The movie Star Wars, part four of nine-part projected saga of same title by Charles Lucas, revived interest in science fiction when many thought it was dead. Using title of Star Wars saga as a parallel might seeem like intergalactic overkill for a paper focussing on a rather narrow view of two disputes about musical examination. l Yet these battles took on a slightly bigger scope in rivalry between Toronto musical organizations and those of London, England. The exam wars of title borrows from popular lore of Star Wars rather than any extant term used in archival papers of some of Toronto's various musical institutions, specifically, Toronto Conservatory of Music (TCM) known since 1947 as Royal Conservatory of Music of Toronto (RCMT), University of Toronto (U of T), Trinity College, Toronto College of Music - or from local press. There is no attempt at sustaining parallel allegory of Empire versus rebel cause of local musicians, although the force is strong, as a Darth Vader might say. Rather analogy is to popular culture. Where Charles Lucas succeeds in childlike appeal of his first Star Wars release of 1977 (originally called Star Wars and subsequently retitied A New Hope) is partly in his use of popular culture. There are reminiscences of The Wizard of Oz in Tin Man-type figure, and so on. Today we peruse our local newspapers to find icons of popular culture of early 1990's such as Madonna or Bart Simpson dominant. Hollywood takes precedence over local or national serious musical events. Even recent separation of RCMT from U of T, which received its final reading and approval by Ontario Legislature on Wednesday 26 June 1991, found little resonance in print other than brief notices in Toronto newspapers. Whereas this on one hand reflects way in which television news coverage dominates our lives, it on other reflects our priorities and values about music and culture in general. Little over a century ago, even a Methods controversy, concerning sol-fa teaching of A.T. Cringan versus American John Holt in 1 880's could arouse passionate responses from music teachers. And, in 1890's, disputes about examination territory, whether graded musical examinations or music degrees in Toronto and in London, England, could provoke fierce public controversy on both sides of Atlantic. It is on that territorial dispute that this paper focuses. What was popular culture of 1880's and 1890's? By 1882, according to Ottawa musician Gustave Smith: . . . thechasefor dollars and luxuries had corrupted custom of spontaneous music-making among friends, and among musicians avons peu d'artistes - en profession, mais nous comptons, en revanche, beaucoup de professeurs sans profession. Music now became chiefly an accomplishment of young ladies who played piano and delighted their suitors with waltzes, polkas and assorted salon pieces, pretty and sentimental ... . Upright pianos and parlour organs appeared now in every middle-class home, but serious practicing was shunned, and an artistic career, like any other pursuit not aimed at acquisition of wealth and social position, was regarded with suspicion.2 Only five years later, TCM's first Calendar of 1887-8 stressed importance of playing piano: The piano is now an accompaniment to civilization, and it has grown to be an almost indispensable article in every household where there are pretensions to culture and refinement. It is well-nigh an orchestra in itself, and is indeed people's instrument.3 The piano manufacturing industry was one of major industries in Toronto in 1890's. The most important industries were agricultural machinery (the Massey Manufacturing Co.), breweries and distilleries (Gooderham and Worts); next came clothing, engineering and book publishing; piano manufacturing was in next group, ranking along with furniture manufacturing and meatpacking. …