One of the landmark texts in music education reissued and brought up to date. From its first appearance, this volume has been considered a standard text in music education courses worldwide, tracing the development of music as an educational force from the dawn of European civilisation in ancient Crete, Sparta, and Athens to today. It is a fascinating exploration of the people involved in teaching music over the centuries and their whole way of life, providing a systematic survey of the educational, musical, religious, social and political factors that have led to what is now known as music education; substantial reference is made to trends and events in other lands as well as England. This second edition includes supplementary chapters investigating the recent history of music education, bringing the historical record up to date, and there is a foreword by Sir Peter Maxwell Davies, Master of the Queen's Music.

The first serious study of music in independent schools, which bears eloquent witness to a high standard achieved over the last fifty years. This is the first serious study of music in independent schools. The high standard of musical work in such schools has long been known but now Andrew Morris and his team have provided up-to-date information. There are contributions from seven individual schools - Bedford, Dulwich, Eton, Gresham's, St. Paul's, Uppingham and Worksop - as well as chapters about Girls' Schools, Preparatory Schools, Choir Schools and Specialist Schools. Andrew Morris was Director of Music at Bedford School for thirty-two years and was President of the Music Masters and Mistresses Association in 1996-97. He is thus ideally placed to mastermind a substantial compendium which is eminently readable andabsorbing. The book includes material from Bernarr Rainbow's study, Music in the English Public School (1990) and brings it up to date. As a historian, Rainbow looked back at how music developed in independent schools. Progress was slow, even tortuous, but Rainbow's fascinating documents, supported by his commentary, show how idealism won through, and Morris and his colleagues bear eloquent witness to the very positive development over the last fifty years. ANDREW MORRIS taught in secondary modern, grammar and comprehensive schools in London before becoming Director of Music at Bedford School for thirty-two years. He was President of the Music Masters' and Mistresses' Association from 1996-97 and President of the RAM Club at the Royal Academy of Music 2005-06. He has examined for the ABRSM for over thirty years. BERNARR RAINBOW (1914-1998) is widely recognised as the leading authority on the history of music education. His seminal books are all published by Boydell and are listed on the back pages of this volume. His series of Classic Texts in Music Education is a major resource and in 1997 he foundedthe Bernarr Rainbow Trust which supports projects in music education. CONTRIBUTORS: Catherine Beddison, Elizabeth Blackford, Timothy Daniell, Richard Mayo, James Peschek, Alastair Sampson, Graham Smallbone, Jonathan Varcoe, Myfanwy Walters, Nathan Waring, Robert Weaver, Hilary Webster.

Introductions to a variety of texts used for teaching music. Bernarr Rainbow is widely recognised as the leading authority on the history of music education, from the Greeks up to the present day, as attested by his comprehensive study Music in Educational Thought and Practice. His ambitious series, Classic Texts in Music Education, provides editions of manuals covering methods of teaching music from the sixteenth century to the twentieth. Professor Rainbow wrote detailed prefaces to the manuals, which are conveniently collected in this volume, offering insights into and analysis of those who taught music in different times and places and the methods they employed. They have been put into full context by GORDON COX.

The composer Arthur Somervell was also an Inspector of Schools with special responsibility for the teaching of music. His collected writings set forth his philosophy of music education and cast light on musical life between the 1890s and his death in 1937. Sir Arthur Somervell (1863-1937), composer and educationist, influenced the musical and educational life of England over four decades. Remembered today principally as an accomplished composer of songs and choral works, he also worked for twenty-eight years as one of His Majesty's Inspectors of Schools (HMI), with special responsibility for the teaching of music. Towards the end of his life Somervell gathered together a number of his articles, in whichhe expounds a passionate philosophy of music education, makes candid remarks about musical life and musical education in England, and provides insights into the sometimes bitter debate with Cecil Sharp about folk song. These collected writings have now been prepared for publication by Gordon Cox, together with some unpublished speeches and letters, enabling musicologists and music educators to re-evaluate the significance of Somervell's contribution to the musical and educational life of his time. GORDON COX is senior lecturer in education at the University of Reading.

Survey of an important period in the development of the choral tradition in the Anglican church. When Bernarr Rainbow was director of music at the College of St Mark and St John, Chelsea, he came across the 1849 diary of service music of Thomas Helmore. Astonished at its breadth of repertoire, he was inspired to investigate the circumstances of the document. His findings are recorded in this book, which sets Thomas Helmore's contribution in perspective against the background of the Choral Revival as a whole. In tracing the history of the remarkable revival of care for the music of the liturgy, the author produced a socio-musical history of a period vital in the evolution of the Anglican Church, and made clear, probably for the first time, how music in the Anglican Churchcame to follow lines which are unique in Christendom. His book was originally published at a time of important changes in ecclesiastical thinking; his presentation of the decisions taken in the past which led to the existing relationship between choirs and congregations, interesting in itself, is also valuable in the continuing debate.

A facsimile of Bathe's work, the first musical text book to appear in the English language, describes musical methods old and new and will be of great interest to musicologists and players of early music. When, in 1584, William Bathe, then just a young student at Oxford, published a tract on the teaching of music, his work became the first musical text book to appear in the English language. No copy of this work now exists, but some years later Bathe produced a new version, now called A brief Introduction to the skill of song. In it Bathe sought to present a new, much simpler way to learn music, in open opposition to the traditional approaches of theday, the "manifold and crabbed, confused, tedious rules", as he puts it. This book, a facsimile of Bathe's work, describes musical methods old and new and will be of great interest to musicologists and players of early music. Introduction by Bernarr Rainbow and published in the series ClassicTexts in Music Education.

Instrumental in the revival of early music, Crotch's C18-19th lectures on music were the first of their kind. The lectures on music which Crotch delivered at Oxford after becoming Heyther Professor of Music in 1797 were the first of their kind. Illustrated by performed extracts from the neglected music of the past, they encouraged historical awareness of musical style and further stimulated the revival of early music.

The first statement of the Tonic Sol-Fa method taken from Curwen's 1852 edition. The first developed statement of the Tonic Sol-fa method. The edition of 1852 has been chosen for reproduction because it contains a complete summary of the improvements successively introduced during the course of Curwen's empirical teaching.

This text supports Mainzer's programme of music education through an exploration of the connection between music and Greek, and a definition of the nature of music in relation to its potential as an educational force.

Priest and activist Joseph Mainzer attempted to ameliorate the miseries of the poor through massed singing classes under the title Singing for the Million, also the title of his English textbook. The former ex-patriate German priest and political activist, Joseph Mainzer, had made music the means of attempting to ameliorate the miseries of the poor in Germany, Belgium and France. His massed gratuitous singing classes became one of the sights of Paris late in the 1830s until the suspicions of the French police were aroused and he was forced to abandon them. After he took refuge in England in 1841, similarly large classes were begun in London under the title `Singing for the Million', the title also given to his English textbook.

Contains Mary Langdale's two pioneer and hitherto underestimated articles from The Crucible (1908), together with Macpherson's first essays from The RAM Club Magazine (1908) and his The Musical Education of the Child:some thoughts and suggestions for teachers, parents and schools(1915). Contains Mary Langdale's two pioneer and hitherto underestimated articles from The Crucible (1908), together with Macpherson's first essays from The RAM Club Magazine (1908) and his The Musical Education of the Child: some thoughts and suggestions for teachers, parents and schools(1915).

First published in 1967, this is more than a book about music education, it is also a social history of the subject. First published 1967, long out of print, and now reprinted in full by kind permission of Novello and company, this book fills a gap that has long existed. It is the outcome of serious scholarly research, fully documented. More than a book about musical education, it is also a social history of education; yet always the general, social and educational references are related to the main theme - singing from symbols. Various methods are described and the author shows how these interact, ending with that "agent of synthesis" John Curwen. Everyone who teaches music, or is training to teach music, should read it. Salutary reading for anyone who thinks he or she has a new idea.

This volume presents reprints of the prefaces to representative collections of metrical psalms. Psalm-singing, an essentially popular form of music, required some musical knowledge in the singers, and it was in these prefaces that the compilers gave basic information on the staves, clefs and note-values of contemporary notation. Dr Rainbow's introduction is a fascinating guide to the changing tastes and needs shown by the carefully selected reprints.