In 1842 Felix Mendelssohn gained approval from the Prussian King Friedrich Wilhelm IV to apply the late Supreme Court Justice’s Heinrich Blümner’s 20,000-Thaler gift to the founding of Germany’s first music education institution dedicated to the higher-level training of musicians. The establishment of the Leipzig Conservatory in 1843 was a milestone in Germany’s history, as this was Germany’s first national conservatory of music, with the goal to train and educate “complete” musicians in both applied and theoretical studies. Due to its highly-esteemed faculty, the Leipzig Conservatory immediately drew attention from music students not only nationally but also internationally. The Leipzig Conservatory was known for its “conservative” leanings as well as the strong foundation students received in harmony, counterpoint, and voice-leading. The pedagogy of the Leipzig Conservatory not only had a great impact in Germany and the surrounding European countries, but its influence reached across the Atlantic to American musical life. Nineteenth-century Americans held German musical training in high regard. Between 1846 and 1918 over 1,500 Americans traveled across the Atlantic to study with the renowned faculty at the Leipzig Conservatory. Receiving a comprehensive music education and being exposed to world-class visiting soloists such as Clara Schumann and Franz Liszt, these American students returned to the United States as music teachers, administrators, music writers and publishers, and performers, prepared to influence their music culture in numerous ways. These American individuals had a great impact in numerous cities throughout the United States, and several of them had a role in founding America’s first music conservatories: Oberlin Conservatory of Music (1865) and New England Conservatory of Music (1867). By studying the original documents and concert programs at these institutions, one can trace direct pedagogical approaches and institutional policies transferred from Leipzig to Oberlin and Boston. Furthermore, many early faculty members at Oberlin and NEC themselves had studied at the Leipzig Conservatory, bringing Leipziger tastes and pedagogy to American students. While the Leipzig influence impacted Oberlin and NEC greatly, its pedagogy and principles shaped many other aspects of American music life and education throughout multiple cities and regions in the United States, leaving lasting imprints on American music culture, including music education, concert life, music criticism, and composition. The supplementary Excel spreadsheet shows Leipzig Conservatory faculty members and the duration of their tenure at the Conservatory. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2018. / December 14, 2018. / America*, Conservatory, Leipzig, New England, Oberlin, pedagogy / Includes bibliographical references. / S. Douglass Seaton, Professor Directing Dissertation; George Williamson, University Representative; Sarah Eyerly, Committee Member; Iain Quinn, Committee Member; Denise Von Glahn, Committee Member.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_710032 |
| Contributors | Pepple, Joanna (author), Seaton, Douglass (Professor Directing Dissertation), Williamson, George S. (University Representative), Eyerly, Sarah (Committee Member), Quinn, Iain (Committee Member), Von Glahn, Denise (Committee Member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text, doctoral thesis |
| Format | 1 online resource (241 pages), computer, application/pdf |
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