Juilliard School (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Juilliard School" in English language version.

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  • Damrosch visited several European conservatories to learn about their pedagogy and administration and observed that many lacked discipline or unified instruction. Damrosch wanted to form a school that trained musicians in the technicalities of their instruments and provided a comprehensive musical education with mandatory courses. Gottlieb, Jane (September 1999). "The Juilliard School Library and Its Special Collections". Music Library Association. 56 (1): 12. doi:10.2307/900470. JSTOR 900470. Retrieved January 24, 2023.
  • The general mandate was "to give the student an awareness of the dynamic nature of the materials of music." The quality and degree of each student's education in harmony, music history, or ear training depended on how each composer-teacher decided to interpret this mandate. In the first couple of years, students from all musical backgrounds would study together and obtain a general survey of music materials and literature. Later years would focus on the literature specific to one's musical instrument or area of study. Schuman, William (April 1948). "On Teaching the Literature and Materials of Music". The Musical Quarterly. 34 (2). Oxford University Press: 155–168. doi:10.1093/mq/XXXIV.2.155. JSTOR 739302. Retrieved January 27, 2023.
  • Gottlieb, Jane (September 1999). "The Juilliard School Library and Its Special Collections". Music Library Association. 56 (1): 11–26. doi:10.2307/900470. JSTOR 900470. Retrieved January 13, 2023.

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  • Damrosch visited several European conservatories to learn about their pedagogy and administration and observed that many lacked discipline or unified instruction. Damrosch wanted to form a school that trained musicians in the technicalities of their instruments and provided a comprehensive musical education with mandatory courses. Gottlieb, Jane (September 1999). "The Juilliard School Library and Its Special Collections". Music Library Association. 56 (1): 12. doi:10.2307/900470. JSTOR 900470. Retrieved January 24, 2023.
  • The general mandate was "to give the student an awareness of the dynamic nature of the materials of music." The quality and degree of each student's education in harmony, music history, or ear training depended on how each composer-teacher decided to interpret this mandate. In the first couple of years, students from all musical backgrounds would study together and obtain a general survey of music materials and literature. Later years would focus on the literature specific to one's musical instrument or area of study. Schuman, William (April 1948). "On Teaching the Literature and Materials of Music". The Musical Quarterly. 34 (2). Oxford University Press: 155–168. doi:10.1093/mq/XXXIV.2.155. JSTOR 739302. Retrieved January 27, 2023.
  • Dahmus, Jeni (Spring–Fall 2001). "The Juilliard School Archives, New York". Music in Art. 26 (1/2): 163–172. JSTOR 41818673. Retrieved February 7, 2023.
  • Gottlieb, Jane (September 1999). "The Juilliard School Library and Its Special Collections". Music Library Association. 56 (1): 11–26. doi:10.2307/900470. JSTOR 900470. Retrieved January 13, 2023.

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  • Mennin additionally started the American Opera Center, Conductors' Training Program, Contemporary Music Festival, Playwrights' Program and the Theater Center. Mennin brought several notable composers to teach at Juilliard, including Roger Sessions, Elliott Carter and David Diamond. "Peter Mennin". The Kennedy Center. Retrieved January 31, 2023.
  • "Keith David". Kennedy Center. Retrieved January 10, 2023.

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  • "The Juilliard School". Middle States Commission of Higher Education. Retrieved March 4, 2023.
  • "The Juilliard School". Middle States Commission on Higher Education. Retrieved March 4, 2023.

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  • "Organs". NYC Organs. Retrieved January 16, 2023.

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  • "Mancini". Pennsylvania Center for the Book. Retrieved January 13, 2023.

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  • The Juilliard Graduate School's first faculty members included well-known individuals like Ernst von Dohnányi, George Enescu, Rubin Goldmark, Paul Kochanski, Josef Lhevinne, César Thomson, Felix Salmond, Olga Samaroff and Marcella Sembrich. The school only offered fellowships to select students. However, it did not have a charter until 1930 and was not officially a graduate school. Further, the press heavily criticized the Juilliard Musical Foundation and Eugene Noble for mismanagement of its large endowment, arbitrary policies, and excessive interference in the school. Olmstead, Andrea (1999). Juilliard: A History. University of Illinois Press. pp. 58–95. "Music: Charges". Time. October 11, 1926. Retrieved January 26, 2023.

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