 | The University of Virginia record March 1, 1925 |  |
MUSIC.
Students who successfully complete the three-year course outlined
below will be given a Music Certificate (not a State license to teach)
signed by the instructors in the School of Music and the Dean of the
Summer Quarter.
A Special Certificate (license) to teach Public School Music in the
high and elementary schools will be granted to holders of the Music
Certificate issued by the Summer Quarter.
A home reading course to include "Music History", "Music Magazines",
"Current Events", "Child Psychology", and "School Management",
will be required of those who wish to secure the special music
certificate. An examination will be given by instructors of those
courses at the University.
At the close of the third year, applicants for the Music Certificate
will be examined as to their proficiency in the playing of marches,
hymns, accompaniments, and selections of medium difficulty.
They will also be examined to determine their ability to sing in correct
tone and with proper breathing, enunciation, rhythm, phrasing,
and interpretation; rote songs, folk tunes, and other vocal selections,
secular and sacred, of medium difficulty.
All courses and examinations will meet the requirements of the Virginia
Music Teachers' State Association and of the State Board of Education.
At the conclusion of Course A, all students who expect to continue
the course in music, will be assigned a home course in sight reading.
Those who enter the Public School Music Course for a special Certificate
will be expected to have had some musical experience and to
manifest a taste for the subject.
Those who are working for an elementary professional certificate
would be greatly helped by including all of Music Course A as their
elective.
Those who wish to enter Music B and have not completed Music A,
will be expected to pass an entrance examination covering Course A.
Music Schedule.
| TIME | A | B | C |
| 8:30 | Ear Training | Sight Singing | Harmony |
| 9:30 | Harmony | Harmony and Melody |
Material and Methods |
| 10:30 | Material and Methods |
Ear Training | Sight Singing |
| 11:30 | Sight Singing | Material and Methods |
High School Music |
| 12:30 | Chorus—Entire Department. | ||
| 2:30 | Appreciation | ||
| 3:30 | Far Training | ||
| 4:30 | Rural Methods | ||
Music Education. Chorus—Entire School of Music.—Both Terms. M.
R.; 12:30 daily. First Term, Mr. Stonesifer; Second Term, Mr.
Acker.
In order to obtain credit for courses in Music, all music students will be required
to attend this course.
Music 9A. Harmony—Beginning Harmony.—Both Terms. 9:30; M.
H. Credit, one session-hour. First Term, Miss Wakefield; Second
Term, Mr. Acker.
Structure of Major and Minor scale forms in all keys without signatures. The
five ways of expressing the scale. All keys and measure signatures. Notation and
terminology. Chromate Scale form. Melodic and Harmonic Intervals and Inversions.
Major and Minor triads with inversions. All scales, intervals, and chords
to be sung and written in both clefs.
Music 10B. Harmony and Melody—Applied Harmony.—First Term.
9:30; M. H. Credit, one session-hour. Mr. Stonesifer.
Review of Music 9A and application of it in written melody for one voice. Transposition
of melodies. Dominant 7th and diminished 7th chords. Cadence, Suspension,
Modulation. All chords and melodies to be sung and written in both clefs.
Open to students who have completed Music 9A.
Music 11C. Harmony and Melody C—Principles and Methods.—First
Term. 8:30; M. H. Credit, one session-hour. Mr. Stonesifer.
Analysis of chords and melodies, harmonizing melodies. Organ point and counterpoint.
Writing of simple accompaniments. All chords and melodies sung and
written in both clefs.
In this class students present theory as to a High School class.
Music Education 12A. Principles of School Music.—Both Terms. 4:30;
M. H. Credit, one session-hour. First Term, Miss Wakefield;
Second Term, Mr. Acker.
Study of the rote song, the musical scale, tonal exercises, ear training, rhythm
and measure, music reading and writing, with the principles governing the presentation
of each. The place for music on the daily program. General facts of interest
about music which may be applied in the school room. Correlation of music with
other subjects; use of the pitch pipe; correct tone, pitch, speed; phrasing and interpretation
of songs suited to all occasions. How to direct a class room in song.
Course taught method wise and appropriate for rural as well as town schools.
Music 13B. Appreciation Songs—Analysis and Interpretation.—First
Term. 10:30; M. R. Credit, one-half session-hour. Miss White.
Study of song forms, historic and geographic setting of songs. Classification of
the voice, of instruments and of musical organizations. Study of structure of Opera
and other classic forms. Rhythmic forms, enunciation, phrasing and interpretation.
Study of songs for all seasons suited to the upper grammar grades and to
rural schools.
Open to those who have completed Music 12A.
Music 14C. High School Music and Methods.—First Term. 11:30; M.
H. Credit, one-half session-hour. Mr. Stonesifer.
Continuation of form and structure. Music Memory Contests. Supervised listening.
Current musical facts. Students prepare and teach lessons as to class in high
schools.
Open to those who have completed Music Course B.
Music Education 2B. Rural School and Primary Methods.—First
Term. 11:30; M. H. Credit, one session-hour. Miss Wakefield.
Outline of work for the group (rural) and for the grade. Special consideration
of the content of the work for each year, with a careful study of the materials to
be used and applications of methods for presenting them. Writing music, lesson
plans. Discussions of problems peculiar to the lower grades and rural schools.
Open to those who have completed Music Education 12A.
Music Education 3B. Primary Methods.—First Term. 8:30; M. H.
Credit, one session-hour. Miss Wakefield.
Development of materials and methods to be used in both rural and town schools
by observation of the same presented to children. Students develop and present
various phases of school music to the class. Tonal and rhythmic problems emphasized.
Use of all material to be used in the first three grades.
Music Education 4C. Principles of Music Education.—First Term.
10:30; M. H. One session-hour.
Careful application of Psychological principles applied to Public School Music, including
use of materials suited to the grammar grades and rural schools. This course
child voice; the scope of the Music Supervisor's work, his necessary attainments,
et cetera.
Music Education 5C. Applied Methods.—First Term. 3:30; M. H.
Credit, one session-hour. Miss —
Laboratory of music with children from city schools. Actual teaching by students
under the supervision of the instructor with critiques of results. Students
present rhythm, tonal drill, ear work and scale.
Open to those who have completed Music Education 1 and 2.
Music 6A. Ear Training.—Both Terms. 8:30; M. R. Credit, one-half
session-hour. First Term, Miss White; Second Term, Mr. Acker.
Study of the fundamental principles of tone and rhythm as taught in the first
three grades leading to the recognition of these principles through the aural sense.
Both oral and written dictation given.
Music 15A. Primary Reading and Ear Training.—Both Terms. 11:30;
M. R. Credit, one-half session-hour. First Term, Miss White;
Second Term, Mr. Acker.
Fundamental principles of tone and rhythm and their notation sufficient to read
material suited to first three years. Individual singing with Sal-fa syllables and
with words.
Music 7B. Music Reading and Ear Training—Grammar Grade Reading
and Ear Training.—First Term. 2:30; M. H. Credit, one-half
session-hour. Miss White.
Reading from the material used in the fourth, fifth, and sixth grades. Two part
reading introduced. Ear training by use of devices and exercises suited to the
fourth, fifth, and sixth grades. Dictation both oral and written.
Music 8C. Music Reading and Ear Training—Methods in Reading for
High School.—First Term. 9:30; M. H. Credit, one-half session-hour.
Review of materials for the lower grades. Reading from materials suited to the
High School. Students present reading to the class. Both clefs are used in this
class, and both the Major, Minor, and Chromatic Scale forms are included in the
reading. Unison, two and three part reading.
Music 247. Piano.—Hours to be arranged. Mrs. Wilkinson.
Elementary, intermediate and advanced work.
Fee for course, $30.00 for two half-hour lessons a week. $18.00 for one half-hour
lesson a week.
Music 248. Organ.—Hours to be arranged. Miss Meade.
Elementary, intermediate and advanced work.
Fee for course, $30.00 for two half-hour lessons a week. $18.00 for one half-hour
lesson a week.
Music 249. Piano or Organ. Private Lessons. Elementary or Advanced
Students.—Hours to be arranged. Fee for term, $36 for
two half-hour lessons a week; $24 for one. Mr. Pratt.
Music 250. Courses in Practical Church Music—C. H. and A.—Hours
to be arranged. Fee $30 for two half-hour lessons a week; $18 for
one. Miss Meade.
Utilizing the splendid organ in Cabell Hall.
Music 251. Elementary Violin Playing.—Hours to be arranged. Mr.
Wilkinson.
Sevcik method. Notation, correct position of holding violin and bow. Foundation
laid for development of technic, tone, rhythm and intonation thru study of
elementary technical works and pieces.
Music 252. Intermediate Violin Playing.—Hours to be arranged. Mr.
Wilkinson.
Technical works of Kayser, Mazas, Sevcik, and others are used in the study of
positions, scales and easy double-stopping. Bowing exercises and pieces of medium
difficulty for development of tone, style and memory training.
Music 253. Advanced Violin Playing.—Hours to be arranged. Mr.
Wilkinson.
Technical works of Kreutzer, Rode, Dont, and Sevcik. A special study of the
Vibrato and advanced bowing exercises in production of a warm, singing tone. Intensive
training in rhythm, phrasing, and nuance, based on the study concert pieces,
sonatas, and concertos.
Music 254. Virtuoso Violin Playing.—Hours to be arranged. Mr. Wilkinson.
Difficult technical works of Wieniawski and Paganini. Attention is directed to
the most efficient methods of mastering problems of right and left hand technic,
rhythm, phrasing, and nuance which are encountered in an artist's repertoire. Classical
and modern sonatas are used; concertos of Bach, Brahms, Beethoven, Bruch,
Tschaikowsky, Wieniawski, Paganini, Ernst, Lalo, etc.
Note.—Terms for above courses in violin playing are $48.00 for two half-hour lessons
a week; $30.00 for one half-hour lesson a week.
| The University of Virginia record March 1, 1925 | |