Faculty of Music Conservatorium Prospectus 1947

The University Conservatorium of Music Established i894.

Handbook of the Faculty of Music and Conservatorium Prospectus 1947 UNIVERSITY QF MELBOURNE

C NSERVAT RIUM OF MUSIC І EstablishedІ 1894

Director THE ORMOND PRoFEssoR Ø Music, BERNARD T. HEINZE, F.R.C.M., Degre Superieur, Schala Cantorum, Paris. Registrar of the University—F. H. JOHNSTON. Secretary---PAULL FIDDIAN.

THE QRMQND CHAIR 0F MUSIC AND THE CQNSERVATІRIUM The Chair of Music was founded in the University of Melbourne by the generous endowment (120,000) of the late Mr. Francis Ormond in 1891. Three years later, ini 1894, the Conservatorium was established.

THE BUILDING Thep resent building consists of twenty teaching rooms, a fine lecture hall, concert hall (known as Melba Hall) , Director's room, administrative offices, library, social roam and staff and students' rooms.

AIM QF THE CQNSERVATQRIUM The chic; aim of the Conservatorium is to provide a general course of musical education, while provision is also made for specialization in any particular subject. • • • • • • • • •

CONTENTS

PAGE Dates for 1947 .. .. • • • • • . • . • • . • . • . • • iv Faculty of Music and Teaching Staff .. • • . . „ v Director's Report .. . .. . • . . • . • . • • . , • • • vii Courses of Study .. . . .. .. .. ...... .. X Introductory School .. .. . • _ .. .. .. ...... x Degree and Diploma School . .. .. X Degree in School Music . • . .. , . . , , ; X Master School . . . • . . . • .. • . • . . . • . . . • . xi Single Studies .. • .. .. . • • • • . • . .. • • . • . • xi Opera School ...... .. .. . • • . .. • . • . • xi University Conservatorium Orchestra .. . , .. , . . , . , xi Extra Classes . . • • • • • • • • • . • • . .. • . • xi Table of Fees .. . • • • .. • • .. .• . .. • . .. • . • • . , . xii

Sports Union and Club House Fees .. • .. • • хіі Payment of Fees and Entry .. . • . .. . . • • • • • • • • • . • • • • • xiii Admission .. . .. . .. . • . .. .. • . .. .. .. , . xiii Examinations .. • . .. . • . .. • ...... ...... xiii Certificates ...... • • • . • . • • • • .. . • • • • . . • • • xiii Photographic Record of Students . .. . • . . , xiii Entrance Exhibitions .. • : • • .. .. .. xiv

Other Exhibitions .. . • • • . . • .. • .. .. . .. , xiv Entry and Examination ...... :. .. .. xv Regulations concerning Exhibitions • . . .. . • • .. ...... xv Scholarships .. • . .. . • • . , xv Pries .. .. .. . .. . . xvi Library .. • . o • • • • •. .. . xvi Orchestral Instruments . . • • . .. • . • xvi Normal Pitch Standards . . . • . • . .. xvii Students' Loan Fund .. . . .. . . . xvii Students' Club .. • . • . .. . • • • • • xvii Rules Affecting Students .. • • • . :. . • xvii Matriculation and Pre-requisites for Mus.Bac Degree Course . , xviii Commonwealth Reconstruction Training Scheme .. , . , xx Guidance Office for Ex-Service Students .. • . • .: .. .. xx Regulations for Degree of Mus.Bac. .. .. • . .. . • , . • . , , T Regulations for Degree of MusDoc. .. ...... .. 5 Regulations for Diploma in Music ...... ...... .. б Regulations for Diploma of Master School in Mиsiс . • 10' Certificate for Music in. Schools .. .. • • • • • • . . • • • . • . • 11

Details of Subjects and Books .. .. . • . • • • • . • • . .. .. • . 13' Class Lists and Exhibitions, 1946 . . • . .. .. . • • . .. . .. .. . • 26., DATES FOR 1947

Feb. 1—Last day of entry for lectures and payment of fees for First Term. 1—Last day of entry for Exhibitions. 10–Examinations for Exhibitions begin. 24—First Term begins. (Practical work only). Mar. 12—Last day of entry for May Public Examinations in Music and Art of Speech. 13—Matriculation of new students. 15—Last day of entry for degrees to be conferred at Commencement. 17—Theoretical lectures begin. 20—Matriculation of new students. 27—Matriculation of new students. April 3—Lectures cease prior to Easter recess. 4—Good Friday. 9 —Lectures resume. 10 -Matriculation of new students. 19—Annual Commencement. May 7—Public Examinations in Music (Theory) and Art of Speech (Theory). 24—First Term ends. 24—Last day for payment of fees for Second Term. June 9' Second Term begins. 16—King's Birthday. University holiday. 28—Last day of entry for Licentiate Diploma (Music) . July 23—Last day of entry for September Public Examinations in Music and Art of Speech. Aug. 16—Second Term ends. 16—Last day for payment of fees for Third Term. Sept. 1—Third Term begins. 20—Last дaу of entry for Annual Examinations. 24—Public Examinations in Music (Theory) and Art of Speech (Theory). Oct. 11---Third Term ends. 11--Last day for payment of fees for Fourth Term. Nov. 3—Fourth Term and examinations other than. Chief Studies begin. Dec. 1—Chief Study examinations begin. 1-----Public Examinations (except Music) begin. 20—Fourth Term ends.

iv UNIVERSITY CONSERVATORIUM oF MUSIC

, Director-TIE huND PROFEssOR о Music, BERNARD T. HEINZE E.R.C.Ø. Degré Supérieur, Schola Cantorum, Paris. ---F. H. JOHNSTON, . ., B.Com., L.C.A. Regåstraьr of the U%åversåty В А Secretacr-y PAULL FIDDIAN

FACULTY OF MUSIC Deаw---PROFESSOR HEINZE THE VICE-CHANCELLOR Members I?)? the Conservatoriumn Ѕtaјї appointed annu.ally: . T. . .M DD T N. MR. L. ВIGGINS MR. L І ІЕ О MR. JOHN EISHOP MR. A. E. H. NICKSON MISS A. Cocks 112R. ROY SHEPHERD MISS E. FRASER MR. J. A. STEELE MR. G. W. McKEOWN MR. HENRI TOUZEAU embers of Conservatorium Finance Committee appointed annually М VERY REV. J. M. MURPHY MR. H. J. IKE er of . the Professorial Board appointed annuatlly : Меmь PROF'E SSOR HARTUNG Other mem.ьегs appointed annually : MRS. HERBERT BROOKES MR. J. SUTTON CROW PROFESSOR BROWNE, DR. PERCY JONES MRS. CLAUDE COUCIMAN TEACHING STAFF THEORETICAL THE ORMOND PROFESSOR MR. A. E. H. NICKSON, F.R.C.O., A.R.C.M. sthetäca • Håвtory, Literature and лэІ MR. J. A. STEELS, Mus. Bac., Meiti. Form and Anadys s MISS GLADYS SMITH, Mus. Bac. (on leave) і t . Harmony, CoxпpositØн and Counterpoіп MISS PHYLLIS ALLINSON, lus. Bac., Me1b. . JOHN Mus. Bac., lelb. {MЕ INGRAM,

PRACTICAL INTRODUCTORY SCHQOL MISS ELSIE FRASER PiØf orte ØR. A. E. H. NICKSON, F.R.C.O., A.R.C.Ø. MR. G. W. McKEOV'TN, Dip. lus., leib. MISS PHYLLIS ALLINSON, Mus. Bac., Me1b. MISS GLADYS SMITH, lus. Bac., Meib. (in leave) MISS RENNIE SIMMONS IR. L. O. LAVER, lus. Bac. (on leave) MISS MAY CLIFFORD, lus. Bac., Me1b. (Second Study) IR. JOHN INGRAM, Mus. Bac., Meib. (Second Study) MISS LUCY SECКER, Dip. Mus., Me1b. MISS CLARICE MALYON вiпігпg MISS ISABEL BIDDELL, Dip. Ins., Meib. IR. T. LESLIE MIDDLETON MISS CARRIE CAIRNDUFF, Dip. Mus. MISS RITA MILLER MISS MURIEL CHEEK MR. DAN HARDY MISS MAY CLIFFORD (Second 'Study), organ IR A. E. H. NICKSON, F.R.C.O., A.R.C.M_ IR. F. J. NOTT, lus. Bac., F.R.C.O. IR. GEORGE FINDLAY, Mus. Bac., Melb. V t n II W. MALLINSON, Dip. Mus., Melb. ю ј MR. FRANZ O. SCHIEBLICH MR. ERNEST LLEWELLYN (on leave) MISS BERTHA DORGENSEN IR. BASIL JONES 7 Viala MR. W. MALLINSON, Dip. Mus., Øeib. MR. ERIC CHALLINOR Viotonceцa IR. HENRI TOUZEAU MR. HAROLD ВЕСК Bac., Me1b. Л+IISS VALERIE AWBURN, Mus. ( Secon д Study ) strіng Bass MR. vIC'тoR TIARRISUN Flute MR. L. R. BARKLAMB, Dip. Mus. Obis . MR T. W НIТЕ Clarinet . . MR. T. WHITE МISS ISOB'EL CARTER, lus. Bac., le1b. Bassoon MR. F. W. MORGAN French Horn IR. K. NORTON Trumpet MR. Н. SH[FGG Harp . . . . MRS. A. 1. BENDALL DEGREE AND DIPLOMA SCHOOL pianoforte . MR. EDWARD GILL MR. J. A. SТЕELE, Mus. Bac. MISS A. E. COCKS, Mus. Ass., leib. miss ELSIE FRASER MIss BIRKE PARKER MR. LINDSAY ВIGGINS, Mus. Bec., Meib. MR. H. WELSFOØ SØТНЕRS, Dip. Mus., Meib. MR. G. W. McKEOWN, Dip. Mus., Øe1ó. ØR. WALDEMAR SEIDEL MR. ROY SHEPHERD IR. RAYMOND LAMBERT MISS PНYLLIS ALLINSON, Mus. Bac. MISS GLADYS SMIТH, Mus. Bac. (an leave) Miss RENNIE SiMmoNs MR. JA$CHA SPIVAКOVSKY MR. J. ВIS1OF MR. L. O. LAVER, Mus. Bac. (on leave) Miss VERA BRADFORD, Dip. Mus. MISS ISO$EL CARTER, lus. Bac., Me1b. MISS MAY CLIFFORD (Second Study ) R. JOIN INGRAM, Mus. Bac., Melb. (Second М Study) ISS LUCY SECКER, Dip. Mus., Me1b. (Second М Study) Singing MISS CLARICE MALYIN miss I. M. BiDDELL, Dip. Mus., Øeib. ØR. T. L. MIDDLETIN MR. HENRY ТНомАS MR. ADOLF SPIVAКOVSКY Miss CARRIE CAIRNDUFF Miss RITA MILLER IR. HORACE STEVENS Miss MURIEL CHEEK MR. DAN HARDY МISS MAY CLIFFORD (Second Study ) Organ MR A. E. H. NICКSON, F.R.C.O., A.R.C.'. MR. F. J. NOTT, Mus. Bac., A.R.C.O. Violin MR. W. MALLINSON, Dip. Mus., Meib. MR. FRANZ O. SCHIEBLICH MR. ERNEST LLEWELLYN (on leave) Miss BERTHA JORGENSEN MR. HARRY НUТcНiNS MR. BASIL JONES Bass, Flute, Oboe, Ciariust, Bassoon, Fr nch o n, rumpet Viola, VØlaracetio, Stтіпg е н Т and Harр- Samd as Introductory School. OTHER CLASSES R Instrumentei Ensemble . . . . THE ORMOND PRОFESSІ MR. HENRI TOUZEAU Vocal EsseØï,e and Opera THE ORMoND PRIFESSOR MR. DAN HARDY IR H. W. SIITHERS, Dip. Mus., Leib. AccomØaпg$ng Claas 5ight Reading Classes ...... . AMR. L. ВIGGINS English Diction, Art of Spвech, аØ Dramatic Art Class MISS EILE'EN O'KEEFE GEr71'aa7b MIss D. R. COVERLID French - . ILLE. ALICE STANDLEM Jtaiiau DR. R. MONTAGNANA Øcroze Eurhythmice . . 1VIFSS ELIZABETH WADE . ØR. L. R. ROO ES, B. ., Dip. Ed. Pedagogics and РвцсhoZogy . . В К А +Schoot Orchestra Technique . MR. HENRI TOUZEAU PiØof orte Keyboard Facility . . . . . MR. J. A. STEELE, lus. Bac. Class Singång and Musical App ecic tion IR. JOIN BISHOP and т г MRS. G. N. ALEXANDER Acoustics DR. J. S. ROGERS Yi DIRECTOR'S REPORT

To the Chancellor, Deputy-Chancellor, Vice-Chancellor and Members of the Council of the University of Melbourne : Gentlemen, This year has been one of remarkable progress_one in which the Conserva- toriuin has been brought more closely t ion ever into touch with the rest of the University and with the community at large, and ane in which I have felt that the work of the institution has gathered -a momentum which promises well for useful. rdevelopment in all phases of aur academic work. Enrolments The following figures show the unprecedented increase in the number of students, both Full Course and Single Study : Full Course 1945 1946 Ordinary . . .. .. 134 164 Rehabilitation ...... , 5 37 139 201 'S iпglе Study Ordinary .. .. .. . 133 ?26 Rehabilitation .. . . 23 181 156 407 295 6U8 Entrance Exhibitions Fon the Entrance Exhibitions and Scholarships awarded at the beginning of the year there was a record entry. I found that the quality of the work presented had improved so much that, judged by pre-war standards, nearly all the candidates were worthy of Exhibitions, and I was glad to be able to arrange for the award of twelve .Extra Ormond Exhibitions of ill each, in addition to the usual awards totalling nearly Е500. Rehabilitation The Commonwealth Reconstruction Training Scheme . has enabled many students with definite talent, who, under normal conditions, would not have been ,able to concentrate upon a full course, to give their whole time to musical study, and some of these ex-service personnel have already contributed much to the life of the Conservatorium. Their influence has been reflected in a higher standard of performance and in an earnestness of purpose on the part of the general body of the students. The honorary Music Advisory Panel set up by the Universities Commission has held 13 sittings and has given individual auditions am' advice to 334 applicants for training benefits. Teaching Staff To meet the need of students requiring specialised teaching of the viola, Mr. Paul McDermott was appointed to the staff early in the year; but has since been granted leave to enable him to go to England. Miss Elise Steele has resigned from the staff also because of her departure for England. Miss Isobel Carter has been appointed a Chief Study and Second teacher of Clarinet and Pianoforte, Ir. George Findlay a Second Study teacher of Organ, and Miss Lucy Secker and Miss Valerie Awburn understudy teachers of Pianoforte and Violoncello, respectively. Conservatorigio Symphony Orchestras Junior and Senior Symphony Orchestras continue to rehearse weekly under Mr. Henri Touzeau and . Mr. John Bishop. Тhé grant by the Lady Northcote Permanent Orchestra. Fund Trust enables the necessary professional leaders of Øections to be engaged, but so many students have become interested in woodwind vii instruments that we now have a woodwind school in which 18 students are learning flute, 32 oboe and clarinet, b 'bassoon and 3 Frenćh horn. Two Concerto Concerts have given an opportunity to twelve student soloists to perform concerto movements with orchestra. I am very pleased' to record that for the first time the Orchestra has four French horns and a complete woodwind choir,_ so that no longer dõ our orchestral- concerts depend upon the engagement of professional horn and wind players. Not only are we now self-sufficient in this respect, but the concerts result in a sm:аll. surplus instead . of being a charge upon the Conservatoriumn.

Eňsemb e Мusw The remarkable development of group music within the Conservatorium con- tinues under the enthusiastic leadership of Mr. Henri Totizeau, who, besides teaching 30 violoncello students, conducts a string orchestra of 40 student players, and ensemble classes from which no less than 15 trios and quartettes have been: formed. The generosity of the Lady Northcote Permanent Orchestra Fund Trust is appreciated again in connection with this work. Two Instrumental Ensemble Concerts have been given in Melba Hall, and the '• Cónservatorium String • Orchestra has presented two fine programmes to large audiences in the Assembly Hall. At the beginning of the year Mr. Dan Hardy. took over the conduct of the Conservatorium Women's = Choir, which has done good work at the weekly rehearsals. Concerto Festival The Annual Concerto Festival was held in June for the seventh time, but under different conditions, the Australian Broadcasting Commission's competitions for scholarships to the Royal Schools of Music, London, and the Julliard School of Music, New York, being associated with the Festival. From the seven competitors in the Festival chosen to play in the Town Hall with the Melbourne Symphony Orchestra, Manfred Clynes (a Conservatorium student) and Мary McLeod ( a former student) were selected to compete with players from the other Stаtes at the final contest in Sydney for the óverséas scholarships. Manfred Clynes was awarded the New York scholarship, and another former Conservatorium student, Beryl Kimber, was awarded the London scholarship. Lard Mayor's Food for Britain Appeal The Lord Mayor's Food for Britain Appeal prompted me to suggest to the students that they might like to organize small functions of their own to assist the appeal, and, with the proceeds of the Annual Concerto Festival and of the recitals by Miss Elsie Fraser and Miss Bertha Jorgensen, and Mr. Roy Shepherd and Mr. Harry Hutchins, the sum of f653 was raised. It was decided to contribute f500 to the Food for Britain Appeal and f153 to the Students' Repre- sentative Council's Appeal for World Student Relief. Free Concerts The Freei Sunday Afternoon Concerts in the Union Theatre have been con- tinued. A very successful Chamber Concert was given on September 1st, whets the Nonett of Arnold Bax and the Intr )duction and Allegro of Ravel were heard in Melbourne for the first time, together with the Beethoven Septette. On Novem- ber 10th I had the pleasure of introducing to Melbourne a splendid lieder singer, Stefan Haag, who had with him, as associate artist, Mr. Peter Langer. Two Sidney Myer Memorial Concerts with the Melbourne Symphony Orchestra were given on November 19th and 23rd, the soloists being Mr. Thomas White and Miss Hephzibah Menuhin. Dramatic Art Classes In October, 1944, a group of Miss Eileen O'Keefe's drama students gave a performance of Sophocles' "Electra" with such remarkable success that the number of students taking tuition from her encouraged.. us to extend her work, with the result that the Conservatorium now has 60 students enrolled for Speech Training and the Dramatic Art Course.

Vfii 1 T. S. Eliot's "Murder in the Cathedral," presented in May in the Union Theatre, was another artistic success, and, realized a profit of (175. This was followed in October by a fine production of Shakespeare's "Romeo and Juliet." That the Conservatorium's dramatic group is meeting a real need is shown by the enquiries received from prospective students in all States, and the value of Miss O'Keefe's work is manifest by the increasing interest in the English Diction classes which are compulsory for singing students in all years. The need for the expansion of the Dramatic Arty Course is apparent and I am glad to report that discussions for extending it have been conducted with the Faculty of Arts. Eurhythmics The growth of the School of School Music in the Mus. Bac. Degree Course has thrown much emphasis on Eurhythmics, and a very interesting demonstration was given by Miss Elizabeth Wade and her classes on August 2nd. Music Examinations and Cо uіtгу Recitals - At the request of the University, Mr. J. Sutton Crow, who retired from the secretaryship of the Conservatorium last year, has give ' a number of lectures to teachers in the country districts, on the work of the Australianń Music Examina- tions Board. He also resumed the country recitals which were a feature of the Conservatorium's extension work before the war, and in three tours he and the åccom,panying artists visited about half of the more important provincial centres. The warm reception of these concerts and the satisfactory financial result have encouraged us to plan additional concert tours for next year. In conclusion I wish to add that Mr. Fiddian has won the confidence of us all by the quietly efficient manner in which he has carried out the secretarial work of the Conservatorium. It hasbeen a difficult year, one in which post-war reconstruction has presented many delicate problems. That the year has concluded so successfully is largely due to Mr. Fiddian's organizing ability. I am, Your obedient servant, BERNARD HEINZE, Ormond Professor. December, 1946.

В ix ЄoттRSЕs oF втттDТ The work of the Conservatorium is divided into three schools 1. Introductory School. 2. Degree and Diploma School. 3. Master Sсhool.

INTRODUCTORY SCI3o0L This School is designed to meet the requirements of students in need of further study before entering upon the full course for the Degree or Diploma in Music. The course for this School includes : (a) Practical Stedy.---The Student must select a Chief Study, that is to say, a practical study to which he intends to devote his chief attention. (b) Ear Training and Sight Reading. (c) Theory and Elementary Нaermony. (d) Concert Practice. In this School all Second Study work of the Degree and Diploma Courses will be taught.

DEGREE AND DIPLOMA SCH00L This School is designed with a view to the requirements of Candidates for the Degree of Mus. Bac. or for the Diploma in Music, and provides a comprehensive course of study termed the Full Course. Other students, however, are admitted to the Course, or may, with the permission of the Director, take portions only of the curriculum. The Full Course includes : (a) Chief Study.--Each student must select a Chief Study, that is to say, a practical study to which he intends to devote his chief attention. Candi- dates for the Third Year Diploma in Schools A (a) and B (a) and (b) however, will receive fifty minutes' personal attention in place of a Second Study. (b) Second Stъгdy.----The student, in addition, receives instruction in a second practical study in the choice of which he should consult the Director. (c) Harmony and Counterpoint. (d) Form and Analysis: and History, Literature and Aesthetics of Music. (e) Orchestration. (f) Sight Reading. (g) Modern Languages.--(English Diction, Italian, and French or German) in place of Counterpoint for students taking Singing as chief study. (h) When Prescribed.---Elernentary Acoustics, Vocal and Instrumental Ensemble, the Art of Accompanying. (j ) Rhythinics.—For the development of an attractive platform deportment and also, through rhythmic bodily movement, as sense of climax in phrase building. For Regulations see pages 1 to 12, and for Details of Subj ects see pages 13 et seq.

DEGREE IN SCH0QL МUSIC This new school is designed with a view to the requirements of candidates for the Degree of Mus. Bac. and provides a comprehensive course of study for those desirous of teaching the subject in schools. In addition, to the subj ects men- tioned above, Musical Perception and Terminology, Rhythmics, Class Singing, Orchestral Training and Psychology of Music will be included in the course. For Regulations, see pages 1 to 12. x MASTER SCHOOL This School is open to those who have obtained the Degree or the Diploma ýn Music in School A (a) or B (a) and (b) (see pages 10-11) or to those who way give other evidence of fitness satisfactory to the Director. It is intended for students showing an undoubted ability as solo performers.

SINGLE STUDIES With the approval of the Director, students who are not candidates for the Degree or the Diploma may enter for Study in Pianoforte, Violin, Singing and Composition, at a fee of 3 to 9 guineas per term (according to teacher selected and duration of the weekly lesson) . Single Study students will be entitled to attend the weekly Concert Practice, and will be required to take part in Conservatorium activities such as vocal and instrumental ensemble classes as prescribed by the Faculty of Music, provided that in special cases of hardship exemption may be granted. Special Classes for students of Wind Instruments and for Ensemble Playing, Music for Two Pianofortes, French, German, Italian, Diction, or any other subj ect approved by the Director, may be arranged at any time, and are not confined to students of the Conservatorium.

OPERA SCH00L The Opera School provides for the study of Grand Opera.

UNIVERSITY CONSERVATORIUM SYMPHONY ORCHESTRA Rehearsals of the University Conservatorium Orchestra are held weekly. Students who have attained a sufficient degree of proficiency on an orchestral instrument must attend these rehearsals, at which Symphonies, Overtures, Con- certos, etc., will be studied. Membership is open to outside players without payment of fee.

EXTRA CLASSES Students are expected to attend certain general classes. 1. Instrumental and Vocal Ensemble Students of the Conservatorium are expected to gain experience in Ensemble work when, in the opinion of the Director, they have attained a sufficient degree of proficiency, for which purpose they will attend such classes as may be arranged by the Director. 2. Rhythmics Classes in Music and Movement are held weekly and include instruction in Dalcroze Eurhythmics.

з. Orchestral Class For instruction in the rudiments of orchestral playing preparatory to the University Conservatorium Orchestra. One hou? weekly. 4. Concert Practice A short weekly concert, at which students will have an opportunity of gaining experience in public performance, will be held. All students of the Conservatorium should attend this class. All classes are open to the public on payment of the prescribed fee (see page xii). xi

TABLE OF FEES Per Year Full Course for the Diploma or Degree .. .. ...... f33 12 0 Lectures only, for the Diploma or Degree .. . . .. 12 12 0 Introductory Course .. .. ...... .. . • .. .. 21 0 0 Harmony (Parts I to V) ; Harmony IV with Counterpoint ; Counter- point (Parts I and II) ; Counterpoint and Fugue ; Counterpoint Canon and Fugue ; Musical Perception and Terminology ; General Musical Knowledge ; History, Literature and Aesthetics of Music (Parts I, II and III) ; Form and Analysis (Parts I and II) ; Ear Training ; Sight Reading (Parts III and IV) ; Orchestration (Parts I and II) ; Methods of Teaching (Parts . I and II) ; Orchestral Training, Class Singing, Instrumental Ensemble, each 4 4 0 Modern Languages ( Parts I to V) , each language .. ...... 4 4 0 (For Conserчatorium full course students, when not prescribed iп course, each language f 1 1 I s. 6d.) Per Term Chief Practical Study .. . ...... .. .. .. .. к5 5 0* Chief and Sеcоnd Practical Studies ...... .. б 16 б Additional Second Study for Full Course Students ...... . .. 1 5 0 Additional Fee for Two Chief Studies in place of Chief and Second Studies .. •. ...... ...... .. 3 3 0 Accompanying, Elementary Orchestration, each .. 1 1 0 Accompanying (Full Course Students) . . . . .. 0 5 0 Rhythmics ...... ...... .. . . , 1 1 a *For Full Course students of three years' standing, for students repeating year, or for students attending teachers' classes.

UNIVERSITY SPORTS AND UNION FEES In addition to the above fees, the following fees are payable: Annual Sports Fee ...... . .. .. .. .. il 10 0 Compulsory for all students taking a course for a degree or a diploma and attending day lectures or practical work amounting to four hours or more per week unless specially exempted ; and payable by other students who use University sporting facilities. The Sports Fee entitles a student to the membership of the University Sports Union and of clubs affiliated with it. Annual Union Fee .. .. ... .. ...... ...... -. .. i2 2 0 (Reduced to ;(1/1/- for students living in a Residential College of the University) . Compulsory for all students enrolled for any subject, unless specially exempted. The Union Fee entitles a student to the facilities of Union House, and to other privileges of the University Union. Union Entrance Fee .. .: .. .. .. . , .. i2 2 0 This fee is payable by every student an first enrolment. A concession is made to students enrolled for the Introductory School, or for single studies who do not attend Conservatorium classes of more than three hours' duration per week. They will not be required to pay the Union Entrance fee and the Annual Union fee will be reduced for them to Ils. 6d. Students who desire to apply for exemption from the payment of any of the above fees must lodge their application with the Registrar on the appropriate form not later than the end of May. Applications received subsequently will on no account be considered.

XII PAYMENT OF FEES AND ENTRY I. Fees may be paid annually or in terminal instalments. 2. All fees must be paid to the credit of the University Account at the National Bank, Collins Street, or at one of its branches, at least a fortnight before the beginning of each term. . An enrolment' card, duly filled in and accompanied by the duplicate bank з pay-in slip, must be furnished when the entry is first made for any particular year. For the following terms the duplicate pay-in slip must be sent to the office. 4. Failure to pay the fee, to forward the pay-in slip, or to send the filled-in entry form (when the latter is required) before the last day of entry for each term renders a student liable to- a late fee of ten shillings. 5. No student shall be admitted to the Examinations unless the full fee for the year shall have been paid. ADMISSION 1. Before entering the Conservatorium, intending students must satisfy the Ormond Professor of their proficiency. The Australian Music Examination Board's Certificate of having passed in Grade III Practical will be accepted as evidence of such proficiency. The Secretary will be in attendance to interview all new students from January 27th. Appointments to see the Director should be made through thq Secretary. 2. It is not necessary to Matriculate or to pass the qualifying examinations as set out in Regulations XXX and XXXII unless the student intends to enter on the course for Degree or Diploma. 3. Students may enter the Conservatorium at the beginning of any term. ENAMINATIONS Students who have attended the Conservatorium and are otherwise qualified may, without payment of . extra fees, enter for the University Examinations for the Degree of Bachelor of Music ar for the Diploma in Music. Particulars of Examinations conducted by the Australian Music Examinations Board will be found in the Manual of the Board.

CERTIFICATES University Certificates of attendance at lectures or classes and of subjects passed at Annual Examinations can be obtained on payment of a fee of one guinea. Certificates of completion of any year of the course for Diploma or Degree are issued upon application without charge.

PHOTOGRAPHIC RECORD OF STUDENTS It has been decided to compile a photographic record of the students of the University. For this purpose all students signing the . matriculation roll will be required before doing so to be photographed. Arrangements for the taking of photographs (free of charge to the students) have been made with the Officer in Charge of the Faculty workshops in the University. (The workshops are situated behind the Botany School. ) So that present students may be included in the record, they will be required to be photographed on signing the degree book prior to graduation. Detailed directions , for having photographs taken will be found attached to the forms used in making application to sign the matriculation roll and to have degrees conferred. EХHIB ITI O N S

ENTRANCE EХIIIВITIONS• The following Exhibitions will be offered for competition in February each year: 1. Ormond Exhibitions. (Founded by Public Subscription in 1897)—Threг Exhibitions to the value of i25 each. Two of these Exhibitions are open only to candidates who have passed in Music at the Public( Examinations conducted by the Australian Music Examinations Board (Grade III Theory and Practice, or higher grade, at the same examination) or who have passed in Music (Practical) and Music (Theoretical) in the one year at the Matriculation Examination. The third is open without any restriction.

2. Examinаtion Board's Exhibitions.---Three Exhibitions giving free tuition in the full course for the Diploma and Degree. Open only to candidates who have passed in Music (Practical) and Music (Theoretical) in the one year at the Matriculation Examination, or who have passed at the examinations conducted by the Australian Music Examinations Board in any combination of Theory and Practice taken from the following: Theory Grade III, II or I; or Practice Grade III, II or i; provided (a) that both divisions (Theory and Practice) be taken at the one examina- tun; (b) that if both Theory and Practice be of Grade III standard, Honours be obtained in one division. In the case of a candidate having obtained a Pass only in both divisions, Honours in one division (or a Pass in one division in a higher grade) may be taken separately to complete the qualifying examination. These Exhibitions will be given in the first instance for one year, but they will be renewable for two further periods of one year each, if the Ormond Professor is satisfied with the work and progress of the Exhibitioner, subject to the regulations. . An Exhibition may be suspended at the end of any year until the holder has passed the examinations for the corresponding year of the Degree or Diploma Course.

3. Conservatorium Exhibitions Four Exhibitions to the value of i10 each. For these Exhibitions it is not necessary that any qualifying examination should have been passed.

OTHER EХHIBITIONS Ormond Exhibitions.----At the Annual Examinations each year the following Exhibitions will be awarded : (a) First Year DipïoThree Exhibitions to the value of X25 each for candidates entering upon the Second Year of the Diploma Course or the First Year of the MusBac. Course in the following year. (b) Second Year Diplowг and First Year Mus.Baс.--Three Exhibitions to the value of X25 each for candidates entering upon the Third Year of the Diploma Course or the Second Year of the MusBac. Course in the following year. (c) Third Year Diploma. and Second Year Mus.Baс.---One Exhibition to the value of X25 for candidates entering upon the Third Year of the Degree Course in the following year. xiv ENTRY AND EXAMINATION Entry.---Entry must be made with the Secretary of the Conservatorium on or before the date specified in the "Handbook of Information." Entry Forms may be obtained at the University or the Music Houses. Fee.—One fee of lis. 6d. will covet entry for the whole of the Exhibitions for which a' candidate is eligible, excepting that for the F. W. Homewood Memorial Scholarship and for the Walter Kirby and the Lilian M. Jones Singing Scholarships an additional fee of Ils. 6d. is payable. The fee must be paid to the credit of the University Account at the National Bank, Collins Street, or at one of its branches. The Duplicate Pay-in Slip, duly receipted and bearing the name of the person on whose behalf the fee has been paid, must accompany the Entry Form. Examination.—There is no prescribed work for the Examination which will test the general proficiency of the candidates and their fitness to profit by the instruction of the Conservatorium.

REGULATIONS CONCERNING EХHIВITIІNS 1. No student may hold more than one exhibition at the same time. 2. Na student having held an Entrance Exhibition will be permitted to co гг рёte for the same exhibition a second time, nor will a student having held an Ormond Exhibition or an exhibition of the Australian Music Examinations Board be eligible to compete for any further Entrance Exhibition. 3. No student of the Conservatorium having passed the First Year of the Course for the Degree or the Diploma in Music will be eligible to compete for any Entrance Exhibition. _ 4. No student to whom an exhibition is awarded will be entitled to receive the amount thereof unless he attends the Conservatorium of Music of the University of Melbourne and enters upon the Full Course for the Degree or the Diploma, excepting that the winner of a Conservatorium (E10) Exhibition, if he choose, may enter upon the Course of the Introductory School. 5. Exhibitioners must pay the balance of the prescribed fees for the year before availing themselves of the advantages of the exhibitions. 6. Students holding exhibitions may be examined by the Ormond Professor at any time during the tenure of the exhibition, and if he is not satisfied. with the progress or the diligence of such student, he may recommend to the Council that the privilege of the exhibition be suspended or withdrawn, and the Council may thereupon, with or without further investigation, suspend or withdraw such privilege. SCHOLARSHIPS F. W. Homewood Meniorial Scholarship.--A Scholarship known as the "F. W. Homewood Memorial Scholarship" has been established by students and friends of the late Mr. F. W. Homewood. The Scholarship will entitle the holder to take the full course for the Diploma or Degree in the University Conservatorium. It will be awarded in the first instance for one year, but may be renewed for two further periods of one year each, provided the student obtains First Class Honours in Pianoforte and completes the Annual Examinations for the year without supplementary examination. It will be open to candidates who have passed the qualifying examination for the Degree or Diploma, provided that Honours have been obtained in the Piano- forte section. The successful candidate will study Pianoforte with a teacher formerly a student of the late Mr. Homewood, always provided that there are at least three such teachers on the Staff of the Conservatorium. The Scholarship will be open for competition in February • at the examinations fir the Conservatorium Entrance Exhibitions. In addition to the performance of works of the candidate's own choice, Ear and Sight Reading Tests will be given. The Scholarship will be subject to the Regulations concerning Exhibitions. The Scholarship is not open for competition in 1947. Walter Kirby Singing Scholarship.—The late Walter Kirby bequeathed to the University the sum of il,000 to establish a singing scholarship to be known as xv "The Walter Kirby Singing Scholarship." The Scholarship, which is open. without any restriction, will be awarded each year and the amount shall be the net income produced by the fund, and shall be applied first to the. University for fees payable for such course at. the University Conservatorium as may be prescribed by the Ormond Professor. If any balance remain after the payment of these fees, it shall be paid to the scholar in half-yearly instalments in March and September. The Scholarship shall be awarded annually and for one year, but it may be re-awarded * without examination to the previous holder. Ρ Lilian M. Jones Singiн g Scholarship.--A Scholarship to the value of 40— known as "The Lilian M. Jones Scholarship" is open to students taking a Singingі Course as prescribed by the Ormond Professor. Any balance remaining after the payment of the prescribed fees shall be paid to the scholar in half-yearly instalments in March and September. Albert Guy Miller Scholarship.---A Scholarship to the value of f400 known as "The Albert Guy Miller Scholarship" has been founded at Trinity College. Full information may be obtained from the Warden of the College. Bursaries far Wind Instrument Students.--Students taking a wind instrument as a Practical Study may be granted Bursaries on the recommendation of the Ormond Professor. PRIZES The Wright Prize, founded in 1902 by the will of the Reverend Robert Alexander Wright.----An annual prize of f15 for proficiency in performance on some instrument approved by the Ormond Professor, open to Matriculated students at the Examination of the First Year for the Degree, or the Second Year for the Diploma. Ρ The laude Нaьrriпgton Prise.---Founded in 1908 by Miss Maude Нarriпgton (Mrs. Alberto Zelman), who presented to the Conservatorium the sum of X50, being the amount won by her in an Operatic. Competition at the Exhibition of Women's Work in 1907. The prize consists of books to the value of thirty shillings and is given for proficiency in the art of accompanying a singer on the Pianoforte. It is operi to all students taking a full course for the Degree or Diploma in Music. The examination is held in December, and consists of (1) Prepared rehearsed accompaniments of various schools and styles ; (2) Unrehearsed work-reading at sight, and transposing. Entry is to be made at the same time as for the Annual Examinations, when a list of prepared works is to be submitted for the approval of the Ormond Professor. Lady Turner Prize.—Founded in 1930 by the Misses Mary and Grace Turner to perpetuate the memory of Lady Turner, widow of the late Sir George Turner, Р.C., K.C.M.G., for the encouragement of students in the study of music. The value of each prize is i5 and consists, at least in part, of a book suitably bound and inscribed. At the Annual Examinations in the First Year of the Course for the Diploma in Music two prizes will be available, one for a male and the second for a female student who, in the opinion of the Ormond Professor, show the most outstanding musical promise. LIBRARY Students have access to a library of works of reference in addition to orchestral,, vocal, operatic and chamber music scores. Orchestral works are also available for approved borrowers on payment of a small fee. ORCHESTRAL INSTRUMENTS The Conservatorium possesses a set of orchcesfral instruments at normal pitch, in addition to which the Lady Northcote Permanent Orchestra Trust has placed at the disposal of students and orchestral players, a complete set of instruments which were presented by the late Dame Nellie Melba. These instruments are available for the use of students and members of the Orchestra. A caution fee of к1 1s. is paid by the borrower, and refunded on the return of the instrument. Instruments are delivered ta students in good condition, and students are responsible for maintaining them in good repair at their own expense. xvi NORMAL PITCH STANDARDS The Government has deposited a set of Normal . Pitch Standards in the University Physical Laboratory. These are available for use oa payment of a small fee. STUDENTS' LOAN FUND A Students' Loan Fund . has been founded in connection with the Conserva- torium, the nucleus being . formed by a donation of X54 from the late Dame Neilid Melba, then Madame Melba. It is hoped that it will be gradually increased by similar subscriptions. The object of the Fund is to assist students who . are taking the full course for a Diploma or Degree, and who are willing to give an under- taking to repay the amount of the loan, with interest at a low rate, after the completition of their course. Students who wish to obtain a loan from the Fund should apply to the Registrar.

STUDENTS' CLUB The Students' Club is open to all present members of the University Conservatorium. Ìts aim is to foster the social life of the Conservatorium, and ta bring the students into closer personal relations with each other.

AFFECTING STUDENTS RULES 0F CІNSERVÁTІRIU'М

CLASSES 1. No change of class must be made without the consent of the Director. Any such change must be formally notified at the Secretary's office before the change is made. 2. No class may be attended in any term unless the student's name is on the Class Roll Book, or written authority to attend has been obtained from the Secretary's ofce. . Notice of absence from any class must be sent as early as possible to the Teacher.з Notice of any prolonged absence must be sent to the Secretary. 4. Students must be in the class room and lecture rooms at the hours appointed on the time-table ; instruments for instruction or for ensemble playing must be tuned and ready for use. 5. Additional lessons in any subi ect should in every case be arranged with the Secretary. All business matters must be arranged through the ofce. Permission to practise on the Conservatorium pianofortes must be obtained at the office. STUDENTS' CONCERTS Students are required to take part in Students' Concerts, as instructed by the Director. PUBLIC PERFORMANCE Students may not take part in public performances, . ar enter for any examination outside the University, or publish compositions without ; the permission of the Director. NOTICE BOARD Students are expected to pay due attention to official notices on the Notice Board.

xvii Matriculation and Pre-requisites for the MusBac. Degree Course All first year students in the Degree Course must matriculate—i.e., make the prescribed declaration and sign the matriculation roll—at the Registrar's Office during the first term. The dates fixed for matriculation in 1947 are March 13th, 20th and 27th, and April 10th. Unless this. is done no subjects passed can count towards the degree. Students should satisfy themselves that they are qualified to matriculate before enrolling. Attention is drawn to the following points relevant to the obtaining of the matriculation qualification : All persons matriculating (i.e., signing the matriculation roll on becoming University undergraduates) must be over seventeen years of age. Age will be reckoned as at March 31st. (A) Students qualifying for matriculation under the old regulations. Any person who before 1st March, 1944, qualified to matriculate under regulations in force before the new examination was established, will retain that qualification notwithstanding the new regulations. He must also, unless specially exempted, satisfy the new Faculty pre-requisites (set out hereunder). Candidates who had under special provisions ( e.g., adult matriculation, ad еш dет statum, etc.) before August 1st, 1943, been declared qualified to matriculate on fulfilling certain additional requirements will on fulfilling those requirements be qualified to matriculate, notwithstanding the new regulations. ( B ) Students qualifying for matriculation under the new regulations. Persons who were not before March 1st, 1944, qualified to matriculate must, in order to become so qualified and enter upon the Mus.Bac. Degree Course— (a) obtain the School Leaving Certificate and be credited therein with five subjects including (i) English, (ii) a branch of Mathematics or of Science, ( iii) two* other subjects chosen from French, German, Latin, Greek, Italian, Dutch, Hebrew, Japanese, Greek and Roman History, Modern History, British History, Economics ; (b) pass the Matriculation Examination by passing or obtaining honours in the one year in four subj ects, including English Expression, Music (Practical) and Music (Theoretical), provided that in lieu of Music (Practical) and Music (Theoretical) a candidate may pass the examination of the first year of the course for the Diploma in Music. The Professorial Board has wide discretionary powers of declaring persons qualified to matriculate, and it is proposed that these powers should be exercised to deal with individual cases of hardship caused by the change in the regulations. Written applications for special consideration in this respect, or for exemption from the requirements of prior completion of the School Leaving Certificate, should be made, through the school principal in ordinary cases, to the Registrar. The Professorial Board, on the recommendation of the Faculty of Music, may, in special circumstances, grant dispensation from pre-requisites.

Pre-requisites for Serviсеmен By decision of the Professorial Board : (a) Servicemen who before March Ist, 1944, had qualified to matriculate and had obtained the pre-requisites formerly required for entry upon the Degree Course shall be exempted from the requirement of complying with the new pre-requisites. (b) Servicemen who reach School Leaving standard in the subjects in which a pass at the Matriculation Examination is pre-requisite for entry on the Degree Course shall, if qualified to matriculate, be deemed to have complied with the pre-requisites.

*This requirement has been reduced, for the time being, to one subject. xviii For the purpose of these concessions a "serviceman" is defined as a person¢ whether male or female, who has been on continuous service as a member of the Forces for a period of at least twelve months during the war, or who has been discharged from the Forces after any period of service as the result of war-caused disability.

SPECIAL MATRICULATION

(i) Adult маtűcuratиDn Concession Candidates who were not less than 23 years of age on 1st March preceding their application and who have been prevented by obstacles in the way of their secondary education from sitting at the ordinary stage for examinations qualifying for matriculation may apply for admission under the adult matriculation regulation (Chap. I, Reg. II, section 3 ) . They will be required to satisfy the Pro- fessorial Board in special tests of their general knowledge and powers of consecutive exposition, and to pass at the Matriculation Examination in subjects prescribed by the Faculty of Music.

(ii) War Service Concession By decision of the Professorial Board any person over 19 years of age who has been engaged on war service for not less than a year may qualify to matriculate and enter upon the Degree Course in either of the following two ways : (a) By passing the Matriculation Examination in four subjects to include English Expression and the pre-requisites for the Degree Course. (b) By complying with the adult matriculation provisions, even if under the ordinary age limit of 23 years. (A person is not eligible for this concession who has failed in an attempt to qualify to matriculate under the ordinary conditions, unless it can be shown that it was the taking up of war service which actually prevented him from making a further attempt in which he might reasonably have been expected to succeed. ) (c) In the case of persons who were attested as members of the Forces before 1st June, 1943, by passing the Special Tests in Intelligence and Consecutive Exposition and by passing the Matriculation Examination at one sitting in two approved subjects, irrespective of failure in any previous attempt at Matriculation. Under this provision applicants will not be allowed to count in their two subj ects any passes previously gained at the Leaving or Matriculation Examination.

(iii) Special Case Concession (Section 13 of the Matriculation Regulation) The Professorial Board in special cases may declare any person qualified to matriculate although he has not complied with the regular requirements and in doing so may subject his University course to such conditions whether in relation to the completion of qualifications ordinarily required for matriculation or otherwise as the Board may determine. The Professorial Board has acted under this category only in cases of persons otherwise fitted to undertake the Degree Course whose failure to fulfil the ordinary matriculation requirements has been due to ill-health or to wrang advice given in writing by the University, or whose qualifications are technically defective in some minor respect only, such as having only a Lower Standard pass at the School Intermediate Examination in one subject in which a Higher Standard pass would have completed the qualification.

(iv) Young Persons in Employment Concession The Professorial Board will treat as a special case; under Section 13 of the Matriculation Regulation a candidate who has been deprived of educational opportunities and who is eligible to sit for the Matriculation Examination if he (a) passes the Examination in two consecutive years in a total of four subjects including English Expression and the pre-requisites for the Degree Course; (b) is in full-time employment throughout these two years, his employer not being an educational institutiontution or authority; xix (с) gives notice of his intention to proceed in this way at least six months before the first examination, with 'a statement from his employer setting out his hours of work; (d) satisfies the Board that his leaving school before passing the Matricu- lation Examination was due to reasons of financial necessity. Students who matriculate under these provisions (i-iv) cannot, however, receive credit in a degree course for any "Šingle Subjects" passed before matriculation or transfer to any other course without passing the examinations prescribed for entry upon that course.

(v') Admission ad eundem stаtum Candidates who have passed an examination qualifying for matriculation in any other University approved for the purpose by the Professorial Board may be admitted to matriculation in this University on complying in other respects with the Statutes and Regulations concerning matriculation. Applicants for special matriculation must lodge with the Registrar the appropriate form, setting out the circumstances relied on, and a bank-slip for the Matriculation fee (2 guineas) .

THE RECONSTRUCTION TRAINING SCHEME The Commonwealth Government has a Reconstruction Training Committee, under the Minister for Post-War Reconstruction, to deal with plans for the training of discharged members of the Services, to assist their re-establishment in civil life. Persons who have been honourably discharged from the Services after six months' full-time service are eligible under certain conditions for full-time or part-time professional training. In general the scheme provides, for full-time trainees, the payment of fees, a book and instrument allowance, and a living allowance which may include, where applicable, a dependants' allowance. For persons eligible only for part-time training a sum of (6О is available towards the trainee's fees and other compulsory charges. Inquiries concerning the scheme may be made through the Guidance Officer for ex-service students or the Universities Commission branch office in the University grounds. Applications for training under the scheme, if not already made on discharge from the Service, should be lodged with the Regional Secretary, Reconstruction Training Scheme, Ministry of Post-War Reconstruction, Degraves Street (off 250 Flinders Street) , Melbourne, C.1.

GUIDANCE OFFICE FOR EX-SERVICE STUDENTS The University Guidance Officer (Mr. W. E. Cremor) and the Assistant Guidance Officer (Mr. N. A. Vickery) are available to discuss questions concerning University study with any member or ex-member of the Services, and these students are urged to keep in touch with. the Guidance Office and to refer to it any academic or personal problems which they encounter during their courses. Full-time trainees under the Commonwealth Reconstruction Training Scheme are under an obligation to report all absences from classes, and should da so to the Guidance Officer.

xx REGULAТIІNЅ No. XLIX.—DEGREE OF BACHELOR OF MUSIC 1. Candidates for the Degree of Васhelor of Music shall subsequently to their Matriculation* pursue their studies for four years, attend such lectures and classes and perform such practical work as may be prescribed by the Faculty of Music, pass the prescribed examinations and otherwise comply with the conditions of this Regulation. Candi- dates may obtain the Degree in any division or divisions of the following Schools : A. Instrumental School (a) Concert performance (b) Teaching B. Vocal School (a) Concert singing (b) Operatic singing (c) Teaching C. Theoretical School-- (a) Compósition (b) Teaching D. School of School Music and the Diploma issued to any person admitted to the Degree ' shall set out the school and the division in which the Degree has been obtained and if the Degree has been obtained in the Instrumental School shall set out the instrument, in which the candidate has qualified. Subject ta the provisions of the Statute concerning admission ad eundem and to dispensation granted by the Professorial Board in special cases no candidate shall be permitted to enter for the Examination of the First Year who shall not at least six months before such Examination have passed ór obtained honours in Music, (Theoretical) and Music (Practical) in the same year at the Matriculation Examination or other Examination approved for the purpose by the Professorial Board or have passed the Examination of the First Year of the course for ' the Diploma in Music. 2. Where a candidate in any year has passed in some only of the subjects of the year of the course he shall be entitled to credit for such subjects. The subjects not passed may be presented in any subsequent year either by themselves or along with such subj ects of the next year of the course as the Ormond Professor of Music may permit. 3. Three Ormond Exhibitions of the value of Twenty-five Pounds each . shall be open ;for competition ta candidates who are qualified to enter the course for the Degree of Bachelor of Music and may be awarded at the Honour Examinations of the First Year of the course for the Diploma in Music for excellence in the subjects of that year and for general artistic skill exhibited throughout the year. 4. The subjects of the Pass and Honour Examinations of the First Second. and Third • Years and the Pass Examination of the Fourth Year of the Course in each division shall be as set out in the following table : * decision of the Professorial Board students who have completed one year of the course for the DiplomaВу in Music shall be declared qualified. to matriculate on passing at the Matriculation Examination in English . Expression and in one other subject not being Music (Practical) or Music (Theoretical) or Musical Appreciation. I A. Instrumental School Divisions (а) and (b) Year 1st. 1. Form and Analysis Part L 2. History Literature and Aesthetics of Music Part 1.. 3. Harmony Part III. 4. Counterpoint Part IL 5. Sight Reading Part II. 6. Ear Training. 7. Chief and Second Practical Studies Part II. 2nd. 1. Form and Analysis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part II. 4. Harmony Part IV. 5. Counterpoint and Fugue. 6. Sight Reading Part III. 7. Chief and Second Practical Studies Part III. 3rd. 1. Orchestration Part II. 2. History Literature and Aesthetics of Music Part III, 3. Harmony Part V. 4. Counterpoint Canon and Fugue. 4th. Division (a) . 1. Chief and Sеcond Practical Studies Part IVA. 2. Sight Reading Part IV. 3. Accompanying Part II (Pianoforte and Organ only) . 4. Instrumental Ensemble Part II. 5. Elementary Acoustics. Division (b) . 1. Chief and Second Practical Studies Part IVI. 2. Sight Reading Part IV. 3. Methods of Teaching Part II. 4. Elementary Acoustics.

В. Vocal SchoolDivisions (a), (b) and (е) 1st. 1. Form and Analysis Part I. 2. History Literature and Aesthetics of Music Part L. 3. Harmony Part II. 4. Modern Languages Part II. 5. Sight Reading Part II. 6. Ear Training. 7. Chief and Second Practical Studies Part II. 2nd. 1. Form and Analysis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part IL. 4. Modern Languages Part III. 5. Sight Reading Part III. 6. Chief and Second Practical Studies Part III. 3rd. 1. Orchestration Part II. 2. History Literature and Aesthetics of Music Part III.- 3. Modern Languages Part IV. z Year 4th. 1. Modern Languages Part V. 2. Sight Reading Part IV. 3. Chief and Second Practical Studies Part IVC (for Division (a)—Concert Singing ) . Chief and Second Practical Studies Part I V D (for Division (b)—Operatic Singing ) . Chief and Second Practical Studies Part IVE (for Division (c)—Teaching). 4. Elementary. Acoustics. Candidates for the Degree in Division (c) (Teaching) must also pass in 5. Methods of Teaching Part II.

C. Theoretical School Divisions (a) and j I st. Division (a). 1. Form and Analysis Part I. 2. History Literature and Aesthetics of Music Part I. 3. Harmony Part III. 4. Counterpoint Part II. 5. Ear Training. 6. Orchestration Part I. 7. Practical Study Part II. S. Composition Part II. Division (b). I. Form and Analysis Part I. 2. History Literature and Aesthetics of Music Part I. з. Harmony Part III. 4. Counterpoint Part II. 5. Sight Reading Part II. 6. Ear Training. 7. Practical Study Part II. S. Composition Part I for Division (b). 2nd. Divisions (a) and (b). 1. Form and Analysis Part II. 2. Orchestration Part II for Division (a) or Part I for Di vi - sion (b). 3. History Literature and Aesthetics of Music Part II. 4. Harmony Part IV. 5. Counterpoint and Fugue. 6. Composition Part III for Division (a) or Composition Part II for Division (b). 3rd. Divisions (a) and (b). 1. Orchestration Part II for Division (b ). 2. History Literature and Aesthetics of Music Part III. .3. Harmony Part V. 4. Counterpoint Canon and Fugue. 5. Composition Part IV for Division (a) or Composition Part III for Division (b'. 3 Y ear 4th. Division (а). 1. Composition Part. V. 2. Elementary Acoustics. Division (b) . I. Pedagogics and Psychology. 2. Theory Teaching Part IL 3. Elementary Acoustics. D. School if School Music 1st. 1. General Musical Knowledge. 2. Harmony Part II. 3. Counterpoint Part I. 4. Sight Reading Part I. 5. Pianoforte Part I (Chief Study) . 6. Singing Part I (Second Study) . 7. Orchestral Instrument Part I. 2nd. 1. Form and Analysis Part 1. 2. History Literature and Aesthetics of Music Part I. 3. Harmony Part III. 4. Counterpoint Part II. 5. Sight Reading Part II. 6. Ear . Training. 7. Pianoforte Part II. 8. Singing Part IL 9. Orchestral Instrument Part II. 3rd. 1. Orchestration Part I. 2. History Literature and. Aesthetics of Music Part II. 3. Instrumental Ensemble Part I. 4. Rhythmics. 5. Methods of Teaching Part II. 6. Speech Training Part I. 7. Pianoforte Part III. 8. Singing Part III. 4th. 1. History . Literature and Aesthetics of Music Part III. 2. Harmony Part IV. 3. Musical Appreciation and the Art of Listening. 4. Pianoforte Keyboard Facility. 5. Instrumental Ensemble Part II. 6. Speech Training Part II. 7. Class Singing. 8. School Orchestra Technique. 5. At the Honour Examination of the First Year three Ormond Exhibitions of the value of Twenty-five pounds each shall be open for competition and may be awarded for excellence in the subjects of the Examination for the First Year and for general artistic skill exhibited throughout the year. ř tThe Wright Prize in Мusic is also open for competition in this year. See University Calendar, Chap. IV, Regulation XVII. 4

6. At the Honour Examination of the Second Year one Ormond Exhibition of the value of Twenty-five pounds shall be open for compe- titian and may be awarded for excellence in the subjects of the Exami= nation for the Second . Year and for general artistic skill exhibited throughout the year. 7. Candidates who have completed the four years of the Course and fulfilled the prescribed conditions may be admitted to the Degree of Bachelor of Music. 8. At the Final Honour Examination candidates may obtain in the' sanie or in different years Honours in one or more of the following Schools but not more than twice in the same School : A. Harmony and Composition. B.—Counterpoint Canon and Fugue. Instrumentation and Orchestration C. Playing on the Pianoforte from Full Orchestral and Vocal Score. D. History Literature and Aesthetics of Music. E. Practical Study Vocal or Instrumental. F. Original and Critical Composition on Musical Subjects. 9. No student shall hold more than one Exhibition in Music at the same time and no student to wham an Ormond Exhibition shall be awarded shall be entitled to receive the amount thereof unless he proceed with the full course of study at the University Conservatorium of Music for ,the Degree of Bachelor of Music or for the Diploma in Music and pay the prescribed fee for the year. 10. Candidates for the Diploma in Music may an matriculating enter the course for the Degree of Bachelor of Music at any time with a corresponding status the Second Year of the Diploma course corresponding with the First' Year of the Degree course and the Third Year of the Diploma course corresponding with the Second Year of the Degree course. ' 11. In the case of candidates who have completed any portion of the course for the Degree in the Instrumental or Vocal School it will be competent 'for the Faculty to determine to what status the candidates will be admitted in the School of School Music Course.

No. L. DEGREE OF DOCTOR OF МUSIC 1. Candidates for the Degree of Doctor of Music shall be Bachelors of Music of at least three years' standing. 2. Candidates for. the Degree of Doctor of Music may present themselves for Examination in either (or both) of two Schools viz.: (A) Composition : An original work for Orchestra and Chorus in the form of an Opera Oratorio Mass Music Drama or Cantata. (B) Theory History and Aesthetics of Music; Original essays or other evidence of original research.

Candidates will be required to present themselves for an examination in Harmony up to six parts and Fugue and Orchestral Score reading. 3. Candidates who have given evidence of ability and proficiency satisfactory to the Examiners in any one or more of the above Schools and fulfilled the other conditions hereinbefore required may be admitted to the Degree of Doctor of Music. (Seе Chapter III, Regulation I, Section 12, Footnote.)

No. LI. DIPLOMA IN MUSK 1. Candidates for the Diploma in Music shall pursue their studies for three years, attend such lectures and classes and perform such practical, work as may be prescribed by the Faculty of Music, pass the prescribed examinations and otherwise comply with the conditions of this Regulation. Candidates may obtain the Diploma in any division or divisions of the following Schools : A. Instrumental School (a) Concert performance (b) Teaching B. Vocal School (a) Concert singing (b) Operatic singing (c) Teaching C. Theoretical School (a) Composition (b) Teaching and the Diploma awarded to any candidate shall set out the School and the division in which the Diploma has been obtained and if it has been obtained in the Instrumental School shall set out the instrument in which the candidate has qualified. Subject to the provisions of the Statute concerning admission ad euitdem and to dispensation granted by the Professorial Board in special cases no candidate shall be permitted to enter for the Exarcina- tíon of the First Year who shall not before such Examination in the case of School B and at least four months before such examination in the case of Schools A and C have passed in Music Grade III both Theory and Practice at one and the same examination of the Australian Music Examinations Board or other Examination approved for the purpose by the Professorial Board. 2. Where a candidate in any year has passed in some only of the subjects of the year of the course he shall be entitled to credit for such subjects. The subjects not passed may be presented in any subsequent year either by themselves or along with such subjects of the next year of the course as thé Ormond Professor of Music may permit. 3. At the beginning of the First Year two Ormond Exhibitions of the value of Twenty-five pounds each shall be open for competition to candidates for the Diploma in Music who have passed the School Inter- meдiаtе Examination in Music and one Ormond Exhibition of the value of Twenty-five pounds shall be open to competition generally

б amongst candidates desiring to enter the University Conservatorium of Music. These Exhibitions may be awarded for proficiencý in Music at an Examination to begin on the Tuesday preceding the eighth Thursday in each year. 4. The subjects of the Pass and Honour Examinations of the various years of the course in each division shall be as set out in the following table : А . Instrumental .School Divьsions (а) and (b) Year 1st. Divisions (a) and (b). 1. General Musical Knowledge. 2. Harmony Part II. 3. Counterpoint Part I. 4. Sight Reading Part I. 5. Chief and Sеcond Practical Studies Part I. 2nd. Divisions (a ) and (b). 1. Form and Analysis Part I. 2. History Literature and Aesthetics of Music Part I. 3. Harmony Part III. 4. Counterpoint Part II. 5. Sight Reading Part II. 6. Ear Training. 7. Chief and Second Practical Studies Part II. 3rd. Division (a). 1. Form and Analysis Part II. 2. Orchestration Part I. з. History Literature and Aesthetics of Music Part II. 4. Sight Reading Part III. 5. Accompanying Part I (Pianoforte and Organ only). 6. Instrumental Ensemble Part I. 7. Chief Practical Study A. Division (b) . 1. Form and Analysis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part II. 4. Harmony Part IV. 5. Counterpoint and Fugue. 6. Sight Reading Part III. 7. Methods of Teaching Part I. 8. Chief and Sеcond Practical Studies Part III. • В: Vocal Sch ňol Divisions (a), (b) and (с) 1st. Divisions (a), (b) and (с). 1. General Musical Knowledge. 2. Harmony Part I. 3. Sight Reading Part I. 4. Modern Languages Part I. 5. Chief and Second Practical Studies Part I. 7

Year Znd. Divisions (а ) , (b) and (c ) . L Form and Analysis Part I. 2. History Literature and Aesthetics of Music Part L 3. Harmony Part II. 4. Modern Languages Part II. 5. Sight Reading Part II. 6. Ear Training. 7. Chief and Second Practical Studies Part II. 3rd. Divisions (a) and (b). 1. Form and Analysis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part I1. 4. Modern Languages Part III. 5. Sight Reading Part III. 6. Chief Practical Study A (for Division (a)). 7. Chief Practical Study В (for Division (b)). Division (c) . 1. Form and Analyśis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part II. 4. Modern Languages Part III. 5. Sight Reading Part III. 6. Methods of Teaching Part I. 7. Chief and Second Practical Studies Part III. C. Theoretical School Divisions (a) and (b) 1st. Division (a ) . 1. General Musical Knowledge. 2. Harmony Part II. 3. Counterpoint Part I. 4. Practical Study Part I. 5. Composition Part I. Division (b). 1. General Musical Knowledge. 2. Harmony . Part II. 3. Counterpoint Part I. 4. Sight Reading Part I. 5. Chief and Second Practical Studies Part I. 2nd. Division (а) . 1. Forni arid Analysis Part I. Part I. 2. History Literaturё and Aesthetics of Music 3. Harmony Part III. 4. Counterpoint Part II. 5. Ear Training. 6. Orchestration Part I. 7. Practical Study Part II. 8. Composition Part II. s Year 2nd. Division (b) . 1. Form and Analysis Part I., 2. History Literature and Aesthetics of Music Part I. 3. Harmony Part III. 4. Counterpoint Part II. 5. Sight Reading Part II. 6. Ear Training. 7. Practical Study Part II. 8. Composition Part I for Division (b) . 3rd. Division (a) . 1. Form and Analysis Part II. 2. Orchestration Part II. 3. History Literature and Aesthetics of Music Part II.. 4. Harmony Part IV. 5. Counterpoint and Fugue. 6. Composition Part III. Division (b) . 1. Form and Analysis Part II. 2. Orchestration Part I. 3. History Literature and Aesthetics of Music Part II. 4. Harmony Part IV. 5. Counterpoint and Fugue 6. Composition Part II. Candidates for the Diploma in Division (b) (Teaching) must also pass in 7. Pedagogics and Psychology. 8. Theory Teaching Part I. 5. Candidates who complete their First Year shall be allowed in the same year to compete for the Exhibitions specified in Regulation XLIX Section 3. 6. Candidates who complete their Second Year shall be allowed in the same year to compete for the Exhibitions awarded at the examination of the First Year for the Degree of Bachelor of Music. 7. Candidates who complete their Third Year at the Annual Examination shall be allowed in the same year ta compete for the Exhibition provided for under Regulation XLIX Section б. 8. Candidates who have completed the three years of the course and fulfilled the prescribed conditions may be awarded the Diploma in Music provided that they produce satisfactory evidence to the Ormond Professor of having attended an approved course of lectures in Elemen- tary Acoustics. ' 9. No student shall hold more than one Exhibition in Music at the same time and na student to whom an Ormond Exhibition shall be awarded shall be entitled to receive the amount thereof unless he proceed with the full course of study at the University Conservatorium of Music for the Degree of Bachelor of Music or for the Diploma in Musi. and pay the prescribed fees for the year. 9 10. Candidates for the Diploma in Music may on matriculating enter the course for the Degree of Bachelor of Music at any time with the corresponding status the Second Year of the Diploma course. corresponding with the First Year of the Degree course and the Third Year of the Diploma course corresponding with the Second Year of the Degree course. 11. Any holder of the Diploma in Music or the Diploma of Musical Associate may be admitted to the Degree of Bachelor of Music on matriculating as a student of the University and fulfilling the conditions prescribed for the Third and Fourth Years of the course for the Degree of Bachelor of Music.

No. LII. DIPLOMA OF мАA тЕR SCHOOL IN MUSIC 1. Candidates for the Diploma of the Master School in Music must in the opinion of the Ormond Professor be of outstanding ability as solo perf framers. 2. Candidates having obtained the Degree of Bachelor of Music or the Diploma in Music in School A (a) or B (a) or (b) must present themselves for the following examinations : (a) Three recitals one at least of which may be a public performance each recital to occupy about an hour and a half ; the programmes to be approved by the Faculty of Music and to to be fully representative of all schools. (b) Evidence of musicianship in a test in Sight Reading Trans- position and Ear Training. (c) A viva voce examination in the music of the post-romantic period in the subject in which the candidate presents himself. Candidates who have not obtained the Degree of Bachelor of Music or the Diploma in Music in School A (a) or B (a) or (b) but have given other evidence of fitness satisfactory to the Faculty of Music shall in addition to the above submit themselves to the following examinations : (a) Harmony (Oral and Written) of the standard of Harmony Part III. (b) Modulation at keyboard. (c) History- ( 1 ) relating to the subject in which the candidate presents himself for examination ; (2) an outline of general musical history. (d) Form and analysis relating to the works performed at the above recitals. 3. The examination of any candidate may not, without the special permission of the Faculty, extend over a period of more than three months. 4. An examination fee of Five guineas must be paid by candidates who have obtained the Degree of Bachelor of Music or the Diploma in Music. In all other cases a fee of Thirty-two guineas must be paid which shall in addition entitle a candidate prior to the examination to lo attend a full course of study in any year of the course for the Degree =or Diploma. 5. Candidates who have passed the examination and fulfilled the prescribed conditions may be awarded the Diploma in the Master School of Music.

No. LIII CERTIFICATE FOR MUSIC IN SC10OLS 1. Before enrolment as a candidate for the Certificate for Music in Schools a person must be admitted to the course by the Faculty. 2. The Faculty may admit as a candidate for the Certificate any applicant- ( i) who has completed at the University the course for a degree or diploma in Music or who has produced evidence satisfactory to the Faculty of musical education and musicianship of substantially equivalent standard ; (ii) who has satisfied the Faculty in such manner as it shall require. that he is of sufFicient ability as a pianist and a vocalist ; and (iii) who has passed at the examinations of the Australian Music Examinations Board in the subject of Musical Perception at Grade I standard or other examination in the subject approved by the Faculty. 3. A candidate shall subsequently to his admission pursue his studies for at least one academic year, shall attend such classes and demonstrations as the Faculty may from time to time prescribe in the details of subjects, and shall pass the examinations hereinafter prescribed. 4. The subjects* of teaching and examination shall be as follows : Pedagogics and Psychology. Class Singing. Pianoforte Keyboard Facility. School Orchestra Technique. Musical Appreciation and the Art of Listening. Rhythmics. 5. A candidate who passes the examination in any subject or subjects of the course shall be entitled to credit therefor. 6. A candidate not presenting himself at one examination in all the subjects of the course may take the subjects of examination in any order. 7. A candidate who has satisfied the requirements of this Regula- tion and fulfilled any other conditions required may be granted the Certificate for Music in Schools. S. Notwithstanding anything to the contrary, candidates who under the regulations in force on 31st December, 1942, have passed *Fees : Pedagogics and Psychology; Musical Appreciation and each 2 guineas per annum. the Art of Listening. Class Singing: School Orchestra Technique; Rhythmics; Pianoforte each 3 guineas per annum. Keyboard Facility. 11 in any of the subjects peculiar to the School of School Music in the course for the degree of Bachelor of Music shall be entitled to obtain the Certificate on completing such additional attendances and passing in such additional examinations as the Faculty shall prescribe.

1г Musk

DETÁILS OF SUBJECTS AND BOOКS FOR 1947

DEGREE OF BACHELOR OF MUSIC AND DIPLOMA IN MUSIC and the CERTIFICATE FOR MUSIC IN SCHOOLS.

VACATroN READING Students are advised that they are expected to use a considerable part of the summer and spring vacations for reading purposes. In some cases specific references are made in the following details ; in others, a list of suitable books will be posted on the appropriate notice boards ; in all cases the Lecturers con- cerned should be consulted.

HONOUR Woaк Except in the cases of subjects where special details are published, the Syllabus for Honours will be the same as that for Pass, but the Examination for Honours will require candidates to attain a higher standard and to show more detailed knowledge. LECTURES AND PRACTICAL WORK The provisions in the details as to the number of lectures, tutorials, etc., and the hours of practical work are included for general guidance only, and may be modified by the Faculty without notice if the necessity arises.

EXØNAL STUDIES None of the subjects of the course may be taken by external or correspondence tuition. Note.—The books marked herein with an asterisk are essential books which students should possess.

ACCOMPANYING, PART I

A practical class of one hour per week throughout the Year.

SYLLAвus. Practice in accompanying singers and instrumentalists. EXAMINATION. A practical test of about 15 minutes. Candidates will be expected to accompany satisfactorily a vocal or instrumental composition of fairly ,difficult standard.

ACCOMPANYING, PART II A practical class of one hour per week throughout the Year.

SYLLABUS. As for Accompanying, Part I.

EXAMINATION. A practical test of about 15 minutes. Candidates will be еxресtед to perform accompaniments of a more difficult standard than required for Accompanying, Part I. 13 CHIEF AND SECOND PRACTICAL STUDIES In each Part of Chief and Second Practical Studies the student receives 40 minutes' individual tuition per week in the Chief Study, and 20 minutes' individual tuition per week in the Second Study. Students are taken in groups of three. In each part the examination consists of a Practical test, the programme for which in the Chief Study must include work which the candidate has prepared unaided. In Parts I, II and III (2nd Year Mus. Bac.) a work will be set by the Dean of the Faculty of Music one month before the date of the examination. In Part III (3rd Year Dip. Mus.), Parts IV A, B, C, D, E, and Part V, at least one-third of the programme must be prepared unaided and presented at the examination, and it must include one complete major work in both the Classical and Romantic styles.

PARTS I, II AND III (2nd YEAR MUS. BAC.) Studies and works, as prescribed during the corresponding year.

PART III (3rd YEAR DIP. MUS.) Candidates must submit, for the approval of the Dean of the Faculty of Music, nat later than the second week of the third term, a full programme of examination pieces for their Chief Study.

PART IV A AND PART IV B Candidates must submit, for the approval of the Dean of the Faculty of Music, not later than the second week of the third term, a full concert programme, including one work at least of each of the following composers : Pianoforte—Bach, Beethoven, Chopin, Schumann or Brahms, Debussy or Ravel. Violin--Bach, Beethoven, Vieuxtemps, Spahr, Brahms. For other instrumental subjects details will be provided when required. Candidates taking Part IV A must reach a standard equivalent to First Class Honours in the practical test and, in addition, must satisfy the Dean of the Faculty of Music as to their platform deportment. Candidates taking Part IV B are required to reach the Pass standard only.

PART WC Candidates must submit, for the approval of the Dean of the Faculty of Music; not later than the second week of the third term, a full concert programme, selected from the main representative schools, including Oratorio. They must secure First Class Honours in the practical test and must satisfy the Dean of the Faculty of Music as to their platform deportment.

PART IV D Candidates must submit, for the approval of the Dean of the Faculty of Music, not later than the second week of the third term, a repertoire of ten roles of grand opera, such operas to be sung, if required, in the language in which they are written. They must show a thorough knowledge in the portrayal on the stage and of the "making-up" and correct dressing for the ten parts submitted. They must secure First Class Honours in the practical test and must satisfy the Dean of the Faculty of Music as to their histrionic ability.

PART IV E Candidates must submit, for the approval of the Dean of the Faculty of Music, not later than the second week of the third term, a full programme of examination pieces for the Chief Study. 14 PARТ V 'Studies and works as prescribed during the year. The standard, in both Chief and Second Studies, must be at least equal to that of the corresponding Chief Study in Part I.

CHIEF PRACTICAL. STUDIES, A AND B A course of individual tuition, 50 minutes per week throughout the Year. Students are taken in groups of three. SYLLAВus. Studies and works, as prescribed during the year. ExAIINATION. A practical test. Candidates must submit, for the approval of the Dean of the Faculty of Music, not later than the second week of the third term, a full programme of examination pieces. At least one-third of the programme must be prepared unaided and presented at the exam ination, and it must include one complete major work in both the Classical and Romantic styles. Candidates must secure First Class Honours in this test and must further satisfy the Dean of the Faculty of Music as to their platform deportment. In the case of School В, Division (b) , they must further satisfy the Dean of the Faculty of Music as to their knowledge of the art of acting.

CLASS SINGING A practical course at a recognized School. SYLLAВus. Choral singing and its relationship to children, knowledge and understanding of the child voice, sol-fa and staff notation, use of the modulator and blackboard, conducting and repertoire. ExAMINATroN. A practical test. Candidates must conduct a class in two- and three-part songs, and must give evidence of their familiarity with School part-songs. They must demonstrate their ability to train a class to read at sight from staff notation with the assistance of tonic sol-fa.

COMPOSITION, PART I A course of individual tuition, 40 minutes per week throughout the Year. SYLLABUS. Study of simple forms—song, solo and part-song, and dance .forms. EXAM1NATrON. One 3-hour paper.

CІMPC7SITION, PART II A course of individual tuition, 40 minutes per week throughout the Year. SY LAвus. lore advanced - treatment of the work prescribed for Composi- tion, Part I. Older rondo. Development sections in preparation for symphonic form. ExAmiNAT1oN. One 3-hour paper.

COMPOSITION, PART III A course of individual tuition, 40 minutes per week throughout the Year. SvLLAвus. Studies embracing the forms up to and including fugal and sonata forms. ExAМГNAТroN. One 3-hour paper. COMPOSITION, PART IV A course of individual tuition, 40 minutes per week throughout the Year. SYLLAВus. Studies in free composition, including Specimens of Double Counterpoint ; specimens of various forms of Canon, including examples in aug- mentation and diminution ; general knowledge of the principles governing Triple and Quadruple Counterpoint ; Complete Fugue, either Choral or Orchestral ; exercises in variation form and string quartette styk. EXAMINATION. Two 3-hour papers. 15 COМPQSITIQN, PART V A. course of individual tuition, 40 minutes per week throughout the Year. SYLLAвus. Advanced studies in composition. EXAMINATION. Each candidate must present an original composition, which, may be any one of the following; (i) A symphonic movement in Sonata form with slow movement or fin l . (ii) . An overture. а е (iii) A choral and orchestral work on lyric, sacred or dramatic lines. COUNTERPOINT, PART I A course of one lecture per week throughout the Year. SYLLAвzes. The first principles of Counterpoint, illustrated by examples in two parts in strict and free styles, and also three-part strict counterpoint with one moving part. EXAMINATION. One 3-hour paper. COUNTERPOINT, PART II A course of one lecture per week throughout the Year. SУLLAвиs. (i) Strict--Combined Counterpoint in three parts (all species) ; four-part Counterpoint with one moving part. (ii) Free---S_ pecimens of choral writing, illustrating in a simple form the- main features of the Schools of Palestrina and Byrd, and instrumental work i , Choral Prelude form. Воокs. Recommended for reference : Briggs—Elements of Plainsong. (Novella.) Prout—Counterpoint. (Augener.) Kitson—Art of Counterpoint. (О.U.P.) . Gladstone—Treatise on Strict Counterpoint. (Novella.) Morris---Contrapuntal Technique in the Sixteenth Century. (G.U.P.) ExAmINATIoN. One 3-hour paper. COUNTERPOINT AND FUGUE A course of one lecture per week throughout the Year. SYLLAвus. (i) Strict Counterpoint---Four-part writing with one moving part. Three-part writing with two florid parts. (ii) Free Counterpoint—Simple specimens of double counterpoint—contrapuntal writing on, a choral or an instrumental prelude, showing the use of figure- work. (iii) Fugue--The general laws and devices employed in fugal writing. B vous. Recommended for reference : The books recommended for reference in Counterpoint, Part II, together with Prout—Fugue. (Augener.) Higgs—Fugue. (Novella.) EXAMINATION. One 3-hour paper.

COUNTERPOINT, CANON AND FUGUE A course of one lecture per week throughout the Year. SYLLАВUs. (i) Free Counterpoint--Specimens of double counterpoint. Contra- puntal writing in four parts on a choral or instrumental subject, showing the use- of designed, figure work. (ii) Canon—Short canon in four parts in the octave. (iii) Fugue—Complete fugue, either vocal or instrumental, up to four parts. Вoок. Recommended for . reference : Kitson---Studies in Fugue. (0.U.P. ) EXAMINATION. Two 3-hour papers (one in Counterpoint and Canon, one hr Fugue) .

1б EAR TRAINING A class of one half-hour per week throughout the Year. SYLLAвиs. More advanced dictation and recognition of chords than required under General Musical Knowledge. EXAMINATION. Oral test of about 15 minutes.

ELEMENTARY ACOUSTICS A course of about six lectures, with experimental illustrations, commencing in the second term. SYLLAnus. The elements of Acoustics, and its application to musical instruments and musical scales. Boons. Recommended for reference : Richardson—Acoustics of Orchestral instri,unents and of the Organ. (Arnold.) Jeans----Science and Music. (C.U.P.) ЕхАМг тAтіoпт. One 3-hour paper.

FORM AND ANALYSIS, PART I A course of one lecture per week throughout the Year. SYLLAвцs. The classic musical forms. Analysis of prescribed works. Bіoкs. Prescribed text-book : *Carroll—Outline of Musical Form. Recommended for ref erence : Prout- 1usåcal Form. (Augener.) *Macpherson—Form in Music. (Williams.) *Marris- tructure of Music. EXAMINATION. One 3-hour paper.

FORM AND ANALYSIS, PART II A course of one lecture per week throughout the Year. SYLг.Aвus. All musical forms as found in the Great Masters. Detailed analysis- of prescribed works. EXAMINATION. One 3-hour paper.

GENERAL MUSICAL KNOWLEDGE A course of one lecture per week throughout the Year. SYLLAвus. (i) Pitch and Time Perception. All intervals, the four triads¢ Dominant Sevenths and Diminished Sevenths in root . position and inversion, Cadences, Modulations to nearly related keys ; recognition by ear of various times- and the writing of melodies from dictation. Creative imagination ; the completion, of sentences by balancing phrases and the setting of music to a verse of poetry. Any combination of species of note up to semiquavers, including dotted notes. (ii) Form, etc. Recognition by ear of harmonic and contrapuntal style, two- and three-part writing, binary, ternary and simple rondo forms, etc. Meaning of various musical forms. (iii) History and General Knowledge. The various instruments of the orchestra and the meaning of familiar musical terms, e.g., stretto, episode, etc. An outline of musical history.. Boars. Recommended for reference : Wedge---Eаr Training and Sight Singing Applied to Elementary Musicab Theory. (Schirmer. ) *Peterson_Hand book of Musical Form. (Augener.) *Peterson—Student's Handbook of Мusical Knowledge. (Augener.)

Naumann—Thе History of Musiс (ed. Ouseley.) (Cassell.) O.P. Pratt—History of Music. (Schirmer.) 17 *Parry—Summary of the History and Development of Мвdern and Medieval European XVIusic. (Novella.) ЕxAmINAТzoN. One 2-hour paper on Form ; one 3-hour paper on Terminology and History, together with a practical test in pitch and time perception.

HARMONY, PART I A course of one lecture per week throughout the Year. Sу . .Aвus. Common Chords and Triads in the Diatonic Scales with their inversions. Chord of the Dominant Seventh and its inversions. The simplest forms of Cadences—perfect, imperfect, and interrupted—including those called Authentic and Plagal. Adding three voices above a figured bass, using the chords referred to above. Harmonization of simple melodies in four parts. Invention of a single-phrase melody, or a two-phrase melody. Adding a melody above or below a given subj ect. ВюØкs. Recommended for reference : Dyson---мusicianshiј for Students. (Novella.) Kitson :Elementary Harmonу, Part I. (0.U.P.) Macpherson Practicar Hаrтonу. ( Williams.) Macpherson—Appendix to Practical Harmony. (Williams.) EXAMINATION. One 3-hour Paper.

HARMONY, PART II A course of one lecture per week throughout the Year. SvLLAвus. General knowledge of chords, up to and including the Chord of the Ninth, Suspensions, etc. Laws governing Part Writing, Figured and Unfigured Basses. Harmonisation of Melodies in two, three and four parts, chiefly diatonic : Harmonic Analyses of Passages, writing short passages in which modulations to near-related keys are made. Practical harmony at the pianoforte will be required. The candidate must also be able to play the chief forms of cadences. Bоoкs. Recommended for reference : As for Part I, together with :— Morris--Faundаtions of Practical Harmony and Counterpoint. (Macmillan.) EXAMINATION. One 3-hour paper.

HARMONY, PART III A course of one lecture per week throughout the Year. S'YLLABUS. General knowledge of all chords. Writing passages modulating ta related and unrelated keys and harmonic analysis of an instrumental work. Writing short passages of original harmony in either vocal or instrumental style. Practical harmony at the pianoforte will also be required. Baoкs. Recommended for reference : As for Part I, together with Buck—Unlgured Harmony. (O.U.P.) Macpherson—мelody and Harmony. (Williams.) E:xA'INATIoN. One 3-hour paper.

HARMONY, PART IV A course of one lecture per week throughout the Year. SyLLAвvs. Harmonic analysis of modern works. Harmonisation of melodies. Ground Bass. Writing passages of original harmony in either vocal or instrumental style. Writing simple instrumental accompaniment to a given melody. Practical harmony at the pianoforte, i.e., formation of phrases with varied cadences and simple figured bass, including sevenths and inversions. EXAMINATION. One 3-hour paper. 13 HARMONY, PART V A course of one lecture per week throughout the Year. SYLLAnus. (i) Harmonisation of melody in five vocal parts. (ii) Harmonisation in four instrumental parts (such as a string quartette), the given part not necessarily being confined to either the upper or lower part. (iii) Expansion or development of a given harmonic phrase, or The addition to a given melody of a free accompaniment, or The setting to music of given words in the style of a part-song or a madrigal. N.B. If the last choice is made, interesting treatment of the vocal parts, together with resourceful handling of the harmony, will be expected. (iv) Modern harmonic tendencies. ЕXAiINAТ10х. One 3-hour paper.

HISTORY, LITERATURE AND AESTHETICS OF MUSIC, PART I A course of one lecture per week throughout the Year. SYLLABUs. History of the progress of the art from +he beginning of the Christian era to the early Beethoven period. I3ooкs. Recommended for reference . . .) *Colles--Тhe Growth of Music. (О Ц Р *Dyson--Progress of Music. (0.U.P. ) *Davies—Тhe Pursuit of М sic. Bairstow—The Evolution of Mursicar Form. (0.U.P. ) Pauer Eierents of the Bеаuti f ul in Musiс. (0.U.P.) (if available) . EXAMINATION. One 3-hour paper.

HI SТORY, LITERATURE AND AESTHETICS OF MUSIC, PART II A course of one lecture per week throughout the Year. SYLLAВus. History of the art from the transition period to outlines of modern musical history. Prescribed text-books : The books recommended for reference in Воокs. Part I. EXAMINATION. One 3-hour paper.

HISTORY, LITERATURE AND AESTHETICS OF MUSIC, PART III A course of one lecture per week throughout the Year. vs. A study of prescribed vocal and instrumental works, together SYLLAв with musical history from the period following Beethoven to the present day. s. Recommended for reference : Воок Parry---Summary of the History and Development of Modern and Medievad Euro peon 1I/цsic. (Novello. ) Parry—The Evolution of the Art o f Мusic. (Kegan Paul.) Hadow (ed.)--Thy Oxford History of Music. (O.U.P.) б vols. Naumann—The History of Music (ed. Ouseley) . (Cassell.) O.P. Pratt—History of Music. ( Schirmer. ) Buck—The Scope of Music. (O.U.P.) Stanford and Forsyth—History of . Music. (Macmillan.) Knight—Philosophy of the Beauti f nl. (Murray.) 2 vols. Bosanquet--History of Aesthetic. (Allen and Unwin.) Spencer---Origin and Function of Music, in Essays, Scientific, Political and Spccutative. (Williams and Norgate.) O.P. EXAMINATION. One 3-hour paper. 19 INSTRUMENTAL ENSEMBLE, PARТ I A practical , class, once per week throughout the Year. ExAМSNATioN. A practical test. Candidates must show a general knowledge af chamber music literature, to the Romantic period, and give evidence of practical experience in ensemble in their particular subject, by the performance of a work #o be submitted to and approved by the Ormond Professor of Music. INSTRUMENTAL ENSEMBLE, PART II A practical class, once per week throughout the Year. EXAMINATION. A practical test. Candidates will be required to show the same general knowledge as for Part I, and, in addition, a knowledge of the history and development of chamber music to the present day. Ń ЕТН DS OF TEACHING, PART I SYLLAВus. A course of lectures in elementary psychology and the application of psychological principles to methods. of teaching, with special reference to the teaching of music. In addition, candidates are expected to take advantage of the opportunity .afforded them of studying teaching methods in the Chief Study by remaining in the classroom, while other students receive tuition in the subject. EXAMINATION. A 2-hour paper together with a practical examination on a .course of instruction from the first to a fairly advanced stage, in which candidates will be required- (a) To explain and demonstrate-(i) the mechanism of the instrument (or voice) ; (ii) the principles of technique (instrumental) (or vocal) ; (iii) the principles of phrasing; (iv) methods of teaching rhythm, sight reading, and aural training. (b) To submit a list of teaching material, studies and pieces, and to prescribe and discuss such elementary wórk as would lead up to the compositions in the list. (е) To show their method of instructing beginners, to describe the weak points found in the work of the average pupil, and to explain how these are to be remedied. ,(d) To detect and point out inaccuracies in the rendering of a classical composition well known to the candidate, performed in the presence of the candidate with a view to introducing such errors as are likely to be made by the average pupil. (e) To give a practical demonstration of teaching (a pupil being provided for the purpose), to report oil the work, to answer questions and give suggestions thereon ; to outline a suggested course for the immediate future, Other evidence of ability as a teacher, such as the result of instruction given ►by the candidate to pupils, may be taken into account as. part of the examination. METHODS OF TEACHING, PART II As for Part I, together with more extensive knowledge of teaching methods. MODERN LANGUAGES, PART I Courses of lectures throughout the Year. :ENGLISH DICTION, PART I vs. The different classes of vowels and their pronunciation. Exercises SYLLAв for perfecting distinct enunciation, illustration and treatment of faults in articu- lation. EXAMINATION. One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the Year, together with a practical examination based on the following : 1. Lecturer's observation throughout the Year of students' conversational speech. 2. Poem and Prose (modern) of about 200 words each-to be memorized. 3. Sight reading-English prose of moderate difficulty. 20 ITALIAN (Music CоuRSE) , PART I SYLLАВUs. Study of Italian Aria. Dictation. Pronunciation. Enunciation. Grammar : Articles, pronouns, nouns, adjectives, numerals, verbs (judicative only) . Воок. Prescribed text-book : Russo—Practical Italian Gram r. (Heath.) EXAMINATION. One 2-hour paper, together with an oral test.

МODERN_ LANGUAGES, PART II Courses of lectures throughout the Year. ENGLIs H DICTION, PART II SYLLAвus. Consonant and vowel sounds and their classification, pronunciation, accent and emphasis. EXAMINATION. One 2-hour paper, ar, with the . approval of the lecturer, prescribed essays during the year, together with practical examination based on the following: 1. Lecturer's observation throughout the Year of students' conversational speech. 2. Two poems (Elizabethan and Victorian. periods) and modern prose—about 200 words each—to be memorized. 3. Sight reading—English prose and poetry. 4. Short prepared speech. ITALIAN (Music CouRsE), PARТ II S YLLAВ vs. As for Part I. Grammar : Irregular nouns, irregular verbs, more pronouns ; conditional tense, degrees of comparison. Воoк. As for Part I. EXAIINATION. One 2-hour paper, together with an oral test. and either FRENCH (Musrc COURSE), PART I SYLLAвus. Vocal works in French. Dictation. Pronunciation. Enunciation. BØx. Prescribed text-book: Kirby---Students' French Grammar. (Macmillan.) EXAMINATION. One 2-hour paper, together with an oral test. or GERMAN (Musrc CouRsE) , PART I SYLLAвus. Vocal works in German. Dictation. Pronunciation. Enunciation. Воок. Prescribed text-book : Lubovius—A Practical German Grammar, Reader and Writer, Part I. (Black- wood.) EXAMINATION. One 2-hour paper, together with an oral test.

MODERN LANGUAGES, PART III Courses of lectures throughout the Year. ENGLISH DICTION, PART III SYLLAвus. Reading of difficult - passages of prose and verse. Vowels and consonants and their difficulties in enunciation. EXAMINATION. One 2-hour paper, with the approval of the lecturer, prescribed essays during the Yeà together with a practical examination based on the following; 1. Lecturer's observation throughout the Year of students' conversational speech. 2. Two poems (Modern and Augustan periods) , one speech from Shakе- speare and a piece of Modern prose—each of about 200 words —to he memorized. . = Sight reading—difficult prose and poetry. 4.з Short prepared speech on a literary subject. г1 (TALL&N (MusIC CouRsE), Рлмт III ЅYLLAвus. As for Part II. Grammar-- (see book) , Lessons I-XVI. Воок. Prescribed text-book : Cioffari I talian Review Grammar. (Heath.) EXAMINATION. One 2-hour paper, together . with an oral test. and either FRENCH (Music COURSE), PART II. (For Candidates who have completed Part I.) SYLLAвvs. More advanced studies than in Part I. Воок. As for Part . I. EXAMINATION. One 2-hour paper, together with an oral test. Ør GERMAN (Music CouRsE), PART II. (For Candidates who have completed Part I.) SУLLAвцs. More advanced studies than in Part I. Воок. As for Part I. EXAMINATION. One 2-hour paper, together with an oral test.

MODERN LANGUAGES, PARТ IV Courses of lectures throughout the Year. ITALIAN (Music COURSE), PART IV SYLLAВus. Grammar only. Lessons XVII-XXVII. Воок. As for Part III. EXAMINATION. One 2-hour paper, together with an oral test. and either FRENCH (Music. CouRsE), PART III. (For Candidates who have completed Parts I and II.) SYLLAвvs. More advanced studies than in Parts I and II. EXAMINATION. One 2-hour paper, together with an oral test. end GERMAN (Music COURSE), PART I OR GERMAN (Music CouRsE), PART III. (For Candidates who have completed Parts I and II.) SYLLAnus. More advanced studies than in Parts I and II. Воок. Prescribed text-book: Lubovius—A Practical German Grammar, Reader and Writer, Part II. (Blackwood.) EXAMINATION. One 2-hour paper, together with an oral test. and FRENCH (Music COURSE), PART I

MODERN LANGUAGES, PART V Courses of lectures throughout the Year. (For Candidates who have completed Parts FRКNСЦ (Music COURSE), PART IV. I, II and III.) SYLLAВus. Composition. Translation from French to English. Dictation. Enunciation, Pronunciation. Boox. As for Part T. EXAMINATION. One 3-hour paper, together with an oral test. did GERMAN (Music CourгsE), PART II oa GERMAN (Musro COURSE) , PART IV. (For Candidates who have completed Parts I. II and III.) SYLLAВus. Composition. Translation. from German into English. Dictation. Enunciation. Pronunciation. Вooк. As for Part III, ЕxAmtrNAТroN. One 3-hour paper, together with an oral test. and FRENCH (Music COURSE) , Pлнт II. MUSICAL APPRECIATION AND THE ART OF LISTENING SYLLAвцs. This subject will depend largely upon the student's own initiative and observations. The main, object of the subject is the awakening of the pupil's interest in Music as an Art and the development of his appreciative powers ; its intimate connection with aural training ; the training of listeners ; the appreciation class and its bearing on the child's other work; the cultivation of the pupil's imagination and his powers of observation ; the need for the teacher to know much music and be able to illustrate . well at the pianoforte. Arrangements will be made from time to time for visits to colleges and schools. for the purpose of observing the classes at work, and opportunity will be given for the student-teacher personally to conduct similar classes. EXAMINATION. A practical test and an essay dealing with the subject as a result of the student's observation and research. ORCHESTRAL INSTRUMENT, PART I SYZ. mies. Course of tuition throughout the Year in an orchestral instrument to be approved by the Dean, of the Faculty of Music. Students are taken in groups. EXAMINATION. A practical test in work prescribed by the Dean of the Faculty of Music. ORCHESTRAL INSTRUMENT, PART II The same as for Part I, but at a more advanced stage. ORCHESTRATION, PART I A course of one lecture per week throughout the Year. SYLLABUS. The nature and compass of the various instruments and their treat- ахent, as found in the scores of the chief composers up to the Romantic Period. Reduction of instrumental scores to pianoforte scores. Scoring for orchestra a given work in accordance with the work studied during the year. ExAMINATroN. One 2-hour paper. ORCHESTRATION, PART II SYLт.Aвvs. The history of orchestration up to the present time. Scoring for orchestra set works ; for example, a song accompaniment and a movement of a pianoforte sonata. EXAMINATION. Two 3-hour papers. PEDAGOGICS AND PSYCHOLOGY A course of lectures throughout the Year. SYLLAвцs. A course of lectures in elementary psychology and the application of psychological principles to methods of teaching, with special reference to the teaching of music. EXAMINATION. One 2-hour paper. PIANOFORTE KEY-BOARD FACILITY A course of lecture-demonstrations throughout the Year. SYLLABUS. Practical Harmony, Transposition, Improvisation, and Accom- panying. 23 ExAMINATLQN. A practical test. Candidates will be expect еd to - form phrases with varied cadences and generally to demonstrate a facility іі key-board work ; including harmonization of a simple melody ; to transpose at sight a simple accompaniment ; to accompany a vocalist or instrumentalist in a moderately difficult work previously prepared. PIANOFORTE, PARTS I, II AND III A course of individual tuition throughout the Year for. 40 minutes weekly. Students are taken in groups of three. SYLLAвus. Studies and works as prescribed during the corresponding Year. EXAMINATION. In Parts I and II a work to be prepared unaided will be set by the Dean of the Faculty of Music one month before the date of the examination. In Part III candidates must submit for the approval of the Dean of the Faculty, not later than the second week of the third term, a full programme of examination pieces, one third at least of which must be prepared unaided.

PRACTICAL STUDIES, РARTS I AND II Candidates must make a study of a Practical subj ect approved by the D eau of the Faculty of Music similar to that of the Second Study in the Instrumental and Vocal Schools. RHYTHMICS ,A demonstration class throughout the Year. SYLт.Aвus. Body training; expression of emotions by means of dramatic movement to music; rhythmic exercises (including time beating, stepping of patterns, exercises for control, tone, accent, expression, etc.) ; group interpretation, and study of the dances of the suite and other dance forms used frequently in music; folk dancing. A general knowledge of the percussion band. Demonstration of the art of teaching the subject. EXAMINATION. A practical test,

SCHOOL ORCHESTRA •TECHNIQUE A course of : lecture-demonstrations throughout the Year. SYLLАвus. The study . of the different families of instruments composing a Classical Symphony Orchestг t,: ;including also a working knowledge of the recorder ; simple orchestration ; repertoire and conducting. EXAMINATION. A practical test. Candidates will be expected to demonstrate. their acquaintance with orchestral instruments such as may be found in the average school orchestra; to arrange a scoř-é to suit such combinations, to play simple tunes on the recorder and to conduct an orchestral class.

SIGHT READING, PARTS I AND II A course of one lecture per week, with démonstrations, throughout the Year. EXAMINATION. A practical test, =set within the limits of the technical standard of the work of the Chief Study for the corresponding year.

SIGНТ READING, PART III A course of one lecture per week, with demonstrations, throughout the Year. us More advanced treatment of the work _ prescribed for Parts. I and SYLLAВ II, together with instruction in score reading and transposition. EXAMINATION. A practical test. Candidates will be required (i) to read pianoforte, violin or vocal score, etc.,_ according to the Chief Study ; (ii) ta play on, the : Pianoforte from full vocal,. string quartette and symphony śćore, examples to be taken from works not later than the Classical Period (iii) to transpose the accompaniment to a moderately difficult vocal or instrumental work. 24 SIGHT .READING, PART IV

A course of one lecture per week., with demonstrations, throughout the Year. SYLт.Aвus. More advanced score reading and transposition. ÉxAITNATION. A practical test. Candidates will be required (i) to read advanced pianoforte, violin or vocal score, etc., according to the Chief Study ; vocalists will be required to read an inner part of a trio or quartette ; (ii) to play on the pianoforte from advanced string quartette and full orchestral scare, touch- ing on the Romantic and early. Modern periods ; (iii) to transpose moderately difficult works of the Chief Study. SINGING, PARTS I, II AND III A course of individual, tuition throughout the Year for 20 minutes weekly. Students are taken in groups of three. work prescribed by the Dean of the Faculty ЕxAmINAТzox. A practical test of of Music. SРEЕCН TRAINING, PART I A course of lectures throughout the Year: SYLLAвus. The different classes of vowels and their pronunciation. Exercises for perfecting distinct enunciation, illustration and treatment of faults in articula- tion. EXAMINATION. One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the Year, together with a practical examination based on the following : 1. Lecturer's observation throughout the Year of students' conversational speech. 2. Poem and Prose (modern) of about 200 words each —to be memorized. 3. Sight reading—English prose of moderate difficulty. SPEECH TRAINING, PART II A course of lectures throughout the Year. SYLLлвus. Consonant and vowel sounds and their classification, pronunciation. accent and emphasis. EXAMINATXON. One 2-hour paper, or, with the approval of the lecturer, prescribed essays during the year, together with a practical examination based on the following : 1. Lecturer's observation throughout the Year of students' conversational speech. 2. Two poems (Elizabethan and Victorian periods) аnд modern prose— about 200 wards each—to be memorized. 3. Sight reading—English prose and poetry. 4. Short prepared speech. THEORY TEACHING, PART I A course of lectures throughout the Year. SYLLAвus. The usual harmonic combinations, including part-writing in three and four parts. Harmonisation of melodies and unifigured basses in chorale and also in free instrumental style. Strict and free counterpoint up to and including four parts. A knowledge of the methods of teaching, and also of literature dealing with the above. EXAMINATION. One 3-hour paper. THEORY TEACHING, PART II A course of lectures throughout the Year. 5vLLAвцs. The laws governing harmonic and contrapuntal writing, including movements in sonata and fugal forms: Sound knowledge of the chief harmonic and contrapuntal writings. Demonstrations of teaching the various branches. ЕxAVINATioN. One 3-hour paper. 25 CLASS LISTS AND EХHIВITIONS

ANNUAL EхAMTNATIюNS, 1946

FIRST YEAR DIPLOMA IN 'MUSIC First Class Honours 1. Isla Heywood 2. Rex Hobcrof t 3. Ruth Hecht Second Class Honours 1. Valerie Buchan 2. Christine Limb Norman Stringer Equal 3. Graham Archer Anne Ball Adrian Factor Equal Sylvia Martin Eric Mitchell 4. Hazel Atkin Harold Chatfield Equal Third Class Honours 1.Geraldine Sullivan 2. Lilian Fletcher Joyce Gulbin Equal ORMOND EXHISITIONs .1. Isla Heywood 2. Rex Hobcrof t 3. Valerie Buchan SECOND YEAR DIPLOMA IN MUSIC First Class Honours 1. Maxwell J. L. Cooke Equal Elva Organ 2. Jean, Cameron Joan Mahony Equal Dorothy Nuske Second Class Honours 1. Leonard Dommett 2. Jean Г rahám Third Class Honours Nil ORMOND ExнIвiтIONs 1. Maxwell J. L. Cooke 2. Joan. Wright 3. David Fox Jean Cameron Equal Joan Mahony Dorothy Nuske FIRST YEAR MUS.BAC. First Class Honours 1. Joan Wright 2. David Fox Second Class Honours 1. Peter Andry Frances Cowper Equal Norma Simmons 2. Sheila Cantor 26

Third Class Honours 1. Audrey Fleming Equal Marie Coghlan 2. Meredith Moon THIRD YEAR DIPLOMA IN MUSIC First Class Honours Nil Second Class Honours June McLean Third Class Honours Nil ORMOND ExIYBITIoN June McLean SECOND YEAR МUS.ВAC. First Class Honours Nil Second Class Honours Nil Third Class Honours Rex Barber Helen Reed THIRD YEAR МUS.ВАC. First Class Honours 1. Valerie Fawcett Alison Linden. J Equal 2. larvey Davis Leonard Fullard Equal Second Class Honours Nil Third Class Honours Nil LADY TURNER PRIZES IN . MUSIC Isla Heywood Graham Archer WRIGHT PRIZE IN INSTRUMENTAL MUSIC Maxwell Cooke MAUDE HARRINGTON PRIZE FOR ACCOMPANYING Lesley Roberts J. A. STEELE COMPOSITION PRIZE Peter Sculthorpe F. W. HOMEWOOD MEMORIAL SCHOLARSHIP Ruth Hecht

L1 ST OF AWARD S, 1946 BACHELOR OF MUSIC (MUS.BAC.) Dorrit Mary Crompton Margaret Sinclair Flynn Alison Winifred Hall Marianne Elizabeth Maxwell James William W astel l Dorothy Lois Bennetts DIPLOMA IN MUSIC (DIP.MUS.) Jean Campbell Marjorie June Missen Valma June Lewis Owenie Marjorie Lynch Robert George Cooper 27 drown, Prior, Anderson Pty. Ltd., 430 Little Bourke St., Melb., C.1.

Library Digitised Collections

Author/s: The University of Melbourne

Title: Handbook: Faculty of Music 1947

Date: 1947

Persistent Link: http://hdl.handle.net/11343/128473