The Harmonium as Part of the Instrumental Component of the Organ Culture
Article Sidebar
Main Article Content
Abstract
The author turns to the issue – hitherto insufficiently researched
in Russian musicology, of the history of the tongue organ,
better known in Russia as the harmonium. Distinct attention is
given to the terminology used in Russian musical literature, as
well as that of other countries (such terms as “tongue organ,”
“harmonium,” “fisgarmoniya”). On the basis of an assortment of
sources from outside Russia, the history of the instrument, the
technical features of its European and American varieties, as well
as the aspects of its usage in sacred and secular musical practice
are examined. In the field of development of the harmonium,
the tendency is brought out of its approach towards the trumpet
organ, which became reflected in the features of sound, the outer
appearance and its functioning in the confessional sphere. The
author arrives at the conclusion that as the result of the unique set
of characteristic features, the harmonium became an important
component of the group of instruments related to the organ.
Presenting in itself an alternative to the wind organ, it took on
itself the latter’s functions in those areas where in light of variouscircumstances (distance from or absence of the organ-building
industry and servicing of the instruments, or the impossibility
of purchasing an expensive organ), usage of the latter became
extremely difficult or entirely unfeasible. This kind of role, for
example, was played by the harmonium in the formation of
the organ culture in Russia in the 19th and early 20th century,
especially in the provincial regions.
Keywords: organ culture, organ, harmonium, tongue organ
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. Bakeeva N. N. Organ [Organ]. Moscow: Muzyka Press, 1977. 144 p.
3. Berlioz HG. Bol'shoy traktat o sovremennoy instrumentovke i orkestrovke [Hector Berlioz. A Large Treatise on Modern Instrumentation and Orchestration]. Moscow: Muzyka Press, 1972. Issue 2. 532 p.
4. Zimin P. P. Istoriya fortepiano i ego predshestvennikov [History of the Piano and its Predecessors]. Moscow: Muzyka Press, 1968. 216 p.
5. Zotov V. R. Peterburg v 40-kh godakh [St. Petersburg during the 1840s]. Istoricheskiy vestnik [Historical Newsletter]. 1890, no. 1, pp. 29–53.
6. Mirek A. M. Spravochnik po garmonikam [Reference Book on Harmonics]. Moscow: Muzyka Press, 1968. 131 p.
7. Royzman L. I. Glinka i organnaya kul'tura Rossii pervoy poloviny XIX stoletiya [Glinka and the Russian Organ Culture of the First Half of the 19th Century]. Pamyati Glinki. 1857–1957: issledovaniya i materialy [In Memoriam Glinka, 1857–1957: Research and Materials]. Moscow, 1958, pp. 296–328.
8. Royzman L. I. Organ v istorii russkoy muzykal'noy kul'tury [The Organ in the History of Russian Musical Culture]. Moscow: Muzyka Press, 1979. 376 p.
9. Royzman L. I. Fisgarmoniya. [The Harmonium]. Muzykal'naya entsiklopediya [Musical Encyclopedia]. Moscow, 1981. Vol. 5, pp. 826.
10. Sibirskaya zhizn' [Siberian Life]. 1904, no. 24.
11. Stasov V. V. Dva slova ob organe v Rossii [A Couple of Words About the Organ in Russia]. Stasov V. V. Stat'i o muzyke [Articles on Music]. Issue 1. Moscow, 1974, pp. 81–89.
12. Stasov V. V. Nemetskie organy u russkikh lyubiteley [German Organs in Possession of Russian Amateurs]. Stat'i o muzyke [Articles about Music]. Issue 4. Moscow, 1978, pp. 154–157.
13. Tomskie gubernskie vedomosti [The Tomsk Provincial Bulletin]. 1899, no. 28.
14. Ahrens С. Das Harmonium in Deutschland: Bau, wirtschaftliche Bedeutung und musikalische Nutzung eines “historischen” Musikinstrumentes. Frankfurt/Main: Bochinsky, 1996. 311 p.
15. Bouvilliers D. A. The Harmonium. Its History, Its Literature. The Caecila. Magazine of Catholic Church and School Music. Boston: MclaughlinReillyCompany, 1934, pp. 58–61.
16. Gellerman, R. F. Gellerman's International Reed Organ Atlas. Vestal NY [USA]: The Vestal Press, 1998, 316 p.
17.Gellerman R. F. The American Reed Organ and the Harmonium: A Treatise on its History, Restoration and Tuning, with descriptions of some outstanding Collections, including a Stop dictionary and a directory of Reed Organs. 2nd ed. Vestal NY [USA]: The Vestal Press, 1996, 303 p.
18. Ochse O. Organists and Organ Playing in Nineteenth- Century France and Belgium. 2000. 270 p.
19. Ord-Hume A. Harmonium: the History of the Reed Organ and its Makers. David and Charles, Newton Abbot, 1986. 256 p.
20. Rottermund K. Teofil Kotykiewicz – Polski budowniczy fisharmonii w Wiedniu. Muzyka, no. 4, pp. 47 – 63.