started to change - previously seen as undesirable, they become to be viewed as an important part of culture, and having musical knowledge became essential for the cultured person. Around 1928, the Bach Society, a civil organization of musicians and intellectuals, began to harshly criticise formal music education in Chile, especially at the “Conservatorio nacional” (National Conservatory). The society claimed that the number of students admitted to the conservatory was excessive and that the conservatory lacked long term planning, and criticised the cult of Italian opera as “retrograde”. The Ministry of Education set up a commission to look at reforming the organization, which eventually led to a new stage in the development of music in Chile, with the creation of organizations dedicated to creating music, teaching music and supporting musicians and composers. Another institution that contributed to the development of music in Chile was the Universidad de Chile (University of Chile), when it created its High Arts Faculty in 1929. But even in 1802, long before the creation of the High Arts Faculty, there had been efforts within the institution to take the music culture and teaching to a highest level. In 1802, a group of professors from San Felipe University (which would later become the University of Chile) agreed that any teaching of music in their institution should be based not on the skills of musicians or the quality of a singer's voice, but instead on scientific and mathematical principles. The creation of the High Arts Faculty had an immediate effect. Soon after, a library was founded, a collection of albums produced, and several contests and activities held to promote Chilean musicians and composers. The second half of the twentieth century saw many events and new institutions that contributed to the development of music in Chile, such as: The creation of the “Instituto de extencion musical”, in 1940, which went on to found the (Chilean Symphonic Orchestra) in 1941, and the “Revista Musical Chilena” (Chilean Music Journal) in 1945. The creation of the “Instituto de investigacion folklorica” (the Institute of Folkloric Research) in 1943, which would become the “Instituto de investigacion musical” (Institute of Music Research). The institute would become very active in promoting Chilean music, sponsoring and funding many Chilean musicians and composers. In 1948, the High Arts Faculty split into a music and an art faculty, allowing both institutions to grow. The creation of the “Orquesta filarmonica