By David J. Golby
It's a fact commonly said that, whereas a part of a uniquely varied and colourful musical surroundings, the achievements of home-grown British instrumentalists within the nineteenth century gave little reason for nationwide satisfaction. Drawing jointly info from a large choice of fundamental and secondary assets, specifically treatises and tutors, David Golby demonstrates that whereas Britain produced many fewer instrumental virtuosi than its international neighbours, there constructed a extra severe and frequent curiosity within the cultivation of track during the nineteenth century. Taking a predominantly old process, the e-book strikes from a dialogue of common advancements and concerns to a close exam of violin pedagogy, approach and content material that is used as a advisor to society's effect on cultural traits and informs the dialogue of different tools and institutional education that follows. Dr Golby examines intensive the inextricable hyperlinks among tendencies in society, schooling and degrees of feat. He additionally extends his examine past specialist and "art" tune to include the highly major novice and "popular" spheres. to supply a contextual framework for the examine, the booklet features a chronology of advancements in 19th-century British tune schooling, and a consultant chronology of significant British instrumental treatises 1780-1900, that includes over seven hundred goods.
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Extra info for Instrumental Teaching in Nineteenth-Century Britain (Music in Nineteenth-Century Britain)
I draw the reader’s attention in particular to a number of articles in EM (November 2000), covering aspects of music in Halifax, Colchester and Scotland (by Cowgill, Holman and Nelson respectively), as well as the contributions of Ehrlich (1985), Russell (1997), McCalman, ed. (1999) and Bashford and Langley, eds (2000). 19 Scotland, possibly because of its relative isolation, enjoyed an independently vibrant intellectual culture and a progressive approach to the provision of basic education. Greater numbers of prominent instrumentalists and teachers travelled to Edinburgh as a result of improvements to the transport system and there was a proposal to establish a music school in 1816 (see G.
Rink in Samson, ed. (2002), 55–86. 38 Wylde (1882), 20–21. 39 See Komlós (1995), 147. 40 Weber (1975), 97. The influence of music teaching in Parisian commune schools and public singing classes on methods employed in Britain is discussed below. Also, the Bourbon Restoration ‘led to a flourishing of amateur music-making’ (Ringer, ed. (1990), 42). 41 See Ehrlich (1985), 39 and 50, on the favourable circumstances of Parisian professionals and Mackerness (1964), 185, on French state subsidies for opera.
103 The growth and changing dynamics of consumer demand in an overtly moralistic and utilitarian age allowed music to change its role fundamentally in the eyes of the state and reforming individuals. From being perceived as the villain it was increasingly viewed as the ally of moral perpetuity, encouraging rational recreations rather than dangerous pursuits. Acceptance, promotion and proliferation of musical activity came as music itself was seen to produce far more positive effects than purely musical results.