Zu Dahlhaus’ Historiographie der Musiktheorie im 19. Jahrhundert

Sprick, Jan Philipp

doi:10.31751/860

ZGMTH

2016

DOI: 10.31751/860

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Zu Dahlhaus’ Historiographie der Musiktheorie im 19. Jahrhundert

Jan Philipp Sprick

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Music Theory Pedagogy in the Nineteenth Century

Utne-Reitan¹

2022

Journal of Music Theory

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What characterized conservatory music theory pedagogy in nineteenth-century Europe? This article discusses the traditions of music theory pedagogy associated with the conservatories in Paris, Vienna, and Leipzig, specifically focusing on the middle of the nineteenth century (ca. 1830–70). In the first section, the characteristics of the three individual traditions are discussed separately. The second section compares these traditions from three perspectives: theoretical framework, pedagogical approach, and historical legacy. Although the traditions are different on several central points (e.g., ties to Italian partimento pedagogy in Paris, to Ramellian fundamental bass in Vienna, and to Weberian Roman numeral analysis in Leipzig), they also have some fundamental similarities that drew the borders—the defining limits—of conservatory music theory. The author argues that in the nineteenth century the idea of music theory as a primarily written discipline (centered on textbooks and written exercises and largely separated from musical performance) became a central element of these general characteristics of music theory pedagogy that would be taken for granted and accepted as self-evident across institutional traditions.

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Music Theory Pedagogy in the Nineteenth Century

Utne-Reitan¹

2022

Journal of Music Theory

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Zu Dahlhaus’ Historiographie der Musiktheorie im 19. Jahrhundert

Cited by 1 publication

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Music Theory Pedagogy in the Nineteenth Century

Music Theory Pedagogy in the Nineteenth Century

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