Practical Music Making in the Context of the Educational Process of the Musical Classes of the Imperial Russian Musical Society in the South of Russia
Article Sidebar
Main Article Content
Abstract
The article examines the activities of the Musical Classes of the Rostov and Novocherkassk Sections of the
Imperial Russian Musical Society (IRMS) from the perspective of the role of practical music-making in acquiring
knowledge of the art of music. The statistics of the student concerts is brought in, the consistency in their organization
is marked, on the basis of which the conclusion is arrived at that the main particular feature of the Musical Classes
affiliated with the IRMS was the practical orientation of the instruction. Various forms of music-making are
examined: solo performances, as well as those as part of ensembles and symphony orchestras. The repertoires of
the student concerts were comprised predominantly of works by the composers of the Classical-Romantic period.
The program of the student chamber ensemble morning and evening concerts were distinguished by the diversity of
their programing, their cognitive constituent, as a rule, was connected with a panorama of names, genres and forms.
The programs of the student orchestral concerts are perceived to have been more organic in their constituency. They
were also frequently comprised according to the principle of contrast. Of great significance were the student opera
productions. As the result of active work of the Opera Classes of the IRMS, the students mastered in a practical way
large strata of Western European and Russian opera classics. In the general educational process a significant role
was also played by the “adult” concerts, especially in such formats as monographic and historical concerts, as well
as concert-lectures.
Keywords: musical education, the musical life of Rostov, the musical life of Novocherkassk, student concerts.
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. Smetannikova A. Yu. Deyatel'nost' Imperatorskogo Russkogo muzykal'nogo obshchestva i pervykh tvorcheskikh soyuzov v Rostove-na-Donu rubezha XIX–XX vekov: monografiya [The Activities of the Imperial Russian Musical Society and the First Artistic Unions in Rostov-on-Don at the Turn of the 19th and the 20th Centuries: Monograph]. Rostov-on-Don: Rostov State S. V. Rachmaninoff Conservatory, 2017. 296 p.
3. Smetannikova A. Yu. RABIS i ego rol' v upravlenii muzykal'no-khudozhestvennoy praktikoy v Rostove-na- Donu (1919–1924 gg.) [The Artists’ Union and its Role in the Administration of Musical Artistic Practice in Rostov-on-Don (1919–1924)]. Yuzhno-Rossiyskiy muzykal'nyy al'manakh [South-Russian Musical Anthology]. 2015. No. 2, pp. 89–94.
4. Ferris C. The Management of Nineteenth-Century Dublin Music Societies in the Public and Private Spheres: The Philharmonic Society and the Dublin Musical Society. Music in Nineteenth-Century Britain. 2012, pp. 13–31.
5. Glushkova O. N. P. Troubetskoy an Outstanding Leader of the Moscow Branch of the Russian Musical Society. Advances in Social Science Education and Humanities Research. 2016. Vol. 64, pp. 227–233.
6. Pfohl J. Arnold Schoenberg, Max Reger and the Society for Private Musical Performances. Osterreichische musikzeitschrift. 2012. Vol. 67, Issue 6, pp. 70–71.
7. Seddon L. The Other Side of London’s Musical Society: Adela Maddison, Ethel Smyth and Morfydd Owen. British Women Composers and Instrumental Chamber Music in the Early Twentieth Century. Ashgate Publishing, Ltd.: England, 2013. 229 p.