Classic Texts in Music Education – serie

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 thatthe 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.

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.

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" and the 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 in this country. Although the pioneer English teaching manual for schools, Turner's Manual is not just a minor historical curiosity.

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.

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.

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.

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.

An enlarged reissue of the first translation of Fétis' classic 1844 music text for the general public.While teaching at the Conservatoire Nationale de Musique in Paris Fétis 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 à la portée 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.

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.

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.

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).

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.

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.

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.

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.

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.

A memoir by the renowned historian of music education, Bernarr Rainbow, including a selection of his writings and a biographical introduction by Peter Dickinson.Bernarr Rainbow's [1914-1998] Memoirs written in the last year or two of his life offers a fascinating read about the life of the man who became the leading historian of music education. The book answers questions about how his life and work developed and how he came to establish the Bernarr Rainbow Trust before he died in 1998. The collection will also bring together Rainbow's writings published in various magazines, some of very limited circulation. Thenotes by Peter Dickinson cover Rainbow's earlier life and career, from archival material including press cuttings and including areas he does not cover in his memoirs. There are introductions by Gordon Cox and Charles Plummeridge.PETER DICKINSON, the composer and pianist, is emeritus professor, University of Keele and University of London. He has written or edited several books about twentieth-century music, including Copland Connotations [2002], The Music of Lennox Berkeley [2003], CageTalk [2006], and the more recent Lord Berners and Samuel Barber Remembered.

Seminal lectures on music education since the 1990s.There is no question that music education is in crisis today. The place of music in the national curriculum is controversial; there have been cuts in the provision of individual lessons; and there have been severe reductions in government funding, with more planned.This book, containing the first five Bernarr Rainbow Lectures, makes an important and timely contribution to the debate on music education. Baroness Warnock brings the perspective of a distinguished philosopher to bear on issues about the nature of music and its study; Lord Moser urges us to maintain and expand what has been achieved since World War II; the late Professor John Paynter, responsible for the 1960s surge in creative approaches to music teaching, presents his case in two contributions; John Stephens discusses structures for music teaching and then, in a second contribution, brings everything up to date; and Professor Gavin Henderson traces his own colourful career and supports music for all ages.Also included is the 2005 Royal Philharmonic Society by the Master of the Queen's Music, Sir Peter Maxwell Davies; an assessment from Bernarr Rainbow himself, written late in his life; an indictment from Wilfrid Mellers; and two reviews of Bernarr Rainbow on Music: Memoirs and Selected Writings, showing the continuing importance of his work fifteen years after his death.This book is part of the series Classic Texts in Music Education, edited by Professor Peter Dickinson, and supported by the Bernarr Rainbow Trust.Peter Dickinson is a British composer, writer and pianist and authorand editor of books on Lennox Berkeley, Copland, Cage, Barber and Berners.

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.

New facsimile edition of a Classic Text of Music Education.John Wall Calcott (1766-1821) was one of a small number of English musicians who compiled influential treatises from the mid-eighteenth century onwards. He worked as an organist and teacher in London and gained the Oxford D.Mus. in 1800. His Musical Grammar is divided into four sections - Notation, Melody, Harmony and Rhythm - and his erudition is remarkable. He consulted existing treatises in six languages and his copious music examples concentrateon Handel but also range widely from Gibbons to Beethoven. His catches and glees as well as his Musical Grammar caused his celebrity to endure into the nineteenth century.

New facsimile edition of a Classic Text of Music Education.At the end of the eighteenth century a new kind of women music teachers had begun to appear, rivalling the old-style music master, to serve the more affluent classes. Miss Dorothy Kilner was a well-established author of children'sbooks but also a musician. At this period, drawing-room pianists could find themselves called upon to accompany singers from an outline score with a figured bass. Subtitled 'Conversations of a Fortnight' Kilner's book is addressed to 'A Mother and her Daughter' and claims to be the first English treatise on the subject addressed to children, in this case precocious young pianists. For later books of this kind see Rodwell (1836) and Fitton (1855), CTME 31and 33.

New facsimile edition of a Classic Text of Music Education.Anne Rodwell's book, subtitled 'A Mirror of Music for Infant Minds', is presented in the form of conversations between mother and daughter, a typical format for the period as the engravings portray. The idea was to amuse as well as teach the child and reduce 'the fatigue of imparting instruction'. All that is known about Rodwell is her description of herself as 'Teacher of the Piano Forte'. Her book succeeds in presenting us with a striking contemporary background to private music teaching as it existed in fashionable London at a time when the possession of a piano was a luxury. For other studies of this kind see Kilner (1819) and Fitton (1855), CTME 30 and 33.

New facsimile edition of a Classic Text of Music Education.James Turle (1802-82) was organist of Westminster Abbey and Edward Taylor (1784-1863) was originally a Norwich musician who later worked as singer, teacher and music critic in London. Their book is subtitled: 'The Art of Singing at Sight taught by Progressive Exercises' and its aim was to equip middle-class families, studying at home, to savour the delights of part-singing, 'the cheapest, the readiest, the most social, the most innocent, the most diversified of amusements'. The authors use musical notation, rather than the many versions of sol-fa, derived from German models where 'every child is taught to sing from notes'.

New facsimile edition of a Classic Text of Music Education.The title page of this book refers to Miss Fitton as the author of Conversations on Botany. She later wrote How I became a Governess (1861), describing her own musical background and how she worked in Paris, teachingEnglish to perfect her French. This paid off when Conversations in Harmony was published in a French translation. Her approach follows the conventional conversation treatment, usually between mother and daughter but this time with a boy, perhaps reflecting an increased acceptance of music as not just for women. Rainbow sees these chapters as the equivalent of effective lesson notes for a student teacher.