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Music Teaching Manuals Rousseau Glover Hullah Curwen (2023!03!30 19-29-08 UTC)

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137 views23 pages

Music Teaching Manuals Rousseau Glover Hullah Curwen (2023!03!30 19-29-08 UTC)

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n.lloydlam
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Four Centuries of Music Teaching Manuals 1518-1932 Bernarr Rainbow with an Introduction by Gordon Cox ‘ORNERAL EDITOR OF THE SERIES: PeerDickinson THE BOYDELL PRESS © Bema Rainbow 992 General Eco’ Ineoduction © Pete Dickinton 2006 ‘Aadiional naeil © Pete Dickinson and Gordon Cox 2009 Al Rights Reseroed. Esco as permited under curen legislation no par ofthis work may be photocopied stored ina ercval ‘system, published, performed in publi, adapted, broadeas, cransmited recorded oF produce in any form or by any means, without the prior permision of he copyright owner Fics published p92 under hese Seme Notable Music Manu Forty Representative Test 11-932 Sent Press Newbury New Edition 2009 The Boydell Pres, Woodbeidge The Boydell Press an inprine of Boydell & Brewer Lad PO Bor , Woodbnidgs, Safle r= soe, UK nd of Boydell & Brever Ine {668 Me Hope Avene, Roches, Ny 14620, USA ‘weble: wneboydllandbeewercom [ACIP caalogae reco of this publication isvasble fiom he Bech Library This publication printed on aid ce paper Designed and ypeerin Adobe Premier Pro by David Roberts, Pershore, Worceeshire Printed in Great Bean by (CPI Antony Rowe, Chippenham and Eatbourne Contents Genera Editors Foreword, Peter Dickinon vii Preface, Bernarr Rainbow ix Introduction, Gordon Cae x Georg Rha, Enchiridionnoisque musica practicae, 13184 Martin Agricola, Rudimemte musice 1539 10 Lys Bourgeois, The Direct Road to Mucc (Le droice chemin de musique, 1350 [CTME 4] 21 Bernare Rainbow and vaious authors, EnglthPrabnody Prefces: Popular Methods of Teaching, 1563-1833 [CTME 2] 35 ‘William Bathe, Brif uradacton to he Skil of Song 1387 jermes} 54 J.C. Pepusch, A Treatveon Harmony.s73t 64 J.J. Rousseau, Pryject Concerning New Symbols for Music Projet concernant de nowvea signe) 1743 [CTME 3] 71 Anne Gunn, Inroducion to Music, 1808 79 AEC Kollmann, A New Theory of Musial Harmony, 806 83 JW, Calleot, A Musce! Gimmarin Four Pars, 1806 88 HG. Nigel Die Pataleeiche Gesenghildanglebre, tog 92 H.G. Nigel, Gesangbildunpebre, 1810 104 Wiliam Crotch, Eements of Musical Composton ra [C7686] 109 J:B. Logis, Companion tothe Patent Royal Chirplat, 35 14 .Galin, Raionaefora New Way of Teaching Mae from Exposition ine nouvelle mbode) 818 [CTME 8] 126 J:Kemp, The New Stem of Masicel Education. 819.134 M. P.(Dorothy Kies), The Child Introduction 10 Thorongh Bas, Bi9 tat Edouard Jue de Bemeval, La musique apprise ans matte, 1824 146 F J. Reis Music Explained othe World (La masque ize la pote de rout le monde), 830 [erMe 3] 56 William C. Salford A History of Mase, 830 (crm 18] 162 William Crotch Sbizanceof Several Courses of Lenures on Musi sty 16s 4 6 8 29 30 36 4% John Turner, A Manual of Instraction in Voce! Music 833 [cvme 6) 170 S. Glover, Scheme for Rendering Palody Congregational ogether with The Sofa Tune Book, 135 (crm 5] 175 WCE. Hickson, The Singing Master 136 [eTme to] chs ‘A. Rodwell, The Juvenile Pianin,1836 186 ‘Adolph Bernhard Marx, The Universe Schoo of Music (Algemcine ‘Musilebre), 839 (cans 833) 190 Joweph Maine, Singing forthe Milton, 184 (ore 9} 197 John Hullah, Wile’ Method of Teaching Singing. 1842 TMB 7] 204 John Curseen, Singing fr Schools and Congregation, 843 ferme] 22 Mime E, Chevé, Méthode lémentare de musigue vcale, 844 217 Alfred Day, Teatie on Harmony. 1846 224 James Tule and Edward Taylor, The Singing Book 1846 327 “Joseph Mainzer, Musicand Educaion, 1848 [CTE 1] 236 “Moritz Hauptmann, The Nature of Harmony and Mere (Die Natur der Harmonikund der Merit, 1855139 ‘Anon, [Sarah Mary Fton), Conversations on Harmany.itss 245 John Curwen, The Teacher: Manual ofthe Tonic Sof Meio. 1875 [eres] 248 ELL Shedlock, A Trip Masc-Land, 1876258 J. Spencer Curwen and john Hullh, School Music Abroad 1879-1901 [ermers] 264 Mrs Frederick Inman, Plan for Teaching Musi toa Child 883. 271 David Baptie, 4 Handbook of Musical Biography, 1885 [eve 17] 275 Bernare Rainbow and various author, Masi and che Emglsh Public Sobol, 1886-195: (eT.4B 20] 276 Hermann Kreeaschmar, Musialche Zigfagen, 1903 291 M.A. Langeale and S. Macpherson, Early Esa om Msial Appreciation, 908s [erwe 197 JH. Bodand, Musical Foundations 1927 ‘A Somervell. ir Arthur Somerullon Msc Eduction: bs Speeches, Writings and Lets, 903-52, edited by Gordon Cox [ere at] 385 Index yx General Editor’s Foreword JB SRNR narenow (nap neds ow insoduction whe aig pioneer inthe history f music education. The second edition of his Music ‘Educational Thought and Practice with addivionsl material by Gordon Cox and a foreword by Sir Peter Maxwell Daves (Boydell, 2006; papetback 2007) is Rainbow's magnum opus and ie also contains full biographical information, Bue a project that was equally cherished by him was che series of Classic Texts in Music Education, whichstarted to appear in 1983, Ie was a Utopian scheme designed co cake key texts in musi educstion fram a period af over four een: ries and from various languages, and make them more widely available in fac: simile with scholaey introductions, Rainbow was appointed Director of Music atthe Collegeof St Mark and St John, Chelsea, in 1952 and, ashe explained in his Preface to The Land without “Musi, he began to investigate the history of music teaching there. His ineetest spread more widely as he uncovered a neglected field of study and asa result he ‘soon found thatthe response of my own students to hearing something of caly schoo! practice in muse led toa broadening oftheir vision: Rainbow was resourceful collector of rare books with aconsiderable library, and he lished trawling through second-hand bookshops and libraries o find what he wanted, Afier his death I found a remo on his desk which rads. and then I think, ‘wel. ifthatall ve done atleast I've enjoyed doing it~ immensely’ In 1994 he looked back at che svies of introductions that he wanted co pub: lish as collection, even before all ofthe original texs had been reprinted. His tile was Some Notable Mae Manuals This came out in limited edition of sic copies for private czcultion in 1992, printed by Severinus Pres Tis made it possible for him eo include the book in his submission tothe University of Leicester for the D.Litt thar he gained in the same year, When he reconsidered the colletion in 1994 he wrote to me on 1t March: ‘Reading through al his ‘material again Iam struck by the concentrated subseance packed into these pagesand hope that chs book can appears soon as maybein order show the calibre of cra asa whole appropriately. could hardly finda better preview We diseused ways of ding 2 more suitable eile; considered Rainbow's suggestion of A Panorama of Change: Music Manuals 1sr-rg32; hr Caroline Palmer at Boydell & Brewercame up with the final solution later. Rainbow gave me very slender list fro, considering the haphazard way in which the book ‘was assembled, and Profeser Walter iis of the Univesity of Osnabrick pro- ‘vided some, especially in reation to German usage, My correspondence with him, and Rainbow's acknowledgements in notes to some of these introduc tions, show how much the valued their professional contact. Heise, realising vit Four Centuries of Masie Teaching Maral 1st8-1932 what Joan Curwen and his conic so-fa meant to Rainbow and to the history ‘Of the subjec, translated his shore biography of Curwen into German as well Ss other portions of Rainbows books. Some of their correspondence i now in the Bemnate Rainbow Archive atthe Library of the Institute of Education, Univerity of London, where Rainbow's papers reside after being catalogued by Jude Bernmes ‘Meaawhile there are problems in completing the series as originally envi aged by Rainbow. The Nagel texts have eurned out tobe almost a incompre hensible in an English tanslacion as they are in the original German; some sources require uanslaton; some ate only on microfilm: and several are very Tong, making chem unrealistically expensive to produce ata time when the “Trust has needed ies resources tokeep the main tides prin and bring out new editions such as Mascn Educational Thought and Practice nd ~ now in pp tation - anew edition of Muse and che English Pubic Scho! (witha new ate) cdited by Andrew Mortis La Four Centuries of Music Teaching Manuals there have been editorial problems involving Rainbow’ citations of sources. Hewas normaly punctilious about such chings, buche s noc hereto asst, and so some ‘ofthese main incomplete inthe Form in which he lef chem and theres ine tably seme repestion within the introductions co each manual have been exremely Fortunate to have the support and advice of Gordon Cox whose addtional chapters to Music in Educational Thought and Price have been much admired as a worthy addition to this clasic ~ pertaps Rainbow's book will ulkimarely be seen as further reaching chan any of che his- toric books he has generously inckuded in is Classic Texts, Moreover, Gordon Cor his put all Rainbows introductions into context with his Inroducticn to this volume. Tam also most grateful for the support of David Roberts and the staf at Boydell & Brewer in preparing Four Centuries for publication. Thenext book vill bea collection of Rainbow's articles aswell as his memoirs, which [ encouraged hin co writ in bis inal years In reading Four Centrisof Music Manuals we may despair of the struggles to gin ecognition for muse in schools and in British society a8 awhole but swearelef spellbound bythe fascination that ches teachers and their dedicated work eld for Rainbow and he extraordinary diligence with which he pusued the desis oftheir careers Peter Dickinson Preface Triton ntl i i tiny he ach es eel demon apacalar pec of music ching within the cone of nother oe - wheter with scoolhren, amateur ose loves profesional imuciana or woul comport Denn fom the ps fe come and from diferenc pas of Europe hse eas present tween chem ase of onstaniy changngsinsand methods They a insealceve tha as by meas always the profeondmskian who sng co bring owed Pk ave he people ola srbinelnovits Al he wea menoned inthis volume ae bing eprom theses ClesicTextsin Msc Edun. To prove an over vi for dhonegaged in compari seach, the inoductins prepared fc exch sine volume Cinadng those noe publ) are hee rine with separate asim ofeach le page Bera Ranbow Mayo Four Centuries of Masie Teaching Man carry astudenc buea lee way onthe mystic and difcle road of modula 7 J.J. Rousseau, Project Concerning New ‘These remarks fod a balanced estimate of et enesplating the methods ° Symbols for Music (Projet concernant adopted by one of the most accomplished teachers of the fist half of the eight ccnth century in England. Burney’s final word on the subject find his eaier view softened sil ureher: nents and hex eaves ben evo opens coceing he a Of Pepi. He was especed and evced bythe se aves of eld Ii nd sects amony: we he meso lanl ane of tmden ian compose, euded him ca peda ol Sed of gen kcemed hrf bts and eu aer te decent of frend ands foes eo polncos wich th umes rh and candoe te realmsan defines ofthis ie alle we Correspondence and conversations held with Profesor Walter Heise of the Universey of Osnabrick couching various aspects of muse education in our ‘wo countries have been 2 cegult source ofboth enlgh:enment and pleasure over several years. Where the present book is concerned I wish to record my sgaticude to him for drawing atenton coche doggerel verses and other details from Matheson’ Das beschitere Orchester following my citing che Handel Matcheson correspondence which followed that books publication. The infer «ences which Ihave drawn, however, re my own and no responsibilty for ehern should be arched to Professor Heise ae de nouveaux signes), 1742 [CTME 1] vRNTY YEARS befote he prdinced the three novels which: eto exab: lsh his fame, Jean-Jacques Rouseau travelled in poverty to asis, deter mined rowin the sippore af the Academy of Sciences fora new form of musical rotation. The paper outlining his proposals which he eead before a small com: rmirtee appointed by the Academy on 22 August 1742 forms the text of Project signe Rousseau’ later eminence a5 write concerns de nowse hlosopher soften allowed to dis teace attention from his activites a a musician, But even among chose who are familar vith his simplistic compositions and the Dictionary of Music which he compiled in 176, comparatively fe asociae Rousseau with an attempt to simplify noration, oF are aware ofthe ong undereakng ‘Uneaughe as 4 mocherless child and eventually abandoned by his fthes, Rousseau received his musical initation only affer he had lefe Geneva for 1 0 cha apparently abortive Annecy, where at the age of eighteen he became the infatuated servant and companion of Mme de Watens. From his Confessions i is posible co recon struct Rousea’s long scruggle during the 17305 0 learn co read the music which Mme de Warens so delighted him by playing and sn ac one paint he attached himself for sic months tothe cathedral choirmaster at Annecy, den ta traveling msc eacher. Next, in site of his inexperience, he set himselF up asa music teacher, working meanwhile asa copyist to augment ing, To that end, his income. After later spell of two years aa cvilservane, during which time he acquited and seudied Rameau’ Tieatze ow Harmony, Rousseau turned t0 music tezching again this time with mote justification and with enough pupils to secure a livelihood. Then, rowards the end of 1736, when he was ewenty three, herejoined Mme de We reading and study. Deprived of his pupils in that rural retreat, he began to ponder upon the twoubl i: had cost him ro learn to ead music. The ful, he decided, ay in the ‘unnecesary complexity of accepted notation. Revolutionary that he was, he ens at her new county villato devote himselfto thereupen decided to devise a simpler method of writing down mosie which should sapplane che existing system, ‘During the years that followed, Rousseau perfected a notation of numerals designed to indicate tonal clationships, Upon chac basis and wih the aid of a is n Four Centuries of Mac Teaching Maral, 18-1932 | PROJET DE NOUVEAUN SIGNES POUR LA MUSIQUE Ce projet tena & ren La snusique plas eormnode 8 noter, plas singe 4 appretdre, et hence moins sis, I pstoit Gtonnaut que les signes de ba anxiqne tant restés asi longtemps dans Teta Wiperfie= fiom oft nons ls voyats encore sijonrt ii, a ic tale’ de Tappreanle ait pay avert le public gee twit ta fue des earaetives, et nos pas cele de Fart est vrai quiom adnnéxousent des projets emsegzennrs si de tous ees projets, qui, sansavuie lesan leks assign online avout presen es eié le Ina sit qui Fait éehoner cous qui Vint sola cvusilérer hii quement, soit que le génie tevt et born dos nse ions ondinaires los sicempeclye al suubrassersn pla few additional symbols he satised himself that not only smple melodies, bat ven a fall orchesral score could be see down on pape. Aimed withthe ssur- ance of complete convietion, he then st of forthe French capital to receive the plaudits ofthe Academy: He was ro be gravely disappointed, ‘Aer considering Rousseaus proposals, the Academy avarded him a diplo matically worded certifcate of commendation, but pointed ou in thei port thar his scheme was neither new nor adequate forthe purposes he had claimed. Asearly as 166, chey went on, a Franciscan named Souhaitty had proposed he use of numerals to assis the training of choristers. They righly observed chat, while Rousseaus own cipher nostion was not purely plagiarstc and might J Rowssean: Project Concerning New Symbol for Mas, 1742 73 advantageously serve a singer in che early sages of his training, an instrumen- tase would lose Far more than he gained by it se Exasperaed but made more determined by that cold response, Rousseau harscteritically presed on with the preparation of a more excended accoune ‘of his notation for genera circulation In the following yea this second version ‘was published under the tice Dizereation sur la musigue moderne. I included several new proposals and engraved examples to illustrat a tex extending to some one hundred and ewenty pages. But the book fled ro catch either the public faney or the serious attention of professional musicians. Indeed, Rameau fele obliged to explain patiendy tothe author th ‘ment in his cipher-notaton deprived an instrumentals oF valuable property absence of a pictorial ele of sea notation ~ its capacity to show ata glance the shape’ ofa phrase. Other critics were ro emphasise that in no case would professional musicians agree ‘oabandon the use of an existing form of notation which they had learned to employ instinctively. Rousseau was obliged co accept those criticisms: bur co the end of is life hae never lost faith in hie invention. In his Dictionary of Music under the hea- ing ‘Nove’ will be found an enchusiasic restatement of the case for cipher notation. And in a leter to Dr Charles Burney written not long before his ‘own death in 1778, Rousset launched once more ico a lengehy and spirited account ofthe virtues of his system. A wry note of irony is now apparent; but the original proposal ro abandon seandard notation altogether is no longer mentioned “This manner of wring music has never ben adopted. How could ic be otherwise? Ie was new and ic was proposed by me, But its defects, which [was the frst to realise, do nor prevent its having great advantages over the other sot of notation, sbove all for composers, fr teaching music co those who do not understand i, and for noting conveniently ina small space, tunes which one hears and wishes to record ‘As that exter acknowledged, the False of his plan to supplant standard nota tion was unquestionable. Yer his cipher-noration was noc to die wich him. A generation later, value a a device ‘for teaching mse ro those who do not sex of influential teachers a atime when tundersand i’ was to capture the inc state systems of eduction being introduced in many European countries and the need for new methods of aching was emphasized, As resule cipher oration was then introduced on an experimencal bass for class instruction in several quarters, Is clear succes in the early sages of teaching music to chil

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