Documente Academic
Documente Profesional
Documente Cultură
The Professionalism of Private Music Teaching in the 19th Century: A Study with Social
Statistics
Author(s): Michael Roske
Source: Bulletin of the Council for Research in Music Education, No. 91, Eleventh
International Seminar on Research in Music Education (Spring, 1987), pp. 143-148
Published by: University of Illinois Press on behalf of the Council for Research in Music
Education
Stable URL: http://www.jstor.org/stable/40318075
Accessed: 03-05-2018 11:30 UTC
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
University of Illinois Press, Council for Research in Music Education are collaborating
with JSTOR to digitize, preserve and extend access to Bulletin of the Council for Research
in Music Education
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
143
Michael Roske
Institut fur Musikpadagogik der
Johann Wolfgang Goethe-Universitat
Frankfurt am Main
West Germany
At the middle of the 19th century, private music instruction for the first
time led to a professional image of music pedagogy. The piano teacher became
the prototype of professional music instruction. Both men and women began to
regard teaching a specific instrument as their vocation (having a didactical
interest in music written for their particular instrument) . Large towns
provide a rich source for observation of the historical processes of
professionalization in the field of instrumental teaching.
Rudolf Lüdekes1 thesis, which deals with the history of private music
education in the 19th and 20th century, includes sources which are usually
neglected by the historical researcher in the field of music education.
Although Ludekes1 work is excellent, special analyses of textbooks for
instrumental teaching and examination of local archives were not included.
His method concentrates on music journals and monographical studies in local
music history while other sources of research citations are omitted. A
thorough understanding of trends in the professionalization of private music
instruction needs a broader base. Although Ludeke speaks of an emphasis on
"SociaJ history and economic history of the private music teacher occupa-
tion," he primarily adapts a theoretical concept (similar to "Gewerbefrei-
heit") to private music instruction thus writing an economic history while
neglecting the contributions of social and professional history to the
professionalization of music pedagogy.
History must describe the role of the private music teacher in terms of
the conflicts between educational and artistic life. A vocation results from
social and cultural attitudes as well as from the professional differ-
entiation between performance and the teaching and learning of music. The
present research makes a heuristic attempt towards a better theoretical basis
of music pedagogy concentrating on professional development and venturing
into relatively unexplored socio-statistical data.
Method
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
144 Professionalisation
Data
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
Roske 145
FIGURE 1
TABLE 1
Year of the
street Total of Female
directories all teachers teachers in %
1821 18 16.7
1825 16 25.0
1829 28 28.6
1833 31 22.6
1837 34 26.5
1841 31 32.3
1845 45 35.6
1849 39 35.9
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
146 Professionalisation
TABLE 2
Of the 100 music teachers, more detailed data for 76 persons were found
from which conclusions about their activities could be drawn. The street
directories and the census list or registers of musicians found in the
Staatsarchiv Hamburg make it possible to delineate three work situations for
private music teaching:
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
Roske 147
Discussion
The statistical analyses show a good deal of mobility within the music
teaching profession. Nearly one third of the teachers were not engaged in
music lessons longer than five years (see Table 2) suggesting a rather mobile
occupational field. Increased demand for musical instruction was answered by
a reduction in the quality of teachers in part because professional
regulation of teacher training did not yet exist.
Because the average music teacher career encompassed 10.9 years, private
music teaching demonstrated a certain amount of stability in Altona. More
complete statistical data from biographical or local studies might afford
deeper insights in this sphere. However, the present investigation has
already revealed some interesting relationships between the stability and the
quality of instruction. Sustained teacher careers apparently enhance local
music history.
Reinecke exemplifies a type of music teacher in the 19th century who tried
to raise professional standards while securing higher status in a broader
social context, by no means an easy task for that time. To this day, the
instrumental teacher is not yet free from the conflicts of the very real, yet
ever-changing, social structures within music and music teaching.
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms
148 Professionalisation
References
2Lüdeke, R. (1958). Zur Geschichte der Privatmusikerziehung in 19. und 20. Jahrhundert
Ein beitrag zur sozialen und wirtschaft lichen Entwicklung des privaten Musikerziehungswesens
in Deutschland von der Einführung der Gewerfebreiheit bis 1920 (2nd Vol.). Ed. Diss.
Berline (Humboldt-University) .
Today the street directories are to be found in the Staatsarchiv Hamburg. Al tona was an
independent town belonging to the Danish empire in the early 19th century but is now a
suburb of the Freie Hansestadt Hamburg.
Duration of instruction here is defined as the difference between first and last
occurrence of a music teacher in the evaluated years of the Altona street directories. No
attention was paid to names missing from the intervening, single years.
This number is related to female teachers who exclusively gave piano lessons. Only two
female teachers did not teach piano at all.
2A case study on this matter was undertaken by the author in another context: Roske, M.
(1985). Sozialgeschichte des privaten Musiklehrers vom 17. zum 19. Jarhhundert, mit
Dokumentation. Mainz. Muslkpadagoglk: Forschung und Lehre. Hrsg. von S. Abel-Struth.
Bd. 22.
This content downloaded from 129.100.58.76 on Thu, 03 May 2018 11:30:06 UTC
All use subject to http://about.jstor.org/terms