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Madeleine Carabo-Cone
Background information
Birth nameMadeline Coffman
Also known asMadeleine Carabo
Born(1913-06-02)June 2, 1913[a]
St. Louis, Missouri, USA[b][1]
DiedAugust 14, 1988(1988-08-14) (aged 75)
Westchester, New York, USA
GenresChamber Music
Occupation(s)
  • Musician
  • Music educator
Instrument(s)Violin
Years active1921-1985
Pronunciation⫽ˈkɛərəboʊ⫽ KAIR-ə-boh
Alma materJuilliard
Known forThe Carabo-Cone method of music teaching
SpouseHarold S. Cone (1944-1984)
Children2

Madeleine Carabo-Cone (born Madeline Coffman; 1913 – 1988) was an American violinist and music educator known for developing the sensory-motor approach to music education which bears her name. Her work continues to influence the way music is taught to preschool and elementary age children.[2]

She spent the first part of her childhood and early musical training in Pittsburgh, where she was recognized as a violin prodigy, giving her first performance at the age of five.[3] In 1927 her family moved to Chicago where she attended the American Conservatory of Music and won numerous awards.

Upon earning a scholarship to Juilliard and moving to New York City, she began using the professional name "Madeleine Carabo". After graduation, she joined the Cleveland Orchestra as their first female violinist in many years. Throughout the late 1930s and 1940s she performed as a soloist in prestigious venues both in the US and abroad, often showcasing modern American composers such as Cowell, Ives, Harris, and Kay.

After marrying and starting a family, her focus and passion turned to music education for young children. As Madeleine Carabo-Cone, she authored multiple books and articles on her novel approach. Giving demonstrations of her method, she was a frequent invited lecturer at schools and universities around the world, as well as a guest on popular television and radio shows.


Early Life and Musical Training as Madeline Coffman[edit]

Madeleine Carabo was born Madeline Coffman in 1913 to a Jewish immigrant family in St. Louis. Before emigration, her father's original family name had been Karabowsky, which became the inspiration for her stage name in later life.[4] When she was a year old, she and her family moved to Pittsburgh.[1]. There she studied violin under Max Shapiro, Ralph Lewando, and Adolph M. Foerster. When she was 14, her family moved to Chicago where she won a scholarship to study at the American Conservatory of Music and trained under Herbert Butler, Ludwig Becker and Mischa Mischakoff.

Pittsburgh (1915-1926)[edit]

Madeline Coffman, June 1921

Growing up in Pittsburgh she began studying violin under the tutelage of Max Shapiro.[5] Early on she was recognized as a musical prodigy.[6][7] As young as eleven, she was a frequent invited performer for public programs.[8][9][10]

She later trained under Ralph Lewando and noted composer Adolph M. Foerster.[11]

She attended Dilworth Elementary School, and after graduation was named one of the top five elementary-aged students in Allegheny County as determined by the mental tests given by the county Civic club.[12] At age 13 she was chosen as one of two delegates to represent her locality at the Pennsylvania State Federation of Music clubs. There she won the Curtis school scholarship to continue her education.[13][14] The article announcing her win praised her abilities:

The girl astounded those who attended the convention with her analysis of the Mendelssohn violin concerto In E minor, after generalizing which the girl took up her violin and illustrated many of her points by playing unaccompanied many of the passages from the work.

The youthful artist has played in Pittsburgh several times this season and is exceptionally talented. Her playing at the student recital given by Ralph Lewando in Carnegie Lecture hall last week was one of the brightest spots in the floor of spring recitals.

Chicago (1927-1936)[edit]

In 1927, she and her family moved to Chicago in order for her to join the American Conservatory Symphony Orchestra under Herbert Butler. On February 5, she was heard in recital at Kimball Hall along with other members of the Junior Ensemble.[15] She was one of three soloists during their December 12, 1927 performance at Orchestra Hall. Albert Goldberg of Musical America stated that she "displayed accuracy of technic and a lovely tone."[16][17]

In 1930, she won a scholarship prize entitling her to play with the Chicago Symphony Orchestra at its annual mid-winter concert in Orchestra Hall.[11][18] The performance was reviewed by Jeannette Cox for the Musical Courier:[19]

"The pupils who appeared won the honor after a contest in which they were selected by a board of prominent musicians not connected with the school. [...] Madeline Coffman, a young girl, played like a routined violinist the first movement of Mozart’s Concerto in D major."

By 1931 she had joined the Ludwig Becker studio and was a soloist for the symphony orchestra at the Columbia School of Music.[20] For the next two years she was a consistently featured soloist in their concerts[21][22], while also privately touring Chicago and Kenosha as a member of the "Chicago Trio."[23]

In October of 1934 she made her "debut violin recital" at Kimball Hall, and received plaudits from many reviewers.[24] Edward Moore of the Chicago Tribune wrote, "There are reasons for hoping for her future appearances, most of them based on the tone, the facility, and the style that she uncovered on this occasion."[25] March A. McLeod of Musical America stated, "Miss Coffman displayed a good musical foundation and a vigorous style."[26] René Devries writing for the Musical Courier said, "In a well chosen program she acquitted herself admirably and revealed herself a young artist with qualifications which should carry her far in her chosen field."[27]

Still at the American Conservatory, by the end of 1934 she had began studying under the renowned Mischa Mischakoff[28] She had also become well-enough known outside of Chicago to be invited back to Kenosha as a solo guest performer. Prior to the recital, she was promoted as "regarded by music critics as one of the most talented young violinists in America."[29] In a review following the concert, "The brilliance of her presentations" was noted, stating she was "possessed not only of recognized talent but also of a vivid and extremely charming personality which is strongly reflected in her renditions." [30]

In 1935, she won a $150 scholarship award for Jewish female violinists sponsored by the Alpha Delta Mu sorority.[31][32] Also that year she beat out 37 other string musicians to win the spring scholarship contest of the Chicago Woman's Musical club.[33] Winners of that award were presented in a special concert early the following year.[34] All through 1936 she continued performing as an invited soloist at events around the Chicago area and in the midwest.[35][36] At Bowling Green State University she was called a "brilliant young American violinist."[37]

Performance Career as Madeleine Carabo[edit]

It was announced in the fall of 1936 that she had won a graduate fellowship to the Juilliard School of Music on the recommendation of Frederick Stock.[38][39] While in New York, she began performing under the name "Madeleine Carabo." She performed as a soloist in venues such as Town Hall and Carnegie Hall until 1943, when she was hired by the Cleveland Orchestra as a member of their first violin section. While in Cleveland she met and married composer Harold S. Cone and subsequently moved back to New York City with him to restart her solo career.

New York Debut[edit]

In the fall of 1936, Madeline Coffman left Chicago to attend Juilliard, where she began studying under Benno Rabinof and Nathan Milstein.[38][40]

Soon thereafter, she decided to change her stage name to "Carabo." The new name had a personal connection to her. As she explained in a letter to her cousin, "I use the professional name of Cárabo which comes from my father’s (and your mother’s) original family name - Karabowsky."[4]

It was as Madeleine Carabo that she made her New York City debut in Town Hall on December 5, 1938.[41] The weeks before her debut included a series of local recitals for her supporters, including one where played the Booth Stradivarius on loan.[42] As explained by Alice Cambridge of the Daily Times:

The Booth Stradivarius which she played has an interesting history. It came into the possession of the Booth family in the middle of the 19th century, was later sold to a dealer in London, then came into the possession of the Havemeyer family and finally of Mischa Mischakoff, who was Miss Carabo's teacher.[43]

While her Mamaroneck supporters had been enthusiastic about her prelude performances (Alice Cambridge in the article above termed that one a "brilliant recital", and the same paper called a second one an "outstanding concert"[44]), the New York City critics were less thrilled with her debut. The Herald Tribune wrote:

Miss Carabo’s playing gave an impression of technical competence and dexterity. Her tone was of satisfactory volume and commendable quality, apart from occasional passages marked by incomplete clarity and some slight lapses from fidelity to pitch early in the concert. While the tonal timbre was likeable, her interpretations seemed at times more limited in color and expressive range than the music warranted, although there were measures when the performance was marked by a considerable increase in intensity and emotional persuasiveness.[45]

The New York Times was even more dismissive in its review, writing, "Although she listed a far-ranging program of works by Vitali, Vivaldi-Respighi, Schelling, Lalo and others, it served no better purpose than to reveal her palpable unreadiness for the serious test of a New York debut."[46]

Eighteen months later her performance at Carnegie Hall on May 1, 1940 was more positively received. This time the (unnamed) New York Times reviewer wrote:

Miss Carabo proved to be a serious and musicianly performer with a well-developed technique and a tone which, though small, was sensitive and sweet. Refinement and grace, rather than fire or power, were the outstanding characteristics of her carefully worked-out interpretations. Her playing was clean, nice in its sense of phrase and melodic line, and often charmingly colored.[47]

The reviewer for the Musical Courier said she "impressed as a serious and musicianly player,"[48] while the Herald Tribune noted she "brought pleasure through her discerning musicianship."[49]

Cleveland Orchestra (1943-1944)[edit]

In 1943, Carabo joined the Cleveland Orchestra. She was the first woman to be hired into its first violin section since since 1918.[c][50]

only the fourth woman ever in its first violin section

Discuss engagement to Harold Cone--see 1947 article about them

[51] [52] [53] [54]

Return to New York[edit]

Madeleine Carabo-Cone and her husband Harold Cone
Madeleine Carabo-Cone pictured holding her violin
Madeleine Carabo-Cone pictured playing the violin

She married Harold Cone (pull from extensive article on them from NC - he's a concert pianist, yadda yadda) They had two children. She continued to perform, just less frequently. (maybe add in the Robinson quote here about not practicing?)

Son born 1945

Carnegie Hall 1946, and encore performance

Interest in premiering/pioneering modern works

Daughter born 1947

Writing and Lecturing as Madeleine Carabo-Cone[edit]

In addition to her ongoing performance career, during the 1940s she began taking a serious interest in pedagogy, which would ultimately become her life's work.[55]

Phase 3: She got married and moved back to New York, where she began raising her family and developing her method of teaching music. She studied violin with Georges Enesco, Mischa Mischakoff and Adolfo Betti, and won both a Juilliard Graduate Fellowship Award and the Frederick Stock Award in Chicago.[56][57] 

and gave New York City’s first performances of works by Henry Cowell, Charles Ives, Roy Harris, and Aaron Copeland.[2]

As Madeleine Carabo-Cone, she performed in chamber music concerts alongside her concert pianist husband, Harold Cone. The duo performed extensively in both the and abroad. [1970]

played concerts at Carnegie Hall



"Mrs. Carabo-Cone Joins School Staff". Scarsdale Inquirer. 1958-01-17. p. 10. Retrieved 2022-04-12.

says when she moved to Scarsdale and gives ages of her kids.

"Symphony Guild Program March 16". Scarsdale Inquirer. 1959-03-06. p. 13. Retrieved 2022-04-12.

PIC gives good overview of her career so far - more details than most other sources

"County Symphony Elects to Board". Scarsdale Inquirer. 1959-05-29. p. 2. Retrieved 2022-04-12.

board position

"Children's Concerts Emphasized". Scarsdale Inquirer. 1959-10-23. p. 4. Retrieved 2022-04-12.

not useful

"Untitled". Scarsdale Inquirer. 1959-10-23. p. 15. Retrieved 2022-04-12.

PIC photo caption, not useful

"Reception Scheduled On Sunday". Scarsdale Inquirer. 1959-12-11. p. 19. Retrieved 2022-04-12.

PIC not super useful. book pub.

"Church News for the Week". Scarsdale Inquirer. 1960-06-07. p. 11. Retrieved 2022-04-12.

performance

"Cone To Be Guest Speaker With Symphony Of The Air". Scarsdale Inquirer. 1960-08-12. p. 9. Retrieved 2022-04-12.

more about Harold, but does explain his (and their) travels

"Sonata Recital Set Oct. 4 By Music Unit Friends". Scarsdale Inquirer. 1960-09-29. p. 18. Retrieved 2022-04-12.

PIC (need) similar listing of career as earlier article, but with maybe a couple of additions.

"Piano, Violin Recital Called 'Delightful'". Scarsdale Inquirer. 1960-10-13. p. 18. Retrieved 2022-04-12.

not so useful - performace review

"Cones Plan Reception On Friday". Scarsdale Inquirer. 1960-11-03. p. 11. Retrieved 2022-04-12.

not so useful - reception

"Cones To Have Reception After Concert-Ballet". Scarsdale Inquirer. 1960-12-08. p. 18. Retrieved 2022-04-12.

"She was formerly the only woman violinist of the Cleveland Symphony."

"Alumni news". The Juilliard Review. IX (1): 21. Winter 1961–62.{{cite journal}}: CS1 maint: date format (link)

"performed the entire cycle of Beethoven violin and piano sonatas with Sophie Feuermann" at Columbia University, Fall 1961.

"Friday Night Concert". Scarsdale Inquirer. 1963-01-31. p. 7. Retrieved 2022-04-12.

PICnot so useful.

"Violinist Featured As Soloist". Scarsdale Inquirer. 1963-01-31. p. 7. Retrieved 2022-04-12.

PIC not so useful. performance, boilerplate

"Village Appeal Mailed". Scarsdale Inquirer. 1963-04-25. p. 1. Retrieved 2022-04-12.

not relevant

"Untitled". Scarsdale Inquirer. 1964-02-20. p. 4. Retrieved 2022-04-12.

PIC interesting list of where she has guest lectured

"Music Section Opening Tea, Program Set". Scarsdale Inquirer. 1966-09-08. p. 10. Retrieved 2022-04-12.

not so useful. performance.

Morehouse, Rebecca (1969-01-12). "She Turns Children Into Musical Notes". The Pittsburgh Press. Roto Magazine.

hyping her method

"The Carabo Cone Method: Learn Music Through Play". Scarsdale Inquirer. 1969-02-20. p. 5. Retrieved 2022-04-12.

hyping her method

"Revolutionary Method of Teaching Music Developed By Scarsdale Resident". Scarsdale Inquirer. 1969-10-02. Retrieved 2022-04-12.

hyping her method, plus some details of what else she's been up to

"Carabo and Harold Cone Will Perform for Guild". Scarsdale Inquirer. 1970-01-08.

upcoming performance and accolades


The Carabo-Cone Method of Music Teaching[edit]

Further information: Music_education § Carabo-Cone_method
Madeleine Carabo-Cone demonstrating her method of teaching music

After several years of teaching music in Scarsdale NY, she developed the Carabo-Cone method which introduces children to the fundamentals of music through organized play activities. Her teaching philosophy was first articulated in her books How to Help Children Learn Music (1955) and The Playground as Music Teacher (1959)

As stated in Women and Music in America since 1900:

"Influenced by the learning theories of Jean Piaget and Jerome Bruner, the Carabo-Cone method allows for different learning styles by involving children in planned visual, tactile, and motor experiences. Reliance on sense perception more than on verbalization gives children from varying backgrounds an equal opportunity to learn. [...] The Carabo-Cone method became widely accepted, even by those who were unaware of its name or origin. Educators soon appropriated these ideas for music learning games and began to decorate their classrooms with icons that could help children become musically literate. Thus Carabo-Cone’s approach came to influence music teachers everywhere."[56]

By the time of her death in 1988, her books Concepts for Strings (1967) and A Sensory-Motor Approach to Music Learning (1969) were acclaimed by many pedagogues.[2]

Personal Life[edit]

She married pianist Harold Cone in 1944 and had two children.

Madeleine Carabo-Cone died on 14 August 1988 in Westchester, NY.

Nathan Milstein Carl Friedberg. _______________________________

Madeleine Carabo-Cone became known in the 1960s and 1970s through her workshops and writing and for her new approach to music education. Her influence on the way music is taught to preschool and elementary-age children is acknowledged less often.

Honors and Awards[edit]

Just dropping this here for now:


Appendices[edit]

Notable Performances[edit]

Notable Performances by Madeleine Carabo
Date Venue Program Notes Radio Broadcast
10 Feb 1930 Orchestra Hall, Chicago Madeline Coffman[58][59]
Guest soloist with the Chicago Symphony Orchestra under Adolf Weidig
Mozart - Concerto in D major
12 Oct 1934 Kimball Hall, Chicago Madeline Coffman[60]
Debut violin recital
Vitali - Chaconne
Bruch - Concerto in G Minor
5 Dec 1938 Town Hall, NYC Madeleine Carabo[61][62][63]
Debut New York Performance
Árpád Sándor, accompanist
Vitali - Chaconne
Vivaldi - Sonata in D (arr. Respighi)
Schelling - Concerto
Lalo - Symphonic Espagnole
Felman - A James Joyce Fantasy
Carabo - Ballerina
Szymanowski - Tarantella
1 May 1940 Carnegie Hall, NYC Madeleine Carabo[64]
Ernst Oster, accompanist
Bach - Partita No. 3 in E Major: Prelude (arr. Kreisler)
Kreisler - Chanson Louis XIII at Pavane in the style of Couperin
Kreisler - Praeludium and Allegro in the style of Pugnani
Beethoven - F major sonata, Op. 24
Vitali - Chaconne
Bloch - Baal Shem: Nigun ("Improvisation")
de Falla - Jota
de Falla - Danse Espagnole
Debussy - La fille aux cheveux de lin
Carabo - Ballerina
Scott - Lotus Land
Nováček - Perpetuum Mobile
1 Jun 1946 Carnegie Hall, NYC Madeleine Carabo and Vivien Harvey[65]
Copland - Sonata for Violin and Piano
Jacobi - Ballade
H. Cone - Prelude[d]
H. Cone - Chromatic Caprice[d]
E. Cone - Elegy[d]
Piston - Violin Sonata
2 Oct 1946 Carnegie Hall, NYC Madeleine Carabo and Vivien Harvey[66]
Encore performance of June 1946 recital
11 Nov 1946 Town Hall, NYC Madeleine Carabo, Harold S. Cone, and Carol Robinson[67]
Harris - Sonata[68][e]
I. Fantasy
II. Dance of Spring
III. Melody
Cone - Sonata for Violin and Piano[d]
Ives - Sonata No. 3 for Piano and Violin[69][f]
 WNYC: Nov 18, 9:00p[70]
16 Feb 1947 Brooklyn Museum, NYC Madeleine Carabo, Bernardo Segall, and Carol Robinson[71]
American Music Festival
Ives - Sonata No. 3 for Piano and Violin
 WNYC: Feb 16, 1:30p[72]
29 April 1948 Times Hall, NYC Madeleine Carabo and Carol Robinson[73]
Cowell - Sonata for violin and piano[e]
Kay - Sonatine
Hindemith - Sonata for solo violin, Op. 31, No. 2
Stravinsky - Elegie for solo violin
H. Cone - Chromatic Caprice
Ives - Sonata No. 3 for Piano and Violin
Harris - Sonata: IV. Toccata[e]
 WNYC: Mar 21, 5:30p[74]
League of Composers Program:
Cowell Sonata, radio premiere[75]
12 Jun 1949 Brooklyn Museum, NYC Madeleine Carabo and Beatrice Royt[76]
Bach - Violin Sonata in E Major
Debussy - Sonata for violin and piano
Hindemith - Sonata for solo violin, Op. 31, No. 2
Gluck - Melodie (arr. Kreisler)
de Falla - Jota
Ravel - Vocalise-étude en forme de habanera
Harris - Sonata: IV. Toccata
 WNYC: Jun 12, 2:00p[77]
14 May 1960 Carnegie Hall, NYC Madeleine Carabo-Cone[78]
David Garvey, accompanist
Vitali - Chaconne
Franck - Violin Sonata
Brahms - Violin Sonata No. 3 in D Minor, Op. 108
Bloch - Baal Shem: Nigun ("Improvisation")
Debussy - La fille aux cheveux de lin
Ravel - Vocalise-étude en forme de habanera
de Falla - Danse espagnole
22 Nov 1961 Wollman Auditorium, NYC Madeleine Carabo-Cone and Sophie Feuermann[79]
Entire cycle of Beethoven violin and piano sonatas (part 1).
 WKCR: Nov 22, 8:30p (live)[80]
6 Dec 1961 Wollman Auditorium, NYC Madeleine Carabo-Cone and Sophie Feuermann
Entire cycle of Beethoven violin and piano sonatas (part 2)
#5: Op. 24 in F "Spring"
#6: Op. 30, No. 1 in A
#7: Op. 30, No. 2 in C minor
 WKCR: Dec 06, 8:30p (live)[81]
13 Dec 1961 Wollman Auditorium, NYC Madeleine Carabo-Cone and Sophie Feuermann
Entire cycle of Beethoven violin and piano sonatas (part 3)
#8: Op. 30, No. 3 in G
#9: Op. 47 in A "Kreutzer"
#10: Op. 96 in G
 WKCR: Dec 14, 8:30p (live)[82]
8 Jun 1963 Carnegie Hall, NYC Harold Cone and Madeleine Carabo-Cone[83]
Handel - Sonata for Violin and Continuo in D Major
Brahms - Violin Sonata No. 3 in D Minor, Op. 108
Debussy - Violin Sonata in G Minor
Prokofiev - Violin Sonata in D Major, Op. 94bis
18 Mar 1964 Wollman Auditorium, NYC Harold Cone and Madeleine Carabo-Cone
Bach
Mozart
Debussy
Prokofiev
 WKCR: Mar 18, 8:30p (live)
1 Jun 1970 Wigmore Hall, London Madeleine Carabo-Cone and Ronald Lumsden[84]
Cowell - Sonata for violin and piano
Copland - Sonata for Violin and Piano
Ives - Sonata No. 3 for Piano and Violin
Harris - Sonata: IV. Toccata
  • Text ad with "CARABO" in large letters.
    1938: Advertisement for New York debut concert at Town Hall. Clipping from the Brooklyn Daily Eagle.
  • Flyer for concert at Carnegie Hall, May 1, 1940, with promotional headshot of Madeleine Carabo in the top left corner, her name in large letters next to it, and program details and ticket prices below.
    1940: Event flyer for concert at Carnegie Hall.
  • Program for recital at Times Hall, April 29, 1948, with promotional headshot of Madeleine Carabo in the top left corner, her name and Robinson's name in large letters next to it, and program details below.
    1948: Event program for recital at Times Hall.
Concert Programs and Print Advertisements

Publications[edit]

Books[edit]

  • How to help children learn music (1955) co-written with Beatrice Royt
  • Fingerboard ear-training: a new approach to strings (1956)
  • The playground as music teacher; an introduction to music through games (1959)
  • The Carabo-Cone method in action (1965)
  • Carabo-Cone concepts for strings; violin, viola, cello (1967)
  • A sensory-motor approach to music learning (1969)

Articles[edit]

  • "[ProQuest 1290823060 Jumping into Music Education]" (1967-02-01). Music Journal. 25 (2): 26–27, 63–64.
  • "[ProQuest 1290848073 Learning How to Learn: A Sensory-Motor Approach]" (1973-01-01). Music Journal. 31 (1): 16–17, 63.
  • "From the Beginning" (May 1978). American string teacher. 28 (2): 24–25.
  • "Therapies" (November 1979). American string teacher. 29 (4): 16–17.
  • "Fingerboard Interval Charts: A New Look" (November 1982). American string teacher. 32 (4): 10–14.

Reviews of her Publications[edit]

Nordholm, Harriet (1955-10-01). "REVIEW - How to Help Children Learn Music. By Madeline Carabo-Cone and Beatrice Royt". Journal of Research in Music Education. 3 (2). Reston, Virginia: MENC: National Association for Music Education: 158. doi:10.2307/3343642. JSTOR 3343642. S2CID 146313407.

  • feels like the methods could work for a creative teacher, but wouldn't be helpful to average teachers

Cunningham, Virginia (1955-03-01). "REVIEW - How to Help Children Learn Music. By Madeline Carabo-Cone and Beatrice Royt". Notes. 12 (2): 239–240. doi:10.2307/891962. JSTOR 891962.

  • "Ingenious"


Broadcast Interviews[edit]

While promoting her teaching methods she gave interviews on various television talk shows, including three appearances on the Mike Douglas Show and an interview with Lee Graham for WNYC.[85][86]

Television Appearances[edit]

  • Virginia Graham's Girl Talk (Sep 27, 1967)
Guests: Anita Gillette, Rita Moreno, Madeleine Carabo-Cone[87]
  • Mike Douglas Show (June 2, 1969)
Guests: Don Rickles, Bobby Vinton, Lillian Hayman, Madeleine Carabo-Cone[88]
  • Lee Graham Interviews (Feb 16, 1970)
9:30am Channel 31[86]
  • Mike Douglas Show (April 9, 1970)
Guests: Vivian Vance, Robert Hooks, Richard Deacon, Madeline Carabo-Cone[89][90]
  • Mike Douglas Show (July 30, 1971)
Guests: Jim Backus, Henny Backus, Charles Schroeder, Madeleine Carabo-Cone[91]
  • Viewpoint Music: A Conversation with Madeleine Carabo Cone (Feb 21 & 27, 1972)
A series of programs produced by the Mississippi Center for Educational Television[92]

Radio Interviews[edit]

1955 https://www.newspapers.com/clip/100456330/

  • Psychologically Speaking: Mrs. Lee R. Steiner, moderator
“How to Help Children Learn Music,” Madeleine Carabo-Cone, Beatrice Royt, Joseph Longstretch[93]
Aug 23, 1956 (WEVD)
  • Profiles
Madeleine Carabo-Cone, guest of Marian Horosko[94]
Feb 25, 1965 (WNCN)
  • Casper Citron Interview
Madeleine Carabo-Cone; Gerald Astor and Thomas Barry of Look Magazine[95]
Jun 11, 1968 (WRFM)
  • Mike Wallace: Personal Close-Up
Madeline Carabo-Cone on her new method of teaching youngsters and the role mothers can play to inspire children with love of music.[96]
Jun 12, 1968 (WSOY-AM)
  • Bernard Gabriel Views the Music Scene
Madeleine Carabo-Cone on the topic of testing for musical talent[97]
Jan 26, 1974 (WSIE)
  • Special Report. Richard Pyatt
Madeleine Carabo-Cone, educator[98]
Oct 11, 1976 (WNYC-AM)

Notes[edit]

  1. ^ Recent publications give her year of birth as either 1915 or 1916. However, articles published about her in 1923 state that she was 11 then, and another published in 1926 states that she was 13 at that time.
  2. ^ Sources published during her lifetime all agree she was born in St. Louis, including the cited interview with the St. Louis Post-Dispatch. However Women and Music in America since 1900 claims she was born in Scarsdale, NY, and The Grove Dictionary of American Music claims she was born in Paris.
  3. ^ Previous women in the first violin section of the Cleveland Orchestra were: Muriel Abbott 1918-1919, Margaret Carhart 1918-1919, Mabelle Farrar 1918-1922.
  4. ^ a b c d World premiere performance
  5. ^ a b c New York premiere performance
  6. ^ Billed as the "First New York Performance," unaware that the work had been performed once before at Carnegie Hall in 1917
Cite error: A list-defined reference has no name (see the help page).

References[edit]

Goss, Glenda Dawn (1993). Music and the Moderns: The Life and Works of Carol Robinson. Metuchen, NJ: Scarecrow Press. ISBN 978-0810826267.

  1. ^ a b Kimbrough, Mary (1956-04-16). "She Made Learning Music Into Games: St. Louis-born Madeleine Carabo-Cone Devised System to Interest Daughter". St. Louis Post-Dispatch. p. 36. Born Madeleine Coffman, appearing professionally as Madeleine Carabo ... She left St. Louis with her parents, Mr. and Mrs. Charles Coffman, when she was only a year old.
  2. ^ a b c "In Memoriam: Madeleine Carabo-Cone". American String Teacher. 39 (2): 19. 1989-05-01. doi:10.1177/000313138903900207. S2CID 220430739.
  3. ^ Ellis, Susan (1965-11-04). "Musician Teaches by Playing Games". The Pittsburgh Press. p. 24.
  4. ^ a b — (1969-06-13). "Asking about your daughter's wedding". Letter to Manuel, her cousin.
  5. ^ "Music and Musicians - Madeline Coffman". The Pittsburgh Press. 1921-06-12. p. 52.
  6. ^ "Society News - Children's Aid". The Pittsburgh Press. 1924-01-24. p. 23.
  7. ^ "Noted Attorney to Address JCRS Auxiliary". The Daily Times. Mamaroneck, New York. 1939-02-23. p. 6.
  8. ^ "Club News - Rodef Shalom Sisterhood". Pittsburgh Daily Post. 1923-12-06. p. 11.
  9. ^ "Concert at Seton Hill". Pittsburgh Post-Gazette. 1924-04-24. p. 8.
  10. ^ "Organ Recitals". The Pittsburgh Press. 1924-06-08. p. 49.
  11. ^ a b "Studied Music Here - Winner of Contest to Play With Chicago Orchestra". The Pittsburgh Press. 1930-02-02. p. 71.
  12. ^ "Civic Club Announce Winning Pupils In Youth's Mental Test". The Pittsburgh Press. 1925-01-25. p. 67.
  13. ^ "M'Dowell Club Juniors". Pittsburgh Post-Gazette. 1926-03-14. p. 47.
  14. ^ "Pittsburgh Girl Wins Curtis Scholarship". The Pittsburgh Press. Pittsburgh, PA. 1926-05-23. p. 62.
  15. ^ "In Chicago Studios". Musical America. 45 (18): 31. 1927-02-19.
  16. ^ "Recitals and Concerts". Chicago Tribune. 1927-12-11. p. 46.
  17. ^ Goldberg, Albert (1928-01-07). "Orchestras and Opera in Chicago". Musical America. 47 (12): 17.
  18. ^ "Former Pittsburgh Girl Wins Prize". Pittsburgh Post-Gazette. 1930-02-08. p. 13.
  19. ^ Cox, Jeannette (1930-02-10). "Chicago Hears and Enjoys a Host of Recitalists". Musical Courier. 100 (8): 30.
  20. ^ Cox, Jeannette (1931-04-11). "Musical News in Chicago: Columbia School Symphony Orchestra". Musical Courier. 102 (5): 36.
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  23. ^ "Mrs. Bradford Makes Tribute". Kenosha News. 1932-12-22. p. 4.
  24. ^ "News of Interest to Lovers of Music". Chicago Tribune. 1934-10-07. p. 66.
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  26. ^ McLeod, March (1934-10-25). "San Carlo Forces Close Chicago List with Record of Full Houses". Musical America. 54 (16): 23.
  27. ^ Devries, René (1934-10-27). "Harry Zelzer Presents Young Violinist". Musical Courier. 109 (7): 20.
  28. ^ Devries, René (1934-12-08). "Reuter Pupils at American Conservatory". Musical Courier. 109 (13): 13.
  29. ^ "Chicago Violinist Will Give Recital at Woman's Club". Kenosha News. Wisconsin. 1934-12-04. p. 4.
  30. ^ "Talented Chicago Violinist Gives Program in City". Kenosha News. Wisconsin. 1934-12-06. p. 4.
  31. ^ "Violin Contest Award Is $150 Scholarship". Chicago Tribune. 1935-09-01. p. 25.
  32. ^ Devries, René (1935-10-19). "American Conservatory Notes". Musical Courier. 111 (7): 15.
  33. ^ "Symphony Will Open Its 45th Season Oct. 17". Chicago Tribune. 1935-06-23. p. 70.
  34. ^ "Concert to Be Presented by Award Winners". Chicago Tribune. 1935-12-29. p. 63.
  35. ^ "Friends of Music of Chicago". The Sentinel. CI (10): 19. 1936-03-12.
  36. ^ "Carpenter Is Given Honor Music Degree". Chicago Tribune. 1936-06-17. p. 19.
  37. ^ "Artists Perform In Chapel Today". Bee Gee News. 20 (43): 1. 1936-07-29.
  38. ^ a b "Highland Park Club to hear South Side Artist in Recital". Scrapbook #37 JGS Students: Bo-C, 1927-1946 (scrapbook). The Juilliard School. p. 303. 1936. The notation above the pasted clipping claims it was published in the Chicago Tribune on 9/20/36, but no such article is found in the Tribune archives.
  39. ^ Devries, René (1936-11-07). "American Conservatory Notes". Musical Courier. 114 (9): 14.
  40. ^ "Highland Park Club's Protege to Give Concert". Scrapbook #5 IMA Book 3a, 1937-1939 (scrapbook). The Juilliard School. p. 103. 1937. The notation above the pasted clipping claims it was published in the Chicago Tribune on 9/19/37, but no such article is found in the Tribune archives
  41. ^ "Music Notes". The Pittsburgh Press. 1938-12-04. p. 58.
  42. ^ "Stradivarius To Be Played By Musician". The Daily Times. Mamaroneck, NY. 1938-11-21. p. 2.
  43. ^ Cambridge, Alice (1938-11-23). "Madeleine Carabo, Violinist, Presents Brilliant Recital". The Daily Times. Mamaroneck, NY. p. 2.
  44. ^ "Madeleine Carabo, Violinist, Presents Outstanding Concert". The Daily Times. Mamaroneck, NY. 1938-11-30. p. 2.
  45. ^ F.D.P. (1938-12-06). "Madeleine Carabo Gives First Violin Recital Here: Plays Schelling's Concerto and 2 Other American Works". New York Herald Tribune. p. 21. ProQuest 1255909093.
  46. ^ G.G. (1938-12-06). "Recital by Madeleine Carabo". New York Times. p. 28. ProQuest 102456538.
  47. ^ "Madeleine Carabo's Recital". New York Times. 1940-05-02. p. 32. ProQuest 105330765.
  48. ^ "Madeleine Carabo Returns". Musical Courier. 121 (10): 17. 1940-05-05.
  49. ^ "Madeleine Carabo in Recital". New York Herald Tribune. 1940-05-02. p. 17. ProQuest 1263806513.
  50. ^ "Engagements". Chicago Tribune. 1944-04-13. p. 16.
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  54. ^ {{cite journal}}: Empty citation (help)
  55. ^ Gunning, Eugene (September 1940). "Studio Sketches". The Musician. 44–45: 159.
  56. ^ a b Burns, Kristine H., ed. (2002-12-30). "Carabo-Cone, Madeleine". Women and Music in America since 1900: An Encyclopedia. Greenwood. ISBN 978-1573562676. Incorrectly gives place of birth as Scarsdale, NY
  57. ^ "Revolutionary Method of Teaching Music Developed By Scarsdale Resident". Scarsdale Inquirer. 1969-10-02. Retrieved 2022-04-12.
  58. ^ "Winner of Contest to Play With Chicago Orchestra". The Pittsburgh Press. Pittsburgh, PA. 1930-02-02. p. 71.
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  61. ^ "Music Notes". The Pittsburgh Press. 1938-12-04. p. 58.
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  63. ^ "Programs Of The Week". New York Times. 1938-12-04. p. X10. ProQuest 102467006.
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  74. ^ "Radio Programs for the Week". New York Herald Tribune. 1948-03-21. p. C7. ProQuest 1324154013.
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  79. ^ "Scarsdale 2 In Concerts at Wollman". The Daily Times. Mamaroneck, NY. 1961-11-09. p. 3.
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  84. ^ Harrison, Max (August 1970). "Music in London - Recitals - Carabo-Cone". The Musical Times. 111 (1530): 819. JSTOR 955345.
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  86. ^ a b "Television". New York Times. 1970-02-16. p. 75. ProQuest 118827631.
  87. ^ "Complete Television Programs on the Airwaves". The Philadelphia Inquirer. 1967-09-27. p. 16.
  88. ^ "Complete Television Programs for Monday". Pittsburgh Post-Gazette. 1969-06-02. p. 37.
  89. ^ "Thursday Selections". Cleveland Plain Dealer. 1970-04-09. p. 2D.
  90. ^ "Thursday's Television Highlights". Longview Daily News. 1970-04-11. p. 8.
  91. ^ "Television Listings for Friday Viewing". Philadelphia Inquirer. 1971-07-30. p. 17.
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General References[edit]

Encyclopedia Entries[edit]

incorrectly lists date of birth as 1915
  • "Carabo-Cone, Madeleine". Who’s Who in the East and Eastern Canada, Volume 6. Larkin, Roosevelt & Larkin. 1957. p. 134.
incorrectly lists date of birth as 1916
  • Livingston, Carolyn (2002). "Carabo-Cone, Madeleine". In Burns, Kristine H. (ed.). Women and Music in America since 1900: An Encyclopedia. Greenwood. ISBN 978-1573562676.
incorrectly lists date of birth as 1915 and place of birth as Scarsdale, NY
incorrectly lists date of birth as 1916 and place of birth as Paris

Books[edit]

  • Mark, Michael L. (1986). Contemporary music education (2nd ed.). New York: Schirmer Books. ISBN 9780028712208.
pp 46, 112, 172-178. Mentions her method, and the devotes 5 pages to describing it. Seems like direct excerpts from her book "A sensory-motor approach to music learning"? Doesn't talk about her at all, just her method
cites Carabo-Cone's mention in Mark (1986), saying, "She is the only woman to receive such extensive coverage in this history." incorrectly lists place of birth as Scarsdale, NY
  • Tabuena, Almighty C. (2021-03-03). "Carabo-Cone, Dalcroze, Kodály, and Orff Schulwerk Methods: An Explanatory Synthesis of Teaching Strategies in Music Education". International Journal of Asian Education. 2 (1): 9–16. doi:10.46966/ijae.v2i1.88. S2CID 232109411.
incorrectly states she was born in France

Archives and Collections[edit]





XXXXX[edit]

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