Music Museum Research Articles

PENGELOLAAN KOLEKSI MUSEUM MUSIK INDONESIA BERBASIS APLIKASI OPEN SOURCE

The Indonesian Music Museum stores various music collections in the form of cassettes, compact discs, vinyl records, and music-related books. This self-managed museum has the potential to become an institution that stores musical works from various countries. Management has been carried out properly, starting from inventory of collections to registration, but still manually. The implementation of the Senayan Library Management System (SLiMS), which is an open source based application, is one solution for managing collections more quickly and making it possible to access them remotely. The method used in this research is a qualitative study using observations and interviews so that it can produce an appropriate management system for the museum. The main informants are museum managers who are considered to understand the metadata needs of their museum collections. All results of observations and interviews are used as guidelines in determining any changes to the applications used to manage collections at the Indonesian Music Museum. This research produces an open source application-based museum collection inventory system. Several changes and adjustments were made to this application so that it could be implemented in the museum. Terms referring to library collections were changed and adapted to the use of terms relevant to music collections. The grouping of collections based on music genres and artists' regions of origin which is usually carried out by the museum is still maintained to become the characteristic of this museum itself. The Indonesian Music Museum can implement this application in a sustainable and long-term manner. Using this system helps the museum to obtain data records of collections and their movements, as well as inventory data on collections currently owned.

Music-themed museums serve as institutions that preserve musical instruments

The article discusses music museums that collect, preserve, study, and display materials related to the development of music culture. It notes that the main foundation of each music museum's collection is a collection of musical instruments. The article also highlights the active involvement of scientific-research and public centers in the dissemination of music culture experience of music-profile museums and the implementation of music communication. There is information about museums as the Russian National Music Museum, located in Russia's capital city, Moscow, which has one of the oldest and richest collections of museums; music museum situated in the music city (Cité de la Musique) of Paris, France; National Music Museum in Lisbon, Portugal, which boasts a rich collection of academic and folk musical instruments from Portugal and other countries around the world; The Music Instrument Museum in Phoenix, Arizona, USA, established through the personal initiative of businessman Robert Ulrich; the Musical Instruments Museum near the Royal College of Music in London houses a collection of over 800 musical instruments and accessories from Europe, Asia, and Africa, dating back to the 15th century; in Yakutsk, Russia, Museum and Center of The Khomus of The People of The World, founded in 1990, preserves around 10,000 museum items. Finally, the Hamamatsu Musical Instruments Museum, established in 1995, stands out as Japan's first and perhaps only museum dedicated solely to musical instruments.

The Traditional Sources of Four Burns Songs: ‘The Posie’, ‘Craigie-burn Wood’, ‘Ae Day a braw wooer’ and ‘A waukrife Minnie’

Robert Burns devoted much effort to the collection of tunes which he expected to be published in James Johnson’s Scots Musical Museum and George Thomson’s Select Collection. The tunes were often accompanied by the words of songs and Burns related to these sources in different ways. This article studies in detail his relationship to four songs and demonstrates how the partial information that he gives explicitly can be developed to give an impression of these source songs as wholes, so increasing our knowledge of traditional Scottish song in the eighteenth century. The study also throws light on Burns’s method of composition when he was using a traditional base.

From the History of the Publication of the Opera The Woman with the Dagger: Vladimir Rebikov — Boris Jurgenson — Arthur Schnitzler

The article elucidates the history of the publication of Vladimir Ivanovich Rebikov’s opera The Woman with the Dagger in the Moscow-based publishing house P. Jurgenson, spanning the years 1910–1912. The context is disclosed of the creation of the work occurring at the beginning of the late period of the composer’s creativity, and a short characterization is given of the opera’s dramatic source — a play with the same title by outstanding Austrian dramaturgist and writer of the modern period of the early 20th century. The vicissitudes of the signing of the contract between the composer and the dramaturgist for the right of making use of the play leading to the two men’s resulting agreement with the publishing house are set forth in detail. Special attention is drawn to the new Russian copyright law of that time, created in 1911 with the influence of European legislation, and the rules are described that had to be followed by composers who set their music to already published texts when their works were performed outside of the Russian Empire. Light is shed on the circumstances of the creation of a new Russian libretto for the opera that simultaneously met the requirements of the law, Schnitzler’s wishes and Rebikov’s already written text (an adaptation of Lina Esbeer), the picture for the cover of the cover of the piano-vocal score (drawn by Czech artist Rudolf Adamek), as well as the details of the publication of the piano-vocal score and the brochure with the libretto by Jurgenson’s publishing house. The materials of the article are based on the correspondence of Vladimir Ivanovich Rebikov, the publisher at that time, Boris Petrovich Jurgenson and Arthur Schnitzler, the manuscripts of the opera The Woman with the Dagger (the piano-vocal score and the full orchestral score), as well as Rebikov’s biography, all of which are preserved in the archives of the Russian National Museum of Music. The epistolary is brought into scholarly use for the first time in that capacity; Schnitzler’s letters are published for the first time.

Открывая новые перспективы в изучении наследия С. В. Рахманинова

The new catalog of S. V. Rachmaninoff’s autographs from the collection of the Russian National Museum of Music, published in 2023, marks a qualitative breakthrough in the development of the museum’s vast holdings. The catalog is on a fundamentally different scientific level compared to the two earlier editions of 1955 and 1980. The structure of the catalog with all its complexity is clear and convenient: five main parts cover all types of autographs and four appendices. Among the important achievements of the catalog’s compilers are the epistolary documents identified for the first time, not published and not mentioned anywhere before. The publication is an important and necessary step toward a complete description of all Rachmaninoff materials at the RNMM.

Between a Fairy Play and an Opera: Razryv-trava (Rip-grass) by Evgeny Goslavsky and Alexander Schaefer at the Maly Theater (1901)

The production of Evgeny Goslavsky’s magic fairy tale carried out by Aleksandr Lensky with his students and colleagues in his repertory company of the Maly Theater presented a producer’s experiment, a combination of varieties of several theatrical genres within the limits of one performance. The narrative of the play was based on the fantastic motives of folkloristic epos, which required the use of the typical means of a 19th century stage fairy play. On the other hand, the storyline and the language appealed to a poetic style of symbolist and pre-expressionist dramaturgy in the context of which the customary visual effects and machinery appeared as naïve archaic effects. Great expectations in the sphere of synthesis were exerted on Alexander Nikolayevich Schaefer, a composer who was specially invited to St. Petersburg, a graduate of the Conservatory, a chapel master of the Panayev Theater, who had already composed two of his own operas. The complexity of the musical task was in the subservience of the work to the producer’s artistic vision, simultaneously with the application of a maximal amount of professional equipment. What was especially helpful, in the first place, was a knowledge of the fairytale musical scores of Rimsky-Korsakov and Lyadov and, moreover, the ability to adapt to the modest means of the theater’s orchestra. The musical score preserved at the Russian National Museum of Music is variegated in terms of the instrumentation in each of the numbers and is not devoid of imitative qualities. While marking the musical potentials of the play and the production, the reviewers expressed their disappointment regarding the insufficient amount of freedom granted to the composer. Nonetheless, it could hardly have been otherwise. The failure of Razryv-trava [Rip-grass] symbolically marked the instance of a farewell to the old theatrical style and its harsh constraints of genre; the measure of the admissible freedom for the composer, the boundary beyond which the “performance with music” becomes closely interlocked with opera and ballet have yet to be ascertained.

Архивные материалы В. Ф. Одоевского: Ф. 73 РНММ

This article is dedicated to the materials of the archives of Prince V. F. Odoevsky, a remarkable Russian musician-researcher, author of the first publications on the theory of znamenny chant. Talking about the manuscripts of V. F. Odoevsky, the author dwells in more detail on those that are in the Russian National Museum of Music and makes a general overview of the fund and its history. The collection of V.F. Odoyevsky's RNMM includes the Prince's musical compositions, materials for the study of folk songs and church hymns, theoretical works on harmony, acoustics, Odoyevsky's letters, notebooks, bills, receipts, photographic materials, handwritten notes from Odoyevsky's library, printed materials and programs, as well as literary manuscripts and other materials by various authors. In general, most of the completed works on Old Russian art by V.F. Odoevsky have been published. A huge number of different drafts and excerpts often represent different versions of the same works. The article goes on to describe the manuscript "Russian Ancient Church Hymn" (f. 73 No. 219), it was not completed by Odoevsky and was not published. It touches on most of the provisions expressed by Odoevsky in published articles, in particular, articles for the Archaeological Congress in Moscow.

Работы П. Г. Чеснокова 1903 и 1912 годов о церковных хорах и регентской деятельности

The article reveals the main ideas of the early works of the outstanding composer and choir director Pavel Chesnokov on church choirs and practice of the choir directors, which he himself considered the forerunners of his main work in the field of choral science, the book “The Choir and How to Direct It”. The publication of this work in 2023 in its original edition, created for the choir directors, made it possible to trace the evolution of Chesnokov's views on the organization of choral work. The works “Thoughts on the Affairs of an Amateur Choir” (1903) and “Notes of the Choir Director” (1912), whose autographs are stored in the Russian National Museum of Music, have never been published before. They are of great interest as documents depicting not only the process of creating a book, but also, in general, revealing the diverse context of the choir director's practice at the beginning of the 20th century. The article reveals cross-cutting themes that are present to some extent in all of Chesnokov's works, some “parallel places” in the texts are presented. In the work “Thoughts on the affairs of an amateur choir” P. G. Chesnokov defines the principles of organizing the choir, the goals and objectives of the forthcoming work: the need for theoretical studies, the development of a new modern repertoire of church singing, primarily the works of the Moscow Synodal School. In early works, three main qualities of choral sonority have already been formulated: ensemble, structure and nuances, but there is no detailing of working methods. Acquaintance with the early works makes it possible to realize what huge steps Chesnokov took in developing and deepening the problems of choral studies during the preparation of the book “The Choir and How to Direct It”.

Creative aging in virtual spaces: using museum content and music therapy to explore cultural diversity

IntroductionDuring the pandemic, many creative aging programs stopped being delivered in person, and practitioners turned to various virtual platforms to deliver content for older adults to maintain their cognitive, physical, and psychosocial well-being. Collaborators from a university-based music therapy program and a global music museum developed asynchronous virtual programs, one for wellness populations and another for memory care settings. Content was developed and delivered by the paper’s principal investigators in collaboration with the museum’s curatorial team and an upper division music therapy class composed of juniors and first-year graduate equivalency students (n = 21). The asynchronous program included museum gallery content and music therapy interventions of singing, movement, and/or instrument playing based on highlighted geographic regions. The purpose of the study was to explore older adults’ experiences when participating in the program.MethodsFifty-six older adults from three post-acute care facilities (two skilled nursing facilities and one assisted living center) served as participants. Older adult participants were categorized as cognitively healthy (n = 27) or those diagnosed with dementia (n = 29) and attended five music sessions over 8 weeks, ranging from 30 to 60 min in length. A within-subject repeated measures design was used to investigate the impact of the creative aging program on older adults’ psychosocial well-being and engagement behaviors. Psychosocial well-being for cognitively healthy older adults were measured with the Multicultural Quality of Life Index, Engagement in Meaningful Activity Survey, and the PROMIS Social Isolation Short Form-4a. Psychosocial well-being for older adults with memory loss was measured with the Quality of Life in Late-Stage Dementia tool.ResultsCognitively healthy older adults showed an increase in psychological/emotional wellness after participating in the program, while older adults with memory loss appeared less irritable and physically uncomfortable and seemed to enjoy interacting with others more. Surprisingly, the cognitively healthy older adults also showed an increase in social isolation between the start and end of the program, which may not be related to the intervention, but to the fact that all three sites had COVID outbreaks during the study and had to pause their group activities programming and residents were required to stay in their rooms. Additionally, the music interventions fostered engagement behaviors of interest (facial expression, posture), and response (body movement, eye contact, and musical interaction with the leaders in the videos) for both groups of older adults. Instrument interventions were most engaging for cognitively healthy older adults. Singing interventions were most engaging for older adults with dementia, whereas movement interventions were less engaging for older adults with dementia.DiscussionFindings suggest that creative aging virtual programs can be delivered in asynchronous settings to enhance older adults’ well-being and foster engagement. Additionally, virtual programming may be used to augment ongoing programming or used to reach older adults when distance is a factor to enhance older adults’ well-being.

MANAJEMEN METADATA ARSIP AUDIO DENGAN APLIKASI SEDERHANA PERKANTORAN PADA MUSEUM MUSIK INDONESIA

Metadata provides the necessary context to understand and organize systems, data, and content management. Thus the metadata in the archive has a fairly important role, with the existence of archive metadata it will facilitate the management of archives, both static archives or dynamic archives. At the Indonesian Music Museum in Malang City, there are various collections of audio archives from all over Indonesia which are static archives that need to be preserved for their authenticity and physicality as they are part of Indonesia's cultural heritage. The archive collection is divided into various forms, namely in the form of tape cassettes, CDs, and LPs. This study aims to describe the needs of metadata management within the scope of electronic records management. Metadata management is compiled by recording a collection of audio archives on tape cassettes for the pop song category at the Indonesian Music Museum. The metadata management development approach uses a simple office application with Microsoft Access media, so that the audio archive metadata in the Indonesian Music Museum can be digitally compiled. Of course, this can facilitate audio archive retrieval activities and their maintenance.

How a Song can be Exhibited in a Music Museum

This paper will focus on the folksongs of people living in Napo, Nanning, and Funin in Guangxi Autonomous Region and Yunnan province. The study was initiated with the experience of working at the new Music Museum of the city of Nanning established within the campus of Guangxi Arts University. Since this is a Music Museum, arrangements were made to exhibit a sample repertoire of folksongs from this region in addition to all the interesting musical instruments. This was a very difficult task as it is a well observable fact that a song does not exist in a single version as it moves from one place to another, and changes all the time. This paper is about the experiences during this particular activity and how these difficulties had to be mastered. There might be others who face the same difficulties. As such, this paper may help find solution for the problems encountered by other music museums. Technically, this is the elaboration about a topic strongly connected to live interviews and personally collected statistics that were found through an intense personal presence in the mentioned area. The reference style had to be adapted to these circumstances. In order to make information traceable, many parts of the references carry translations in square brackets behind the transliteration. Also, Chinese names are left as a whole despite starting with the family name, the middle name and given names are tremendously important for identification. Name characters are presented in square brackets. Material can be obtained upon request made per email to the author.

Читая «Воспоминания» Т.Н. Ливановой: портреты современников. Часть I

For the first time, the article attempts to analyse some aspects of the content of T.N. Livanova’s Memoirs (1974-1983), a three-volume text corpus preserved in the archives of the Russian National Museum of Music (RNMM). Memoirs are being prepared for publication as a planned work of the State Institute for Art Studies. This article continues a series of materials devoted to this valuable source. A significant place in it is occupied by the portraits of the author’s contemporaries. The article discusses different types of such verbal portraits — from more detailed generalized characteristics to “instantaneous” and very vivid ones consisting of literally a few words. The gallery of the portrayed is represented by people of different generations. The narrative begins with family chronicles — the portraits of Livanova’s relatives on the mother’s and father’s side, as well as her husband V.E. Ferman, and continues with the characteristics of friends and employees. Among them are composers D.B. Kabalevsky, N.Ya. Myaskovsky, V.Ya. Shebalin, and V.G. Zakharov, researchers B.V. Asafiev, M.V. Ivanov-Boretsky, V.V. Protopopov, Yu.V. Keldysh, Yu.K. Evdokimova, Yu.N. Kholopov and others.

UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY

ABSTRACT We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim1. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed.

The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine

The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.

Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus (review)

Reviewed by: Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus Bryan Proksch Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet. By Sabine Katharina Klaus. Vermillion, SD: National Music Museum, 2022. [xv, 336 p. ISBN 9780984826971 (hardcover), $119.95.] Illustrations, bibliography, index, accompanying DVD. In this fourth installment of a planned five-volume set, Sabine Klaus once again dives headfirst into the brass instruments collected by the late Joe and Joella Utley, now held by the National Music Museum (NMM) in Vermillion, South Dakota. Once completed, the set will present the most comprehensive view—both historical and in photographic documentation—of "trumpets and high brass" ever written. Volume 4, perhaps the set's most specific in scope, examines some 150 cornets constructed from the 1840s into the 1990s, with a noticeable weighting for instruments made from about 1880 to 1920. Klaus studies a remarkably broad range of manufacturers, both large and small, making cornets in literally every shape and size imaginable (and some unimaginable) from all the major centers of construction in the United States and Europe, as well as Japan. The book is a remarkable achievement and will surely serve as a benchmark study and baseline reference work for decades to come. Although no book can be all things to all people, Klaus must be commended for making a strong effort toward that end. Scholars—especially organologists and musicologists—will find a compilation of details on manufacturers, countless patent drawings, line drawings of valve arrangements, discussions of construction techniques, raw measurements, waveforms, X-rays, and dates and places for specific makes and models. All are useful for both general knowledge and specific study. Meticulous and numerous footnotes allow those interested in pursuing more detailed research to do so with ease. Performers, especially the modern trumpeter, will discover historical photographs of the actual instruments played by their famous predecessors, with at least passing reference to a few not owned by the NMM. Highlights include J.-B. Arban's cornets (two, both at the Musée de la musique in Paris), Walter Emerson's 1881 Courtois cornet, P. S. Gilmore's unique "Antoniophones," and the odd slide cornet–trumpet hybrid played by Louis Armstrong from his famous photo session with King Oliver's Creole Jazz Band. For the lay reader—including collectors of instruments and ephemera—the book's lavish full-color illustrations, provided at a generous average of about three per page, will provide hours of armchair browsing interspersed with enjoyable skimming. The photos of the NMM's instruments are a treat unto themselves, but advertisements, ephemera, and other historical documents make this book far more than a simple parade of cornets. Even the most focused reader will [End Page 616] find it difficult to keep to Klaus's prose without getting distracted by the figures. The elaborate dedications and engravings on many of the Utley cornets—consistently featured with a detail photo as well as an in-text transcription and interpretation—are particularly enticing, given the way they offer peeks into artisan techniques, artistry, and historical details. Two jewel-encrusted Besson cornets used for exposition displays in the 1880s (NMM 7119 and 7120) are the visual highlight of the whole book and are featured on the dust jacket. When it comes to various issues in cornet history, Klaus consistently delivers thorough explanations using straightforward and accessible language. Her comparison of Périnet and Stölzel valves in chapter 1 presents the pros and cons of each, including scientific measurements alongside clear line drawings and photographs of instruments. On "high pitch" and "low pitch" cornets (pp. 76 and 77), she concisely explains the situations in both Europe and the United States as related to each instrument and practice. Cornet history is littered with instruments named after performers but outwardly similar in construction to the untrained eye. Those interested in knowing the difference between Courtois's "Arban," "Arbuckle," "Levy," and "Arbuckle/Emerson" models will find answers in terms of construction, decoration, and marketing. The same holds true for...

메타버스를 활용한 자율적 협동학습 모형 기반 음악과 프로그램 개발

The purpose of this study is to apply digital technology to the education according to 2022 revised educational curriculum, it is to develop music program for cooperative learning by use of metaverse platform and build a virtual space. The method of this study developed a music program and built a virtual education space according to Walker’s model of platfrom, deliberation and design stages. This study reviewed previous studies and theoretical backgrounds, and developed music programs and evaluation tools based on Co-op Co-op model. A virtual space was built using the metaverse. ZEP platform to explore the possibility of utilization. The music programs in virtual space were built as a classroom, a cooperative classroom for group activity and music museum. Active participation in these virtual learning spaces suggested the possibility of increasing digital literacy, cooperative communication competency. In future, it is expected that research will be conducted to verify effectiveness through applying for educational field and to explore efficient utilization methods.

The relationship between interactive kiosk design towards usage intention in the National Music Museum of Malaysia

ABSTRACT This research aimed to propose a structural model of determinant factors to explain and predict the interactive kiosk adoption in the museum. To achieve this, we identified the determinant factors and examine the relationship between the identified determinant factors towards the usage intention. Based on the multi-level selection, the interactive kiosk in the National Music Museum of Malaysia was selected as a case study this explanatory research. A quantitative analysis using the Partial Least Square-Structural Equation Modelling procedure has been employed on 277 samples with two major assessments: outer and inner model assessments. Based on the empirical data evidence, this research proposed a structural model capable of explaining and predicting the interactive kiosk adoption in the museum. The research findings are significant to the museum authority, technology provider, or design practitioner to enhance interactive kiosk adoption in the future.

Иконографические источники композиции картины «Ревекка у колодца» из коллекции Музея музыки

The collection of the St. Petersburg State Museum of Theater and Musical Art contains a small canvas, the plot of which, judging by the nature of the characters and the features of the compositional structure, goes back to the Old Testament story of Isaac and Rebekah from the Book of Genesis. The iconographic source for the painting was an engraving by Joseph Wagner based on the work of Jacopo Amigoni, which was often reproduced by German artists of the second half of the XVIII – early XIX centuries. The plot of «Rebekah at the Well», which goes back to the text of the Book of Genesis, occupies a special place in European fine art. In the early medieval book miniature, the scene is characterized by successiveness, the combination of several consecutive events in a single visual field and the appeal to late antique images symbolizing water sources. In the art of the book of the Middle Ages, the main aspects of iconography and the sequence of presentation of the scenes of the meeting of Eleazar and Rebekah are formed. In the Venetian painting of the Renaissance period, the plot acquires the dynamic structure of the composition and the solemn conviviality characteristic of the school. In the XVII–XVIII centuries. Three types of interpretation of the plot of «Rebekah at the Well» are formed – a chamber version with semi-figures of characters in the foreground, a laconic closed composition with characters presented in height, and a panoramic landscape with a staff. The first type includes paintings by C. Maratta, G. B. Piazzetta, G. B. Tiepolo; the second – paintings by B. Strozzi, F. Bol, N. Poussin, B. E. Murillo, J. Hogers, Ch. A. Quapel, the third – D. Gargillo, V. Castello, W. van Neulandt, F. A. Maulberch. The iconography of the scene «Rebekah at the Well», which was formed in the Modern era, assuming a multi-figure composition in a landscape frame, was reflected in the composition from the collection of the St. Petersburg State Museum of Theater and Music.

Important Acquisitions of the Czech Museum of Music in Recent Years (I)

Important Acquisitions of the Czech Museum of Music in Recent Years (I)

«Херувимская песнь» Винченцо Манфредини

The paper considers Vincenzo Manfredini's «Cherubic Hymn» discovered by E. Yu. Antonenko in 2018. Until recently, it was only known that Manfredini composed music for the Orthodox Church, but not a single composition was found. Based on analysis of manuscript sources, the work is dated to the period of 1762–1765, which allows us to claim that Manfredini was one of the first authors who composed Orthodox Church music in the new classical style that replaced the older partes style after 1762. "Cherubimskaya" is contained in singing books written in round notation, stored in the fund collection "Cult Music" of the Russian National Museum of Music (Moscow): RNMM. F. 283. N 937, sheet 87 (treble), N 256, sheet 7 (viola), N 878, sheet 30v. (tenor), N 996, sheet 65v. (tenor), N 879, sheet. 19 vol. (bass), N 944, l. 17 (bass). With a high probability, these chanting vowels are of Petersburg origin, and, thus, the indication of Manfredini's authorship is credible. The Italian composer Vincenzo Manfredini visited Russia twice: 1758-1769 and 1798-1799. By order of the St. Petersburg Court, he composed chants for the Orthodox Church