Of the 214 teachers in this index who are known by record to have taught at least one pupil, 42 have left words, their own or a pupil’s, on how music should be taught and what it is for. 46 books, prefaces, journals and memoirs yield 135 statements; 100 of them are in the teacher’s own printed words. Every quotation below was checked against the text of the book it comes from.
The widest agreement is on Bach. 10 teachers, from Ouseley at Tenbury to Dudley Buck in Brooklyn, name him the foundation. Widor writes from Paris that the new French organ school it is founded on Bach
. Buck holds that the American student must first be thoroughly educated in the German school of playing
. They agree on the master and part company on the school.
Nearly as wide is the agreement on restraint. Stainer warns that no instrument offers such a temptation to triflers as the Organ
. Rheinberger told a pupil that needless changes in a Bach fugue can only have a weakening and degrading effect
. Mr Goodrich of Boston counts the organ’s resources a means, not a goal. Against them stand two younger men: Mr Gaul of Pittsburgh, for whom it is no longer a matter of lifeless legato
, and Mr Dethier of New York, whose pupil describes a style modeled after that of the orchestra
.
In the theory room the quarrel is over rules. Prout would have the theorist follow modestly behind
the masters, and Clarke, Chadwick and Kitson agree with him. Macfarren, writing for beginners, makes his explanations all dogmatical
. Ouseley would study harmony and counterpoint together; Stanford would put counterpoint first; Goetschius would put melody before both.
The lines of descent can be traced. Lemmens’s legato and his counsel to begin at the pianoforte reappear, through Guilmant, in Mr Carl’s studies of 1907. Widor’s belief that organ playing has not changed since Johann Sebastian Bach
reappears in his pupil Goodrich’s preface of 1917. Not every pupil held to his master’s view. Buck counselled a judicious liberalism
toward the public; his pupil Woodman was praised in 1920 for never appealing to temporary popular taste
.
For 172 teachers nothing on method or belief was found in the sources read. They are listed with their pupils, so that the search may continue.
Each group is two or more teachers who take the same position on a topic, ranked by the number of teachers. Quotations are verbatim.
the Organ-Fugues of J. Sebastian Bach in open score(Ouseley, Counterpoint (1869), Preface, 1869) · tb019
we were being led to Bach by the Belgian Lemmens(Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. xi · by C. M. Widor (pupil), 1908) · tb052
People speak of a new French organ school: it is founded on Bach.(Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. xi, 1908) · tb054
No, the art of organ playing has not changed since Johann Sebastian Bach(Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface, 1902) · tb055
many of the organ works of Bach and Handel have been performed for the first time in Paris(Lahee, The Organ and its Masters (1902), p. 174 · by E. E. Truette (pupil), via Lahee, 1902) · tb061
After playing a couple of preludes and fugues of Bach, or a Mendelssohn sonata(Lahee, The Organ and its Masters (1902), p. 151 · by E. E. Truette (pupil), via Lahee, 1902) · tb064
Rheinberger's idea of the greatest in organ music is Bach, given with broad and noble delivery(Lahee, The Organ and its Masters (1902), p. 157 · by J. W. Nicholl (pupil), via Lahee, 1902) · tb069
his playing of Bach and other classical composers attracted much attention(Lahee, The Organ and its Masters (1902), p. 200 · by Lahee, 1902) · tb072
Only from that mine of musical wealth, the German school, especially as represented by Bach, can the suitable foundation-stones for the desired structure be derived.(Buck, The Influence of the Organ in History, p. 43, n.d.) · tb074
Buxtehude, Bach, Handel, Mendelssohn and all authorities on organ music long ago realized the necessity of Trio work(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb083
the essential being of the organ remains unchanged, as indeed it has since the time of Bach(Goodrich, The Organ in France (1917), Preface, p. xi, 1917) · tb087
during the first year nothing but exercises(Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface, 1902) · tb057
the extremely close attention which he gives to minute details, and especially to phrasing, accentuation, rests, dotted notes(Lahee, The Organ and its Masters (1902), pp. 175–176 · by E. E. Truette (pupil), via Lahee, 1902) · tb060
clearness, breadth, and absolute accuracy(Lahee, The Organ and its Masters (1902), p. 149 · by Lahee, 1902) · tb065
He expected, and in fact demanded, that a student should be technically perfect in an organ piece before playing it for him.(Lahee, The Organ and its Masters (1902), p. 156 · by J. W. Nicholl (pupil), via Lahee, 1902) · tb067
a study of rhythm, accentuation and phrasing is given particular attention(Eddy, A Method for Pipe Organ II (1917), Preface, 1917) · tb079
to him a phrase is a living thing(The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil), 1921) · tb096
He was a most painstaking teacher(Bridge, A Westminster Pilgrim (1919), end of ch. III · by Frederick Bridge (pupil), 1919) · tb121
He would nearly always accompany his pupils on the violin(Lady Elvey, Life and Reminiscences of George J. Elvey (1894), p. 146 · by Lady Elvey, 1894) · tb127
the finest nuances of rhythm, accent and phrasing are obtained(Goodrich, The Organ in France (1917), 1917) · tb134
Perhaps no instrument offers such a temptation to triflers as the Organ, for the obvious reason that an immense variety of tone can be produced on it by merely mechanical means.(Stainer, The Organ, Original preface, 1877/1909) · tb006
The teaching of the organ school of Lemmens, their master(Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich (pupil of Widor), 1917) · tb053
A serious organist will never avail himself of these means of expression, unless architecturally(Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface, 1902) · tb056
simplicity of registration(Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich, 1917) · tb063
This fugue can be compared to a noble and beautifully finished piece of architecture complete in itself, and unnecessary changes can only have a weakening and degrading effect.(Lahee, The Organ and its Masters (1902), p. 157 · by J. W. Nicholl (pupil), via Lahee, 1902) · tb068
the organ was an instrument of its own kind, producing effects that no orchestra could produce, and should be treated accordingly(Lahee, The Organ and its Masters (1902), pp. 204–205 · by E. E. Truette, via Lahee, 1902) · tb071
employing far too many changes in order to produce the effects(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb084
He must not regard the exploitation of these resources as his artistic goal, but rather their employment as a means of musical expression.(Goodrich, The Organ in France (1917), Preface, p. xi, 1917) · tb088
He has purposely omitted any concise or definite rules on modulation, because he conceives that it is better that it should be learned in the process of harmonising melodies(Stainer, Composition (Novello primer), Preface, c.1880) · tb005
not so much by warnings against what is bad, as by examples of what is good, as musicians understand it, and by maxims deduced from such examples.(Chadwick, Harmony (c1897), Preface, c1897) · tb021
directions as to what may be done, than by laying too much stress upon what is forbidden(Foote & Spalding, Modern Harmony (1905), Preface, 1905) · tb023
Teach the pupil how to use his knowledge, instead of simply trying to follow out the rule.(H. A. Clarke, A System of Harmony (1898), Preface, 1898) · tb026
the same bass can evidently be harmonized in many different ways(J. C. D. Parker, Manual of Harmony (1855), Preface, 1855) · tb039
select those best fitted for individual needs(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb085
the aim is to help with suggestions rather than by giving definite rules(Demarest, Hints on Organ Accompaniment (1910), Preface, 1910) · tb092
It is eminently desirable that the student should construct his own exercises(Macfarren, Rudiments of Harmony, Preface, 1860/1888) · tb009
It is a system of drill(Goetschius, Exercises in Melody-Writing (1900), Preface, 1900) · tb031
there is no short cut to mastery(Stanford, Musical Composition (1911), ch. I, p. 2, 1911) · tb044
the only really valuable means of training(Stanford, Pages from an Unwritten Diary (1914), p. 157, 1914) · tb046
Daily systematic work should be done to strengthen and develop the finger(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb081
This was a method of teaching the rudiments of music by a system of drill.(Bridge, A Westminster Pilgrim (1919), p. 88, 1919) · tb118
the essence of counterpoint lies in the equal interest which should belong to each part added to the canto fermo(Bridge, Counterpoint (1878), Introduction, 1878) · tb004
the prime object of all theoretical study in music is, or should be, melody(Goetschius, Exercises in Melody-Writing (1900), Preface, 1900) · tb029
the first step in musical composition is the ability to write one note after another(Stanford, Musical Composition (1911), ch. II, 1911) · tb045
the melodic inspiration itself appeals to the heart, and, as the God-given quality, is the higher of the two(Buck, The Influence of the Organ in History, n.d.) · tb076
were constantly resorted to for developing taste and expression(Lady Elvey, Life and Reminiscences of George J. Elvey (1894) · by Lady Elvey, 1894) · tb126
the intelligent organist will not fail to accommodate his style to the sentiment which each Festival brings with it(Lemmens, Organ School (tr. Best), Preface, 1862 (orig.)) · tb051
The editor believes congregational singing to be the object best worth striving for in Church music.(Parker (ed.), The Hymnal (1903), Preface, 1903) · tb101
Clearly we need not more tunes, but better ones, attaining a higher standard of musical worth and dignity.(Parker (ed.), The Hymnal (1903), Preface, 1903) · tb102
at no time bowed the knee to the Baal of vicious sentimentalism(The New Music Review (1920 volume), p. 229 · by New Music Review, 1920) · tb105
simplicity and dignity are essential attributes of music, in which the soul is to commune with its Maker(Stoeckel, Sacred Music (1868), Preface, 1868) · tb106
at the expense of dignity(Lutkin, Music in the Church (1910), pp. 94–95, 1910) · tb111
The words should be sung at the same pace in the Recitations and Inflections(The New Hymnal (1916/1918), pp. 723–724, 1916/1918) · tb104
The words should be sung at the same pace in the Recitations and Inflections(The New Hymnal (1916/1918), pp. 723–724, 1916/1918) · tb110
Hurrying the recitative and retarding the "spoken" (half) notes.(Buck, Illustrations in Choir Accompaniment (1877), ch. V, 1877) · tb112
The words should be sung at the same pace in the Recitations and Inflections(The New Hymnal (1916/1918), pp. 723–724, 1916/1918) · tb132
The words should be sung at the same pace in the Recitations and Inflections(The New Hymnal (1916/1918), pp. 723–724, 1916/1918) · tb133
it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master.(Prout, Harmony (1889), Preface, 1889) · tb011
In other words, practice must precede theory.(Prout, Harmony (1889), Preface, 1889) · tb012
But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius(Prout, Harmony (1889), Preface, 1889) · tb013
This book is not intended to deprive the teacher of his occupation(Chadwick, Harmony (c1897), Preface, c1897) · tb022
Whatever has been sanctioned by a great writer becomes the property of all, provided they can use it with taste and discretion.(H. A. Clarke, A System of Harmony (1898), Preface, 1898) · tb028
from the practice of Palestrina, whose works exhibit the Art of Counterpoint in its perfection, rather than from a study of textbooks(Kitson, The Art of Counterpoint (1907), Preface, 1907) · tb032
Our Bach worship does not date from yesterday.(Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. x, 1908) · tb059
To show how the spirit of these compositions may be attained in performance upon our American instruments is the purpose of this book.(Goodrich, The Organ in France (1917), Preface, 1917) · tb089
without change from the original edition of registration, phrasing or dynamic marks(Dunham (ed.), The Modern French Organist (1898), Preface, 1898) · tb091
The French do not play Bach with the exaggerated tempo that Americans employ.(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918), 1918) · tb100
take the reins into his own hands and as unobtrusively as possible guide the singers(Lutkin, Music in the Church (1910), p. 167, 1910) · tb108
The orchestra has a conductor, while at the organ the player ordinarily sits with his back turned to the singers.(Buck, Illustrations in Choir Accompaniment (1877), ch. VII, 1877) · tb113
acts as conductor as well as accompanist(Bridge, Organ Accompaniment of the Choral Service, § 12, [1885]) · tb114
employs one hand to direct the choir(Dickinson, The Technique and Art of Organ Playing (1922), ch. IV, 1922) · tb130
They catch the mood of the fugue or toccata; all we catch is a metronome mark.(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918), 1918) · tb099
rhythm is of far more importance than tempo(Lutkin, Hymn-Singing and Hymn-Playing (1930), 1930) · tb109
tempo rubato(Dickinson, The Technique and Art of Organ Playing (1922), ch. IX, 1922) · tb131
Tempo rubato represents the alteration made in the time, when some notes are held for more, and others for less than their strict duration.(Stainer & Barrett, Dictionary of Musical Terms, p. 389, 1898) · tb135
Theoretical questions are therefore carefully avoided, and the tempered scale is accepted as the foundation of modern music.(H. A. Clarke, A System of Harmony (1898), Preface, 1898) · tb025
The book contains no scientifically theoretic treatise on harmony(Richter, Manual of Harmony (tr. Morgan), Author's preface (1st ed.), 1853/1867) · tb036
No musical knowledge whatever is presupposed on the part of the student(J. C. D. Parker, Manual of Harmony (1855), Preface, 1855) · tb038
There is no doubt that the study of counterpoint is most beneficial, exercising the powers in many directions not altogether covered by the study of harmony, particularly in the important matter of part-writing.(Bridge, Counterpoint (1878), Preface, 1878) · tb003
By the careful study of Restricted Counterpoint the tyro acquires the use of the tools of his art; and without such drilling he will never have them well under his command.(Ouseley, Counterpoint (1869), Preface, 1869) · tb018
the training of technique should be as strict as that the supervision of composition should be elastic(Stanford, Musical Composition (1911), ch. I, p. 2, 1911) · tb043
The Legato style, so characteristic of the organ, presents the greatest difficulties(Lemmens, Organ School (tr. Best), Preface, 1862 (orig.)) · tb049
the paramount importance of a perfect legato(Eddy, A Method for Pipe Organ II (1917), Preface, 1917) · tb077
the study of the Legato — the true organ touch(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb080
It cannot be too strongly recommended that all who wish to become organists should commence by studying the Pianoforte.(Lemmens, Organ School (tr. Best), Preface, 1862 (orig.)) · tb050
without which it would be impossible to develop any great degree of skill upon the organ(Eddy, A Method for Pipe Organ II (1917), Preface, 1917) · tb078
a knowledge of this instrument being indispensable(Carl, Master-Studies for the Organ (1907), Preface, 1907) · tb082
Young and enthusiastic choirmasters are apt to force the speed at the expense of dignity, but too quick movement is no greater fault than intolerable dragging.(Lutkin, Music in the Church (1910), pp. 94–95, 1910) · tb107
The choir should lead the congregation, not run away from it.(Bridge, Organ Accompaniment of the Choral Service, [1885]) · tb115
When a congregation is dragging the tempo play slightly staccato, or marcato(Dickinson, The Technique and Art of Organ Playing (1922), ch. IV, 1922) · tb129
Marcato touch: indispensable to accent(Dickinson, The Technique and Art of Organ Playing (1922), Contents, ch. II, 1922) · tb093
Staccato and legato are to him not general styles of playing, to be used continuously for extended passages(The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil), 1921) · tb094
It is no longer a matter of lifeless legato, but approaches an orchestra performance, with light and shade, delicacy and force.(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918), 1918) · tb097
It is only daily practice that will evolve this facility(Bridge, A Westminster Pilgrim (1919), p. 340, 1919) · tb116
It is probable that the best results are produced in the case of a Cathedral choirboy(Bridge, A Westminster Pilgrim (1919), p. 341, 1919) · tb117
Goss said to me once that such a training was invaluable because the music the boys sang(Bridge, A Westminster Pilgrim (1919), p. 340 · by Frederick Bridge (pupil), 1919) · tb119
although an admirable teacher of boys(Bridge, A Westminster Pilgrim (1919) · by Frederick Bridge, 1919) · tb122
a consistent theory, founded in nature, progressively expanded, and involving no purely arbitrary rules(Ouseley, Harmony (1868), Preface, 1868) · tb015
how the laws of music depend upon principles of the human mind(Hauptmann, The Nature of Harmony and Metre (Eng. tr.), Author's preface, 1853/1888) · tb041
This style of playing modeled after that of the orchestra(The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil), 1921) · tb095
approaches an orchestra performance, with light and shade(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918), 1918) · tb098
With a choir of twelve boys and six men, Mr. Hopkins realizes his ideas of Quality, not quantity(Stubbs, Practical Hints on the Training of Choir Boys, pp. 45–46 · by G. E. Stubbs, quoting Curwen, 1888/1897) · tb123
long tried principles of the old Italian school(Osgood, Guide in the Art of Singing (1874), Preface, 1874) · tb124
Topics on which the teachers take two or more different positions. Every side is shown.
to remove discrepancies between the laws of early theorists and the practice of modern composers(Macfarren, Rudiments of Harmony, Preface)
it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master.(Prout, Harmony (1889), Preface)
In other words, practice must precede theory.(Prout, Harmony (1889), Preface)
But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius(Prout, Harmony (1889), Preface)
This book is not intended to deprive the teacher of his occupation(Chadwick, Harmony (c1897), Preface)
Whatever has been sanctioned by a great writer becomes the property of all, provided they can use it with taste and discretion.(H. A. Clarke, A System of Harmony (1898), Preface)
from the practice of Palestrina, whose works exhibit the Art of Counterpoint in its perfection, rather than from a study of textbooks(Kitson, The Art of Counterpoint (1907), Preface)
a consistent theory, founded in nature, progressively expanded, and involving no purely arbitrary rules(Ouseley, Harmony (1868), Preface)
how the laws of music depend upon principles of the human mind(Hauptmann, The Nature of Harmony and Metre (Eng. tr.), Author's preface)
Theoretical questions are therefore carefully avoided, and the tempered scale is accepted as the foundation of modern music.(H. A. Clarke, A System of Harmony (1898), Preface)
The book contains no scientifically theoretic treatise on harmony(Richter, Manual of Harmony (tr. Morgan), Author's preface (1st ed.))
No musical knowledge whatever is presupposed on the part of the student(J. C. D. Parker, Manual of Harmony (1855), Preface)
many eminent musicians now urge that counterpoint should be taught with, and made the basis of, harmony(Bridge, Counterpoint (1878), Preface)
The student is recommended to study Harmony and Counterpoint concurrently(Ouseley, Harmony (1868), Preface)
it seems more reasonable to study Harmony and Counterpoint simultaneously(Ouseley, Counterpoint (1869), Preface)
the prime object of all theoretical study in music is, or should be, melody(Goetschius, Exercises in Melody-Writing (1900), Preface)
The first principle to be laid down is, therefore, to study counterpoint first, and through counterpoint to master harmony.(Stanford, Musical Composition (1911), ch. II)
There is no doubt that the study of counterpoint is most beneficial, exercising the powers in many directions not altogether covered by the study of harmony, particularly in the important matter of part-writing.(Bridge, Counterpoint (1878), Preface)
By the careful study of Restricted Counterpoint the tyro acquires the use of the tools of his art; and without such drilling he will never have them well under his command.(Ouseley, Counterpoint (1869), Preface)
the training of technique should be as strict as that the supervision of composition should be elastic(Stanford, Musical Composition (1911), ch. I, p. 2)
To pretend that such a system has a certain disciplinary value implies a low view of the purpose of contrapuntal study.(Kitson, The Art of Counterpoint (1907), Preface)
The true province of contrapuntal study is the attainment of the art of pure vocal part-writing.(Kitson, The Art of Counterpoint (1907), Preface)
He has purposely omitted any concise or definite rules on modulation, because he conceives that it is better that it should be learned in the process of harmonising melodies(Stainer, Composition (Novello primer), Preface)
not so much by warnings against what is bad, as by examples of what is good, as musicians understand it, and by maxims deduced from such examples.(Chadwick, Harmony (c1897), Preface)
directions as to what may be done, than by laying too much stress upon what is forbidden(Foote & Spalding, Modern Harmony (1905), Preface)
Teach the pupil how to use his knowledge, instead of simply trying to follow out the rule.(H. A. Clarke, A System of Harmony (1898), Preface)
the same bass can evidently be harmonized in many different ways(J. C. D. Parker, Manual of Harmony (1855), Preface)
select those best fitted for individual needs(Carl, Master-Studies for the Organ (1907), Preface)
the aim is to help with suggestions rather than by giving definite rules(Demarest, Hints on Organ Accompaniment (1910), Preface)
Being addressed to beginners, its explanations are all dogmatical(Macfarren, Rudiments of Harmony, Preface)
without reflecting that the whole thing means music after all(Foote & Spalding, Modern Harmony (1905), Preface)
complete discarding of the figured bass, with the result that all merely mechanical rote work is eliminated(H. A. Clarke, A System of Harmony (1898), Preface)
The Legato style, so characteristic of the organ, presents the greatest difficulties(Lemmens, Organ School (tr. Best), Preface)
the paramount importance of a perfect legato(Eddy, A Method for Pipe Organ II (1917), Preface)
the study of the Legato — the true organ touch(Carl, Master-Studies for the Organ (1907), Preface)
Marcato touch: indispensable to accent(Dickinson, The Technique and Art of Organ Playing (1922), Contents, ch. II)
Staccato and legato are to him not general styles of playing, to be used continuously for extended passages(The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil))
It is no longer a matter of lifeless legato, but approaches an orchestra performance, with light and shade, delicacy and force.(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918))
Our Bach worship does not date from yesterday.(Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. x)
To show how the spirit of these compositions may be attained in performance upon our American instruments is the purpose of this book.(Goodrich, The Organ in France (1917), Preface)
without change from the original edition of registration, phrasing or dynamic marks(Dunham (ed.), The Modern French Organist (1898), Preface)
The French do not play Bach with the exaggerated tempo that Americans employ.(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918))
The American student who would excel as an organist, must first be thoroughly educated in the German school of playing.(Buck, The Influence of the Organ in History, p. 43)
Perhaps no instrument offers such a temptation to triflers as the Organ, for the obvious reason that an immense variety of tone can be produced on it by merely mechanical means.(Stainer, The Organ, Original preface)
The teaching of the organ school of Lemmens, their master(Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich (pupil of Widor))
A serious organist will never avail himself of these means of expression, unless architecturally(Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface)
simplicity of registration(Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich)
This fugue can be compared to a noble and beautifully finished piece of architecture complete in itself, and unnecessary changes can only have a weakening and degrading effect.(Lahee, The Organ and its Masters (1902), p. 157 · by J. W. Nicholl (pupil), via Lahee)
the organ was an instrument of its own kind, producing effects that no orchestra could produce, and should be treated accordingly(Lahee, The Organ and its Masters (1902), pp. 204–205 · by E. E. Truette, via Lahee)
employing far too many changes in order to produce the effects(Carl, Master-Studies for the Organ (1907), Preface)
He must not regard the exploitation of these resources as his artistic goal, but rather their employment as a means of musical expression.(Goodrich, The Organ in France (1917), Preface, p. xi)
This style of playing modeled after that of the orchestra(The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil))
approaches an orchestra performance, with light and shade(Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918))
the intelligent organist will not fail to accommodate his style to the sentiment which each Festival brings with it(Lemmens, Organ School (tr. Best), Preface)
The editor believes congregational singing to be the object best worth striving for in Church music.(Parker (ed.), The Hymnal (1903), Preface)
Clearly we need not more tunes, but better ones, attaining a higher standard of musical worth and dignity.(Parker (ed.), The Hymnal (1903), Preface)
at no time bowed the knee to the Baal of vicious sentimentalism(The New Music Review (1920 volume), p. 229 · by New Music Review)
simplicity and dignity are essential attributes of music, in which the soul is to commune with its Maker(Stoeckel, Sacred Music (1868), Preface)
at the expense of dignity(Lutkin, Music in the Church (1910), pp. 94–95)
first the broad foundation, and then a judicious liberalism(Buck, The Influence of the Organ in History, p. 43)
For each documented teacher–pupil link (and two-step links through a pupil who left no view on the topic), the positions of teacher and pupil on the same topic are compared. “Shared” means the same position; “Diverged” means a different one.
| Teacher | Pupil | Via | Topic | Teacher’s position | Pupil’s position | Result |
|---|---|---|---|---|---|---|
| Alexandre Guilmant | Gaston Dethier | direct | Close attention to phrasing, accent and detail | Exactness in phrasing, accent, rhythm and technique | Exactness in phrasing, accent, rhythm and technique | Shared |
| Alexandre Guilmant | William C. Carl | direct | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Alexandre Guilmant | William C. Carl | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Registration and effects serve the music; avoid display and needless changes | Shared |
| August Haupt | Clarence Eddy | direct | Close attention to phrasing, accent and detail | Exactness in phrasing, accent, rhythm and technique | Exactness in phrasing, accent, rhythm and technique | Shared |
| Charles-Marie Widor | Harvey B. Gaul | direct | Which school to follow: German or French | The French school is the model | The French school is the model | Shared |
| Charles-Marie Widor | Wallace Goodrich | direct | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Charles-Marie Widor | Wallace Goodrich | direct | Close attention to phrasing, accent and detail | Exactness in phrasing, accent, rhythm and technique | Exactness in phrasing, accent, rhythm and technique | Shared |
| Charles-Marie Widor | Wallace Goodrich | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Registration and effects serve the music; avoid display and needless changes | Shared |
| Charles-Marie Widor | Wallace Goodrich | direct | Which school to follow: German or French | The French school is the model | The French school is the model | Shared |
| Henry M. Dunham | Wallace Goodrich | direct | Which school to follow: German or French | The French school is the model | The French school is the model | Shared |
| Jacques-Nicolas Lemmens | Alexandre Guilmant | direct | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Jacques-Nicolas Lemmens | Alexandre Guilmant | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Registration and effects serve the music; avoid display and needless changes | Shared |
| Jacques-Nicolas Lemmens | Charles-Marie Widor | direct | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Jacques-Nicolas Lemmens | Charles-Marie Widor | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Registration and effects serve the music; avoid display and needless changes | Shared |
| John Goss | Frederick Bridge | direct | Chorister training and sight-reading | Daily cathedral-style choir training is the best foundation | Daily cathedral-style choir training is the best foundation | Shared |
| Josef Rheinberger | Wallace Goodrich | direct | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Josef Rheinberger | Wallace Goodrich | direct | Close attention to phrasing, accent and detail | Exactness in phrasing, accent, rhythm and technique | Exactness in phrasing, accent, rhythm and technique | Shared |
| Josef Rheinberger | Wallace Goodrich | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Registration and effects serve the music; avoid display and needless changes | Shared |
| August Haupt | William C. Carl | Samuel P. Warren | Bach as the foundation of organ study | Bach is the foundation and model | Bach is the foundation and model | Shared |
| Dudley Buck | Horatio Parker | George W. Chadwick | Chant pace | Recitation not hurried; one pace for reciting and inflection | Recitation not hurried; one pace for reciting and inflection | Shared |
| Dudley Buck | Peter C. Lutkin | Clarence Eddy | Chant pace | Recitation not hurried; one pace for reciting and inflection | Recitation not hurried; one pace for reciting and inflection | Shared |
| Dudley Buck | Peter C. Lutkin | Clarence Eddy | The organist as conductor | The organist must lead or conduct the singers from the console | The organist must lead or conduct the singers from the console | Shared |
| Jacques-Nicolas Lemmens | William C. Carl | Alexandre Guilmant | Legato as the basis of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | Shared |
| Jacques-Nicolas Lemmens | William C. Carl | Alexandre Guilmant | Pianoforte technique before the organ | The student should master the pianoforte first | The student should master the pianoforte first | Shared |
| Alexandre Guilmant | Gaston Dethier | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Use every resource, orchestral light and shade | Diverged |
| Alexandre Guilmant | Harvey B. Gaul | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Use every resource, orchestral light and shade | Diverged |
| Charles-Marie Widor | Harvey B. Gaul | direct | Registration: restraint and the organ as its own instrument | Registration and effects serve the music; avoid display and needless changes | Use every resource, orchestral light and shade | Diverged |
| Dudley Buck | Harvey B. Gaul | direct | Which school to follow: German or French | The German school is the necessary foundation | The French school is the model | Diverged |
| Dudley Buck | Raymond Huntington Woodman | direct | Dignity and popular taste in church and organ music | Offer variety, including lighter music, to win the public (said of organ programmes) | Church music must be dignified, serve the words and the people, not sentiment | Diverged |
| Moritz Hauptmann | James Cutler Dunn Parker | direct | What theory rests on: nature and reason, or practice alone | Theory grounded in nature, acoustics or the laws of the mind | Practical rules; speculative theory set aside | Diverged |
| Clarence Eddy | Clarence Dickinson | Harrison M. Wild | Legato as the basis of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | Legato is one touch among several; phrase with staccato, marcato and nuance | Diverged |
| Dudley Buck | Horatio Parker | George W. Chadwick | Dignity and popular taste in church and organ music | Offer variety, including lighter music, to win the public (said of organ programmes) | Church music must be dignified, serve the words and the people, not sentiment | Diverged |
| Dudley Buck | Peter C. Lutkin | Clarence Eddy | Dignity and popular taste in church and organ music | Offer variety, including lighter music, to win the public (said of organ programmes) | Church music must be dignified, serve the words and the people, not sentiment | Diverged |
| Jacques-Nicolas Lemmens | Clarence Dickinson | Alexandre Guilmant | Legato as the basis of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | Legato is one touch among several; phrase with staccato, marcato and nuance | Diverged |
| Jacques-Nicolas Lemmens | Gaston Dethier | Alexandre Guilmant | Legato as the basis of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | Legato is one touch among several; phrase with staccato, marcato and nuance | Diverged |
| Jacques-Nicolas Lemmens | Harvey B. Gaul | Alexandre Guilmant | Legato as the basis of organ touch | A perfect legato (with finger substitution) is the foundation of organ touch | Legato is one touch among several; phrase with staccato, marcato and nuance | Diverged |
Rows are teachers; columns are topics. A cell shows the teacher’s position (hover for the wording); the letter is the position’s key, explained below the table. Empty means nothing found, not disagreement.
rules = Rules come from the masters' practice, or are laid down for the student: A Rules should follow the practice of the great composers, B Rules stated dogmatically for beginners; theory = What theory rests on: nature and reason, or practice alone: A Theory grounded in nature, acoustics or the laws of the mind, B Practical rules; speculative theory set aside; order = Order of study: harmony, counterpoint, melody: A Harmony first, counterpoint after (the usual order), B Harmony and counterpoint together, C Counterpoint first; harmony through counterpoint, D Melody is the prime object of study; strict = Value of strict counterpoint drill: A Counterpoint drill under strict rules is necessary discipline, B Arbitrary textbook rules have no disciplinary value; follow a real style; positive = Teach by good examples and suggestion, not prohibition: A Teach by examples, directions and suggestions rather than prohibitions or memorised rules, B Explanations given dogmatically; figbass = Figured bass in the harmony course: A Figured bass discarded as mechanical, B Figured bass kept, alongside harmonising melodies; practice = Learning by doing: own exercises, drill, daily practice: A The student must write, drill and practise daily; no short cut; melody = Melody and melodic inspiration as the heart of music study: A Melody comes first or stands highest; legato = Legato as the basis of organ touch: A A perfect legato (with finger substitution) is the foundation of organ touch, B Legato is one touch among several; phrase with staccato, marcato and nuance; piano = Pianoforte technique before the organ: A The student should master the pianoforte first; bach = Bach as the foundation of organ study: A Bach is the foundation and model; school = Which school to follow: German or French: A The German school is the necessary foundation, B The French school is the model; registration = Registration: restraint and the organ as its own instrument: A Registration and effects serve the music; avoid display and needless changes, B Use every resource, orchestral light and shade; detail = Close attention to phrasing, accent and detail: A Exactness in phrasing, accent, rhythm and technique; church = Dignity and popular taste in church and organ music: A Church music must be dignified, serve the words and the people, not sentiment, B Offer variety, including lighter music, to win the public (said of organ programmes); chorister = Chorister training and sight-reading: A Daily cathedral-style choir training is the best foundation; conductor = The organist as conductor: A The organist must lead or conduct the singers from the console; chant = Chant pace: A Recitation not hurried; one pace for reciting and inflection; hymn-tempo = Hymn tempo: A Moderate pace: neither hurrying nor dragging; choir leads the people; rubato = Tempo flexibility and rubato: A Mood, rhythm and rubato matter more than a metronome mark; voice = Voice training method: A Old Italian school and quality of tone.
Filter by topic, category, evidence or text. A statement that belongs to an agreement is marked.
| Id | Teacher | Category | Topic | Position | Quotation | Source | Year | Evidence |
|---|---|---|---|---|---|---|---|---|
| tb001 | Frederick Bridge | Precedent | Precedents cited | Cites his own lessons with John Goss in 1864 as a source of examples. | Sir John Goss, for kindly allowing me to insert several examples, written in 1864, when I was receiving instruction from him | Bridge, Counterpoint (1878), Preface | 1878 | Documented |
| tb002 | Frederick Bridge | Pedagogy | Order of study: harmony, counterpoint, melody | Notes that eminent musicians urge counterpoint as the basis of harmony, but follows the usual order and presupposes harmony. Harmony first, counterpoint after (the usual order) | many eminent musicians now urge that counterpoint should be taught with, and made the basis of, harmony | Bridge, Counterpoint (1878), Preface | 1878 | Documented |
| tb003 ★ | Frederick Bridge | Belief | Value of strict counterpoint drill | Counterpoint trains part-writing in ways harmony does not. Counterpoint drill under strict rules is necessary discipline | There is no doubt that the study of counterpoint is most beneficial, exercising the powers in many directions not altogether covered by the study of harmony, particularly in the important matter of part-writing. | Bridge, Counterpoint (1878), Preface | 1878 | Documented |
| tb004 ★ | Frederick Bridge | Belief | Melody and melodic inspiration as the heart of music study | Equal melodic interest in every added part is the essence of counterpoint. Melody comes first or stands highest | the essence of counterpoint lies in the equal interest which should belong to each part added to the canto fermo | Bridge, Counterpoint (1878), Introduction | 1878 | Documented |
| tb005 ★ | John Stainer | Pedagogy | Teach by good examples and suggestion, not prohibition | Leaves out fixed rules on modulation: it should be learned by harmonising melodies, not by memorised short-cuts. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | He has purposely omitted any concise or definite rules on modulation, because he conceives that it is better that it should be learned in the process of harmonising melodies | Stainer, Composition (Novello primer), Preface | c.1880 | Documented |
| tb006 ★ | John Stainer | Belief | Registration: restraint and the organ as its own instrument | Warns that the organ tempts triflers because variety of tone comes by mechanical means. Registration and effects serve the music; avoid display and needless changes | Perhaps no instrument offers such a temptation to triflers as the Organ, for the obvious reason that an immense variety of tone can be produced on it by merely mechanical means. | Stainer, The Organ, Original preface | 1877/1909 | Documented |
| tb007 | George Alexander Macfarren | Pedagogy | Teach by good examples and suggestion, not prohibition | For beginners, explanations are given dogmatically. Explanations given dogmatically | Being addressed to beginners, its explanations are all dogmatical | Macfarren, Rudiments of Harmony, Preface | 1860/1888 | Documented |
| tb008 | George Alexander Macfarren | Pedagogy | Rules come from the masters' practice, or are laid down for the student | Aims to reconcile the laws of early theorists with modern practice, within a fixed system. Rules stated dogmatically for beginners | to remove discrepancies between the laws of early theorists and the practice of modern composers | Macfarren, Rudiments of Harmony, Preface | 1860/1888 | Documented |
| tb009 ★ | George Alexander Macfarren | Pedagogy | Learning by doing: own exercises, drill, daily practice | The student should write his own exercises. The student must write, drill and practise daily; no short cut | It is eminently desirable that the student should construct his own exercises | Macfarren, Rudiments of Harmony, Preface | 1860/1888 | Documented |
| tb010 | George Alexander Macfarren | Precedent | Precedents cited | Follows Alfred Day's theory (the strict and free styles; the chromatic system). | — | Macfarren, Rudiments of Harmony, Preface | 1860/1888 | Documented |
| tb011 ★ | Ebenezer Prout | Belief | Rules come from the masters' practice, or are laid down for the student | Theory must follow the masters; it is wrong to tell students "Bach is wrong". Rules should follow the practice of the great composers | it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master. | Prout, Harmony (1889), Preface | 1889 | Documented |
| tb012 ★ | Ebenezer Prout | Belief | Rules come from the masters' practice, or are laid down for the student | Practice comes before theory. Rules should follow the practice of the great composers | In other words, practice must precede theory. | Prout, Harmony (1889), Preface | 1889 | Documented |
| tb013 ★ | Ebenezer Prout | Belief | Rules come from the masters' practice, or are laid down for the student | Early rules must not outrank genius. Rules should follow the practice of the great composers | But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius | Prout, Harmony (1889), Preface | 1889 | Documented |
| tb014 | Ebenezer Prout | Precedent | Precedents cited | Cites Haydn, Helmholtz, Alfred Day and Ouseley; draws on Wagner, Brahms and Dvořák for examples. | — | Prout, Harmony (1889), Preface | 1889 | Documented |
| tb015 ★ | Frederick Ouseley | Belief | What theory rests on: nature and reason, or practice alone | A consistent theory founded in nature, without arbitrary rules; criticises treatises that ignore physical science. Theory grounded in nature, acoustics or the laws of the mind | a consistent theory, founded in nature, progressively expanded, and involving no purely arbitrary rules | Ouseley, Harmony (1868), Preface | 1868 | Documented |
| tb016 | Frederick Ouseley | Pedagogy | Order of study: harmony, counterpoint, melody | Harmony and counterpoint should be studied together. Harmony and counterpoint together | The student is recommended to study Harmony and Counterpoint concurrently | Ouseley, Harmony (1868), Preface | 1868 | Documented |
| tb017 | Frederick Ouseley | Pedagogy | Order of study: harmony, counterpoint, melody | Italy began with counterpoint; England, Germany and France with harmony; better to do both at once. Harmony and counterpoint together | it seems more reasonable to study Harmony and Counterpoint simultaneously | Ouseley, Counterpoint (1869), Preface | 1869 | Documented |
| tb018 ★ | Frederick Ouseley | Pedagogy | Value of strict counterpoint drill | Strict counterpoint is the drill that gives command of the tools. Counterpoint drill under strict rules is necessary discipline | By the careful study of Restricted Counterpoint the tyro acquires the use of the tools of his art; and without such drilling he will never have them well under his command. | Ouseley, Counterpoint (1869), Preface | 1869 | Documented |
| tb019 ★ | Frederick Ouseley | Pedagogy | Bach as the foundation of organ study | Recommends copying Bach's organ fugues in open score. Bach is the foundation and model | the Organ-Fugues of J. Sebastian Bach in open score | Ouseley, Counterpoint (1869), Preface | 1869 | Documented |
| tb020 | Frederick Ouseley | Precedent | Precedents cited | Cites Fux, Marpurg, Reicha and Cherubini, and Professor Pole. | — | Ouseley, Harmony (1868), Preface | 1868 | Documented |
| tb021 ★ | George W. Chadwick | Pedagogy | Teach by good examples and suggestion, not prohibition | Teaches by examples of what is good and maxims drawn from them, not warnings. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | not so much by warnings against what is bad, as by examples of what is good, as musicians understand it, and by maxims deduced from such examples. | Chadwick, Harmony (c1897), Preface | c1897 | Documented |
| tb022 ★ | George W. Chadwick | Pedagogy | Rules come from the masters' practice, or are laid down for the student | Rules as maxims deduced from musical examples; the book does not replace the teacher. Rules should follow the practice of the great composers | This book is not intended to deprive the teacher of his occupation | Chadwick, Harmony (c1897), Preface | c1897 | Documented |
| tb023 ★ | Arthur Foote | Pedagogy | Teach by good examples and suggestion, not prohibition | Directions on what may be done rather than stress on what is forbidden (preface written with Spalding). Teach by examples, directions and suggestions rather than prohibitions or memorised rules | directions as to what may be done, than by laying too much stress upon what is forbidden | Foote & Spalding, Modern Harmony (1905), Preface | 1905 | Probable |
| tb024 | Arthur Foote | Pedagogy | Figured bass in the harmony course | Figured bass is kept, but done musically and alongside harmonising melodies (preface written with Spalding). Figured bass kept, alongside harmonising melodies | without reflecting that the whole thing means music after all | Foote & Spalding, Modern Harmony (1905), Preface | 1905 | Probable |
| tb025 ★ | Hugh A. Clarke | Belief | What theory rests on: nature and reason, or practice alone | Theory questions avoided; tempered scale accepted. Practical rules; speculative theory set aside | Theoretical questions are therefore carefully avoided, and the tempered scale is accepted as the foundation of modern music. | H. A. Clarke, A System of Harmony (1898), Preface | 1898 | Documented |
| tb026 ★ | Hugh A. Clarke | Pedagogy | Teach by good examples and suggestion, not prohibition | Two teaching maxims: one thing at a time; teach use of knowledge, not rule-following. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | Teach the pupil how to use his knowledge, instead of simply trying to follow out the rule. | H. A. Clarke, A System of Harmony (1898), Preface | 1898 | Documented |
| tb027 | Hugh A. Clarke | Pedagogy | Figured bass in the harmony course | Figured bass discarded to remove mechanical rote work. Figured bass discarded as mechanical | complete discarding of the figured bass, with the result that all merely mechanical rote work is eliminated | H. A. Clarke, A System of Harmony (1898), Preface | 1898 | Documented |
| tb028 ★ | Hugh A. Clarke | Belief | Rules come from the masters' practice, or are laid down for the student | What a great writer has sanctioned belongs to all, used with taste. Rules should follow the practice of the great composers | Whatever has been sanctioned by a great writer becomes the property of all, provided they can use it with taste and discretion. | H. A. Clarke, A System of Harmony (1898), Preface | 1898 | Documented |
| tb029 ★ | Percy Goetschius | Belief | Melody and melodic inspiration as the heart of music study | Melody is the prime object of theory study. Melody comes first or stands highest | the prime object of all theoretical study in music is, or should be, melody | Goetschius, Exercises in Melody-Writing (1900), Preface | 1900 | Documented |
| tb030 | Percy Goetschius | Pedagogy | Order of study: harmony, counterpoint, melody | Melody-writing taught as a first course. Melody is the prime object of study | the prime object of all theoretical study in music is, or should be, melody | Goetschius, Exercises in Melody-Writing (1900), Preface | 1900 | Documented |
| tb031 ★ | Percy Goetschius | Pedagogy | Learning by doing: own exercises, drill, daily practice | Musical practice is habit; the book is a system of drill. The student must write, drill and practise daily; no short cut | It is a system of drill | Goetschius, Exercises in Melody-Writing (1900), Preface | 1900 | Documented |
| tb032 ★ | Charles H. Kitson | Belief | Rules come from the masters' practice, or are laid down for the student | Rules taken from Palestrina's practice, not from textbooks. Rules should follow the practice of the great composers | from the practice of Palestrina, whose works exhibit the Art of Counterpoint in its perfection, rather than from a study of textbooks | Kitson, The Art of Counterpoint (1907), Preface | 1907 | Documented |
| tb033 | Charles H. Kitson | Pedagogy | Value of strict counterpoint drill | Rejects arbitrary textbook codes and the claim that they have disciplinary value. Arbitrary textbook rules have no disciplinary value; follow a real style | To pretend that such a system has a certain disciplinary value implies a low view of the purpose of contrapuntal study. | Kitson, The Art of Counterpoint (1907), Preface | 1907 | Documented |
| tb034 | Charles H. Kitson | Belief | Value of strict counterpoint drill | The purpose of counterpoint is pure vocal part-writing. Arbitrary textbook rules have no disciplinary value; follow a real style | The true province of contrapuntal study is the attainment of the art of pure vocal part-writing. | Kitson, The Art of Counterpoint (1907), Preface | 1907 | Documented |
| tb035 | Salomon Jadassohn | Precedent | Precedents cited | His Manual was translated into English by two of his pupils, from New York and San Francisco. | by my highly gifted pupils Messrs. Paul Torek from New-York, and H. B. Pasmore from San Francisco | Jadassohn, Manual of Harmony (Eng. tr.), Author's preface (June 1884) | 1884 | Documented |
| tb036 ★ | E. F. Richter | Belief | What theory rests on: nature and reason, or practice alone | The Manual is practical, not a scientific theory of harmony. Practical rules; speculative theory set aside | The book contains no scientifically theoretic treatise on harmony | Richter, Manual of Harmony (tr. Morgan), Author's preface (1st ed.) | 1853/1867 | Documented |
| tb037 | James Cutler Dunn Parker | Precedent | Precedents cited | Draws freely on Richter of Leipzig, whose system he finds simplest. | free use has been made of a little work that has recently appeared in Germany, by E. F. Richter | J. C. D. Parker, Manual of Harmony (1855), Preface | 1855 | Documented |
| tb038 ★ | James Cutler Dunn Parker | Belief | What theory rests on: nature and reason, or practice alone | Leipzig theory valued for simplicity; nothing presupposed but an ear. Practical rules; speculative theory set aside | No musical knowledge whatever is presupposed on the part of the student | J. C. D. Parker, Manual of Harmony (1855), Preface | 1855 | Documented |
| tb039 ★ | James Cutler Dunn Parker | Pedagogy | Teach by good examples and suggestion, not prohibition | Teacher should go beyond the book's exercises; a bass may be harmonised many ways. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | the same bass can evidently be harmonized in many different ways | J. C. D. Parker, Manual of Harmony (1855), Preface | 1855 | Documented |
| tb040 | Albert Ham | Belief | Melody and melodic inspiration as the heart of music study | Aims to develop "Musical Instinct". | Musical Instinct | Ham, Rudiments of Music (1900), Preface | 1900 | Documented |
| tb041 ★ | Moritz Hauptmann | Belief | What theory rests on: nature and reason, or practice alone | Musical laws rest on principles of the human mind; correct expression is natural to mankind. Theory grounded in nature, acoustics or the laws of the mind | how the laws of music depend upon principles of the human mind | Hauptmann, The Nature of Harmony and Metre (Eng. tr.), Author's preface | 1853/1888 | Documented |
| tb042 | Charles Villiers Stanford | Pedagogy | Order of study: harmony, counterpoint, melody | Study counterpoint first and reach harmony through it, as the masters did. Counterpoint first; harmony through counterpoint | The first principle to be laid down is, therefore, to study counterpoint first, and through counterpoint to master harmony. | Stanford, Musical Composition (1911), ch. II | 1911 | Documented |
| tb043 ★ | Charles Villiers Stanford | Pedagogy | Value of strict counterpoint drill | Strict training of technique, elastic supervision of composition; no "free counterpoint" in study. Counterpoint drill under strict rules is necessary discipline | the training of technique should be as strict as that the supervision of composition should be elastic | Stanford, Musical Composition (1911), ch. I, p. 2 | 1911 | Documented |
| tb044 ★ | Charles Villiers Stanford | Pedagogy | Learning by doing: own exercises, drill, daily practice | No short cut to mastery; technique requires drudgery. The student must write, drill and practise daily; no short cut | there is no short cut to mastery | Stanford, Musical Composition (1911), ch. I, p. 2 | 1911 | Documented |
| tb045 ★ | Charles Villiers Stanford | Belief | Melody and melodic inspiration as the heart of music study | The first step in composition is writing one note after another: melody. Melody comes first or stands highest | the first step in musical composition is the ability to write one note after another | Stanford, Musical Composition (1911), ch. II | 1911 | Documented |
| tb046 ★ | Charles Villiers Stanford | Pedagogy | Learning by doing: own exercises, drill, daily practice | Hearing his own work is the only really valuable means of training for a pupil (said of what Reinecke did not give him). The student must write, drill and practise daily; no short cut | the only really valuable means of training | Stanford, Pages from an Unwritten Diary (1914), p. 157 | 1914 | Documented |
| tb047 | Charles Villiers Stanford | Precedent | Precedents cited | Says he learned how to teach from his pupils; cites Brahms on technical criticism. | have taught him how to teach | Stanford, Musical Composition (1911), Prefatory note | 1911 | Documented |
| tb048 | Carl Reinecke | Pedagogy | Learning by doing: own exercises, drill, daily practice | Stanford, his pupil, found Reinecke's composition teaching without method, though good at canon. | His composition training had no method about it whatever. | Stanford, Pages from an Unwritten Diary (1914), p. 157 · by C. V. Stanford (pupil) | 1874–75 | Reported |
| tb049 ★ | Jacques-Nicolas Lemmens | Pedagogy | Legato as the basis of organ touch | The legato style is the organ's character; finger substitution is the means. A perfect legato (with finger substitution) is the foundation of organ touch | The Legato style, so characteristic of the organ, presents the greatest difficulties | Lemmens, Organ School (tr. Best), Preface | 1862 (orig.) | Documented |
| tb050 ★ | Jacques-Nicolas Lemmens | Pedagogy | Pianoforte technique before the organ | Organists should begin with the pianoforte. The student should master the pianoforte first | It cannot be too strongly recommended that all who wish to become organists should commence by studying the Pianoforte. | Lemmens, Organ School (tr. Best), Preface | 1862 (orig.) | Documented |
| tb051 ★ | Jacques-Nicolas Lemmens | Belief | Dignity and popular taste in church and organ music | The organ school is built on Roman plain chant; style must suit each festival. Church music must be dignified, serve the words and the people, not sentiment | the intelligent organist will not fail to accommodate his style to the sentiment which each Festival brings with it | Lemmens, Organ School (tr. Best), Preface | 1862 (orig.) | Documented |
| tb052 ★ | Jacques-Nicolas Lemmens | Belief | Bach as the foundation of organ study | Led the French to Bach; learned the classical organ art from Hesse of Breslau (Widor). Bach is the foundation and model | we were being led to Bach by the Belgian Lemmens | Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. xi · by C. M. Widor (pupil) | 1908 | Reported |
| tb053 ★ | Jacques-Nicolas Lemmens | Belief | Registration: restraint and the organ as its own instrument | His "Bach style" training shows in his pupils' simplicity of registration (Goodrich). Registration and effects serve the music; avoid display and needless changes | The teaching of the organ school of Lemmens, their master | Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich (pupil of Widor) | 1917 | Reported |
| tb054 ★ | Charles-Marie Widor | Belief | Bach as the foundation of organ study | The new French organ school is founded on Bach. Bach is the foundation and model | People speak of a new French organ school: it is founded on Bach. | Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. xi | 1908 | Documented |
| tb055 ★ | Charles-Marie Widor | Belief | Bach as the foundation of organ study | Organ playing has not changed since Bach; neither has organ touch. Bach is the foundation and model | No, the art of organ playing has not changed since Johann Sebastian Bach | Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface | 1902 | Documented |
| tb056 ★ | Charles-Marie Widor | Belief | Registration: restraint and the organ as its own instrument | Swell-box expression is mechanical; a serious organist uses it only "architecturally". Registration and effects serve the music; avoid display and needless changes | A serious organist will never avail himself of these means of expression, unless architecturally | Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface | 1902 | Documented |
| tb057 ★ | Charles-Marie Widor | Pedagogy | Close attention to phrasing, accent and detail | Bach's own method: a first year of nothing but exercises, with close attention to clear, precise touch. Exactness in phrasing, accent, rhythm and technique | during the first year nothing but exercises | Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface | 1902 | Documented |
| tb058 | Charles-Marie Widor | Precedent | Precedents cited | Lists the chain Bach, Kittel, Rinck; Fétis taught him counterpoint and fugue. | Dr. Fétis, of Brussels, while teaching me the principles of counterpoint and fugue | Widor, preface to Pirro, J. S. Bach the Organist (tr. Goodrich, 1902), Preface | 1902 | Documented |
| tb059 ★ | Charles-Marie Widor | Belief | Which school to follow: German or French | Bach worship is old in France; French organists have been occupied with Bach for a generation. The French school is the model | Our Bach worship does not date from yesterday. | Widor, preface to Schweitzer, J. S. Bach (1908/1911), Preface, p. x | 1908 | Documented |
| tb060 ★ | Alexandre Guilmant | Pedagogy | Close attention to phrasing, accent and detail | As a teacher, unusually close attention to detail: phrasing, accent, rests, dotted notes. Exactness in phrasing, accent, rhythm and technique | the extremely close attention which he gives to minute details, and especially to phrasing, accentuation, rests, dotted notes | Lahee, The Organ and its Masters (1902), pp. 175–176 · by E. E. Truette (pupil), via Lahee | 1902 | Reported |
| tb061 ★ | Alexandre Guilmant | Belief | Bach as the foundation of organ study | Gave many of Bach's and Handel's organ works their first hearings in Paris at the Trocadéro recitals. Bach is the foundation and model | many of the organ works of Bach and Handel have been performed for the first time in Paris | Lahee, The Organ and its Masters (1902), p. 174 · by E. E. Truette (pupil), via Lahee | 1902 | Reported |
| tb062 | Alexandre Guilmant | Pedagogy | Registration: restraint and the organ as its own instrument | Carl's 1898 collection prints Guilmant's own registration and expression marks, with his help. | are reproduced with the same registration and expression-marks which he followed | Carl, Master-pieces for the Organ (1898), Preface · by W. C. Carl (pupil) | 1898 | Reported |
| tb063 ★ | Alexandre Guilmant | Belief | Registration: restraint and the organ as its own instrument | Lemmens's "Bach style" training shows in Guilmant's and Widor's musical thought and simplicity of registration (Goodrich). Registration and effects serve the music; avoid display and needless changes | simplicity of registration | Goodrich, The Organ in France (1917), p. 9 · by Wallace Goodrich | 1917 | Reported |
| tb064 ★ | August Haupt | Pedagogy | Bach as the foundation of organ study | Lessons: Bach preludes and fugues or a Mendelssohn sonata, then long talk on the organ. Bach is the foundation and model | After playing a couple of preludes and fugues of Bach, or a Mendelssohn sonata | Lahee, The Organ and its Masters (1902), p. 151 · by E. E. Truette (pupil), via Lahee | 1902 | Reported |
| tb065 ★ | August Haupt | Pedagogy | Close attention to phrasing, accent and detail | His Bach and Mendelssohn playing was noted for clearness, breadth and absolute accuracy. Exactness in phrasing, accent, rhythm and technique | clearness, breadth, and absolute accuracy | Lahee, The Organ and its Masters (1902), p. 149 · by Lahee | 1902 | Reported |
| tb066 | August Haupt | Pedagogy | Learning by doing: own exercises, drill, daily practice | Said over 150 Americans had studied with him; liked American pupils for their determination. | always pleased to have American pupils, as they worked with so much determination and energy | Lahee, The Organ and its Masters (1902), p. 150 · by E. E. Truette (pupil), via Lahee | 1883 (told) | Reported |
| tb067 ★ | Josef Rheinberger | Pedagogy | Close attention to phrasing, accent and detail | Demanded technical perfection in a piece before it was played to him. Exactness in phrasing, accent, rhythm and technique | He expected, and in fact demanded, that a student should be technically perfect in an organ piece before playing it for him. | Lahee, The Organ and its Masters (1902), p. 156 · by J. W. Nicholl (pupil), via Lahee | 1902 | Reported |
| tb068 ★ | Josef Rheinberger | Belief | Registration: restraint and the organ as its own instrument | Against many changes of manual in Bach: a fugue is finished architecture. Registration and effects serve the music; avoid display and needless changes | This fugue can be compared to a noble and beautifully finished piece of architecture complete in itself, and unnecessary changes can only have a weakening and degrading effect. | Lahee, The Organ and its Masters (1902), p. 157 · by J. W. Nicholl (pupil), via Lahee | 1902 | Reported |
| tb069 ★ | Josef Rheinberger | Belief | Bach as the foundation of organ study | Held Bach, broadly and nobly delivered, as the greatest in organ music. Bach is the foundation and model | Rheinberger's idea of the greatest in organ music is Bach, given with broad and noble delivery | Lahee, The Organ and its Masters (1902), p. 157 · by J. W. Nicholl (pupil), via Lahee | 1902 | Reported |
| tb070 | Josef Rheinberger | Belief | Melody and melodic inspiration as the heart of music study | Music must above all be beautiful. | music that does not sound beautiful has no attraction for me | Lahee, The Organ and its Masters (1902), p. 158 · by J. W. Nicholl (pupil), via Lahee | 1902 | Reported |
| tb071 ★ | W. T. Best | Belief | Registration: restraint and the organ as its own instrument | Though famous for orchestral arrangements, held the organ an instrument of its own kind. Registration and effects serve the music; avoid display and needless changes | the organ was an instrument of its own kind, producing effects that no orchestra could produce, and should be treated accordingly | Lahee, The Organ and its Masters (1902), pp. 204–205 · by E. E. Truette, via Lahee | 1902 | Reported |
| tb072 ★ | W. T. Best | Belief | Bach as the foundation of organ study | His playing of Bach and other classical composers made his name in London. Bach is the foundation and model | his playing of Bach and other classical composers attracted much attention | Lahee, The Organ and its Masters (1902), p. 200 · by Lahee | 1902 | Reported |
| tb073 | Dudley Buck | Belief | Which school to follow: German or French | The American student must first be educated in the German school, as represented by Bach. The German school is the necessary foundation | The American student who would excel as an organist, must first be thoroughly educated in the German school of playing. | Buck, The Influence of the Organ in History, p. 43 | n.d. | Documented |
| tb074 ★ | Dudley Buck | Belief | Bach as the foundation of organ study | Only the German school, especially Bach, gives the foundation-stones. Bach is the foundation and model | Only from that mine of musical wealth, the German school, especially as represented by Bach, can the suitable foundation-stones for the desired structure be derived. | Buck, The Influence of the Organ in History, p. 43 | n.d. | Documented |
| tb075 | Dudley Buck | Belief | Dignity and popular taste in church and organ music | After the foundation, "a judicious liberalism": variety for the public, not despising "milk for babes" (said of programmes for the public). Offer variety, including lighter music, to win the public (said of organ programmes) | first the broad foundation, and then a judicious liberalism | Buck, The Influence of the Organ in History, p. 43 | n.d. | Documented |
| tb076 ★ | Dudley Buck | Belief | Melody and melodic inspiration as the heart of music study | Melodic inspiration appeals to the heart and is higher than scientific setting. Melody comes first or stands highest | the melodic inspiration itself appeals to the heart, and, as the God-given quality, is the higher of the two | Buck, The Influence of the Organ in History | n.d. | Documented |
| tb077 ★ | Clarence Eddy | Pedagogy | Legato as the basis of organ touch | Stresses the paramount importance of a perfect legato. A perfect legato (with finger substitution) is the foundation of organ touch | the paramount importance of a perfect legato | Eddy, A Method for Pipe Organ II (1917), Preface | 1917 | Documented |
| tb078 ★ | Clarence Eddy | Pedagogy | Pianoforte technique before the organ | Third or fourth grade piano technique first; without it no great skill at the organ. The student should master the pianoforte first | without which it would be impossible to develop any great degree of skill upon the organ | Eddy, A Method for Pipe Organ II (1917), Preface | 1917 | Documented |
| tb079 ★ | Clarence Eddy | Pedagogy | Close attention to phrasing, accent and detail | Particular attention to rhythm, accentuation and phrasing. Exactness in phrasing, accent, rhythm and technique | a study of rhythm, accentuation and phrasing is given particular attention | Eddy, A Method for Pipe Organ II (1917), Preface | 1917 | Documented |
| tb080 ★ | William C. Carl | Pedagogy | Legato as the basis of organ touch | Legato is the true organ touch, compared to bel canto. A perfect legato (with finger substitution) is the foundation of organ touch | the study of the Legato — the true organ touch | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb081 ★ | William C. Carl | Pedagogy | Learning by doing: own exercises, drill, daily practice | Daily systematic finger work. The student must write, drill and practise daily; no short cut | Daily systematic work should be done to strengthen and develop the finger | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb082 ★ | William C. Carl | Pedagogy | Pianoforte technique before the organ | Bach inventions and the "48" on piano first; knowledge of the piano indispensable. The student should master the pianoforte first | a knowledge of this instrument being indispensable | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb083 ★ | William C. Carl | Pedagogy | Bach as the foundation of organ study | Trio playing for independence, after Buxtehude, Bach, Handel and Mendelssohn. Bach is the foundation and model | Buxtehude, Bach, Handel, Mendelssohn and all authorities on organ music long ago realized the necessity of Trio work | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb084 ★ | William C. Carl | Belief | Registration: restraint and the organ as its own instrument | Faults players who make far too many stop changes. Registration and effects serve the music; avoid display and needless changes | employing far too many changes in order to produce the effects | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb085 ★ | William C. Carl | Pedagogy | Teach by good examples and suggestion, not prohibition | The instructor chooses studies to fit each pupil's needs. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | select those best fitted for individual needs | Carl, Master-Studies for the Organ (1907), Preface | 1907 | Documented |
| tb086 | William C. Carl | Precedent | Precedents cited | Thanks Guilmant for help with the 1898 collection. | to extend my hearty thanks to M. Guilmant for his valuable assistance and suggestions in arranging this work | Carl, Master-pieces for the Organ (1898), Preface | 1898 | Documented |
| tb087 ★ | Wallace Goodrich | Belief | Bach as the foundation of organ study | The organ's essential being is unchanged since Bach. Bach is the foundation and model | the essential being of the organ remains unchanged, as indeed it has since the time of Bach | Goodrich, The Organ in France (1917), Preface, p. xi | 1917 | Documented |
| tb088 ★ | Wallace Goodrich | Belief | Registration: restraint and the organ as its own instrument | Exploiting the organ's resources must not be the goal; they are means of expression. Registration and effects serve the music; avoid display and needless changes | He must not regard the exploitation of these resources as his artistic goal, but rather their employment as a means of musical expression. | Goodrich, The Organ in France (1917), Preface, p. xi | 1917 | Documented |
| tb089 ★ | Wallace Goodrich | Belief | Which school to follow: German or French | Sets out how to achieve the spirit of French compositions on American organs. The French school is the model | To show how the spirit of these compositions may be attained in performance upon our American instruments is the purpose of this book. | Goodrich, The Organ in France (1917), Preface | 1917 | Documented |
| tb090 | Wallace Goodrich | Precedent | Precedents cited | Traces the French school to Lemmens, Hesse and Bach; Guilmant and Widor as Lemmens's pupils. | Both Guilmant and Widor were pupils of Lemmens. | Goodrich, The Organ in France (1917), p. 9 | 1917 | Documented |
| tb091 ★ | Henry M. Dunham | Belief | Which school to follow: German or French | Publishes French pieces with the original registration, phrasing and dynamic marks unchanged, for use in teaching. The French school is the model | without change from the original edition of registration, phrasing or dynamic marks | Dunham (ed.), The Modern French Organist (1898), Preface | 1898 | Documented |
| tb092 ★ | Clifford Demarest | Pedagogy | Teach by good examples and suggestion, not prohibition | Suggestions rather than definite rules. Teach by examples, directions and suggestions rather than prohibitions or memorised rules | the aim is to help with suggestions rather than by giving definite rules | Demarest, Hints on Organ Accompaniment (1910), Preface | 1910 | Documented |
| tb093 ★ | Clarence Dickinson | Pedagogy | Legato as the basis of organ touch | Legato by finger and hand substitution and thumb glissando, but marcato, semi-detached and staccato touches also taught. Legato is one touch among several; phrase with staccato, marcato and nuance | Marcato touch: indispensable to accent | Dickinson, The Technique and Art of Organ Playing (1922), Contents, ch. II | 1922 | Documented |
| tb094 ★ | Gaston Dethier | Pedagogy | Legato as the basis of organ touch | Legato and staccato are not general styles; each phrase is moulded with both. Legato is one touch among several; phrase with staccato, marcato and nuance | Staccato and legato are to him not general styles of playing, to be used continuously for extended passages | The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil) | 1921 | Reported |
| tb095 ★ | Gaston Dethier | Belief | Registration: restraint and the organ as its own instrument | Style modelled on the orchestra and violin; all resources used to the utmost. Use every resource, orchestral light and shade | This style of playing modeled after that of the orchestra | The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil) | 1921 | Reported |
| tb096 ★ | Gaston Dethier | Pedagogy | Close attention to phrasing, accent and detail | A phrase is a living thing, conceived in just one way. Exactness in phrasing, accent, rhythm and technique | to him a phrase is a living thing | The American Organist, vol. 4 (1921), p. 242 · by O. E. Schminke (pupil) | 1921 | Reported |
| tb097 ★ | Harvey B. Gaul | Pedagogy | Legato as the basis of organ touch | The new style is "no longer a matter of lifeless legato". Legato is one touch among several; phrase with staccato, marcato and nuance | It is no longer a matter of lifeless legato, but approaches an orchestra performance, with light and shade, delicacy and force. | Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918) | 1918 | Documented |
| tb098 ★ | Harvey B. Gaul | Belief | Registration: restraint and the organ as its own instrument | Orchestral light and shade in the new organ style. Use every resource, orchestral light and shade | approaches an orchestra performance, with light and shade | Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918) | 1918 | Documented |
| tb099 ★ | Harvey B. Gaul | Belief | Tempo flexibility and rubato | The French catch the mood of a fugue; Americans catch a metronome mark. Mood, rhythm and rubato matter more than a metronome mark | They catch the mood of the fugue or toccata; all we catch is a metronome mark. | Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918) | 1918 | Documented |
| tb100 ★ | Harvey B. Gaul | Belief | Which school to follow: German or French | French Bach playing as the model against American speed. The French school is the model | The French do not play Bach with the exaggerated tempo that Americans employ. | Gaul, "Bonnet–Bossi–Karg-Elert" (Musical Quarterly 1918) | 1918 | Documented |
| tb101 ★ | Horatio Parker | Belief | Dignity and popular taste in church and organ music | Congregational singing is the object best worth striving for; against sentimental hymnody. Church music must be dignified, serve the words and the people, not sentiment | The editor believes congregational singing to be the object best worth striving for in Church music. | Parker (ed.), The Hymnal (1903), Preface | 1903 | Documented |
| tb102 ★ | Horatio Parker | Belief | Dignity and popular taste in church and organ music | Needs not more tunes but better ones, with dignity. Church music must be dignified, serve the words and the people, not sentiment | Clearly we need not more tunes, but better ones, attaining a higher standard of musical worth and dignity. | Parker (ed.), The Hymnal (1903), Preface | 1903 | Documented |
| tb103 | Horatio Parker | Precedent | Precedents cited | Looks back to the singing schools of the "later Lowell Mason time" and to old tunes such as York and Windsor. | under the influence of the singing schools in what may be called the later Lowell Mason time | Parker (ed.), The Hymnal (1903), Preface | 1903 | Documented |
| tb104 ★ | Horatio Parker | Pedagogy | Chant pace | Signatory of the Joint Commission rules: one pace in recitation and inflection. Recitation not hurried; one pace for reciting and inflection | The words should be sung at the same pace in the Recitations and Inflections | The New Hymnal (1916/1918), pp. 723–724 | 1916/1918 | Probable |
| tb105 ★ | Raymond Huntington Woodman | Belief | Dignity and popular taste in church and organ music | Never yielded to sentimentalism or temporary popular taste (40th year at First Presbyterian, Brooklyn). Church music must be dignified, serve the words and the people, not sentiment | at no time bowed the knee to the Baal of vicious sentimentalism | The New Music Review (1920 volume), p. 229 · by New Music Review | 1920 | Reported |
| tb106 ★ | Gustave J. Stoeckel | Belief | Dignity and popular taste in church and organ music | Sacred song must express the words; simplicity and dignity are essential. Church music must be dignified, serve the words and the people, not sentiment | simplicity and dignity are essential attributes of music, in which the soul is to commune with its Maker | Stoeckel, Sacred Music (1868), Preface | 1868 | Documented |
| tb107 ★ | Peter C. Lutkin | Pedagogy | Hymn tempo | Forcing the speed and dragging are both faults. Moderate pace: neither hurrying nor dragging; choir leads the people | Young and enthusiastic choirmasters are apt to force the speed at the expense of dignity, but too quick movement is no greater fault than intolerable dragging. | Lutkin, Music in the Church (1910), pp. 94–95 | 1910 | Documented |
| tb108 ★ | Peter C. Lutkin | Pedagogy | The organist as conductor | The organist guides wavering singers from the console. The organist must lead or conduct the singers from the console | take the reins into his own hands and as unobtrusively as possible guide the singers | Lutkin, Music in the Church (1910), p. 167 | 1910 | Documented |
| tb109 ★ | Peter C. Lutkin | Pedagogy | Tempo flexibility and rubato | Later (1930): rhythm matters more than tempo. Mood, rhythm and rubato matter more than a metronome mark | rhythm is of far more importance than tempo | Lutkin, Hymn-Singing and Hymn-Playing (1930) | 1930 | Documented |
| tb110 ★ | Peter C. Lutkin | Pedagogy | Chant pace | Signatory of the Joint Commission chanting rules. Recitation not hurried; one pace for reciting and inflection | The words should be sung at the same pace in the Recitations and Inflections | The New Hymnal (1916/1918), pp. 723–724 | 1916/1918 | Probable |
| tb111 ★ | Peter C. Lutkin | Belief | Dignity and popular taste in church and organ music | Hymn speed must not sacrifice dignity; the "impetuous American" will find marks slow. Church music must be dignified, serve the words and the people, not sentiment | at the expense of dignity | Lutkin, Music in the Church (1910), pp. 94–95 | 1910 | Documented |
| tb112 ★ | Dudley Buck | Pedagogy | Chant pace | Faults in chanting: hurrying the recitation, dragging the "spoken" notes. Recitation not hurried; one pace for reciting and inflection | Hurrying the recitative and retarding the "spoken" (half) notes. | Buck, Illustrations in Choir Accompaniment (1877), ch. V | 1877 | Documented |
| tb113 ★ | Dudley Buck | Pedagogy | The organist as conductor | Organist accompanies without a conductor, back to the singers, so must support and follow. The organist must lead or conduct the singers from the console | The orchestra has a conductor, while at the organ the player ordinarily sits with his back turned to the singers. | Buck, Illustrations in Choir Accompaniment (1877), ch. VII | 1877 | Documented |
| tb114 ★ | Frederick Bridge | Pedagogy | The organist as conductor | The organist is conductor as well as accompanist. The organist must lead or conduct the singers from the console | acts as conductor as well as accompanist | Bridge, Organ Accompaniment of the Choral Service, § 12 | [1885] | Documented |
| tb115 ★ | Frederick Bridge | Pedagogy | Hymn tempo | Choir leads the congregation at a moderate pace. Moderate pace: neither hurrying nor dragging; choir leads the people | The choir should lead the congregation, not run away from it. | Bridge, Organ Accompaniment of the Choral Service | [1885] | Documented |
| tb116 ★ | Frederick Bridge | Pedagogy | Chorister training and sight-reading | Choirboys learn to read by daily practice; singing lessons alone will not do it. Daily cathedral-style choir training is the best foundation | It is only daily practice that will evolve this facility | Bridge, A Westminster Pilgrim (1919), p. 340 | 1919 | Documented |
| tb117 ★ | Frederick Bridge | Pedagogy | Chorister training and sight-reading | Best result: cathedral choirboy, then a school of music after the organ-loft. Daily cathedral-style choir training is the best foundation | It is probable that the best results are produced in the case of a Cathedral choirboy | Bridge, A Westminster Pilgrim (1919), p. 341 | 1919 | Documented |
| tb118 ★ | Frederick Bridge | Pedagogy | Learning by doing: own exercises, drill, daily practice | Invented "Musical Gestures", teaching rudiments by drill with hand signs. The student must write, drill and practise daily; no short cut | This was a method of teaching the rudiments of music by a system of drill. | Bridge, A Westminster Pilgrim (1919), p. 88 | 1919 | Documented |
| tb119 ★ | John Goss | Pedagogy | Chorister training and sight-reading | Choir training was invaluable because the music the boys sang "ate into their marrow". Daily cathedral-style choir training is the best foundation | Goss said to me once that such a training was invaluable because the music the boys sang | Bridge, A Westminster Pilgrim (1919), p. 340 · by Frederick Bridge (pupil) | 1919 | Reported |
| tb120 | John Goss | Precedent | Precedents cited | Taught from Attwood's exercises corrected by Mozart, to show how Mozart treated points. | he constantly turned to them when I was with him, in order to show how Mozart treated certain points | Bridge, A Westminster Pilgrim (1919), p. 88 · by Frederick Bridge (pupil) | 1919 | Reported |
| tb121 ★ | John Goss | Pedagogy | Close attention to phrasing, accent and detail | A painstaking teacher. Exactness in phrasing, accent, rhythm and technique | He was a most painstaking teacher | Bridge, A Westminster Pilgrim (1919), end of ch. III · by Frederick Bridge (pupil) | 1919 | Reported |
| tb122 ★ | Zechariah Buck | Pedagogy | Chorister training and sight-reading | Remembered as an admirable teacher of boys (though not as an organist). Daily cathedral-style choir training is the best foundation | although an admirable teacher of boys | Bridge, A Westminster Pilgrim (1919) · by Frederick Bridge | 1919 | Reported |
| tb123 ★ | E. J. Hopkins | Pedagogy | Voice training method | Temple Church model: small choir, quality not quantity. Old Italian school and quality of tone | With a choir of twelve boys and six men, Mr. Hopkins realizes his ideas of Quality, not quantity | Stubbs, Practical Hints on the Training of Choir Boys, pp. 45–46 · by G. E. Stubbs, quoting Curwen | 1888/1897 | Reported |
| tb124 ★ | George L. Osgood | Pedagogy | Voice training method | The old Italian school (Tosi, Mancini, Bernacchi), with laryngoscopy, is the only reliable method. Old Italian school and quality of tone | long tried principles of the old Italian school | Osgood, Guide in the Art of Singing (1874), Preface | 1874 | Documented |
| tb125 | George L. Osgood | Precedent | Precedents cited | Builds on Tosi and Mancini and the tradition of Bernacchi of Bologna. | the transmitted writings of the celebrated masters Pierfrancesco Tosi, and Giambattista Mancini | Osgood, Guide in the Art of Singing (1874), Preface | 1874 | Documented |
| tb126 ★ | George Elvey | Belief | Melody and melodic inspiration as the heart of music study | Used Mendelssohn's Lieder ohne Worte with piano pupils to develop taste and expression. Melody comes first or stands highest | were constantly resorted to for developing taste and expression | Lady Elvey, Life and Reminiscences of George J. Elvey (1894) · by Lady Elvey | 1894 | Reported |
| tb127 ★ | George Elvey | Pedagogy | Close attention to phrasing, accent and detail | A splendid teacher who spared no pains; accompanied pupils on the violin. Exactness in phrasing, accent, rhythm and technique | He would nearly always accompany his pupils on the violin | Lady Elvey, Life and Reminiscences of George J. Elvey (1894), p. 146 · by Lady Elvey | 1894 | Reported |
| tb128 | George Elvey | Precedent | Precedents cited | Handel tempi through Dr Crotch "by tradition and instinct". | the correct reading of Handel's works, as regards tempo, etc., by tradition and instinct through Dr. Crotch | Lady Elvey, Life and Reminiscences of George J. Elvey (1894) · by Lady Elvey | 1894 | Reported |
| tb129 ★ | Clarence Dickinson | Pedagogy | Hymn tempo | If a congregation drags, use touch, not speed. Moderate pace: neither hurrying nor dragging; choir leads the people | When a congregation is dragging the tempo play slightly staccato, or marcato | Dickinson, The Technique and Art of Organ Playing (1922), ch. IV | 1922 | Documented |
| tb130 ★ | Clarence Dickinson | Pedagogy | The organist as conductor | Directs the choir with one hand from the console. The organist must lead or conduct the singers from the console | employs one hand to direct the choir | Dickinson, The Technique and Art of Organ Playing (1922), ch. IV | 1922 | Documented |
| tb131 ★ | Clarence Dickinson | Pedagogy | Tempo flexibility and rubato | Rubato and agogic accent taught as organ technique. Mood, rhythm and rubato matter more than a metronome mark | tempo rubato | Dickinson, The Technique and Art of Organ Playing (1922), ch. IX | 1922 | Documented |
| tb132 ★ | T. Tertius Noble | Pedagogy | Chant pace | Signatory of the Joint Commission chanting rules. Recitation not hurried; one pace for reciting and inflection | The words should be sung at the same pace in the Recitations and Inflections | The New Hymnal (1916/1918), pp. 723–724 | 1916/1918 | Probable |
| tb133 ★ | Wallace Goodrich | Pedagogy | Chant pace | Signatory of the Joint Commission chanting rules. Recitation not hurried; one pace for reciting and inflection | The words should be sung at the same pace in the Recitations and Inflections | The New Hymnal (1916/1918), pp. 723–724 | 1916/1918 | Probable |
| tb134 ★ | Wallace Goodrich | Pedagogy | Close attention to phrasing, accent and detail | French touch and phrasing as model: finest nuances of rhythm, accent and phrasing. Exactness in phrasing, accent, rhythm and technique | the finest nuances of rhythm, accent and phrasing are obtained | Goodrich, The Organ in France (1917) | 1917 | Documented |
| tb135 ★ | John Stainer | Pedagogy | Tempo flexibility and rubato | Defines tempo rubato in the Stainer & Barrett dictionary. Mood, rhythm and rubato matter more than a metronome mark | Tempo rubato represents the alteration made in the time, when some notes are held for more, and others for less than their strict duration. | Stainer & Barrett, Dictionary of Musical Terms, p. 389 | 1898 | Probable |
Disciplines are those recorded on the documented teacher–pupil links. Pupil counts are documented links only.
the extremely close attention which he gives to minute details, and especially to phrasing, accentuation, rests, dotted notes
many of the organ works of Bach and Handel have been performed for the first time in Paris
are reproduced with the same registration and expression-marks which he followed
simplicity of registration
After playing a couple of preludes and fugues of Bach, or a Mendelssohn sonata
clearness, breadth, and absolute accuracy
always pleased to have American pupils, as they worked with so much determination and energy
The American student who would excel as an organist, must first be thoroughly educated in the German school of playing.
Only from that mine of musical wealth, the German school, especially as represented by Bach, can the suitable foundation-stones for the desired structure be derived.
first the broad foundation, and then a judicious liberalism
the melodic inspiration itself appeals to the heart, and, as the God-given quality, is the higher of the two
Hurrying the recitative and retarding the "spoken" (half) notes.
The orchestra has a conductor, while at the organ the player ordinarily sits with his back turned to the singers.
People speak of a new French organ school: it is founded on Bach.
No, the art of organ playing has not changed since Johann Sebastian Bach
A serious organist will never avail himself of these means of expression, unless architecturally
during the first year nothing but exercises
Dr. Fétis, of Brussels, while teaching me the principles of counterpoint and fugue
Our Bach worship does not date from yesterday.
although an admirable teacher of boys
He expected, and in fact demanded, that a student should be technically perfect in an organ piece before playing it for him.
This fugue can be compared to a noble and beautifully finished piece of architecture complete in itself, and unnecessary changes can only have a weakening and degrading effect.
Rheinberger's idea of the greatest in organ music is Bach, given with broad and noble delivery
music that does not sound beautiful has no attraction for me
His composition training had no method about it whatever.
Staccato and legato are to him not general styles of playing, to be used continuously for extended passages
This style of playing modeled after that of the orchestra
to him a phrase is a living thing
The editor believes congregational singing to be the object best worth striving for in Church music.
Clearly we need not more tunes, but better ones, attaining a higher standard of musical worth and dignity.
under the influence of the singing schools in what may be called the later Lowell Mason time
The words should be sung at the same pace in the Recitations and Inflections
Sir John Goss, for kindly allowing me to insert several examples, written in 1864, when I was receiving instruction from him
many eminent musicians now urge that counterpoint should be taught with, and made the basis of, harmony
There is no doubt that the study of counterpoint is most beneficial, exercising the powers in many directions not altogether covered by the study of harmony, particularly in the important matter of part-writing.
the essence of counterpoint lies in the equal interest which should belong to each part added to the canto fermo
acts as conductor as well as accompanist
The choir should lead the congregation, not run away from it.
It is only daily practice that will evolve this facility
It is probable that the best results are produced in the case of a Cathedral choirboy
This was a method of teaching the rudiments of music by a system of drill.
at no time bowed the knee to the Baal of vicious sentimentalism
the paramount importance of a perfect legato
without which it would be impossible to develop any great degree of skill upon the organ
a study of rhythm, accentuation and phrasing is given particular attention
not so much by warnings against what is bad, as by examples of what is good, as musicians understand it, and by maxims deduced from such examples.
This book is not intended to deprive the teacher of his occupation
Theoretical questions are therefore carefully avoided, and the tempered scale is accepted as the foundation of modern music.
Teach the pupil how to use his knowledge, instead of simply trying to follow out the rule.
complete discarding of the figured bass, with the result that all merely mechanical rote work is eliminated
Whatever has been sanctioned by a great writer becomes the property of all, provided they can use it with taste and discretion.
the essential being of the organ remains unchanged, as indeed it has since the time of Bach
He must not regard the exploitation of these resources as his artistic goal, but rather their employment as a means of musical expression.
To show how the spirit of these compositions may be attained in performance upon our American instruments is the purpose of this book.
Both Guilmant and Widor were pupils of Lemmens.
The words should be sung at the same pace in the Recitations and Inflections
the finest nuances of rhythm, accent and phrasing are obtained
the study of the Legato — the true organ touch
Daily systematic work should be done to strengthen and develop the finger
a knowledge of this instrument being indispensable
Buxtehude, Bach, Handel, Mendelssohn and all authorities on organ music long ago realized the necessity of Trio work
employing far too many changes in order to produce the effects
select those best fitted for individual needs
to extend my hearty thanks to M. Guilmant for his valuable assistance and suggestions in arranging this work
Being addressed to beginners, its explanations are all dogmatical
to remove discrepancies between the laws of early theorists and the practice of modern composers
It is eminently desirable that the student should construct his own exercises
without change from the original edition of registration, phrasing or dynamic marks
how the laws of music depend upon principles of the human mind
the organ was an instrument of its own kind, producing effects that no orchestra could produce, and should be treated accordingly
his playing of Bach and other classical composers attracted much attention
Musical Instinct
directions as to what may be done, than by laying too much stress upon what is forbidden
without reflecting that the whole thing means music after all
The first principle to be laid down is, therefore, to study counterpoint first, and through counterpoint to master harmony.
the training of technique should be as strict as that the supervision of composition should be elastic
there is no short cut to mastery
the first step in musical composition is the ability to write one note after another
the only really valuable means of training
have taught him how to teach
the aim is to help with suggestions rather than by giving definite rules
it is the business of the theorist not to cavil at every novelty, but to follow modestly behind, and make his rules conform to the practice of the master.
In other words, practice must precede theory.
But the principle must surely be wrong which places the rules of an early stage of musical development above the inspirations of genius
The Legato style, so characteristic of the organ, presents the greatest difficulties
It cannot be too strongly recommended that all who wish to become organists should commence by studying the Pianoforte.
the intelligent organist will not fail to accommodate his style to the sentiment which each Festival brings with it
we were being led to Bach by the Belgian Lemmens
The teaching of the organ school of Lemmens, their master
Goss said to me once that such a training was invaluable because the music the boys sang
he constantly turned to them when I was with him, in order to show how Mozart treated certain points
He was a most painstaking teacher
The words should be sung at the same pace in the Recitations and Inflections
from the practice of Palestrina, whose works exhibit the Art of Counterpoint in its perfection, rather than from a study of textbooks
To pretend that such a system has a certain disciplinary value implies a low view of the purpose of contrapuntal study.
The true province of contrapuntal study is the attainment of the art of pure vocal part-writing.
Marcato touch: indispensable to accent
When a congregation is dragging the tempo play slightly staccato, or marcato
employs one hand to direct the choir
tempo rubato
The book contains no scientifically theoretic treatise on harmony
With a choir of twelve boys and six men, Mr. Hopkins realizes his ideas of Quality, not quantity
a consistent theory, founded in nature, progressively expanded, and involving no purely arbitrary rules
The student is recommended to study Harmony and Counterpoint concurrently
it seems more reasonable to study Harmony and Counterpoint simultaneously
By the careful study of Restricted Counterpoint the tyro acquires the use of the tools of his art; and without such drilling he will never have them well under his command.
the Organ-Fugues of J. Sebastian Bach in open score
were constantly resorted to for developing taste and expression
He would nearly always accompany his pupils on the violin
the correct reading of Handel's works, as regards tempo, etc., by tradition and instinct through Dr. Crotch
long tried principles of the old Italian school
the transmitted writings of the celebrated masters Pierfrancesco Tosi, and Giambattista Mancini
simplicity and dignity are essential attributes of music, in which the soul is to commune with its Maker
It is no longer a matter of lifeless legato, but approaches an orchestra performance, with light and shade, delicacy and force.
approaches an orchestra performance, with light and shade
They catch the mood of the fugue or toccata; all we catch is a metronome mark.
The French do not play Bach with the exaggerated tempo that Americans employ.
free use has been made of a little work that has recently appeared in Germany, by E. F. Richter
No musical knowledge whatever is presupposed on the part of the student
the same bass can evidently be harmonized in many different ways
He has purposely omitted any concise or definite rules on modulation, because he conceives that it is better that it should be learned in the process of harmonising melodies
Perhaps no instrument offers such a temptation to triflers as the Organ, for the obvious reason that an immense variety of tone can be produced on it by merely mechanical means.
Tempo rubato represents the alteration made in the time, when some notes are held for more, and others for less than their strict duration.
the prime object of all theoretical study in music is, or should be, melody
the prime object of all theoretical study in music is, or should be, melody
It is a system of drill
Young and enthusiastic choirmasters are apt to force the speed at the expense of dignity, but too quick movement is no greater fault than intolerable dragging.
take the reins into his own hands and as unobtrusively as possible guide the singers
rhythm is of far more importance than tempo
The words should be sung at the same pace in the Recitations and Inflections
at the expense of dignity
by my highly gifted pupils Messrs. Paul Torek from New-York, and H. B. Pasmore from San Francisco
Every person or institution with at least one documented pupil in the combined index, by number of documented pupils.
| Teacher | Dates | Region | Pupils | Disciplines (from links) | Statements |
|---|---|---|---|---|---|
| Alexandre Guilmant | 1837–1911 | Continental Europe | 17 | Organ, Theory, Composition | 4 |
| August Haupt | 1810–1891 | Continental Europe | 11 | Organ, Counterpoint, Harmony, Composition, Singing / voice | 3 |
| Dudley Buck | 1839–1909 | USA: New England | 11 | Organ, Composition, Harmony, Counterpoint, Orchestration, General musical training | 6 |
| Harry Rowe Shelley | 1858–1947 | USA: New York | 11 | Organ, General musical training, Theory, Singing / voice, Harmony, Composition, Piano | none found |
| Charles-Marie Widor | 1844–1937 | Continental Europe | 9 | Organ, Composition | 6 |
| Zechariah Buck | 1798–1879 | England / Britain | 9 | General musical training, Choir and chorister training, Organ | 1 |
| Josef Rheinberger | 1839–1901 | Continental Europe | 7 | Organ, Composition, Counterpoint | 4 |
| Carl Reinecke | 1824–1910 | Continental Europe | 6 | Composition, Piano, General musical training | 1 |
| Gaston Dethier | 1875–1958 | USA: New York | 6 | Organ, Theory, General musical training | 3 |
| Horatio Parker | 1863–1919 | USA: New England | 6 | Composition | 4 |
| William Berwald | 1864–1948 | USA: New York | 6 | Theory, Piano, Composition, General musical training | none found |
| Clement R. Gale | b. 1862 | USA: New York | 5 | Counterpoint, Theory, Organ, Composition, Piano | none found |
| Frederick Bridge | 1844–1924 | England / Britain | 5 | Composition, Counterpoint, Organ, General musical training | 9 |
| John Knowles Paine | 1839–1906 | USA: New England | 5 | Composition, Organ, General musical training | none found |
| Lynnwood Farnam | 1885–1930 | USA: New England | 5 | Organ | none found |
| Raymond Huntington Woodman | 1861–1943 | USA: New York | 5 | Organ | 1 |
| Thomas King Ekundayo Phillips | 1884 – 10 Jul 1969 | Nigeria | 5 | Choir and chorister training, Organ, Theory, Singing / voice, Examination coaching, General musical training | none found |
| Clarence Eddy | 1851–1937 | USA: Midwest | 4 | Organ | 3 |
| Edmund Hart Turpin | 1835–1907 | England / Britain | 4 | Organ, Theory | none found |
| Frederick Maxson | b. 1862 | USA: Mid-Atlantic | 4 | Organ, General musical training, Theory, Piano | none found |
| George W. Chadwick | 1854–1931 | USA: New England | 4 | Fugue, Orchestration, Composition, Theory | 2 |
| Hugh A. Clarke | 1839–1927 | USA: Mid-Atlantic | 4 | Theory, General musical training, Composition, Counterpoint, Fugue | 4 |
| Louis Vierne | 1870–1937 | Continental Europe | 4 | Organ | none found |
| Samuel P. Warren | 1841–1915 | USA: New York | 4 | Organ, Theory | none found |
| Wallace Goodrich | 1871–1952 | USA: New England | 4 | Organ, General musical training | 6 |
| Wilhelm Middelschulte | 1863–1943 | USA: Midwest | 4 | Organ | none found |
| William C. Carl | 1865–1936 | USA: New York | 4 | Organ, General musical training | 7 |
| Benjamin Johnson Lang | 1837–1909 | USA: New England | 3 | Piano, Organ, General musical training | none found |
| C. Swinnerton Heap | 1847–1900 | England / Britain | 3 | General musical training, Composition, Piano, Organ | none found |
| Charles H. Galloway | 1871–1931 | USA: Midwest | 3 | Organ, Theory, Piano | none found |
| David Duffie Wood | 1838–1910 | USA: Mid-Atlantic | 3 | Organ, Theory, Piano | none found |
| Edwin Lemare | 1865–1934 | USA: Mid-Atlantic | 3 | Organ | none found |
| George Alexander Macfarren | 1813–1887 | England / Britain | 3 | Composition, Theory | 4 |
| George E. Whiting | 1842–1923 | USA: New England | 3 | Organ | none found |
| Harry Benjamin Jepson | 1870–1952 | USA: New England | 3 | Organ | none found |
| Henry M. Dunham | 1853–1929 | USA: New England | 3 | Organ, Choir and chorister training | 1 |
| John Larkin Hopkins | 1820–1873 | England / Britain | 3 | Organ | none found |
| Mark Andrews | 1875–1939 | USA: Mid-Atlantic | 3 | Organ, Composition, Theory | none found |
| Moritz Hauptmann | 1792–1868 | Continental Europe | 3 | Composition, Theory | 1 |
| Trinity College of Music, London institution | England / Britain | 3 | Organ, Piano, Violin, Examination coaching, General musical training | none found | |
| W. T. Best | 1826–1897 | England / Britain | 3 | Organ | 2 |
| Will C. Macfarlane | 1870–1945 | England / Britain | 3 | Organ | none found |
| A. W. Marchant | 1850–1921 | England / Britain | 2 | General musical training, Theory | none found |
| Albert A. Stanley | 1851–1932 | USA: New England | 2 | Organ, Theory, General musical training | none found |
| Albert Ham | 1858–1940 | Canada | 2 | Organ, Singing / voice, Conducting | 1 |
| Alfred R. Gaul | 1837–1913 | England / Britain | 2 | General musical training, Composition | none found |
| Arthur Foote | 1853–1937 | USA: New England | 2 | Organ, Composition | 2 |
| Berthold Tours | 1838–1897 | England / Britain | 2 | Composition | none found |
| Bruno Oscar Klein | 1858–1911 | USA: New York | 2 | Composition, Counterpoint | none found |
| Charles Villiers Stanford | 1852–1924 | England / Britain | 2 | Composition | 6 |
| Clifford Demarest | 1874–1946 | USA: New York | 2 | General musical training | 1 |
| Ebenezer Prout | 1835–1909 | England / Britain | 2 | Composition, Theory | 4 |
| Ernest MacMillan | 1893–1973 | Canada | 2 | Organ | none found |
| George Cooper | 1820–1876 | England / Britain | 2 | Organ | none found |
| Healey Willan | 1880–1968 | Canada | 2 | Organ, Theory | none found |
| Jacques-Nicolas Lemmens | 1823–1881 | Continental Europe | 2 | Organ | 5 |
| James H. Rogers | 1857–1940 | USA: Midwest | 2 | Organ, Piano | none found |
| John Goss | 1800–1880 | England / Britain | 2 | Composition, Harmony, Organ | 3 |
| John J. McClellan | 1874–1925 | USA: West | 2 | Organ | none found |
| Joseph Bonnet | 1884–1944 | Continental Europe | 2 | Organ | none found |
| Minton Pyne | 1847?–1919 | USA: Mid-Atlantic | 2 | Organ | none found |
| Philip Armes | 1836–1908 | England / Britain | 2 | Composition, Organ, Theory | none found |
| Pietro Yon | 1886–1943 | USA: New York | 2 | Organ | none found |
| Samuel Sebastian Wesley | 1810–1876 | England / Britain | 2 | Organ, General musical training | none found |
| T. Tertius Noble | 1867–1953 | USA: New York | 2 | Organ, Harmony, Counterpoint | 1 |
| Walter Parratt | 1841–1924 | England / Britain | 2 | Organ | none found |
| William Done | 1815–1895 | England / Britain | 2 | Organ, General musical training | none found |
| William Stevenson Hoyte | 1844–1917 | England / Britain | 2 | Organ | none found |
| A. E. Fisher | fl. 1890s | Canada | 1 | Theory | none found |
| Achimota expatriate music teachers (unnamed) group | Gold Coast / Ghana | 1 | Piano, Violin | none found | |
| Adam Geibel | 1855–1933 | USA: Mid-Atlantic | 1 | Organ, Harmony | none found |
| Adolf Brune | b. 1870 | USA: Midwest | 1 | Theory, Piano | none found |
| Adolf Kuehn | fl. 1880s | USA: New York | 1 | General musical training | none found |
| Albert Loeschhorn | 1819–1905 | Continental Europe | 1 | Piano | none found |
| Albert Ross Parsons | 1847–1933 | USA: New York | 1 | Piano | none found |
| Alfred Angel | 1816–1876 | England / Britain | 1 | General musical training | none found |
| Alfred Hollins | 1865–1942 | England / Britain | 1 | Organ | none found |
| Alfred Stone | 1841–1878 | England / Britain | 1 | General musical training | none found |
| Alfred Wooler | b. 1867 | USA: Mid-Atlantic | 1 | Harmony | none found |
| Andrew Deakin | fl. 1870s | England / Britain | 1 | Organ | none found |
| Anton Strelezki | 1859–1907 | USA: Midwest | 1 | General musical training | none found |
| Antonín Dvořák | 1841–1904 | USA: New York | 1 | Composition | none found |
| Arthur Sullivan | 1842–1900 | England / Britain | 1 | Composition, Theory | none found |
| Augustus Stephen Vogt | 1861–1926 | Canada | 1 | Organ, Theory, Piano | none found |
| C. J. Vincent (father) | fl. 1850s–60s | England / Britain | 1 | General musical training | none found |
| CMS Grammar School, Freetown institution | Sierra Leone | 1 | Organ, Theory, Conducting | none found | |
| CMS Training Institution, Abeokuta institution | Nigeria | 1 | General musical training | none found | |
| Carl Lachmund | 1853–1928 | USA: New York | 1 | General musical training | none found |
| Carl Müller | fl. 1890s | USA: New York | 1 | Harmony | none found |
| Charles E. Graves | b. 1884 | Gold Coast / Ghana | 1 | Examination coaching | none found |
| Charles E. J. Clarke | fl. 1820s–40s | England / Britain | 1 | General musical training | none found |
| Charles H. Kitson | 1874–1944 | England / Britain | 1 | Theory | 3 |
| Charles Heinroth | 1874–1963 | USA: New York | 1 | Organ | none found |
| Charles Macpherson | 1870–1927 | England / Britain | 1 | Organ, Choir and chorister training | none found |
| Charles W. Perkins | b. 1855 | England / Britain | 1 | Organ | none found |
| Charles Whitney Coombs | 1859–1940 | USA: New York | 1 | General musical training | none found |
| Clarence Dickinson | 1873–1969 | USA: Midwest | 1 | Organ | 4 |
| César Franck | 1822–1890 | Continental Europe | 1 | Organ | none found |
| D. J. Wood | organist of Exeter Cathedral from 1876 | England / Britain | 1 | General musical training | none found |
| David McK. Williams | 1887–1978 | USA: New York | 1 | Organ | none found |
| David Stanley Smith | 1877–1949 | USA: New England | 1 | Theory | none found |
| Duncan Macfarlane | 1836–1916 | England / Britain | 1 | General musical training | none found |
| E. F. Richter | 1808–1879 | Continental Europe | 1 | Theory | 1 |
| E. J. Hopkins | 1818–1901 | England / Britain | 1 | Organ | 1 |
| E. R. Kroeger | 1862–1934 | USA: Midwest | 1 | Composition | none found |
| Edgar Priest | 1878–1935 | USA: Mid-Atlantic | 1 | Organ, Harmony | none found |
| Edmund Rubbra | England / Britain | 1 | Organ, Composition | none found | |
| Eduard Rohde | 1828–1883 | Continental Europe | 1 | Theory | none found |
| Edward Bunnett | 1834–1923 | England / Britain | 1 | Harmony, Counterpoint | none found |
| Edward Nunn | England / Britain | 1 | Organ | none found | |
| Edwin Arthur Kraft | 1883–1962 | USA: Midwest | 1 | Organ, Piano, Choir and chorister training | none found |
| Ephraim Amu | 13 Sep 1899 – 2 Jan 1995 | Gold Coast / Ghana | 1 | General musical training | none found |
| Eugene Thayer | 1838–1889 | USA: New England | 1 | Organ | none found |
| Fela Sowande | 29 May 1905 – 13 Mar 1987 | Nigeria | 1 | Organ | none found |
| Felix Draeseke | 1835–1913 | Continental Europe | 1 | Composition | none found |
| François-Joseph Fétis | 1784–1871 | Continental Europe | 1 | General musical training | none found |
| Frederick Karn | fl. 1880s–90s | England / Britain | 1 | Theory, Examination coaching | none found |
| Frederick Ouseley | 1825–1889 | England / Britain | 1 | Organ, Composition | 6 |
| Frits Hartvigson | 1841–1919 | England / Britain | 1 | Piano | none found |
| G. D. Cunningham | England / Britain | 1 | Organ, Composition | none found | |
| G. F. Le Jeune | 1842–1904 | USA: New York | 1 | Organ, Composition, Harmony | none found |
| Garland (Norwich) | fl. c.1800 | England / Britain | 1 | Choir and chorister training | none found |
| George A. Burdett | 1856–1943 | USA: New England | 1 | Organ | none found |
| George Elvey | 1816–1893 | England / Britain | 1 | Organ | 3 |
| George L. Osgood | 1844–1922 | USA: New England | 1 | Singing / voice | 2 |
| George Mursell Garrett | 1834–1897 | England / Britain | 1 | Organ, Theory | none found |
| George Oldroyd | England / Britain | 1 | Organ, Composition | none found | |
| George William Warren | 1828–1902 | USA: New York | 1 | Organ | none found |
| Gustave J. Stoeckel | 1819–1907 | USA: New England | 1 | Composition | 1 |
| Gustavus Taylor | d. c.1903 | Sierra Leone | 1 | Organ, Violin, Examination coaching | none found |
| H. C. Westlake | fl. 1870s–80s | England / Britain | 1 | Composition, Theory | none found |
| H. Dillon Newman | fl. 1870s–80s | England / Britain | 1 | General musical training | none found |
| Hamilton Clarke | 1840–1912 | England / Britain | 1 | General musical training | none found |
| Hans Pfitzner | 1869–1949 | Continental Europe | 1 | Composition | none found |
| Harrison M. Wild | 1861–1929 | USA: Midwest | 1 | Organ | none found |
| Harvey B. Gaul | 1881–1945 | USA: Mid-Atlantic | 1 | Organ, Composition | 4 |
| Haydn Keeton | 1847–1921 | England / Britain | 1 | Organ | none found |
| Henri Fissot | 1843–1896 | Continental Europe | 1 | Piano | none found |
| Henry Houseley | 1852–1925 | USA: West | 1 | Organ, Choir and chorister training | none found |
| Hugo Kaun | 1863–1932 | USA: Midwest | 1 | General musical training | none found |
| Humphrey John Stewart | 1856–1932 | USA: West | 1 | General musical training | none found |
| Ignaz Moscheles | 1794–1870 | Continental Europe | 1 | Piano | none found |
| Institute of Musical Art, New York institution | USA: New York | 1 | Examination coaching | none found | |
| Isaac Daniel Loo | 1877–1944 | Gold Coast / Ghana | 1 | Examination coaching | none found |
| J. A. Westrup | England / Britain | 1 | Organ, Examination coaching | none found | |
| J. Christopher Marks | b. 1863 | England / Britain | 1 | Theory | none found |
| J. E. Allotey-Pappoe | 1887 – after 1968 | Gold Coast / Ghana | 1 | Composition, Theory, Harmonium | none found |
| J. G. C. Allen | England / Britain | 1 | Piano | none found | |
| James Calkin | 1786–1862 | England / Britain | 1 | General musical training | none found |
| James Cutler Dunn Parker | 1828–1916 | USA: New England | 1 | Piano | 3 |
| James Kendrick Pyne | 1852–1938 | England / Britain | 1 | Organ | none found |
| James Peyton Clarke | 1808–1877 | Canada | 1 | General musical training | none found |
| Johann Gottlob Schneider | 1789–1864 | Continental Europe | 1 | Organ | none found |
| Johannes Verhulst | 1816–1891 | Continental Europe | 1 | General musical training | none found |
| John A. Matthews | fl. 1880s | England / Britain | 1 | General musical training | none found |
| John Christmas Beckwith | 1750–1809 | England / Britain | 1 | Choir and chorister training | none found |
| John Stainer | 1840–1901 | England / Britain | 1 | Organ | 3 |
| Johnson Phillips | Nigeria | 1 | Organ | none found | |
| Joseph Barnby | 1838–1896 | England / Britain | 1 | General musical training | none found |
| Joseph Hewitt | fl. 1870s | England / Britain | 1 | General musical training | none found |
| Junius W. Hill | 1840–1916 | USA: New England | 1 | General musical training | none found |
| Karl Straube | 1873–1950 | Continental Europe | 1 | Organ | none found |
| Karl Theodore Ntem | Gold Coast / Ghana | 1 | Organ | none found | |
| Kate Sara Chittenden | 1856–1949 | USA: New York | 1 | Piano | none found |
| L. E. Whiting | fl. 1850s | USA: New York | 1 | General musical training | none found |
| Lorenzo Perosi | 1872–1956 | Continental Europe | 1 | Composition, Chant | none found |
| Louis Alberti | fl. 1890s | USA: New York | 1 | Theory | none found |
| Marks (father, Cork) | fl. 1860s–80s | England / Britain | 1 | General musical training | none found |
| Max Vogrich | 1852–1916 | USA: New York | 1 | Composition | none found |
| N. T. Hamlyn | England / Britain | 1 | Organ | none found | |
| Nacciarone / Miceli / Pappalardo group | fl. 1860s | Continental Europe | 1 | General musical training | none found |
| P. A. Schnecker | 1850–1903 | USA: New York | 1 | General musical training | none found |
| Parson Price | fl. 1880s | USA: Mid-Atlantic | 1 | General musical training | none found |
| Percy E. Hughes | England / Britain | 1 | Organ, Composition | none found | |
| Percy Goetschius | 1853–1943 | USA: New York | 1 | General musical training | 3 |
| Peter C. Lutkin | 1858–1931 | USA: Midwest | 1 | Organ, Theory | 5 |
| Pratt School of Music, Lagos institution | Nigeria | 1 | Examination coaching | none found | |
| R. Bradley (Shipley) | fl. 1880s | England / Britain | 1 | General musical training | none found |
| R. P. Stewart | 1825–1894 | England / Britain | 1 | General musical training | none found |
| Robert Ambrose (father) | fl. 1870s–80s | Canada | 1 | General musical training | none found |
| Robert Arungbamolu Coker | c.1840 – 9 Feb 1920 (Diapason) or 9 Feb 1926 (family history) | Sierra Leone | 1 | Organ, Choir and chorister training | none found |
| Robert Papperitz | 1826–1903 | Continental Europe | 1 | General musical training | none found |
| Roland Rogers | 1847–1927 | USA: New England | 1 | Organ, Piano | none found |
| Rollo F. Maitland | 1884–1953 | USA: Mid-Atlantic | 1 | Organ, Harmony | none found |
| Royal College of Music, London institution | England / Britain | 1 | Theory, Examination coaching | none found | |
| S. Austen Pearce | 1837–1900 | USA: New York | 1 | Theory | none found |
| S. B. Mills | 1838–1898 | USA: New York | 1 | Piano | none found |
| S. G. Pratt | 1846–1916 | USA: Midwest | 1 | General musical training | none found |
| Salomon Jadassohn | 1831–1902 | Continental Europe | 1 | General musical training | 1 |
| Sophie Taunton | fl. 1880s | England / Britain | 1 | Piano | none found |
| Stephen Elvey | 1805–1860 | England / Britain | 1 | General musical training | none found |
| T. F. Walmisley | 1783–1866 | England / Britain | 1 | General musical training | none found |
| T. Frank Davey | England / Britain | 1 | General musical training | none found | |
| T. J. Davies (Swansea) | fl. 1880s | England / Britain | 1 | General musical training | none found |
| Thomas Attwood | 1765–1838 | England / Britain | 1 | Organ, Composition | none found |
| Thomas Dawson (York) | fl. 1890s | England / Britain | 1 | General musical training | none found |
| Thomas Dawson / A. W. Marchant (York teachers) group | England / Britain | 1 | Organ | none found | |
| Thomas Lyon | fl. c.1800 | England / Britain | 1 | General musical training | none found |
| Victoria College of Music, London institution | England / Britain | 1 | Examination coaching | none found | |
| W. A. Fisher | 1861–1948 | USA: New England | 1 | General musical training | none found |
| W. D. Armstrong | b. 1868 | USA: Midwest | 1 | Composition, Theory | none found |
| W. H. Holmes | 1812–1885 | England / Britain | 1 | Piano | none found |
| Walter Alcock | 1861–1947 | England / Britain | 1 | Organ | none found |
| Walter Brooks | fl. 1850s | England / Britain | 1 | General musical training | none found |
| Wilfrid Sanderson | 1878–1935 | England / Britain | 1 | Organ | none found |
| William Dawson (Liverpool) | fl. 1870s | England / Britain | 1 | General musical training | none found |
| William Dressler | fl. 1860s–70s | USA: New York | 1 | General musical training | none found |
| William H. Hewlett | 1873–1940 | Canada | 1 | Organ, Composition, Piano, Singing / voice | none found |
| William Hawes | 1785–1846 | England / Britain | 1 | Choir and chorister training | none found |
| William Monk (York) | fl. 1850s–60s | England / Britain | 1 | General musical training | none found |
| William Rhys-Herbert | 1868–1921 | USA: (unspecified) | 1 | Organ, Theory, Harmony, Piano | none found |
| Wolfgang Amadeus Mozart | 1756–1791 | Continental Europe | 1 | Composition, Theory | none found |
| Xaver Scharwenka | 1850–1924 | USA: New York | 1 | General musical training | none found |
| Édouard Batiste | 1820–1876 | Continental Europe | 1 | Organ | none found |
All links were checked on 31 October 2026 and returned a page.
Teachers for whom the evidence is thin, and the 172 for whom nothing was found.
Two or more pupils, nothing found: Harry Rowe Shelley (11) — Searched the New Music Review volumes and The American Organist 1921–22: programme listings only, no statement of teaching method.; William Berwald (6) — No writings found in the sources read.; Clement R. Gale (5) — Appears only in Guild committee lists in the New Music Review.; John Knowles Paine (5) — His History of Music (1907) was on hand; no teaching statement was extracted.; Lynnwood Farnam (5) — The American Organist 1921 has service lists only; no statement of method found.; Thomas King Ekundayo Phillips (5) — No teaching statement found in the texts read for this study (the name scan had no hits).; Edmund Hart Turpin (4) — Not found in A Westminster Pilgrim or Lahee beyond names.; Frederick Maxson (4); Louis Vierne (4); Samuel P. Warren (4); Wilhelm Middelschulte (4) — No teaching statement found in The American Organist 1921–22 or the New Music Review.; Benjamin Johnson Lang (3); C. Swinnerton Heap (3); Charles H. Galloway (3); David Duffie Wood (3); Edwin Lemare (3); George E. Whiting (3) — Lahee gives his career only; his organ method was not available as text.; Harry Benjamin Jepson (3); John Larkin Hopkins (3); Mark Andrews (3); Trinity College of Music, London (3); Will C. Macfarlane (3); A. W. Marchant (2); Albert A. Stanley (2); Alfred R. Gaul (2); Berthold Tours (2); Bruno Oscar Klein (2); Ernest MacMillan (2); George Cooper (2); Healey Willan (2); James H. Rogers (2); John J. McClellan (2); Joseph Bonnet (2); Minton Pyne (2); Philip Armes (2); Pietro Yon (2); Samuel Sebastian Wesley (2) — William Spark's Musical Reminiscences (1892) was read for Wesley's teaching; only remarks on his chant service were found. Wesley's own pamphlet of 1849 was not available as text.; Walter Parratt (2) — Stanford mentions him only in passing; no statement of method found.; William Done (2); William Stevenson Hoyte (2).
One pupil, nothing found (132): A. E. Fisher, Achimota expatriate music teachers (unnamed), Adam Geibel, Adolf Brune, Adolf Kuehn, Albert Loeschhorn, Albert Ross Parsons, Alfred Angel, Alfred Hollins, Alfred Stone, Alfred Wooler, Andrew Deakin, Anton Strelezki, Antonín Dvořák, Arthur Sullivan, Augustus Stephen Vogt, C. J. Vincent (father), CMS Grammar School, Freetown, CMS Training Institution, Abeokuta, Carl Lachmund, Carl Müller, Charles E. Graves, Charles E. J. Clarke, Charles Heinroth, Charles Macpherson, Charles W. Perkins, Charles Whitney Coombs, César Franck, D. J. Wood, David McK. Williams, David Stanley Smith, Duncan Macfarlane, E. R. Kroeger, Edgar Priest, Edmund Rubbra, Eduard Rohde, Edward Bunnett, Edward Nunn, Edwin Arthur Kraft, Ephraim Amu, Eugene Thayer, Fela Sowande, Felix Draeseke, François-Joseph Fétis, Frederick Karn, Frits Hartvigson, G. D. Cunningham, G. F. Le Jeune, Garland (Norwich), George A. Burdett, George Mursell Garrett, George Oldroyd, George William Warren, Gustavus Taylor, H. C. Westlake, H. Dillon Newman, Hamilton Clarke, Hans Pfitzner, Harrison M. Wild, Haydn Keeton, Henri Fissot, Henry Houseley, Hugo Kaun, Humphrey John Stewart, Ignaz Moscheles, Institute of Musical Art, New York, Isaac Daniel Loo, J. A. Westrup, J. Christopher Marks, J. E. Allotey-Pappoe, J. G. C. Allen, James Calkin, James Kendrick Pyne, James Peyton Clarke, Johann Gottlob Schneider, Johannes Verhulst, John A. Matthews, John Christmas Beckwith, Johnson Phillips, Joseph Barnby, Joseph Hewitt, Junius W. Hill, Karl Straube, Karl Theodore Ntem, Kate Sara Chittenden, L. E. Whiting, Lorenzo Perosi, Louis Alberti, Marks (father, Cork), Max Vogrich, N. T. Hamlyn, Nacciarone / Miceli / Pappalardo, P. A. Schnecker, Parson Price, Percy E. Hughes, Pratt School of Music, Lagos, R. Bradley (Shipley), R. P. Stewart, Robert Ambrose (father), Robert Arungbamolu Coker, Robert Papperitz, Roland Rogers, Rollo F. Maitland, Royal College of Music, London, S. Austen Pearce, S. B. Mills, S. G. Pratt, Sophie Taunton, Stephen Elvey, T. F. Walmisley, T. Frank Davey, T. J. Davies (Swansea), Thomas Attwood, Thomas Dawson (York), Thomas Dawson / A. W. Marchant (York teachers), Thomas Lyon, Victoria College of Music, London, W. A. Fisher, W. D. Armstrong, W. H. Holmes, Walter Alcock, Walter Brooks, Wilfrid Sanderson, William Dawson (Liverpool), William Dressler, William H. Hewlett, William Hawes, William Monk (York), William Rhys-Herbert, Wolfgang Amadeus Mozart, Xaver Scharwenka, Édouard Batiste.
For most of these teachers the search covered the texts listed above and the person’s record in the combined index. Their own publications, where any exist, were not all read; a blank here means “not found”, not “held no views”.