History of musical education

Статья посвящена созданию Высших женских естественнонаучных курсов  М. А. Лохвицкой-Скалон — одного из крупнейших частных женских образовательных предприятий дореволюционной России. Парадоксальным образом, частная музыкальная школа стала основой для развития уникального учреждения, совмещавшего в себе все ступени общего, естественнонаучного, филологического, музыкального и художественного образования. В свою очередь, заведение оказалось настолько прочным, что его ветви послужили основой для создания известных советских образовательных учреждений.

The article is devoted to the creation of the Higher female  natural science courses of M. A. Lokhvitskaya-Skalon - one of the largest private female educational enterprises of pre-revolutionary Russia. Paradoxically, a little private music school became the basis for the development of a unique institution, combining all stages of the general, natural science, philological, musical and artistic education. In turn, the institution has been so strong that its branches served as the basis for the creation of the numder of famous Soviet educational institutions.

История Санкт-Петербургского уголка и здания где с 1944 года находится Санкт-Петербургское музыкальное училище им. Н. А. Римского-Корсакова.

The history of the site of St. Petersburg (Russia) and the building where the St. Petersburg musical college named after N. Rimsky-Korsakov is situated since 1944.

En este texto se hace un recorrido por la historia de la educación musical
formal en Colombia. Inicia con la música durante los periodos de la Conquista
y la Colonia, pasa por la Escuela de Artes y Oficios, la Escuela Nacional
de Música, el Conservatorio Nacional de Música, y llega hasta otras
instituciones de educación musical formal actuales. Este recorrido busca
rastrear el origen y el desarrollo de una relación de dominación ejercida por
estas instituciones que representan el poder de políticas de Estado, sobre la
cultura musical del país.

Il n’exécute jamais la Basse telle qu’elle est écrite.
The use of improvisation in teaching low strings.

Following the rediscovery of the partimento and its teaching method, tanks in particular to the recent works of Sanguinetti and Gjerdingen, it’s now established that teaching  jointly instrumental and compositional  know-how was the core of a successful teaching method.
This method, based on teaching directly at the keyboard and on the gradual learning of harmonic paths with various surfaces, allowed a quick composition developing a given bass.
The proposal is to take this method as reference and to tailor it to the specific features of strings, in particular cello and viola da gamba. First we consider the improvisational tasks in the early practice and we weigh some historical accounts; then, following the traces found in various historical documents, we suggest a didactic path, whose main feature is a step- by- step improvisational route.
The gradual approach, for both sides: the instrument’s technique and the composition, allows the student to be actively involved from the beginning. In this way learning to improvise is integrated with the acquaintance of the repertoire and with the experience of the baroque musical language, therefore it’s not alien to the learning method.
We believe indeed that with this path one can find a valid way to enrich one’s skills at the low strings and to interpret and perform more accurately baroque music.
Thanks to the professional activity as cello and viola da gamba player and teacher, many different solutions have been tested in concerts and in classroom; a route it’s suggested, that leads students toward improvisation. This, following the definition of Michael Callahan, means a quick process of composition, using memorized patterns from the repertoire, based on preparing schemes and applying diminutions to them.

Александр Генрихович Гефельфингер - органист, баянист,  музыкальный теоретик, композитор, педагог. Внес значительный вклад в музыкальную культуру Одессы и Ленинграда. Профессор Одесской консерватории, преподаватель Ленинградской консерватории и Музыкального училища им. Н. А. Римского-Корсакова. Он был также заметной фигурой в движении российских евангельских христиан в советскую эпоху.

Alexander Haefelfinger - organist, accordionist, music theorist, composer and teacher. He has made a significant contribution to the musical culture of Odessa and Leningrad. Professor of the Odessa Conservatory, teacher of the Leningrad Conservatory and the Leningrad music college named after N. Rimsky-Korsakov. He was also a prominent figure in the Russian movement of evangelical Christians during soviet era.

Статья содержит биографию органиста, пианиста и дирижера П. Р. фон Моссина, жившего и концертировавшего в Петербурге в конце XIX — начале XX века. Его имя часто встречается в современных изданиях и архивных источниках, однако до сих пор его творческий путь не был рассмотрен подробно. Несмотря на то, что его исполнительство не выходило за пределы церковных концертов, его музыкальное творчество в целом интересно своей специфичностью, разносторонностью и любопытными творческими связями.

The article contains a biography of the organist, pianist and conductor Piers von Mossin who lived and gave concerts in St. Petersburg at the end of XIX — early XX century. His name is often found in modern editions and archival sources, but so far his creative path has not been explored in detail. Despite the fact that his musical performance does not go beyond church concerts, his musical creativity in general
is interesting in its specifi city, versatility and intriguing creative links.

к 100-летию со дня рождения
Семёна Яковлевича Левина (1920–1990). Блестящий
исполнитель-фаготист — в течение многих лет солист
оркестра Ленинградского театра оперы и балета имени
С. М. Кирова; выдающийся ученый-инструментовед, доктор
искусствоведения и научный куратор крупнейшего в СССР
собрания музыкальных инструментов; исключительный
педагог — более сорока лет отдавший профессиональному
воспитанию молодежи, создатель собственной уникальной
методики обучения.

The article is devoted to the specifics of the activities of private professional music schools in pre-revolutionary Russia. It considers their position in the system of musical and general education. It revealed their
differences from the institutions of the Imperial Russian Musical Society. The conclusion about the significance of the role of private music education in the promotion of musical culture in Russia is identified.

Guía de trabajo, febrero del 2019. El piano fue el instrumento que marcó en Colombia un cambio en las costumbres sociales de la aristocracia y la burguesía. Su estudio fue importante para el desarrollo de la música de salón y doméstica, además de ser un instrumento preferiblemente utilizado para la instrucción de mujeres (niñas y jóvenes). Se presenta un breve resumen de los pianistas y compositores que se destacaron en la interpretación como en la composición de obras originales para este instrumento desde mediados del siglo XIX hasta la generación de los años 40 del siguiente siglo.

В статье подробно описаны два не публиковавшихся ранее письма А. К. Глазунова, направленные им в Петроградский Государственный институт музыкального просвещения в ноябре 1918 года. Институт существовал с 1918 по 1924 год. Фактическим адресатом обоих посланий является директор института Николай Давыдович Бернштейн. В письмах рекомендуются две выпускницы Петроградской консерватории Стефания Банцер и Мария Немирова в качестве опытных преподавательниц. На основе анализа графики и содержания писем, а также выявления аналогичных опубликованных документов предлагается подход к типологии письменных инициатив директора Петроградской консерватории в поддержку ее студентов и выпускников. Осуществляется также попытка выяснения местонахождения А. К. Глазунова в момент написания указанных писем. В уже опубликованных материалах о жизни и творчестве композитора, а также в найденных архивных документах содержатся противоречия и неясности по этому вопросу.

The article describes in detail two unpublished letters of A. Glazunov, sent to the Petrograd State Institute of Musical Enlightenment in November 1918. The Institute existed from 1918 to 1924. The
actual addressee of both messages is the director of the Institute Nikolai Davydovich Bernstein. The letters recommend two graduates of the Petrograd Conservatory, Stefania Bantser and Maria Nemirova,
as experienced teachers. Based on an analysis of the graphics and content of the letters, as well as the identification of similar published documents, an approach is proposed to the typology of the written
initiatives by the director of the Petrograd Conservatory in support of its students and graduates. An attempt has also made to find out the location of A. Glazunov at the time of writing these letters. In already published materials on the life and work of the composer, as well as in the archival documents already found, there are a number of contradictions and ambiguities on this issue.

Este trabalho analisa a passagem de Guiomar Novaes (1894-1979) pelo Jardim da Infância, primeira escola infantil da cidade de São Paulo. O objetivo é estudar a construção social da reputação da pianista usando como referencial teórico a sociologia da ação ou interação social de Becker. Para isso analiso pessoas e ações envolvidas no ingresso de Guiomar na escola e na festa que celebrou sua saída. Concluo afirmando que sua participação neste evento teve por fim promover seu nome fora dos círculos paulistanos e estabelecer sua reputação de pianista virtuose. Palavras-chave: Guiomar Novaes. Pianismo. Reputação. Virtuose. São Paulo. The First Step to Parnassus: Guiomar Novaes admission and departure from Kindergarten Abstract: This work analyzes the passage of Guiomar Novaes (1894-1979) in the first kindergarten in the city of São Paulo. The objective is to study the social construction of the pianist's reputation using the theoretical framework Becker's sociology of action or social interaction. For this, I analyze people and actions related in Guiomar's admission to the school, and the festivity that celebrate her departure. My conclusion is that her participation in that event was intended to promote the her name outside the São Paulo's local circle and to establishes her reputation as a virtuoso pianist.

A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on June 2 2015. It asks if and how German music theorist's seminal treatise, the Compendiolum musicae (ca. 1550) can be read as a textbook presenting a studies plan for a music class in German Lateinschulen during the latter half of the 16th c.

The article outlines the main stages in the formation of the Eugene Rap-hoph Music Courses in St. Petersburg, one of the largest private music educational institutions in prerevolutionary Russia. Specifics of the development are identified and the starting date of the Courses is specified. The significance of the Courses’ status (“level rate system”)
and measure of success are determined. Some aspects of the institution’s professional functioning are highlighted. The Rap-hoph
Courses served as an organizational and methodological basis for the emergence of the St. Petersburg Rimsky-Korsakov Music College.

Autoarea si-a propus sa studieze motivul "viorii lui Ingres"  în biografia pictorului român postimpresionist Stefan Dimitrescu (1886-1933) în lumina arhivelor Conservatorului din Iasi precum si iconografia muzicala a tablourilor sale : "Cabaret" si "La Otetelesanu".

Краткая история Санкт-Петербургского Музыкального училища им. Н. А. Римского-Корсакова. Обзор юбилейных мероприятий посвященных 125-летию со дня основания училища.

A short history of St. Petersburg (Russia) musical college named after N. Rimsky-Korsakov. The overview of commemorative events dedicated to the 125th anniversary of the founding of college.