THE ROLE of the FIRST FIVE ELDER PROFESSORS in the DEVELOPMENT of MUSIC in the ELDER CONSERVATORIUM L Bbs-198S
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z ,,, to ''t-t -t THE ROLE OF THE FIRST FIVE ELDER PROFESSORS IN THE DEVELOPMENT OF MUSIC IN THE ELDER CONSERVATORIUM l BBs-198s HELENA RAYMOND LAUER THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS IN THE UNIVERSITY OF ADETAIDE DEPARTMENT OF MUSIC STUDIES AND DEPARTMENT OF EDUCATTON ADELAIDE NOVEMBER 1998 CONTENTS Abstract I Declaration II Acknowledgements III Chapter 1 1- L3 Chapter 2 t4 44 Chapter 3 45 60 Chapter 4 6L 79 Chapter 5 80 100 Chapter 6 101 LT7 Chapter 7 118 L23 Chapter 8 r24 l_35 Appendices Ives t36 L42 Ennis L43 L49 Davies L50 L60 Bishop t6r r6s Galliver I L66 t76 Galliver II L77 L79 Conclusion 180 183 Bibliography L84 t92 Abstract This is a study of the first five Elder Professors in the development of music in the Elder Conservatorium of Music, within the University of Adelaide. As the first School of Music in the University of Adetaide was established in L885 and the Elder Conservatorium in 1898, the Professors under consideration fulfilled the dual roles as academic Professor and as Director and administrator from 1898 to L976. \,Vithin this study comparisons will be made with the Ormond Chair of Music in the University of Melbourne, which was founded at a similar time (1890) and with comparable aims. An historical biographical method will be adopted in this study as it is primarily dealing with the Elder Professors. In order to facilitate comparison between the several Elder Professors, each chapter will deal with the nature of each Professor's contribution using similar categories to organise presentation of historical data and observations. Britísh and German groups of musicians, who were already active in the Colony prior to the establishment of Reimann's Adelaide College of Music, will be referred to briefly. A short history of the Conservatorium movement in Europe will be made and its connection with the founding of a Conservatorium in the University of Adelaide described. The influence of the British and German styles of music teaching will then be considered in the context of the Elder Conservatorium, and the question will be raised as to whether these two styles merged and whether a distinctive Australian style of musical studies developed. A discussion of the first five Elder Professors and their roles in the teaching of music in the University of Adelaide and in the wider public life of Adelaide will be presented. In the first chapter dealing with Professor Ives, the establishment of the School of Music(L885) in the University of Adelaide will be referred to and then the establishment of the Elder Conservatorium. Whilst describing in detail the achievements of each of the five Elder Professors their comparative success in gaining a balance between theory and practice in the teaching of music will be discussed. Finally, conclusions will be drawn as to the relative success of each of the Elder Professors in their role in the development of music in the Elder Conservatorium of Music within the University of Adelaide. III This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution arrd, to the best of my knowledge and betief, contains no material previously published of written by another person, except where due reference has been made ín the text. I give my consent to this copy of my thesis, when deposlted in the University Library, being made available for loan and photocopying, a It lry I ACKNOWLEQGEMENlS I wish to thank my two patient Supervisors, Dr Warren Bourne and Dr Margaret Secombe, for their unfailing help and endurance during the writing of this study. I also wish to thank Ian Brice and Dr Ian Harmstorf for their assistance prior to 1998. In addition I wish to thank Mrs Susan Woodburn who is in charge of the Special Collection in the Barr Smith library, for her skilled assistance. I would also like to thank Dr Cecily Close, Head Archivist of the University of Melbourne Archives for her kind assistance in matters rêlating to the Ormond Chair of Music, University of Melbourne, and Kylie Percival, Archivist of the Barr Smith Library. Chapter 1 Introduction This is a study of the first five Elder Professors in the development of music in the Elder Conservatorium of Music, within the University of Adelaide: an institution which for the greater part of the historical period under review was the sole provider of tertiary music education in the State of South Australia. As the first School of Music in the University of Adelaide was established in 1885 and the Elder Conservatorium in 1898 the Professors under consideration fulfilled the dual roles of Elder Professor and Director of the Elder Conservatorium continuously from 1898 until 1976. This administrative arrangement was terminated when Professor Galllver relinquished the duties of the Director of the Conservatorium in 1976, continuing to serve the University only as Elder Professor until his retirement in 1983. Within this study comparisons will be made with the Ormond Chair of Music in the University of Melbourne, which was founded at a similar time (1890) and with comparable aims. As to the motivation for this research, reference will be made to a statement written by Professor Galliver in 1967. In an Ed.itorial in Miscetlanea Musicologica,, the musical journal sponsored partly by the Elder Conservatorium in reference to research that needed to be undertaken, Professor Galliver wrote of the importance of : an historical documentation of the development of music in Australian society - of particular importance will be the correlation of musical institutions to changes ìn social structure 1 This gave justification to a study of music in the Elder Conservatorium, although it is not the primary aim of this account. In addition, in the Introduction to Bernard Heinze by Thérèse Radic, reference is made to a comment by Geoffrey Blainey, wherein it was said 1 Gu.llirr"r, D Miscellanea MusicologicaYol.2, (Adelaide: Libraries Board of South Australia and the University of Adelaide, 1967) 3 2 that 'one of the most difficult tasks in history is finding out those things which were so obvious at the time that they were not recorded. They were so obvious to everybody that even if they were recorded they were mentioned only briefly.' 2 An historical biographical method will be adopted in this thesis as it is primarily dealing with the Elder Professors. In order to facilitate comparison between the several Elder Professors, each chapter will deal with the nature of each Professor's contribution using similar categories to organise presentation of historical data and observations: Biographical details Staffing policies Curriculum development Student numbers and perfoñnance Scholarships, Concerts, Compositions Administrative achievements Other Community Involvement Summary and Conclusions about the Professor British and German groups of musicians, who were already active in the Colony prior to the establishment of Reimann's Adelaide College of Music, wilt be referred to briefly. A short history of the Conservatorium movement in Europe will be made and its connection with the founding of a Conservatorium in the University of Adelaide described. The influence of the British and German styles of music teaching will then be considered in the context of the Elder Conservatorium and the question will be raised as to whether these two styles merged and whether a distinctive Australian style of musical studies developed. A brief introduction to the first five Elder Professors and their roles in the teaching of music in the University of Adelaide and in the wider public life of Adelaide will be made, In the first chapter dealing with Professor lves, the 2 Crawford, R.M., Manning Clark, Blainey, G Making History, (Melbourne:McPhee Gribble; Penguin Books 1985)73 5 establishmenr of the School of Music(18S5) in the University of Adelaide will be discussed and then the establishment of the Elder Conservatorium (1898) and the take-over at that time of Reimann's Adelaide College of Music will be described. It is important to note that as the Degree of Bachelor of Music in the Conservatorium of Music in the University of Adelaide was based on the same Degree from the University of Cambridge it was very much a British Degree. 3 The only other teaching of the Music students in the first twelve years was of Acoustics, being carried out by Professor Bragg (British trained Cambridge, Mathematics Tripos) from 1886 until 1909. Therefore when the Elder Conservatorium opened in 1898 with a large part of the staff from Reimann's practical German Academy of Music the balance was severely altered. There were then two innovations, the Conservatorium within a University, and the fact that this was a British style School of Music, with the larger proportion of the staff being German practical teachers. Whilst describing in detail the achievements of each of the five Elder Professors their comparative success in gaining a balance between theory and practice in the teaching of music witl be discussed. The fact that the Conservatorium was in and part of the University of Adelaide became an advantage, both for the Conservatorium students and staff and for the other students and staff of the University. Each chapter traces specific themes in order to systematically clarify the contribution of each incumbent to the Chair of Music. In the first chapter a brief history of the Conservatorium movement, including reference to the Adelaide College of Music (founded in L883 by I.G. Reimann), provides an account of the effect of the foundation and development of the School of Music in the University of Adelaide in 1885 and of the Elder Conservatorium in 1898 and the effects of both on the wider public and musical life of Adelaide.