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Thomas T. WATERMAN, A.B., Instructor in Anthropology.
1. General Anthropology.
Mr. WATERMAN. The structure of the human body and the relation of man to the
higher apes; his appearance in the geological series; the succession of human types and cultures in Europe; the three modern European races; comparison of the European races with the other types of man; anthropological measurements and their justification; the principal variations of the human type; races of man and their distribution; the adventitious character of racial classifications; heredity, variation, and the influence of environment; essential uniformity of mankind, physically and mentally; characteristics of primitive civilization, influence of environment on culture; the origin and growth of industries and arts; primitive adornment and dress; language and the development of writing; religious beliefs, practices and myths; primitive habitations; the rise
of social institutions and commerce. 2 units. M Tu W Th F, 10. Museum of Anthropology.
102. Primitive Religions.
Mr. WATERMAN. The principal features of the religious consciousness shown by
psychological analysis. Fasting, prayer, sacrifice, and supernatural experiences in the religion of primitive men. Some conspicuous elements in savage religion described in detail, among them shamanism, the taboo, ancestor-worship, totemism, fetishism, the belief in spirits and in the supernatural powers of animals.
The history of sacrifice, of the belief in a god, and in the world of the dead, traced through sav. age and into civilized society. The place of systematized mythology both in savage and civilized systems. Several historical systems selected for analysis, notably the Ghost
Dance religion and Christianity. 2 units. M Tu W Th F, 11. Museum of Anthropology.
ARTHUR FOOTE, M.A., Organist, First Unitarian Church, Boston.
1. Tone Thinking and Notation.
Miss Houk. Recognition of familiar folk-songs and national airs leading up
to the recognition of melodies from the great masters. The aim is to quicken the appreciation of music to supp the basis for musical thought and structural work. Daily written work; dictation in both major and minor scales and their arpeggios; note values and rests, given in rhythmic groupings. For this course technical knowledge of
music is pre-requisite. 2 units. M Tu W Th F, 8. 1 Observatory. 2. Sight Singing.
Miss Houk Sight singing, beginning with the elementary facts gradually leading up to part singing. Open to students who
ve no previous knowledge of music, as well those seeking
greater skill in sight-singing. 2 units. M Tu W Th F, 9.
3. Education in Music.
Mrs. SWEESY. How to develop the power of the child in self-expression
through music, to strengthen the motive for the study of music through rote songs, to develop a musical experience through which the technical knowledge of the structure of music may be secured without becoming mechanical, to carry the work through the imitative period to independent sight-singing, to train the memory to hold the three essentials of all musical structure, stress, duration and pitch, without losing their significance in musical notation; rhythmic symbols through rhythmic motions which belong naturally to childhood. The teaching of intervals in musical phrases. Monthly outlines covering the first four years' work are given to each student. Designed for piano and voice teachers who wish to become supervisors of music in public
or private schools. 2 units, M Tu W Th F, 2. 4. Song Material.
Mrs. SWEESY. Songs suitable for all grades. Cycles of songs, including lul
labies, flower-songs, bird-songs, songs of the seasons, songs of different countries, patriotic songs, hunting songs, part songs for special choruses, with suggestions as to their use
in public entertainments. 2 units. M Tu W Th F, 3. 5. Advanced Sight-Singing and Dictation. Mrs. SWEESY. How to recognize correct phrasing and approaching modula
tions; methods in conducting sight-singing classes; advanced dietation leading up to the beginnings of harmony. Daily written work in class. Open to students and singers who have some knowledge of sight-singing. To be given only
if a sufficient number of advanced students enroll. 2 units. M Tu W Th F, 8. 6. Grammar Grade Methods.
Miss MCCLURE. Work of the fifth, sixth, seventh, and eighth grades as follows:
1. Problems in Melody. Intermediate tones, sharp-four, sharp-one, sharp-two, sharp-five, sharp-six and flat-seven; intermediate tones completed; chromatic scale; minor mode; bass clef. 2. Problems in Rhythm. Rhythmic types completed. 3. General. Three part songs; four part songs; key formation; signatures; principal triads in the major and
minor. 2 units. M Tu W Th F, 2. 7. Round Table.
Miss MCCLURE. This period will constitute a Clearing House for the day's
work; a question box will be provided for the use of students. Special topics for open discussion
will be nounced in advance of the day, from time to time, i.e., helpful teachers' meetings; how to interest boys; special day programmes; how much and when should the teacher
sing; song leadership in the grades, etc. 2 units. M Tu W Th F, 4. 8. High School Course.
Mr. CHAPMAN. An outline of courses of study and methods of presenting
music in the high school; the classification and use of the
voices in singing; the balance of voice parts; seating; enunciation; diction; the art of conducting unisons, duets, trios, quartettes, part songs, choruses and cantatas; the selection of material and interpretation. This course will collaborate with the courses in the History of Music and
Harmony. 2 units. M Tu W Th F, 9. 101 California Hall. 9. Musical Organizations and Exhibitions. Mr. CHAPMAN. The formation of School Orchestras and Glee Clubs. The
orchestra, and the quality and significance of its instruments; how to utilize for ensemble the instruments avail. able in high schools; selection of music for such orchestras; music material for Glee Clubs; public performances and
programme making. One evening during the session will be devoted to a concert to
be given by the chorus, and all men and women not especially members of the classes in music, are cordially invited to attend chorus practice and participate in the concert if
practicable. 2 units. M Tu W Th F, 1. 1 Observatory. 10. The History of Music.
Mr. FOOTE. Semi-civilized music; medieval music (Greek music—the old
modes); sixteenth century music, England, Italy and the first operas; chords, the beginnings of harmony; Handel; Bach; sonata form; Haydn, Mozart; Gluck and dramatic music; Beethoven; Schubert and German song; Mendelssohn; Schumann; Liszt; Berlioz; Chopin; Brahms; Meyerbeer to Wagner; Wagner; Grieg and national color; Richard Strauss; Caesar Franck, De Bussy, etc.; American musical history; a general review; the development of the suite and concerto; Weber, Schubert and the Romantic tendency; the development of song; a description of the piano and the influence of Thalberg and Chopin; the modern composers; what music endures; our outlook in America. These lectures will be illustrated by Miss Anna Miller Wood of Boston. 2
units. M Tu W Th F, 11. 101 California Hall. 11. Harmony, Counterpoint and Composition. Mr. FOOTE. An advanced
intended primarily for professional students. This will include four lectures on the art of
piano playing. 2 units. M Tu W Th F, 10. 1 Observatory.
Ivan M. LINFORTH, Ph.D., Assistant Professor of Greek.
1. Greek for Beginners.
Professor LINFORTH. The fundamental principles of Greek inflection and syntax.
The Greek element in English. Reading of simple prose.
2 units. M Tu W Th F, 8. 8 North Hall.
2. Greek Myths.
Professor LINFORTH. Lectures on the origin of Greek myths, their manner of
growth, their employment in Greek literature; the Greek and Roman sources of the myths which are familiar to the readers of English literature; the history of certain typical
myths. 1 unit. Tu Th, 9. 8 North Hall.
103. The Frogs of Aristophanes.
Professor LINFORTH. Reading and interpretation of the play. 1 unit. MW F, 9. 8 North Hall.