ACT Research Seminar: PGR Presentations

Instrumental and vocal music education takes place in the UK in a variety of contexts, from in-school provision to private tuition. Contrary to any other school-taught subject, the teaching of instrumental and vocal music does not follow a clearly designed curriculum, and as a consequence, teachers often have the freedom to tailor their teaching towards student and parental expectations, assessment frameworks provided by examination boards or
other personal motivations. In this everchanging teaching climate, music theory can be, in many cases and for various reasons, neglected or taught/studied only for the purpose of examinations (for example ABRSM’s requirement of a pass at Grade 5 theory in order to be eligible to register for Grade 6 or higher Practical/Performance examinations). 

The primary focus of my research is to obtain a more accurate picture of the current situation of music theory teaching within the context of instrumental/vocal lessons. At the same time, on the basis of these findings, it aims to explore practical implications and recommendations for instrumental/vocal teachers seeking to incorporate theory teaching
into their practice, as well as for pedagogy training programmes.

The aim of the first data-collection stage of this PhD research has been to uncover the perspectives of UK instrumental teachers in terms of teaching music theory alongside instrumental lessons, through the responses of 54 teachers who participated in an online questionnaire. The questionnaire was designed to collect data in relation to three broader areas of the research: firstly, on how teachers’ different experiences as learners may have had an impact on their teaching of music theory; secondly, the attitudes towards, and availability of, pedagogical training available to instrumental/vocal teachers in the UK and
the extent to which music theory features within this training; and thirdly, the current attitudes and strategies of UK instrumental/vocal teachers in relation to the teaching of music theory.

The preliminary results of this data collection stage will be mapped in this
presentation, alongside a brief contextualisation of the current state of instrumental music education in the UK through the viewpoint of esteemed contributors in the field.

Thomas Sanders [Saunders] Dupuis was born in London, on 5 November 1733, the third son (and fourth child) of John Dupuis and his wife, Susannah. John Dupuis, who was descended from a Huguenot family which emigrated from France to England, is said to have held some appointment at court under George II. Thomas was successful in gaining entry to the choir beginning as a Child of the Chapel Royal in 1748 under Bernard Gates and later an organ pupil of John Travers. He was admitted organist and composer of the Chapel Royal in succession to William Boyce in 1779 until his death in 1796. It is therefore unsurprising that the substantial part of his vast compositional output is sacred. Nevertheless, there is a large body of secular music include a large-scale ode, smaller odes, several songs for soloist or duet and catches.
Sir George Smart, was an organ pupil of Dupuis, noted in his journal that he ‘was rather a sharp master and would rap my fingers with his watchchain, holding the watch in his hand. It was from him that I learnt my organ-playing.’ Smart also records that ‘during his first visit to this country, in 1790, Haydn came to the Chapel Royal. He was so pleased with Dr Dupuis’ extempore fugues, that meeting the doctor as he came downstairs from the organ loft, after the service, he gave him two kisses in the Ambassadors’ Court. This I saw him do, and I was very much surprised at that time at the operation.’ A survey of his life and works therefore not only serves to enlarge our appreciation of Dupuis, but affords us a better understanding of his and other mid-eighteenth-century English composers whose compositional output his been dismissed by the annals of musical history.