Page 141 - 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
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towar ds a genuine university status ...
no, Harp, Violin, Cello. The number of years required to complete the stu-
dies varied with the specialisation – a maximum of eight years, a minimum
of three years plus a preparatory year. The teachers’ board decided on the
disciplines, practical work, analytical programs, the organisation of exams,
admission requirements. Only those in possession of a baccalaureate diplo-
ma could obtain, upon the completion of their studies, a graduation diplo-
ma, which was conferred in the name of the King and signed by the minis-
ter of Public Instruction and by the rector. The special title of “laureate” was
bestowed upon the graduates who had obtained a magna cum laude in their
main disciplines and very good in their secondary disciplines. There was an
entrance examination. The professor application requirements specified, in
the case of Romanian candidates, a mandatory certificate of qualification –
namely, a diploma awarded by the Royal Academy of Music and Dramatic
Art or diplomas issued by equivalent Romanian or foreign conservatories,
as well senior experience in the targeted specialization of at least 10 years.
Failing local teachers, foreign teachers were hired, their 5-year contract
being renewed as appropriate. Wages were still an issue, as they were still
paid as established by the normative acts of 1927, when the Conservatory
wasn’t yet ranked among the higher education institutions.
Famous figure in Romanian music from the first half of the 20th cen-
tury, George Enescu was dedicated to the Royal Academy of Music and
Dramatic Art even if he didn’t actually teach there. His engagements in Ro-
mania and abroad, as well as his own personal projects as composer and
performer prevented him from a sustained teaching career. He neverthe-
less enthusiastically took part in the Academy’s activities, just as he did
everything in his power to support and encourage the evolution of many
talented students. Enescu fought for the Academy’s accession to the status
of a university-level higher education institution and lent a hand with the
organizing and smooth running of competitions, recitals, exams, prizes,
permanent position appointments. He performed with teachers and stu-
dents in recitals in Romania and abroad. Some of George Enescu’s artistic
collaborations with Romanian musicians from the Academy are illustrat-
ed by posters or programmes held in the Archives of the National Univer-
sity of Music Bucharest and which show him together with such musicians
as Dinu Lipatti, Lola Bobescu, Muza Ghermani-Ciomac, Alfred Alessan-
drescu. The Academy recognized his merits by naming him, in 1931, Hon-
orary Rector.
139
no, Harp, Violin, Cello. The number of years required to complete the stu-
dies varied with the specialisation – a maximum of eight years, a minimum
of three years plus a preparatory year. The teachers’ board decided on the
disciplines, practical work, analytical programs, the organisation of exams,
admission requirements. Only those in possession of a baccalaureate diplo-
ma could obtain, upon the completion of their studies, a graduation diplo-
ma, which was conferred in the name of the King and signed by the minis-
ter of Public Instruction and by the rector. The special title of “laureate” was
bestowed upon the graduates who had obtained a magna cum laude in their
main disciplines and very good in their secondary disciplines. There was an
entrance examination. The professor application requirements specified, in
the case of Romanian candidates, a mandatory certificate of qualification –
namely, a diploma awarded by the Royal Academy of Music and Dramatic
Art or diplomas issued by equivalent Romanian or foreign conservatories,
as well senior experience in the targeted specialization of at least 10 years.
Failing local teachers, foreign teachers were hired, their 5-year contract
being renewed as appropriate. Wages were still an issue, as they were still
paid as established by the normative acts of 1927, when the Conservatory
wasn’t yet ranked among the higher education institutions.
Famous figure in Romanian music from the first half of the 20th cen-
tury, George Enescu was dedicated to the Royal Academy of Music and
Dramatic Art even if he didn’t actually teach there. His engagements in Ro-
mania and abroad, as well as his own personal projects as composer and
performer prevented him from a sustained teaching career. He neverthe-
less enthusiastically took part in the Academy’s activities, just as he did
everything in his power to support and encourage the evolution of many
talented students. Enescu fought for the Academy’s accession to the status
of a university-level higher education institution and lent a hand with the
organizing and smooth running of competitions, recitals, exams, prizes,
permanent position appointments. He performed with teachers and stu-
dents in recitals in Romania and abroad. Some of George Enescu’s artistic
collaborations with Romanian musicians from the Academy are illustrat-
ed by posters or programmes held in the Archives of the National Univer-
sity of Music Bucharest and which show him together with such musicians
as Dinu Lipatti, Lola Bobescu, Muza Ghermani-Ciomac, Alfred Alessan-
drescu. The Academy recognized his merits by naming him, in 1931, Hon-
orary Rector.
139
