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. Tues., Thurs., Sat., 12:30—
with an additional two hours of Glee Club, Choral, Orchestral or other approved
musical study. (B.A. or B.S. credit, 3 session-hours.)
Professor Fickenscher.
Music B1: Musical History and Appreciation: Not open to first-year
students. 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.)
Associate 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 Music 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.)
Associate Professor Pratt.
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: Orchestra: Credit to students who have the requisite technical
ability on the following instruments: Piano, Flute, Oboe, Clarinet, Bassoon,
French Horn, Violin, Cello, Double Bass, Kettle Drums, and other instruments
satisfactory to the conductor. The study of scores and the direction and production
of orchestral works. Comprises one two-hour period per week. (3-year
course—B.A. or B.S. credit, 1 session-hour each year.)
Professor Fickenscher.
Students or others not desiring the course for credit are invited to join the
orchestra.
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. (B.A. or B.S. credit, 3
session-hours.)
Associate Professor Pratt.
Music B6: Orchestration: Music B5 prerequisite.—(B.A. or B.S. credit,
3 session-hours.)
Associate Professor Pratt.
Music B7: Vocal Ensemble: Music A1 and one year's full attendance in
the Glee Club prerequisite.—The study, direction and production of part songs and
choral works from the time of the ancient madrigal to and including the present
period. Three hours per week. (2 year course—B.A. or B.S. credit, 1½ session-hours
each year.)
Professor Fickenscher.
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: Music B1,
B2 and B3 prerequisite.—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.
Professor Fickenscher and Associate Professor Pratt.
Choral Singing: Fundamental principles of sight reading. Study of part
songs and other choral works of various masters from the Netherlands School
to the present day. Three concerts during the Academic year. One to two
hours a week.
Professor Fickenscher.
Glee Club: Study of 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 longer trips. For shorter trips and home concerts all students passing
the final tryouts will participate. Two to three hours a week.
Professor Fickenscher.
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. Lowe.
Technical Training: Technical training under special instructors in Singing,
Pianoforte, Organ, Violin, Cello, Clarinet and other wind instruments. University
students may arrange for tuition in these branches at a reduction in
rates by application to Professor Fickenscher or 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 twelve ensemble recitals by the faculty of the Music School
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, an Ampico reproducing
grand piano and an orthophonic victrola. A full set of band instruments purchased
and maintained under the supervision of the Alumni Association, double
basses, kettle drums, and various other unusual instruments for the use of students
in the orchestra, 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
School 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, and a two-manual practice organ in the University Chapel. The
following gifts have been made to the musical library: by Mr. Iredell Jenkins,
a valuable collection of operas, 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.
