revue, and the University Music and Drama Departments' presentation of Rogers and Hammerstein8s Carousel. The growing School of Music had, at that time, one hundred fifty music majors, twenty-three faculty members, and three graduate assistants. Many of its graduates made var­ ious achievements in the field of music - typical of these was the December, 1959. publication of "Christmas on the Trail", written by Joseph Rottura while he was a student in the School of Music. Appendix A has a complete list of the School of Music faculty. Several new members in the early 1960«s were Rodney Mercado, Richard B. Faith, Wendal S. Jones, Edward W. Murphy, Lloyd M. Weldy, and Kasper D„ Malone. 129 In the Spring of 19&3. faculty member 0. M» Hartsell was elected President of the Arizona Music Educators Assoc­ iation. And, in the Summer of 1963, he was appointed Director of the Twelfth annual High School Fine Arts Summer Session - a position he still retained in 1967. Originally started by Hartley D, Snyder in 1952, the first High School Summer Session was only for music students. By 19&3. *•* had become a full Fine Arts Summer Session with study oppor­ tunities offered in eight subject areas: music, art, speech, drama, photography, dance, radio-TV, and journalism. In May of 1963, the first Doctor of Musical Arts degree was awarded to Page Long. Mr. Long, who received Bachelor's and Master's degrees in music from Oberlin and the University of Iowa, majored in organ and minored in composition at the University of Arizona. For a list of all Doctor of Musical Arts graduates, see Appendix B. University Band Director Jack Lee was elected Grand President of Kappa Kappa Psi in 1963, and the national college band convention, held on the University of Arizona campus, drew five hundred bandsmen. Orchestra Director Henry Johnson was granted a one-year leave of absence to complete his music drama, and in his absence the Orchestra was directed by faculty member Wendal Jones.

In April, 1964, La Boheme by Puccini was presented by the University Opera Theatre, Eugene Conley, Director. This production was given in commemoration of the Opera Theatre's tenth anniversary. Also In 1964, the Department of Architecture was established as a separate College under Dean Sidney Little. Robert L. Hull was appointed the new Dean of the College of Pine Arts. Former Dean of the School of Pine Arts at Texas Christian University and Conductor of the Port Worth Sym­ phony Orchestra, Dean Hull received his musical training at Eastman School of Music and Cornell University. By the Fall of 1965. the University of Arizona cele­ brated its eightieth year with more than 20,000 students on campus. In 1966, over 3.000 degrees were awarded by the University's thirteen separate Colleges - the new College of Medicine was scheduled to open in I967. In 1966, the Marching Band, which had a membership of about one hundred ninety-five, received its first full- time assistant Director, Richard Peters. The following year, Floyd Weil was appointed its second Assistant Direc­ tor. The Band was asked to play at the televised Super Bowl Professional football game championship in Los Angeles and at the East-West All-Star Football Game In San Francisco. At the 1967 High School Band Day, the University was host to 3200 high school students from forty bands. Under the direction of the University Band Directors, the massed bands performed music from Camelot and "America the Beautiful." 131 Several of the more recent additions to the School of Music faculty Included Susann McDonald, Robert Muczynski, and Igor Gorin. Robert Muczynski, an MENC Ford Foundation composer, completed his choral setting of Emily Dickinson's "I Never Saw a Moor," and his Symphonic Dialogues was per­ formed by the University Orchestra, Faculty member Richard Faith played his Second Piano Sonata, op. 22. at the Univer­ sity in its first performance. December, 1967. marked the premier performance of Orchestra Director Henry Johnson's music drama, The Mountain. Completed during Mr. Johnson's leave of absence, The Moun­ tain employs tales of Arizona's Superstition Mountains. 1967 also brought national recognition to the School of Music when faculty member Professor 0. M. Hartsell was elected President of the Western Division of the Music Educators National Conference. The School of Music's numerous activities in 1967 included productions of Rogers and Hammerstein's Oklahoma. Tales of Hoffman by Offenbach, Bizet's Carmen, and Belshazzar's Feast by Walton. And the University Artist Series continued its presentation of such noteable events as the Detroit Symphony Orchestra, Roger Wagner Chorale, the Four Romeros, Rudolf Serkin, and the Olaeta Basque Festival. Musical Activities in the Schools During this same period, the major change in State rulings concerning music teachers was the elimination of the Special Certificate. By 1963, a3-l new teachers were required to obtain either an elementary or secondary basic certificate with a music endorsement. Another "first" for the State of Arizona was the 1966 appointment of its first State Supervisor of Music, Raymond G. Van Diest. Mr. Van Diest was appointed to the staff of the State Department of Public Instruction by Dr. Sarah Polsom, State Superintendent.

The growth in the public schools of Tucson was also most impressive in the past seventeen years. For the 1950- 1951 school year, Tucson School District Number One employed ^98 elementary teachers with an average school attendance of 12,766, and 169 high school teachers for 3>5^7 students. The combined budgets for both categories totaled over four and one half million dollars. A Statement of Philosophy for the District was formulated at that time and read:

1. Minutes of School Board Meetings, Tucson School District Number One Record, Book VI, p. 2163. Statement of Philosophy for Tucson School District Number One The Program of the Tucson Public Schools is based upon the belief that every child and youth in Tucson (regardless of sex, or economic status, mental or physical condition, creed or race) should realize a well-balanced education, which will attempt to: 1) Instill within him desirable qualities of char­ acter, with special emphasis on the concept of right and wrong as interpreted by the American democratic philosophy, and create within him a desire to do right. 2) Prepare him to assume the full responsibilities of citizenship in all its aspects - local, state, national and world. 3) Build within him an understanding and apprecia­ tion of all people, and stimulate the practice of co-operation with them. 4) Help him to understand and appreciate the place of the home in the social order and to develop those qualities which will enable him to become a contributing member of his own home. 5) Enable him to build and maintain a healthy and useful body and to develop a well-adjusted emotional life. 6) Develop his abilities to the fullest extent possible in subjeet matter and skills, using curri­ culum materials adapted to his special needs, capacities, and aptitudes. 7) Equip him to enter an occupation or further training suited to his abilities, which will offer reasonable opportunity for personal growth and social usefulness. 8) Give him as many opportunities as possible to explore, evaluate, and develop worth-while leisure time activities and aesthetic appreciations. 9) Give him opportunities to develop within him­ self the intellectual ability to be exploratory, to think critically and independently and to assume a creative attitude toward life.1

In 1950, Mr. ¥. A. Sewell was relieved of half of his high school teaching duties and given the complete supervision of instrumental music in grades one through twelve. Summer band sessions were conducted that year by music staff members Tom Burges and Paul Grimes, with the pro­ ceeds from the classes used to purchase new music.3 New Instrumental music teachers were added in the early 1950's, some of whom were Lauritz Bjorlie, James B„ Glasgow, P» Wayne Webb, and Lamont Kay Webb. A complete list of District One music faculty is given in Appendix D. By the 195^-1955 school year, the instrumental department had an enrollment of over 2,000 students.

In 1956, Mr. Sewell retired after completing thirty- seven years with Tucson School District One. Mas: T. Ervin was appointed Coordinator of Music at that time, and Carroll Einehart continued as Supervisor of Elementary Vocal Music. New personnel were added to the staff, including Joseph Cordelro, Yvonne M. Tait, Harry D. Pindley, Willis R. Thompson, and Carlyle P. Webb.

1. Minutes of School Board Meetings, Tucson School District Number One Record, Book V, pp. 1983-84. 2. Ibid., p. I986. 3. Ibid., p. 2004. A statement was issued during this school year by the music department concerning school-purchased instru­ ments: The school system should provide those instru­ ments which, because of their expensive nature, size and/or initial unpopularity are not commonly purchased by beginning instrumentalists. These in­ clude: bass clarinet, bassoon, bass drum, bass trombone, bass viol, baritone horn, baritone saxo­ phone, cello, cymbals, E-flat clarinet, French horn, oboe, organ, piano, sousaphone, street drum, tuba, and tympani. Only in exceptional instances should the school system be expected to furnish: violin, trumpet, E- flat saxophone, tenor saxophone, flute, piccolo.*

By i960, District Number One*s forty-seven elemen­ tary schools received over 5t200 visitation-demonstrations by music helping teachers under Mr. Rinehart's direction, and 2331 elementary children studied instrumental music. The nine junior high schools had 3,599 students in vocal classes and 1,084 in instrumental. There were 969 students in vocal groups in the four senior high schools and 688 en- 2 rolled in Instrumental study. The ever-expanding system required additional teachers. New faculty in the 1960's included Charles L.

Steele, Orin F. Spalding, lane D9 Justus, George Spence, William B. Iveson, Dale A, Brubaker, John B. McMullen,

1. Minutes of School Board Meetings, Tucson School District Number One Record, Book IX, p. 5422. 2. Ervln, Max T. Year-end Report of Tucson Public Schools Music Education Department, June 1, i960. Robert A. Edgington, and B. Do Morriss. A complete list of the music staff will be found in Appendix D. In 1962, the University of Arizona Symphony Orches­ tra's first "Concert for Moderns" was presented in the University Auditorium for 2,500 junior high school students and was considered most successful. During the I962-I963 school year, the Tucson Public Schools music faculty began an annual series of chamber music programs for District Number One students. That year, two string quartets and one woodwind quintet presented forty-seven programs.1

In 1967, Tucson "School District One celebrated its one hundredth anniversary. In one hundred years, it had grown from a one-room, one-teacher school for a few boys to a 228 square mile district with fifty-five elementary schools, thirteen junior high schools, five senior high schools, three special education schools, and several more schools under construction. Over 2,000 teachers instructed more than 50,000 students, and the combined elementary and high school budgets reached almost #36,000,000.2 The District One music department was selected as one of fifteen most outstanding in the nation. In addition to over 2,000 classroom visitations by six music helping

1. Minutes of School Board Meetings, Tucson School District Number One Record, Book XVI, p. 93l4. 2. Minutes of School Board Meetings, Tucson School District Number One Record, Book XX, p. 11959. 137 teachers, many elementary classrooms received sixteen television broadcasts which were organized and directed by Mr. Einehart. Over 3.000 elementary students studied in­ strumental music in the schools. In Junior high school, more than 7,000 students were registered in instrumental and vocal music classes, and about 3,000 high school students were involved in the music program. These students received instruction from sixty-four full-time music teachers.^ In 1967, District One also sponsored city-wide fes­ tivals such as the Junior High Vocal Festival, Area Vocal Festivals, an Original Music Festival, and All-City High School Band, Orchestra, and Vocal Festivals. Faculty ensem­ bles included three string quartets, a woodwind quintet, and a brass choir, which presented over seventy chamber music programs in the elementary schools, and a faculty chorus and orchestra performed for many other functions.

The smallest in size of all the school districts, Flowing Wells encompassed an area of 5.2 square miles in 1950. At that time, it was still an elementary district with only one school, thirteen teachers, and less than three hun­ dred students. Duane F. Miller, Flowing Wells' first full-time music teacher, was employed there in 1951. By 1955» a

1. Ervin, Max T. Year-end Report of the Tucson Pub­ lic Schools Music Education Department, July 1, 1967. 138 second music teacher was added, Eeba Lucier, who provided Instruction in vocal music while Mr. Miller taught instru­ mental classes. Although small, the school was "a frequent winner in Fiesta de los Vaqueros parades because of its excellent band,...has over $8,000 invested in musical in­ struments, with one hundred children receiving instruction."1 In 1956, the Plowing Wells High School was comple­ ted, and in 1964 the District increased its total area by annexing the Laguna School District. By 19&7. Plowing Wells had one high school, one Junior high school, and four ele­ mentary schools, with one hundred twenty-five teachers serving over 3.300 students. The music staff was increased 2 to a total of five teachers. For a complete list of music teachers in Plowing Wells School District, see Appendix E.

Amphitheater School District served an area of approximately one hundred twenty square miles in 1950 and had three schools, over one hundred teachers, and almost 2,500 students. William Funic joined the staff in 1950, and the high school curriculum included both vocal and instru­ mental music. Elementary music supervisors Florence Buchanan and Pauline Harrington were employed by the Amphitheater School

1. The Arizona Daily Star. "Back to School Section," August, 1954» P» 15* 2. Flowing Wells School District. Written Question­ naire, 1967. District for several years* Their duties included the supervision and/or direction of vocal music in the elemen­ tary schools. Both of these positions were dispensed with in 1966.1 By I967. Amphitheater School District had built its second high school and had a total of nine elementary and junior high schools plus a special eduoation school. The District employed over two hundred teachers for approxi­ mately 6,000 students. The music staff had increased to six: two elementary and junior high instrumental music teachers, two high school instrumental music teachers, and two high school vocal music teachers. Appendix P has a complete list of the music teachers in the Amphitheater School District.

Sunnyside School District, which began in 1921 with one school and one teacher, had grown rapidly through the war years. By 1950. it encompassed sixty square miles and had two elementary schools, twenty-four teachers, and an average attendance of over 800. Its first music teacher, George Lamoureaux, was employed in 1952, and, although Sunnyside has never had a music supervisor, instruction in music has been offered continuously since 1952.

1. Amphitheater School District. Written Question­ naire, 1967. 2. Ibid. 140 The Sunnyslde High School was built in 1957. and, by 1967, the District had a total of seven schools, more than two hundred teachers, and a student attendance of al­ most 6,000. Nine music teachers are currently employed in the Sunnyside School District.1 The names of these teachers will be found in Appendix G.

In the early 1950's, the Catholic-parochial school system employed nearly one hundred teachers with a student enrollment of about 4,000. The three high schools had al­ ready been built and, in addition, there were nine elementary and intermediate parish schools and one kinder­ garten. St. Joseph's Academy, begun in I870, appointed music teacher Sister Anne Marguerite for the I967-I968 school year. Its music curriculum included piano, glee clubs, and choral work at that time.2 Appendix H has a complete listing of its music faculty. Immaculate Heart High School, which was started in 1934, moved to its present location on Bast Magee Eoad in 1962. Its first full-time music teacher was Sister Miriam Claire who began work in music in 1962 and was assisted by

1. Sunnyside School District Number Twelve. Written Questionnaire, I967. 2. St. Joseph's Academy. Written Questionnaire, 1967. 141 several part-time teachers. The present teacher at Immaculate Heart High School is Sister Barbara Ann who instructs classes in music appreciation, general music, chorus, and piano. Students there participate in piano and vocal recitals, operettas, and spring concerts.1 A complete list of the music teachers at Immaculate Heart High School can be found in Appendix H»' Salpointe High School, which opened in 1950, offers instruction in band. Its first Band Director was Father William Welch who started there in 19560 Succeeding Band Directors are listed in Appendix H.

Penster Ranch School, established in 19^> employed its first music teacher, Onnalee Grimes, in 1962. Mr. Richard Haefer was appointed for the 1967-1968 school year and instructs classes in music appreciation and chorus.^ Both are listed in Appendix I.

Continuing Community Musical Activities The Tucson Symphony Orchestra has provided many enjoyable programs for Tuosonlans through the years.

1. Immaculate Heart High School. Written Question­ naire, 1967. 2. Salpointe High School. Written Questionnaire, 1967. 3. Penster Ranch School. Written Questionnaire, 1967. 142 Beginning in 1952, the ninety-member symphony was directed by its first full-time conductor, Hungarian-born Frederic Balazs. Mr. Balazs Inaugurated the "Symphony Sil­ houettes", a series of free lectures which he gave prior to each concert explaining the background of the music and the composers to be heard in the coming program.1 The Tucson Symphony Women's Association was also formed in that same year, with Mrs. Charles H. Pascoe elected its first Presi­ dent. Mr. Balazs remained Director of the Symphony until 1966. He was followed by the Symphony's present Conductor, Gregory Millar, who was a protege of world-famous Leonard Bernstein. The Tucson Symphony Orchestra can well be proud of its accomplishments, for, in forty years, it has grown from a string quartet to a full ninety-piece orchestra capable of playing the most demanding music. Typical of the Symphony's recent programs is the one presented on October 18, I966, which marked Mr. Millar's first appearance as its Director. Overture to Egmont-- —Beethoven Symphony No. k in A Major Mendelssohn On the Waterfront -Bernstein Daphnis et Chloe, Suite No. 2 —Ravel

1. The Arizona Wildcat. November 19, 1952, p. 6. In 1958, the Youth Symphony was organized under the auspices of the Tucson Symphony by Mr. Balazs and George Lotzenhiser of the University Sohool of Music staff. Di­ rected by Mr. Balazs, with Mr. Lotzenhiser acting as his assistant, the Youth Symphony was expressly designed to help young Tucsonians further their musical development by both the weekly training session and by opportunities for scholar­ ships for music lessons. Now in its tenth year, the group is directed by Symphony Conductor Gregory Millar and assist­ ant James Stevenson of the Tucson District One music staff.

Begun in 19^8, the Arizona Friends of Music has continued to sponsor programs of chamber music by visiting organizations, such as the New York Woodwind Quintet, Pro Musica, and the Budapest Quartet, to name just a few, as well as local groups. Headed in 1967 by James Anthony of the School of Music faculty, the Friends of Music featured a concert "by the new Arizona Chamber Orchestra on its Fall, 1967, program. The Arizona Chamber Orchestra will be des­ cribed in The Changing Musical Scene.

Occasionally, the years bring sad changes to organi­ zations. One such change was the death of Eduardo Caso In I965. Founder of the very active Tucson Boys' Chorus, Mr. Caso directed the group in extensive tours of the United States, Canada, and Europe. But, happily, the Chorus has 1^ remained a continuing organization. Jeffrey Haskell was appointed its new Director, and the Chorus has continued its previous schedule of programs, concert tours, and guest appearances on televised programs.

The Tucson Music Teachers Association, organized in 1947 as a member of the Arizona Federation of Music Clubs and the National Federation of Music Clubs, continued its growth, reaching a membership of over one hundred by 1967* Its members present several small recitals each year, and an annual ensemble concert is sponsored by the Club for the benefit of the members* pupils. James Anthony and 0. M. Hartsell, both of the University's School of Music faculty, co-directed the 19&7 ©vent. Annual workshops are held for the members with outstanding guest lecturers such as Frances Clark, Princeton, New Jersey, conducting the sessions.

The Tucson Festival of the Arts 1950 became a memorable year for Tucson, for, in that year, Elenore Altman of the University of Arizona music faculty took the first steps toward the fulfillment of her dream - an annual Tucson Festival of the Arts. In the Spring of 1950, Professor Altman gathered together a group of creative Tucsonians: writers Frances Gillmor, Bosemary Drachman Taylor, and Elliott Arnold; Dr. Melvin Solve, Head of the English Department of the University of Arizona; social anthropologist Dr. Edward Spicer; and Father Victor B. Stoner, priest and historian. Meeting in Professor Altman*s home, this group worked to establish the Festival, which became a reality just one year later. The Tucson Festival Society was incorporated in 1951 with twenty-three members serving on the Board of Directors. Elliott Arnold was elected President of the Organization and William Hawes Smith Executive Director. Peter Marroney of the University Fine Arts faculty was appointed supervisor of over-all dramatic direction, and Al Hamilton was placed in charge of technical phases, sets, and costumes. The 1951 Festival of Arts was scheduled to last for a two-week period in which music, dancing, lectures, arts and crafts, and drama from the Southwest*s past were re­ vived. The theme of the pageant was directly related to the varied cultures of the Southwest as portrayed by its early residents: the Indians, the Spaniards, and the early white settlers. Representatives of the Apache, Yaqui, and Papago tribes were guests at the Festival. It was a most ambitious undertaking with many events planned for each day. One highlight of the program was the April 6 performance of winning compositions from the Festi­ val contest. Many of the selections were composed by the University of Arizona School of Music faculty, as, for example s Baritone Selections from Arizona Hi Ho——Andersen & Pease Sonata for Two Pianos Buchhauser Cuatro Milpas por un Quintetto McBride Featured during the evening of April 6 was a review of Southwestern folklore and folk dances, with the Univer­ sity Stadium and practice field taken over by Indian encampments and bands of troubadours singing Southwestern folk songs. That evening's pageant was opened by the Cere­ monial Song of a Papago Chanter - the Chant of assembly to the village council.1 The Chant was followed by the Black Mountain Dancers who Illustrated the ceremonial dances of the Indian people, the Spanish Dancers from Hondo, New Mexico, the Carllstas singing modern ballads, and Juan Urlas singing folk songs of old Mexico.2 Songs of the early white settlers were also featured, some of which were the hymnal- type songs of the Mormon pioneers, presented by their descendants. These songs have an Interesting history; Mormon folk singing developed during the early and desperate stages of their migration. One group, so poor they couldn't afford ox-drawn covered wagons for the trek, created "The Hand Cart" - one of Fri­ day night's folk songs - for hand carts were pushed and pulled nine hundred fifty miles from Council Bluffs, Iowa, to Utah.3

1. Thackeray, Guy. "Song Symbolic of Festival" (Tucson Dally Citizen. April ?, 195L P. 3)* 2. Ibid. 3. Tucson Dally Citizen. April 3. 1951. P» 5» On April 7. the ninety-two member Phoenix Symphony Orchestra, directed by Robert Lawrence, presented a program as part of the Festival, which featured soloist Bidu Sayao, Brazilian-born Metropolitan Opera Star. The final presen­ tation of the 1951 Festival was "The White Shell Cross," a dance-drama created especially for the Festival by novelist Oliver LaFarge and choreographer Letitia Evans. Its origi­ nal music was composed by Robert Parris. The drama Itself was set in the Southwest of about 1850 and concerned the meetings and conflicts of various Indian and non-Indian groups with the resulting miracle of the White Shell Cross. The cast of sixty-three was directed by co-authors LaFarge and Evans, with Peter Marroney overseeing the entire pro­ duction. Choral music was provided for the occasion by the Tucson High School Girls' Chorus, under the direction of Madge Utterback, and the music score was played by the seventeen-piece Little Symphony Orchestra, Samuel S. Fain, Director.1

The Opera Guild of Southern Arizona In 1957, Tuoson acquired another major musical organizer, Ruth Booth. Mrs. Booth had been an ardent fan of the Metropolitan Opera Company in New York. Finding a lack of operatic opportunities in Tucson, she immediately

1. Tuoson Daily Citizen. April 7, 1951, p. 3. 148 began establishing a Guild in Tucson which would be an affiliate of the Metropolitan Opera Guild. By 1958, with the assistance of Mrs. Charles H. Pascoe, a leading member of many musical organizations and the Guild's first President, Mrs. Booth was able to accom­ plish this project. Organizing members of the Opera Guild of Southern Arizona, in addition to Mrs. Booth and Mrs. Pascoe, represented many of Tucson's musical groups:1 The University of Arizona School of Music Faculty John Bloom, Eleanor Bloom, Diran Akmajian, James Anthony, Marguerite Ough, Eugene Conley Tucson Symphony Association Pred Armstrong, Frederic Balazs, Isabel Fathauer Tucson Civic Chorus Harold Porter Arizona Friends of Music Robert Bretall Sigma Alpha Iota Esther Dunipace Saturday Morning Musical Club Elizabeth Healy Federation of Music Clubs Margaret Thorp Tucson District Number One Music Department Carroll Hinehart Other founding members: Marjorle Ashcraft, Christine Nelson, Mary Fabian, Harvey Nelson, and Kathryn Helnemaxu

1. Booth, Ruth. Written Questionnaire, 1968. By May of 195°, the membership had reached one hundred - a necessary number in order to become the Metro­ politan's Twelfth Affiliated Guild. An election was held and a constitution and by-laws adopted. While the Guild itself does not produce operas, it does assist others in singing and producing opera through funds, volunteer services, and by providing platforms and audiences. Its main purpose is to - Reflect in our southwestern area the vigorous and widespread growth of operatic activities throughout the country. Its aims: to stimulate an appreciation of opera and to encourage parti­ cipation in opera at all age levels in Tucson and Southern Arizona.1

The Guild's activities include opera dinners, scholarship luncheons, benefit festivals, Friday morning previews of the operas that will be broadcast from the Met­ ropolitan Opera Company on Saturday afternoon, and evening lecture programs at the Tucson Art Center, Amphitheater High School, and the Tucson Garden Club. Many young singers have been helped by the Guild, including Carol Kirkpatrlck, Richard Clark, and Anna Marie Riesgo - all of whom were University of Arizona School of Music students.

1. Ibid. 150 New Community Musical Activities During the period from I950-I967. several new per­ forming groups made their Initial appearances. What is now known as the Tucson Civic Chorus was begun in 1950 as the Desert Singers Guild and directed by Stanley Norman. He was followed by Harold Porter of the District One music staff, who was Director of the organization in 195^ when its name was changed to the present Tucson Civic Chorus. In 1955. under Mr. Porter's direction, the one hundred twenty- five member group performed Mendelssohn's Elijah, with the title role sung by Eugene Conley of the University School of Music faculty.1 Since then, the Chorus has presented many complete programs and has often appeared with the Tucson Symphony Orchestra. Subsequent Directors of the Tucson Civic Chorus are all listed in Appendix K.

A new band was started in Tucson in January of 1951 - the Tucson Boys' Band, organized and directed by Charles Hall. It grew rapidly and, in i960, was changed from an all- brass band to full instrumentation. The Band has a present membership of forty-one and is directed by Henry Devuyst.

In 1955, the Tucson Symphonette was organized under the auspices of the Tucson Musicians' Association for the purpose of providing Tucson with light, or "Pops", music,

1. The Arizona Wildcat. February 4, 1955. P» 5» 151 played by a professional orchestra. Directed by its present Conductor, Georges DeMeester, the original group consisted of twenty-two members and presented four concerts each year. By 1967, twelve programs were given by a fifty-piece orch­ estra.

In 1955. also, Dr. Sherwood Burr organized the Doctors' Band - a group of Tucson physicians interested in continuing their musical activities. The Band has appeared at benefit programs, such as the Tucson Medical Center Auxiliary's Thirteenth Annual Donor Dinner, in 1966. On that occasion, the Band presented "A History of the Doctors' Jazz Band" with selections reminiscent of its eleven-year history. Still directed by Dr. Burr, the Band now lists twenty-two members.

The Changing Musical Scene "The history of music in Arizona has been one of creative change, reflecting the work of dedicated citizens, oommunity groups, schools, colleges and universities of the State."1 It is, of course, inevitable that certain changes in the Tucson musical scene will be sad ones. One such development already scheduled to take place in I968 is the closing of the Temple of Music and Art. Established by the

1. Cross, Shaw and Scheifele, op. clt., p. 315« 152 Saturday Morning Musical Club in 1927. the Temple was the center of Tucson's musical life for many of its forty years* But change also means new activities. The premier performance of the Arizona Chamber Orchestra, organized and directed by Dean Robert Hull of the University of Ari­ zona School of Music, took place in the Spring of 1967. This program included: Overture to the Rival Sisters— —-Purcell Holberg Suite • —Grieg

For its I967-I968 season, the Chamber Orchestra was scheduled to present three "Connoiseur Concerts," the first two to be given in the Fall of 1967 and directed by Henry Johnson, University Symphony Orchestra Director. The October, 1967, program was sponsored by the Arizona Friends of Music and featured the following selections: Serenade for Tenor Solo, Horn and Strings, op. 31 Britten Suite for String Orchestra—— —-DeLamarter Variations on a Theme of Tchaikovsky———Arensky Concerto for String Orchestra in F Minor-—-Durante Where will Tucson go from here? Having arrived at a true "Miracle in the Desert," what is there left to do? Perhaps that can best be answered by a 1967 overview of The Old Pueblo. In 19D7» Tucson is a flourishing, growing community with an expanding economy. Ever willing to undertake numer­ ous civic improvements, Tucson's long-range plans include preparations for 500,000 residents within the next eight years. No longer despondent over the acquisition of a terri­ torial university, Tucson proudly considers The University of Arizona one of its greatest assets. Many new schools have been added to its four major school districts, and several more are presently under construction. Tucson has proven itself capable of supporting a large variety of musical activities within its own city as well as providing enthusiastic audiences for its many visit­ ing artists. Guest soloists in I967 alone included pianists Dimitrl Bashrov, George Bolet, Jose Iturbi, and Budolph Serkin; harpist Susann McDonald; baritones Igor Gorin and Franco Iglesias; and organists Frederick Geoghegan and Robert Flood. The Los Angeles, Detroit, Stuttgart, and Phoenix Symphonies visited Tucson, and the Roger Wagner Chorale was heard on the University Artist Series. In addition to the many programs presented under the auspices of the University of Arizona and the Tucson Public Schools, many small ensembles were arranged by Tucsonlans interested in music as an avocation, and Tucson* s major

1. The Arizona Daily Star. December 31, 1967> P» ^B musical organizations were most active in I967. Each of these endeavors has increased tremendously in size and in scope, and there is no reason to assume that they will remain at status quo at this time. Although one must always realize the possibility that some of Tucson's present musi­ cal activities may not survive the passing years, still all predictions can only be that of future growth and develop­ ment and expansion. As in the past, future changes can only be effected by dedicated effort on the part of Tucson's music lovers, but such accomplishment is reward in itself. To paraphrase Dr. Eufus Bernard Von KleinSmid,1 surely Tucsonians have accomplished that worth accomplishing. And Tucson is well on the way to the fulfillment of Dr. Serge Koussevitsky*s prediction that the southwest will become "one of the greatest cultural centers of the world."

1. The Tucson Citizen. October 23, 1927, p. 8. 2. The Arizona Dally Star. April 8, 1951. P« ^A. APPENDICES APPENDIX A

LIST OF MUSIC FACULTY: THE UNIVERSITY OF ARIZONA

Name Academic Year1 W. M. Foss 1892-93 C. G. Hoover 1906-07 Mrs. W. J. Kirkpatrick 1908-09 Frances Crowell —1909-10 Angela E. 0'Byrne • 1910-11 Ida Whittington Douglass 1915-16 Clark Learning— 1916-17 William D. Wheatley 1918-19 Maude Darling Weaver 1919-20 Orlee Ellis Weaver Julia Hebeil* 1920-21 Charles Fletcher Rogers 1924-25 Guy E. Tufford William Arthur Vogel Nevora Bergman 1926-27 Joseph Green Louise Valverde Kelley Ada Pierce Winn Dagna Berg 1928-29 Audrey Beryl Camp Elizabeth Amelia Cook Joseph 0. DeLuca Ernest John Schultz

1. Dates of Appointment *Member of the 1967 Music Faculty 155 156 Name Academic Year Elenore Altman* 1929-30 Roy Williams Bollin Pease 1931-32 Arthur Olaf Andersen 1934-35 John L. Lowell Maurice F. Anderson 1935-36 Oscar Colcalre Henry Pickens Johnson, Jr.4* Henry N. Switten Robert Ross 1936-37 Iver Coleman 1937-38 Frank Joseph Prindl Anna Mae Sharp*

Andrew Buchhauser* -1938-39 Hartley D. Snyder Ruth Frautnick 1939-^0 William E. Koogler George C. Wilson Owen T. Hewitt • i9Jj.3-.Zj4 Louis D. Uhrig Robert 0« Connor 19^4-45 Sarah Mason Reece Anita Kalis (Mrs. Joseph Sammarco)* ——1921.5-46 Samuel S. Fain* —1946-47 Loren E. Hollenbeck Edna E. Church* 1946-49 George W. Lotzenhlser Marguerite Ough* Lyle M» Young John H. Bloom* -1951-52 John B. Crowder

*Members of the I967 Music Faculty 157 jasjaa Academic Year James Raymond Anthony* • 1952-53 Eugene Thomas Conley* Henry Pickens Johnson, Jr.1*5, Jack Kenneth Lee* Carroll A. Rlnehart Wilbur J. Peterson —• 1954-55 John M. Stockdale Diran Akmajlan* • •—• —1955-56 Benjamin M. Bakkegard Prank Simon Robert C. Lamm 1956-57 Robert A. Emile 1957-58 Onnie Michael Hartsell* Robert Guyn McBride* Emilio Osta Donald M. Hardlsty 1958-59

Efrim Fruchtman —1959-60

Kasper D, Malone* • 1960-61 Rodney M. Meroado* Lloyd Weldy* Carole Wilson Richard B. Faith* 1961-62 Dorothy Strickland Johnson Wendal S. Jones Edward Wright Murphy*

Karyl H. Gonzales- •—• 1962-63 Walter G„ Smith Kathryn Eskey- 1963-64 Susann ^Donald* Russell Sherman Dennis Wilkerson*

Robert Leslie Hull* 1964-65

1. Professor Johnson returned after an absence of fourteen years.

*Members of the I967 Music Faculty 158 Name. Academic Year Robert Muozynski* 1965-66 Wallace David Rushkin Elizabeth Chadwick* 1966-67 Igor Gorin* Roy A, Johnson* Thomas Lommell* Richard Peters* Gordon Epperson* 196?-68 Oscar Iotti* Ozan Marsh* John McEldowney* Ployd Weil*

*Members of the 19&7 Music Faculty APPENDIX B

LIST OP GHADUATES IN MUSIC: THE UNIVERSITY OP ARIZONA

Name Degree Year Alene Drake Girton Baohelor of Music------1928 Sister Mary Eulalia Kelly Dorothy Obedience Hauser—-—Bachelor of Music ——1929 Joe Maples Zena Oliver Marjorie Grace Slough Isabel Harter Urban Sister Mary Eulalia Kelly Master of Music 1929 Hazel Alma Buente Bachelor of Music 1930 Mary Hennessy Prances Irene Kanen Heloise Marion McBride Evelyn Josephine Mearns Esther Louise Mueller Gwendolyn Noon Helen M. Streigel Elizabeth Jane White Dallas Franklin Kilcrease Bachelor of Music 1931 Ellen Arleen Slette Lucille Medora Best Bachelor of Music —1932 Sylvia May Branson Veda Lucile Case Genevieve Kanen Betty Sharon Light Jane Plornell Stewart Ellen Ruth Terry Margaret Mae Webster Marjorie Olga Baker— -Bachelor of Music —1933 Betty Bandel Mary Elizabeth Gholson Henry Pickens Johnson, Jr. Robert Guyn McBride Emllie Louise Paul! 159 160 Name Degree Year Marian Jane Brownless-———Bachelor of Music- —-—.-1934 Lula Hall Mertice St.Clair Jacobson David Nathaniel Murdock Elma Pace Letty A. Patterson Hay Hydene West Maurice Franklin Anderson——-Bachelor of Music--- —-1935 Adelaide Marcelline Bontempo Helen Hope Coleman Mary Beatrice Corkill Mary Louise Enochs Esther Ede Greason Alice Dougherty Hopkins Prances Harmony Huddleson Myrtlebelle Jarrett Edith Forrest Leverton Metta Jane Schnabel Edith Berrian Strayer Andrew Broadus White Henry Pickens Johnson, Jr. Master of Music °-—1935 Robert Guyn McBrlde David Nathaniel Murdock Katherine Lois Huffman —Bachelor of Music 1936 Herman Noviok Lottie Frances Parks Inez Frances Rice Emilia Spezia Maurice Franklin Anderson-—Master of Music—— ——193& John Strong Glasler Camil Van Hulse Andrew Broadus White Andrew William Buchhauser Bachelor of Music 1937 Tom King Burges Lawrence Orville Campell Nanee May Davis Geneva Elizabeth Dearing Mary Elizabeth Byrd Dowell John Carolus Fritz Phoebe Elizabeth Green Margaret Jane Loomis Eugene Brookman McKay Milton Karstadt Rasbury 161 Name Degree Year Harry Pooler Rickel Bachelor of Music 1937 Katherlne Georgiana Holle George Anson -—Master of Music • 1937 Myrtlebelle Jarrett Herman Novick Robert Wallace Boss Anna Mae Sharp Leslie Odell Brewer • Bachelor of Music 1938 Esther McGeorge Dunipace Harriet Eyer Prissell Garland Thomas Hampton Esther Rasohe Hollls Ulysses Simpson Kay Margaret Angelyn Pearson Dorothy Marie Ward Mary Elizabeth Beck Master of Music 1938 Andrew W. Buchhauser Milton Karstadt Rasbury Jean E. Williamson Louise Butler • -^Bachelor of Music- 1939 Perald Buell Capps Leon Wo Gray Edwaiv. Howard Halgedahl Kathryn Gretchen Hertz Bonnie Leigh Keller Marcelene Fentress Lewis Montague A. Machell Betty Rigg Patricia Tweed Seymour Wallach Eunice Marcia White John Arthur Larson———'—-—Master of Music- -1939 Frank Joseph Prindl Harry Pooler Rickel Barbara Joan Adams-- .«——Bachelor of Music- ———19^0 Elizabeth Ann Bolton Paul Lonsdale Grimes Janice Isabel Hemenway William L. Knighton Katherlne Clark Ney James Louis Palmer Esther Rasche Hollis Master of Music- . 19^0 162 Name Degree Year Frenck DeGrazia— —— —----Bachelor of Music-————1941 Eelene DeMund Weltha Ann Graham Flossie Nell Hagan Lucille Lockhart Aram Phlllboslan Leslie Odell Brewer Master of Music —-1941 Perald Buell Capps Marguerite Sutor Hall Garland Thomas Hampton Kathryn Gretchen Hertz Mary Elizabeth Bradshaw- —Bachelor of Music- ——..1942 Raymond Harrison Kelton Inez Lillian Lamb Kenneth Warren Welle Martha Hollingsworth Ersklne-Master of Music -1942 Raymond Harrison Kelton John Thompson Moffett Aram Edward Phlllboslan Louis Dallas Uhrlg Eleanor Birdman-- ——Bachelor of Music- —1943 LaVerne Dayton Mertice St.Clair Master of Music 1943 Ray Bishop Ray burn Master of Music 1944 Marilyn Henderson • Bachelor of Music 1945 Helen Becker Smith Cecile Schramel Noll Master of Music 1945 Elizabeth Jane Eckenrode——Bachelor of Music— —1946 MarJorie Nelson Park Mary Ellen Mattice Bachelor of Music 1947 Charlie Vere Rldgely Francis Hamilton Burke— -Master of Music 1947 Irving Coretz • Bachelor of Music 1948 Louise Claire DuBois Jacqueline Salyards Grant Gist Sharman Arthur S. Wilkinson Name Degree William Luke Knighton Master of Music Robert Carson Lamm Hilda Kahan Lieberman Virginia Gayle Smith Robert Louis Bunyard Bachelor of Music -19^9 Alfred Miles Clifton Alice Elizabeth English Elma Mae Henderson Lyal Mae Laughinghouse Charlie Vere Ridgely Master of Music 19*1-9 Grant Gist Sharman Arthur Scott Wilkinson Orma Louise Heward —Bachelor of Music 1950 Lincoln Brook Hunt Mary Ann King Leonard Klein, Jr. Duane P. Miller Barnetta Jean Swanson Joan Buth Werbrlck Alfred Miles Clifton Master of Music 1950 Walton Smith Cole Irving Coretz Elma Mae Henderson Harry W. Atwood Bachelor of Music 1951 Frank K. Dale Alonzo Elliott Betty Ann Horst John Lawrence Huyck Charles S. Kalav Venice Lindsay John Francis Powers Hocella Sohoeny Powers George McCord Schaefer Mavis 0. Blalsdell Master of Music 1951 Chester Kent Davis Glenn Hampton Cochran—————Bachelor of Music-——————1952 John Peter Smith Robert Donald Weast 164 Name Degree Year Joshua Brody Master of Music 1952 Prank K. Dale Genevieve Motyka Sidney Herbert Appleman Bachelor of Music- —1953 Catherine Louise Murtaugh Joanne Alice Shaw Kenneth Russell Langosch Master of Music 1953 David Turner Clatworthy Bachelor of Music 1954 Janice Sue Johnson Janice Faith McConnell Robert George Mabee Harold C. Mallery Floyd Eugene Weil, Jr. Elizabeth Armine Andreas——Master of Music Education——1954 Charles Resh Beals Frenck S. DeGrazia Howard Gady Ann Marie Hesla Richard Gilliam Kyle Reitta Ann Strauss Petty Nathalie Joan Shively Robert Ploss Stobel Joyce Lovellyn Weevie Bonne LaVonne AiLee Master of Music 1954 Harry W. Atwood Garnet Guentzel Mallery John Peter Smith Roberta Troxel Betty Joan Conn Bachelor of Mu^lo 1955 Franz S. Glover Howlett P. Smith Dorothy Blegen Gimmestad Master of Music Education 1955 J. Edwin Jones Helen I. Polk Glen Allen Reddick June Howe Stone Leona Vanita Witzenburg James Gautier Martin Master of Music 1955 George McCord Schaefer 165 Name Degree Year Richard Dale Greenland Bachelor of Muslo 1956 Re Da L. Lucier Stanley Ray McElrath Oscar Ernesto Morales Robert Wallace Olson Ralston Orlando Pitts Joseph James Rottura Jane F. Smith Robert Edward Williams Sidney Lee Dawson, Jr. Master of Muslo Eduoation 1956 Edward Lewis Kaiser Charles L. Rosenfield Helen Pierson Swindall Roger Wright Coventry Master of Music- 1956 Marian Elizabeth Feldmann Diran Akmajlan Bachelor of Music 1957 Reginald E. Brooks Duane Rollin Burr Kenneth W. Cheeseman Joseph Cordelro Robert Ellsworth Flood Nolan H. Gruenwald _ Constance Angela Knox Thomas Joseph McKenna Robert Lyndon Miner Antonio A. Ruiz Roderlo S. Sharretts Kayleen Ann Stambaugh Phillip Nelson Stookdale Carol Lynne Veroeles Clyde R. Appleton Master of Music Education 1957 Charles Roy Cannizzaro John Robert Dugan Helen Hennessy Greenland Robert Bernard Hutchinson Donald John Lohr Moreton David Meeker Roland Charles Stafford Lloyd Weldy Robert Edward Williams Noel Glbbs •Master of Music 1957 166 Name Degree Year Grace Marian Baumer— —-Bachelor of Music-- ——1958 Patricia Ashley Black Keith Crockett John H. Dickson, Jr. Anthony William Freeman Virgil Edward Hartman Loveless Benjamin Livingston, Jr. James Edgar Lloyd Barbara Jean Mason Jack Meredith Mason James Earle Mueller Lawrence Jerome Eosenbaum Winifred Louise Southwick Rosenbaum Karen Steinke Prank Suggs William Dean Swift Richard Lee Twito Linda Gail Welsner Earlene Boyd Carey Master of Music Education 1958 Franz S. Glover Don White Hayden Otis J. Lloyd Milton Thomas Madden Floyd Eugene Weil, Jr. Robert W. Olson Master of Music 1958 Richard Lee Anderson Bachelor of Music 1959 Robert Frank Baksa Paula Adele Blow John Charles Byrer Jan Michael Clemmer John Stuart Davis Frank Hasell Fleming Dorothy Elowese Goodwin John Edward Goodwin, Jr. Robert Wesley Grebner Lyle Eugene Koch Mildred Patricia Lebsch Charles Edwin Mattern Keith Kay Maves Marilyn Post Walter Robert Schmitz Thomas George Turner Carol Ann Wilkinson 16? Name Degree Year Joseph Cordelro Master of Music Education 1959 Anthony William Freeman Barbara Jean Mason Duane P. Miller Roberta Lee Page Julieta Sykora Cortland Roy Hultberg Master of Music 1959 Jack Meredith Mason Loren Eugene Wise Glen Edward Barksdale Bachelor of Music 1960 Lurlene Lefmann Bell Michael Donald Bennett Kenneth Michael Bernstein Joseph Hunter Byrd, Jr. Roy Earl Campbell, Jr. William Frederick Case William Clement Chinworth Anne Marguerite Holmes Jerry Lee Hyden Patricia Lea Krebs Patricia Moore Kuntz Betty Jo Scott Janelle M. Shaud Julian Mallory Stinson Patricia Ann Van DeWalle Gary Willis Lines —Master of Music Education 1960 Paul Winston Moorhouse Sarah Ellen Pendergraft Tamara Ann Thompson Margaret Mundell Tomb JoAnn LaTorra Criswell Master of Music 1960 Erl Eric Erickson Laurence Earl Barker Bachelor of Music 1961 Linda Lou Bassett Barbara Lee Cleveland Lyle Vern DeJong Frederick Charles Dotton Barbara Ellen Ewald James Everett Helder Ronnie Dean Howell Patricia May Klrkpatrick Althea Wallace Levine 168 Mm Decree Year Kathleen Gayle Poore-————Bachelor of Muslo- 1961 Andrew Smith Reeves Phillip Richard Rehfeldt Charles Martin Sessions Marianna Faith Stadelman Glen E. Barksdale Master of Muslo Education 1961 Robert H. Bouchard Warren A. Jeffries Lyle Eugene Koch Glenn Dale Lawson Robert Lyndon Miner Oscar Ernesto Morales Vilette Perry Margaret A. Detwiler » Master of Music -I96I Alfred del Moral Alma Ladine Bennett Bachelor of Music 1962 Bill Lee Bolerjack Charles Guy Boyer Christopher Columbus Brooks Janet Pauline Conelly Hector A. Esplnosa Phillip Smith Ewart Sherry Ann Gallup Robert V. Gartler Allyn Michael Kubishke James Michael Nabours Lewis Allen Phelps Robert Ainslie Potter Richard Gary Stambaugh Nancy Sue Rich Wozny Koste Alexander Belcheff- Master of Music Education 1962 Curtis Webb Coffee Virgil Edward Hartman Andrew Smith Reeves Ruth Lillian Shock Julleta Sykora —Master of Music 1962 Nancy Jane Angel ——Bachelor of Music--————1963 Clara Louise Babcock Glenn Francis Barnes Gene Harold Bell Ann M. Bouchard Bill Frank Caddell 169 Name Degree Year Bruce Randall Colell -Bachelor of Music 1963 Ross Franklin Householder Thomas Hill McKean Judith Mecey Rita Esther Mosiman Jewel Ann Pratt Carol Ann Ray William Magill Skidmore John Lawrence Thompson Martha Ann Ward Linda Lou Bassett Master of Music Education 1963 Jane Ashley Burroughs Patricia Klrkpatrlck Jan Geert Kwant Charles Edwin Mattern Lewis Allen Phelps Kathleen Gayle Poore Delmer Lester Graf Master of Music- 1963 James E. Moses A. Luke Paris! Page Carroll Long • Doctor of Musical Arts —1963 Luis Aranda— • -Bachelor of Music-— —-—1964 Philip Wayne Azelton Shirley G. Chadbourne Bobby Don Davis Lawson Benny Day Dean Monte Estabrook Sharon Beth Falk Richard Timothy Gabriel Gail Groves Gunderson Kenneth George Hawk Margaret L. Hearn Joyce Ann Holland Martha Cowan Jones Dexter Brian Charles Long Barbara Elizabeth Moore Charlete Tanya Nebe Adelaide Ann Nelson Diana Nunneley Ronald Remo Saccanl Maurice Walter Staples Lamas Wayne Webb Lester Laverne Weil 170 Name Degree Year Leland Page Williams Bachelor of Muslo 1964 Raymond Gill Williams, Jr. William Edward Aebersold—-—Master of Music Education——1964 Laurence E. Barker Glenn Francis Barnes Roy E. Campbell, Jr. Bobby Don Davis Mary F. Davis Frederick Charles Dotton Reba L. Lucier Verna E. Malone Lawrence McNee Reid E. Lowell Rogers Charles Martin Sessions Clifford L. Shlsler William Dean Smith Wilma Raymond Sprague John Stuart Davis Master of Music-- 1964 Jeffrey Robert Haskell Hersh Howard Patricia Kirkpatrick Harriet Lee Stewman Prevatt Sally Webb Rehfeldt Margaret Jane Young Richard Shaw Fischer Doctor of Musical Arts 1964 Harold Brook Porter David Francis Anthony Bachelor of Music 1965 Larry Dean Armstrong Barry Howard Barkan Marilyn W. Hulnick Barkan Terry Louis Betts Margaret Louise Butte Robert L. Carlisle Sarah Shelby Carroll Thomas Ross Ervin Peggy Ann Frambach James Herman Gibbons Carolyn Kay Gilbert Wayne Ritchie Godare Jerry Lewis Jaccard Carol Ann Kirkpatrick Kathleen Yvonne Klint Elizabeth Antonette Kososkl Peter Anthony Melillo 171 lame Decree Year Caroline Elizabeth Nichols Bachelor of Mu3lo 1965 Nancy Caroline Oldham Marshall Theodore Olp Catherine Ann Podolsky Kenneth Earl Putnam Abby Karen Ripley Virginia Ann Robertson Bonnie Sperry Shelley Marilyn Ruth Sinibaldi Steven Earl Smitha Robert LeMoine Sorensen Jean Mount Stevens Phillip Harold Vertlieb Duane Rollin Burr Master of Music Education 1965 Janet Monte Caldwell William Clement Chinworth Philip Smith Ewart Gail G. Gunderson Bill R. Morris Walter R. Schmitz Frank Suggs II Thomas Kryl Weber Marilyn Post Welker Diane Davidson Master of Music 1965 Althea Wallace Levlne Peter Anthony Melillo Clifford Irvin Pfell Ronald Remo Saccani Ervln Jerrol Dunham • Doctor of Musical Arts •—1965 Uwe Adric Bachelor of Music 1966 Russell Stephens Ashley Laurie Wanda Bare Marlon Burgess Ignacio M. Cabrera Sharon Kay Davis Susannah Rodenberger Dryden Claire Ann Gross Scott A. Henderson Donald Lee Macey Cruz Gonzales Mendoza David Paul Morse Sharon Lee Nottke LaVonne Rogers 172 Name Degree Year Edward George Buedlger Bachelor of Music 1966 Phillip Harold Vertlleb Hector A. Esplnosa -Master of Music Education—--1966 Ronald Dean Howell Joan M. Wolfrom Shirley G. Chadbourne Master of Music 1966 Bruce Randall Colell James Everett Helder Margaret Butte Mlddleton Germalne Scudlere Leland Page Williams Robert Eugene Willis Joseph Dominic LaRosa Doctor of Musical Arts 1966 George Marshall Anglin- Bachelor of Music 196? Joan Elardo Stephen R. Folks Christopher Jay Holdoraft Nancy Jane Young Johnsen Dorothy Panousopoulos Dennis Frazer Parker Helen L. Pelkey Dean Dell Riggins Robert Dale Sagar Victoria Smith Lazzlo Veres Rosario Frances Vidal Gail A. Wyman Margaret Tea Yarger Susan Ray Beehler Master of Music 1967 Marion A. Burgess Keith Elmer Eggert G. Byron Haokett Mary Jeanne Kuchenmeister Robert William Llntz Adelaide Ann Nelson Richard Maynard Nelson Jack Carlo Rein Ruth Marilyn McClure Snell Jean Marie Stevens Mary Ann Vaughan Phillip Harold Vertlleb Lenora Woods Waldon John Stuart Davis « Doctor of Musical Arts 1967 APPENDIX C

STATE SUPERINTENDENTS OP PUBLIC INSTRUCTION

Territory of Arizona Year1 Gov. A. P. K. Safford* 1869 Hon. John P. Hoyt 1877 Gov. John C. Fremont* 1878 Hon. M. H. Sherman I879 Hon. ¥. B. Horton I883 Hon. R. L. Long 1885 Hon. C. W. Strauss • 1887 Hon. G. W. Cheyney — I89I Hon. P. J. Netherton I893 Hon. T. E. Dalton • 1896 Hon. A. P. Sherman 1897 Hon. R. L. Long • 1898 Hon. M. G. Layton 1902 Hon. R. L. Long — 1906 Hon. K. T. Moore • • 1910

State of Arizona Hon. C. 0. Case 1912 Hon. Elsie Toles • • 1921 Hon. C. 0o Case . 1923 Hon. H. E. Hendrix 1933 Hon. E. Do Ring 19&L Hon. N„ D. Pulliam • 19^7 Hon. L. D^KLemmedson —19^7 Hon. M. L, Brooks 19^9 Hon. C. L. Harkins 1955 Hon. M. L. Brooks 1957 Hon. W. ¥0 Dick 1959 Hon. Sarah Folsom — -19^5

1. Date of Appointment ^Acting Superintendent 173 APPENDIX D

MUSIC TEACHERS IN TUCSON SCHOOL DISTRICT NUMBER ONE

Name Academic Year1 Jessie Medberry- —— ...... ——1881-82 Grace Glidden 1902-03 Harriet Vail 1907-08 Helen Porter 1909-10 Ruby Russell Agnes S. Wright — 1910-11 Margaret Eldred 1913-14 Lillian V. Sunstrom 191^-15 Elsa Jennings • • 1916-17 Marie Ferne Bishop — 1917-18 Allys Field Boyle Fareeda Moorhead Florence B. West Candace Lhamon- • 1918-19 Altobel Sackett Dorothy Green 1919-20 Valentine Preston W. Arthur Sewell Madge Utterback 1921-22 P. Fern Howell 1928-29 Ernest John Schultz

1. Dates of Appointment 174 175 Name Academic Year Heloise McBride 1931-32 Leslie Brewer* 1938-39 Tom Burgess Charles Farrell Elizabeth Dearing • . 1939-^0 Hartley D. Snyder Paul Grimes* 19^2-^3 Max Brillhart 19^9-50 Sidney Dawson William L. Knighton* Harold Turney Harold B. Porter 1950-51 Charles B. Beals 1951-52 Margaret Ann Detwiler Lauritz Bjorlie* 1952-53 William Richardson* James Glasgow* 1953-5^ Carroll Rinehart* Wayne Webb Robert Hutchinson* 195^-55 Barbara Phillips* Lamont Kay Webb* Irving Coretz* 1955-56 Max Ervin* Newt Guillbeau Clyde R. Appleton- 1956-57 Joseph Cordelro* Harry Dale Pindley* Yvonne Tait* Willis Rudolph Thompson* Maurice Cooper* —— 1957-58 Pauneil Gutzmann

*Members of the 1967 Music Staff 1?6 Name Academic Year Bonnie Al Lee . 1957-58 Verna Malone* Charles Steele* Carlyle Webb* Carllta Dreblow 1958-59 Dorothy Frazer* Jean Guthrie Mary Zua Kamp Ruthella McKenzie David Meeker Lorraine Curry 1959-60 Pat Curry Emily Miquelle Phil Rehfeldt Orin Spalding* Lyle Wilcox1* Lane Justus* • 1960-61 Robert Peck Jean Robinson Dale Brubaker* . I96I-62 Susan Carruth Eleanor Fitzgerald John Patrick Goodwin Joseph LaRosa Karen Martin Oscar Morales Ellinor Porter George Spence* Ladine Bennett — 1962-63 William Barrett Iveson* Roberta Page Tom Patrick* Lois Shelton* Branson Smith Vern Williamsen Nancy Wozny Marilyn Coady 1963-64 Bernadette Goodwin*

*Members of the 1967 Music Staff 177 Name. Academic Year John Haas* 1963-64 Ann Iveson* Margaret Perry* Arlyn Peterson* Lyneer Smith Charmaine Weber Thomas Weber Robert Willis Weldon Bright 1964-65 Carroll Carruth Robert A. Edgington* Richard E. Gregory* William Kopecky* Betty Lehman* John R. McMullen* Burney Morriss* Sam Musiker Mary Nelson Robert Westrlch Robert Davis* 1965-66 Alma Donnan Joy Edgington* Mary Kuchenmeister Robert J. Neil* Janet Peterson* Winona Powell Virginia Robertson* Sharon Atwater 1966-67 Terry Betts* Peggy Ebner* Hector Espinosa* Bessie Gillett* Dale Norris* Carl Anderson* 1967-68 Polly Edel* Susan Preebern* Cruz Mendoza* Don Smith* James Stevenson* Sandra Tramontane* Nelson Wilt*

*Members of the I967 Music Staff APPENDIX E

MUSIC TEACHERS IN FLOWING WELLS SCHOOL DISTRICT

Name Academic Year] Duane F. Miller*- 1951-52 Reba Lucier* • 1955-56 William Iveson 1959-60 Glenn Lawson* Gary Lines • 1960-61 William Swift 1961-62 John Hokanson*- 1963-6^ Patricia Schultz* 196^-65

1. Dates of Appointment #Members of the 1967 Music Staff

178 APPENDIX P

MUSIC TEACHERS IN AMPHITHEATER SCHOOL DISTRICT

Name Academic Year Helen Brazelton- 1933-3^ Lawrence Wilson4*— 19^5-^6 William Punk* 1950-51 John Stockdale* 1955-56 Florence Buchanan 1956-57 Pauline Harrington • 1957-58 Dewey Clark Hughes 1959-60 George DeGregori —1960-61 Olin Blickensderfer* 1963-64 Jerry Hyden* • 1965-66 John Brysh* 1966-67

1. Dates of Appointment ^Members of the 1967 Music Staff

179 APPENDIX G

MUSIC TEACHERS IN SUNNISIDE SCHOOL DISTRICT

Name Academic Year-*- George Lamoureaux -1952-53 Charles J. Brady 1953-5^ Richard Baeder —~ • 195^-55 Laura Pruehling 1955-56 Franz Glover 1956-57 Vernon Hiester Constance Myren* James R. Wilson* 1958-59 Thomas Bearden- 1960-61 Shirley Helmick* 1961-62 Ronald Richardson* Glenn Hamblen* • 1962-63 Grace Joy Edgington 1964-65 Susannah Dryden* • • 1966-67 Ardith Hansen* Claire Whalen* Robert Sagar* 1967-68

1. Dates of Appointment *Members of the 1967 Music Staff

180 APPENDIX H

MUSIC TEACHERS IN THE PAROCHIAL SCHOOLS

St. Joseph's Academy Academic Year Sister Entichlana •—- -—1881-82 Sister St. Anthony 1952-53 Sister M. Bernadette 1953-5^ Sister Joanna ——-—— 1956-57 Sister Virginia Joseph Sister M. Catherine — 1958-59 Sister Mary Rita 1959-60 Frederic Balazs 1960-61 Sister John Joseph Sister Joseph Marie Sister Lillian Marie ——-1964-65 Sister Anne Marguerite* 1967-68

Immaculate Heart High School Frederic Balazs • 1962-63 Sister Miriam Claire Nicholas Vasllieff Rosemary Henderson* — 1965-66 Sister Barbara Ann* • 1967-68

1. Dates of Appointment •"•Members of the 1967 Music Staff

181 182 Salpolnte High School Academic Year Father William Welch 1956-57 Loren Wise 1966-67 Colonel James Fisher* 1967-68

*Member of the I967 Music Staff APPENDIX I

MUSIC TEACHERS IN THE PRIVATE SCHOOLS

Southern Arizona School Academic Year None

Fenster Ranch School Mrs. Paul Grimes 1962-63 Richard Haefer* 1967-68

1. Dates of Appointment ^Member of the 1967 Music Staff I83 APPENDIX J

TUCSON SYMPHONY ORCHESTRA CONDUCTORS

Camil Van Hulse • • 1928-32 Joseph DeLuca 1932-36 Henry Johnson • 1936-37 Ivan Coleman 1937-38 William Poerster 1938-^1 George Wilson 19^1-^6 Samuel Pain 1 . —« . 19^6-51 Stanley Schultz—-— —— —1951-52 Frederic Balazs— — — — 1952-66 Gregory Millar- -1966-

184 APPENDIX K

TUCSON CIVIC CHORUS DIRECTORS

Desert Singers Guild Stanley Norman • —*~———-.-—1950-54 Harold Porter -1954-

Tuoson Clvlo Chorus Harold Porter • • 1954-62 Max Ervln • 1962-63 Burney Morris — 1963-65 Robert Edglngton 1965-67 Ronald Standrlng •— ——-—1967-

I85 APPENDIX L

PRESIDENTS OP THE TUCSON MUSIC TEACHERS ASSOCIATION

Name Term Irving Coretz • 1947-^9 Mrs. 0. P. Knight—— 19^9-51 Miss Ethyl Co Lobban 1951-53 Mrs. Philip D. Coleman- > 1953-55 Mrs. Margaret Talbert Thorp —1955-57 Mrs. Thomas McCurnin 1957-59 Mrs. Kathryn Pooler 1959-61 Mrs. Jessie Boyer- • —I96I-63 Mrs. Keith Winn 1963-65 Mrs. Ann Marie Hesla -1965-67 Mrs. Mary Zua Kamp 19&7-

186 LIST OF BEFEBENCES LIST OF REFERENCES

Books Cosulich, Bernice. Tucson. Tucson: Arizona Silhouettes, 1953. Cross, Jack L., Elizabeth H, Shaw, and Kathleen Scheifele, ed. Arizona. Its People and Resources. Tucson: The University of Arizona Press, I960. Henry, Nelson B., ed. Basic Concepts in Music Education. Chicago: The University of Chioago Press, 1958. Martin, Douglas D. The Lamp In The Desert. Tucson: The University of Arizona Press, i960.

Booklets Available at: The Special Collections Department, The University of Arizona Library Duell, Prentice. Missions In and Around Tucson. Tucson: Tucson Chamber of Commerce, 1920. Freeman, Merrill P. The City of Tucson. Its Foundation and Origin of Its Name. Tucson, 1912. Hodge, Hiram C. Arizona As It Is: or The Coming Country. New York: Hurd and Houghton., I877. Hughston, Caroline Mary. Old Fort Lowell. Tucson: State Consolidated Publishing Co*, 1911. Lutrell, Estelle. "History of the Saturday Morning Musical Club," Souvenir of the Dedication: Temple of Music and Art; Tucson: F. H„ Keddington Co., 1927. McDougall, Fanny H. A History of Trinity Presbyterian Church. 1902-1962.

187 188 Rlesen, E. R., comp. A History of the First Congregational Church of Tucson on the Seventy-fifth Anniversary of Its Founding" Tucson, 1956, " A Seventy-fifth Anniversary History of the First Baptist Church. 1881-1956, Tucson; First Baptist Church. Smith, Myra Kellam, "History of the Episcopal Church, Tuc­ son, Arizona," The Arizona Church Record. October, 1929. Souvenir of the Dedication; Temple of Music and Art, Tucson; F. H. Keddington Co., 192?. St. Augustine's. 1964. Stinson, H. 0, and W. N„ Carter, comp, Arizona. I89I. The Story of Sixty-five Years of Service, Tucson: The First Methodist Church, 1944. Tucson Title Insurance Company. Diary of a City, 1949. Weeks, Stephen B. History of Public School Education In Arizona. Washington: Government Printing Office, 1918.

Directories Available at: The Special Collections Department, The University of Arizona Library Barter, G* Wo, comp. Directory of the City of Tucson, 1881. San Francisco: H. S, Crocker and Co., 1881, Tucson and Tombstone General and Business Directory for 1883 and 1884.Tucson: Cobler and Co., I883.

Public School Reports Available at: The Special Collections Department, The University of Arizona Library Long, Robert L, Biennial Re-port of the Superintendent of Public Instruction of the Territory of Arizona. Phoenix: The H, H, McNeil Company, I906. 189 Ninth Biennial Report of the State Superintendent of Public Instruction to the Governor of the State of Arizona. Phoenix: The Manufacturing Stationers, Inc., 1928. Public Schools of Tucson. Arizona. 1909-1910. Report of the Principal for the Year 1896-1897. Tucson, 1897. Report of the Superintendent of Public Instruction. State of Arizona. Phoenix. 1912; 1914. Seventh Biennial Report of the State Superintendent of Public Instruction to the Governor of the State of Arizona. Phoenix: The Manufacturing Stationers, Inc., 1924. Sherman, M. H. Course of Study for the Public Schools of the Territory of Arizona. Prescott, 1881. Sixth Biennial Report of the State Superintendent of Public Instruction to the Governor of the State of Arizona. Phoenix: The Manufacturing Stationers, Inc., 1922. Territorial Board of Education. Course of Study for the Common Schools of Arizona. 1910. Tucson Public Schools. Report of the Superintendent. 1920- 1929. Twelfth Biennial Report of 'the State Superintendent of Public Instruction to the Governor of the State of Arizona. Phoenix: The Manufacturing Stationers, Inc., 1934.

University Publications Available at: The Special Collections Department, The University of Arizona Library Annual Report of the Board of Regents of the University of Arizona. 1894; 1902. "Annual Report of the Board of Regents," The University of Arizona Record. Tucson: University Station, 1925. "Annual Report of the Board of Regents," The University of Arizona Record. Tucson: The University of Arizona, T92ST The Arizona Wildcat. I916-I967. 190 The, Desert, 1915. El Sahuaro. 1913* "The President's Report to the Board of Regents for the Year 1911," The University of Arizona Record, v. V, no. 5. Tucson: The University of Arizona, 1912. "The President's Report to the Board of Regents for the Year 1912-1913," The University of Arizona Bulletin, v. I, no. 9. Tucson: The University of Arizona, 1914. The Sage-Green and Silver, March, 1899. The University of Arizona Annual Register. 1892-1908. The University of Arizona Monthly. 1907-1908. The University of Arizona Record. Phoenix: Phoenix Herald Print, 1892. The University of Arizona Record. Tucson: The University of Arizona, 1915-1967. University Life. February 19, 1913.

Periodicals The Arizona Citizen. I870-I873. The Arizona Dally Star. 1927-1967• Arizona Highways. February, 1958. Arizona Weekly Star. 1877-1879. Bakkegard, B. M. "Music in Arizona Before 1912," Journal of Research in Music Education, v. VIII, no. 2, Fall, 1960l Carroll, John A., ed. Arizona and the West, v. I, no. 1. Tucson: The University of Arizona, Spring, 1959. Condron, A. H. "The Old Pueblo of Arizona," Progressive Arizona, v. I, no. 4, October, 1925. 191 Hunter, Audrey. "Butterfield Stage Waited for Nobody - Not Even Passengers," The Arizona Daily Star. September 28, 1958. Hunter, Audrey. "First School in Tucson Real Community Pro­ ject," The Arizona Daily Star. May 31• 1959. Hunter, Audrey. "When Old Pueblo Was Fairly Young," The Arizona Dally Star. October 5. 1958. "Music Festival Is Now Assured," The Arizona Daily Star. February 28, 1907. Paulison, C. "Arizona, The Wonderful Country," Tucson, Arizona Territory: The Arizona Star. 1881. Ryan, Pat M., Jr. "Big Stars Played Tucson Opera House," The Arizona Dally Star. February 14, 1962. "A Souvenir of Pima County," Tuoson Daily Citizen. January 1, 1895. Thackeray, Guy. "Song Symbolic of Festival," Tucson Daily Citizen. April 7, 1951. "Theater Was Lively In Early Tucson," The Arizona Daily Star. February lb, 1962. "Tucson Band New Organization," Arizona Dally Citizen. August 1, 1901. The Tuoson Citizen. 1907-1928. Tucson Dally Citizen. I95I-I967. United States Bureau of the Census. 1966 Population Study, Tucson, Pima County. Arizona. The Special Collec­ tions Department, The University of Arizona Library. The Weekly Arizonlan. July 10, 1869. White, John E. "Tucson - Past, Present and Future," Pro­ gressive Arizona, v. II, no. 1, February, 1926.

Theses Carter, Ida. "Rise of the Public Schools of Tucson, I867- 1936." Unpublished Master's Thesis, The University of Arizona, 1937. 192 Conway, Ruth McKale. "The Development of the Pine Arts at the University of Arizona." Unpublished Master's Thesis, The University of Arizona, 19^-6. Jones, Gladys V. Gibbs. "Anne E. Rogers, Pioneer Educator of Tucson." Unpublished Master's Thesis, The Uni­ versity of Arizona, 19^-1. Weaver, John M. "The History of Fort Lowell." Unpublished Master's Thesis, The University of Arizona, 19*1-7.

Manuscripts Available at: Arizona Pioneers' Historical Society Berger, Mrs. Harry. "Biographical Sketch." Bonillas, Ignacio. "Reminiscences of Governor Safford," 1926. Drachman, Mose. "Reminiscences, 1863-1912." Hale, Mrs. Sarah M. "Tucson in 1882." Lockwood, Dr. Frank C. "Reminiscences of Ignacio Bonillas," as told to Dr. Lockwood, 19^0. Ronstadt, Frederick. "Music in Tucson-1880«s." Spring, John A. "Teaching School in the Early Days," I897. Available at: The Special Collections Department, The University of Arizona Library Power, Veronica. "Some Phases of Tucson, 1880-81."

Other Unpublished Material Altman, Elenore. Personal Interview, 1967* Amphitheater School District. Written Questionnaire, 1967* Booth, Ruth. Written Questionnaire, 1968. Ervin, Max T. Year-end Reports of the Tucson Public Schools Music Education Department 193 Penster Hanch School. Written Questionnaire, 1967. Flowing Wells School District. Written Questionnaire, 1967. Hall, Gladys. Written Questionnaire, 1968. Immaculate Heart High School. Written Questionnaire, 1967. Johnson, Henry. Personal Interview, 1968. Minutes of School Board Meetings, Tucson School District Number One Record, Books I-XX. Rebeil, Julia Marie. Written Questionnaire, 1967. Salpolnte High School. Written Questionnaire, 1967. Sewell, W. Arthur. Written Questionnaire, 1967 • Scrapbook, Mariner's Juvenile Band. Arizona Pioneers' His­ torical Society. Southern Arizona School. Written Questionnaire, 1967. St. Joseph's Academy. Written Questionnaire, 1967. Sunnyside School District Number Twelve. Written Question­ naire, 1967. Van Hulse, Camll. Personal Interview, 1967«