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Musical Courier 1892-12-21: Vol 25 Iss 668, 1892
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1AMERICAN COLLEGE OF MUSICIANS.
2(Incorporated 1886.)
4Examination Papers Used at the Examinations for Associateship in New York, June 28, 29, 30 and July 1, 1892.
6BOARD OF EXAMINERS, 1892.
7Piano.
8Charles H. Jarvis (acting for William Mason),
9Albert Ross Parsons,
10E. B. Story (acting for Fannie Bloomfield-Zeisler).
12Organ.
13S. P. Warren, S. B. Whitney,
14George E. Whiting.
15Violin.
16S. E. Jacobsohn, G. Dannreuther,
17J. H. Beck.
18Voice.
19Luisa Cappiani, J. H. Wheeler,
20F. W. Root.
21Public Schools.
22W. F. Heath, N. Coe Stewart,
23William H. Dana.
25Theory.
26S. P. Warren (acting for W. W. Gilchrist),
27Thomas Tapper, Jr.,
28E. M. Bowman (acting for Dudley Buck).
30OFFICIARY OF THE YEAR 1892-3.
31President………………………………………E. M. Bowman
32Vice-presidents…………………Clarence Eddy
33…………………George E. Whiting
34Secretary and treasurer….Robert Bonner, 60 Williams street, Providence, R. I.
36BOARD OF EXAMINERS,
37Piano.
38Charles H. Jarvis, Albert Ross Parsons,
39Mrs. F. Bloomfield-Zeisler, Wm. H. Sherwood,* Emil Liebling.*
41Organ.
42S. P. Warren, George E. Whiting,
43S. B. Whitney, Clarence Eddy,* A. A. Stanley.*
45Violin.
46S. E. Jacobsohn, G. Dannreuther,
47J. H. Beck, Julius Eichberg,* A. Waldauer.*
49Voice.
50Luisa Cappiani, J. Harry Wheeler,
51F. W. Root, F. Korbay,* William Courtney.*
53Public Schools.
54John W. Tufts, N. Coe Stewart,
55Wm. H. Dana, J. M. North,* F. A. Lyman.*
57Theory.
58W. W. Gilchrist, Dudley Buck,
59Thomas Tapper, E. M. Bowman,* Frederic Grant Gleason.*
61Members.
62J. C. Batchelder, Jos. H. Gittings,
63J. H. Beck, Frederic Grant Gleason,
64Thos. A. Becket, Jr., J. H. Hahn,
65Bernardus Boekelmann, W. F. Heath,
66Robert Bonner, W. E. Heimendahl,
67E. M. Bowman, Dorsey W. Hyde,
68John H. Brewer, S. E. Jacobsohn,
69Clara Brinkerhoff, Chas. H. Jarvis,
70Dudley Buck, Rafael Joseffy,
71Jas. A. Butterfield,† Jennie T. Kempton,
72Willard Burr, Jr., H. Kotschmar,
73C. B. Cady, F. Korbay,
74Luisa Cappiani, B. J. Lang,
75Teresa Carreno, Calixa Lavallée,†
76Wm. B. Colson, Jr., W. H. Leib,
77Wm. Courtney, Eugene Leuning,
78Michael H. Cross, Emil Liebling,
79Leopold Damrosch,† Louis Lisser,
80Wm. H. Dana, William Mason,
81Gustave Dannreuther, W. S. B. Mathews,
82Henry M. Dunham, Hamilton C. Macdougal,
83Clarence Eddy, Arthur Mees,
84Sara Hershey Eddy, S. B. Mills,
85Julius Eichberg, J. M. North,
86A. J. Epstein, Albert Ross Parsons,
87M. I. Epstein, S. Austen Pearce,
88Achille Errani, S. N. Penfield,
90* Alternates.
91† Deceased.
93Members—Continued.
94Amy Fay, H. S. Perkins,
95Otto Floersheim, R. S. Poppen,
96Carl Gaertner, Silas G. Pratt,
97James Gill, Theodore Presser,
98W. W. Gilchrist, Gustave Pringnitz,
99F. B. Rice, John S. Van Cleve,
100Alfred G. Robyn, F. Van der Stucken,
101Frederic W. Root, August Waldauer,
102George Schneider, J. T. Wamelink,
103Henry Schradieck, S. P. Warren,
104Harry Rowe Shelley, J. Harry Wheeler,
105Wm. H. Sherwood, L. W. Wheeler,
106J. H. Simons, Geo. E. Whiting,
107Albert A. Stanley, S. B. Whitney,
108N. Coe Stewart, Richard Zeckwer,
109Theodore Thomas, Fannie Bloomfield-Zeisler,
110John W. Tufts, F. Ziegfeld.
112Fellows.
1131887. Thomas Tapper, Jr.
1141888. Jas. A. Butterfield, J. W. Conant (piano).
1151889. J. W. Conant (theory), John H. Pratt,
116E. B. Story.
1171890. Harriette B. Judd, F. Maxson,
118Will C. Macfarlane, R. M. Welton,
1191891. Fannie L. Story, Sarah C. Very.
121Associates.
1221886. Wm. H. Dana, Fred. A. Lyman,
123H. O. Farnum, Robert A. Nightingale,
124Newton Fitz, Henry Schwing,
125Clara Koons, Edwin B. Story,
126Thos. Tapper, Jr.
1271887. F. J. Benedict, Anna L. Melendy,
128Avis H. Blewett, Sarah A. Palmer,
129Jas. A. Butterfield,† A. Rommel,
130May Chace, Cornelia T. Stayner,
131O. H. Evans, Thos. Tapper, Jr.,
132Paul Goerner, Sarah C. Very,
133Fred. S. Law, Rich. M. Welton.
1341888. John B. Campbell, Josephine Large,
135John W. Conant, Emil Larson,
136Kate L. Deering, Emma A. Lord,
137Alice L. Doty, Will C. Macfarlane,
138Mary T. Ellsworth, Julia M. Todd,
139Sarah W. Hayman,† Grant Weber,
140Anna Heuermann.
1411889. Frederick Maxson, Rich. M. Welton,
142J. C. Miller, F. A. Wheeler,
143John H. Pratt, C. C. Wright,
144Fannie L. Story.
1451890. Edwin Barnes, Geo. H. Lomas,
146B. B. Gillette, Edw. V. McIntyre,
147Mary J. Haselwood, Mary E. Wade,
148Harriette B. Judd.
1491891. Nellie M. Anderson, Fannie L. Story,
150Rose W. Greenleaf, Henry Tschudi,
151Jennie L. Murkland, Newell L. Wilbur.
1521892. Clara W. Cooley, Laura E. McNeal,
153Alice L. Gleason, Anna S. Vieth,
154Mrs. Orra P. John, Anna L. Winn.
156The prospectus and examination papers for 1887, 1890 and 1891, containing full information concerning the standard of attainment and method of conducting the examinations for diplomas and membership in the College of Musicians, may be obtained from the secretary gratis.
158The annual examinations last five days, the theoretical examination being held on the first three days and the demonstrative on the fourth and fifth days. Candidates are requested to file their applications with the secretary, on application blanks (to be had of the secretary), not later than June 14, 1893.
160Candidates presenting themselves for re-examination are also requested to notify the secretary as above.
162The examinations for 1893 will be held at New York and Chicago.
164EXAMINATION FOR ASSOCIATESHIP, 1892.
165GENERAL MUSICAL THEORY.
166The theoretic examination consisted as follows:
168Harmony.
1691. Give list of chords employed in harmony with the resolution of those requiring it.
1702. Write a suspension 4 to 3, also 7 to 8 and 9 to 8.
1713. Write passage
172(a) From the chord of the tonic to that of the supertonic by the intervention of a single chord.
173(b) From tonic to relative minor.
174(c) From tonic to mediant.
175(d) From relative minor to mediant.
176(e) From mediant to supertonic.
177(f) From supertonic to tonic.
1784. Give illustrations of passing and auxiliary notes.
1795. Harmonize following bass in four parts. The letters represent the roots of the chords to be used. Roots, however, do not always appear in the bass. Capitals represent major chords, small letters minor.
181F C F Bb F C F g C F C F d g C F
1836. Harmonize the following melody in four parts. The additional voices may be embellished.
185F g F C F d a Bb F d g
186C F d Bb – g C F C F
188Counterpoint.
1891. To the following cantus add a florid alto.
1912. Continue the following to eight (8) measures and add a florid soprano.
1933. Name six or more contrapuntal composers of the seventeenth or eighteenth centuries.
1944. Give general rules regarding two part counterpoint in each order.
1955. To an original cantus of not less than eight measures write an example of each of the five orders as established by the old contrapuntists, use of key and clefs to be optional with the candidate.
197Terminology.
198The answers to the questions in this paper will be rated not only with regard to their accuracy, but especially with regard to their value as definitions from the standpoint of a teacher. Be accurate, comprehensive and concise.
2001.—Define:
2011. Suite.
2022. Meter.
2033. Stretto.
2044. Rhythm.
2055. Toccata.
2066. Timbre.
2077. Phrasing.
2088. Tonality.
2099. Harmony.
21010. Polyphony.
21111. Resolution.
21212. Recitative.
21313. Tetrachord.
21414. Ritornello.
21515. Syncopation.
21616. Transcription.
21717. Treble clef.
21818. Tuning fork.
21919. Prima volta.
22020. Tempo rubato.
22121. Program music.
22222. Mit verschiebung.
22323. Un pochettino.
22424. Equal temperament.
22525. Sonata (original meaning).
227Musical Form.
2281. Give description of the simplest elements of musical form—motif, section, phrase, period, &c.
2292. Describe some of the smaller art forms, e.g., choral, song, march, gavot, minuet, &c.
2303. Describe the sonatina form.
2314. Describe the rondo form.
2324. Analyze the accompanying composition, indicating by means of terms, brackets, figures ("metrical cipher"), &c.
233(a) Principal and subordinate themes, both in exposition and development.
234(b) Connective or transitional passages.
235(c) Organ point.
236(d) Keys passed through in the development.
237(e) Subdivisions of themes, motivic structure and such other minor points as would indicate a thorough understanding of the example submitted.
239Acoustics.
240Give concise definitions and explanations of the following:
2411. Sound in general—how propagated, how diffused, and how perceived.
2422. The difference between musical and non-musical sound.
2433. Pitch—the laws thereof and present historic condition.
2444. Give vibration numbers of according to present French pitch.
2455. Write concerning overtones.
247History.
2481. By whom and when and where was the first music school established, and how was the church music of the day taught its pupils?
2492. Mention the six principal events or steps which mark the advance in the history of music during the first twelve centuries of the Christian era.
2503. In what centuries were the Netherlanders the musical
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