Folk-Songs and Part-Songs: With Preparatory Exercises for Choral Classes
(This is a reproduction of a book published before 1923. T...)
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
A Birthday Greeting, and Other Songs: From the Book of Katherine's Friends by Emily Niles Huyck (Classic Reprint)
(Excerpt from A Birthday Greeting, and Other Songs: From t...)
Excerpt from A Birthday Greeting, and Other Songs: From the Book of Katherine's Friends by Emily Niles Huyck
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(Excerpt from Popular Method of Sight-Singing
My method i...)
Excerpt from Popular Method of Sight-Singing
My method is not new, including, as it does, ideas from many sources, dating from Guido of Arezzo to the present day. It is simply the application of modern pedagogic principles to the study of musical tones. Their tonal and rhythmical relationships.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Some Essentials in the Teaching of Music: For the Consideration of Music-Teachers, Music-Students and Parents (Classic Reprint)
(It is doubtful whether there is any subject of instructio...)
It is doubtful whether there is any subject of instruction which is taught so carelessly, so ignorantly, so improperly, and by so many people who are by nature and by training unfit to teach, as music. Thousands of people who have learned to play or sing a little, barely enough to perform a few pieces more or less acceptably, consider this a sufficient qualification to teach music. It seems to them an easy way of earning a living and, while theS tate exacts the attainment of definite standards inN ormal training in all other subjects, they know that no such standards are established in the teaching of music and that they can offer themselves to the public with impunity. The ignorance of the public makes it easy and safe to impose themselves as competent and, by dint of advertising, personal influence and acquaintance and by offering cheap service, they often manage to assemble large classes of pupils. But even the better trained musicians, equipped with ample musical and technical ability, frequently enter upon the career of teaching with an imperfect knowledge of true educational principles.
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Frank Heino Damrosch was a German-born American music conductor and educator. He was the founder of the New York Institute of Musical Art, which later became the Juilliard School.
Background
Frank Heino Damrosch was born on June 22, 1859 in Breslau, Silesia (nowadays Wroclaw, Poland). He was the eldest of eight children of Leopold Damrosch and Helene (von Heimburg) Damrosch. Christened Franz in honor of his godfather Franz Liszt, he grew up in an intensely musical household. His father was director of the Breslau Orchester Verein; his mother was an operatic soprano. In 1871 Leopold Damrosch, dissatisfied with musical and political conditions in Breslau, accepted a position in New York and moved his family there.
Education
Young Damrosch attended public school of New York and entered the College of the City of New York, meanwhile studying piano under Dionys Pruckner, Jean Vogt, Ferdinand von Inten, and Rafael Joseffy and composition under Moritz Moszkowski and his father.
Career
A highly competent pianist, Damrosch decided against a musical career in favor of one in business and with this aim established himself, in 1879, in Denver, Colorado. But while clerking in a hat store there, he found himself irresistibly drawn to music and became organist of two churches and a synagogue, as well as a conductor and music teacher. In 1884 he was appointed the first supervisor of music in the Denver public schools. Here he was able to apply his principle of musical education for children: the training of the ear as the basis of all subsequent instruction.
Upon the death of his father in 1885, Damrosch returned to New York as master of the chorus of the Metropolitan Opera, holding that position until 1892. In that year he founded the People's Singing Classes, designed to instruct interested adults, especially working people, in the rudiments of music and to perform great choral works. Two years later the advanced classes were organized into the People's Choral Union; both groups continued successfully under his personal supervision until 1913. Damrosch also served as a church organist and, from 1898 to 1912, as conductor of the Oratorio Society of New York, founded in 1873 by his father, and of several other choral groups in the Middle Atlantic states.
Although an advocate of musical experience through active participation, Damrosch instituted two experiments for the education of audiences. Through the Musical Art Society, founded in 1893 for a cappella performances, he introduced the New York public to many seldom-heard and unfamiliar works. His Symphony Concerts for Young People, later taken over by his brother Walter, pioneered in instructing children in the varieties of musical forms. From 1897 to 1905 Damrosch was also supervisor of music in the New York City public schools.
During the summer of 1901, while visiting Andrew Carnegie in Scotland, Damrosch outlined his long-cherished plan for an American conservatory of music which would rank with those of Europe and would offer the best possible instrumental instruction, as well as a broad cultural and musical background. Although he was unsuccessful in his negotiations with Carnegie, his dream came true when he persuaded the philanthropist and music lover James Loeb to contribute $500, 000 in memory of his mother, Betty Loeb, and on October 11, 1905, the Institute of Musical Art was formally opened in New York City.
In 1926-27 the Institute and the Juilliard Graduate School were combined to form the Juilliard School of Music, with John Erskine as president and Damrosch as dean of the Institute (which now became the undergraduate section of the school), a position he held until his retirement in 1933. In ill health after his retirement, Damrosch died at his New York City home four years later of an unexpected heart attack. He was buried in Woodlawn Cemetery in New York.
Achievements
Damrosch founded the New York Institute of Musical Art and until his death he remained completely devoted to the establishment, as it fulfilled his ideal of musical education.
Damrosch was honored in 1904 by the award of the degree of Doctor of Music by Yale University.
Damrosch Park, part of New York's Lincoln Center for the Performing Arts, is named in honor of the Damrosch family.
(This is a reproduction of a book published before 1923. T...)
Connections
Damrosch married Hetty Mosenthal of New York City. The couple had two children, Frank, an Episcopal clergyman, and Helen (Mrs. John Tee-Van), a talented illustrator of scientific publications.
