Music Center Research Articles

Recital halls for K-12, higher education, and community music education: A trio of case studies

The recital halls at Deerfield Academy, UMass Boston, and the Brattleboro Music Center each play a critical role at the center of the music education programs at these institutions. Deerfield's 160-seat Elizabeth Wachsman Concert Hall, at the independent high school's Hess Center for the Arts, is both intimate and warmly resonant, and features adjustable curtains at the stage to suit varying repertoire for rehearsal and performance, particularly of Deerfield's student music ensembles. The 150-seat recital hall at UMass Boston's University Hall serves an even wider array of ensembles, from classical choral to jazz, in a building that not only serves the Performing Arts Department but also Chemistry and other general-purpose classrooms; the adjustable curtains there surround the audience on all sides. In Brattleboro, a 331-seat recital hall is the crown jewel of a new community music center that also serves as the home to a Chamber Music Series and a range of ensembles including Juno Orchestra, a concert choir, chorale, and camerata, and the music center's “Educate. Open. Strengthen.” Program. These three rooms all serve critical pedagogical missions, but each with a different focus and a different set of needs and constraints that impact budget, architecture, and acoustical design considerations.

Modifying a recital hall to extend its range of use: A case study

Rosen Concert Hall, in the Broyhill Music Center at the Appalachian State University Hayes School of Music, is a beloved 400-seat recital hall designed in the 1980s by architect Dennis Yates and acoustician Rein Pirn (Acentech/BBN) and was featured in the 1990 ASA publication “Acoustical Design of Music Education Facilities.” The hall was designed for pipe organ, vocal chorus, and smaller classical instrumental ensembles, with significant variable absorption in the form of curtains. Since then, the school’s program has broadened, and the hall is now used also for jazz band, large wind ensemble, and some amplified forms. A 2017 study included acoustical measurements in the hall, listening sessions with eight different ensembles in the hall, and discussions with faculty and staff. These resulted in detailed recommendations for acoustical improvements and new audiovisual equipment. The school has completed two recommended acoustical improvements, with positive results: hinged absorptive wall panels surrounding the platform, and extended reflective canopy. Users report improved on-platform clarity for louder ensembles, and better self-hearing and presence of sound for downstage performance locations.

The Emergence of Interactive Music: The Vision and Presence of Joel Chadabe

The Emergence of Interactive Music: The Vision and Presence of Joel Chadabe

The 14th International Conference of Students of Systematic Musicology (SysMus21)

The 14th International Conference of Students of Systematic Musicology (SysMus21) was held in a hybrid format that allowed both in-person and online participants to join. The SysMus conference series aims to foster a dynamic and interdisciplinary environment for students and early career researchers to share and discuss their work in the fields of systematic musicology and its related disciplines. This year at SysMus21, a total number of 26 oral and 35 poster presentations were held, covering a range of topics including well-being, data science, absorption and imagery, social connections, rhythm and groove, music information retrieval, sociology, cognition, and emotion. An introductory talk was given by Peter Vuust (Center for Music in the Brain, Aarhus University, Denmark), and two keynotes were presented by Jonna Vuoskoski (RITMO Center, University of Oslo, Norway) and Nori Jacoby (Max Planck Institute for Empirical Aesthetics, Frankfurt, Germany). Additionally, four workshops were held by Caitlyn Trevor, Joshua Bamford, Niels Christian Hansen, and Svenja Reiner, focusing on research skills relevant for developing a career in academia. In this report, an overview of the conference is provided including a summary of keynotes, presentations, workshops, and social activities, as well as a review of the advantages and challenges of the hybrid set-up.

Парижская консерватория и развитие скрипичного исполнительства

The opening of the Paris Conservatoire in 1795 played a huge role in the 19th century development of French and wider European performing arts. The article discusses the uniqueness of violin education in the 18th century France and identifies the reasons for the emergence of the world's first educational institution that provided free tuition to all its students regardless of their social background. The article is supplemented with the Russian language translation of the law on the establishment of Paris Conservatoire and a list of its first professors. The article provides a detailed analysis of the initial stage in the development of violin training associated with the names of such famous French violinists as Pierre Gaviniès, Rodolphe Kreutzer, Pierre Rode, and Pierre Baillot. Their wellcoordinated methodological efforts and commitment to common aesthetic ideals encouraged the development of a very powerful violin school that left the rest of Europe behind. The Paris Conservatoire concentrated the best of the country’s artistic potential, thus shaping the musical landscape of France. It also served as a role model for other secular educational institutions located in Europe’s major musical centers.

Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general.
 Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.

Music centers of Chernihiv-Siversky region: names, events, creative teams, repertoire (to the 100th anniversary of the M. D. Leontovich Music Society)

The study of music centers of Chernihiv-Siversky region in the context of the leading musical and public organization of the Ukrainian Renaissance – M. D. Leontovych Music Society (1921–1931) – opens wide opportunities for scientific research of hitherto unknown pages of the history of musical culture of Ukraine in XX century. Although the emergence of music centers in this period was due to a certain historical event and created in these lands after the tragic news on the death of the famous composer Mykola Leontovych, this process began long time before they received legal status as the members of the Society as its Chernihiv and Pryluky branches. Establishment of the branches of the Leontovych Society was associated with increasing the level of musical culture of the republic and was aimed to organize the process of unification of the Ukrainian people around the idea of national revival. All members of the Leontovych Society (not only the Pryluky and Chernihiv branches) had a responsible mission to be pioneers and reformers of musical culture in cities and villages, which at the time of the formation of the new Soviet art appeared to be the most important and difficult task. and coordinated work of each member of Leontovych Society, at the beginning of 1927 as its parts throughout Ukraine it was opened, registered and operated 69 branches and music centers, including about 930 members and 1013 musical organizations consisting of professional musicians and amateurs, who presented the school and student, peasant and workers’ choirs and ensembles, the chamber, brass, folk orchestras, etc. The history of the Leontovych Society’s activity turned out to be a kind of challenge to fate and a conscious putting on the altar of building the musical culture of Soviet Ukraine of the best human abilities, knowledge and strength, which became an unsurpassed example of the civic service to its people. The archival heritage of the Music Society named after MD Leontovych, preserved in the Fund № 50 of the Manuscript Institute of the National Library of Ukraine named after VI Vernadsky, was and is a unique document of Ukrainian history, which will forever remain for descendants an exclusive source of the information national past of Ukraine in many spheres of science, art and culture as a spiritual monument of our country.

Music and the Cybernetic Mundane

Few intellectual movements have been as influential as cybernetics was in the 1950s and ’60s. Fewer still have seen their stock fall so precipitously in the years since. Despite the growing body of literature that has reassessed this postwar “cybernetics moment” (Hayles, Kline, Pickering, Medina, et al.), its far-reaching impact remains curiously underappreciated, especially as regards music. This article seeks to redress this neglect, by focusing not on works and practices that spectacularize cybernetics (the “cybernetic sublime”), but instead on those activities, discourses, and projects that so thoroughly internalized and normalized the cybernetic ethos that it eludes notice (the “cybernetic mundane”). A first case study considers the little-known role played by information theory and cybernetics in the design of the RCA Synthesizer, one of the first instruments of its ilk to be developed. Among other things, I contend that cybernetic thinking pervaded the instrument’s conception to such an extent that it paradoxically contributed to the subsequent erasure of its influence from accounts of the instrument’s development and subsequent implementation as part of the Columbia-Princeton Electronic Music Center. The second case concerns more recent applications of cybernetic ideals to digital music distribution, exemplified by the platform Spotify, whose routinization of these ideals has ensured not just their persistence, but their persistent misrecognition.

Attitudes, Awareness, And Roles of Parents in Children’s Musical Instrument Learning at The Klang Valley Music Centre

Attitudes, Awareness, And Roles of Parents in Children’s Musical Instrument Learning at The Klang Valley Music Centre

Konverents „Oma nahk“ / Conference Report: "Own Skin"

On 19th November 2020, members of the Estonian Native Crafts programme of the University of Tartu Viljandi Culture Academy held a conference entitled ‘Own Skin’. It took place at the Estonian Traditional Music Centre in Viljandi, and focussed on the use of animal hide as a material in handicraft and applied arts. The conference addressed domestic, as well as wild, animal hide, and presentations were made by individual producers, producers’ associations, and representatives of higher educational establishments.
 Vet, and President of the Kihnu Native Sheep Association, Anneli ÄrmpaluIdvand, asserted that all the products of that ancient breed are worthwhile. The most valuable is their double fleece, which has given them the reputation of providing warm sheepskin coats. She underlined the importance of an approach that makes use of all of the produce that can be derived from sheep.
 The President of the Estonian Sheep and Goat Breeders Association, Vallo Seera, gave an overview of the mass production dimension of the sheep-breeding industry where shearing and skinning are not planned separately. Taking care of the fleece, skinning, taking the hide to the tannery and processing it further, is all quite expensive, and this is why the hides are usually thrown away. In order to reduce such waste, the awareness of the processors, as well as of consumers, needs to be raised.
 A student of the leatherwork module at the University of Tartu Viljandi Culture Academy and an animal protection activist, Kadri Võrel, gave a presentation about the use of wild animal hides in the past and nowadays. She underlined the fact that game hide is a so-called ‘fair leather’ and this should be taken into account when valorising it. The Managing Director of the Estonian Hunters’ Society, Tõnis Korts, presented an overview of the problems relating to animal hides from the point of view of hunters. The Estonian Hunters’ Society has made efforts to promote the better use of hides: its export is supervised, and courses have been held on the correct skinning techniques and initial processing, as well as on making leather items.
 The Head of the Native Craft Studies of the University of Tartu Viljandi Culture Academy, Ave Matsin, presented the results of investigations into the use of animal skin in Estonia, which proved to be a surprisingly complicated issue. In order to map the information, it is first necessary to establish the precise role of institutions and the division of responsibilities between the ministries and the state boards.
 A member of the board of Skineks, Ingmar Baida, gave an overview of the only Estonian tannery, which is located in Jõgeva. Each year, Skineks tans approximately 50 000 lambskins and 100 goatskins. Hunters bring the animal hides to be tanned. Most often this is beaver hide. Out of the 7000–8000 beavers hunted per year, approximately 500 reach the Skineks tannery. A special feature of the vegetable tanning used by Skineks is that the skin is not pressed and therefore the leather maintains its unique surface structure.
 The head of the leatherwork module and lecturer in traditional leatherwork at Viljandi Culture Academy, Kristina Rajando, gave a presentation about the module and the work of students. The module includes studying animal lifecycles, and continues with skinning and leatherwork. Eve Kaaret, a leather artist and artisan at an accessories and bookbinding studio, discussed the long traditions of making footwear, bags and binding at the Leather Art Department of the Estonian Academy of Arts where leather is still preferred despite the arrival of several other materials. The Director of the Leather Art Department at Pallas University of Applied Sciences, Professor Rene Haljasmäe, surveyed the trends through exhibition pieces made by the students and the professor. In addition to leather art and design, Pallas also teaches students how to restore leather items. Just as it is at the Estonian Art Academy, the vegetable-tanned leather produced by Skineks is highly valued at Pallas too.
 The round-table discussion that followed the conference concentrated on what might be hindering the more widespread use of local skin and which steps might be taken to increase demand for Estonian local skin and the products that can be made from it.

Employer’s Information Requirements: A Case Study Implementation of BIM on the Example of Selected Construction Projects in Poland

Case studies available in the literature clearly point to the numerous benefits of BIM (Building Information Modeling), in addition to the barriers that participants of such projects may face. This paper is a case study of Employer’s Information Requirements (EIR) for preparing and managing BIM models in the design and construction of selected large public construction projects: the Cogiteon Lesser Poland Science Center (LPSC Cogiteon), the Krakow Music Center (KMC) and the Copernican Revolution Studio (CRS). The paper presents the main aspects included in EIRs. It discusses the technical (e.g., requirements for the Common Data Environment platform—CDE), management (including the scopes of responsibility of staff in charge of BIM) and strategic sections (primary expectations concerning Data Drops) of the EIR. Projects executed using BIM by public institutions allow for the application of insight gained as a result of their completion and the creation of a knowledge base or checklist for future projects. The projects discussed here, carried out using advanced BIM solutions, could potentially be developed further by the proposed content extension concerning levels of detail (this paper cites potential guidelines that can be applied), component elements concerning price and qualifications, so as to easily generate bills of costs, and information used in facility management which can also encourage facility manager cooperation. Examples of EIR provisions are presented based on an analysis of three completed construction projects carried out using advanced BIM solutions. BIM is still a new form of management and this paper expands the range of available EIR standards, in addition to presenting guidelines for their practical application in the construction industry.

Through the looking glass: A researcher's perspectives on a collaborative music composition project.

Making Music: Composing with Young Musicians was a multi-year, multi-site research project partnered with the Ottawa-Carleton District School Board and the Canadian Music Centre to commission composers to collaborate with teachers and students to write educational music. On-site observations undertaken by the co-author and examined through a pragmatic lens employing Brief Focused Inquiry focused on the contributions of students, teachers and composers to the collaborative music compositions. Students contributed their creativity and knowledge of musical elements and concepts, and they provided feedback to the teachers and composers. Teachers contributed technical, instrumental feedback to the composers and their understanding of musical elements and concepts. Furthermore, they led band rehearsals and played musical instruments with the students. Composers contributed their musical creativity and feedback while undertaking a teacher-like role. The composers, teachers and students also used technology during this creative endeavor. The findings will be of potential interest to post-secondary music educators, composers, music teachers, and music publishers.

Contributors’ Notes

Other| June 01 2021 Contributors’ Notes Journal of Popular Music Studies (2021) 33 (2): 170–171. https://doi.org/10.1525/jpms.2021.33.2.170 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Contributors’ Notes. Journal of Popular Music Studies 1 June 2021; 33 (2): 170–171. doi: https://doi.org/10.1525/jpms.2021.33.2.170 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentJournal of Popular Music Studies Search Gina Arnold is a former rock critic and the author of four books about popular music, including Route 666: The Road to Nirvana (St. Martin's, 1993) and Exile In Guyville (Bloomsbury Academic, 2014). She holds a Ph.D. in modern thought & literature from Stanford University and teaches at the University of San Francisco. She is currently co-editing the Oxford Handbook of Punk with George McKay. Dana DeVlieger earned her Ph.D. in music theory from the University of Minnesota in June 2020 with a dissertation focused on the use of music analysis in copyright litigation. She is currently a JD candidate at Northwestern University Pritzker School of Law. Jan-Peter Herbst is senior lecturer in music production at the University of Huddersfield (UK), where he is director of the Research Centre for Music, Culture and Identity. His primary research area is popular... You do not currently have access to this content.

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Celebrating Electronics: Music by John Bischoff (Concert) and John Bischoff: Bitplicity (Album)

Celebrating Electronics: Music by John Bischoff (Concert) and John Bischoff: <i>Bitplicity</i> (Album)

Ion Baciu – a musician who needs to be rediscovered

Abstract Ion Baciu is remembered in the history of Romanian music as the organiser of a musical institution, orchestra trainer and a performer of great depth of George Enescu’s works. His exceptional achievements were the foundation and training of the new symphonic ensemble of the Iași Philharmonic, equal to the few high-performing collectives of the country, which had reached a level of European quality, the assertion of superior conceptual-aesthetic standards in deciphering the particular features of Enescu’s music. The encomiastic chronicles of the most important musical critics, the audio-video recordings, the evocations of those who knew him intimately remain precious, incontestable documents regarding the value of an artist who deserves to be brought back to public consciousness. The micro-study reproduced in what follows sketches a few defining trajectories of Ion Baciu’s personality on the basis of archival samples, from bibliographic testimonies, some of them unresearched until nowadays, to patrimony recordings, unfortunately ignored. In the year of the celebration of nine decades from his birth, of four decades from the historic version of the opera Oedipe, on the commemoration of 120 years from George Enescu’s birth, one should emphasise the merits of the Conservatoire professor, philharmonic manager and conductor who contributed essentially to the inscription of Iași among the important musical centres of the country.

Excellent acoustic development in Taiwan

Development of acoustics in research and field applications in Taiwan has been well established and aligned with developed countries world-wide. Taiwan has comprehensive acoustic regulations and standards for residential and hospitality building types and stringent environmental noise protection ordinances. It is the only country that has specific noise regulation for 20 Hz to 200 Hz. The Taiwan Acoustical Association (TAA) was established on 1987. Since then, thirty-two biannual meetings have been successfully held. Auditory and speech communication, building acoustics, mechanical acoustics, ultrasound, underwater acoustics, noise and vibration, as well as bio-acoustics and other related acoustic topics were covered in these meetings. According to the Taiwan Patent Search System (English version), about 187 acoustic related patents have been granted since 2004. In terms of research institutes, at least 14 top universities in Taiwan have specific major for acoustic studies. At National Taiwan University of Science and Technology, there is an architectural acoustics program under the Department of Architecture. Its team has been involved in the world-renowned performing arts center projects such as Taichung Metropolitan Opera House, Weiwuying National Kaohsiung Center for the Arts, Taipei Performing Arts Center and Taipei Pop Music Center. It can be concluded that research and field applications of acoustics in Taiwan has been valued by the people and will be continued and tuned to world-wide standards!

Changes in the social fabric of victims of the armed conflict in Colombia based on an analysis of their sound environments

The objective of this study was to analyse the changes in social fabric caused by the armed conflict in Colombia among people who had been the victims of forced displacement and who, when arriving in the new places, participate in a musical-social programme. The study was conducted using testimonies from interviews and in the form of sound postcards, an ethnographic research tool. Twenty-one interviews with 14 interviewees in the Music for Reconciliation (MFR) programme of the Batuta National Foundation (BNF) and their families were analysed, and 70 sound postcards, revealing the meaning of interviewees’ sonic landscapes, or soundscapes, in their everyday lives. Their sound environments were found to have changed significantly; having been rural before forced displacement they became urban, and there were also changes in interviewees’ social bonds with people and relationships to objects in the environment. The study reveals a significant change in their sound landscapes before and after forced displacement and analyses the impact of these sonic landscapes and their meaning in the everyday lives of the participants. Finally, the use of sound postcards highlights MFR music centres as places where displaced people can be helped to form new bonds. The sound environment of these music centres give meaning to music making, generating positive feelings and providing participants with an emotional support network.

ACTIVITIES OF MUSIC EDUCATION CENTERS IN SLOBOZHANSHCHYNA IN THE CONTEXT OF CULTURAL AND EDUCATIONAL DEVELOPMENT OF THE REGION (the second half of the 19th – early 20th century)

The article highlights the problem of the formation of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in the context of studying the general trends of cultural and educational development of the region. Based on the analysis of the results of previous studies, it has been proved that the development of music education in Ukraine in the second half of the 19th – early 20th centuries has been revealed in scientific publications. At the same time, it has been established that the problem of highlighting the main milestones and ways of institutionalization of music education in Slobozhanshchyna (Sloboda region) through the creation of special educational institutions of vocational music, as well as substantiation of opportunities to use cultural and educational experience at the turn of the century and raising children in the modern education system, requires further research and practical implementation. The aim of the article is to reveal the experience of formation and development of the system of music education in Slobozhanshchyna in the second half of the 19th – early 20th centuries in terms of analyzing the activities of music education centers and identifying ways of its modern use. The authors have used a set of research methods: system-structural and historical-genetic methods to assess the cultural situation in the region; general research methods to organize and generalize theoretical views of historical facts, clarify the problem in the dynamics, substantiate the main historical milestones; study of historical literature, archival, statistical, normative documents in order to generalize the practical experience of music education in educational institutions of the region. It has been found that the identity of cultural traditions of ethnic groups of Slobozhanshchyna has determined the specifics of the development of music education in the region, revealed the features of cultural and musical life in the region, the spread of private music education, public associations and creative associations (Kharkiv Society of Choral Singers, Music and Charity Kharkiv Music Group, Church Singing Society), the development of music education, which proved to be an important basis for the development and institutionalization of music education. The activity of music classes, evening classes at music classes, Sunday courses, the work of which was aimed at training church choir singers and music teachers, created under the auspices of public societies, is essential for the institutionalization of music education in Slobozhanshchyna. In the context of research of regional problems and difficulties of music education development, in particular concerning primary stage of work of Kharkiv music school in the studied period, the big role of the known music figure, teacher and the inspirer of process of institutionalization of music education in Slobozhanshchyna I. Slatin has been allocated. Based on the analysis of historical and pedagogical literature we have revealed the main milestones in the process of institutionalization of music education, identified a variety of forms of such education in the region (music classes, private music lessons, music lectures, courses for singers, performers and regents); the experience of creation of the first institution of music education in Slobozhanshchyna – music school has been analyzed, its activity has been characterized, the organizational conditions of activity of music school as the most important center of music education of youth in the region have been analyzed.