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EDUCATION L1BBABY

Senior High School

CURRICULUM

for

MUSIC

GUIDE

CURRiCUL

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CURRGDHT

Grl partment of Education

Edmonton, Alberta

July, 1959

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Digitized by the Internet Archive

in 2012 with funding from

University of Alberta Libraries

http://archive.org/details/shscgmusic59albe

Senior High School

CURRICULUM

for

MUSIC

GUIDE

Department- of Education

Edmonton, Alberta

July, 1959

UNIVERSITYOB ALBERTA LIBRARY

TABLE OF CONTENTS

Page

I ntrod uction 5

Administration of the Music Program 6

—Music 10, General 7

The Choral Program

—Music 1 0, Choral 1

—Music 20, Choral 1

1

—Music 30, Choral 1

2

Suggested Performance Material

—Music 1 1

4

—Music 20 and 30 17

The Instrumental Program

—Music 10, Orchestra r 21

—Music 20, Orchestra 22

—Music 30, Orchestra 22

—Music 1 0, Band 23

—Music 20, Band 25

—Music 30, Band 25

Suggested Performance Material for the Instrumental Program 27

—Music Literature 30

Appendix

—References and Teaching Materials 40

—Care of Records and Record Players 45

ACKNOWLEDGMENTThe Department of Education acknowledges with appreciation the

contributions of the committee members who assisted in the preparation

of the Senior High School Guide for Music. The guide has been pre-

pared by the sub-committee on Music under the guidance of the Senior

High School Curriculum Committee.

Senior High School Curriculum Committee

M. L. Watts, Director of Curriculum (Chairman).

A. A. Aldridge, Supervisor of Guidance.

R. Lawson Allan, H.S.A., Chauvin.

Dr. H. S. Baker, Faculty of Education, University of Alberta, Edmon-ton.

G. L. Berry, High School Inspector, Edmonton.

H. D. Cartwright, Principal, Crescent Heights High School, Calgary.

G. R. Conquest, Assistant Superintendent, Edmonton Public School

Board.

M. J. V. Downey, Director of Research and Personnel, EdmontonPublic School Board.

Miss E. W. Duff, A.T.A. Crescent Heights High School, Calgary.

M. O. Edwardh, Assistant Director in Charge of Elementary Education

A. E. Henderson, Principal, Ross Sheppard High School, Edmonton,A.T.A.

C. B. Johnson, High School Inspector, Lethbridge.

Dr. J. C. Jonason, High School Inspector, Edmonton.

E. S. Keeping, University of Alberta, Edmonton.

L. W. Kunelius, High School Inspector, Calgary.

O. Massing, High School Inspector, Killam.

J. P. Mitchell, Supervisor of Industrial Arts.

W. 0. Turner, A.S.T.A., Hanna.

A. B. Evenson, Associate Director of Curriculum (Secretary).

Senior High School Music Subcommittee

C. Pyrch, Superintendent of Schools, Leduc (Chairman).

L. W. Kunelius, High School Inspector, Calgary.

E. I. Carter, Central High School, Calgary.

L. R. Erickson, Crescent Heights High School, Calgary.

E. C. Mayes, Strathcona Composite High School, Edmonton.

R. Lopatka, Victoria Composite High School, Edmonton..

C. W. Merta, Red Deer Composite High School, Red Deer..

SENIOR HIGH SCHOOL CURRICULUMGUIDE FOR MUSIC

Introduction to the Senior High School Music Program

Music, as a school subject, contributes to the realization of the

functional objectives of Alberta Secondary Schools as set forth in

Chapter 3 of the Curriculum Guide for Alberta Secondary Schools, andrepeated in the Senior High School Handbook (1958-59). Theseobjectives are restated here:

1

.

Personal Development

2. Growth in Family Living

3. Growth toward Competence in Citizenship

4. Occupational Preparation

Point of View

Music, as a school subject, has a unique contribution to make to the

Senior High School program. It affords a means of portraying all the

emotions that are part of normal living. An expression of feeling

through a creative art like music is necessary to relieve the stress of

modern living.

Pattern of Music Courses

Music 10—General

Music 10—Choral and Instrumental

Music 20—Choral and Instrumental

Music 30—Choral and Instrumental.

General Objectives

1

.

To continue to arouse enthusiasm for music.

2. To continue to develop understanding of music as an expression of

human experience, through:

(a) Providing opportunities to sing, to play instruments, and to listen

to music.

(b) Increasing technical knowledge of music.

EVALUATIONA good music program should:

1. Work to achieve the objectives of Senior High School Music.

2. Make these objectives known to the public.

3. Meet the needs of the students.

4. Promote a close relationship between the school and the com-munity.

A good evaluation of students' progress in music should:

1

.

Be based primarily on performance proficiency.

2. Include short written theory tests.

3. Include aural tests. (Questions might relate to modulation,bridge passages in a symphony, analysis of a composition heardfor the first time.)

4. Include subjective evaluation of such qualities as enthusiasm,initiative, attendance.

Administration of the Senior High School Music Program

Pattern of Courses

General—Music 10

Choral—Music 10, 20, 30Instrumental—Music 10, 20, 30

Registration

Students with little or no previous training in music should usually

register in Music 10 (General). Some of these students may register

in Music 10 (Choral) but normally beginners should not register in

Music 10 (Instrumental) since choral techniques can be learned morequickly than instrumental techniques. Music 10 (Instrumental) is a

course for students who can already perform on band or orchestral

instruments. Eligibility for registration in Music 10 (Choral or Instru-

mental) will be decided by the principal in consultation with the musicteacher.

Music 10 (General) may provide preliminary instrumental training

for interested students. Interested and competent students may proceedfrom Music 10 (General) to either Music 20 (Choral) or Music 20 (In-

strumental).

For further regulations of band and orchestra organization see the

Senior High School Handbook.

Credit Values

Music 10 (General) 3-5All other music courses 4-5

Distribution of Time

Each music course has two basic activities: performance and listen-

ing. Emphasis should usually be placed upon performance by devotingto it approximately two-thirds to four-fifths of instruction time. In

Music 10 (General) approximately half of the instruction time might bedevoted to listening.

Instruction in notation, form, history, etc., should also be given to

increase students7

understanding of the basic musical activities. Suchinstruction should usually be introduced during performance and listen-

ing. These "glimpses" of musical knowledge may be reviewedperiodically in formal, cumulative lessons which vary in length accordingto need. A regular weekly period is too rigid a schedule for meaningfulteaching of theory.

Special Conditions

If it seems desirable to schedule part of the music instruction outsideof school hours, the principal is advised to consult the local High SchoolInspector.

MUSIC 10 (General)

Drimary Reference: Listening to Music— Fiske.

Objectives

1

.

To provide opportunities for students with little previous training

in music to increase skill as performers and to increase sensi-

tivity as listeners.

2. To encourage in such students a desire to continue their musical

experiences after graduation.

3. To reveal the social significance of music by indicating how it

often reflects the time and place of its composition.

4. To encourage students with talent and ability to continue in

choral, orchestral and band courses.

Content and Organization

This course should contain a survey of both sections of high school

music: choral and instrumental. As the year progresses, the interest

of the majority in the class should be settled upon and time then devoted

to extending that interest. The main interest might be a study of the

history of music, or listening, or performing.

Some guidance concerning the "survey" aspect of this course follows:

Choral

Much time should be spent in singing both unison and part songs.

The goal should not be artistic perfection but rather an enjoyable asso-

ciation with various styles of music, such as folk songs, work songs,

spirituals, ballads, art songs, religious songs. Enjoyment of singing

may be increased by the use of recordings of professional choirs or of

instrumental accompaniments. The teacher should encourage correct

use of adolescent voice by having the class pay attention to balance,

blend, pitch and tone. Some unaccompanied singing is recommended.

Instrumental

The teacher is reminded that if some students intend to proceed to

Music 20 (Instrumental) then an attempt to meet the requirements of

Music 10 (Orchestra) or Music 10 (Band) should be made.

The following activities are suggested as belonging to a "survey"

or introductory period:

1. Performance on such easy-to-play instruments as the autoharp,

flutophone, recorder, and melody bells. Although the techniques

7

of these instruments are simple enough to permit all students to

perform, they have much of the educational value of standard

orchestral and band instruments.

2. Demonstration, performance, and accompaniment on standard

orchestral and band instruments by experienced class membersor other persons.

3. Group piano and chording study on "dummy" keyboards (card-

board or wooden models.)

Such activity will often motivate students to make further experi-

ments on their home piano.

Special Notes

1. Reading skills should not be approached as isolated topics but

should be taught for the most part in conjunction with the class

singing or playing.

The following content is suggested:

(a) Notation: staff, cleff signs, key signatures, time signatures,

note and rest values.

(b) Terms relating to tempo and dynamics.

(c) Music symbols: repeat, pause, etc.

(d) Sight reading.

2. See page 31 for guidance in listening.

THE CHORAL PROGRAM — Music 10, 20 and 30

OBJECTIVES

Performance

1

.

To develop control of the singing voice of each student within

his natural range.

2. To develop each student's ability to sing in harmony.

3. To widen each student's experience with a variety of choral

literature.

Music Literature

1 . To train each student to become an appreciative listener to music.

rheory

1

.

To develop familiarity with Time, that is, with all forms of dupleand triple measurement of accent in music.

2. To develop familiarity with the elements of harmony (intervals

and triads) at the piano, from the staff, and "by ear".

3. To develop familiarity with melodic patterns (phrases, sentences)and with simple binary and ternary forms.

4. To develop ability to read simple melodies at sight.

Planning the Choral Music Program

Frequent reference to the statements of objectives will assist

eachers to achieve the basic values of music education within their

widely differing school situations.

List of suggested performance material is given in pages 14- 19,

Following the outlines of choral choruses. A list of selected references

for the teacher is given on page 14.

The small music enrolments of some schools may necessitate that

V\usic 10, Music 20 and Music 30 be combined to form one instructional

:lass. Since a progressive development in skills, abilities, and knowl-edge is essential, teachers should plan a sequence of work showing anncreasing level of difficulty. Students in this group taking music for

"he second year should not simply do more of the same thing. It is

'ecommended that teachers be thoroughly familiar with the contentoutlined for each course, so that they may meet the needs of this

situation over a two-year period.

The choral program for Music 30 should challenge the student of

iuperior vocal ability who may be considering music as a profession.

MUSIC 10 (Choral)

Primary References: Music Makers—Pitts et al.

(It is not necessary that each student buy this

text, provided that a classroom set be madeavailable.)

Listening To Music—Fiske.

A. Performance

The student should show growth in:

1

.

Choral Techniques:

(a) Well blended and balanced tone, free from noticeable

tremolo and with an even quality throughout the range

(b) Accurate intonation

(c) Clear diction

(d) Unified attacks and releases

(e) Vital tempi and rythms

(f) Well-shaped phrases

(g) Proper dynamics

(h) Sincere emotional expression of music and words.

2. Unison singing.

3. Part singing

(a) Singing descants, counter-melodies, rounds and canons

(b) Singing songs in thirds and sixths by ear, later by note

(c) Harmonizing simple songs by humming and singing I, IV,

and V chords.

NOTE: In groups consisting of girls only, or of boys only, emphasisshould be placed on two-part, and where possible, on three-part singing.

In mixed groups, some simple four-part harmony should be attempted,in addition to the SAB work, to accommodate the limited range of the

adolescent voice and to make use of the new color provided by thealto-tenor or "cambiata". Girls sing best in a medium key (upper limit E

of the treble clef staff.) Boys sing best in a low key (upper limit Dabove middle C, although they might sing an octave below notes written.)

The mixed voice (SAB or SATB) work at the Grade X level can be taughtbest from song books especially prepared for adolescent voices.

4. Sight Reading

(a) Melodies of simple folk song or hymn tune difficulty.

(b) Easier portions of more difficult songs studied.

(c) Simple chord progressions in part songs.

5. Elementary Conducting

10

B. Music Literature. See page 31.

C. Theory

The student should be able to:

1

.

Name and write all notes in the treble and bass clefs.

2. Explain these time signatures: 2/2, 2/4, 4/4, 6/8, 9/8, 3/4.

3. Explain (according to the time signature) the time values of all

notes (including tied and dotted notes) and rests.

4. Write all major scales.

5. Name and write from dictation all perfect and major intervals

with their inversions.

6. Define common musical terms, signs, and abbreviations.

MUSIC 20 (Choral)

Primary References: Music Makers—Pitts et all.

(It is not necessary that each student buy this

text, provided that a classroom set be madeavailable.)

Listening to Music—Fiske.

A. Performance

The student should continue to develop his skill in those factors

necessary for a beautiful choral performance.

1

.

Choral techniques:

(a) Breath control.

(b) Good tone—quality, blend, flow.

(c) Accurate intonation.

(d) Clear diction—pronunciation, enunciation, articulation.

(e) Clearly defined accent.

(f) Sensitive interpretation as to mood, phrasing, dynamics,climax.

(g) Alert responsiveness to conductor — attacks, releases,

dynamics.

2. Part Singing:

(a) Three part singing for girls-only groups.

(b) Two and three part singing for boys-only groups.

(c) Three and four part singing for mixed groups.

3. Sight reading of larger portions of new songs than those at-

tempted in Music 10.

11

4. Elementary conducting.


C. Theory

The student should:

1. Review Music 10 theory incidentally during the first songs sung.

2. Know the technical names of all notes of the scale.

3. Study the melodic and harmonic forms of the minor scale andbe able to write all harmonic minor scales.

4. Be able to name all perfect, major, minor, augmented and di-

minished intervals, and understand how these intervals may beinverted.

5. Understand all compound time signatures.

6. Know the triads (major, minor, augmented and diminished) onevery note of the scale.

MUSIC 30 (Choral)

A. Performance

The student should reach a higher standard than that required of

Music 20 in:

1

.

Choral techniques:

(a) Tone control (pitch, volume, quality) throughout the entire

range of the voice.

(b) Clear diction (pure vowels given meaning by clear con-sonants.)

2. Part singing:

(a) Three and four part singing for girls-only groups.

(b) Three and four part singing for boys-only groups.

(c) Three and four part singing for mixed groups.

(d) Much accompanied part singing.

3. Sight reading of all new songs.

4. Conducting of at least one complete song.


C. Theory

The student should:

1. Review all intervals with their inversions.

12

2. Study syncopation and triplets.

3. Explore music using irregular time signatures.

4. Have a working knowledge of the dominant seventh chord.

5. Recognize good phrasing, a good melodic sentence, cadences(perfect and imperfect) and simple binary and ternary forms.

6. Be able to transpose.

7. Understand common musical ornaments:

(a) acciaccatura (b) mordent (c) trill (d) turn.

13

SUGGESTED PERFORMANCE MATERIAL FOR

THE CHORAL PROGRAMMusic 10

Introductory Note

Music Makers: Pitts et all., is the primary reference for both Music

10 and Music 20. However, many teachers might wish to go beyond this

text for materials suitable to their classes. The Grade IX text, Singing

Teenagers, can continue to be valuable for Grade X.

Catalogs of song books of all types can be secured from publishers.

(See page 40). The following song books are suggested:

1. The Festival Song Book—Bell

2 The Choral Hour

3. Concord Junior Song and Chorus Book

4. A Canadian Song Book— E. MacMillan

5. The New Canadian Song Series—Cringan

6. Youthful Voices—Don Wright.

The songs in the following lists have been selected to appeal to the

varied interests of Senior High School boys and girls, and to suit the

narrow range of boys' voices. Most of the songs have been tested by

long use.

Most of the unison songs can be found in community and school

song books.

The descant and part-song material is obtainable in octavo form

from music dealers.

Suggested Material for Girls

A. Unison (in medium or low keys)

Jesu, Joy of Man's Desiring—Bach

My Heart Ever Faithful—Bach

He Shall Feed His Flock (from The Messiah)—Handel

Silent Worship—Handel, arr. Somervell

Where'er You Walk—Handel

The Moon—Schubert

Hedge-rose (Heidenroslein) Schubert

Wanderings—Schubert

On Wings of Song—Mendelssohn

Where the Bee Sucks—ArneThe Sleeping Princess—Borodin

Cradle Song—Gretchaninoff

14

Sleep, Little Jesus—Anderson

Caro Mio Ben—Giordani JNIVERSITY OF ALBERTAReturn to Sorrento— Italian EDUCATION LIBRARYSanta Lucia— Italian

Funiculi, Funicula— Italian

Bells of Contre7

r Gwaelod—WelshGreens leeves—English

Drink to Me Only with Thine Eyes—English

Early One Morning—English

My Gentle Harp (Londonderry Air)— Irish

The Harp That Once Thro 7

Tara's Halls— Irish

Blow the Wind Southerly—Scottish

In Praise of Isla—Scottish

The Riddle—American

Green Grow the Rushes, OThe Holy City—Adams (Copyright)

Cantique Noel—Adams (Copyright)

Roadways—Lohr (Copyright)

Five Eyes—Gibbs (Copyright)

B Songs with Descant

The Lord Is My Shepherd (a) Crimmond(b) Brother James 7

Air

Farewell, Manchester—English, arr. Dunhill

Dabbling in the Dew—English (Northumbrian)

The Moon Shines Bright—Lancashire Carol

All Thro 7

the Night—WelshAsh Grove—WelshKeel Row—Scottish, arr. Dunhill

The Minstrel Boy, O— Irish

I Vow to Thee, My Country— Irish, arr. John Vine

What Is This Lovely Fragrance?—French

C. Two Part (SA)

Jesu, Joy of Man's Desiring—Bach

Here, Amid the Shady Woods—Handel

Now on Land and Sea Descending(Minuet from 7/

Berenice7/

)—Handel

Lord of Our Being—Handel

Serenade—Schubert

The Little Sandman—BrahmsWaltz Song from /7

Faust/7—Gounod

Night Winds—Godard

Barcarolle from "Tales of Hoffman 77—Offenbach

Cherry Ripe—Horn

15

Gypsy Love Song—Herbert

Grasmere Carol—Somervell

A Cradle Hymn—Judd

Sweet Afton—Anderson

Ring Out Wild Bells—Peake

An Easter Carol—ThimanThe Splendour Falls—Cowdell

Count Your Blessings—MorganGlenlyon Lament—Scottish

In Bethlehem—ShimminOran-a-Chree—Gaelic

Fairy Lullaby—Gaelic

O Lovely Night—Roechel

Sleep, My Lovely One—Curzon

Moonbeams—Herbert

C Three Part (SSA)

O Lovely Night—Praetorius

"Alleluia" from the Cantata "For Unto Us a Child Is

Born"—Bach (World Music Horizons)

"Hey Derry, Down Derry" from"The Peasant Cantata"—Bach

All Glory, Laud and Honour

—

Bach-Teschner (World Music Horizons)

Now Golden Day Is Dawning, from"The Magic Flute"—Mozart

Cradle Song—BrahmsVirgin's Lullaby—Reger

Three Little Maids, from"The Mikado"—Gilbert and Sullivan

How Lovely Are Thy Dwellings—Liddle

Twilight—Anderson

The Wraggle-Taggle Gypsies, O—English

Gai L'On La—French-Canadian

All in the April Evening—Roberton

Dorrmi, Jesu—Chilean

Suggested Material for Boys

A. Unison (Low keys)

When I Was a Lad (H.M.S. Pinafore)—Sullivan

Policemen's Chorus (Pirates of Penzance)—Sullivan

Old Folks at Home—Foster

Sea Fever— Irish (Copyright)

Wandering the King's Highway—Goward (Copyright)

Battle Hymn of the Republic—Steff

16

Swing Low, Sweet Chariot—Spiritual

Go Down, Moses—Spiritual

A Capital Ship—English

Early One Morning—English

Red River Valley—American

Eriskay Love Lilt—Scottish

Road to the Isles—Scottish

Loch Lomond—Scottish

Haul Away, Joe—Sea Chanty

Bound for the Rio Grande—Sea Chanty

Hymn of Thanksgiving—Dutch

Bendemeer's Stream— Irish

Waltzing Matilda—Australian

On Top of Old Smoky—American

Home, Sweet Home—Bishop

The Erie Canal—American

Sweet Nightingale—English

O No John—English

Music 20 and 30

Introductory Note

Much of the material suggested for Music 10 is still appropriate in

Music 20 and 30. The songs which follow, generally require more voice

maturity and control than those in the Music 10 list.

Suggested Material for Girls

A. Unison (Medium keys)

O Sacred Head (St. Matthew Passion)—Bach

Verdant Meadows—Handel

Breathe Soft, Ye Winds—Handel

Lord, Correct Me—Handel

Cradle Song—Mozart

In Stille Nacht—Brahms

B. Songs with Descant

Men of Harlech—Welsh, arr. Dunhill

Let Erin Remember— Irish, arr. Dunhill

Dabbling in the Dew—English (Northumbrian)

Drink To Me Only with Thine Eyes—English

Old King Cole—English

C. Two Part (SA)

Evening Prayer, from "Hansel & Gretel"—Humperdinck1 Wander'd Lonely as a Cloud—Thiman

17

Laughing and Weeping—Schubert

It Was a Lover and His Lass—Morely

More Sweet Rays—Handel

Silver—Greenhill

Thanks Be To God—Dickson

B Three Part (SSA)

Sound Sleep—Vaughan Williams

How Sweet the Moonlight Sleeps—Rathbone

As Torrents in Summer—Elgar

How Calmly the Evening—Elgar

Music When Soft Voices Die—WoodNymphs and Shepherds—Purcell

Lovely Lass of Inverness—Somervell

Spinning Chorus—WagnerTo Immortality—Anderson

A Madrigal—Rowley

Eriskay Love Lilt—Hebridean

Oranges and Lemons—English Folk Song, arr. WadeleyLift Thine Eyes, from "Elijah"—Mendelssohn

How Lovely are Thy Dwellings—Liddle (Copyright)

You'll Never Walk Alone—Rogers (Copyright)

Serenade from "The Student Prince"—Friml (Copyright)

Deep In My Heart from "The Student Prince"—Friml

(Copyright)

E Four Part (SSAA)

O Thou That Tell'st—Handel, arr. Willoughby

Come, All Ye Faithful—arr. Waring

Suggested Material for Boys

A. Unison

Greensleeves—Old English

"Cobbler's Song from "Chu Chin Chow"—Norton

Shenandoah—AmericanNancy Lee—HornTurtle Dove—V. Williams

Green Grow the Lilacs—Irish-American

Happy Wanderer—Moller (Copyright)

The Blind Ploughman—Clarke (Copyright)

Old Man River—Kern (Copyright)

Sweet Nightingale—Old English

1 Got Plenty o' Nuthin'—Gershwin (Copyright)

18

B. Part Songs

Lady Lovely Are Thine Eyes—arr. Kilpatrick

In Merry Mood—arr. Wood

Suggested Material for Mixed Voices

A Four Part (SATB)

Adoramus Te—Palestrina

Carol of the Bells—Ukrainian

Bless the Lord, O My Soul— Ippolitof

All Through the Night—Welsh Traditional

Nightfall in Skye—Hebridean

Fairest Lord Jesus (Crusader's Hymn)Jesu, Joy of Man's Desiring—Bach

The Turtle Dove—V. Williams

Sweet Nightingale—arr. Roberton

B. Three Part Books (SAB)

Auditorium Collection of Harms Choruses—Books 1 and 2—HarmsMusic for Today—HarmsSpirituals (Red Book)—Hansen

19

THE INSTRUMENTAL PROGRAM

Music 10, Music 20, Music 30

OBJECTIVES

Performance

Through study and participation the student should develop:

1. A keen interest in playing an instrument.

2. Technical ability on the instrument so that he may later be able

to attempt and appreciate more advanced music.

3. A knowledge of his instrument's mechanism and its care, and a

general knowledge of all instruments employed in the band and

orchestra.

4. A beautiful tone.

5. Skill in sight reading.

6. Good ensemble playing with respect to balance, tone, dynamics,

intonation and interpretation.

7. A desire to continue performance in after school life.

Theory

The instrument student should acquire:

1. A thorough knowledge of clef signs, note values, and namesof notes.

2. A thorough knowledge of scale construction, key signatures,

and time signature.

3. An understanding of rhythmic figures most often found in music.

4. An ability to identify the motives, phrases, sentences, and the

formal structure of simple compositions.

5. An ability to recognize intervals and triads.

6. An understanding of chord construction, harmonic progressions

and cadences.

7. An ability to recognize the entry of various melodies in music

of a contrapuntal nature.

8. An ability to transpose, and an understanding of why this ability

is required of instrumentalists.

20

MUSIC 10 (Orchestra)

Primary Reference: Listening To Music—Fiske

A Performance

The string student should be able to:

1. Play scales and arpeggios:

Violin: Majors and melodic minors:

Two octaves—C, G, D, A, A, B, B flat.

One octave— F, E, E flat.

Viola: Major and melodic minors:

Two octaves—G, C, D, E, E flat, F.

One octave—A, B, B flat.

'Cello: Major and minor:

Two octaves—C, D, E flat, E, F, G.

One octave—A, B, B flat.

Note: The woodwind, brass and percussion players will refer to

the individual requirements listed under Band 10, 20

and 30.

Scales to be played in quarter notes, detached and two notes to a bow.

2. Play studies—as suggested under performance reference

material.

3. Observe all expression marks.

4. Perform ensemble and solo works at the individual's level.

5. Sight read in the first position.

6. Use vibrato.

B Music Literature. See page 31.

C Theory


1. Name and write all notes in the treble and bass clefs and knowthe value of all notes (including ties and dotted notes) and rests.



and their inversions.

4. Understand all simple time signatures and their corresponding

accents.

5. Define the common musical terms, signs and abbreviations.

21



A. Performance

The string student should be able to play:

1

.

Scales: all major scales and all melodic minor scales (two octaves,

eighth notes, four notes to a bow).

Chromatic (one octave, beginning on any note).

Arpeggios: all major, minor, and dominant sevenths (two octaves)

2. Solo and ensemble material at individual's level to satisfaction

of teacher.

3. Studies of a degree of difficulty according to teacher's recom-mendation:

Violin—Fifth position

Viola —Third position


C. Theory

The student should:

1. Know the technical names of all the notes of the scale.

2. Write all minor scales—(melodic and harmonic).

3. Name and write from dictation all perfect, major, minor, aug-mented, and diminished intervals with their inversions.

4. Understand all compound time signatures and their correspond-ing accents.

5. Know the triad (major, minor, diminished, and augmented) andits inversions from every step of the scale.


Performance


1. Scales: all major scales, all harmonic and melodic minor scales

(two octaves), chromatic (two octaves, beginning on anynote).

Arpeggios: all dominant and diminished seventh arpeg-

gios (two octaves).

2. Play studies—(Kayser)—including first, third and fifth posi-

tions; also double stops from Conservatory Violin Course, Part 1.

22

3. Perform medium to difficult orchestra music satisfactorily.

4. Play musical ornaments such as trills, turns, mordents, andacciaccatures.

5. Transpose according to the requirements of his instrument. Bflat treble instruments should specialize in transposing a tonehigher, and also a semi-tone lower; E flat instruments a tonehigher; and those pitched in F a tone lower, since much hornmusic is written for E flat horn.


C. Theory

The student should:

1. Review all intervals (perfect, major, minor, diminished, and aug-

mented) with their inversions.




5. Recognize good phrasing, a good melodic sentence, cadences(perfect and imperfect), and simple binary and ternary forms.

6. Write the more common musical ornaments:

(a) acciaccatura (b) mordent (c) trill (d) turn

MUSIC 10 (Band)


A. Performance

The student should be able to play:

1. The five most common major and melodic minor scales for this

particular instrument and arpeggios on the tonic chord of eachscale.

B flat instruments using the treble clef: clarinet, cornet, trum-pet, baritone, tenor saxophone:

Major scales: B flat, F, C, G, D.

Melodic minor scales: G, D, A, E, B.

Concert-pitch instruments using treble clef: piccolo, flute, oboe.

Concert-pitch and those taught as concert pitch using bass clef:

bassoon, euphonium, baritone, trombone, bass.

Major scales: A flat, E flat, B flat, F, D.

Melodic minor scales: F, C, G, D, A.

23

E flat instruments using the treble clef: alto horn, mellophone,alto saxophone, baritone saxopone, E flat clarinet.

Major scales: F, C, G, D, A.

Minor scales (melodic) D, A, E, B, F sharp.

Instruments pitched in F: French horn, cor anglais (English

horn).

Major scales: E flat, B flat, F, C, G.

Melodic minor scales: C, G, D, A, E.

2. A chromatic scale of one octave to commence on C for treble

clef instruments and B flat for bass clef instruments. The E

flat bass should commence on E flat.

3. Any given interval contained in the above scales.

4. Solo parts and parts in ensemble work to the satisfaction of the

teacher.

The following are suggested performance requirements for play-

ers of percussion instruments. (Snare drum, bass drum, cymbals,kettle drums, xylophone, chimes, maraccas, claves, tambourineand triangle.)

Snare Drum: Long roll, five- and seven-stroke rolls, single-stroke

roll, flam, ruff, single paraddle.

Bass Drum and Cymbals: Singly and together.

Kettle Drums (tympani): Able to tune without assistance andplay easy parts.

Xylophone and Bells (Chimes): The proper use of both sticks in

playing simple melodies.

5. Studies such as those found in Rubank Elementary Method, pub-lished for all instruments by Rubank, Inc., U.S.A.


C. Theory


1. Name and write all notes in the treble and bass clefs.

2. Explain these time signatures: 2/2, 2/4, 4/4, 6/8, 9/8, 3/4.

3. Explain (according to the time signature) the time values of all

notes (including tied and dotted notes and rests.)



with their inversions.

6. Define common musical terms, signs and abbreviations.

24

MUSIC 20 (Band)


A Performance

The student should be able to play:

1. All major and minor scales (harmonic and melodic) one octave

at l\AM. 108 to the quarter note, scales to be played in eighth

notes.

2. Arpeggios on tonic, sub-dominant and dominant of each scale.

3. A chromatic scale of one octave on various articulations.

4. Solo and ensemble parts and perform satisfactorily with full band.

5. Studies such as those found in Rubank Intermediate Method,published for all instruments by Rubank Inc., U.S.A.


C. Theory


1

.

State the technical names of all the notes of the scale.

2. Write all harmonic and melodic minor scales.

3. Name and write all dictation all perfect, major, minor and dimin-ished intervals with their inversions.

4. Understand all compound time signatures and their correspond-ing accents.

5. Know the triad (major, minor, diminished, and augmented) andits inversions from every step of the scale.

MUSIC 30 (Band)

Performance


1. Play all major and minor scales (harmonic and melodic) for twooctaves, in various articulations l\AJ\A. 126 to the quarter note,

scales to be played in eighth notes.

2. Play arpeggios on chords of the seventh, two octaves.

3. Play a chromatic scale of two octaves in various articulations to

be played in eighth notes at hA.hA. 140 to the quarter note.

4. Perform medium to difficult band music satisfactorily.

5. Play studies such as those found in Rubank Advanced Method,published for all instruments by Rubank Inc., U.S.A.

25

6. Transpose according to the requirements of his instrument. See

Music 30 (Orchestra).

7. Play musical ornaments such as trills, turns, mordents, andacciaccaturas.


C. Theory

The student should:

1. Review all intervals (perfect, major, minor, diminished, and aug-mented) with their inversions.




5. Recognize good phrasing, a good melodic sentence, cadences(perfect and imperfect) and simple binary and ternary forms.

6. Write common musical ornaments:

(a) acciaccatura (b) mordent (c) trill (d) turn.

26

SUGGESTED PERFORMANCE MATERIAL FORTHE INSTRUMENTAL PROGRAM

Introductory Note:

Music 10 (General) teachers may use either of these methods with

beginning instrumentalist:

1. Individual tutor books in the hands of the students and basic

techniques learned in sectional practices.

2. Group method books in the hands of the students and group

practices. Group method books will be found in Sections II and

III marked with asterisks.

Ensemble material for all grades may be selected from Section II

and III.

Section I

Tutor Books for Individual Instruments

Studies for the Violin. Carl Fischer

Studies for the Violin. Schirmer

Introduction to the Third and Fifth Position. Rubank

Viola Exercises

Viola Studies Carl Fischer

New School of Cello Studies, Books I and II, Augner

Studies for the Bass Fiddle, Book 1, Carl Fischer

Orchestral Studies. Boosey and Hawkes..

The Carl Fischer Basic Methods. Carl Fischer.

Foundation to Flute Playing. Carl Fischer

Pares Daily Exercises. Carl Fischer

Andersen Studies for Flute. Andraud

Fischer Tutors: Carl Fischer

The Carl Fischer Basic Methods. Carl Fischer

Klose Method for Clarinet. Carl Fischer

Lazarus Method. Carl Fischer

Clarinet Studies. Belwin

Forty Studies, Books 1 and 2. Carl Fischer

Foundation to Sax Playing. Carl Fischer

Beginners' Method for Sax. Marx-McGuinnis

Selected Studies for Saxophone. Rubank

27

Violin: Wolfhart:

Kayser:

Whistler:

Viola: Kreuz:

Wolfhart:

Cello: Such and Percy:

Bass: Simandl, Franz:

Orchestra as a Whole:

Isaacs:

Flute: Van Vactor:

Wagner:

Pares:

Andersen:

Langey and Carl

Dboe: Carey:

wlarinet: Klose:

Lazarus:

Cailliet:

Rose:

•axophone: Veerecken:

Rascher:

Voxman:

French Horn Henning:

Pares:

Kopprasch:

Mellophone or E Flat Alt

Hindsley:

Pares:

Trombone: Roberts:

Blodgett:

Arban:

Baritone: Arban:

Archmiede

Pares:

Tuba (Bass): Bell:

Hindsley:

Percussion: Bower:

Bower:

Bower:

Trumpet or Beeler:

Cornet: Goldman:

Arban:

Dalby:

Goldman:

Bassoon: Kessler:

Kopprasch:

Basic Method for Horn. Carl Fischer

Daily Technical Exercises. Carl Fischer

Selected Studies, Books 1 and 2. Carl Fischer

Basic Method. Carl Fischer

Daily Technical Exercises. Carl Fischer

Basic Method. Carl Fischer

Foundation to Trombone Playing. Carl Fischer

Arban Celebrated Method. Carl Fischer

Arban Celebrated Method. Carl Fischer

Foundation to Baritone. Carl Fischer

Daily Exercises. Carl Fischer

Foundation to Tuba Playing. Carl Fischer

Basic Method for Tuba. Carl Fischer

Bower System for Drums. Carl Fischer

Bower System for Tympani. Carl Fischer

Bower System for Xylophone. Carl Fischer

Complete Method for Cornet. Boosey and Hawkes

Foundation to Cornet Playing. Carl Fischer

Arban Conservatory Method. Carl Fischer

Advanced Trumpet Studies. Baldwin

Daily Embouchure Studies. Carl Fischer

Basic Method for Bassoon. Carl Fischer

Sixty Studies for Bassoon. Carl Fischer

Elementary Method for All Instruments. Rubank

Intermediate Method for All Instruments. Rubank

Advanced Method for All Instruments. Rubank

Section II

Material for Band1. Cheyette and Salzman: Beginning Band Musicianship. Leeds.

2. Weber: Belwin Elementary Band Method. Jarman.

3. Prescott and Phillips: A Beginning Band Method. Schmitt.

4. Van Deusen et al.: Rubank Elementary Band Course. Rubank.

5. Cheyette: Fox Band Reader of Old Masters for Young Bands. Sam Fox.

6. Stretton: Hawks & Sons Unison Scale Books. Royal Military School of Music.

7. Holmes and Hummel: Concert and Assembly Band Folio. Rubank

8. Walters: Marches of Fame for Band. Rubank.

9. Scott: March Masters Folio. Rubank

28

Sect-ion III

Material for Orchestra

1. Bowdon: Ascher's Favorite Melodies Album for Beginners' Orchestra. Ascher.

2. Lindsay, Spangler and Roberts: Educational Orchestra Album. Carl Fischer.

3. Dalley: Songs for Strings. Kjos.

4. Progressive Orchestra Folio. Carl Fischer.

5. Wilson: Junior Classics for Orchestra. Gamble.

6. Pochon: Pochon Album for School Orchestra. Carl Fischer.

7. Bourdon: Practical Orchestra Folio of Great Moments in Music. Leeds.

8. De Lamater: Progress Orchestra Folio. Rubank.

Crawford: Ability Orchestra Folio. Rubank.

De Lamater: Holiday Collection. Rubank.

Hildreth: Folio Classics, No. 1. Jacobs.

Mackie: Senior Orchestra Book. Presser.

Zamecnik: Fox Old Masters Folio. Carl Fischer.

Marcelli: The Marcelli Folio. Carl Fischer.

Roberts: Album of Overtures. Carl Fischer.

Glenn: Pomp Folio. Boosey and Hawkes.

Keller and Taylor: Easy Steps to the Orchestra, Books I and II. Mills.

29

MUSIC LITERATURE

Introductory Notes:

1. Most selections are recorded by many artists and companies.

The records suggested are chosen for the following reasons:

(a) They are of high performance and engineering quality.

(b) They represent a variety of reputable artists.

(c) They are easily obtainable.

(d) The selections on both sides of each record are appropriate

for classroom use.

2. The reading references are intended as an aid to the teacher.

3. Score reading is an excellent teaching device. Miniature score

catalogs may be obtained from:

W. & G. Foyle Limited Boosey & Hawkes (Canada) Ltd.

1 19 - 125 Charing Cross Rd. 209 - 213 Victoria Street

London, W.C.2, England Toronto, Ontario.

Local Music Stores

The selections marked with asterisks are possible starting points

in score reading.

4. Films for use in the Music Literature are listed in the catalog

of the Audio-Visual Aids Branch, Department of Education,

Edmonton, Alberta.

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39

APPENDIXReferences and Teaching Materials

I. MUSIC EDUCATION

Andrews and Leeder: Guiding Junior High School Pupils in Music Experiences. Prentice-

Hall, 1955.

Dykema and Cundiff: School Music Handbook. C. C. Birchard (Harris), 1955.

Flagg, Marion: Musical Learning. C. C. Birchard (Harris), 1949.

Kinscella and Tierney: Music in the Small School. University of Nebraska Press (Nelson),

1939.

Kinscella and Tierney: The Child and His Music. University Publishing Co. (Nelson), 1953

Krone, Beatrice: Music in the New School. Neil A. Kjos (Canadian Music Sales), 1947.

Krone, Beatrice and Krone, Max: Music Participation in the Secondary School. Neil A.

Kjos (Canadian Music Sales), 1952.

Mursell, J.: Music and the Classroom Teacher. Silver Burdett (Gage), 1951.

Music Educators National Conference: Music Education Source Book No. 2. The Con-

ference, 1955.

Pitts, Lilla Belle: Music Integration in the Junior High School. C. C. Birchard (Harris),

1938.

Staples, Rj.: Music Manual for the Classroom Teacher. School Aids, 1947.

II. MUSIC HISTORY AND LITERATURE

Bacharach, Alfred Louis: Lives of the Great Composers. Pelican Books, 1947.

Baldwin, Lillian: Music for Young Listeners. Crimson Book, Blue Book, Green Book,

Silver Burdett (Gage).

Baldwin, Lillian: A Listener's Anthology of Music, Vols. I and II. Silver Burdett (Gage),

1952.

Bauer, Marion: How Music Grew from Prehistoric Times to the Present Day. Putman,

1939.

Bernstein, M.: An Introduction to Music. Prentice-Hall, 1937.

Bauer, Marion: Twentieth Century Music. Putnam, 1946.

Buchanan, Fannie R.: How Man Made Music. Follet (Ambassador Books), 1951.

Burch, Gladys: Modern Composers for Young People. Barnes, 1945.

Dinn, Freda: The Observer's Book of Music. Book Society, n.d.

Finney, Theodore Mitchell: A History of Music (McLeod), 1947.

Fiske, Listening to Music. Clarke, Irwin.

Geiringer, Karl: Musical Instruments. Oxford University Press, 1945.

Horwood, Frederick James: Listening to Music. Dent, 1939.

Jones, G. Kirkham: Joyous Stories from Music's Wonderland Second Series. Macmillan,

1950.

Kinscella, Hazel: History Sings. University Publishing Co. (Nelson), 1948.

Kinscella, Hazel: Music and Romance. University Publishing Co. (Nelson), 1951.

Lowance, Kathleen Bowden: Much Ado About Music. Tupper, 1952.

McKinney, H. D. and Anderson, W. R.: Discovering Music. American Book Co. (Gage),

1952.

Moore, Douglas Stuart: From Madrigal to Modern Music. McLeod, 1942.

40

]

Newman, Ernest: Stories of Great Operas. Doubleday, 1948.

J

Oberndorfer, Mrs. Anne Shaw: What We Hear in Music, 11th rev. ed. R.C.A. Victor,Montreal, 1939.

O'Connell, Charles: Victor Book of the Symphony. Simon and Shuster, 1948.

Sachs, Curt: Our Musical Heritage. Prentice-Hall, 1949.

Scholes, Percy: The Oxford Companion to Music. Oxford University Press, 1950.

J

Spaeth, Sigmund: Stories Behind the World's Great Music. Garden City.

J Staples, Rj.: Exploring the World of Music. Macmillan, 1947.

|

Stringham, E. J., Listening to Music Creatively. Prentice-Hall, 1946.

I

Wheeler, O. and Deucher, Sybil: Great Musicians Series. British Book Service, n.d.

III. MUSIC THEORYI Diller, Angela: First Theory Book. Schirmer, 1921.

Fux, Johann Joseph: Steps to Parnassus, ill., tr., and ed. by Alfred Mann. Norton, n.d.

I Hindemith, P.: Traditional Harmony. Associated Music Publishers, 1944.

Jones, Robert Gomer: Theory of Music. Harper, 1936.

|

Kitson, C. H.: Elementary Harmony, 3 vols. Oxford, 1927.

Kitson, C. H.: Counterpoint for Beginners. Oxford, n.d.

Kitson, C. H.: Rudiments of Music. Oxford, 1927.

|

Morris, R. O.: The Structure of Music: An Outline for Students. Oxford, 1935.I Murphy, H. A.: Teaching Musicianship. Coleman-Ross, 1950.I Murphy and Stringham: Creative Harmony and Musicianship. Prentice-Hall, 1951.Piston, Walter: Harmony. Norton, 1948.

I Wedge, George: Ear Training and Sight Reading. Schirmer, n.d.

IV. THE CHORAL PROGRAMVocal Production and Choral Techniques

Van Bodegraven, Paul and Wilson, Harry R.: The School Music Conductor. Hall andMcCreary, 1942.

IDavison, A. T.: Choral Conducting. Harvard University Press (Book Society), 1948.Kmley, Ethel: Fundamentals for Singers. Clarke, Irwin, 1953.

Kortkamp, Ivan: 100 Things a Choir Member Should Know. Knortkamp, 1954.Krone, Max: The Chorus and Its Conductor. Neil A. Kjos, n.d..

(Pitts, C. M.: Voice Class Method, Books I and II. Thompson, 1936.Rorke, Genevieve: Choral Teaching at the Junior High School Level. Hall and McCreary

1947.y '

'Wilson, Harry R.: Choral Arranging for Schools. Robbins (Thompson), 1949.

Reading

iBell. Leslie: The Chorister, Books I and II. Gage, 1947.

Slind. R.: More Melody. Rhythm and Harmony Mills. Canadian Music Sales, 1956.

Song-Books

{Bell, Leslie: Festival Song Book I, SA-SSA. Canadian Music Sales, 1952.Bell, Leslie: Festival Song Book II, SATB (with alto tenor). Canadian Music Sales, 1955.

41

Bell, Leslie: Festival Song Book III (tor changing voices, SAB). Canadian Music Sales,

1956.

Cooper, Irvin: The Singing Teens. Thompson, 1942.

Fowke, E. F. and Johnston, Richard: Folk Songs of Canada. Waterloo, 1954.

Krone, Beatrice and Krone, Max: Krone Descant Series. Neil A. Kjos (Canadian Music

Sales), 1950.

McConathy, Osborne et al.: Music the Universal Language. Silver Burdett (Gage), n.d.

Pitts, L B. et al.: Music Makers. Ginn, 1956.

Pitts, L. B.: Singing Juniors. Ginn, 1951.

Pitts, L. B.: Singing Teenagers. Ginn, 1954.

Staples, Rj.: Let's Sing Parts. Mills (Canadian Music Sales), 1955.

Wilson, Harry R.: The Choral Programme Series for Junior and Senior High Schools.

Book I, SA; Book II, SSA and SSAA; Book III, TBB and TTBB; Book IV, SAB; Book

V, SATB; Book VI, SATB. Silver Burdett (Gage), 1949.

Wright, Don: Youthful Voices. Book I, U, SATB; Book II and Book III, SATB. Thomp-

son, 1945- 56.

Assembly Song-Book Collections

Dykema, E. et al.: Twice 55 Community Songs. C. C. Birchard (Harris).

MacMillan, E.: A Canadian Song Book. Dent, 1949.

Vogt, A. S. et al.: School and Commmunity Song Book. Gage, 1951.

Wilson, Harry R.: A Choral Digest. Paul Pioneer.

Wilson, Harry R.: Songs of the Hills and Plains. Hall and McCreary.

Zanzig: Singing America. C. C. Birchard.

Hood, Marguerite V.: Let's Sing. Carl Fischer, 1952.

Clark, Kenneth S.: Keep on Singing. Paul Pioneer.

Music Highways and Byways (regular and piano rack editions). Silver Burdett (Gage).

The Auditorium Series. Hall and McCreary..

Krone, Beatrice and Krone, Max. A World-in-Tune series. Neil A. Kjos.

The Check Book Part Songs for High School Boys. C. C. Birchard.

Jackson and Bryon: American Fold Music for High School. C. C. Birchard, 1947.

Dykema: Twice 55 Songs for Boys. C. C. Birchard.

Dykema: The Rose Book. C. C. Birchard.

Slind: More Rhythm, Melody and Harmony. Mills (Canadian Music Sales), 1956.

Krone, Beatrice: Harmony Fun with the Autoharp. Neil A. Kjos.

Buchtel: Highways to Music. Neil A. Kjos.

Zamecnik, J. S., adapted and scored by: Concertized Grand Opera Series. Sam Fox Pub-

lishing Co.

Stark: Memories of Vienna. SATB. .

V. THE INSTRUMENTAL PROGRAMGeneral

Bank and Orchestra Handbook. Pan-American Band Instrument Co., n.d.

Van Bodegraven, Paul and Wilson, Harry Robert: The School Music Conductor. Hall and

McCreary, 1942.

42

[arhart, W.: The Eloquent Baton. Witmark, 1931.

Ihristy, Van A. and Chidester, M. A.: Getting Results with School Bands. Carl Fischer,

1938

VI SPECIAL REFERENCES AND TEACHING AIDS

Music and Vocational Guidance

\nderson, W. R.: Music as a Career. Oxford, 1939.

3arton, F.: Music as a Hobby. Harpers, 1950.

'ohnson, Harriett: Your Career in Music. Dutton, 1946.

>paeth, Sigmund: Opportunities in Music. Grosset, 1950.

Special Performances

teach, Frank A.: Preparation and Presentation of the Operetta. Ditson, 1930.

"ooke, James Francis: Musical Playlets for Young Folks. Theodore Presser, Bryn Mawr, Pa.

•picer, Dorothy G.: The Book of Festivals. Womans Press (McLelland), 1938.

PERIODICALS AND MAGAZINES

Student

keyboard Junior. New Haven 1 1, Conn.

Ausic Magazine. Cleveland 14, Ohio.

'he School Musician. 64 East Jackson Boulevard, Chicago, III.

!BC Times (Radio and TV). C.B.C., Box 160, Winnipeg.

"he Etude. Theodore Presser Co., Bryn Mawr, Pa.

Teacher

Ausic Educator Journal, 64 East Jackson Boulevard, Chicago, III.

JBC Broadcasting News. R.C.A. Victor Building, Radio City, New York, 20, N.Y.

BC Times (Radio and TV). C.B.C., Box 160, Winnipeg.

AUDIO-VISUAL AIDS

latalogue of the Audio-Visual Aids Branch, Department of Education, Edmonton, Alberta.

olour Portraits of R.C.A. Victor Recording Artists. Obtainable from Dept. 38X, Ed. Div.,

R.C.A. Victor Corp. of America, Camden, N.J. Suitable for use as visual aids and

making bulletin displays.

apehart Collection of Paintings Interpreting Great Musical Works. For information write

to Capehart Div. of Farnsworth Tel. & Radio Corp., Fort Wayne, Ind.

-Aagnovox Collection of Scenes from Lives of Composers. For information write to

Magnovox Co., Fort Wayne, Ind.

ictures Representing Moods in Music. For information write to Art Ed. Inc., 6 East

Street, New York 16, N.Y.

C.A. Victor Charts of Instruments of the Orchestra. Record catalogue supplies details.

43

DICTIONARIES

Scholes, Percy: Oxford Companion to Music. Oxford University Press, 1950. A very

useful one-volume dictionary.

Apel, Willi: Harvard Dictionary of Music. Harvard University Press (Book Society of

Canada), 1945. An excellent dictionary which deals exclusively with the technical

aspects of music. It includes no biography.

Thompson, Oscar: International Cyclopedia of Music and Musicians. Dodd Mead, 1943.

ADDRESSES OF PUBLISHERS AND CANADIAN AGENTS

Ambassador Books Limited, 1 149 King Street West, Toronto, Ont.

Associated Music Publishers, 1 West Forty-seventh Street, New York 36, N.Y.

C. C. Birchard & Co., Boston, Mass. (in Canada: Frederick Harris Music Co.)

Book Society of Canada Limited, 1 12 Richmond Street West, Toronto, Ont.

Boosey and Hawkes (Canada) Ltd., 10 Shutter Street, Toronto, Ont.

British Book Service, 1068 Broadview Avenue, Toronto, Ont.

Canadian Music Sales Corporation, 1261 Bay Street, Toronto, Ont.

Dodd Mead & Co. (Canada) Ltd., 25 Hollinger Road, Toronto 13, Ont.

Dutton Copp Ltd., 7 Wilby Crescent, Weston, Ont.

Carl Fischer Inc., 62 Cooper Square, New York 3, N.Y.

Follett Publishing Co., 1255 South Wabash Avenue, Chicago 5, III.

W. J. Gage & Company Limited, 82 Spadina Avenue, Toronto, Ont.

Ginn & Company, 1331 Yonge Street, Toronto, Ont.

Grosset & Dunlap (see McClelland & Stewart).

Hall & McCreary, Park Avenue at Sixth Street, Minneapolis 15, Minn.

Harper & Brothers, 49 East Thirty-third Street, New York 16, N.Y.

Frederick Harris Music Co., Oakville, Ont.

Neil A. Kjos Music Co., 525 Busse Highway, Park Ridge, III. (in Canada: Canadian Music

Sales Corporation).

McClelland & Stewart Ltd., 25 Hollinger Road, Toronto 16, Ontario.

Modern Music Limited, 536 Seymour Street, Vancouver, B.C.

Music Educators National Conference, 64 East Jackson Boulevard, Chicago, III.

Musson Book Company Limited, 1 03 - 1 07 Vanderhoof Avenue, Toronto, Ont.

Thomas Nelson & Sons (Canada) Ltd., 91 Wellington Street West, Toronto, Ont.

Norton, 101 Fifth Avenue, New York 3, N.Y.

Oxford University Press, 480 University Avenue, Toronto, Ont.

W. Paxton & Company Ltd., 36 Dean Street, London, W. 1, England.

Prentice-Hall, Inc., 70 Fifth Avenue, New York City, N.Y.

Rubank Inc., 5544 West Armstrong Avenue, Chicago 30, III.

G. Schirmer Inc., 3 East 43rd St., New York 17, N.Y.

School Aids & Text Book Publishing Ltd., 106- 108 York Street, Toronto, Ont., anc

1935 Albert Street, Regina, Saskatchewan.

Gordon V. Thompson, 32 Alcorn Street, Toronto, Ontario.

Western Music Company Ltd., 570 Seymour Street, Vancouver, B.C.

Wotmark, 619 West 54th Street, New York 19, N.Y.

44

Care of Records and Record Players

Records:

1. Do not handle your records so that your fingers touch the

grooves. There is a microscopic film of oil on your skin, andwhen this gets on the record grooves it causes dust to collect:

this is of course one of the causes of record noises and static.

2. Store your records in their jackets and on edge. Pressure on the

flat record surface will damage the grooves, especially if the

records get warm. Remember—out of the cover, onto the turn-

table and back into the cover.

3. Never lend your records. You do not know the condition of

other people's equipment. A good record is not cheap and a

cheap record is not always good.

4. Use a slightly damp cloth to wipe off your records before playing.

Amplifiers:

1. Do not have your amplifier turned on without the speaker con-

nected. This is of course, where you have separate speakercabinets. An amplifier is designed to carry a load.

2. Tubes and component parts will last longer if you do not shut

off and turn on your equipment unnecessarily. Leave youramplifier on between classes or when it is going to be used againin a short time.

Turntable:

1. Do not turn it backwards. This injures the changing mechanism.

2. Never move the tone arm when it is moving of its own accord.Wait until the cycle is completed.

Needles:

1. No needle lasts forever. There are three main kinds:

Osmium—Cheap to buy and not too fragile but last only about20 hours.

Sapphire—quite cheap but easily damaged; change after 60hours.

Diamond—expensive but good for over 500 hours of playingtime.

Check your needle regularly. A worn needle will damage yourrecords.

2. Never touch the tip of the needle with your fingers as this putsoil on the needle which of course collects dirt.

3. Be sure that your needle is clean. Use a camel-hair brush.

45

Teacher's Notes

46

Teacher's Notes

47

Teacher's Notes

48

Date Due

"1 10 A33 1959ALBERTA DEPT OF EDUCATinw

398SHH0Z CURR HIST

III!

oodo

MT 10 A33 1959Alberta. Dept. of Education

Senior high school curriculumguide for music. -

39844402 CURR HIST

IDE

For Reference

NOT TO BE TAKEN FROM THIS ROOM

EXCEPT WITH LI

1959

Printed by L. S. WALL, Queen's Printer for Alberta'

Edmonton

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