Page 435 - 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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summaries
department, and the number of enrolled and graduated students in the ob-
served period. I explore who were the first piano graduates and where they
continued their professional work. I also discuss the curriculum, the ex-
pected performance level of students, the rules regarding discipline etc. The
beginning of the piano department was very ambitious, as deducted both
from the high standards for the entrance exams, the effort of the Academy
to obtain first-rate instruments that students could play and practice on, as
well as the highly reputable professors hired to teach the piano. As pianists
employed by the Belgrade Academy had completed studies in other Euro-
pean centers, I overview which piano schools they represented. In the ab-
sence of sound recordings, I rely on archival material and other written re-
cords – methodologies, textbooks, testimonies of professors and students,
in order to paint a comprehensive picture of the beginnings of the Belgrade
piano school. I conclude that the pianistic education at the tertiary level in
Serbia was not autochthonous, but eclectic, absorbing the legacies of many
traditions.
Keywords: Belgrade Music Academy, piano department, tertiary music ed-
ucation, Emil Hajek, Belgrade piano school
Niall O’Loughlin
In the Shadow of Parry, Stanford and Mackenzie:
Musical Composition studies in the principal London
Conservatories from 1918 to 1945
In 1822 the Royal Academy of Music was founded in London as the first Brit-
ish music conservatory and surprisingly its early principals were all com-
posers. After difficulties in the 1870s, it improved enormously under anoth-
er composer, Alexander Mackenzie. In 1876 a new institution, the National
Training School for Music, was established, but proved unsatisfactory un-
til it was transformed in 1883 into the Royal College of Music under George
Grove (of dictionary fame) and later the famous composer Hubert Parry. In
1918 the two institutions reached a high point: their status was assured with
the important posts filled by the best known musicians. With the models of
Parry who died in 1918 and Mackenzie who lived until 1924, as well as that
of the senior professor at the College, the composer Charles Villiers Stan-
ford, composition teaching thrived at both conservatories. However, de-
spite this fortunate situation, the outlook was solidly conservative. Some
composition students would be happy to work within a broadly romantic
idiom, achieving success in a conservative musical environment. Two of
433
department, and the number of enrolled and graduated students in the ob-
served period. I explore who were the first piano graduates and where they
continued their professional work. I also discuss the curriculum, the ex-
pected performance level of students, the rules regarding discipline etc. The
beginning of the piano department was very ambitious, as deducted both
from the high standards for the entrance exams, the effort of the Academy
to obtain first-rate instruments that students could play and practice on, as
well as the highly reputable professors hired to teach the piano. As pianists
employed by the Belgrade Academy had completed studies in other Euro-
pean centers, I overview which piano schools they represented. In the ab-
sence of sound recordings, I rely on archival material and other written re-
cords – methodologies, textbooks, testimonies of professors and students,
in order to paint a comprehensive picture of the beginnings of the Belgrade
piano school. I conclude that the pianistic education at the tertiary level in
Serbia was not autochthonous, but eclectic, absorbing the legacies of many
traditions.
Keywords: Belgrade Music Academy, piano department, tertiary music ed-
ucation, Emil Hajek, Belgrade piano school
Niall O’Loughlin
In the Shadow of Parry, Stanford and Mackenzie:
Musical Composition studies in the principal London
Conservatories from 1918 to 1945
In 1822 the Royal Academy of Music was founded in London as the first Brit-
ish music conservatory and surprisingly its early principals were all com-
posers. After difficulties in the 1870s, it improved enormously under anoth-
er composer, Alexander Mackenzie. In 1876 a new institution, the National
Training School for Music, was established, but proved unsatisfactory un-
til it was transformed in 1883 into the Royal College of Music under George
Grove (of dictionary fame) and later the famous composer Hubert Parry. In
1918 the two institutions reached a high point: their status was assured with
the important posts filled by the best known musicians. With the models of
Parry who died in 1918 and Mackenzie who lived until 1924, as well as that
of the senior professor at the College, the composer Charles Villiers Stan-
ford, composition teaching thrived at both conservatories. However, de-
spite this fortunate situation, the outlook was solidly conservative. Some
composition students would be happy to work within a broadly romantic
idiom, achieving success in a conservative musical environment. Two of
433
