III. Music.
Music B1: Musical History and Analysis: 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.—(B.A. or B.S. credit, 3
session-hours.) Assistant Professor Swan.
Music B2: Harmony: Students taking this course are required to have a
preliminary knowledge of musical notation and scale formation. Also to have
or to acquire sufficient piano technique to play simple chord successions. Harmonic
relationships and their tendencies, the building of chords, voice progressions,
dissonances, suspensions, sequences, cadences, the pedal point and modulation.
Subsequently the introduction of simple counterpoint.—(B.A. or B.S. credit,
3 session-hours.) Assistant Professor Swan.
Music C1: Strict Counterpoint and Advanced Harmony: Music B2 prerequisite,
or may be taken concurrently with C1.—Counterpoint from the First to
the Fifth Species in two, three, and four parts; combined counterpoint. Chords
of the ninth, eleventh and thirteenth, chromatically altered chords, anticipations,
figuration. Professor Fickenscher.
Music C2: Composition and Advanced Counterpoint: Music B2 and C1
prerequisite.—Construction and drill in various rythmic 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. Exercises in counterpoint of from two to eight voice
parts, contrapuntal elaboration of chorals, invertible counterpoint. Application
of countrapuntal devices in the homophonic forms. Professor Fickenscher.
Music C3: Ensemble Course: Music B1 and B2 prerequisite. Admission
to Music C3 only to students who have acquired the requisite proficiency
on an instrument for which there is sufficient available literature.
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 study some orchestral instrument concurrently.)
c. Choral—See Choral singing. Fee, $25.
Technical Courses.—Technical training under special instructors in Pianoforte,
Organ, Violin, 'Cello, and Singing. University students may arrange for
tuition in these branches at a reduction in rates by application to Professor
Fickénscher.
Choral Singing.—One rehearsal a week. Three concerts during the Academic
year. Study of part songs and other choral works of various masters
from the Netherland School to the present day.
Orchestra.—One hour a week.
Concerts.—a. A series of six concerts by artists of international reputation
at moderate prices gives opportunity for extended musical knowledge and appreciation.
b. A series of sixteen 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. Three concerts by the Albemarle Choral Club.
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, a double bass and kettle drums
for the use of students in the orchestra, lantern slides illustrating ancient instruments
and 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 two-manual Skinner organ in Cabell Hall and a new three-manual Moeller
organ in connection with the McIntire amphitheatre.
