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Show School of the Divine Art STUDY in Europe if you will, but study in Utah first. Consider the Utah Conservatory of Music, an institution which is doing yeoman service in keeping up to its already high standard Utah's reputation as a state of musical genius. Artists of thorough training, known ability and extensive training are at the service of all who seek fame through music in the Conservatory. The reputation of this institution has long since spread outside the state and has come to be ranked with the best conservatories con-servatories in the country. It is no exaggeration to say that The Utah Conservatory of Music was organized to advance musical art, to encourage and develop talent, to provide greater opportunities and facilities tin a more economical basis for instruction in all branches of music to establish and maintain an Institution which will afford af-ford the student every advantage heretoTore only obtainable elsewhere. The leading members of the faculty of the new school are as follows: John J. McClellan, dean, director piano department, organist of Mormon Tabernacle, graduate University of Michigan School of Music; pupil of Jonas Scharwenka and Jedliczka in Berlin; musical director Salt lake Symphony orchestra, Salt Lake Opera company, Salt Lake Choral society, and Hotel Utah. Has occupied at different dif-ferent periods, position of professor of music at University of Utah, Brig-ham Brig-ham Young University and L. D. S. University; soloist at Portland, St. Louis, Buffalo and Jamestown expositions, exposi-tions, and Denver's first musical festival; festi-val; composer of "National Ode to Irrigation." Thomas Giles, director of department depart-ment of musical history and harmonic analysis; student for six years of Maurice Aronson and Godowsky, Berlin Ber-lin and Vinna; student of harmony, counterpoint and composition under Edgar Stillman-Kelley; student analy-zatlon analy-zatlon and acoustics under Madame Jesse Stillman-Kelley, Berlin and Paris. C. F. Stayner, director of department depart-ment of theory and composition, studied stud-ied piano, violin, theory of music and orchestral conducting at the New England Eng-land conservatory and with private techers at Boston; piano with Mr William H. Sherwood at the Chicago Chicago Conservatory of Music; violin with Mr. Henry Hahn at Philadelphia, and voice with Prof. Kelcher (pupil of Garcia) at San Francisco. Willard E. Welhe, director of violin department and school of orchestral playing, protege of Ole Bull; pupil" of Vieuxtemps at the Royal Conservatory of Music, Brussels, and of De Ahna, Hochschule, Berlin; soloist at the Chicago, San Francisco, Portland and Jamestown expositions; director Or-pheum Or-pheum orchestra. Alfred Best, director of vocal department de-partment and school of opera, stutlent of volbe under George Ferguson, Berlin; Ber-lin; Dr. Frank G. Dossert, New York; Kapellmolstor Carl Mueller, Bayrouth and Berlin; instructor of music University Uni-versity of Utah, 1901-2-3; tenor with Savage English Grand Opera company, com-pany, 1905-06; soloist Denver music festival, 1902; soloist Royal Harmonle society, Antwerp, 1910, and OsTende Kursaal, Belgium, 1910. The people of Utah, much to their credit, are music-loving and spend much in time and money to encourage encour-age the divine art. The fame of our-vocalists, our-vocalists, composers and instrumental performers has given Utah preeminence preemi-nence in the music circles of our country. The names of those who have received recognition abroad are perhaps more numerous than those of any other state in the Union with similar sim-ilar population. In the fact of this probability, no other state, In an organized or-ganized effort, has done so little for "her own as Utah. Individually our artists are the peers of any; some have been called to the music centers of Europe, others to critical Boston as teachers and performers, while others have received national recognition recogni-tion as composers and authors. In the going of so many of our best trained artists we have lost to the great advantage of others. There is another consideration too much time and money have been wasted and great Inconvenience suffered by students stu-dents whose ambitions to avail them selves of greater facilities than a private studio can afford are compelled com-pelled to go abroad and perchance study with a Utahn elsewhere. A school of music honestly founded, found-ed, with an ambition to promise' the highest and noblest in art, Is surely the 'most efficient medium to the accomplishment ac-complishment of the desired purpose. |