Page 121 - 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. 121
ir ish conservator ies dur ing the inter-war per iod
off in urban areas sent their children to fee-paying secondary schools. The
act determined that everybody should have free access to two additional
years of education
in preparation for employment in trades, manufactures, agricul-
ture, commerce, and other industrial pursuits, and also general
and practical training for improvement of young persons in the ear-
ly stages of such employment.40
This included, for example, music teachers at schools, organists and oth-
ers who were professionally engaged with music. This was also aided by the
fact that
when in 1931 music became compulsory in the primary schools it
followed that music should be ‘continued’ in the second-level voca-
tional school and, as music was a special case, in a Dublin Munici-
pal special School of Music41
– that, at least, is how the Dublin Municipal School made its case. Gener-
ally, conservatories were best positioned to offer those continuing their ed-
ucation in music tuition in music theory, music history, composition and
practical skills; all three institutions quickly developed syllabi (usually at
diploma level) and were quite successful in attracting this new clientele.
VEA courses became a crucial contributor to the conservatories’ budget
for many decades to come. Bernard B. Curtis states that the VEA saved the
Cork School of Music from its continuing financial worries which occa-
sionally threatened its very existence. He also explains how music was only
included as an area covered by the Act at the last minute (and, he claims,
“due to the vigilance […] of the Cork Committee”): During the third and fi-
nal reading of the bill in parliament the line “including in the country bor-
oughs of Dublin and Cork, music” was added to the Act’s list of subjects.42
Only this secure financial footing allowed for the expansion of subjects, the
appointment of a director, and in the 1950s the erection of a new building
for the School in Cork.
40 Vocational Education Act, §3, http://www.irishstatutebook.ie/eli/1930/act/29/ena-
cted/en/print.html.
41 Cooke, A Musical Journey 1890–1993, 19.
42 Curtis, Centenary of the Cork School of Music, 39–41.
119
off in urban areas sent their children to fee-paying secondary schools. The
act determined that everybody should have free access to two additional
years of education
in preparation for employment in trades, manufactures, agricul-
ture, commerce, and other industrial pursuits, and also general
and practical training for improvement of young persons in the ear-
ly stages of such employment.40
This included, for example, music teachers at schools, organists and oth-
ers who were professionally engaged with music. This was also aided by the
fact that
when in 1931 music became compulsory in the primary schools it
followed that music should be ‘continued’ in the second-level voca-
tional school and, as music was a special case, in a Dublin Munici-
pal special School of Music41
– that, at least, is how the Dublin Municipal School made its case. Gener-
ally, conservatories were best positioned to offer those continuing their ed-
ucation in music tuition in music theory, music history, composition and
practical skills; all three institutions quickly developed syllabi (usually at
diploma level) and were quite successful in attracting this new clientele.
VEA courses became a crucial contributor to the conservatories’ budget
for many decades to come. Bernard B. Curtis states that the VEA saved the
Cork School of Music from its continuing financial worries which occa-
sionally threatened its very existence. He also explains how music was only
included as an area covered by the Act at the last minute (and, he claims,
“due to the vigilance […] of the Cork Committee”): During the third and fi-
nal reading of the bill in parliament the line “including in the country bor-
oughs of Dublin and Cork, music” was added to the Act’s list of subjects.42
Only this secure financial footing allowed for the expansion of subjects, the
appointment of a director, and in the 1950s the erection of a new building
for the School in Cork.
40 Vocational Education Act, §3, http://www.irishstatutebook.ie/eli/1930/act/29/ena-
cted/en/print.html.
41 Cooke, A Musical Journey 1890–1993, 19.
42 Curtis, Centenary of the Cork School of Music, 39–41.
119
