Page 436 - 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
P. 436
konservator iji: profesionalizacija in specializacija glasbenega dela
Stanford’s best students, Gustav Holst and Ralph Vaughan Williams, later
outshone their teacher, while still maintaining a traditional approach. In-
evitably, there were students who were less happy working within this mod-
el, for example, in the Royal College of Music, where there were difficulties
with some more adventurous students. The music of Benjamin Britten did
not fit the expected college formula, while his private studies with Frank
Bridge proved much more profitable. Elisabeth Lutyens studied in Paris
and at the Royal College of Music under the conservative Harold Darke,
while at the same time privately investigating works of Schoenberg and
Stravinsky. Humphrey Searle worked at the college with the broad-minded
John Ireland, but really progressed only after his studies with Webern. The
most bizarre case is that of Daphne Oram, who turned down a traditional
place at the Royal College of Music and then studied electronics, working
in the BBC sound department and eventually co-founding the BBC Radi-
ophonic Workshop, the precursor to electronic music in the United King-
dom. The appearance as a student of composition of Peter Maxwell Davies
in Manchester in the 1950s, together with Alexander Goehr and Harrison
Birtwistle, caused consternation in the conservative musical establishment
there, eventually changing over a number of years the whole environment
of the teaching of musical composition in all the advanced British musical
institutions.
Keywords: Hubert Parry, Charles Villiers Stanford, Alexander Mackenzie,
Royal Academy of Music, Royal College of Music, Peter Maxwell Davies
Danutė Petrauskaitė
From courses to a conservatoire: Issues of musical
education Institutionalisation in Lithuania (1919 to 1949)
The development of music education in Lithuania started with the organ-
isation of short-term courses. The late establishment of a conservatoire in
Lithuania was predetermined by several reasons: a) a four-decade ban of
tsarist Russia on reading, writing, singing and teaching in the native lan-
guage; b) the poor economy of the country and a shortage of music profes-
sionals; and c) the mentality of an agricultural country.
The first Lithuanian music schools were established in Kaunas (1919) and in
Klaipėda (1923). They both operated as conservatoires de facto because their
programs were based on the curricula and methodologies of conservato-
ries abroad. The greatest impact on the training of national professionals
was made by the Russian, German, Polish, Czech, and Hungarian schools.
434
Stanford’s best students, Gustav Holst and Ralph Vaughan Williams, later
outshone their teacher, while still maintaining a traditional approach. In-
evitably, there were students who were less happy working within this mod-
el, for example, in the Royal College of Music, where there were difficulties
with some more adventurous students. The music of Benjamin Britten did
not fit the expected college formula, while his private studies with Frank
Bridge proved much more profitable. Elisabeth Lutyens studied in Paris
and at the Royal College of Music under the conservative Harold Darke,
while at the same time privately investigating works of Schoenberg and
Stravinsky. Humphrey Searle worked at the college with the broad-minded
John Ireland, but really progressed only after his studies with Webern. The
most bizarre case is that of Daphne Oram, who turned down a traditional
place at the Royal College of Music and then studied electronics, working
in the BBC sound department and eventually co-founding the BBC Radi-
ophonic Workshop, the precursor to electronic music in the United King-
dom. The appearance as a student of composition of Peter Maxwell Davies
in Manchester in the 1950s, together with Alexander Goehr and Harrison
Birtwistle, caused consternation in the conservative musical establishment
there, eventually changing over a number of years the whole environment
of the teaching of musical composition in all the advanced British musical
institutions.
Keywords: Hubert Parry, Charles Villiers Stanford, Alexander Mackenzie,
Royal Academy of Music, Royal College of Music, Peter Maxwell Davies
Danutė Petrauskaitė
From courses to a conservatoire: Issues of musical
education Institutionalisation in Lithuania (1919 to 1949)
The development of music education in Lithuania started with the organ-
isation of short-term courses. The late establishment of a conservatoire in
Lithuania was predetermined by several reasons: a) a four-decade ban of
tsarist Russia on reading, writing, singing and teaching in the native lan-
guage; b) the poor economy of the country and a shortage of music profes-
sionals; and c) the mentality of an agricultural country.
The first Lithuanian music schools were established in Kaunas (1919) and in
Klaipėda (1923). They both operated as conservatoires de facto because their
programs were based on the curricula and methodologies of conservato-
ries abroad. The greatest impact on the training of national professionals
was made by the Russian, German, Polish, Czech, and Hungarian schools.
434
