By C. F. Abdy Williams
C. F. Abdy Williams (1855-1923), a famous song pupil, traced the heritage of the self-discipline at Oxford and Cambridge from the 15th century to the past due Victorian interval during this 1894 publication. He discusses the earliest files of levels within the topic, the institution of professorships, the necessities for levels and the ceremonies linked to their conferral. He offers biographical info for graduates from as early as 1463, noting that English track of this early interval used to be in a truly complicated level in comparison to that of the remainder of Europe. He additionally comprises, in an appendix, the names of these individuals who're pointed out as graduates yet whose names don't seem within the collage files. His publication unearths the significance connected to the cultivation of track on the old British universities and the status connected to their students over numerous centuries.
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Extra info for A Short Historical Account of the Degrees in Music at Oxford and Cambridge: With a Chronological List of Graduates in that Faculty from the Year 1463
John's, the Proctors, the Savilian Professors, and the Professor of Poetry, or the greater part of them, subject to the approval of Convocation. Once, or oftener in each term, he is to read, in the Music School or elsewhere, a lecture on the Theory of Music, with leave to illustrate it by vocal or instrumental accompaniment. He is to receive £100 a year, independently of the Crewe foundation money. The Choragus is to be nominated by the Vice-Chancellor, the two Proctors, the Professor of Music, and the Public Orator, subject to the approval of Convocation.
In 1748 the Music Room was opened, the cost of which was defrayed by public subscription. The following description of it is given in the " Past and Present state of Oxford," edited by Sir J. Peshall:— " In Holiwell Street stands an elegant stone edifice, appropriated to music, and therefore called the Music Room. Its dimensions are 65 by 32 by 30 feet high. The north end, being a segment of a circle, is occupied by the performers. The orchestra rises gradually from the front, where the singers stand, partly screened by a balustrade.
In the barbers' shops, instruments were kept ready for the use of customers while waiting * Peshall, " Hist. ," p. 129. Another Oxford organ—namely, that of Magdalen College—also survived the Commonwealth, having been conveyed to Hampton Court by Cromwell, and given back to its original owners after the Restoration. f Anstey, " Munimenta," p. 674. I Ritter, " Gesch. des Orgelspiels," p. 45. THE CULTIVATION OF MUSIC AT THE UNIVERSITIES. 47 their turn. Every gentleman was expected to be able to take a part in a madrigal, or instrumental piece, at sight; and Elizabeth herself was no mean performer on the virginals and lute.
A Short Historical Account of the Degrees in Music at Oxford and Cambridge: With a Chronological List of Graduates in that Faculty from the Year 1463 by C. F. Abdy Williams