“Managing the Muses” Musical Performance and Modernity in the Public Schools of Late-Nineteenth Century Toronto By Geoffrey James Booth A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Theory and Policy Studies in Education Ontario Institute for Studies in Education University of Toronto © Copyright by Geoffrey James Booth 2012 “Managing the Muses” Musical Performance and Modernity in the Public Schools of Late-Nineteenth Century Toronto Thesis for the Degree of Doctor of Philosophy, 2012 Geoffrey James Booth Department of Theory and Policy Studies in Education Ontario Institute for Studies in Education University of Toronto ABSTRACT This thesis examines public school music in the making of a modern middle class in late- Victorian Toronto. Its aim is to show how this subject both shaped and was shaped by the culture of modernity which increasingly pervaded large urban centres such as Toronto during the course of the nineteenth century. In so doing, this study also examines various aspects of the acoustic soundtrack during the period under study—particularly that which witnessed the advent of industrialization—to bring additional context and perspective to the discussion. Using an approach which goes beyond pedagogic and bureaucratic justification, the overall intent is to present the evolution of school music and its public performance within a much broader acoustic framework, that is, to weave it into the increasingly-urban soundtrack of Toronto, to gain some appreciation of how it would have been heard and understood at the time. In addition to its primary historical discourse, the study also draws meaning and context from a variety of other academic disciplines (musicology, sociology and education, to name but a few). Because of this, it necessarily moves from the general to the specific in terms of its overall focus, not only to provide background, but also to help make sense of the ways in which each of these areas informed and influenced the development of Toronto’s public school system and the ii iii inclusion of music in its classrooms. It then proceeds more or less chronologically through the nineteenth century, placing particular emphasis upon the careers of prominent educators such as Egerton Ryerson and James L. Hughes, to mark significant shifts in context and philosophy. Within each, a thematic approach has been employed to highlight relevant developments that likewise informed the way in which school music was conceived and comprehended. In this way, it is hoped that a fresh perspective will emerge on the history of public school music in Toronto, and prompt further research that employs aural history as a more prominent tool of historical research. ACKNOWLEDGEMENTS What a long, strange trip it’s been. In writing this dissertation, I have met and benefited from the assistance and inspiration of many people. Safe to say, I could not have completed this part of my academic journey without them. First, I would like to thank the members of my Committee, to which much is owed. To my advisor, Dr. David Levine, I am deeply grateful, in particular for his patience and frankness, his mindfulness regarding academic standards and his friendship. I would also like to acknowledge Dr. Cecilia Morgan and Dr. Harold “Hesh” Troper, who sat on my committee and provided much-needed encouragement and advice, as course instructors and thesis editors. I would also like to thank Dr. Sara Burke, for agreeing to sit as my external examiner. Her insight and meticulous editing skills offered fresh perspective at a critical point in the process. Dr. Sherene Razack also deserves recognition for her role as Chair of the Committee proceedings. Thanks also go out to Georgian College and my colleagues there, in particular deans David Dubois and Mary O’Farrell-Bowers, for supporting my request for a sabbatical and subsequent accommodations that made this project possible. As well, I’d like to thank James McEachern, Assistive Technologist, for his help in getting materials (including this thesis) transcribed into a digital audio format, and Jennifer Armstrong-Lehman for her efforts in helping me prepare for my Defence. I would also like to send a note of gratitude out to Dr. Christopher Ernst, who, on very short notice, was good enough to personally send me a copy of his dissertation, when no other source was available. I am also deeply grateful to Annique Boelryk, Simone Hubers and especially Loralei Price for their efforts in formatting the final draft. iv v I would also like to acknowledge the support and advice I received from staff at the many archives and library collections visited. While I was ultimately unable to utilize materials gathered from some, the knowledge and experience gained there remains an essential part of the trajectory of the research curve. Thanks go to Library and Archives Canada, the Archives of Ontario, Simcoe County Archives (special thanks to Assistant Archivist Ellen Millar and Reference Services Coordinator Chris MacBain, who stood by me even though the research didn’t!), Elizabeth Mathew at the United Church of Canada Archives, staff at the Toronto Reference Library, particularly those in the Baldwin Room Special Collections, and Tony Masucci at the City of Toronto Archives. Finally, I would like to acknowledge the assistance of faculty and staff of the Toronto District School Board and its Sesquicentennial Museum and Archives. In particular, I am indebted to Janet Bambrick, TDSB Instructional Leader - Music, and the SMA’s Manager/Archivist Greg McKinnon. A very special “thank you” also goes out to SMA Administrative Assistant Marie Passerino, whose professionalism and kindness made the seemingly innumerable trips there both informative and enjoyable. Several people also helped in the monumental task of making sense of the research gathered. I owe much thanks to Laura Booth, Cody Dixon, Fred, Wendy, Jay, Jennie and Murray Fallis, and especially A. J. Rowley, whose organizational skill and persistent attention to detail made a mountain of primary documentation both navigable and accessible. A number of people and organizations were also involved in transcribing written materials into audio formats, and without them, this entire enterprise would have been impossible. Immeasurable thanks go out to volunteers and staff at the Canadian National Institute for the Blind, the Ontario Audio Library Service (sadly, now defunct), and most of all, my friends at PAL Reading Services, past and present. Staff members Pavlina Jones, Derek Simunovic, Lauren Taylor and Valerie vi Veinotte, as well as PAL’s wonderful volunteer corps, who made the immense amount of reading required for this thesis a pleasure, indeed. Supplying much of this material, courtesy of the University of Toronto, were my comrades Pat Serafini and Laurie Cockburn at the OISE/UT Library, both of whom helped retrieve and deliver books and attended to all things “administrative.” I will never forget their tremendous efforts in responding cheerfully to the seemingly endless “just one more book” emails. Finally, to my colleagues, friends and family who’ve encouraged me along the way, I express sincere gratitude. More than any other person, however, I wish to acknowledge my wife, Julianne Ecclestone. I cannot imagine having ever accomplished—let alone commenced—this challenge without her unfailing support. She has been with me throughout, offering advice, encouragement and countless hours of editing. Most importantly, she has made room in our lives for me to get through this. Jewels – I love you. Geoffrey Booth May 2012 TABLE OF CONTENTS Title Page.............................................................................................................................i Abstract..............................................................................................................................ii Acknowledgements...........................................................................................................iv Table of Contents.............................................................................................................vii Dedication........................................................................................................................viii Introduction........................................................................................................................1 Chapter One The Place of Music and Education in Western Culture to 1800......................19 Chapter Two Music Culture and the Formation of a Middle Class in Upper Canada........43 Chapter Three Egerton Ryerson and Music Education in Upper Canada..............................78 Chapter Four The City, Music Culture and the Sounds of Modernity.................................116 Chapter Five Church and Military Music in Late-Nineteenth Century Toronto...............156 Chapter Six School Music in Toronto, 1877-1887................................................................194 Chapter Seven School Music in Toronto, 1887-1897................................................................216 Conclusion......................................................................................................................244 Bibliography...................................................................................................................249 vii For my parents, Gordon and Geraldine Booth, whose love and patience granted me the space to live, learn and listen.