Page 120 - Weiss, Jernej, ur. 2020. Konservatoriji: profesionalizacija in specializacija glasbenega dela ▪︎ The conservatories: professionalisation and specialisation of musical activity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 4
P. 120
konservator iji: profesionalizacija in specializacija glasbenega dela
(another victim of the marriage bar mentioned above). The range of sub-
jects kept expanding, and during the 1930s Carl Hardebeck (who by now
lived in Dublin) gave some occasional lectures in the School. The reports
submitted by both Devin and her successor Joseph O’Brien attest to their
struggles to introduce better standards of examinations across the board,
to get the Technical Education Committee to approve more scholarships
and generally to increase the grant in the light of continuing increases of
student numbers and subject expansions (Devlin introduced elocution and
O’Brien harp and organ, utilising the instrument in Dublin Castle’s Chap-
el Royal).36 In 1935–36 the student numbers reached an astonishing 1622, far
more than were enrolled at the RIAM or in Cork.37 In 1940–41 the teach-
ing staff had increased to 21 (all part-time). Tim Cooke’s book on the his-
tory of the institution includes many detailed gems of information of this
kind, including reference to regular participation in radio broadcasts. All
three Irish conservatories engaged early on in collaborations with the new
broadcasting stations (regular radio broadcasts commenced in Ireland in
1926). Their students gave live performances on air which had several ad-
vantages for them. It gave the performers an additional event to work to-
wards which would reach far more people than any other performance
while also increasing the reputation of their institution. Yet it also earned
the conservatories some money (the Junior Orchestra of Dublin’s Munici-
pal School received £4 per twenty-minute broadcast in 1940, while students
featuring in the series “Our Schools of Music” were paid 5 guineas each).38
In 1945 the increased size of Dublin’s Municipal School warranted the ap-
pointment of an Assistant Director and four full-time heads of department
(a further department, woodwind and brass instruments, was run by the
Director of the Army School of Music on a part-time basis).39 It appears
that the Emergency had not done the development of conservatories in Ire-
land too much harm.
The Vocational Education Act (1930)
One of the most important moments for music education in 1920s and 1930s
Ireland was the implementation of the Vocational Education Act (VEA) in
1930. At that time primary education was mandatory, while only the well-
36 Ibid., 21–23.
37 Ibid., 24.
38 Ibid., 31.
39 Ibid., 38–39.
118
(another victim of the marriage bar mentioned above). The range of sub-
jects kept expanding, and during the 1930s Carl Hardebeck (who by now
lived in Dublin) gave some occasional lectures in the School. The reports
submitted by both Devin and her successor Joseph O’Brien attest to their
struggles to introduce better standards of examinations across the board,
to get the Technical Education Committee to approve more scholarships
and generally to increase the grant in the light of continuing increases of
student numbers and subject expansions (Devlin introduced elocution and
O’Brien harp and organ, utilising the instrument in Dublin Castle’s Chap-
el Royal).36 In 1935–36 the student numbers reached an astonishing 1622, far
more than were enrolled at the RIAM or in Cork.37 In 1940–41 the teach-
ing staff had increased to 21 (all part-time). Tim Cooke’s book on the his-
tory of the institution includes many detailed gems of information of this
kind, including reference to regular participation in radio broadcasts. All
three Irish conservatories engaged early on in collaborations with the new
broadcasting stations (regular radio broadcasts commenced in Ireland in
1926). Their students gave live performances on air which had several ad-
vantages for them. It gave the performers an additional event to work to-
wards which would reach far more people than any other performance
while also increasing the reputation of their institution. Yet it also earned
the conservatories some money (the Junior Orchestra of Dublin’s Munici-
pal School received £4 per twenty-minute broadcast in 1940, while students
featuring in the series “Our Schools of Music” were paid 5 guineas each).38
In 1945 the increased size of Dublin’s Municipal School warranted the ap-
pointment of an Assistant Director and four full-time heads of department
(a further department, woodwind and brass instruments, was run by the
Director of the Army School of Music on a part-time basis).39 It appears
that the Emergency had not done the development of conservatories in Ire-
land too much harm.
The Vocational Education Act (1930)
One of the most important moments for music education in 1920s and 1930s
Ireland was the implementation of the Vocational Education Act (VEA) in
1930. At that time primary education was mandatory, while only the well-
36 Ibid., 21–23.
37 Ibid., 24.
38 Ibid., 31.
39 Ibid., 38–39.
118
