Academic literature on the topic 'Music – Instruction and study – Great Britain'

The international rise of mass education over the past few centuries is often seen by historians as due to the increasingly long arm of the state (see, e.g., Lindert 2004). On this view, the early rise and high level of mass education in the United States in contrast with its colonial ruler Great Britain reflects the ability of Americans to mobilize local and state government support for public education from the earliest days of the Republic. Indeed, institutions dating to the colonial era could have been at work. The articles in this special section are informed by the view that schools and the instructional services they offered during the antebellum period were subject to the choices of buyers and sellers of these services. The article by Kim Tolley provides a rich case study of this basic principle with her account of Mrs. Sambourne's foray into music teaching in early-nineteenth-century North Carolina.

The purpose of this study was to explore music instruction in selected normal schools of the United States during the nineteenth century. The sample consisted of all eighteen state normal schools organized before the end of the U.S. Civil War and provided insight into the earliest period of music at these institutions. Research questions focused on normal school music (a) faculty, (b) curricula, and (c) diploma/degree programs, as well as (d) influence on the teaching profession, normal school students, and society at large. Normal schools prepared future classroom teachers and eventually specialists to teach music to K–12 students throughout the United States. They also helped professionalize the role of music teacher, solidify music’s place in K–12 curricula, and improve the efficacy of instruction among America’s youth. The preparation normal schools provided contributed to the national culture and the ability of average citizens to experience music as both listeners and performers. Although teacher education has evolved a great deal since the nineteenth century, practices related to music instruction in state normals during this time might hold implications for solving current problems in music education and preparing generalists and specialists today.

Object. In the article taking into account forming of European educational space orientated on rapprochement of the systems of training of pedagogical personnels in the countries of European union, actuality of the research-oriented studies as innovative is grounded. Methods. On the basis of comparativist analysis the different vectors of refraction of theoretical and practical experience are considered in relation to forming of scientifically-research culture of teachers, future teachers of musical art, in European countries (To Germany, Poland, Great Britain). Results. It was found that in the European pedagogical space there is a significant number of teacher training programs «teacher-scientist», «teacher-researcher», «teacher who reflexively self-governs», «teacher - reflexive practice». In these programs, the conditions for organizing the training of future teachers, the nature of educational interaction are transformed and subject to the requirements of research. The German pedagogical system is based on W. Humboldt’s concept of higher education and determines that the specialty «music teacher» is based on three «whales» - creativity, science and pedagogy. It is established that in Poland the master’s research is considered as a didactic category in art education and requires different ways of organizing scientific and pedagogical guidance; in the Great Britain, the education and development of a teacher-researcher, a thinking practitioner, is a personal marker of his competence and professionalism. Conclusions. Factors influencing the development of critical, interdisciplinary, analytical, methodological thinking of the future specialist and creating the necessary foundation for the formation of his research culture are identified. This is raising the level of scientific and methodological education, the fundamentalization of the educational space, its «learning», the intensification of research, reflection, innovative forms of learning.

Overwhelmingly, the British reputation of George Gershwin is as a ‘serious’ composer: but this is liable to obscure not only the contributions he and his brother Ira made to the popular music theatre in Britain, but also, conversely, the British influences upon this seemingly all-American pair. George was profoundly influenced by that pre-eminent American Anglophile of his time, Jerome Kern, while British influences upon the semi-scholarly Ira extended far beyond W. S. Gilbert and P. G. Wodehouse. After ‘Swanee’ swept Britain in 1920, and George had honed his art and craft by writing the score for the West End revue, The Rainbow (1923), came the musical comedy, Primrose (1924) – its score his first to be published, and including some of his earliest orchestrations. A prototype of the frivolous comedies of the era, Primrose marked the first time the brothers were billed together as the Gershwins, since Ira had earlier written as ‘Arthur Francis’: it was also the immediate precursor of their first great Broadway hit, Lady, Be Good! Finally, in 1928, Ira collaborated, without George, on the London show That's a Good Girl – though Damsel in Distress, the brothers' last film musical, was a valedictory to the British-American musical comedy of the era. James Moore's earlier transatlantic study, of Cole Porter in Britain, appeared in NTQ30 (1992), and his Radio Two programme on the revue producer André Charlot was broadcast in October 1993.

The paper deals with the relations between the Kingdom of Serbia / Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia and Great Britain with special emphasis on their 'encounters' in the field of music and culture during the First World War and then between the two wars, which drew the two fairly mutually distant and insufficiently known 'worlds' closer. That music was an integral part of all major social and state events staged by the two countries at different moments and in different situations throughout the mentioned historical periods can be observed. The paper also shows that research into the role and significance of music in the relations between the two countries and its influence on them was continuously permeated, like a particular 'red thread' - which sublimated the most significant mutual effects of Serbian-British music relations in those times - by the creative work and enthusiasm of Oxford graduate Kosta Manojlović. There is no doubt that all this contributed to a more profound mutual understanding of these peoples and their countries.

The article deals with the comparative analysis of the system of music training of pedagogues-musicians abroad (in the countries of the European Union, Scandinavian countries, United States of America, People’s Republic of China and Japan) in particular, comparing these systems and selecting the most valuable experience for implementation in Ukraine. Particular attention is paid to the structure of music teacher education in Poland, Latvia, Finland, Germany, Hungary, Austria, Czech Republic, Slovak Republic, Sweden, Iceland, Norway, Great Britain, America, People’s Republic of China, Japan. The author of the article analyses the term of education in different countries; duration of stage education (Bachelor (Bc), Master (Mg), Doctor (Dr)); duration of study of the course; types of music activity; basic subjects; direction of educational subjects; music-pedagogical systems of outstanding musicians-pedagogues involved in the professional education process. It is analyzed that the common features for music education are: the orientation of education to the inner values associated with the development of musical skills, knowledge and abilities necessary for creativity and reaction to music; understanding and knowledge of the cultural environment and heritage; personal and community development through creativity, identity formation, personal development and social interaction. Music education systems abroad are characterized by the focus on the harmonious development of the personality, provide various forms of creative music playing on the material of folk, classical, contemporary music in their parallel comparison, develop perception and musical hearing through effective techniques.

Kazakh traditional music has been the research object for many scientists from Russia, Germany, Great Britain, Hungary, Japan, the United States, and other countries. In the 20th century, due to the establishment of Soviet power, the territory of Kazakhstan was closed for research by foreigners. Simultaneously, such a combination of events contributed to preserving materials collected before the Great October Socialist Revolution. Therefore, today it is vital for the World and Kazakh ethnomusicology to consider unknown materials and scientific sources. Various foreign archives contain materials unknown to Kazakh ethnomusicologists about Kazakh traditional music collected on researchers’ and traveler’s expeditions since the end of the XVIII century. Recordings of the German ethnographer-anthropologist R. Karutz were found in 2016 by the film crew of the Interstate TV and Radio Company “Mir”, and analyzed and published by the doctor of Art studies S. I. Utegalieva in the book” Turkestan collection of songs and instrumental pieces collected by R. Karutz (1905)”. These recordings prove that there are sources about Kazakh traditional music that can change the opinion about the historical significance of the Kazakh culture in the Central Asian region. The famous turcologist Efim Rezvan presented the records in the Pushkin Museum in St. Petersburg. It turned out that the original cylinders with authentic recordings are currently stored in the archive of the Berlin Museum of Visual Anthropology and Ethnology. This article reviews the documentary film "Road of People: The First Audio Recording of Kazakh Music", and sheds light on the possible prospects of studying the problem of research the Kazakh traditional music. Today, the Berlin Phonogram Archive contains samples of music from all over the world, the first recording dates back to 1900. The collection of wax cylinders by Richard Karutz is kept in the Department of Ethnomusycology, Visual Anthropology at the Berlin Phonogram Archive of the Ethnological Museum in Berlin. The collection is well preserved, and according to its curator Dr. Ricarda Kopal, there are 16 wax cylinders from Turkestan, an area of ​​now southern Kazakhstan, which R. Karuts crossed during his expedition. The film crew brought digital copies of the recordings to Almaty for further study. Kazakh and international scientists and performers, professors and doctors of sciences: S. Utegalieva, T. Togzhanov, A. Berdibay (Kazakhstan), I. Saurova (Karakalpak Autonomous Republic), R. Abdullaev (Uzbekistan) and others were involved to decipher, analyze, describe and evaluate the musical and artistic content of the recordings. The whole process was documented in the film, which was worked on by a whole team of professional journalists, the script was written by Timur Sandybaev and Askar Alimzhanov, directed by Kanat Yessenamanov.

Abstract In the iconography of nineteenth-century female education, the centralfigure is a woman at the piano. This figure embodies a form ofeducation, the female "accomplishments" — music, art, modern languages, literature, and the natural sciences — which was widespread in Britain by the end of the eighteenth century and which spread rapidly throughout the English-speaking world. Yet this form of education has been overlooked or dismissed by both mainstream and feminist historiography. This paper considers the rise of the accomplishments curriculum as a precursor to the emergence, late in the nineteenth century, of the “worthwhile education” of women. This earlier development, in the author's view, requires a reconsideration of that sacred cow of feminist theory, the man/culture, women/nature dichotomy. A study of the female accomplishments also illustrates the earlier rise of the enduring and oppressive myth that there is a natural affinity between the humanities and the female mind — with its equally enduring implication that there is a natural affinity between science and the male mind. Historians of the Edwardian period have noted that the rational, scientific frame of mind, which underpinned the capitalist exploitation of the natural world, was considered to be a "natural" male predilection. Feminist historians have rightly exposed the use of this pseudo-science as a justification of the contemporary intellectual subjugation of women. They have, however, failed to note that intellectual attitudes which were evident more than a century earlier, and which underpinned the emergence of the female accomplishments, ensured that women would be excluded from the great intellectual adventure of the twentieth century.

With the lapse of time the two nations- Americans and British always blamed each other for “ruining” English. In this article we aim to trace historical “real culprit” and try to break stereotypes about American English status in teaching English as a second language. In comparison with Great Britain the USA has very short and contemporary history; nevertheless, in today’s world American English exceeds British and other variants of English in so many ways, as well as in the choices of language learners. American English differs from other variants of the English language by 4 specific features: Inclusiveness, Flexibility, Innovativeness and Conservativeness. Notwithstanding, British disapprove of Americans taking so many liberties with their common tongue, linguistic researcher Daniela Popescu in her research mentions the fields of activities in which American words penetrated into British English. She classifies those words under 2 categories: everyday vocabulary (480 terms) and functional varieties (313 terms). In the case of functional varieties, the American influence is present in the areas of computing (10 %), journalism (15 %), broadcasting (24%), advertising and sales (5 %), politics and economics (24%), and travelling and transport (22%). Further on, the words and phrases in the broadcasting area have been grouped as belonging to two areas: film, TV, radio and theatre (83%), and music (17%). The purpose of the research paper is to create safe and reliable image of American English in the field of teaching English as a second language. Americans are accused in “ruining” English and for that reason learners are not apt to learn American English. The combination of qualitative and quantitative methods is used while collecting the data. The study concluded that the real culprits are British who started out to ruin English mainly in in the age of Shakespeare and consequently, Americans inherited this ruin from the British as a result of colonization. Luckily, in the Victorian Age British saved their language from the ruins. The paper discusses how prejudices about American English effect the choices of English learners.

This edition is the first issue of Dewa Ruci’s Journal, in which all articles are in English. We deliberately changed the language of publication to English to facilitate information delivery to a wider audience. We realize that English is the official language for many countries rather than other languages in this world. The number of people who have literacy awareness and need scientific information about visual and performing arts regarding the archipelago’s cultural arts is also quite large.The decision to change the language of publication to English does not mean that we do not have nationalism or are not in love with the Indonesian language. This change is necessary to foster the intensity of scientific interaction among writers who are not limited to Indonesia’s territory alone. We desire that the scientific ideas outlined in Dewa Ruci’s Journal are read by intellectual circles of the arts internationally. We also want to express our scientific greetings to art experts from countries in New Zealand, the USA, Australia, Europe, especially Britain, and other English-speaking countries such as the Philippines, India, Pakistan, Zimbabwe, the Caribbean, Hong Kong, South Africa, and Canada. Of course, a change in English will also benefit intellectuals from countries that have acquired English as a second language, such as Malaysia, Brunei, Israel, Malaysia, and Sri Lanka. In essence, Dewa Ruci’s Journal editor wants to invite writers to greet the scientific community at large.We are grateful that six writers can greet the international community through their articles. The first is Tunjung Atmadi and Ika Yuni Purnama, who wrote an article entitled “Material Ergonomics on Application of Wooden Floors in the Interior of the Workspace Office.” This article discusses office interiors that are devoted to workspaces. The purpose of this study is to share knowledge about how to take advantage of space-forming elements in the interior design of a workspace by utilizing wooden floors like parquet. The focus is on choosing the use of wood by paying attention to the elements in its application. This research result has a significant meaning in the aesthetics, comfort, and safety of wooden floors in the workspace’s interior and its advantages and disadvantages.The second writer who had the opportunity to greet the Dewa Ruci Journal audience was intellectuals with diverse expertise, namely Taufiq Akbar, Dendi Pratama, Sarwanto, and Sunardi. Together they wrote an article entitled “Visual Adaptation: From Comics to Superhero Creation of Wayang.” This article discusses the fusion and mixing of wayang as a traditional culture with comics and films as contemporary culture products. This melting and mixing have given birth to new wayang creations with sources adapted from the superhero character “Avenger,” which they now call the Avenger Wayang Kreasi. According to them, Wayang Kreasi Avenger’s making maintains technical knowledge of the art of wayang kulit. It introduces young people who are not familiar with wayang kulit about the technique of carving sungging by displaying the attributes in the purwa skin for Wayang Kreasi Avenger. This creativity is an attempt to stimulate and show people’s love for the potential influence of traditional cultural heritage and its interaction with the potential of contemporary culture.The next authors are Sriyadi and RM Pramutomo, with an article entitled “Presentation Style of Bedhaya Bedhah Madiun Dance in Pura Mangkunegaran.” This article reveals a repertoire of Yogyakarta-style dance in Mangkunegaran, Surakarta, namely the Bedhaya Bedhah Madiun. The presence of this dance in Mangkunegaran occurred during the reign of Mangkunegara VII. However, the basic character of the Mangkunegaran style dance has a significant difference from the Yogyakarta style. This paper aims to examine the Bedhaya Bedhah Madiun dance’s presentation style in Mangkunegaran to determine the formation of its presentation technique. The shape of the Bedhaya Bedhah Madiun dance style in Mangkunegaran did not occur in an event but was a process. The presentation style’s formation is due to a problem in the inheritance system that has undergone significant changes. These problems arise from social, political, cultural, and economic conditions. The responses to these problems have shaped the Bedhaya Bedhah Madiun dance's distinctive features in Mangkunegaran, although not all of them have been positive.Hasbi wrote an article entitled “Sappo: Sulapa Eppa Walasuji as the Ideas of Creation Three Dimensional Painting.” This article reveals Hasbi’s creative process design in creating three-dimensional works of art, named Sappo. He got his inspiration from the ancient manuscripts written in Lontara, namely the manuscripts written in the traditional script of the Bugis-Makassar people on palm leaves, which they still keep until now. Sappo for the Bugis community is a fence that limits (surrounds, isolates) the land and houses. Sappo’s function is to protect herself, her family, and her people. Sulapa Eppa means four sides, is a mystical manifestation, the classical belief of the Bugis-Makassar people, which symbolizes the composition of the universe, wind-fire-water-earth. Walasuji is a kind of bamboo fence in rhombus rituals. Eppa Walasuji’s Sulapa is Hasbi’s concept in creating Sappo in the form of three-dimensional paintings. The idea is a symbolic expression borrowing the Lontara tradition's idiom to create a symbolic effect called Sappo.Mahdi Bahar and his friends wrote an article entitled “Transformation of Krinok to Bungo Krinok Music: The Innovation Certainty and Digital-Virtual Contribution for Cultural Advancement.” Together, they have made innovations to preserve Krinok music, one of Jambi’s traditional music themes, into new music that they call Bungo Krinok. He said that innovation is a necessity for the development of folk music. In innovating, they take advantage of digital technology. They realize this music’s existence as a cultural wealth that has great potential for developing and advancing art. The musical system, melodic contours, musical grammar, and distinctive interval patterns have formed krinok music’s character. This innovation has given birth to new music as a transformation from Jambi folk music called “Bungo Krinok” music.Finally, Luqman Wahyudi and Sri Hesti Heriwati. They both wrote an article entitled “Social Criticism About the 2019 Election Campaign on the Comic Strip Gump n Hell.” They explained that in 2019 there was an interesting phenomenon regarding the use of comic strips as a means of social criticism, especially in the Indonesian Presidential Election Campaign. The title of the comic is Gump n Hell by Errik Irwan Wibowo. The comic strip was published and viral on social media, describing the political events that took place. In this study, they took three samples of the comic strip Gump n Hell related to the moment of the 2019 election to analyze their meaning. From the results of this study, there is an implicit meaning in the comic strip of pop culture icons' use to represent political figures in the form of parodies.That is the essence of the issue of Volume 16 Number 1 (April Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of visual and performing art science in international networks, both in the science of art creation and in scientific research of art in general. We hope that the development of visual and performing art science can reveal the various meanings behind various facts and phenomena of art life. Therefore, the growth of international networks is an indispensable need.Thank you.

Edward Paston (1550-1630) was very skilled in liberal arts, especially music and poetry. His love of music is reflected in his having gathered one of the largest collections of music manuscripts from Elizabethan and early Jacobean times. The collection is very important as it holds unique copies of many compositions by some of the best-known composers from the Renaissance including Byrd. This thesis investigates the idea of the Paston collection as a performing collection within the historical, cultural, and musical context of 16th century England. The study presents Edward Paston as a personification of some of the ideals in Castiglione’s The Courtier, and it also discusses Paston’s role within his social milieu mostly formed by the recusants’circle. This is followed by a presentation of the musical traditions that Paston presumably knew as well as a study of the collection within this context. By presenting this socio-cultural and musical framework, the intent is to arrive at a better understanding of the collection in relation to house music making in Edward Paston’s household and within his circle. The final section of the thesis investigates how the collection was used and how it can be applied to current performance practice.

The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.

This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people learn, but as the practices through which people learn. As such, the study aims to understand the characteristic practices of the conservatoire and its members, the ways that learners participate in, construct and learn from such practices and, thus, the constructed nature of the conservatoire's learning cultures. Methodologically, the study is grounded in constructionism and draws on the thinking of Pierre Bourdieu. In particular, Bourdieu's notions of habitus, capital and field are used as 'thinking tools' through which to access and understand 'learning cultures'. The research comprised an ethnographically-informed qualitative case study of one UK conservatoire. In the quest for in-depth understandings, a family of four methods was employed: semistructured interviews, participant observation, document analysis and participant selfdocumentation. Data were analysed using a framework that moved between inductive data-driven thematic analysis and Bourdieu-informed interpretation, with emphasis given to the socially constructed nature of 'learning cultures'. The key findings of the study are divided into three interrelated parts: the organisational, curricula and spatial practices of the conservatoire, the practices of the conservatoire's students, teachers and staff and the ways in which different learners participate in, construct and learn from these practices. Drawing these parts together, the study concludes that (1) the nature of the conservatoire's learning cultures is manifested across four intertwined features: cultures privileging the development of specialised performers, cultures of social networking, cultures of musical hierarchies and cultures of vocational position taking and (2) the conservatoire's learning cultures are constructed in different ways for differently positioned learners, appearing to privilege those 'superstar' students who visibly demonstrate high levels of symbolic cultural and social capital. In a climate where the call to 'change the cultures' of conservatoires is oft heard, the learning cultures of this particular conservatoire reveal practices that do not always appear to reflect a rapidly changing musical field. Implications of the study are discussed, and recommendations made for the introduction of creative, reflective and leadership spaces for learning in the conservatoires of the future.

This study explores the popularity of lute instruction in late sixteenth- and early seventeenth-century England and the ways in which this accomplishment was used in constructions of social status. The opening chapter outlines the functions of the lute in early modern English culture and surveys previous research on the instrument and its repertory. Chapter 2 provides an overview of the hierarchical structure of Elizabethan society, highlighting shifting conceptions of “gentle” status during the sixteenth century. The complex position of music within early modern discourses on elite identity is discussed, alongside the potential of lute-playing skills to contribute towards social advancement. Four case studies follow, each exploring the uses of lute-playing amongst practitioners located on the hazily defined boundaries between “gentle” and lower-class status. Chapter 3 uses the autobiography of Thomas Whythorne as a focal point in order to examine the ambiguous role of musicians in household service. By teaching coveted “courtly” skills to their social superiors, these music tutors were in an advantageous position to secure further rewards and enhance their status. Chapter 4 reassesses the Mynshall lutebook, highlighting the roles of music-making and literary production amongst a circle of mercantile-class men in provincial England. It reveals how lute-playing and poetic exchange facilitated social interaction and consolidated kinship bonds within this group as they sought to forge a collective identity grounded in the cultural practices of more elite circles. The role of recreational music-making amongst university men is examined in Chapter 5 through a reappraisal of the Dallis lutebook, showing how playing and collecting lute music could form a strand in the fashioning of a distinctively learned “scholarly” identity. My final case study assesses the printed tutor books marketed from the 1560s onwards, paying close attention to the material forms of extant copies (as evidence of their usage) and their paratextual materials. A close reading of Thomas Robinson’s Schoole of Musicke (1603) reveals how this publication was designed to appeal simultaneously to two very different markets: aspirant middle-class autodidacts, and wealthier “gentleman” readers who could provide further patronage and career advancement to the author.

This chapter examines the history of the study of medieval art in Great Britain during the period from 1950 to 2000. The British Academy created a separate section for History of Art and Music, but in many quarters art history was still thought of as the province of the amateur art-lover rather than an object of serious study. Only the Courtland Institute continued to be the only institution in England offering undergraduate and graduate degrees. The situation changed in the 1960s and 1970s when all branches of the discipline experienced major growth in the areas of conservation studies and art-book publishing.

This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.

This chapter examines the influence of John Millar on two young Russian students, Semyon Efmovich Desnitsky and Ivan Andreyevich Tret'yakov, who arrived to study in Glasgow University in 1761, the year Millar was appointed Regius Professor of Civil Law. Millar attracted pupils from all over Great Britain and Ireland. He even had Russian pupils on whom he exerted demonstrable influence. As a teacher, Millar moved classes in law from a still traditional focus inherited from the Dutch law schools to instruction informed by the approach and learning of the Scottish Enlightenment. The chapter considers what Desnitsky and Tret'yakov learned from Millar. On their return to Moscow, both Desnitsky and Tret'yakov were in favour of the change to lecturing in Russian rather than in Latin in the University of Moscow — a move that could be attributed to their experience of legal education in the University of Glasgow and, in particular, of Millar's lectures.