By Rosemary Golding
Until eventually the 19th century, song occupied a marginal position in British universities. levels have been offered via Oxford and Cambridge, yet scholars (and frequently professors) weren't resident, and there have been few formal lectures. It was once now not until eventually a benefaction initiated the construction of a professorship of track on the college of Edinburgh, within the early 19th century, that the assumption of tune as a school self-discipline commanded critical attention. The debates that ensued thought of not just music's identification as artwork and technological know-how, but in addition the wider functionality of the collage inside of schooling and society. Rosemary Golding strains the responses of a few of the major gamers in musical and educational tradition to the issues surrounding the institution of track as an instructional self-discipline. the point of interest is on 4 universities: Edinburgh, Oxford, Cambridge and London. the various institutional contexts, and the techniques taken to track in each one collage, show off many of the concerns surrounding music's educational id, in addition to wider difficulties of prestige and professionalism. In analyzing the best way track challenged conceptions of schooling identification within the 19th century, the publication additionally sheds gentle at the means the tutorial examine of track keeps to problem glossy techniques to song and collage schooling.
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Additional info for Music and Academia in Victorian Britain
2, 662. 88 SMB, 29 March 1845. 84 34 MUSIC AND ACADEMIA IN VICTORIAN BRITAIN concert goers. General Reid had provided for a Chair of the Theory of Music, in an academic context, yet its holder was to contribute to the art of music and the consequence of the University, and was to be sufficiently well connected and accomplished to stage annual concerts. Whereas some correspondents believed that a practical musician was essential, others conceived a combination of performer and theorist as ideal, and still others countered that practical accomplishment actually diminished suitability.
He was at home in classical literature, he spoke French and English, he was an exquisite draughtsman, and had seen the greatest works of the greatest painters, ancient and modern’. See ‘From the Memoirs of F. Max Müller’ in Larry R. ), Mendelssohn and his World (Princeton, NJ: Princeton University Press, 1991), 254. A comprehensive account of Mendelssohn’s time spent in England (and Scotland) and his subsequent reputation there is provided by Colin Eatock’s Mendelssohn and Victorian England (Farnham: Ashgate, 2009).
21 Covering all aspects of music as science, such as harmonics and intonation, the scheme also included practical elements of ‘methodical composition’, specifically ‘the ordinary rules of Thoroughbass’ and ‘double, triple and quadruple Counterpoint’. 22 While asserting that the new subject was to stand as a ‘science’, therefore, the Trustees were not wholly neglectful of its relation to the profession, and considered the lecture course to have practical as well as liberal ends. In addition to conforming to academic ideals, the new Professor was to ‘be entitled to the same privileges, fees and emoluments as the Professors in the Faculty of Arts’.