Since 1878 they have been given in a very
excellent way by M. Bourgault-Ducoudray; but, as is only natural in a
school of music, their character is artistic rather than scientific, and
takes the form of a sort of illustration of the practical work that is
done at the Conservatoire. And as for Parisian musical criticism as a
whole, it had, thirty years ago, an almost exclusively literary
character, and was without technical precision or historical knowledge.
[Footnote 238: On 12 September, 1871, at the suggestion of Ambroise
Thomas. The first lecturer was Barbereau, who, however, only lectured
for a year. He was succeeded by Gautier, Professor of Harmony and
Accompaniment, who in turn was replaced, in 1878, by M.
Bourgault-Ducoudray.]
There again, on the territory of science, as on that of art, a new
generation of musicians had sprung up since the war, a group of men
versed in the history and aesthetics of music such as France had never
known before. About 1890 the result of their labours began to appear.
Henry Expert published his fine work, _Maitres Musiciens de la
Renaissance_, in which he revived a whole century of French music.
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