The Musical Pages of the Archives of the Family of Emperor Nicholas II
Article Sidebar
Main Article Content
Abstract
The article analyzes musical compositions dedicated to Emperor Nicholas II and his family and dated towards the
day of his coronation, the 300th jubilee of the Romanov dynasty, as well as the birth of Tsarevich Alexei. The sources
for the present publication are formed by materials from the funds of the State Archive of the Russian Federation (the
funds of Emperor Nicholas II, Empress Alexandra Feodorovna, Tsesarevich Alexei and others), which up till now
have not come into the view of scholars. A working typology of the archival material is proposed. The object of study
is: the composers of the musical works (sacred and secular, professional and amateur); the type of documentation of
the composition (publication or manuscript); the means of financing engaged (by the composer or by the publisher).
The conclusion is arrived at about the predominance of amateur secular compositions, which were published at the
expense of the publishing house. Analysis is made of the genres of the compositions and the ensembles of the works.
It is noted that the compositions that were popularized the most were the vocal-choral and instrumental oeuvres,
most frequently, cantatas and marches, performed by choruses a cappella, accompanied choruses, military bands or
ensembles of various instruments. The article contains brief biographical information about some of the musicians,
as well as analytical examples from various compositions. Conclusions are arrived at the saturating and symbolic
character of the musical language of the compositions, where the words, intonation and genre preserve the centuriesold
stratification of meanings and demand not merely simple perception, but solutions and deciphering. Analysis is
made of the availability of signs present on the textual, intonational, compositional, genre-related and stylistic levels
of the compositions. Examples of quotations in their various artistic functions are applied.
Keywords: funds of the State Archive of the Russian Federation, Emperor Nicholas II, coronation cantatas,
ceremonial compositions.
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. Krylova L. L. Funktsiya tsitaty v muzykal'nom tekste [The Function of the Quote in a Musical Text]. Sovetskaya muzyka [Soviet Music]. 1975. No. 8, pp. 92–97.
3. Lotman Yu. M. Аnaliz poeticheskogo teksta. Struktura stikha: posobie dlya studentov [Analysis of a Poetical Text. The Structure of the Verse: Manual for Students]. Moscow: Prosveshchenie, 1972. 272 p.
4. Tsareva E. M. Brams u istokov novogo vremeni [Brahms at the Source of a New Epoch]. Istoriya i sovremennost': sb. st. [History and Modernity: Collection of Articles]. Ed., comp. by A. I. Klimovitsky. Leningrad, 1981, pp. 138–149.
5. Planchart A. E. Medieval Liturgical Chant and Patristic Exegesis: Words and Music in Second-Mode Tracts. Music & Letters. 2010. No. 91 (4), pp. 583–586.
6. Wortman R. S. Scenarios of Power: Myth and Ceremony in Russian Monarchy from Peter the Great to the Abdication of Nicholas II. Princeton, N. J.: Princeton University Press, 2006. 491 p.
7. Zanovello G. In the Church and in the Chapel: Music and Devotional Spaces in the Florentine Church of Santissima Annunziata. Journal of the American Musicological Society. 2014. No. 67 (2), pp. 379–428.