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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.

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. 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= 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. When she was a year old, she and her family moved to Pittsburgh. . 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)
Growing up in Pittsburgh she began studying violin under the tutelage of Max Shapiro. Early on she was recognized as a musical prodigy. As young as eleven, she was a frequent invited performer for public programs.

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

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. 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. 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)
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. 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."

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. The performance was reviewed by Jeannette Cox for the Musical Courier: "'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. For the next two years she was a consistently featured soloist in their concerts, while also privately touring Chicago and Kenosha as a member of the "Chicago Trio."

In October of 1934 she made her "debut violin recital" at Kimball Hall, and received plaudits from many reviewers. 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." March A. McLeod of Musical America stated, "Miss Coffman displayed a good musical foundation and a vigorous style." 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."

Still at the American Conservatory, by the end of 1934 she had began studying under the renowned Mischa Mischakoff 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." 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."

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

=Performance Career as Madeleine Carabo= 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. 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
In the fall of 1936, Madeline Coffman left Chicago to attend Juilliard, where she began studying under Benno Rabinof and Nathan Milstein.

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."

It was as Madeleine Carabo that she made her New York City debut in Town Hall on December 5, 1938. The weeks before her debut included a series of local recitals for her supporters, including one where played the Booth Stradivarius on loan. 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."

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" ), 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."

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."

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."

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

Cleveland Orchestra (1943-1944)
In 1943, Carabo joined the Cleveland Orchestra. She was the first woman to be hired into its first violin section since since 1918.

only the fourth woman ever in its first violin section

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

Return to New York
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=

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.

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.

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

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


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


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


 * board position


 * not useful


 * PIC photo caption, not useful


 * PIC not super useful. book pub.


 * performance


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


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


 * not so useful - performace review


 * not so useful - reception


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


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


 * PICnot so useful.


 * PIC not so useful. performance, boilerplate


 * not relevant


 * PIC interesting list of where she has guest lectured


 * not so useful. performance.


 * hyping her method


 * hyping her method


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


 * upcoming performance and accolades

The Carabo-Cone Method of Music Teaching
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.'"

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.

=Personal Life= 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=

Just dropping this here for now:

=Appendices=

Books

 * 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

 * "[ Jumping into Music Education]" (1967-02-01). Music Journal. 25 (2): 26–27, 63–64.
 * "[ 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

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


 * "Ingenious"

Broadcast Interviews
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.

Television Appearances

 * Virginia Graham's Girl Talk (Sep 27, 1967)
 * Guests: Anita Gillette, Rita Moreno, Madeleine Carabo-Cone


 * Mike Douglas Show (June 2, 1969)
 * Guests: Don Rickles, Bobby Vinton, Lillian Hayman, Madeleine Carabo-Cone


 * Lee Graham Interviews (Feb 16, 1970)
 * 9:30am Channel 31


 * Mike Douglas Show (April 9, 1970)
 * Guests: Vivian Vance, Robert Hooks, Richard Deacon, Madeline Carabo-Cone


 * Mike Douglas Show (July 30, 1971)
 * Guests: Jim Backus, Henny Backus, Charles Schroeder, Madeleine Carabo-Cone


 * Viewpoint Music: A Conversation with Madeleine Carabo Cone (Feb 21 & 27, 1972)
 * A series of programs produced by the Mississippi Center for Educational Television

Radio Interviews
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
 * Aug 23, 1956 (WEVD)


 * Profiles
 * Madeleine Carabo-Cone, guest of Marian Horosko
 * Feb 25, 1965 (WNCN)


 * Casper Citron Interview
 * Madeleine Carabo-Cone; Gerald Astor and Thomas Barry of Look Magazine
 * 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.
 * Jun 12, 1968 (WSOY-AM)


 * Bernard Gabriel Views the Music Scene
 * Madeleine Carabo-Cone on the topic of testing for musical talent
 * Jan 26, 1974 (WSIE)


 * Special Report. Richard Pyatt
 * Madeleine Carabo-Cone, educator
 * Oct 11, 1976 (WNYC-AM)

=Notes=

=References=

=General References=

Encyclopedia Entries

 * incorrectly lists date of birth as 1915
 * incorrectly lists date of birth as 1915


 * incorrectly lists date of birth as 1916
 * incorrectly lists date of birth as 1916


 * incorrectly lists date of birth as 1915 and place of birth as Scarsdale, NY
 * 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
 * incorrectly lists date of birth as 1916 and place of birth as Paris

Books

 * 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
 * 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 
 * 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 


 * incorrectly states she was born in France
 * incorrectly states she was born in France

Archives and Collections




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Monument Valley (Tsé Biiʼ Ndzisgaii,, meaning valley of the rocks) is a region of the Colorado Plateau characterized by a cluster of vast sandstone buttes, the largest reaching 1000 ft above the valley floor. It is located on the Arizona–Utah border (around 36.98333°N, -110.1°W), near the Four Corners area. The valley lies within the territory of the Navajo Nation Reservation and is accessible from U.S. Highway 163.

Monument Valley has been featured in many forms of media since the 1930s. Director John Ford used the location for a number of his best-known films and thus, in the words of critic Keith Phipps, "its 5 sqmi have defined what decades of moviegoers think of when they imagine the American West."

Geography and geology
The area is part of the Colorado Plateau. The elevation of the valley floor ranges from 5000 to 6000 ft above sea level. The floor is largely siltstone of the Cutler Group, or sand derived from it, deposited by the meandering rivers that carved the valley. The valley's vivid red color comes from iron oxide exposed in the weathered siltstone. The darker, blue-gray rocks in the valley get their color from manganese oxide.

The buttes are clearly stratified, with three principal layers. The lowest layer is the Organ Rock Shale, the middle is de Chelly Sandstone, and the top layer is the Moenkopi Formation capped by Shinarump Conglomerate. The valley includes large stone structures including the famed "Eye of the Sun".

Between 1945 and 1967, the southern extent of the Monument Upwarp was mined for uranium, which occurs in scattered areas of the Shinarump Conglomerate; vanadium and copper are associated with uranium in some deposits.

Tourism


Monument Valley is officially a large area that includes much of the area surrounding Monument Valley Navajo Tribal Park, a Navajo Nation equivalent to a national park. Oljato, for example, is also within the area designated as Monument Valley.

Visitors may pay an access fee and drive through the park on a 17 mi dirt road (a 2-3 hour trip). Parts of Monument Valley, such as Mystery Valley and Hunts Mesa, are accessible only by guided tour.

The Mittens
Two large buttes in the central area of the valley resemble mittens and are called the West (left) and East (right) Mitten accordingly. The East Mitten was the site of Chevy's "Like a Rock" car commercial???

John Ford's Point
John Ford's Point is a promontory named for Hollywood director John Ford. It was prominently featured in a scene from The Searchers where an American Indian village is attacked. https://www.cbsnews.com/pictures/monument-valley-in-the-movies/14/

Ford's frequent use of Monument Valley, beginning with Stagecoach in 1939, helped make the setting famous and inspired many other artists to use it in their works. Because of his influence and stunning cinematography, Monument Valley has become the defining image of the American West. Ford's association with the location is so powerful that Orson Welles once said that other film-makers refused to shoot in the region out of fears of plagiarism.

John Ford used Monument Valley as a setting for his Western films even when they did not take place in Utah (The Searchers, for example, is set in Texas).

Ford shot a total of eight films in Monument Valley:


 * Stagecoach (1939)
 * My Darling Clementine (1946)
 * Fort Apache (1948)
 * She Wore a Yellow Ribbon (1949)
 * The Searchers (1956)
 * Sergeant Rutledge (1960)
 * How the West Was Won (1962)
 * Cheyenne Autumn (1964)

Note: Rio Grande (1950) was shot in Professor Valley, Utah, not in Monument Valley as is frequently claimed.

John Ford's point has been also been featured in


 * Electra Glide in Blue (1971) https://www.cbsnews.com/pictures/monument-valley-in-the-movies/20/
 * The Lone Ranger (2013) https://www.cbsnews.com/pictures/monument-valley-in-the-movies/24/ https://www.locationshub.com/blog/2013/10/27/the-lone-ranger-partially-filmed-in-utahs-moab-monument-valley

Three Sisters
The Three Sisters rock formation is at the southeast end of Mitchell Mesa, and can be viewed from John Ford's Point looking west. The rocks are said to resemble Catholic nuns dressed in habits.

Climate
Monument Valley experiences a desert climate with cold winters and hot summers. While the summers may be hot, the heat is tempered by the region's high altitude. Although the valley experiences an average of 54 days above 90 °F annually, summer highs rarely exceed 100 °F. Summer nights are comfortably cool, and temperatures drop quickly after sunset. Winters are cold, but daytime highs are usually above freezing. Even in the winter, temperatures below 0 °F are uncommon, though possible. Monument Valley receives an occasional light snowfall in the winter; however, it usually melts within a day or two.

Monument Valley in the media
Monument Valley has been featured in numerous computer games, in print, and in motion pictures, including multiple Westerns directed by John Ford that influenced audiences' view of the American West, such as: Stagecoach (1939), My Darling Clementine (1946), Fort Apache (1948), and She Wore a Yellow Ribbon (1949).

Southern Buttes
Monument Valley is located in the borderlands of the US states of Utah and Arizona.