Page 428 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
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konservator iji: profesionalizacija in specializacija glasbenega dela
Keywords: Slavko Osterc, composition, harmony, counterpoint, music the-
ory, Slovene textbooks on harmony
Vita Gruodytė
The Visions of Lithuanian Musical Education
Music education was founded mainly by Lithuanian composers who com-
pleted their studies abroad. The geography was already great — from St.
Petersburg and Warsaw to Leipzig, Berlin, Paris and Prague. It is therefore
the composers who best identified the need for Lithuanian music, because
they also had a utilitarian approach: musical creation had a need for local
performers.
Various foreign teaching traditions, upon which it was necessary to count
before being completely autonomous, created in Lithuania a rich and
high-level environment. For example, the piano was taught according to
the principles of the conservatories of Riga, Leipzig and St. Petersburg;
singing, according to the principles of the Italian and French schools; the
violin, according to the German and Russian schools; and the wind in-
struments, according to the German school, dominant at the time. Visiting
professors gradually gave way to local graduates, although foreign schools
remained present throughout the inter-war period.
The main ideological conflict was between so-called traditionalist, mod-
ernist and moderate composers. The older generation studied rather in
Warsaw or St. Petersburg, while young musicians studied in Berlin, Leip-
zig, Prague or Paris. The differences lay not so much in age as in their rela-
tionship to musical modernity.
The boundaries between traditionalist, moderate and modernist compos-
ers were blurred through a general policy of a basic and solid education,
even though the influence of younger colleagues on the general atmosphere
was increasingly making itself felt.
It is natural that the initial idea of music education, which was to join col-
lective forces to meet the needs of a young state, gradually gave way to indi-
vidual ambitions and personal visions.
Keywords: Musical education, Nationality, Lithuanian music, Kaunas Con-
servatory, Klaipeda Music School.
426
Keywords: Slavko Osterc, composition, harmony, counterpoint, music the-
ory, Slovene textbooks on harmony
Vita Gruodytė
The Visions of Lithuanian Musical Education
Music education was founded mainly by Lithuanian composers who com-
pleted their studies abroad. The geography was already great — from St.
Petersburg and Warsaw to Leipzig, Berlin, Paris and Prague. It is therefore
the composers who best identified the need for Lithuanian music, because
they also had a utilitarian approach: musical creation had a need for local
performers.
Various foreign teaching traditions, upon which it was necessary to count
before being completely autonomous, created in Lithuania a rich and
high-level environment. For example, the piano was taught according to
the principles of the conservatories of Riga, Leipzig and St. Petersburg;
singing, according to the principles of the Italian and French schools; the
violin, according to the German and Russian schools; and the wind in-
struments, according to the German school, dominant at the time. Visiting
professors gradually gave way to local graduates, although foreign schools
remained present throughout the inter-war period.
The main ideological conflict was between so-called traditionalist, mod-
ernist and moderate composers. The older generation studied rather in
Warsaw or St. Petersburg, while young musicians studied in Berlin, Leip-
zig, Prague or Paris. The differences lay not so much in age as in their rela-
tionship to musical modernity.
The boundaries between traditionalist, moderate and modernist compos-
ers were blurred through a general policy of a basic and solid education,
even though the influence of younger colleagues on the general atmosphere
was increasingly making itself felt.
It is natural that the initial idea of music education, which was to join col-
lective forces to meet the needs of a young state, gradually gave way to indi-
vidual ambitions and personal visions.
Keywords: Musical education, Nationality, Lithuanian music, Kaunas Con-
servatory, Klaipeda Music School.
426
