Authors

Akihisa Yamamoto¹;  ¹ The University of Tokyo, Japan

Discussion

The emergence of People's Conservatories in Moscow and St. Petersburg during the early 20th century marked a transformative period in Russian music education, representing a bold democratization of musical training previously reserved for social elites. The Moscow People's Conservatory, established in 1906 by prominent music educators, musicians, writers, and folklorists such as S. Taneev, L. Nikolayev, N. Yanchuk, was the first conservatory in Russia to open its doors to the general public, marking a departure from the elite institutions like the Moscow and St. Petersburg Conservatories that primarily served the aristocracy and privileged classes. Through extensive analysis of archival materials, including educational programs, methodological writings, and personal correspondence, we have revealed how these educators developed innovative teaching approaches that combined musical training with accessibility for broader social classes. Particularly significant among these innovations were the contributions of Boleslav Yavorsky (1877-1942), an outstanding music educator and theorist and one of the mentors of young Shostakovich. In this presentation, we examine his pedagogical philosophies and ambitious educational ideals. In the Moscow People's Conservatory, he sought to revolutionize music education through his innovations: the subject of “music listening” and a theory of “modal rhythm,” which he incorporated into the subject of “elementary music theory.” Specifically, we clarify how Yavorsky’s theory of modal rhythm in music perception created a distinctive Russian approach to mass music education. These educational pioneers in the Moscow People’s Conservatory established principles that would influence Soviet music pedagogy for decades to come, demonstrating how the democratization of music education could coexist with academic excellence. The presentation also explores the broader social and cultural implications of their work, examining how the People’s Conservatories functioned as institutions of both artistic and social transformation. This research contributes to our understanding of early Soviet cultural policies and their impact on music education while also offering insights relevant to contemporary discussions about accessibility in music education.