In the summer of 1851, the twenty-five-year-old Viennese pianist Ernst Pauer made a stunning debut in London. Such was his success that by the end of the decade he had joined the faculty of the Royal Academy of Music, where he would make an indelible mark on English pianism for almost the next forty years. As performer, pedagogue, and editor, he showed a special talent for adapting music-making trends of the continent to the ostensible needs of English audiences. This paper addresses one important but under-researched aspect of that outreach: his efforts to popularize "ancient" music in the 1860s and 1870s.
Beginning in 1862, Pauer presented "historical concerts" of harpsichord and pianoforte music designed to give audiences "analytical and critical" insight into the music of the distant past. While similar concerts had taken place in Paris under François-Joseph Fétis, Leipzig under Felix Mendelssohn, and even London under Ignaz Moscheles, Pauer's were novel for the ways in which lecture and recital converged, repertoire ranged from Froberger and Frescobaldi to Heller and Liszt, and original works and arrangements shared the same program. Neither antiquarian in scientific rigor nor historically modernist in artistic ambition, Pauer's lecture-recitals hovered at the porous boundaries between authenticity and accessibility. 
Such an approach informed Pauer's editions and booklets from the same period. His _Alte Meister_ series of the early 1870s offered chronologically ordered, clearly annotated-and sometimes surreptitiously arranged-versions of "useful" ("wertvoll") but historically overlooked keyboard works from the seventeenth and eighteenth centuries. Along the same lines, in 1877 he found it necessary, "for practical purposes," to adapt Ferdinand Hand's voluminous and complex _Aesthetik der Tonkunst_ into _The Elements of the Beautiful in Music_ in order "to treat the subject from a more popular point of view, with regard especially to musical practice." Taken as a whole, Pauer's syncretic efforts as performer, editor, and aesthetician helped to reify many of the historiographic and pedagogical frameworks still in use today.  

Musicologists have recently begun exploring the role of musical instruction in Jesuit education in early modern Europe and the Americas. One place in which this musical training was particularly active was Italy, where colleges for noble boys were set up to provide instruction in music and others of the esercizi cavallereschi (chivalric exercises), which included fencing, horsemanship, dancing, and other ancillary activities that marked the refinement of character and customs expected of members of the nobility. In this paper, I contribute to our understanding of musical instruction at the Jesuit Colleges for Nobles in Italy by zeroing-in on a thirty-year period from roughly 1660 to 1690, a time in which the guitar, most notably, was at the centerpiece of musical instruction and performance at two of the most prestigious Jesuit Colleges. The first is Santa Caterina in Parma, where students -- several of whom studied with the guitar maestro Francesco Asioli -- were enrolled in guitar lessons in record numbers during the 1670s. Pivoting to the College of San Francesco Saverio in Bologna, I highlight the activity of the guitar maestro Giovanni Battista Granata and the dedicatees of his Soavi Concenti (1659), all of whom were enrolled as convittori (student boarders) at the College. I show how the Colleges cultivated a competitive learning environment in which its students could study music while at the same time contribute to the strategic public-facing initiatives of the Colleges. In examining the materials associated with learning and playing the guitar at the Colleges, we become witnesses to a culture of music learning that prepared students to play in both solo and concerted settings, to improvise accompaniments, and to perform in ways that created surprise and meraviglia for their captive audiences. We witness, in effect, a class of musical "amateurs" in which "virtuoso" levels of performance were sought instead of shunned, even though these young boys had no intention to embark on careers as professional musicians. This both complicates and enriches our understanding of musical "amateurism" in the seventeenth century, which is often presumed to be incompatible with the goals of professional music making.

In 1950, percussionist Paul Price established an accredited collegiate percussion ensemble course at the University of Illinois Urbana-Champaign, the first of its kind in the nation. During his seven-year career at Illinois, and later as director of percussion at the Manhattan School of Music from 1957 to 1986, Price accepted, commissioned, and published hundreds of new percussion ensemble works by composers from the United States and abroad, introducing public and academic audiences to the exciting possibilities of the young genre. Price's efforts as an institutional entrepreneur (Battilana, Leca, and Boxenbaum 2009) in producing a substantial percussion ensemble repertoire and instituting a reputable collegiate programs at both Illinois and Manhattan had a significant impact on percussion's place in American higher education; by the end of his career, there were over 1500 documented compositions for the percussion ensemble and percussion programs were flourishing within collegiate institutions across the country. In this paper, I use select compositional materials and correspondence from The Paul Price Percussion Music and Papers, located in The Sousa Archives and Center for American Music at the University of Illinois, to demonstrate Price's central role in the development of the collegiate percussion ensemble. More specifically, I discuss his professional relationships with American composers Michael Colgrass and Vivian Fine and Canadian-Argentinian composer Alcides Lanza, as well as the work(s) that each was commissioned to write for one of Price's ensembles, to highlight his collaborative and egalitarian approach to institutionalizing the genre within the academy. Although Colgrass, Fine, and Lanza were relative newcomers to percussion composition, they were able to develop a deeper understanding of the idiosyncrasies of percussion instruments and techniques through Price's dedicated advocacy, producing pieces that reflected their diverse backgrounds and interests. By detailing his achievements and collaborations with these composers, I reveal how Price acted as an institutional entrepreneur, transforming the percussion ensemble into a genre worthy of professional performance standards, accredited courses, a thriving repertory, and institutional recognition in the United States.