 | The University of Virginia record March 15, 1926 |  |
III. Music
Music A1: For Beginners: Rudiments of notation, musical symbols, intervals,
chord and scale formations. The study of rhythmical valuation, dynamics,
ear training, sight reading and writing from dictation.
Sight reading will embrace exercises in major, minor, modal and modern
tonalities in from one to four parts and in harmonic and polyphonic treatment
of varied rhythmical formation. Tu., Thu., Sat., 12:30—with an additional
3 hours of practice in Choral, Glee, Orchestra or Band. (B.A. or
B.S. credit, 3 session-hours.) Professor Fickenscher.
Music B1: Musical History and Appreciation: The development of music
from antiquity to the present time with typical examples of each phase.
Illustrations and analysis of works of the epoch makers, treating of their
style, influence and historic import. The development of musical instruments
and of the orchestra. Illustrated lectures. Collateral reading. No previous
musical knowledge required. (B.A. or B.S. credit, 3 session-hours.) Assistant
Professor Pratt.
Music B2: Harmony: Students taking this course are required to have
had ear training and a preliminary knowledge of musical notation, intervals
and scale formation, or to take concurrently A1. Also to have or to acquire
sufficient piano technique to play simple chord successions. Harmonic relationships
and their tendencies, construction of chords, voice progressions,
dissonances, suspensions, sequences, cadences, the pedal point and modulation.
(B.A. or B.S. credit, 3 session-hours.) Professor Fickenscher.
Music B3: Counterpoint: Students taking this course are required to
have had ear training and a preliminary knowledge of musical notation, intervals,
and scale formation or to take concurrently Music A1. Counterpoint
from the First to the Fifth Species in two, three, and four parts; combined
counterpoint. (B.A. or B.S. credit, 3 session-hours.) Professor
Fickenscher.
Music B4: Ensemble Course: Admission only to students who have acquired
the requisite proficiency on an instrument for which there is sufficient
available literature. Comprises one lecture hour and six hours of laboratory
work, one of which shall be Orchestral Drill.
a. Concerted playing of Chamber Music. Representative sonatas, trios,
quartets, quintets, etc., by classical and modern masters used as material for
study. (Hours to be arranged.)
b. Orchestral playing. Training in conducting, study of scores, and
principles by which conductors should be guided in the selection and performance
of orchestral works. (Pianists must be able to play some orchestral
instrument.) (B.A. or B.S. credit, 3 session-hours.) Fee $25. Professor
Fickenscher and Assistant Professor Pratt.
Music B5: Composition: Music B2 and B3 prerequisite.—Advanced
Harmony and Counterpoint. Construction and drill in various rhythmic and
melodic forms. Their use in sections, phrases and periods. Construction
of song and dance forms; the study of these and larger forms, including
the sonata form, through the works of the masters. Application of contrapuntal
devices in the homophonic forms. Students will be given the
opportunity to have works performed by the Choral, Glee Club, Orchestra
or Band. Assistant Professor Pratt.
Music B6: Orchestration: Music B5 prerequisite.—Assistant Professor
Pratt.
Music C1: Advanced Composition: Music B5 and B6 prerequisite.—Advanced
Harmony and Counterpoint, Canon, Fugue, and the larger homophonic
forms. Professor Fickenscher.
Music C5: Musical Criticism: Appreciation and Analysis: Study of the
lives and works of the pioneers only. The recurring "Modernistic" movements
from early times to the ultra modern music of today with the continually
developing harmonic consciousness of the race. The great religious
composers. The development and analysis of the sonata, symphony, and
other forms. Tendencies of modern music. Assistant Professor Pratt.
Choral Singing.— Fundamental principles of sight reading. Study of
part songs and other choral works of various masters from the Netherland
School to the present day. Three concerts during the Academic year. One
to two hours a week. Professor Fickenscher.
Glee Club.— Study of a cappella and accompanied choruses both classic
and of a lighter character. Students with reading knowledge of music will
be given a preference. Also those playing an instrument which can be of
service in the Glee Club orchestra. As large a group as is financially possible
will be taken on the larger trips. For shorter trips and home concerts all
students passing the final tryouts will participate. Two to three hours a
week. Professor Fickenscher.
Orchestra.— Provides valuable drill, routine and opportunity to become
conversant with the orchestral compositions; the various colorings of instruments
and their combinations. Concerts during the session and participation
in Choral and Glee Club concerts. One to two hours a week.
Assistant Professor Pratt.
Band.— Membership determined by competition. Instruments are loaned
without charge. Members have admission to home and out-of-town games.
The organization represents not only a most necessary factor of the student
life but offers also valuable training and opportunity for gaining a knowledge
of the various wind instruments. Concerts are given during the session.
Two hours a week. Mr Williamson.
Technical Training.— Technical training under special instructors in
Singing, Pianoforte, Organ, Violin, 'Cello, Clarinet and other wind instruments.
reduction in rates by application to Professor Fickenscher or Assistant
Professor Pratt.
Concerts.—a. A series of five concerts by artists of international reputation
at moderate prices gives opportunity for extended musical knowledge
and appreciation.
b. A series of fifteen ensemble recitals by the faculty of the Music Department
affords opportunity for intimate acquaintance with the best in
musical literature and through familiarity to become intelligent in appreciation
of the masters.
c. Concerts by the Albemarle Choral Club, Glee Club, Orchestra and
University Band.
Equipment.—The work offered re-establishes the instruction outlined in
the first curriculum of the University, 1818, the earliest proposal for instruction
in art, architecture, and music in any American university. An unrivalled
background is provided for it by the buildings and environment of
Charlottesville; the University group, with its old buildings specially designed
to furnish examples of the various orders "as specimens for the
architectural lectures," its new buildings designed by Stanford White; the
works of sculpture by Houdon, Ezekiel, Bitter, Borglum, Keck, Shrady, and
Aitken; the paintings and prints presented by Messrs. Thomas F. Ryan,
John Barton Payne, John Armstrong Chaloner and others; the concerts
and exhibitions of paintings brought to the University with part of the
income of the McIntire fund. For the current work in Art and Architecture
there is generous provision of casts, books, photographs and lantern slides.
For music, the school has two concert grand pianos for its use in the classroom
and for ensemble recitals, and double bass and kettle drums for the
use of students in the orchestra, a full set of band instruments purchased
and maintained under the supervision of the Alumni Association, a comprehensive
library of chamber music, orchestral scores and parts, operas and
piano classics as well as books of reference on musical subjects and collateral
reading. There are also available for the Music Department a three-manual
Skinner organ in Cabell Hall and a three-manual Moeller organ, the gift
of Paul Goodloe McIntire in connection with the McIntire amphitheatre.
The following gifts have been made to the musical library: by Mr. Iradell
Jenkins, valuable collection of operas and oratorios, light operas, piano
music, first editions; by Professor Gardner Lloyd Carter, piano music and
books on musical subjects; by Mr. Charles Orchard, a set of biographical
works.
| The University of Virginia record March 15, 1926 | |