HISTORICAL NOTES

on the

MUSIC DEPARTMENT

of

COLORADO COLLEGE

(1874 - 1959)

by

MAXLANNER

Edited and with Additional Notes for the Period 1959-1994 by

Richard J. Agee

To Mrs. Janine Seay and Professor Carlton Gamer

on their retirement from Colorado College,

May 1994

TABLE OF CONTENTS

Preludes

The First Year (1894-95)

Rubin Goldmark (1895-1902)

Interregnum (1902-05)

Edward Danforth Hale (1905-36)

James Sykes (1936-46)

Carol Truax (1945-51)

Max Lanner (1951-present[1959])

Summer School Sessions

Additional Notes by Richard J. Agee (1994)

Closing Remarks by Max Lanner (1959)

Appendix: Colorado College Music Faculty, 1874-1994

Page 4

Page 7

Page 8

Page 14

Page 15

Page 21

Page 25

Page 26

Page 29

Page 39

Page 44

Page 46

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PRELUDES

Colorado College was founded in 1874, but during the first twenty years of its history, there was no music department. Informal arrangements with music teachers in town constituted the only opportunities for students' musical instruction. All lessons were of an extra-curricular nature and no college credit was given. The official college publications illustrated the gradual recognition of music as a field of study but not as a college subject until the final establishment of a music department which occurred in 1894.

In the Catalogue for 1874-75 (p.[4]), Georgia B. Gaylord and Professor J.W. Jameson (resigned) were listed as Instructors of Music among the college faculty but no courses in music were mentioned. The Bulletin for 1880-81 provided the following description of its music program:

INSTRUCTION IN MUSIC. The Trustees have made favorable terms for such students of the College as wish to obtain a thorough education in music under the tuition of Professor H. Th. Wagner, late chief instructor in the Beethoven Conservatory of St. Louis, and formerly a teacher with most honorable record in Paris, London, and New York ... Those who desire to take a full course of study in music may be assured that they can do as well here as in any part of the country. Students of music from out of town will be accommodated in pleasant homes during their stay in the city.

And in 1889-90, the Bulletin (p. 21-22) added:

MUSIC. It is hoped that arrangements will be made for the opening of a Musical Department at an early date. In the mean time special rates may be obtained for College students from some of the unusually fine teachers in the city.

5

With the publication of the Bulletin of 1893-94 (p. 54), a physical space on campus had been instituted for music instruction:

MUSIC. Arrangements have been made with the leading music teachers of the city, whereby members of the College or Academy may have lessons at special rates. A music room has been fitted up, and the lessons are all given on the College grounds.

The College Choral Union meets weekly under a competent director.

Finally, in the Bulletin of 1895-96, more than two decades after the founding of Colorado College, we find a Music Department introduced with the following statement (p. 67):

In response to many calls from within and without the State of Colorado for musical education in connection with the courses of study offered in Colorado College and Cutler Academy, the Trustees of these institutions have opened a DEPARTMENT OF MUSIC [i.e. in 1894]. This enlargement of opportunities has been long contemplated, but the Trustees have been unwilling to take such a step unless they could be satisfied that such a department would uphold the same high standard in courses and instruction which has prevailed in the College and the Academy. This having been assured, the department was opened, and has been successfully at work since the beginning of the College year.

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This photograph of the Music Building at Colorado College, culled from the college archives, carries the date of 1895, The building appears to have been located west of the old President's House on College Place, near the present location of Boettcher Health Center and the old Wood Avenue extension south of Uintah Street (courtesy of Tutt Library, Special Collections),

..

"

7

THE FIRST YEAR (1894-95)

A faculty of five, includinginstructors in harmony, piano, voice, and organ, was headed by Edward S. Parsons, Professor of English, as "Acting Director". The relation of the new Department of Music to the College was described as follows {Bulletin of 1895-96, p. 69):1

This Department is under the same general supervision as the other departments of Colorado College, and under the immediate management of the Director and Faculty of Music. The general rules of the College apply to students of music also.

It has seemed wise to make a further regulation that no student shall be admitted to the Department of Music who does not also elect, with the advice of the Faculty of Colorado College and Cutler Academy, at least one study in the College or the Academy.

Four Courses of Study were listed: Piano Forte, Voice Culture and Singing, Organ, and Harmony. We also learn of the organization of a vocal class in sight reading and one in choral singing. A Glee Club of young men had been formed with plans for a ladies' club under way also. The courses did not carry college credit. In addition to the regular courses, the choral classes and the Glee Club, we also find an annQuncement of three special concerts and two illustrated lectures, offered free to the students of music. The only recognition given to the study of music was embodied in the short statement: "Certificates will be given to those who satisfactorily complete any of the courses." This extra-curricular status of music did not change for many years; music only very

IAlthough established in 1894, the "Department" was first described in the Bulletin of 1895-

96; later Bulletins also date the founding of the "Conservatory" back to 1894.

8

gradually earned an equal status with other academic fields of study.

It is obvious that the college intended to replace the Acting Director of the ｍｵｾｩ｣＠ Department 'with a permanent musical leader of stature just as soon as the right person could be found. Circumstances fortunate for the development of music at the college and community made it possible to win such a leader in the person of the eminent American composer Rubin Goldmark, who was appointed director of the newly named "Colorado College Conservatory of Music", evidently late in the 1894-95 academic year.

RUBIN GOLDMARK. (1895-1902)

Rubin Goldmark, nephew of Karl Goldmark and teacher of Aaron Copland, received his general education at the New York City College and the University of Vienna. After attending the Conservatory of Vienna (1889-1891) he returned to New York, studying piano with Joseffy and composition with Antonin Dvorak. at the National Conservatory of Music and teaching there from 1891 until 1893. In 1894 he was forced to leave New York because of poor health and decided to come to Colorado where he accepted the leadership of the Music Department. During his directorship he received the honorary degree of M.A. from the College. By 1902 he had recovered his health sufficiently to return to New York. For 22 years he taught piano and theory privately and gave lecture recitals throughout America and Canada. In 1924 he was appointed director of the Composition Department of the Juilliard Graduate School and held this position until his death in 1936.

Goldmark reorganized the Music Department as a "Conservatory of Music" and created a first period of musical excellence and splendor for the college and the

9

community. Dean Edward D. Hale2, Goldmark's successor at Colorado

College, contributed the following remarks on Goldmark's directorship:

During his incumbency he conducted a mixed chorus which for . three years was the outstanding feature of the musical life of the . city. In this he had the enthusiastic and efficient support of Mr.

Leslie Skelton, the well-known and sterling artist. Later, once more with the cooperation of Mr. Skelton and his wife, the Musical Club was founded.

This society has fostered the musical life of the city, has brought to it courses of artist concerts of the highest quality, employing, without regard to expense, the outstanding singers and players of the world. It has also encouraged the activities of the younger group of students. In short it has permanently affected the musical growth of the town.

In addition to the mixed chorus mentioned by Dean Hale we find the men's Glee Club reorganized in 1897 and a women's club founded in the following year. Charlie Brown Hershey3 provides many details about these organizations:

For many years the men included instrumental music and announced their combined organizations the Glee and Mandolin Clubs. Both the men and the women had the support and direction of the department of music, with Professor Clarence W. Bowers and, later, Dean Edward Danforth Hale giving them the

2) Edward D. Hale, "Colorado College Conservatory," in The Lookout from the Denver Public Library, Vo!' 1, No. 1, Denver, 1927, pp. 87-88.

l) Charlie B. Hershey, Colorado College 1874·1949, Colorado Springs, 1952, pp. 221-222.

:

benefit of their leadership. The men's clubs made trips to all of the principal cities in Colorado as well as into New ｍｾｸｩ｣ｯ＠ and Wyoming to give their combined concerts. In 1901-02 the men appeared in 'Cheyenne and Laramie in Wyoming and in Eaton, Greeley, Windsor, Fort Collins, Longmont, Denver, Montclair, Golden, Central City, Idaho Springs, Georgetown and Pueblo in Colorado. In other years the itinerary included Albuquerque, Santa Fe and Las Vegas in New Mexico, and several towns in southern Colorado and in the Arkansas Valley. Other trips were made to cities on the Western Slope of Colorado. The event of the year for the men was the home concert in the opera house ... The girls traveled less widely, but their musical numbers enriched many occasions in the college and the city.

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With regard to the Musical Club reported by Dean Hale, the college Bulletin in the years 1900-02 mentioned some of the artists which were brought to Colorado Springs by this organization. Among them were such celebrities as Katherine Fisk and Joseph Hoffman, Leopold Godowsky and Vladimir dePachman, Mr. and Mrs. Henschel and the Kneisel Quartet.

Another feature of interest during these early years is the first Music Festival which was given under the auspices of the Conservatory. It was described in the Bulletin of 1902-03 (p. 64):

This year for the first time a two days' Music Festival was held under the direction of Mr. Crampton. The Chicago Symphony Orchestra was engaged for two concerts... In addition the Orchestra gave a free students' concert. It is hoped to make the festival an annual event.

11

Under Goldmark the ' relation of the Conservatory to Colorado College was stated in the same terms as before. The following six courses of study were offered; Piano Forte; Voice Culture and Singing; Organ; Harmony; Counterpoint; Composition. Of these, only Harmony and Counterpoint were "placed on the list of elective studies in the regular college courses." (Bulletin,

1897-98, p. 73). In other words, only these two courses could be taken for college credit. The Choral Society, a sight reading class, and special lectures and concerts were listed as "free advantages."

Surprisingly, no certificates or diplomas were mentioned until 1901. In the Bulletin of that year (1901-02, p. 66), we find for the first time the reference to this important point:

Upon the completion of each grade a certificate will be issued by the director.

At the close of the First Advanced grade the student may receive a Teacher's Certificate.

A diploma will be issued to graduates who successfully finish vocal or instrumental courses, and are able to pass an examination in sight­reading, harmony, general analysis of musical form and history of music.

One of the important milestones in the development of the young Conservatory of Music during Goldmark's leadership was the erection of the Perkins Fine Arts Hall in 1899. Goldmark gave the principal address at the cornerstone ceremony, which contained the following often quoted remark: "The destiny of art pointed westward; art had come out of the East and its progress had been toward the West."4 In the college Bulletin of 1899-1900 (p.

4) Hershey, op. cit., p. 142.

12

79), the completion of the building had been predicted with the following statement:

During the summer there will be completed a very important addition to the equipment of the College. A large stone building is being erected which will be the home of the Conservatory of Music and the Department of Fine Arts. In addition to practice and lecture rooms, it will contain a large auditorium which will be used for religious exercises, concerts, lectures and art exhibitions. This building will be on the College campus, near the Coburn Library, and is to be named for one of the principal donors, the late Willard B. Perkins of Colorado Springs.

The Bulletin of the following year (p. 73) confirmed the announcement:

THE PERKINS FINE ART HALL, named for one of the principal donors, the late Willard B. Perkins, of Colorado

Springs, is the latest addition to the equipment of the College. It is a two-story stone building, erected at a cost of $30,000. The lower story is a large auditorium, with ceiling twenty-three feet high, capable of seating 600 persons. In it the chapel exercises are held and concerts and lectures are given... The upper story contains the studios, practice and lecture-rooms of the Department of Fine Arts and the Conservatory of Music.

And in the Bulletin of 1901-02 (p. 63):

On account of the exceptional facilities afforded by the Perkins Fine Arts Hall, lately erected, this department has been especially prosperous. Instruction is now given to nearly 100 students.

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Perkins Hall, shown above, was home to the Music Department of Colorado College from 1899 until its demolition in 1964 (Coburn Hall may be seen in the background). The building was located on the northeast corner of Cascade Avenue and Cache La Poudre Street, present site of Armstrong Hall (courtesy of Tutt Library, Special Collections).

"

"

14

Before closing our remarks on Perkins Hall we wish to report with gratitude the generous program of renovation of Perkins Hall which was carried out by the Women's Educational Society half a century after the erection of the ｢ｵｾｬ､ｩｮｧＮ＠ This society was organized as early as 1889 with the expressed purpose of aiding the college. During the years 1948-55 a far-reaching project of improvements in the auditorium was adopted and financed by this organization. The stage was enlarged, a new maple floor put in, a proscenium arch built and a new set of curtains provided. The extended electrical work included a completely new lighting system with new switchboard, spotlights, ceiling lights, etc. The flat auditorium floor was raised in theater fashion, and the seats were upholstered. Last not least, a beautiful Stein way concert grand piano was purchased and given to the auditorium. The expense of the whole project was $31,000, a figure which equalled the total original cost of the building.

INTERREGNUM (1902-05)

Goldmark, leaving Colorado College at the end of the academic year 1901-2, had no immediate successor and thus we enter an interregnum of three lean years. The period of the "Conservatory of Music" had ended and the Bulletin of 1903-04, 1904-05 and 1905-06 carried only a half-page entry of Music under the "Departments of Instruction":

For such students as may desire courses in Music, the following are provided: Piano, organ, violin, mandolin, voice, harmony, counterpoint and composition. Of these, only harmony', counterpoint and composition are counted towards a degree ... Students of Music register with the Dean of the College.

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EDWARD DANFORTH HALE (1905-36)

A new era started in the. academic year 1905-06 with the appointment of Edward Danforth Hale as Dean of the "School of Music" and as "Professor of the Theory and Literature of Music, and the Pianoforte".

Dean Hale came to Colorado College with an A.B. and A.M. from Williams College and with nine years of teaching experience as Professor at the New England Conservatory (1895-1904). He remained at the helm of the Music School for thirty years, retiring as Dean Emeritus in 1935 but continuing to teach piano until his death in November of 1945. His wide contacts with music education throughout the country gave breadth and depth to his leadership and made him a prominent spokesman in musical matters far beyond the borders of the state of Colorado. He received the honorary degree, Mus. D., from Colorado College in 1926.

Under his deanship the work in music was first organized as a School of Music and finally again as Department of Music in 1911, the title which remained unchanged from then to the present. However, whether referred to as Conservatory, School, or Department, the relation to the college stayed about the same from the early days to the retirement of Dean Hale. The work in music was "sponsored by the college and under the general direction of the college authorities, but there was considerable autonomy in its organization and activities. "5

By the end of his first year, 1905-06, Dean Hale organized the course of study in three groups:

ｾ＠ Hershey, op. cit., p. 195.

16

A. General Musical Culture. A reciprocal study of composition and the . plano.

B. Piano-forte, Organ, Voice, Violin. C. Composidon (including Harmony and Counterpoint), Orchestration.

A diploma was given by the School of Music "only for satisfactory attainment of musicianship" and "is a guarantee both of thorough ability as a musician and of the equipment of a competent teacher." (Bulletin of 1906-07, p. 93). The college, however, granted credit towards a degree only for course A, General

Musical Culture (p. 61). In addition to the regular courses, "weekly conferences" were announced as well as recital-lectures, faculty and pupil recitals, solfeggio and "normal work," all free to the students of the music school and the college.

In the Bulletin of March 1907-08 (p. 106), we find an announcement of the degree Bachelor of Music for the first time. The degree was probably given by the School of Music, just like the diploma, and not by the college at large:

Upon the completion of Course A and of the prescribed college studies as outlined in the prospectus of the School of Music, the student will receive the degree of Bachelor of Music [this Bachelor of Music degree appears to have been granted up to the academic year 1911-12].

In December of 1908-09, the Bulletin (pp. 128-9) indicated that Course A changed its contents to become a true General Musical Culture Course. while its former contents appeared as a new Course B, Conservatory Course. In logical consequence, the Bachelor of Music was now given for the completion of this Course B plus the "prescribed college studies."

In the Bulletin from 1912-13 (pp. 88ff.), the change from a "School of Music" to

17

a "Department of Music" appeared for the first time but brought no immediate change in the curriculum during the first year. The only innovation was that students now had to complete both the General Musical Culture and the Conservatory Course in order to get the Bachelor of Music degree.

Major alterations which were obviously worked out during the first year of the "Department" status were introduced in the 1913-14 Bulletin (pp. 88ff.). Standards of admission for students entering the department were stipulated for the first time, and the Courses of Study were newly arranged in the following manner:

1. General Musical Culture (contents as before) 2. Pianoforte (four years with detailed programs) 3. Composition (eight semesters, 2 hours each) 4. Orchestration (each half year, 1 hour) 5. a) Violin

b) Voice-Culture

In addition, we find the following announcement of "Special Courses":

Pianoforte, Organ, Violin, Voice, the Orchestral Instruments, Counterpoint, Harmony, Composition, Orchestration. Students may enter these without examination, and pursue them for any desired period (but not less than one-half year). No credits are given unless some regular course be adopted later, in which satisfactory work will be permitted to count.

The degree Bachelor of Music is not to be found. Instead, we read:

The Full Diploma, supplementary to the A.B. degree, is awarded upon the completion of Courses 1,2, (or its equivalent), 3 and 4.

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Since a major in Music was not introduced until 1924 it is difficult to explain the phrase "supplementary to the A.B. degree." In any case, this is the only Bulletin in which this phrase appears. It is not repeated in the following year or later. .

,

A preparatory course in piano was introduced in the Bulletin of 1914-15 (pp. 93ff.) and a major in Fine Arts announced for the first time:

Candidates for the degree of A.B. may obtain a major in Fine Arts under the following conditions. They must take a minimum of eight half-years in music and the same amount in Art and Archaeology. In addition six hours must be taken in one of these departments or divided among them. The remaining eight hours of the major shall be determined by the Committee on Individual Courses, in consultation with the major instructor.

And in 1915-16, in the Bulletin (pp. 96ff.) , we find for the first time the announcement of "Normal Course" leading to a "Teachers Diploma":

There is a growing demand in the secondary schools of Colorado and other states for teachers who, besides their liberal arts work, are competent to teach the pianoforte and the related musical theory. This department offers a normal course designed explicitly to qualify young men and women to do this work. The course qualifies equally for the private teaching of Music. A Teacher's Diploma is granted students who satisfactorily complete the normal course.

The major in Fine Arts was renamed in the Bulletin of 1916-17 (pp. 108ff.) into a major in Art and Music. The conditions remained the same and we find this degree offered until 1924. The study of violoncello and organ were listed for

19

the first time in the Bulletin of 1917-18 (p. 98) among the regular "Courses of Study." While Public School Music can be found among the "Special Courses" since the Bulletin of 1915-16 (see p. 100), that of 1920-21 (p. 115) listed "Public School Music: Supervisor's Course" for the first time as an additional regular course 'of study.

The Bulletin of 1922-23 (p. 134) contained an announcement of new affiliations of the department:

The department is affiliated with the Institute of Musical Art of the City of New York, and with the New England Conservatory of Boston. Its credits are accepted in these cities precisely as those of Colorado College are accepted at Harvard, Yale, and elsewhere.

The establishment of a major in music, a milestone, was reached in the academic year 1924-25. In the face of the importance of this achievement it is surprising how little it was publicized, In the respective Bulletin (1925-26, p. 97) under the headline "Courses of Study" we find in small print the remark "For a major in music, see p. 82." This is all that indicated the big innovation. On page 82, in the general college section on Courses of Instruction we now find a paragraph for Music, explaining the "Major Requirements." This modesty of presentation must not distract from the fact that we have here a very significant step in the direction towards full academic acceptance of music at Colorado College.

At this point it seems appropriate to quote once more from Dean · Hale's article6 which he closed with the following remarks:

6) Hale, op. cit., p. 88.

The Conservatory has become, in the administration of the present Dean, a College Department, closely affiliated with the College, which now grants full credits for all its courses, a music Major, and in the near future purposes [sic] to establish the degree Bachelor of Music, so that in three cities, at least, of our commonwealth, educational opportunities are now available which rival those of the largest cities.

20

The new degree of Bachelor of Music to which Dean Hale referred was actually introduced in the academic year 1932-33 and was given until the end of Dean Hale's administration in 1935-36. It was listed in the Bulletin of 1933-34 (and the following years) in the section on the School of Letters and Fine Arts under the heading "Requirements for the degree of Bachelor of Music in the School

of Letters and Fine Arts" and is clearly presented as a graduate degree:

The degree of Bachelor of Music will be conferred upon the completion of a full year of graduate study in music and such other subjects as the department of music may prescribe. Admission to candidacy for this degree is upon the same condition as the degree of Master of Arts. Normal preparation for graduate study in music consists of the satisfactory completion of all requirements for the degree of Bachelor of Arts with concentration in music as prescribed by the school of Letters and Fine Arts; or the equivalent training in another recognized college.

We also find it in the Department of Music section (p. 101) under the heading "Degrees and Diplomas":

Regular students of the college whose special interest is in music may earn the degree of Bachelor of Arts with concentration in

music, and, upon the completion of an additional year of study, the graduate professional degree of Bachelor of Music.

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In closing this chapter it may be well to mention that the practice of numbering courses 'with three digits was started throughout the college in 1929; the new organization of the college in four schools-Arts and Sciences, Letters and Fine Arts, Natural Sciences, and Social Sciences-came into effect in the academic year 1931-32. In spite of this structural reorganization, however, we still find a separate Department of Music, "Closely affiliated with the College" but by no means fully integrated as other departments were. This came only under Dean Hale's successor, James Sykes.

JAMES SYKES (1936-46)

When Dean Hale retired from his administrative position at the end of the academic year of 1935-36, James Sykes, who had been on the music faculty for one year as instructor of Piano and Director of Musical Organizations, became his successor with the new title, "Chairman of the Department of Music."

James Sykes was born in 1908 in Atlantic City, New Jersey, and received his A.B. from Princeton University and his M.A. from the University of Rochester in 1930 and 1933 respectively. Before coming to Colorado College, he was Dean of the Lamont School of Music in Denver. During his chairmanship at the Colorado College Music Department, he concertized as pianist, making his Town Hall debut in 1938; he was vice president of the National Association of Schools of Music, and in 1941 participated on the inter-American exchange panel of the U.S. Department of State. He was chairman of the music committee of the Colorado Springs Fine Arts Center from 1938-44 and of the technical board of Pro Musica in Denver. In March 1945, Sykes took a leave of absence and went on a round-the-world U.S.O. tour as pianist. He never

22

returned to his pOSItiOn at Colorado College. In 1947 he accepted the

chairmanship of the Music Department at Colgate University and from 1953 held the same position at Dartmouth College.

ｔｾ･＠ most important development in the Music Department under Sykes was its full and complete integration into the structural fabric of the college. This process took place at the beginning of Sykes' administration, which coincided very closely with the start of the presidential term of Thurston J. Davies (1934-48). The sympathetic attitude of this college president certainly helped in making the necessary changes possible.

In the past, the Music Department (or Conservatory, or School) occupied a semi-independent position. It had to take care of its own financial affairs; instructors were appointed by the Dean (or Director) of Music and did not have equal status with the college faculty; only certain courses offered in music were granted college credits towards a degree. After the reorganization under Sykes, the Music Department and its faculty enjoyed equal status with every other college department in every respect. Appointments were now approved by the Board of Trustees with salaries guaranteed by the college; the entire field of instruction was accepted as part of the college's academic program.

In the Bulletin of 1937-38 (73ff.), the first year under Sykes, the Bachelor of Music degree was abandoned and replaced by the true graduate degree Master of Arts with major in Music. The courses were grouped into Theoretical and Applied (or Practical) Music Courses. Under Theoretical courses we find General Musical Culture, Solfege, Keyboard Harmony, Eurhythmics, Form and Analysis, Orchestration, Composition, History of Vocal Art, and Public School Music. Practical courses offered include Preparatory and Collegiate Piano, Preparatory and Collegiate Violin, Cello, Band Instruments, Voice, and Organ.

An Advanced Theory course and Readings courses were added to the

23

curriculum for the first time in the Bulletin of 1938-39 (78ff.). Extra-curricular musical activities were listed in a separate paragraph which gave an interesting insight into the musical life on the campus:

Opportunity is afforded all students in the College, whether studying music for credit or not, to participate in the activities of the men's and women's glee clubs, the college band and the chapel choir. In addition there are ensemble classes conducted for all string, wind or piano players who wish to participate in chamber music and who have paid their student activities fee to the treasurer's office. Furthermore, the college opera group joins with other campus musical organizations in producing an operatic work each year. The culmination of each year's extra­curricular activities takes place during the spring music festival, held in May. At this time choral and instrumental concerts are presented, and a song contest for campus groups is held.

Another announcement referred to the Carnegie Collection which had just been received by the college: "

The Carnegie Corporation of New York has given a collection of a thousand gramophone records and over two hundred and fifty books and scores, along with a two-unit phonograph, for the use of the Music Department. Supervised periods for listening to records and consulting "reading material are afforded all students musically interested.

A course in Conducting was added to the curriculum in the Bulletin of 1939-40

(p. 79), and the Bulletin from one year later showed an impressive increase of theoretical courses in the field of music history and literature. No less than eight courses of this nature were added: J.S. Bach; Romantic Piano Literature;

24

A Survey of Chamber Music (335 - From Bach through Beethoven; and 336 -From Schubert to Schoenberg); The Symphonies of Beethoven, Orchestral Music of the 20th . Century; Operas of Mozart; and Operas of Wagner. It should be mentioned that these courses were added without an increase in the facUlty. Four of the major professors-Sykes, Gross, Effinger and Tooley­divided the new courses equally among themselves, which meant an increase of eight semester hours for each of them. Their total teaching load would appear quite out of line by today's standards.

Two lines immediately under the heading MUSIC in the Bulletin of 1942-43 (p. 70) announced that the Music Department was now a liberal arts member of the National Association of Schools of Music. At this time, the Bachelor of Arts degree with a major in music became accredited by this association.

In the Fall of 1940 Colorado College joined the Fine Arts Center in sponsoring the Fine Arts Winter Concert Series. The long row of artists presented in this series which continued until 1950 includes such names as Egon Petri, Robert

Casadesus, Joseph Szigeti, William Kappel, William Primrose, Andres Segovia, Joseph Schuster, Albert Spalding, Cornelia O. Skinner, Roland Hayes, Harold Bauer, Lotte Lehman and many others.

Another project jointly sponsored by the college and the Fine Arts Center was the Conference on the Fine Arts. The first one was held in the spring of 1938 with Frank Lloyd Wright as leader. Much music was played at this occasion by Sykes, Gross and Ralph Kirkpatrick. In 1941 the Arts Conference was made a part of the summer sessions under Roy Harris, and continued that way until the late forties. .

In June 1941 the college sponsored a concert of the Stokowsky Youth Orchestra in the Penrose Stadium. Robert Gross of the college music faculty functioned as concertmaster and soloist on that occasion.

25

The excellent Belgian Piano-String Quartet was in residence on the Colorado College Campus in the years 1941-43. The artists played numerous concerts which were a great inspiration to the music students as well as to music lovers of the community. One of them, Joseph Wetzels, taught violoncello to music students, and stayed until 1945.

CAROL TRUAX (1945-51)

While James Sykes was absent on leave, Robert Gross was appointed Acting Chairman of the Music Department. He was concertizing extensively, particularly during the winter semesters, and while he was on tours Miss Carol Truax was in charge of the affairs of the Music Department. Gross resigned permanently in the fall of 1946 to become concertmaster of the Denver Symphony under Saul Gaston and Carol Truax was appointed to succeed him.

Born and raised in New York, Miss Truax came to Colorado in 1920 to improve her health and for many years operated a prominent bookstore in Colorado Springs. In 1940 she became manager of the College Bookstore. On the occasion of the Stokowsky Youth Orchestra concert, June 1941, she was called upon to handle all promotional details. This led to her becoming first Promotional Secretary of the college, then Executive Secretary (1945) and finally Executive Director (1947) of the Fine Arts Departments-Music, Dance and Drama.

During her affiliation with the college she served on the Board of Directors of the Civic Players, the Colorado Springs Symphony Orchestra and the Colorado Springs Fine Arts Center.

She resigned from the college in the spring of 1951 to accept a position as treasurer of the Aspen Institute for Humanistic Studies and Director of

26

Publicity for the Aspen Festival. Only 2 months later she was invited to direct a fine arts research survey for the 33 colleges of the State University of New York and was awarded a full professorship from that institution. Carol Truax later, married the well-known Renaissance musicologist Gustave Reese and became an author of several popular cookbooks.

The status of the curriculum and degrees was fairly stabilized by 1945 and did not undergo any appreciable changes in the following years. Highlights of the Truax administration were the growth of the composition and piano departments during the residence7 of Roy and Johana Harris (1943-48) and of the voice department under John C. Wilcox (1946-49); the residence of the LaSalle String Quartet (1949-54); and the excellent summer sessions which brought to the Colorado College campus such musical celebrities as Burrill Phillips (1946), Nikolas Slonimsky (1947-49), Louis Persinger (1949-50), Paul Hindemith (1949), Virgil Thomson (1950), Willi Apel (1950-52) and many

others.

MAX LANNER (1951-present[1959])

In the fall of 1951, Max Lanner succeeded Carol Truax as Director of the Music Department. In 1955 he readopted the title "Chairman," more regularly used for heads of departments.

Born and raised in Vienna, Austria, Max Lanner was a graduate of the Vienna Conservatory of Music (Diploma) and the University of Vienna where he received the Ph.D. in 1933. After six years of private teaching and concertizing he came to America in 1939 and became accompanist to violinist Erica Morini. He subsequently played in concerts with Nathan Milstein, Zino Francescatti,

ｾ＠ Made possible through a grant from the El Pomar Foundation.

27

Szymon Goldberg, T ossy Spivakovski and Grace Moore.

From March 1943 to September 1945 he served in the armed forces. His contact with Colorado College started in the summer of 1945, when he was ｳｴ｡ｴｩｯｮｾ､＠ at Camp Carson and participated as pianist in the summer concerts of the college. Dr. Lanner was appointed Assistant Professor of Music in 1946, became Associate Professor in 1947 and Professor of Music in 1954. He was President of the Colorado State Music Teachers Association in 1953 and 1954, President of the Colorado College Chapter of the American Association of University Professors in 1957-58 and Chairman of the Humanities Division of Colorado College in 1956-58.

Under the Lanner administration, the degree Master of Arts became accredited by the National Association of Schools of Music (1952). The curriculum for the A.B. degree was revised and balanced to provide equally good training in the four major areas of music history, music theory, music education and applied . mUSIC.

While in the past numerous specialized history and literature courses had been offered, there was on the other hand no continuous course required of all students that would cover all important periods and forms of music. Consequently, under the leadership of Prof. Lanner each student was required to take the following four semesters of music history: Music in the Middle Ages, Renaissance Music, Baroque and Classic Music, Romantic and Modern Music. In theory, the following disciplines were integrated into a two-year study, Theory I and Theory II: ear training, harmony, counterpoint, form and analysis. This included keyboard harmony and assignments in writing simple forms.

The program in music education offered general and specific methods courses, and was geared to satisfy the requirements for teacher certification in most

28

states.

Applied music was 9ffered in private lessons and in classes. Students could enroll in voice, piano, organ, string instruments, wind instruments, chorus, band, chamber music, and opera workshop.

The department under Lanner's direction was keen to serve not only the music majors but also the general college student who wished to include some music courses in his curriculum. Especially designed for this purpose was the course Music for the Layman. However, all courses in the Music Department were and indeed remain open to non-music majors.

Two extra-curricular activities of the Music Department during this period should be mentioned: the Perkins Hall Winter Concert Series and the Colorado College Music Press.

The Perkins concerts actually started when the LaSalle String Quartet was appointed in residence in 1949. They developed into regular monthly musical events with near-capacity audiences. They were given on Sunday afternoons by the performing members of the faculty, artist-students, and artist-guests of the community and state.

A major project of the Department was the sponsorship of the Colorado College Music Press, a non-profit enterprise devoted to the publication of valuable music, both old and new. The Press was founded in 1955 by its General Editor, Dr. Albert Seay, musicologist at Colorado College. It ｾｸｩｳｴ･､＠on the income of its sales, on allotments of funds from the Music Department, and on gifts from interested persons. A major contribution was received in 1957 from the Julian Pollock Foundation. Students were encouraged to participate in the activities of the Press and derived great inspiration from their guided assistance in the preparation of publications. Editions from the press

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received and still receive wide distribution, to music departments, libraries, and scholars worldwide.

SUMMER SCHOOL SESSIONS

There have been three periods of summer school sessions at Colorado College: 1892-96, 1923-30, and 1935 to the present. In each of these, music has played a part of some prominence.

In the earliest period, the official name was "Colorado Summer School of Science, Philosophy and Languages." During the first summer (1892), Albert C. Pearson of Colorado Springs, who became a member of the regular music faculty in 1894, gave a lecture-course in the Literary History of Music, and P.M. Bach, Director of Music in the Colorado Springs Public Schools, was in charge of Music Education and choral work. In the prospectus of the summer 1893, W.J. Whiteman, father of Paul Whiteman and Director of Music in the Denver Schools, was the representative of music, and in the following year the summer Music Department was directed by Prof. C.S. Cornell, Supervisor of Music in the Pueblo Public Schools. He gave regular musical instructions, including individual voice lessons and choral work, and a lecture course on pertinent

tOpICS.

The last two summers from this early period in were 1895 and 1896. Prof. H.S.

Perkins, Mus. Doc., "President of the Chicago National College of Music; Secretary National Association of Music Teachers; editor of thirty vocal music books" was named as musical leader for the first of these summers. The work in music consisted of "Methods of Public School Singing" and "Chorus Drill for

the Colorado Music Festival." This festival was referred to as "second annual State Music Festival" and was to be held "Thursday and Friday, August 5th and 6th, this being the date of the close of the school." Dr. Perkins and Miss Estelle

30

Acton of Chicago, principal soloist for the festival, were also giving individual private lessons in voice culture. In the last summer of this period, 1896, Emma A. Thomas, Director of Music, Detroit Public Schools, was in charge of music. A course of twenty lessons was designed for teachers of Public School Music.

The second period (1923-30) fell under the general direction of Prof. Guy H. Albright of the regular college faculty. Courses were given in several subjects, mostly by members of the college faculty with a very small number of guest­lecturers. Courses in music were offered by the Music Department, but there is no evidence of any visiting artist teachers or lecturers during these eight years.

In 1935 a new effort to conduct a summer school was made and organized under the directorship of Ralph J. Gilmore, professor of biology at Colorado College.8 The regular music faculty was teaching a full curriculum of theoretical and applied courses, with Dean Hale in charge, and we find two visiting artist teachers on the summer campus:

Karl Jorn, tenor: member of the Covent Garden Opera in London, the Royal Opera in Berlin, and for seven years prior to the first world war, member of the Metropolitan Opera Company.

Kenneth Rose, celebrated concert violinist and artist teacher, also concertmaster of the Indianapolis Symphony Orchestra.

In the summers of 1936 and '37 only the regular college faculty of the Music Department was engaged in offering classes and private lessons. With the summer of 1938, however, we enter an uninterrupted period during which

ｾ＠ He was succeeded by C. B. Hershey in 1938; after the war years the directorship passed to H.E. Mathias and in 1957 to Victor Hopper.

31

prominent composers, music educators and some of the finest instrumentalists in the country were visiting members of the summer music team. Invited by James Sykes, composer Bernard Wagenaar came in 1938. The following summer found Roger Sessions at Colorado College. The prospectus carried an annouricement that "a concert of compositions by Roger Sessions will be included in a series of summer concerts regularly sponsored by the college Music Department." On this occasion, Sessions' violin concerto had its world­premiere with the composer at the piano and Robert Gross of the regular faculty as soloist.

Then as now, the series of summer concerts relied heavily on a chamber music ensemble in residence, which consisted at that time of Robert and Frances Gross, first violin and viola, Margaret Foote (the daughter of music faculty member Edwin A. Dietrich) 2nd violin, Virginia Knowles, 'cello, and James Sykes, piano. Besides Sessions, we find as guest professors also Charles Bybee, Director of Vocal Music at the North High School in Denver, and Peter Page, bass-baritone, from the music faculty of Swarthmore College. The latter became a regular member of the faculty at Colorado College in 1942. Nicholas Slonimsky, "eminent composer, conductor and writer" was announced for the summer of 1940, offering courses in theory of composition, conducting and musicology. He returned to Colorado College in the summers of 1947-49.

1941 gained significance as the first summer of Roy and Johana Harris and of the eminent dancer and choreographer, Hanya Holm, whose workshops continued for over four decades.9 Under Roy Harris the summer concert series developed into a regular Music Festival of growing reputation. He conducted the student string sinfonia while his wife, Johana, contributed many masterful piano solo recitals. Both were on the summer faculty until 1948. In the same

9) Another prominent figure in dance, Martha Wilcox, was a member of the Colorado College faculty ＱＹＴＰｾＴＶ＠ and assisted Hanya Holm in the summer sessions.

32

summer of 1941 we also· find the renowned Archie N. Jones at Colorado College as Visiting Professor of Choral Methods.

Important newcomers in 1942 were the Belgian Piano-String Quartet and John C. Wilcox, famous for his vocal clinics. At that time a member of the

American Conservatory of Music in Chicago, Wilcox returned for three summers and then settled permanently in Colorado Springs as visiting professor of voice at Colorado College, remaining until his death in November, 1947. Under him the vocal department at Colorado College reached its peak. Among his many excellent students were Herbert Beattie and Lorin Driscoll, both members of the performing company of the New York City Center Opera.

From 1943-45, Colorado College was host to the Navy V-12 training unit and the summer school was merged into an all-year-round three-semester program. Nevertheless, the offerings in music, dance, drama and fine arts remained a distinct entity and the summer concerts were continued, as well as the Conference on the Fine Arts. This latter project, started in the spring of 1938 and then transferred into the summer session period in 1941, had brought to Colorado College and the Fine Arts Center such outstanding personalities as Frank Lloyd Wright, Olin Downs, Thomas Craven, Mrs. Edith Isaacs, Maurice Evans, and others.

In 1945 a National Composers Congress was held (August 15-19) and was announced as an "annual festival" to · be combined with the eighth annual Conference of the Fine Arts. American composers, native and naturalized, were invited to submit unpublished scores of many categories. The "Blue Network" offered four prizes for winning scores, and Musical America and Music News of Chicago, as co-sponsors, offered two prizes for the two best essays on contemporary American music. Reliable data on the winners were not available, but is seems that Vincent Persichetti and Antony Donato were among the prize-winning composers. On August 17, at 1:15 p.m., a full hour

33

nationwide broadcast over the ABC network originated in Shove Chapel on the Colorado College campus, giving the highlights of this Composers Congress, and prize awards were made at that time.

In the 'regular concert series, a Beethoven Festival was presented with Johana Harris' performing twelve piano sonatas in four concerts during July, and the Roth quartet, the ensemble in residence for that summer, playing all string quartets in six concerts during August. lo Roy Harris contributed four lectures on the life and the music of Beethoven.

In the following summer, 1946, we find the Composers Congress replaced by a less ambitious "Concert of Colorado Composers" which was announced as the annual opening event of the Fine Arts Conference (August 2-4). On the program appeared piano pieces by Dane Rhudyar who at that time lived in Colorado Springs; a sonata for violin and piano by Robert Gross; a suite for 'cello and piano by Robert Gross; a suite for 'cello and piano by Cecil Effinger; a "Fantasy for Viola Quintet" by Roy Harris; and "Arioso and Toccata" for piano by Burrill Phillips. The regular concert series was presented under the title "Bach, Mozart and Contemporary Music Festival". The resident string quartet consisted of Joe Gingold (1946-48) and Robert Gross, violinists; Ferenc Molnar, violist (1946-56); and Carl Stern, 'cellist. Johana Harris, Burrill Phillips and Guy Mombaerts from the Belgian Piano-String quartet acted as pianists. Once again Roy Harris conducted the student string sinfonia, and George Howerton of the Northwestern University was in charge of the chorus. The summer climaxed in two nationwide broadcasts given over the ABC network from the house of Roy Harris. The first one on August 20 featured the string sinfonia playing parts of Bach's Art of the Fugue, the second one on August 31st was a joint recital of violinist Josef Gingold and pianist Johana Harris.

ｉｾ＠ Members of the Roth quartet were: Fedir and Sandor Roth, 1st violin and viola; Jozsef Smilovits, 2nd violin; and Imre Hartman, 'cellist.

34

"Four Centuries of Musical Pioneers" was the title given to the concert series of the summer 1947. We do not find a Colorado composers' concert as the opening of the Conference on the Fine Arts in this season, but another one­hour nationwide broadcast was given on August 2nd, the final day of the Conference, featuring the string sinfonia.

With the summer of 1948, the residence of Roy and Johana Harris at Colorado College came to an end. The musical events of this year consist of ten concerts, two full hour nationwide broadcasts on August 7 and 14 over ABC, and several half-hour Rocky Mountain Region broadcasts over CBS. The outstanding musical personality of the Conference on the Fine Arts in that season was Virgil Thomson who later returned to Colorado College as lecturer and composer during the summer of 1950 Guly 23-August 19). Among many of his works heard in these four weeks was an outstanding concert performance of "Four Saints in Three Acts".

In the years following the Harris period, the pattern of the summer sessions was continued as closely as practicable. Edgar Schenkman, conductor in Norfolk, Virginia, was appointed to direct the string sinfonia, and Max Lanner of the regular faculty replaced Johana Harris as pianist and head of the piano department. However, the broadcasts and the Conference on the Fine Arts were discontinued.

Special highlights after 1948 were the presence of Paul Hindemith at Colorado College in 1949, with a one-week Hindemith Festival; the already mentioned return of Virgil Thomson in 1950; and the summer of 1954 with Herbert Elwell on the visiting faculty. Willi Apel came for three summers (1950-52) and delivered in 1950 a most memorable Bach lecture; Louis Persinger, a native of Colorado Springs, replaced Joe Gingold in 1949 and '50, and Eduard Stuermann of the Juilliard faculty was invited for the summer of 1951. In this summer, Arnold Schoenberg was to have been at Colorado College for one full month,

35

to teach counterpoint and composition and to give a lecture/course "Evaluation of Musical Style through Analysis". All arrangements were completed and the master had signed the letter of appointment. But, as all the world knows now, he died on July 13th of that summer just before starting on his trip to Colonido. The planned Schoenberg Festival turned into a Memorial Concert given by the summer faculty, on August 3rd. The program included the Suite for String Orchestra in G Major (1934), the Song of the Wood-dove from the Gurre-Lieder (1911), sung by Patricia Mendius, contralto, with Eduard Stuermann at the piano, who also performed the Piano Pieces op.ll (1909), and finally the string quartet Transfigured Night, op. 4 (1899), performed by the enlarged faculty ensemble.

Another memorable composers' concert was presented on July 18th, 1952. On that evening the Fine Arts Center Theater was the scene of two world premieres: Alan Hovhaness' concerto for viola and string orchestra "Talin", dedicated to Ferenc Molnar and played by him; and David Kraehenbuehl's "Concerto da Chiesa" for string orchestra. Mr. Kraehenbuehl was at that time on the regular faculty of Colorado College. In addition, the program included Three Preludes and Fugues by Robert Cundick, and the Piano Quintet in a­minor by Leroy Robertson, with both composers present.

In finishing these historical notes, it may be appropriate and permissible to turn to the immediate future and report on the plans for the coming summer session Gune IS-August 7, 1959). A versatile curriculum of courses will be provided in the fields of History and Literature, Theory, Music Education and Applied Music. The program is designed for the needs and interests of undergraduate and graduate students as well as professional music teachers. Leading members of the u.s. Air Force Academy Band and the Colorado Springs Symphony have been appointed to teach wind instruments. Organ students will study with Dr. J. Julius Baird. Sidney Harth will direct the student sinfonia, while Howard Smith will be in charge of the chorus, and Paul Doktor shall conduct chamber

36

music classes. The Music Department is happy to announce that Miss Mildred Miller, leading mezzo-soprano of the Metropolitan Opera Association since 1951, will join the staff of visiting artist teachers during the month of July. Sidney and Teresa Harth, violinists; Paul Doktor, violist; George Bekefi, 'cellist; and 'Max Lanner, pianist, will be the principal performers in a series of six summer concerts scheduled for consecutive Wednesday evenings, June 24th through July 29th. They will also teach their respective instruments in private lessons and performance classes.

Other Summer Session participants not otherwise mentioned:

Frank C. Biddle, Director of Music, Cincinnati Public School choral director, 1948

Joseph Bloch, pianist; faculty Juilliard School of Music, 1949-50 Paul Doktor, violist; Mannes College of Music, 1957-Frank Gillis, Director of Vocal Music, Colorado Springs Public Schools,

1949-50 William Parks Grant, Ph.D., Temple University, Music Education, 1953 Charles N. Granville, ' Mus.D., Visiting Professor of Voice and Vocal

Pedagogy, 1948 Sidney Harth, violinist; University of Louisville, 1957-Teresa Testa Harth, violinist; University of Louisville, 1957-Joseph Knitzer, violinist; Cleveland Institute of Music, Eastman School

of Music, 1951-56 George Lynn, choral director; Westminster Choir College, 1947 Georges Miquelle, 'cellist; Detroit Symphony, Eastman School of ｾｵｳｩ｣Ｌ＠

1951-57 Boris E. Nelson, Ph.D.; University of Massachusetts, 1949 Aldo Parisot, 'cellist; Peabody Conservatory of Music, 1958 Leslie Parnas, 'cellist; ca. 1957 -early 1960s Leonard Rose, 'cellist; New York Philharmonic, Juilliard School, 1948

37

Stuart Sankey, double bass; Juilliard School, 1950-51 George Schick, conductor; Chicago Symphony Orchestra, 1952-53 Luigi Silva, 'cellist; Eastman School of Music, Mannes School, 1947,

1949-50

('t)l.(m \l)o COLLEC;E ＱＱｬ ﾷ Ｚ｜Ｑ Ｎ ｜ＺＧ｜ｴＱＱｾＱＱﾷＺＺＭ［＠

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,

J. -i'" " J .. ｾＮ＠ oJ

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Ｈ ﾷ ｉＮｲ｜ｾｾｬｴＨｕＩｾＱ＠ ｮｃｉｬＮｉｬｉｾＨＺ＠ Ｂ｜ｾｮ＠ Ｔ ｜ｮｾｉｉｾｬｳＧｾｮｏ｜ｔｉ｜ Ｇ ｊｯＺ＠ ＨＬＱﾷ［ｓｔＱｾｮ＠

Armstrong Hall, portrayed here in an artist's rendering, served as the home of the Music Department from 1966 until 1976 (courtesy of Tutt Library, Special Collections).

"

..

39

ADDITIONAL NOTES BY RICHARD J. AGEE {1994}

Since 1959, when Max Lanner completed his historical notes on the Music - Department at Colorado College, myriad changes have been effected in the

Music Department and in the college as a whole. In 1964, Perkins Hall was demolished and the department moved into temporary quarters on various parts of the campus until Armstrong Hall was ready for occupancy in 1966. The completion of Packard Hall of Music and Art in 1976 gave the Music Department a splendid new home that it occupies today. The last masters degree in music was awarded in the mid-1970s, and since then, the Music Department has concentrated almost exclusively on the education of undergraduates. But certainly the most radical alteration in the life of the college as a whole was the adoption of the Block Plan in 1971. Notwithstanding the transition from a traditional calendar to the Block Plan, the Music Department throughout the last two decades has preserved and strengthened its traditional commitment to the transmission of the theory and history of western music to undergraduates. Nevertheless, the exclusive emphasis of the Music Department on the acoustic European musical tradition has given way to the realization of a much broader and more ambitious vision. While the Music Department Faculty has always been committed to expose students to the full range of traditional western musical practices, the focus of the curriculum now includes the theory, history, and practice of musical cultures other than the traditional European model.

For instance, a course in World Musical Cultures and a studio course in Electronic Music were first instituted during the academic year 1970-71. Two years later, musical innovations on this hemisphere were first explored with the course Musical Comedy in America. 1973-74 and 1974-75 featured the introduction of Asian Music and Jazz into the curriculum, and in 1975-76, Introduction to Ethnomusicology and American Indian Music.

The Music Department at Colorado College has resided in Packard Hall since the completion of the Building in 1976 (courtesy of Colorado College, Office of College Relations).

"

..

41

Seminal in the effort to broaden the curriculum was the creation of a new faculty position for ethnomusicology by Albert Seay in 1975. The appointment of a full-time ethnomusicologist institutionalized greater diversity in the course of the Music Department. Other courses offered for the first time in the last fifteen years, both by resident faculty members and visiting faculty, include:

1981-82: 1985-86:

1986-87: 1987-88 1989-90:

1990-91:

1991-92: 1992-93:

1993-94:

Music and Technology Women in Music Three Great Minds in Music-Beethoven, Coltrane, Reich Folk Music in Eastern Europe Folk Music-The Celtic-Anglo-American Tradition The Gershwin Era The Miles Davis Years In Search of Japan Through Music The Anthropology of Music Experimental Music Latino Musics of the United States Indonesian Music Ritual in Asia and the Pacific World Music in the Twentieth Century A Whole Lot of Shakin' Going On-A History of Rock

and Roll from 1945 to 1972 Rap and Soul: A Sociological Perspective

The continual expansion of topics covered in department courses has generated a great deal of artistic and intellectual excitement in the last decades as the musical life of the faculty and students has been enriched and deepened by the diversity of Music Department offerings.

Two resident faculty ensembles achieved official recognition by the. Music Department in the late 1980s. The Colorado Springs Symphony Piano Tri9

42

gave its inaugural conceit as the Colorado College Trio in 1986, and the

Colorado College Woodwind Quintet was officially constituted in 1989. Both groups present at least two concerts in Packard Pedormance Hall during each acacl,emic year.

From 1960 until 1972, the sixty-voice Colorado College Choir, conducted by Donald Jenkins, presented concerts in New York City's Town Hall, as well as in concert halls and churches in Washington, D.C., Boston, Chicago, Denver, Salt Lake City, Los Angeles, and San Francisco, among other locations. The Choir and other student pedorming groups from previous decades, such as the Chamber Choir, have been joined by a number of other student ensembles in the last quarter century. Michael Grace founded the Collegium Musicum for the pedormance of Medieval, Renaissance, and Baroque music in 1968. Composer Stephen Scott established the New Music Ensemble in the spring of 1972, and since then the group has toured the United States, Canada, Australia, and Europe. Student interest and demand also led to the provisional formation of the Colorado College Chamber Orchestra and the Concert Band in 1989. The acquisition of the instruments for a Balinese gamelan anklung orchestra late in 1992, and the institution of the Gamelan Anklung course by ethnomusicologist Victoria Levine in 1993, provided Colorado College students their first pedormance opportunities outside of the western tradition. The group's autumn 1993 concert of the group featured the participation in Balinese dance by students in the Drama/Dance Department as well.

The highly successful Visiting Artist-in-Residence Program of the Music

Department began in 1980 and was instituted to broaden stu,dents' understanding of concert work, pedormance, and music literature. Some of the more well-known artists to have participated in this program include:

Muir String Quartet (1981) Bethany Beardslee, soprano (1982)

Sergiu Luca, violin (1982) Larry Ridley, jazz bass (1982) Annapolis Brass (1984) Charles Wuorinen, composer/pianist, and Fred Sherry, 'cello (1984) Josephine Estill, voice scientist (1985) Los Angeles Piano Quartet (1985) Antonia Brico, composer/conductor (1986) Emanuil Sheynkman, balalaika (1986) Aulos Baroque Ensemble (1987) Loren Hollander, pianist (1987) Kronos Quartet (1987)

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Consort of Musick-Emma Kirkby, soprano; David Thomas, bass; Anthony Rooley, lutenist (1989)

Eliot Fisk, guitar (1989) Billy Taylor Jazz Trio (1989) Margaret Leng-Tan, composer/pianist (1990) Sierra Wind Quintet (1990) George Sawa and the Traditional Arabic Music Ensemble (1991) Peter Sculthorpe, composer (1991) James Ironshell and Terry Fiddler, Powwow Singers (1992) Khayal (1992) Ruth Laredo, piano (1992) Martile Rowland, soprano (1992) Benita Valente, soprano (1992) Alhaji Papa Susso, kora player (1993) Anjani's Kathak Dance of India (1994)

The active summer musical programs of the 1940s, 1950s, and 1960s gradually waned. But in 1970, the Colorado Opera Festival, founded by Gilbert Johns, , Dean of the Summer Session, and Donald Jenkins, began a twelve-year residency offering three productions each summer in Armstrong Theater; works included

44

Il cavaliere errante (ed. Albert Seay), Otello, The Magic Flute, Boris Godunov, and some 25 others, mostly directed by Hanya Holm and Herbert Beattie ('48). In the early 1980s the Colorado Opera Festival became a professional company ｷｩｴｬｾ＠ its home at the newly completed Pikes Peak Center in downtown Colorado Springs. In 1984, the Colorado College Summer Conservatory and Music Festival was established. Under the leadership of Susan L. Grace, Artistic Director, and John Giordano, Musical Director, promising young performers participate in two weeks of intense musical study with ｴｨｾ＠ visiting artists. Two weeks of spectacular musical activity offer student concerts at noon as well as concerts by the student orchestra and visiting faculty. The college instituted a very popular Elderhostel program shortly after the inception of the Conservatory and Music Festival, coordinating the artist and student concerts with a course on the "Masterworks of Music" for seniors.

CLOSING REMARKS BY MAX LANNER (1959)

We have seen that music sta.rted at Colorado College in the way of private lessons arranged with teachers of the town; later, under outstanding musical leaders such as Goldmark and Hale, the musical endeavor was organized first as a Conservatory, then as a School of Music, and finally as a Department of Music. Significantly, it had started that way in the very first year before a musical leader was found and an English professor helped out as Acting Director.

This development was accompanied by a gradual change from the completely practical approach to musical study towards an increasing inclusion of the fields of knowing and understanding music which represent the intrinsically humanistic aspects, such as theory, history and literature of music; and this development runs parallel with the gradual acceptance of music as a field of study, the granting of more academic credits for music courses and the eventual

45

establishment of a major in music; it also parallels the progress from a tenuously affiliated conservatory to a fully integrated department with all rights, privileges and responsibilities of other departments. . .

All this' shows, in other words, how music was trying to find its proper place in the liberal arts college. Steps in that direction brought increased recognition and incorporation. In a liberal arts college, music, then, must not tend towards the professional training of a conservatory or school of music, but rather concentrate on a genuine, general musical education. This need not be interpreted as indulgence in non-professional amateurish standards, but as a foundational approach on which all specialized training should rest and without which it would lack depth and insight. Nobody has explained this more conclusively than Manfred Bukofzer in his recent publication "The Place of Musicology in American Institutions of Higher Learning".l1

The present music faculty believes that the department has come a long way in the realization and manifestation of this position through repeated and searching revisions of the curriculum, and it is our intention to proceed in that direction towards an even better balance and integration of the fields of knowledge which constitute a true humanistic musical education.

II) The Liberal Arts Press, New York, 1957.

APPENDIX: COLORADO COLLEGE FACULTY, 1874-1994

(from the Colorado College Bulletin or Catalogue; amended through interviews with current faculty members)

Listed as Instructors for 1874-75:

Georgia B. Gaylord Professor ].W. Jameson (resigned)

For 1880-81:

46

Professor H. Th. Wagner, late chief instructor in the Beethoven Conservatory of St. Louis, and formerly a teacher with most honorable record in Paris, London, and New York.

And for 1894-95, evidently referring back to the founding of the "Department" in 1894:

Edward S. Parsons, Professor of English, as "Acting Director", heads a faculty of five others. The remaining members were:

Albert C. Pearson. B.S., Instructor in Harmony and Piano Forte Miss Oma Fields, Instructor in Piano Forte . Mrs. Fanny Aiken Tucker, Instructor in Voice and Choral Singing Mrs. I.E. Pearl, Instructor in Voice Mrs. Edward F. Welles, Instructor in Organ

47

The first year of the "Conservatory" (1895-96):

Rubin Goldmark, Director of the Conservatory of Music and Instructor in Harmony, Counterpoint and Composition

Oma Fields, Instructor in Piano Forte (on leave of absence for study in" Europe)

Blanche Hermann, Instructor in Piano Forte Edith Huse, Instructor in Vocal Sight Reading Albert C. Pearson, Instructor in Piano Forte (resigned) George Szag, Instructor in Violin Fanny Aiken Tucker, Instructor in Vocal Music

The actual teaching faculty of five increased in 1898 to nine with the addition of Vocal Harmony, Brass Instruments and Violoncello; but by the year 1901 we find again a faculty of only five.

Additional faculty appointments under Goldmark (1896-1902):

Clarence W. Bowers, Instructor in Piano-forte and Organ 1896-1905 Charles Dopf, Instructor in Violin, 1896-1900 Frederic Howard, Instructor in Voice Culture, 1896-98 Stanley C. Kachelski, Instructor in Brass Instruments, 1897-98 Richard Franz Schubert, Instructor in Violoncello, 1897-1900 George Crampton, Instructor in Voice Culture and Sight reading, 1899-

1902 Mamie Herman (Mrs. Robert Briscoe), Instructor in Violin, 1900-11 Mrs. Maud S. Faust, Instructor in Piano-forte, 1901-10

For the academic year 1902-03 Clarence W. Bowers and Mrs. Faust were retained from Goldmark's faculty and augmented by William J Fink as instructor in Violin (1902-03) and Samuel Jessop as instructor in Voice Culture

:

48

(1902-05 and 1918-25).

Other teachers appearing on the music faculty list during these three years are Mrs. Robert Briscoe, replacing Mr. Fink as violin instructor and Robert W. Stevens, instructor in Piano-forte (1903-04 and 1905-07).

Music Faculty during the Hale Administration (1905-36):

Silvia'Raquel Bagley, Instructor in Voice, 1935-37 Robert Hamilton Berryhill, Instructor in Pianoforte, 1910-14 Frederick Boothroyd, Mus.D., A.R.C.O., Organist and Choirmaster of

the Shove Memorial Chapel, 1931-45 Mrs. Myrtle M. Bridges, A.B., A.M. Instructor in Music, 1924-51

Mrs. Robert Briscoe, Instructor in Violin, 1900-11 Mrs. Dora Topping Brown, Instructor in Public School Music, 1917-23 Henry Howard Brown, Instructor in Voice Culture, 1914-23 Edwin A. Dietrich, Instructor in Violin, 1920-37 Mrs. Frederic ａｵｧｵｳｴｾｳ＠ Faust, Instructor in Pianoforte, 1901-10 Fred G. Fink, Director of the Band, 1923-36 Claribel Fischer, Instructor in Music Education, 1917-18 Beryl Griswold, Instructor in Pianoforte, 1923-36 Mrs. George Maxwell Howe, Instructor in Violin, 1910-20 Samuel Jessop, Instructor in Organ, 1918-25 Frank John, Instructor in Violoncello, 1919-21 Emmons Luetscher, Instructor in Violoncello, 1916-19 Lata Blanche Morris, Instructor in Voice Culture and Public School

Music, 1914-16 .

Viola Paulus, Instructor in Voice Culture, 1910-14 Mrs. George Majors Perry, Instructor in Voice Culture, 1905-09 Alexander Pirie, A..R.C.O., Instructor in Organ, 1916-18

49

Mrs. Emelie Reutlinger, Pianoforte, Head of Children's Division, 1922-35

James Sykes, A.B., M.A., Instructor in Piano and Director of Musical Organizations, 1935-46

Fanny A. Tucker, Instructor in Voice Culture, 1923-39

New faculty appointments under James Sykes (1936-46):

Edward J. Callan, B.M., Instructor in Band Instruments, 1942-43 Cecil Effinger, A.B., Instructor in Band Instruments and Orchestration,

from 1948: Assistant Professor of Music, 1936-48 Charles Foidart, Member of the Belgian Piano-String Quartet (Viola) and

Visiting Professor of Music, 1941-43 Robert Gross, A.B., Instructor Qater Assistant Professor) of Violin,

Theory and Composition, 1937-46 Roy Harris, Mus.D., Composer in Residence, 1943-48 Johana Harris, Visiting Professor of Music, 1943-48 Burt E. Kibler, Part-time Instructor in Band Instruments, 1944-45 Frederick Knorr, Part-time Instructor in Violoncello, 1936-42 George List, M.A., Instructor in Music, 1945-46 Honora Bailey McKay, Mrs., Part-time Instructor in Voice, 1943-46 Guillaume Mombaerts, Member of the Belgian Piano-String Quartet

(piano) and Visiting Professor of Music, 1941-43 Peter Page, A.M., Instructor in Voice, Public School Music, and

Orchestration, 1942-45 Albert Rahier, Member of Belgian Piano-String Quartet (Violin) and

Visiting Professor of Music, 1941-43 Frederick Tooley, M.M., Instructor Qater Assistant Professor) of Voice,

1937-48 Esther Vance, B.M., Part-time Instructor in Piano, 1942-43 and 1944-45 Joseph Wetzels, Member of the Belgian Piano-String, Quartet (' cello)

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and Visiting Professor of Music, 1941-45

New faculty appointments under Carol Truax (1945-51):

Eugene Casselmen, M.M, Associate Professor of Music (voice), 1948-50 John o. Fundingsland, M.M., Instructor in Band and Public School

Music, 1946-48; Assistant Professor, 1948-51 Robert Sherrill Gayle, M.S., Instructor in Piano, 1950-51 Mrs. Jessie Newgeon Hawkes, B.M., M.S.M., Instructor in Piano and

Organ, Organist of Shove Chapel, 1948-57 John David Kraehenbuehl, M.M., Instructor in Music (history and

theory), 1950-53 Reuel Lahmer, B.M., Assistant Professor of Music (theory and

composition), 1948-51 Max Lanner, Ph.D., Assistant Professor of Music (piano), 1946-47;

Associate Professor, 1947-54; Professor of Music, 1954-75; Chairman of the Music Department, 1951-67

LaSalle Quartet, String Quartet in Residence and Lecturers in Music 1949-53: Walter Levin, violin Henry Meyer, violin Peter Kamnitzer, viola Jack Wiley, 'cello, 1949-51 Paul V. Anderson, 'cello, 1951-52 Richard R. Kapuscinski, 'cello, 1952-53

Joseph Frederick Lautner, A.M., Associate Professor of Music (voic;e and chorus), 1950-51

John C. Wilcox, M.M., Visiting Professor of Voice and Vocal Pedagogy, 1945-47 (also in summer schools, 1942-45)

New faculty appointments under Max Lanner (1951-67):

David R. Austin, Instructor in Violin, 1964-68 J. Julius Baird, Instructor in Organ, Chapel Organist, 1957-80 Philip Cherry, Instructor ('cello, chamber music), 1953-54 Walter Eisenberg, Instructor in Violin, 1954-55 Ben Gahart, Instructor, 1963-64

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Carlton Gamer, Instructor, 1954-58; Assistant Professor, 1958-65; Associate Professor, 1965-74; Professor, 1974-94

Dorothy Garrique, Instructor in Voice, ca. 1962-64 Edward B. Greene, Associate Professor (chorus, voice), 1951-52 Martin Herman, Instructor (theory, history), 1955-59 Fred C. Hoeppner, Instructor in 'cello, 1954-ca.1961 Louis Hans Huber, Assistant Professor (violin, opera), 1953-54 Ronald Hudson, Assistant Professor, 1963-64 Donald Jenkins, Instructor, 1960-63; Assistant Professor, 1963-69;

Associate Professor, 1969-77; Professor, 1977-present Earl A. Juhas, Assistant Professor (music education, band), 1953-58;

Associate Prof., 1958-1970; Professor, 1970-92; Acting Chair during sabbaticals of Prof. Seay and Prof. Grace

Richard R. Maag, Instructor in 'cello, 1959-64 Henry Margolinski, Instructor in Piano, 1951-63; Adjunct Professor of

Piano, 1963-71 Richard L. Moorhead, Assistant Professor (chorus, voice), 1952-54 Albert Seay, Assistant Professor, 1953-56; Associate Professor, 1957-61;

Professor, 1961-1982; Musicologist-in-Residence, 1982-84; Music Department Chair, 1967-1982

Janine Seay, Music Librarian, 1961-94 Jeanne Siepenkothen, Instructor in Viola, 1964-68 Howard Smith, Instructor of Music (chorus, voice), 1959-60 Warren H. R. Stannard, Assistant Professor of Music {public school

music, band), 1951-53

Charles J. Warner, Assistant Professor (chorus, voice), 1954-59 Charles W. Warren, Instructor of Music, 1964-67 (music history)

New faculty appointments under Albert Seay (1967-1982):

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Richard]. Agee, Instructor in Music, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-present; Acting Chair during absence of Michael Grace, 1992-93

Barbara Ansbacher, Lecturer, 1971-75 Charles Ansbacher, Lecturer, 1970-72 Martha H. Booth, Instructor in Voice, 1969-present; Principal Instructor

in Voice, 1982-present; Director of Collegium Musicum, 1982-93

George Brown, Instructor in Percussion, 1985-87 Robert Burns, Instructor in Piano, 1980-81 Arthur Cassling, Instructor in Voice, 1975-78 Patricia Croke, Instructor in Harp, 1968-92 Raymond DeWitt, Instructor in Saxophone, Jazz, 1977-present Lyn Doyon, Music Department Coordinator, 1978-present Linda J. Goodman, Instructor in Music, 1975-79; Assistant Professor,

1979-87 Susan Langlas Grace, Instructor in Piano, 1976-89; CC Piano Trio, 1987-

present; Artist-in-Residence, 1989-present Michael D. Grace, ｉｮｳｴｾ｣ｴｯｲ＠ in Music, 1967-71; Assistant Professor,

1971-79; Associate Professor, 1979-87; Professor, 1987-present; Director of Collegium Musicum, 1968-82; 1993-present; Music Department Chair, 1982-87; 1991-present

Mary Lyon Hannigan, Instructor in Flute, ca. 1973-76 Tony Isaacs, Visiting Lecturer in Music/Anthropology, 1977-78 Ramon Kireilis, Instructor in Clarinet, 1977-80 Arthur C. Knecht, Instructor in 'cello, 1967-73

Gizelle Lautenbach, Instructor in Oboe, 1980-84 Jean Lemmon, Instructor in Recorder, 1979-80 G. Bruce Lemmon, Instructor in Bassoon, 1978-80 Ron Levy, Assistant Music Librarian, 1976-82 Lucile Lynn, Instructor in Voice, 1978-81 Don McKenzie, Instructor in Classical Guitar, 1979-86 Brian Neher, Instructor in Trombone, 1978-80 Gunther Paetsch, Instructor in Strings, 1970-79 Patricia Bigler Pishny, Instructor in Flute, 1976-84 Brian Prud'Homme, Instructor in Guitar, 1974-79 James K. Randall, Visiting Professor, 1980-81

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Reah Sadowsky, Instructor in Piano, 1970, 1973-77; Artist-in-Residence and Adjunct Associate Professor, 1977-80

Claire Scheller, Instructor in String Bass, 1981-87 Stephen A. Scott, Instructor in Music, 1969-1972; Assistant Professor,

1972-82; Associate Professor, 1982-89; Professor, 1989-present; Music Department Chair, 1987-90; Director CC New Music Ensemble, 1972-present

Frank Shelton, College Organist, Instructor in Organ, 1980-present Carolyn Shepard, Instructor in French Horn, 1978-83 Curtis Smith, Instructor in Piano, 1972-83 Diana B. Smith, Instructor in Piano, 1969-70 Margaret K. Smith, Instructor in Violin, Viola, and Chamber Music,

1967-87 Susan Smith, Instructor in 'cello, 1975-present; CC Piano Trio, 1987-

present Dale L. Soucek, Instructor in Voice, 1977-79 Lani Spahr, Instructor in Oboe, 1976-77 Diane Spinuzzi, Instructor in Piano, 1977-80 Daryll Stevens, Instructor in Clarinet, 1980-present; Library

Coordinator, 1983-present; CC Woodwind Quintet, 1989-present

Betty Stockstill, Iristructor in Voice, 1969-1970 Stephen Sweetland, Instructor in Voice, 1977-82 John Tardy, Instructor in Trumpet, 1977-84 Jerry Teske, Instructor in Voice, 1970-78

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Karl Walter, Manager of Pearson Electronic Studio, Lecturer, 1980-84 Joanne Warners, Instructor in Piano, 1980-82 Clare Weinrab, Instructor in Classical Guitar, 1973-74

New appointments under Michael Grace and Stephen Scott, Chairs, and Earl Juhas, Don Jenkins, and Richard J. Agee, Acting Chairs (1982-present):

Diana Anderson, Instructor in Piano, 1986-present; Lecturer, 1992-present

Alison Arnold, Visiting Assistant Professor, 1991 Susan Asai, Visiting Assistant Professor, 1990 Joseph Auner, Lecturer, 1988 Garth Baxter, Instructor in Guitar, 1985, 1986-87 Beverly Bolger, Music Department Secretary, 1990-91 Ann Brink, Instructor in Voice, 1989-present Daniel Brink, Instructor in Piano, Lecturer, 1987-present Greg Brown, Instructor in Bassoon, 1987-88 Michael Brumbaugh, Instructor in Trombone, 1987-90 Geoffrey Cleveland, Director of Small Jazz Ensemble, 1992-present Peter Cooper, Instructor .in Percussion, 1993-94 Tania Z. Cronin, Lecturer, 1983-85, 1988-present Lisa Davenport, Music Department Paraprofessional, 1990-91 Jan Dell, Instructor in Voice, 1989-90 Guy Dutra-Silveira, Instructor in Oboe, 1984-present; CC Woodwind

Quintet, 1989-present Nancy Ekberg, Director of Instruments in the Collegium Musicum,

Instructor in Recorder, 1988-present

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Randy Fischer, Instructor in Viola, 1989-90; Director of the CC Chamber Orchestra, 1990

Jeani Muhonen Foster, Instructor in Flute, 1984-present; CC Woodwind Quintet, 1989-present

Ronald Foster, Conductor and Music Director, CC Chamber Orchestra, . 1990-present

Jill Fredericksen, Instructor in Gamelan, 1993-present John Gohl, Instructor in Trombone, 1992-present Michael Green, Lecturer, 1988 Esther Hanson, Music Depanment Secretary, 1991-92 Michael Hanson, Principal Instructor in Violin, CC Piano Trio, 1991-

present David Harnish, Visiting Assistant Professor, 1993 Joseph Head, Instructor in String Bass, 1987-present William Holst, Instructor in Trombone, 1983-87 David Honig, Instructor in Guitar, 1987-92 Brian Hyer, Lecturer, 1989

Shawn Keener, Music Depanment Paraprofessional, 1993-present Icel Kendrick, Instructor in Bassoon, 1994 Lauren Krohn, Music Depanment Secretary, 1992-93 Kay Leatherman Kireilis, Instructor in Violin, 1987-present Michael Kroth, Instructor in Bassoon, 1991-93; CC Woodwind Quintet,

1991-93 I Made Lasmawan, Instructor in Gamelan, 1993-present Victoria Lindsay Levine, Assistant Professor, 1988-1994; Associate

Professor, 1994 Victor Lubotsky, Instructor in Violin, CC Piano Trio, 1987-90 Joni Manin, Music Depanment Secretary, 1993-present Ponia Maultsby, Visiting Professor, 1994 Anne McClelland, Assistant Music Librarian, 1982-83 Dale Miller, Instructor in Mandolin, 1989-present; Instructor in Guitar,

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1992-present

Margaret Miller, Instructor in Viola, 1986-87 Robert Murray; Instructor in French Horn, 1983-present; CC

Woodwind Quintet, 1989-present; Director of Concert Band, 1990-present

Chris E. Nelson, Instructor in Percussion, 1988-92 Bruno Nettl, Albert Seay Distinguished Professor, 1992 Wieslaw Nikitiuk, Instructor in Bassoon, CC Woodwind Quintet, 1989-

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William Noll, Visiting Assistant Professor, 1986-87 Charles Pishny, Instructor in Bassoon, 1985-86 Vincent Plush, Visiting Associate Professor, 1989-90, 1991-92 Jason Reinier, Manager of Pearson Electronic Sound Studio, 1987-88 Donald Robinson, Instructor in Violin, 1982-87 Alice Rybak, Instructor in Piano, 1985-86 Wayne Schneider, Visiting Assistant-Associate Professor, 1984-85, 1989-

90, 1993 Sandra Miller Scott, Lecturer, 1988-92 Arnold Shafer, Instructor in Trombone, 1982 Diane Semon, Instructor in Piano, 1984-86 Anne Dhu Shapiro, Assistant Professor, 1987-88 Elizabeth Stanton, Manager of Pearson Electronic Studio, 1988-89 Ronald Sykes, Lecturer, 1991 Philip Tietze, Instructor in Viola, 1991-present Carla Towne, Instructor in Piano, 1986-87 Daniel Wiencek, Paraprofessional, 1991-93 Clark Wilson, Instructor in Bassoon, 1993; CC Woodwind Quintet,

1993-present David Zuercher, Instructor in Trumpet, 1983-present