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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.
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.
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.
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.
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.
Accounts of a series of separate visits to schools in many parts of
Europe and the USA at a time when the "myth" of continental musical
supremacy was being seriously challenged in Britain. Accounts of a
series of separate visits to schools in many parts of Europe and
the USA at a time when the "myth" of continental musical supremacy
was being seriously challenged in Britain. Although published under
one cover here,these accounts were written separately. Hullah's was
drawn up in the form of an official report to the Board of
Education when serving as government inspector of music in 1879.
Apart from its interest as a firsthand account of conditions, the
document had wider significance. The outspoken criticism it
contained of the state of music teaching in German schools became
the catalyst that enabled Hermann Kretzschmar to lead his
successful crusade for reform in1903. J.S.Curwen's accounts, on the
other hand, were written later as well as being those of a private
individual. They were originally intended for publication in the
journal of the Tonic Sol-fa movement founded by his father.
The definitive edition of the state-approved textbook used in
Hullah's singing classes and in schools throughout Britain and the
colonies during the second half of the nineteenth century. The
definitive edition of the state-approved textbook used in Hullah's
singing classes and in schools throughout Britain and the colonies
during the second half of the nineteenth century.
An enlarged reissue of the first translation of Fetis' classic 1844
music text for the general public. While teaching at the
Conservatoire Nationale de Musique in Paris Fetis extended the
student curriculum by lecturing on wider musical topics. He also
produced a music textbook for the general public at this time with
the title Lamusique mise a la portee de tout le monde (1830). The
book enjoyed a very wide circulation, was translated into most
European languages and became the first influential treatise on
"musical appreciation" in the wider sense of theterm. The first
English version, enlarged by ten per cent, of this important book
is reproduced here.
The work of a wealthy radical, this book enjoyed immense
circulation in schools throughout the English speaking world for
many years. The important preface presents new arguments for the
teaching of music in schools; and the collection of children's
songs which follows established the Moral Song as standard fare in
19th-century classrooms.
The first music textbook designed for use in English schools,
Turner's Manual is more than a historical curiosity. This, the
first music textbook specifically designed for use in English
schools, was published in 1833 under the auspices of the Society
for Promoting Christian Knowledge - an evangelical body much
concerned with "good works" andthe furtherance of sound educational
principles. The author was an experienced and influential London
teacher, a practising musician and an advocate of the teaching
methods of Pestalozzi, still then unfamiliar to most teachers
inthis country. Although the pioneer English teaching manual for
schools, Turner's Manualis not just a minor historical curiosity.
A valuable source of information about many minor composers of the
19th century not found in other reference works, including the
first edition of Grove. Baptie has ben called "a predecessor of
Grove" for his efforts to record biographical details of local
composers and performers celebrated in his day. His
Handbookprovides information on many minor figures not found in
other reference books -including the first edition of Grove's
Dictionary, whose initial appearance in 1878 further stimulated
Baptie to produce his own biographical collection. The text has
been enlarged by six per cent for ease in reading.
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