New-York tribune., 1905-07-23

| the Betty Loeb Memorial Fund to which al
fusion made several times in this journal
last spring. The school is TO be called The In
stitute OF Musical Art of the City of New-York" !"
and its officers are Cornelius c. Cuyler presi-
dent; Edward D. Adams first vice-president;
James Loeb Ghe founder) second ice-president
Charles O. Brewster secretary: Paul NJ Wal
burg, treasurer; Frank Damrosch director
Louis z. Berger register, ana Charles o. Brew
ster, James Loeb Eliot Norton, Edwin T. Rice,
Paul N. Warburg, Frank Damrosch, Arthur c.
James, Louis B. McCagg, John Notman, Isaac
y. Seligman, Edward D. Adams. Cornelius c.
Cuyler, Elkan Naumburg, Samuel s. Sanford,
and Rudolph e. Schirmer, trustees. The faculty,
so far as constituted. consists of the following
teachers: Voice culture, Nine. Etelka Gerster,
Mime. Hess Burr, Georg HenSchel and Alfred Cir
audet; pianoforte, Sigismund Stoiowski; stringed
instruments the members of the Kneisel Quar-
tet viz: Franz Kneisel, Louis Svecenski, Julius
Won Theodorowcz and Alvin Schroeder; theory
and composition. DR.. Percy Goetschius and
Louis Victor Saar: wind instruments. George
BarT6re (fiute) Caesare Addimando (opoe), Herr
mann Hand French horn. A. Tilken drom-
bone). Adolphe Dubois (trumpeD. Leon Leroy
(clarinet). Auguste Mesnard (bassoon). OF these
a few words presently.
The following paragraphs are taken from
the prospectus:
Simply stated the objects Of the institute are
10 advance the art Of music b. providing for
students the highest class Of musical instruc-
tion IN all its brencheE-practicaI. theoretical.
aesthetic; 10 encourage eudeavor, reward ex-
CellGgca. and generally to promote knowledge
and appreciation of the art ia the community.
Musical culture has made enormous strides
in America during the last quarter OF a CEN
tury especially IN the larger cities. Oppor-
tunites for study have grown extensively. but
there is suu need Oe that kind of instruction
and influence which looks 10 the production of
trUe musicianship. comprehensive IN scope.
thorough in character. high in aim. There are
many good teachers of special subjects in our
country. and schools which offer excellent in
strGction in some departments Of the art But
the study Of an instrument or the cultivation
OF the voice cannot alone produce well
rounded professional musician. that type Of
music lover upon whom. ultimately. public
musical culture. with its refining influence and
the advancement Of high ideals depend
-Four things are essential To a school Of music
standards: The faculty must consist of teach
eIs OF the highest ability and sincerity, each
specialist in his department. and also grounded
VA the principles uf pedagOgics; every student
must pursue course Of study irteiIigently de-
sigI ed and adapted To his needs. Founders
directors and teachers must he beyond the sway
OF merely merCenary consdera tons: the en-
yironment Of the school must be such as 10
afford contact with high manifestations of the
art, so that ambition may be stimulated tuds-
ment directed ana sreaded. good taste culti-
waited and Industry and zeal inspired and re-
warded
Provision has been made 20 give students
those advantages which constitute the atmo-
sphere widely and properly urged as precious
in the music schools Of Europe The students
are 10 hear lectures on subjects related 70
many different branches OF the art ss well as
on its history and aesthetics. frequent recitals
and concerts are TO be given i'm the Institute
Hall by the pupils themselves. that they may
acquire the experience necessary in the pur-