Page 140 - 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. 140
konservator iji: profesionalizacija in specializacija glasbenega dela
troduced in the curricula, just as one same class can be taught by several
teachers.
The Conservatory’s collaborations with the Romanian Philharmonic
Society and the Romanian Opera continue. Concerts and opera perfor-
mances given by its artists, students and teachers alike, are often perceived
as important events in Romania’s artistic life. The Conservatory itself is
part of Bucharest’s musical life, and the close connections with the other
cultural institutions point to the existence of common artistic goals. These
partnerships also extend to the newly-founded institutions, the Romanian
Radio9, created in 1926, for example. In December 1920, George Enescu, to-
gether with other Romanian musicians, established the Romanian Com-
posers’ Society. Among them composers were teachers or future teachers
at the Bucharest Conservatory: Constantin Brăiloiu, Alfred Alessandrescu,
Ion Nonna Otescu, Mihail Jora, D.G. Kiriac, Dimitrie Cuclin, Constantin
Nottara, Mihail Andricu, Theodor Rogalski. Numerous generations of mu-
sicians, composers and musicologists would from then on further the re-
lation between the two institutions through common projects, a common
concert policy, the desire to disseminate and promote Romanian music and
to support the Romanian community of musicians.
In 1931, under Ferdinand I, the Conservatory is renamed the R oyal
Academy of Music and Dramatic Art. As its rector, Ion Nonna Otescu
thinks big: in his clear and modern vision, the Academy would become a
true “university citadel”. The regulation testifies to its being officially au-
thorized to function as a higher education institution: the Royal Academy
is a “higher education establishment, a state-funded institution under the
authority of the Ministry of Public Instruction,” “autonomous and having the
same level of culture as all higher education institutions, in accordance to the
Academic Autonomy Law.” Its aim is the deliver “artistic, professional and
pedagogic education in music and dramatic art.”10 In addition to attesting
to the high level the institution had reached, the regulation also states how
it is organised and functions. The various specialisations are mentioned -
Normal-Pedagogic, Music Theory, Vocal, Instrumental and Drama, tau-
ght at the following departments: Harmony - Counterpoint, Music Theory
- Solfège, Aesthetics, Counterpoint - Fugue and Musical Forms, History of
Music, Encyclopaedia and Pedagogy, Choir and Church Music Compositi-
on, Opera, Singing, Drama-Comedy, History of Dramatic Literature, Pia-
9 The institution was first called The Society of Radiotelephonic Broadcasting.
10 See minutes no. 1 from September 20, 1931, Archives of the UNMB.
138
troduced in the curricula, just as one same class can be taught by several
teachers.
The Conservatory’s collaborations with the Romanian Philharmonic
Society and the Romanian Opera continue. Concerts and opera perfor-
mances given by its artists, students and teachers alike, are often perceived
as important events in Romania’s artistic life. The Conservatory itself is
part of Bucharest’s musical life, and the close connections with the other
cultural institutions point to the existence of common artistic goals. These
partnerships also extend to the newly-founded institutions, the Romanian
Radio9, created in 1926, for example. In December 1920, George Enescu, to-
gether with other Romanian musicians, established the Romanian Com-
posers’ Society. Among them composers were teachers or future teachers
at the Bucharest Conservatory: Constantin Brăiloiu, Alfred Alessandrescu,
Ion Nonna Otescu, Mihail Jora, D.G. Kiriac, Dimitrie Cuclin, Constantin
Nottara, Mihail Andricu, Theodor Rogalski. Numerous generations of mu-
sicians, composers and musicologists would from then on further the re-
lation between the two institutions through common projects, a common
concert policy, the desire to disseminate and promote Romanian music and
to support the Romanian community of musicians.
In 1931, under Ferdinand I, the Conservatory is renamed the R oyal
Academy of Music and Dramatic Art. As its rector, Ion Nonna Otescu
thinks big: in his clear and modern vision, the Academy would become a
true “university citadel”. The regulation testifies to its being officially au-
thorized to function as a higher education institution: the Royal Academy
is a “higher education establishment, a state-funded institution under the
authority of the Ministry of Public Instruction,” “autonomous and having the
same level of culture as all higher education institutions, in accordance to the
Academic Autonomy Law.” Its aim is the deliver “artistic, professional and
pedagogic education in music and dramatic art.”10 In addition to attesting
to the high level the institution had reached, the regulation also states how
it is organised and functions. The various specialisations are mentioned -
Normal-Pedagogic, Music Theory, Vocal, Instrumental and Drama, tau-
ght at the following departments: Harmony - Counterpoint, Music Theory
- Solfège, Aesthetics, Counterpoint - Fugue and Musical Forms, History of
Music, Encyclopaedia and Pedagogy, Choir and Church Music Compositi-
on, Opera, Singing, Drama-Comedy, History of Dramatic Literature, Pia-
9 The institution was first called The Society of Radiotelephonic Broadcasting.
10 See minutes no. 1 from September 20, 1931, Archives of the UNMB.
138
