Music and Academia in Victorian Britain
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A01=Rosemary Golding
academic discipline formation
Academic Music Studies
arts and sciences debate
Arts Requirements
Author_Rosemary Golding
Bishop's Proposals
Cambridge University Musical Society
Category=AV
Category=JNB
Category=JNM
Church Music
Cognitive Exclusiveness
degrees
Die Lehre Von Den Tonempfindungen
Edinburgh Chair
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
higher education history
institutionalisation of music study
Liberal Educational Ideal
London Organ School
Music Degrees
Music Graduates
musical
Musical Study
musicology professionalisation
National Academy
nineteenth-century universities
Practical Tuition
RCM
Reid Trustees
Reid's Intention
Reid’s Intention
Rigorous Intellectual Training
Scottish Traditional Music
Senatus Academicus
study
Trainee Musicians
university curriculum development
University Musical Society
University's Professors
University’s Professors
Young Men
Product details
- ISBN 9781409457510
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 23 Aug 2013
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Until the nineteenth century, music occupied a marginal place in British universities. Degrees were awarded by Oxford and Cambridge, but students (and often professors) were not resident, and there were few formal lectures. It was not until a benefaction initiated the creation of a professorship of music at the University of Edinburgh, in the early nineteenth century, that the idea of music as a university discipline commanded serious consideration. The debates that ensued considered not only music’s identity as art and science, but also the broader function of the university within education and society. Rosemary Golding traces the responses of some of the key players in musical and academic culture to the problems surrounding the establishment of music as an academic discipline. The focus is on four universities: Edinburgh, Oxford, Cambridge and London. The different institutional contexts, and the approaches taken to music in each university, showcase the various issues surrounding music’s academic identity, as well as wider problems of status and professionalism. In examining the way music challenged conceptions of education and professional identity in the nineteenth century, the book also sheds light on the way the academic study of music continues to challenge modern approaches to music and university education.
Rosemary Golding studied music at the University of Oxford and Royal Holloway College, University of London. She now holds the post of Academic Staff Tutor in Music at the Open University. Rosemary is a cellist and singer and lives in Oxford.
