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MUSICAL COURIER
The University Course was prepared by the Editorial Board of the National Academy of Music. The National Academy of Music is an educational foundation; it is not a music school.
The University Course is not a method, but a compendium of the essentials of all methods.
The Editorial Board: Rudolph Ganz, Edwin Hughes, Kate S. Chittenden, Thomas Tapper, Charles Dennee, Louis C. Elson, Mortimer Wilson, Nicholas deVore, and more than thirty others of national distinction.
éXe UNIVERSITY COURSE o/MUSIC STUDY
A Standardizing Text-Work
for the use of
Private Teachers, Colleges and Conservatories
Containing all the Music and Text Annotations for a Complete Course of Instruction in
THE TECHNIC of PIANO PLAYING
AND THE
INTERPRETATION of MUSIC
Including History, Theory, Ear Training and Kindred Subjects.
AN Education in Music means more than “taking lessons.” The rapid trend toward some State regulation of music teaching as a profession, the granting of high school credits for the Study of Applied Music under outside teachers, the great increase in the number of students enrolled in Conservatories of Music, and the music departments of Colleges and Universities, all emphasize one outstanding fact: that parents are learning to demand some worthwhile results, some concise and definite standard pf instruction, some improvements over the time-wasting “oral” method which long has been outworn in every branch of study other than music.
Teachers who are alert to their opportunities realize that the preparation of a Standard text-work such as The University Course of Music Study is a response to a demand. The same demand requires of the teachers to use it, once it is made available. Those who have taken up this work with enthusiasm are now enjoying the increased results, and the augmented income to which their initiative has entitled them.
What the UNIVERSITY COURSE of MUSIC STUDY Will Do:
For the Pupil:	for the Teacher:
Permits engaging in music education, not mere piano teaching.
Relieves the strain of much of the drudgery of reiteration.
Makes practicable the intelligent awarding of High School credit for outside music study.
Offers a basis whereby several teachers in a school may make uniform their plan of presentation.
Enables private music teacher, school music supervisor, theory teacher, the Conservatory and the University to work in accord with each other on a common basis.
It awakens the student’s interest in the science and language of music and insures a longer continuance of serious study.
The parent is enabled to follow your progress and to give you intelligent support and co-operation.
Saves time and money, by making possible greater progress with each lesson.
Enables the student to make more adequate advance preparation for the lesson.
Gives him an understanding of the task, which makes performance easier and more interesting.
Gives a visible aid to the memory as regards oral explanations or instruction.
Develops ability to think music, to read music, to talk music—as well as merely to play it.
Makes memorizing easy and definite, without endless repetitions.
Saves much of the teacher’s time for more important things—since some things can be learned through reading and study, while others require the teacher’s personal effort and demonstration.
These are only a few of the reasons which in a short time have made this newest and most modern of~standard text-works on music the medium of instruction between a thousand piano teachers and their ten thousand pupils.
Teachers—If you mean to follow music teaching seriously as a profession, get into the subject, equip yourself with the most modern material, determine to make your pupils succeed. These pupils are your best advertisement; and they are willing to be shown how to study, how to progress. Do that for them and you will soon have your entire teaching time filled to overflowing and you will be forced to increase your prices or shorten your teaching periods. The University Course has enabled more than one teacher to discover this, and it will do it for you, if you will but cooperate with enthusiasm in the working out pf the plan.
Write for literature descriptive of The University Course, and for particulars regarding its use.
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Carnegie BaU’lierfjSrV'R^’
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[] Check here, if you are a teacher of the piano, and we will send you without charge a copy of Bulletin E ll, “How to Build Up a Class.”
[] Check here, and we will send you Bulletin E-14, on “School Credit for Outside Music Study,” a subject which vitally concerns every music educator and private music
teacher•	M. C. 1-22
/anuary 5, 1922
MORINI CAPTIVATES
LINCOLN AUDIENCE
With Salvi She Gives an Unusual Program and Is Loudly Acclaimed—Harpist, Too, Wins Praise—Little Erika Interviewed
Lincoln, Neb., December 8, 1921.—Not since the vast crowd that filled the City Auditorium for the Raisa concert has there been such a throng of music lovers, students and teachers, as congregated in the big auditorium last Monday evening for the joint recital of Erika Morini, violinist, and Alberto Salvi, harpist. This program was the third number of Mrs. Kirschstein’s Artist Course, and was to many enthusiasts one of the greatest concerts ever presented to a Lincoln audience. The crowd began assembling before seven o’clock, and by concert time the hall was a sea of faces.
Morini’s fame had long since been proclaimed and her first appearance was eagerly awaited. The anticipation in regard to Salvi was perhaps of a different nature as many Lincoln musicians had heard his recital in Temple Theater some years ago.
The program opened with a group of harp numbers when the renowned harpist quite captured his hearers. In his second group were two most attractive selections—“Italian Serenade,” by Salvi, and a “Tarantella,” by Aptommas and arranged by Salvi. Words fail to express the appreciation of his marked talent, and his generosity with encores was noteworthy.
When Erika Morini appeared, there was the hush of expectation and surprise. She seemed a mere child, and this she is, in all but her musicianship. The manner in which she played the concerto in B minor by Saint-Saëns, defies description. If Michael Angelo’s description of genius—the art of taking infinite pains—is authentic, then surely the young girl who captivated Nebraska, is indeed a genius. Morini stands unique in a class all by herself. Her marvelous reading of this concerto will remain ideal to the many violin students and masters in her audience. Her group containing the Rimsky-Korsakoff-Kriesler “Hymn to the Sun,” the famous Wieniawski “Waltz Caprice,” and an enchanting “Mazurka” by Zarzycki (new to many), was an ideally chosen set of gems and was received by rounds and rounds of applause. She was literally covered with huge sheafs of roses, one bunch being from her Sigma Alpha Iota sisters who thronged to greet her after the concert. Her graciousness was one of her many virtues. Emanuel Balaban stands for the ideal accompanist as he again demonstrated on this occasion.
When Morini admitted the Musical Courier’s Lincoln representative to her rooms in the Lincoln Hotel in the afternoon, she seemed just an ordinary little housekeeper as she bowed and said, “Welcome, but you must excuse the looks of this room, etc.” Through the interview she often had serious trouble with her English, floating off into French, German or Italian—but she never gave up. She found a way to express herself. She said later: “I began my music study at five, studying with my father, who had a master music school in Vienna. Indeed yes, and I first studied piano as everyone should. How I love the piano.
I would like to play it all my life! But no; I stay by the piano three years and then I began the violin. But I play the piano yet—every day some.” Then she talked like a long haired old professor of the actual necessity of a piano foundation for every music student. She does not like to practice. But her idea of Heaven is to play for “much peoples” and to sway them with her music. She talked of many things and was interested as well as interesting. She told of her three sisters and two brothers, and of how she adores to play ball, but since that is prohibited she is looking forward to golf, vowing to learn it at her first opportunity. She is an athlete—swims, rows, and walks and keeps herself in the best trim “so the brain will keep up,” she laughingly said.
Ever since she was a very little girl, she has loved to sketch and paint and her sheets of music attested the truth of this statement for the concerto was copiously dotted here and there with pen and ink. Elves, sprites and perhaps devils! Here and there were caricatures in colors, too, a purple fan helping a yellow one over a bar, etc. She says she dresses up her scales and technical exercises in this manner too—for it helps to get through them. She had never practised over four hours a day, her usual time being two and a half. “Many days I spend twenty minutes on my technic and then just think out my program,” and she laughingly tossed her shock of short black hair. She has seventeen concerts on this tour and “then to beloved New York to rest for six days and I’ll be ready for the New York and Boston concerts.”
The Morini-Salvi program will long be a cherished memory and the gratitude to Mrs. H. J. Kirschstein comes from the hearts of many hundreds of people who feel that we not only possess opportunities for our children to gain inspiration from the best of artists, but also that our capital city ranks high for its keen appreciation of the masterpieces of the world.
The next concert will be Sergei Rachmaninoff on January 24, 1922.	E. E. L.
Joseph Dilworth Resigns from Huntzinger & Dilworth
Joseph Dilworth has resigned from the publishing firm of Huntzinger & Dilworth, which he organized five years ago. His resignation took place on the first of the year. It is understood that the firm will continue to operate under its original name.
This news came as a great surprise to the musical world. Mr. Dilworth is one of the best known men among the publishers. He made a phenomenal success of Huntzinger & Dilworth, and the catalogue of this firm is recognized as containing some exceptionally fine numbers. The good judgment displayed in its selection has always been accredited to Mr. Dilworth, whose long years of experience in the music publishing business justified him in having charge of so responsible a post.
Mr. Dilworth’s future plans are not definite. For the present at least he will .be occupied in straightening up the affairs of his former business. It is to be hoped that he will not leave the music publishing world because men of his intelligence and knowledge are valuable in the industry.