Word: missing
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Dates: during 1960-1969
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Years of playing have not overcome all of Miss Vosgerchian's reserve, despite her usual ebulliance. Monday lectures in Music 51 still make her nervous, she says. And when she last played at Dartmouth's Hopkins Center, "You know they wanted so many interviews and photographs!" She makes a face...
MUSIC 51 is run on one apparent principle: that practical facility is as important as theory. Each student accordingly has two small keyboard sections after the Monday lecture. Miss Vosgerchian believes that to "understand" a technique of harmony means little. The mind and ear must be drilled until they can handle it facilely. Only then is a student inclined not to settle for the first harmonization he thinks of. He will be able to choose the best of several...
...pushing each student to try the uncomfortable, unorthodox use of a technique that Miss Vosgerchian's vehemence has brilliance. She sits by a student's shoulder at the piano, questioning, wheedling, soothing, demanding that he try an exercise one more way. "You don't think I'm going to let you be comfortable, do you?" she said to a student. "All you can do is to be up against something and use it for what it offers...
...Miss Vosgerchian doesn't exaggerate what can be taught in composition. The technique is explained, the enthusiasm encouraged, but the student must adapt them for his own purposes. "I'll never forget a student of mine," she says. "He had certain disagreements with what I said, but during each lesson he would say nothing. Yet when he came back, the next week, I could tell exactly what he had rejected...
...Such intelligence!" she says. 'He didn't bother to argue, but he kept what he thought was good." Miss Vosgerchian's vehemence is meant to offer a student ideas, not impose them. Beneath an exaggerated manner is a modesty of purpose...