By Rosemary Golding
Until eventually the 19th century, track occupied a marginal position in British universities. levels have been offered by means of Oxford and Cambridge, yet scholars (and usually professors) weren't resident, and there have been few formal lectures. It used to be now not until eventually a benefaction initiated the construction of a professorship of track on the collage of Edinburgh, within the early 19th century, that the belief of song as a college self-discipline commanded critical attention. The debates that ensued thought of not just music's id as paintings and technology, but additionally the wider functionality of the college inside schooling and society. Rosemary Golding lines the responses of a few of the most important gamers in musical and educational tradition to the issues surrounding the institution of song as an instructional self-discipline. the focal point is on 4 universities: Edinburgh, Oxford, Cambridge and London. the several institutional contexts, and the techniques taken to song in each one college, exhibit a number of the concerns surrounding music's educational id, in addition to wider difficulties of prestige and professionalism. In analyzing the best way song challenged conceptions of schooling identification within the 19th century, the ebook additionally sheds gentle at the method the tutorial examine of track maintains to problem smooth techniques to song and college schooling.
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Extra resources for Music and Academia in Victorian Britain
MUSIC AND ACADEMIA IN VICTORIAN BRITAIN 30 although he also composed in the sacred idioms often associated with the sublime. 70 An anonymous ‘Amateur’ from Edinburgh was also in favour of Bennett; concurrently, he regretted that John Donaldson and Henry Gauntlett, one a barrister and the other a lawyer, should for a moment be considered worthy of being placed in opposition to Mr. Bennett; but, what will not party spirit do, to gain its ends? Mr. Donaldson was a teacher of music at Glasgow, some years back; he married a lady possessing a handsome property; he studied for the bar, (not a bar of music) consequently, in my humble opinion, he has disqualified himself from occupying the professor’s chair of music.
These observations recall the fact that there was no profession of musicologist, nor any precedent for the mixture of practical and scholarly work envisaged for the Chair. The Trustees had available a number of compromise situations, but in practice the ideal music scholar comparable to professors in other subjects simply did not exist. An article in The Scotsman following the fourth Reid Concert, held in Pearson’s absence, demonstrates the more critical strand of opinion that was beginning to pervade considerations of the bequest.
The election was close. , Vol. XIX no. 10 (7 March 1844), 86. , Vol. XIX no. 12 (21 March 1844), 101. , Vol. XIX no. 5 (1 February 1844), 33. Ibid. MUSIC AND ACADEMIA IN VICTORIAN BRITAIN 32 Bennett gained 10 and Henry Hugo Pearson, a late applicant, 3. Perhaps his similarities to Bishop, in external commitments, rendered Bennett less popular with the Trustees than the musical public had hoped. On communication of his defeat, Bennett withdrew and, his supporters, being ‘of the medical party, carried over their votes to Mr.