SKenau Bulletin Published by Brenau Colleire. Gainesville, Ga.. four limes a year. Vol IV. JULY, 1914 No. 7 tt0 THE THEORETICAL MUSIC DEPARTMENT THE VOCAL DEPARTMENT Tv flP I If 115 pfc^JixWT - ^IM itter, under/ >f July 16, 1894. THEORETICAL DEPARTMENT Dr. Henry G. Hanchetl will continue in charge ol the I heoretical Department oi Brenau during the year 1914-15. His long and distinguished career as a teacher and author eminently qualifies him for this important position in Brenau Conservatory, which claims to be the leading conservatory in the South and to rank with the best in our country. L pon Dr. Hanchett's suggestion the courses in this department have been altered and enlarged, and it is believed very much improved. In the work of the department Dr. Han- crett will be ably assisted by Mr. Bruno Michaelis, and Miss Carrie Sue Blocker. Mr. Michaelis is a graduate of the famous Leipzig Conservatory and a teacher of wide experience. Miss Blocker is a graduate of Brenau and also has done extensive work in the Cincinnati Conservatory and more re- cently has spent a year in Paris studying ivith Moszkowski. She is also a teacher of successful experience. 1 he ideal of the Theoretical Department and the complete course of study are ad- mirably set forth in the following article by Dr. Hanchett: MUSIC STUDY AT BRENAU By Dr. Henry G. Hanchett. There are so many sides to it ! Music for its charm, its tingling rhythm, its sprightly lilt, its synchronizing pulses, its everlasting youthfulness! Music for its sympathy, its tender soothing melodies, its soulful harmonies that seem to carry off the burdens and heal the heart- aches ! Music for its entertainment, its persuasive sociability, its brilliant display, its rivalry in accomplishment ! Music for worship, its ponderous diapason, its stately uplift, its compelling unification, its inspiring praise, its convincing revelation! Music for its beauty, the thought of the artist, the interrelation of tones from every voice of throat or instrument, blending strains and chords in exquisite complexity! Music for its mystery, its hiding of its wonders in majors and minors, in progres- sions and intervals, in resolutions and cadences! Music for its record through the centuries, for the names it has given lustre, for the thoughti it has crystallized into shining facet! in the corridors ol time! Music tor its culture of hand and brain, tor its overtures and fugues, its symphonies and chorales to be mastered only by patience nourished by love ! ^1 ou know how we study some sides of music at Brenau; how we search out those who have demonstrated their mastery and proved their gilts; who have shown them- selves sympathetic toward ignorance and im- maturity, and capable of pointing out the steps up the hill Difficulty. Only those who have traveled the road can show the way ; only those who have climbed high can make the ultimate attainment inspire the weary and the lagging over the rough places in the foot- hills. So we gather at Brenau real teachers whose influence and training will make a last- ing impression and give our alumnae memo- ries that will be treasured through life. And we are not content to let our students narrow their investigations to any one side of the art whose beauty has won their devotion. In order that they may go forth with the full endorsement of their Alma Mater they must know how to recognize, describe and discuss the workmanship in the masterpieces of com- position ; must in a sense take after them in order the steps the masters took in their climbing to the heights; must know who those masters were and what they accomplished, and when; must gain some idea of how best to impart to others the knowledge and skill that their course will have permitted them to acquire. To go a little more into detail: The Sengs, Larger Vocal Works, Instrumental Solos for all the instruments taught, together with the vocalises and etudes to be studied have been arranged most carefully in proper order of difficulty, and grouped appropriately in the work of each year. Definite credit toward the total required for the completion of the course is assigned for the mastery of each piece. The importance of memorizing music is emphasized, and at frequent oppor- tunities the young artists are tested in public performances. Candidates for graduation are required to give an entire recital, by memory, to the satisfaction of a committee of the faculty, the pieces being selected from the group assigned to the senior year of study. Four years study of The Theory of Music enrich the minds and train the judgments of all candidates for graduation. The courses they complete cover the intellectual side of musical study up to a high degree of advance- ment and include the following topics: FRESHMAN YEAR. A 2. Elementary Harmony. Com- prehending a study of Tones, their origin, elements, and the methods of notation appli- cable to quality, force, length and pitch. Rhythm and the gradation of the signs of accentuation. The scale, its forms, range and the devices by which it is noted. The com- bination ol its tones into intervali and chords, and their designations. 1 he classification of musical works and the meaning and use of technical terms. Text book: Hanchett's Irtroduction to the Theory of Music. Two recitations a week throughout the year. Four units. Professor Handle tt. B 2. SOLFEGGIO. Especially required Ol vocal students, but open to all, and most strongly advised lor those whose attention is chiefly concentrated upon instrumental study. The course comprehends: Correct intona- tion, intervals, sight reading, sight singing, notation, ear training, transposition, and the practical study of part songs, cantatas and operettas. The class contributes to the stu- dent musicales at times. It meets twice a week throughout the year. Text book: Root's Methodical Sight Singing. Four units. SOPHOMORE YEAR. C. 2. Applied Harmony. Open to students who have had Elementary Harmony — A 2 — or its equivalent. The work com- prehends: The table of intervals, triads and their inversions. Concords and discords, progression, resolution, transposition, quad- rads in fundamental position and their reso- lutions, and practical exercise writing. Text book: Shepard's Harmony Simplified. Two hours of recitation work throughout the year. Four units. Miss Blocker. D 2. Advanced Solfeggio. Open to students who have had B 2 or its equivalent The work is along the same lines followed in B 2 but in a more elaborate and difficult style of composition, including chants, poly- phonic vocal works and the memorizing of parts from elaborate scores, operas, oratorios and passions. The class meets twice weekly throughout the year. Four units. Text book: Selected Pieces. Prof. Hanchett. JUNIOR YEAR. E. 2. Advanced Harmony. Open to students who have completed A 2 and C 2 or their equivalents. The course includes a study of chords of the seventh, ninth and augmented sixth, with their inversions and resolutions; altered chords, modulations, sus- pensions, organ point, cadences, etc. Text book: Foote and Spalding's Modern Har- mony. Two hours a week of recitation work throughout the year. Four units. Prof. Michaelis. F 1. History of Music. This class takes up the record of achievement, the strug- gles and conquests of those who have con- tributed to make music the glorious art it is to-day. It learns of the beginnings of things in the dim past, and their development through many forms — scale, chant, motet, mass opera, symphony — of the crude instruments of antiquity and their transformation into the piano, organ and orchestral types of to-day, of writing scores as it was done and as it is. The students hear many examples of the works of the masters, the aim being to give this class works thai enter do other part ol oi study. 1 ext hook: Gant- \ listory ol Music. One recitation each week throughout the year. I wo units. Prof. Hanchett. G I. Musical Pedagogy. Open to students who have completed A 2 and C 2, and are taking (or have completed) E 2, F 1 , and Division VII of the Piano Course, or their equivalents. The course includes con- sideration ol the attitude of the teacher's mind toward art and education; something of the psychology of childhood; methods of develop- ing musical perceptions, love of art, tech- nique, sight reading, precision, memory. 1 he relative value of the various matters to which the teacher must give attention, se- lection of material, exercises, studies and pieces; methods of practice. Illustrations, sample lessons, and practical drills are in- troduced as needed. A lecture course. One hour each week throughout the year. Two units. Prof. Hanchett. SENIOR YEAR. HI. Musical Form and Analysis. Open to students who have completed A 2, C 2, E 2, and Division VII of the Piano Course, or their equivalents. A thoroughly practical course in the understanding and ap- preciation of the work of the compo- heard. I he class is conducted through in- vestigations of the purpose and meaning of art, its classifications, elements, and finished products ; the composers' way of gaining effects rhythmic, melodic, harmonic; the building of musical forms and the discovery of motives, subjects, episodes, periods, imita- tions, variations and all the other devices of the highly developed musical art of to-day. Text books: Hanchett's "The Art of the Musician" and the first volume of Bee- thoven's Sonatas. One hour each week throughout the year. Two units. Prof. Hanchett. I 1. Sight Playing. Open to those who have completed Division VII of the Piano Course, or equivalent work on other instruments, and are recommended to this class by the private instructors ; and required of those who do not take Solfeggio B2 and D2. The work of this class is entirely prac- tical — the playing in companionship of the great orchestral works — overtures, sympho- nies, concertos, suites, etc. — in arrangement for two, four and eight hands with such of the orchestral parts as may be available. The design is not merely to cultivate facility in sight reading although that aim will be kept to the fore, but also to render familiar and famous masterpieces for orchestra and give practice in musical team work. One hour each week throughout the year. Two units. Prof. Hanchett. IN GENERAL. Those in all classes share Brenau's musi- cal atmosphere. The artist concerts, pupils' musicales, choir practice, chapel music and the contact with the musical enthusiasts who make up the conservatory faculty, all help to give thai quiet, imponderable but potent impulse toward musical culture that can never be se- cured by merely ''taking lessons" and practicing. REQUIREMENTS FOR GRADUATION. I o graduate from the conservatory the student must complete the course of studies and pieces outlined for voice or chosen in- strument and must sing or play to the satis- faction of the faculty and by memory, a pub- lic recital with a program of pieces selected from the work of the Senior year requiring not less than thirty minutes for performance. She must also complete the four years' course of theoretical work. In both recital and all theoretical studies a grade of not less than 70 must be secured. TEACHER'S CERTIFICATE. Lpon completion of the studies and pieces outlined for voice or chosen instrument and all the theoretical work included in the Junior ir, and giving a private recital, not neces- sarily wholly by memory but before the faculty and consisting of not less than three pieces selected from the work of the Junior . the pupil who attains a grade of not less than 70 in all subjects may be granted a Diploma* 1 01 I e icher*i ( ertifi< ate. THE VOCAL DEPARTMENT Mr. C. F. Bonawitz has been added to the vocal faculty and will begin his duties September 15, next. Mr. Bonawitz has studied two years in Italy, two years in Germany, a year and a half in France and a year in Austria. He has had large experience as a concert artist and has sung successfully in opera in all of the countries named. He has studied principally with Dalmas, Bracci and later for a time with Sbriglia. He teaches the well known Italian method. As a teacher Mr. Bonawitz has been very successful and from a number of similar let- ters from former pupils the following is copied as typical: June 16, 1914. Dr. H. J. Pearce, Dear Sir: I am in receipt of your favor of June 1 3th in regards to the ability of Mr. C. F. Bona- witz, both as a teacher and singer. In reply beg to say I have had the pleasure of study- ing and coaching with Mr. Bonawitz for the past six months, and am convinced that he is the best equipped teacher of voice in the South. Yours very truly, Ernest B. Waitt. German and French critics have expn themselves as follows: One must call Mr. Bonawitz a mastei ol the art ol hd canto and warmly commend him on his interpretation ol Valentine in 'Faust' (lis voice is ol a wonderfully warm, rich quality." "His well placed voice was sympathetic and created much enthusiasm. He was heartily recalled." "He sings with a fine style and uses to every advantage his beautiful baritone voice." The following was signed by Dr. Carl Gille: "Mr. Bonawitz has an exceptionally well placed baritone voice of a beautiful quality, and I desire to most heartily recom- mend his method of singing as well as his artistic abilities." THE ART OF THE MUSICIAN. By DR. HENRY G. HANCHETT. (Published by the Macmillan Co., New York; Price $1.50 net, Postage 13 cents). This new book is the Text Book of the Hanchett Course in Musical Analysis. Excerpts from a few of the many extended press opinions: "Just the book for one who would listen to music with genuine appreciation and talk about it with cultured intelligence." Standard Union, Brooklyn, N. Y. "The work is delightful reading and in it there is not a dull moment nor an abstruse line. It will open up entirely new delights in the art of music." Musical Leader, Chicago, 111. "The three admirable closing chapters are full of sensible suggestion that it would be worth while to have copies distributed broadcast as tracts through- out the land." Vogue, New York. "Free from the dull and commonplace style. It is a book that should be universally read." Musical Courier, New York. "Mr. Hanchett is a man of profound knowledge of his subject and has the quality of being able to impart it." The Chronicle, San Francisco, Cal. "The present volume has long been desired. It is unique in contents, it is valuable, its style is clear and entertaining, its theories sound and well set forth. Its purpose is completely fulfilled." The Sun, Baltimore, Md. "Mr. Hanchett's guide to the intelligent appre- ciation of music is a book for which there is not only an immediate place, but a crying need so far as the American public is concerned. The pages are given to the most direct and helpful explanations and descriptions." Globe-Democrat, St. Louis, Mo. "The book, we believe, will be very helpful to those who wish to listen to music intelligently." The Outlook, New York. 3 0112 105581596 FCOTE & DAVIES CO., ATLANTA,