AHJ, Vol. 7 No. 1, Summer 1979

In recent years, she has on four occasions served as
judge for the International Harp Competition in Israel,
and numerous times for the National Harp Competition
of the American Harp Society. She was made Musician
of the Year by Mu Phi Epsilon and was on the founding
committees for both the International Harp Association
and the American Harp Society. Miss Malone continues
to contribute to the American Harp Society as a
member of the board of directors.
Her life has been filled with great diversity in the field
of performing in addition to her teaching. "I have had
opportunities to go elsewhere, especially to New York
and California, but the greatest opportunities and
challenges seem to have been here in Rochester and at
the Eastman School.''
One of Miss Malone's greatest interests has been her
teaching. "I like teaching; the Eastman School is one of
the best in the world, and it attracts the finest talent.
The challenge to develop this talent is close to my heart.
It is not only a challenge to develop first-class musicians
and harpists, but also to develop the student as a person.''
For students entering the collegiate department of the
Eastman School, "They have to be able to play . .. "
(see suggested audition repertoire). Because of the orchestras
and ensembles there, the student has to "have
enough ability to play in an orchestra.'' They should expect
to practice at least four hours a day. "Many
students do not know how to practice. Knowing how to
work and practice is one of the most important steps in
making progress. Some people have to be taught the art
of practicing." Also, Miss Malone thinks students
should learn to memorize. "Sometimes in the orchestra,
you have to memorize a difficult passage quickly.
Everyone should learn the discipline of memorization."
To study at Eastman, Miss Malone does not believe
that a student must come from a background in any certain
method. "I don't believe there is that much distinction
between the methods. The basic principles of playing
are the same. Good finger action and relaxation are,
for the most part, the same in all methods.
She uses etudes to develop technique, but only according
to the needs of the student. "Every pupil has individuality
and you have to recognize and devleop that
individuality so that he can express something of
himself in his playing which is one of the very important
ingredients in performance.''
Miss Malone works to develop not only good harpists
but good musicians as well. "My feeling is that you
develop a musician and a harpist at the same time.
When I start a pupil, I start them with the idea of sound
and listening. If they play a scale, it should be with a
good sound, as if it were a piece."
Upon graduation from Eastman, Miss Malone thinks
that students should know the basic repertoire for harp
such as: Handel Concerto in B b, Mozart, Concerto for
Flute and Harp, Debussy Danses, Ravel Introduction
and Allegro, Faur~ Impromptu and works by Grandjany,
Salzedo, Tournier, and others, along with many
of the contemporary works for harp. Since the repertoire
of the harp has expanded, she feels the harpist
often does not have time to learn everything, so must
choose among a number of good works. The Eastman
graduate should also know the major orchestral parts
and. c_~d_e nz~,s in ? rder to be p repared fo r job
poss1b1ht1es. Expenence also plays a big role in being
able to secure a position. Students at the school are able
to acquire that in many fields."
"l_ have always felt that the music program in the
public sch?ols was very in ensitive to the harp. A with
the other instruments, the harp is a mem ber of the orchestra.
Too often the piano has been substituted for
the harp, so that young students in the schools are not
acquainted with the sound of the harp. Therefore I
think having a harp program in the public schools i; a
~ery i~portant project.'' Miss Malone herself has spent
time m establishing such programs in Rochester with
great success. Not only have talented young harp
students evolved, but also the harp gained acceptance
among other music students, teachers and composers.
Another one of her accomplishments in this field was to
establish a "Harp Methods" class in the music education
curriculum at the Eastman School.
Miss Malone thinks that the harpist of today must be
very versatile. He must be flexible enough to step in and
do just about anything. As for general background, "I
would say that the harpist of today has to be equipped
with more than just harp. For security in the future, I
try to encourage my students to pursue such areas as
theory, history of music or a foreign language so they
might be prepared to teach other courses at a college in
addition to playing or teaching the harp. Not too many
colleges are able to support a full-time harp teacher as
there are not enough students playing the harp to make
a full-time position. One must be able to teach
something else to use as a stepping stone to open the
door of the harp world.''
She endeavors to have each student leave Eastman as
an excellent harpist, musician and as a well developed
person who is ready to assume his position in the world.
Many of Miss Malone's former students have had
positions in major orchestras such as the Minneapolis,
Pittsburgh, Buffalo, Washington, Indianapolis,
Houston and Seattle Symphonies, they have won prizes
in the National Harp Competitions, the International
Harp Competitions, Fullbright Awards for study of
harp, and many have started harp departments in colleges
around the country.
Because of her talent and dedication, Eileen Malone
has made great contributions to the harp. But in addition
to her high standards of performance and teaching,
it is her quality of human understanding which makes
her so successful in the field.
"The harp has been the most dominant feature in my
life. If you are successful in anything, you must be
dedicated. It was never any chore for me to be
dedicated. I enjoyed it and liked it."
Acknowledgements: Eileen Malone, Linda Warren,
Margery Fitts and the Eastman School of Music, 26
Gibbs Street, Rochester, New York 14604.
SUMMER/1979
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