Service Opportunities. The Metropolitan area furnishes many opportunities for remunerative service in the field of music. There are frequent openings for competent organists, choir directors, soloists, and accompanists, both in churches and on various radio and television programs. Scholarships. Service scholarships covering tuition are available for certain musically talented students evidencing academic ability and character. Equipment. The College owns and makes available the following instruments for teaching, practice, and recital purposes: 8 grand pianos, 34 upright pianos; a 3-manual pipe organ, 4 electronic organs; and a complete selection of standard orchestral instruments. Library. The library facilities offered to the music students are exceptional, in view of the fact that they include music sections of both the college library, with its representative collection of books, magazines, and recordings, and the adjacently located Los Angeles Public Library, with its comprehensive selection of texts, magazines, recordings, and scores. Graduation Requirements. The following requirements must be met: (1) prep aration of a thesis of no less than 5,000 words on an approved subject or the preSl'ntation of a Senior recital; (2) a comprehensive examination covering all phases of the course of study; and (3) one year of practical training as a choir director or as an assistant to a church music director.
THEORY
Each semester of study includes: (a) writing music, both four-part exercises and original composition, dictation, sight singing, keyboard harmony; (b) form and analysis; (c) instrumentation. 101. THEORY I. (3) (a) Fundamentals of notation, scales, intervals, triads; (b) the phrase and the period; (c) piano, voice and percussion. 102. THEORY II. (3) (a) Seventh and ninth chords, non-chord tones, altered chords, modulation; (b) the binary and ternary forms; (c) piano, voice, and violin. 201. THEORY III. (3) (a) Basic principles of harmonic organization in the style of the 19th century composers; (b) the rondo, sonata, and variation forms; (c) piano, voice, and strings. 202. THEORY IV. (3) (a) Chorales, 18th century counterpoint; (b) invention, chorale prelude, canon, fugue, and suite; (c) piano, voice, and brass. 301. THEORY V. (3) (a) Modal harmony, 16th century counterpoint; (b) the motet, cantata, and oratorio; (c) piano and voice. 302. THEORY VI. (3) (a) 20th century harmony and counterpoint; (b) the fantasy and free forms; (c) piano, voice, and woodwinds. 46
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