Concert Organizations Research Articles

The theatrical orchestra and the formation of symphonic performance in Kharkiv

The purpose of the publication is to define the specific characteristics of the functioning and role of the theater orchestra in the formation of symphonic performance in Kharkiv. The methodology. In the process of understanding the phenomenon of the Kharkiv Theater orchestra, a historical approach was applied, which allowed for the chronological reconstruction of the musical ensemble’s functioning. Additionally, a comparative analysis method was used to identify the unique features of the orchestra’s instrumental composition, repertoire development, and performance practices. The results. The specific functioning of theatrical instrumental ensembles in Kharkiv, which provided musical accompaniment for performances from the 1770s to the early 1870s, was examined. The study identifies factors that led to the establishment of a permanent “Orchestra of the Kharkiv Theater and Commercial Club”, which, besides performing in the theater, also served city artistic events from the mid 1840s to the 1870s. Key factors include the return of the Kharkiv Theater to private management in 1867, the activities of K. Vilboa from 1869 to 1873 aimed at creating a concert instrumental ensemble in the city, and the emergence of a new orchestra under the direction of G. Grazia in the Kharkiv Drama Theater in 1872. These developments facilitated the organization of symphonic concerts under the aegis of the Kharkiv branch of the Russian Musical Society from 1871. The scientific novelty lies in the determination that the primary source of symphonic performance in Kharkiv was the permanent orchestra of the Kharkiv Theater, active since the mid XIX century, whose instrumental and numerical composition met the demands of the provincial musical practices of that time. The conducting activities of K. Vilboa in Kharkiv during the late 1860s and the early 1870s were a driving force behind the formation of two orchestral ensembles in the city — the theater and club orchestras — whose instrumental and qualitative compositions aligned with the principles of symphonic performance. From 1871, in preparation for symphonic concerts by the Kharkiv branch of the Russian Musical Society, the theater and club orchestras were combined, each consisting of 20–30 musicians, ensuring that the symphonic orchestra met the required academic standards in terms of instrumental and numerical composition. Future research prospects are associated with identifying the specifics of symphonic performance in the cultural centers of Ukraine from the second half of the XIX century to the early XX century.

Lumina Eventix: OPTIMIZING EVENT MANAGEMENT THROUGH DIGITAL PLATFORMS

The proposed project is a comprehensive web-based Event Management System (EMS) designed to streamline the organization and management of various events, including conferences, workshops, concerts, weddings, and other ceremonies. This platform aims to provide a user-friendly interface for both event organizers and customers, facilitating the entire event planning process from inception to execution. Customers will be able to specify their event requirements, such as sound systems, food management, and other services. The system will then provide an estimated budget and suggest cost-effective ways to allocate their resources. Additionally, EMS will recommend the best event organizers based on the customer's budget and specific needs, enhancing the planning process with tailored suggestions. The platform will integrate secure payment gateways to handle transactions efficiently, ensuring a smooth process for both organizers and customers. The platform will offer robust registration management capabilities, allowing organizers to track attendee registrations, manage waitlists, and generate comprehensive reports. Embedded communication tools will enable organizers to send updates and reminders to attendees via email and SMS, ensuring seamless communication throughout the event lifecycle. Security and data privacy will be prioritized, with measures in place to protect user data and ensure compliance with relevant regulations. The platform will be built with scalability in mind, capable of handling events of varying sizes and complexities. In summary, this Event Management System aims to simplify the complexities associated with event organization, providing a one-stop solution that enhances efficiency, improves attendee engagement, and ultimately contributes to the success of any event. Key Words: Event Management System (EMS), Event planning, User-friendly interface, Registration management, Payment gateways, Communication tools, Scalability

Music Mobility Patterns: How Songs Propagate Around The World Through Spotify

Nowadays, music streaming services allow users to get instant access to an unprecedented amount of music of any type. This entails that songs, including potential new hits, can be discovered by listeners in any part of the globe and their propagation can be tracked through these streaming services. In this context, the present work focuses on recognizing the mobility patterns that songs follow in such a propagation among different countries of the world. To this end, this work defines a novel mechanism to uncover such mobility patterns of music from a directed-graph structure where nodes are countries and each edge reflects a frequent propagation of songs between pairs of countries. The resulting patterns reflect strong correlations with the migratory flows and the cultural and social similarities among regions. For instance, a propagation pattern was observed among North European countries with a good command of English. From such patterns, potential predictors for anticipating the mobility of a song are discussed. The results of this work can be beneficial for record companies and artists in their marketing campaigns for album releases and the organization of concerts and festivals.

Audience Engagement Model pada Konser Daring dengan Teknologi AR

This research aims to explore how the "audience engagement model" in online K-POP concerts assisted by Augmented Reality (AR) technology affects non-fans in Indonesia. Based on the findings, it was discovered that there are changes in attributes in each phase of engagement. Across all phases from point of engagement to disengagement, there were changes in the number of attributes, totaling 27 attributes, compared to the previous engagement model which had only 17 attributes. Therefore, there are 11 new attributes, including attention, awareness, challenge, control, curiosity, interactivity, positive affect, negative affect, admiration, feedback, and special interest. Furthermore, this research also refines the meaning and explanation of the loops and dots in the previous engagement model. The limitation of this study is that there have been rapid technological advancements, particularly in the organization of music concerts, within a short period of time. The research was conducted through semi-structured interviews with informants who had watched online K-POP concerts before but had not specifically watched the SMTOWN LIVE "Culture Humanity" 2021 concert, and who were also not fans of the artists performing in the concert. Several new values can be gleaned from this research. For event practitioners, this research can provide new and deeper knowledge and understanding, as well as suggestions for the "audience engagement model" in the SMTOWN LIVE "Culture Humanity" 2021 online concert with the assistance of AR technology for non-fans in Indonesia. For Augmented Reality (AR) practitioners, this research can provide new knowledge and deeper insight into the impact of using AR technology on audience engagement for non-fans of online K-POP concerts in Indonesia. There are several unique aspects of this research, including the addition of AR technology in online K-POP concerts and its effect on audience engagement described using attributes and loops & dots of each behavior given by the informants.

ДІЯЛЬНІСТЬ ТОВАРИСТВА «ПРОСВІТА» С. ВИСОКА ПІЧ ЖИТОМИРСЬКОГО ПОВІТУ У 1920 Р.

The article examines the process of formation of the cultural and educational society «Prosvita» in the village of Visoka Pich of Zhytomyr County in 1920. Considering the lack of any historical materials about the educational center on the Internet, this article is actually the first attempt to analyze archival materials and carry out a comprehensive study of the activities of rural educators. The circumstances of the formation of «Prosvita» are clarified, its educational activities are reflected, in particular, the organization of training for illiterate and literate adults. The financial activity of «Prosvita» was tracked, thanks to which funds were obtained and expenses were incurred for the needs of the cell. As can be seen from archival materials, the society had the most diverse sources of income and expenses, which testified to its diverse work. Among the various forms of cultural and educational work, as evidenced by the documents, enlightened people paid special attention to the organization of concerts, plays, and rallies. In addition to material profit, they contributed to the education, development and entertainment of the population. The authors drew attention to the ascetic work of rural enlighteners: O. Mysko, M. Stolyar, V. Shtuly, and others. It was thanks to their dedicated work that it was possible to achieve acceptable results in 1920. The place and role of family parties in the lives of enlightened people and their families is analyzed. The publication presents tables showing the cultural and educational activities of the «Prosvita» society. They provide statistical information that testifies to the dynamic work of enlightened people. Its analysis makes it possible to trace achievements and gaps in the functioning of the village center.

Креативное мышление и креативные технологии как современная составляющая обучения музыкальным профессиям

The article is focused on elucidating the necessity of implementation of methods of development of creative thinking into the system of music education. The predominance of logical methods of analysis in the process of music education negates heuristic thinking and transfers the accentuation from the creatively active production of new ideas to mere reproduction of already existing and known models of professional behavior. According to the theory of psychologist Joy Paul Guilford, who initially brought in the term “creativity” into scholarly use, its didactic directedness is initially highlighted, particularly, the formation of its basis the capabilities of solving problems swiftly and non-standardly, the complexity of which is continuously growing in the speedily changing modern society. The presence of this skill within the framework of creative professions is especially crucial, because in art the process of evolution is in many ways connected with the violation of the existent norms. The success of conservatory graduates, who work, among other places, in concert organizations, may be guaranteed not only by their performance opportunities of technical and interpretation varieties, but also by the search for new formats of presenting their music to the audience. This is demonstrated in the article on the example of collaborative artistic projects. While expounding the thesis of a goal-oriented upbringing of creative thinking, the authors propose the structure of a special educational course within the frameworks of which on the basis of theory and practical tasks this skill may be developed. The training part of the course presumes the use of various directions of methods for developing creative skills elaborated by various scholars, such as, for instance, Sigmund Freud’s method of free associations, Tony Buzan’s mindmapping, Mark Levy’s freewriting, etc. The summarizing conclusion of the article is that the formation of the skill of creative thinking is the key to successful personal and professional growth of specialists in the sphere of the art of music.

Cultural cooperation between Western Ukrainian cultural and leisure centers with European countries

The purpose of the article is to study and clarify the main forms of cultural cooperation of Western European cultural and leisure centers with European countries.
 The methodology. The descriptive method and the systemic approach were applied, the review references of the National library of Yaroslav Mudryi “On cultural cooperation of Ukraine with foreign countries” for 2017–2020 and numerous Internet sources were worked out.
 The results. It was found out that cultural and leisure centers, including the ones in Western Ukraine, take an active part in intercultural cooperation between Ukraine and European countries. As European countries have for a long time involved culture as a factor in humanitarian development, and leading European countries allocate significant funds and attract the best professionals to implement large­scale cultural projects and to increase their presence in Ukraine, so the increase of the number of cultural projects, programs, European culture days, printed and electronic publications, media product will justify themselves as the means of increasing the interest of the Ukrainian public in Europe. By cultural and leisure centers we mean various forms of cultural institutions that are part of the basic network of cultural institutions, including libraries, museums, galleries, reserves, exhibition halls, theaters, philharmonics, concert organizations, art groups, cinemas, film and video distribution enterprises, associations, palaces and houses of culture, other club establishments, educational establishments in the field of culture, art schools, studios, parks of culture and recreation. These institutions carry the lion’s share of all art exhibitions, projects, events and other cultural events taking place in Ukraine. In Western Ukraine, cultural and leisure centers are one of the main subjects in the process of cultural development of the country, without which it is impossible to achieve the strategic goals of Ukraine’s development in the field of culture. Among the events that promote European integration of Ukraine there are international festivals with European representatives, exhibitions, concerts, thematic events, master classes, workshops, trainings, training courses, creative laboratories, scientific cooperation — conferences, forums, seminars which take place in Lviv, Ternopil, Ivano­Frankivsk, Volyn, Rivne regions in offline and online formats.
 The scientific novelty: the article attempts to study the role of cultural and leisure centers of Western Ukraine in the formation of a single European socio­cultural space.
 The practical significance. The analyzed practical experience of European cooperation of cultural and leisure centers of Western Ukraine can be borrowed by the institutions of other regions.

Креативные индустрии, экономический рост и рынки труда

This paper shows the results of the first stage of the study of the creative industries’ sector in the regional context. The state institutions of performing arts – theaters and concert organizations – were chosen as the basis for the analysis. The statistics of functioning of these sectors of economic activity is considered and the hypothesis about the presence of Baumol’s «price disease» law is tested. We are proposing the clusterization of regions by the main indicators of this sector of creative industries. In particular, the Subjects of Russian Federation have been grouped according to the average wage, labor productivity and price index in the institutions compared to the level of these indicators in the regions as a whole. The study provides a brief description of the model of composite factors used to form three factors that characterize the activity of theater and concert organizations. The factors themselves are based on the performance of the institutions for 2012–2020. The use of the information model of composite factors allowed to study the influence of the formed indicators on the economic growth in the considered industries with regression models. The study confirmed the assumption about the influence of labor markets and intangible assets on the economic development of relevant cultural organizations.

READING AS A «SERIOUS» LEISURE ACTIVITY OF RURAL TEACHERS OF HALYCHYNA IN THE SECOND HALF OF THE 20th CENTURY

The leisure time of rural teachers in Halychyna in Soviet times has been studied, taking into account the main conditions that determined it. It was found that the socio-economic actuality of Soviet reality, living in rural areas, traits of teacher's labor, cultural traditions of society and its intellectual inquiry, and personal aspirations or preferences were the governing conditions for the formation of teachers’ leisure time. Special attention was paid to reading as a way of spending teachers’ free time after their professional, family, or household responsibilities. Oral-historical narratives recorded with former teachers in the villages of Lviv and Ternopil regions, unpublished cases of the departments of Soviet education of Ivano-Frankivsk and Lviv regional archives, and published documents of the Soviet period are analyzed. The «serious» teachers’ leisure pastime is stated – it is reading art books and Soviet periodicals, watching movies in rural clubs, participating, and most often organization of themed holidays, evenings, and concerts. It is concluded that the boundaries between teachers' free time and their professional, family, or household responsibilities are blurred. The leisure time of teachers was «professionalized», put it otherwise it acquired the features of a «supplement» to work and preparation for it. The choice of possibilities for its holding depended on their professional activities and their social «loads». It is proved that the construct of «leisure time» was one of the Soviet social policy and social engineering elements. Soviet social engineering aimed not only to guide, control, or intimidate people by using a variety of approaches but also to fill their free time most effectively. Soviet social engineering embodied the concept of «culture» with its ideological content in the formation of the Soviet «lifestyle». One of the common practices of «culture» was reading. Keywords reading, leisure time, Soviet period, teachers, Halychyna, everyday life.

Творча співпраця Пилипа Козицького з митцями Галичини

The article deals with the many-sided creative personality of a composer, scientist, teacher and music and public figure Pylyp Kozytskyi (1893-1960) through the prism of his artistic collaboration with prominent epresentatives of artists from Galicia, especially a singer Modest Mentsynskyi, a composer Vasyl Barvinskyi, a director Les Kurbas and teachers and pedagogues of the Lviv Conservatory. Such meetings and contacts contributed to the development of Ukrainian musical culture and education, because the exchange of experience, creativity, organization of concerts and first performances of works by Galician authors in Great Ukraine created a new page in the history of Ukrainian music.

Dynamics of the Cultural Benefits Provision to the Russian Population (2000—2019)

The article studies the dynamics of the cultural benefits provision to the Russian population from the point of view of the main functional types in the period of 2000—2019, and develops proposals to overcome the existing imbalances. The study is aimed at determining the composition of indicators that characterize the population’s provision with conditions and services in the field of culture; forming a database of five functional types for the period of 2000—2019; selecting the methods of analysis, as well as analyzing the dynamics of the cultural benefits provision to the Russian population; assessing the positive effects and negative consequences of the cultural institutions network optimization.To this end, the article analyzes the statistical data of the Main Information and Computing Center of the Ministry of Culture of Russia, examines the legislative acts regulating the state guarantees of providing the population with cultural benefits. For each functional type (theaters, concert organizations and independent groups, museums, libraries, cultural and leisure institutions), the authors select the indicators that characterize conditions and services in the field of culture and compare them with the indicators of attendance and demand for the services by the population. The article applies an indicative model using the methods of horizontal (temporal), vertical (structural) comparative analysis. There is revealed that, firstly, the dynamics of the cultural benefits provision to the Russian population during the specified period was uneven in terms of functional types; secondly, the measures to improve the efficiency of cultural budget expenditures led to some positive changes in the conditions of provision. At the same time, there were certain imbalances in the form of a decrease in the provision of cultural benefits to the population and reduced opportunities for participation in cultural life due to some unreasonable optimization of the network of libraries and cultural and leisure institutions. The study concludes that the identified negative trends can be neutralized by creation of new cultural development centers, active introduction of mobile forms of cultural services and inclusive forms of working with people with special needs, modern digital technologies, development of cultural and educational tourism, volunteerism.

ИСПОЛНИТЕЛЬСКИЕ ИСКУССТВА В РОССИИ В КОНТЕКСТЕ ПАНДЕМИИ

This article is devoted to the modern history of performing arts during the pandemic. It examines the activities of authorities and theaters, concert organizations and concert organizers from 2020 to mid-2021. Countries plunged into self-isolation. The cultural sphere has been restructured, cultural contacts minimized, while video communication systems have evolved into virtual platforms in homes. The artists, left without full-fledged "live" concerts and performances were distressed. Halls could be accessed by documents and in very limited numbers. The article discusses two fundamental documents prepared by Rospotrebnadzor and appeared during this period: "Recommendations for Implementation of Measures Aimed at Prevention of the Spread of the New Coronavirus Infection (COVID-19) When Performing Activities of Theaters and Concert Organisations" and "On Measures to Limit the Spread of a New Coronavirus Infection (COVID-2019) on the Territory of the Russian Federation in Cases of Mass Events". Both documents were intensively discussed at various forums of performing arts managers in Russia.

Methodology for Assessing the Influence of Cultural Infrastructure on Regional Development in Poland and Ukraine

The aim of the article is to characterize the level of the region’s diversification according to the cultural component of social infrastructure based on grouped statistical indicators. This paper uses Perkal’s synthetic ratio method to characterize the level of cultural infrastructure development in Ukrainian and Polish regions. The analysis, conducted between 2010 and 2017, concerned cultural organizations such as libraries, theaters, concert organizations, museums, cinemas, art and sports schools, and was based on regional data of Polish and Ukrainian public statistics. It was found that the primary barriers to access to cultural infrastructure are inadequate funding, disability, geographic remoteness, disparities in education, and material living conditions. The determinants of modernizing cultural infrastructure in the region are defined.

СТРУКТУРНІ ЗМІНИ У РОЗВИТКУ КРЕАТИВНИХ ІНДУСТРІЙ В УМОВАХ ПЕРМАНЕНТНОЇ КРИЗИ ЕКОНОМІКИ УКРАЇНИ

Creative industries are actively involved in structural transformation of the economy of Ukraine due to their integration into various spheres of social and economic activities. The purpose is to find out the peculiarities of structural changes in the development of the creative industries taking into consideration crisis processes in the national economy. The main tasks are: to analyze the key tendencies of development in certain types of creative institutions by the Ukrainian regions in 2008–2017; to compare the dynamics of quantitative growth of such institutions in Ukraine, Poland and Belarus; to specify the peculiarities of forming a cultural institutions network as a significant part of the creative industries in analysing countries based on the calculation of the Herfindahl index. Such scientific methods as analysis and synthesis, comparison, economic-statistical modelling are used.The author has found out the main trends in the development of the creative industries due to the analysis of the dynamics of the number of such institutions as theaters, museums, libraries, film demonstrators and concert organizations by the Ukrainian regions because of crisis processes and has compared with the situation in this sector in Belarus and Poland. Scientific and methodological approaches to determining the specifics of structural changes in the creative industries development are formed on the basis of calculating the integral indices of the growth of cultural institutions by regions and the development of particular creative institutions, the Herfindahl index for assessing the concentration level of such institutions. The author has suggested recommendations on the activation of positive structural shifts in the development of creative industries in the national economy during the crisis.

Taking the German Muse out of Music:The Chronicleand US Musical Opinion in World War I

AbstractThe case of conductor Karl Muck and the Boston Symphony Orchestra during World War I is notorious for its combination of nationalist patriotism and opposition to international influence on US concert organizations. Although it seemed on the surface to be a spontaneous uprising against a foreign musician who refused to play “The Star-Spangled Banner,” the public outcry against Muck was part of a larger campaign orchestrated by a shadowy propaganda magazine namedThe Chronicle, published in New York from March 1917 to November 1918. This journal was marketed to the United States’ wealthy elite and was available to subscribers by invitation only. By strategic publication of fake news stories and xenophobic opinion pieces, editor Richard Fletcher spread fear and suspicion through the most rarefied strata of US society. The journal was instrumental in blacklisting suspicious arts organizations and fomenting prejudice against enemy aliens. This article examines for the first time the role of this magazine in the banning of German-language operas at the Met, the internment of Muck, and the near-elimination of German repertoire from US orchestral programs.

Первые спектакли и концерты советского театра на фронтах Гражданской войны в конце 1918 г.

The article reveals as yet little-studied problem of organizing performances and concerts in celebration of the first anniversary of the October Revolution on the fronts of the Civil War in November-December 1918. The author identifies reasons why this topic has fallen out of the sphere of scientific interest of national and foreign historians. The key reason springs from great enthusiasm for studying urban Soviet celebrations of October Revolution anniversaries, May Day demonstrations, etc., which allows to reveal the aims of Soviet leadership in using holidays to legitimize the new state and to enhance their prestige, as well as to throw light on the shaping of masses to be not an independent actor in the celebrations, but an obedient performer of the festivities scriptwriters’ and directors’ will. Meanwhile, the study of the issue allows not only to shed light on the early period of organizing cultural and educational work within the ranks of the Workers 'and Peasants' Red Army, but also to reveal some features and difficulties of early Soviet holiday culture as an element of the emerging Soviet ideology and a means of interaction between the state apparatus and the population. The source base for the article has been provided by the archival fond of the People's Commissariat for Education of the RSFSR (fond A-2306) stored in the State Archive of the Russian Federation (GARF) and by the archival fond of the All-Russian Bureau of Military Commissars (fond 8) from the Russian State Military Archive (RFVA). Particular emphasis is placed on the analysis of the scope of concerts and performances; the article reveals theater troupes’ reasons for choosing their repertoire and difficulties they faced when conducting concerts and performances. The author gives examples of organization and design of performances and concerts; these often included an opening speech followed by revolutionary songs and appeals, dramatic as well as satirical. Moreover, the author assesses the contents of concerts and performances and specifics of their execution by certain artists and troupe directors as reflected in their reports and explanatory notes and also in certificates and commendations from military and civilian institutions that hosted performers. The article ends in representation of main results of performances and concerts in Soviet military units and formations, comments of soldiers and their commanders on professionalism of the actors and importance of organizing these cultural events. It is suggested that the campaign to commemorate the October Revolution on the lines was a major factor in the formation of systematic cultural, educational, and ideological work in the Red Army.

Анализ влияния неравенства доходов на музыкальное искусство

The consequences of the income inequality growth caused by changes in the tax and financial systems for the musical art are considered. It is shown that the growth of inequality has a negative effect on the development of musical culture. This effect leads to a reduction of state support, rising ticket prices, reduced attendance of concerts and performances both in the most developed countries and in Russia, with an additional impact of the development of the music industry under conditions of technological progress. The main attention is given to the analysis of the situation in Russia after transition to market system that caused a significant increase in income inequality, including problems of reduced government funding, decreasing availability of musical concerts and performances, the ticket prices growth and reduction in the number of listeners of the philharmonic concerts, the decline of the musician profession prestige, the departure of musicians from the country, difficulties of acquisition of fixed assets for concert organizations, and in general, the risk of the population cultural level reduction. The main conclusions are: the necessity of decreasing income inequality of the population and strengthening state support for music in Russia.

Socio-Cultural Potential of Rural Regions of Belarus in the Context of Cultural Services Consumption: A Sociological Analysis

The author considers socio-cultural potential of rural regions in the context of the cultural services consumption by the rural population. The researcher carries out the analysis of social and cultural infrastructure development of the village, gives numerical indicators of the activities of concert organizations, libraries, club institutions and formations, paid services in dynamics for 2010–2016. The paper reveals the degree of satisfaction of various social and age groups of the rural population with the quality of educational and cultural services at the place of residence, the availability of opportunities to visit cultural and leisure activities and cultural institutions. The given survey is based on the data of empirical research conducted by the Institute of Sociology of the National Academy of Sciences of Belarus in 2018. The author compares subjective assessments of their material well-being of groups with different social status with the average income per family member, the minimum subsistence budget in the context of opportunities to pay for educational paid clubs for their children, pre-school institutions. The researcher concludes that the most economically vulnerable group not having sufficient funds to pay for cultural services and activities are peasants, agricultural workers. Self-assessments of the modest financial situation and requests for cultural and leisure services correlate with the low level of income of this social group. The conducted study determines that the socio-cultural potential of rural regions largely depends on the specifics of the socio-cultural infrastructure of the modern village, the totality of social, cultural and economic resources. In contrast to the city, the socio-cultural infrastructure of rural regions is less developed and equipped with material and technical means. The author highlights that in successful realization of socio-cultural potential of different groups of rural population, a major role is played by the services of the population in the field of culture, which should be accessible regardless of social status and place of residence. The researcher underlines that it is necessary to create comfortable living conditions in rural areas, to provide local residents with not only material but also spiritual well-being. Ignoring the existing problems of the development of socio-cultural infrastructure and culture in rural areas will lead to a further outflow of young people and skilled working-age population to the city.

ДУХОВНІ УЧИЛИЩА У РОЗВИТКУ МУЗИЧНОГО ПРОСВІТНИЦТВА ПІВДЕННО-СХІДНОЇ УКРАЇНИ ДРУГОЇ ПОЛОВИНИ XIX – ПОЧАТКУ ХХ СТ.

The correlation of the educational and enlighten the constituents of the region’s ecclesiastical colleges activity are considered in the article. The general and specific features of the activity of these two directions are revealied. The music and educational conditions of these special ecclesiastical institutions in the comparison with the church-parochial schools are analyzed. The distinctions of organization of the educational and enlighten process of ecclesiastical colleges and church-parochial schools are appointed.The analysis of the annual reports on the teaching and upbringing work of the church schools gave grounds for study the question on the teacher’s educational art disciplines of artistic cycle level: the church choir singing, the music instrumental performing, fundamentals of music theory, the orchestral and chamber-instrumental performing. The specific facts, which testified to the correspondence of the musical and educational training of the teachers of art disciplines to their positions, are recounted.On the basis of the analysis of music and educational program requirements, which are presented by theological schools for their pupils, as well as concert programs, containing information about public collective speeches, individual instrumental and vocal performance, the forms of musical and educational work of these educational institutions are revealed. These specific forms include the theological and philosophical reading, the literature and vocal evenings, the music evenings, the organization of concerts by secular artists, the school choirs’ participate at the concerts and at the famous secular (local and guest artists) singers’ concert performances. The regional ecclesiastical colleges’ role in the theological educational system of Russia imperia of that time is determined.The enlightenment activity of ecclesiastical colleges of the South-eastern Ukraine as the regional culture social phenomenon is characterized. We make the conclusion about predomination of collective forms of performing over individual ones as well as the choir performance over instrumental one, about the important significance of music enlightenment influence of ecclesiastical colleges for the formation of the local public’s aesthetic tastes, for the raising of the conscious receiving level of music art, about the expanding of music outlooks and gradual increasing of the music culture of the broad sectors of civil society.

Chaikovsky and the Economics of Art Music in Late Nineteenth-Century Russia

As Russia’s first professional, conservatory-trained composer, Petr Il'ich Chaikovsky operated in the rapidly evolving social and economic context of post-emancipation Russia, identifying ways to interact with Russia’s musical institutions—its opera houses and theaters, its concert organizations and publishers—to fashion a career that was as successful financially as it was critically. Yet the myth of Chaikovsky’s financial incompetence persists, and the image, whether popular or scholarly, is still one of Chaikovsky as a spendthrift, unable to manage his income or regulate his outgoings. This article challenges such views by drawing on the recently published complete correspondence between Chaikovsky and his publisher, Petr Iurgenson, as well as on financial records preserved in the composer’s archives. In particular, this article analyzes the relationship among Chaikovsky, Iurgenson, and the operation of Russia’s musical “marketplace” at the level of genre, examining the interaction between financial considerations on the one hand and Chaikovsky’s decision to work in particular musical forms on the other. By examining the connections among Russia’s nascent musical institutions, Chaikovsky’s particular collaboration with his publisher, and the relative status of different musical genres, it becomes possible to establish the nature of Russia’s musical “art world” in the second half of the nineteenth century. In proposing a more nuanced and systematic account of Chaikovsky’s economic agency than has been attempted previously, this article thus contributes to a growing body of work on the institutional structures that shaped the Russian arts in the nineteenth century.