The Sacred Concert in the Culture of Contemporary Russia: Concert in the Culture of Contemporary Russia: Traditions and Innovations
Article Sidebar
Main Article Content
Abstract
In revealing the characteristic peculiarities of contemporary
sacred concerts, the author presents the essential regulations of
these concerts, which had undergone development in Russian
culture during the 19th and early 20th centuries, demonstrating their
subsequent evolution and present-day condition. The programs of
the pre-revolutionary concerts were comprised for the most part of
Orthodox Christian chants, and only seldom was sacred music by
Western European composers included. The regulations for such
concerts included the following mandatory requirements: to hold
them in venues proper for the occasion, to begin the concerts with
prayers and to finish them with the national anthem, to refrain
from applause, not to perform canticles of the Eucharistic canon,
and not to intermingle sacred and secular music. Other tendencies
included holding concerts during the days of the Lent season,
frequently with beneficiary aims, as well as setting inexpensive
prices for tickets. Sacred concertos in Soviet Russia were held
quite rarely and timed for certain significant dates or important
events. In contemporary Russian culture the “sacred concert”
and the “concert of sacred music” present different things. The
broad interpretation of the concept of “sacred” resulted in the fact
that sacred concerts began to include not only music, but also
elements of other art forms: artistic recitation, theatrical actions,
dance and even acrobatics. This presents the grounds for defining
the contemporary sacred concert as an event incorporating many
genres. Concerts of sacred music in the present day involve
performances not only musical compositions set to religious
texts, but also folk and patriotic songs, as well as musical works
of the classical repertoire. The regulations of holding them do not
differ from those of secular concerts. The interest toward concerts
of sacred music on the part of audiences makes it possible to
conclude of the possibility of a revival of cultural and sacred
forms which had evolved in the pre-revolutionary era in Russia.
Keywords: Russian sacred culture, sacred concert, concert of
sacred music, sacred music
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Skripnikov M. Avtobiografiya [Autobiography]. Arkhiv M. Iu. Skripnikova [M. Iu. Skripnikov’s Archive]. – Khranitsya v lichnom arkhive avtora stat’i [Preserved in Skripnikov’s Personal Archive]. 3 p.
3. Dmitruk M. A. Muzyka dukha [The Music of Spirit]. URL: http://www.boyan.ru/node/208.
4. Kontsert dukhovnoy muzyki. Po materialam stat’i Daniila Korovyakova [Concerts of Sacred Music. Based on the Materials of Daniil Koroviakov’s Article]. URL: http://www.musicvrn.ru/ sacred-music.
5. Proshel ezhegodnyy eparkhial’nyy kontsert dukhovnoy muzyki [The Annual Eparchial Annual Concert of Sacred Music took place]. URL: http://www.vladivostok-eparhia.ru/news/ eparhy/?id=2728