{"id":1782,"date":"2024-11-19T11:57:14","date_gmt":"2024-11-19T10:57:14","guid":{"rendered":"https:\/\/inclusivehumanities.eu\/accesso-alle-fonti-musicali-russe-xviii-sec-inizio-xix-sec\/"},"modified":"2025-07-21T08:19:16","modified_gmt":"2025-07-21T06:19:16","slug":"access-to-russian-music-sources-18th-19th-centuries","status":"publish","type":"post","link":"https:\/\/inclusivehumanities.eu\/en\/access-to-russian-music-sources-18th-19th-centuries\/","title":{"rendered":"ACCESSING MUSIC SOURCES OF THE RUSSIAN EMPIRE (18TH-19TH CENTURIES)"},"content":{"rendered":"<div data-olk-copy-source=\"MessageBody\">This project aims to provide new conditions for a systematic study of the musical culture of the Russian Empire from the 1730s &#8211; when the country became familiar with the genre &#8216;opera&#8217; &#8211; and the production of the first titles of music theatre responding to the will to create a national repertoire, which took place in the first quarter of the 19th\u00a0century.<\/div>\n<div>This project includes collecting, elaborating, and making available to the scholarly community\u00a0a series of sources that are essential to the full reconstruction of musical and theatrical practices in the Russian Empire, as well as the cultural transfer between Western and Eastern Europe. Many of these sources risk disappearing and becoming permanently unavailable to the scholar &#8211; a lost that would give room for exclusive,\u00a0 nationalistic narratives in the field of cultural studies in this areas. On the contrary, this project aims at enhancing them as witnesses of the cosmopolitan nature of the cultural life within the Russian Empire, and of the tight bounds that connected this area with Western Europe at the level of mobility of artists, music artifacts, aesthetic models, and ideas.<\/div>\n<div>The project consists of the following research modules:<\/div>\n<ul data-editing-info=\"{&quot;applyListStyleFromLevel&quot;:false,&quot;unorderedStyleType&quot;:2}\">\n<li>\n<div role=\"presentation\">&#8220;Rossiysky Featr &#8211; Music sources of the Russian Empire, 1730-1836&#8221;: elaboration of an open-access digital archive of primary sources witnessing operatic life;<\/div>\n<\/li>\n<li>\n<div role=\"presentation\">The &#8220;Russian fund\u201d preserved at the Library of the Conservatoire \u201cSanta Cecilia\u201d in Rome: classification, digitalization, and selection of sources for publication;<\/div>\n<\/li>\n<li>\n<div role=\"presentation\">&#8220;14&#215;14&#8243;: scientific reconstruction and cultural dissemination on the them of the grand tour of the &#8216;counts of the North&#8221;, &#8211; Grand Duke Pavel Petrovich Romanov and his espouse Mariya Fyodorovna &#8211; in the years 1781-82;<\/div>\n<\/li>\n<li>\n<div role=\"presentation\">Sheremetev project: publication of the correspondence Hivart \u2013 Sheremetev in original French\/Russian with English translation;<\/div>\n<\/li>\n<li>\n<div role=\"presentation\">An Ill-Fated Knight: publication of the documentary edition of the opera\u00a0<i>Gorebogat\u00efr\u2019 Kosometovich<\/i>\u00a0by Catherine the Great and \u00a0Vicente Mart\u00edn y Soler (1788-89).<\/div>\n<\/li>\n<\/ul>\n<div><strong>Group leader:\u00a0<\/strong><span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>\u00a0<span class=\"mark2h3h17mzh\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Giust<\/span>\u00a0(Associate professor of Slavic studies)<\/div>\n<div><\/div>\n<div><strong>Internal members:<\/strong><\/div>\n<ul>\n<li>\n<div role=\"presentation\">Matteo Lissandrini (Associate professor of computer science)<\/div>\n<\/li>\n<li>\n<div role=\"presentation\"><span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>\u00a0Stetsenko (assistant researcher)<\/div>\n<\/li>\n<\/ul>\n<div><strong>External members:<\/strong><\/div>\n<ul>\n<li>Sofia Cappelletti (Bologna, Scuola di specializzazione in Beni musicali \u2013 intern at Dip. Lingue e letterature Straniere UniVR)<\/li>\n<li>Roberto Giuliani, Luca Cianfoni, Francesca Candeli (Rome, Biblioteca del Conservatorio \u201cSanta Cecilia\u201d)<\/li>\n<li>Bella Brover-Lubovsky (Jerusalem Academy of Music and Dance)<\/li>\n<li>John A. Rice (independent researcher)<\/li>\n<li>Inna Naroditskaya (Northwestern University -Northwestern Bienen School of Music)<\/li>\n<\/ul>\n<div><strong>Actions:<\/strong>\u00a0WP 1.1; WP 1.3<\/div>\n<div><\/div>\n<div><strong>References:<\/strong><\/div>\n<div><span class=\"mark2h3h17mzh\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Giust<\/span>,\u00a0<span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>,\u00a0<i>Cercando l\u2019opera russa. La formazione di una coscienza nazionale nel teatro musicale del Settecento<\/i>, Amici della Scala-Feltrinelli, Milano 2014, pp. xxi-415, ISBN 9788858817582<br \/>\n<span class=\"mark2h3h17mzh\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Giust<\/span>,\u00a0<span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>, \u201cWhen Music Suits Diplomacy: the grand tour of Pavel Petrovich Romanov, 1781\u20131782\u201d,\u00a0<i>Cadernos de Queluz<\/i>,\u00a0<i>Diplomacy and Aristocracy as Patrons of Music and Theatre in Europe of the Ancien R\u00e9gime<\/i>, a cura di I. Yordanova e F. Cotticelli, Hollitzer Verlag, Wien 2019, pp. 63-92<br \/>\n<span class=\"mark2h3h17mzh\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Giust<\/span>,\u00a0<span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>, \u201cInternational Networking in Russian Music Theatre around 1800: Sheremetev, Yusupov and Grand Duke Pavel Petrovich\u201d,\u00a0<i>Nineteenth-Century Music Review<\/i>, vol. 20\/2 (2022), pp. 261-284 (DOI:\u00a0<u><a id=\"OWAbc5929d9-0d2c-6f90-e411-5933a6adfc7e\" title=\"https:\/\/doi.org\/10.1017\/S1479409822000131\" href=\"https:\/\/doi.org\/10.1017\/S1479409822000131\" target=\"_blank\" rel=\"noopener noreferrer\" data-auth=\"NotApplicable\" data-linkindex=\"1\">https:\/\/doi.org\/10.1017\/S1479409822000131<\/a><\/u>)<\/div>\n<div><i><span class=\"mark2h3h17mzh\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Giust<\/span>,\u00a0<span class=\"marki16m679qw\" data-markjs=\"true\" data-ogac=\"\" data-ogab=\"\" data-ogsc=\"\" data-ogsb=\"\">Anna<\/span>,\u00a0Nikolaj Petrovi\u010d \u0160eremetev e Monsieur Hyvart: un caso di cooperazione internazionale nel teatro russo del Settecento<\/i>, in\u00a0<i>Miscellanea Ruspoli iv, Studi sulla musica dell\u2019et\u00e0 barocca<\/i>, a cura di Giorgio Monari, Libreria Musicale Italiana, Lucca 2024, pp. 221-265<\/div>\n","protected":false},"excerpt":{"rendered":"<p>This project aims to provide new conditions for a systematic study of the musical culture of the Russian Empire from the 1730s &#8211; when the country became familiar with the genre &#8216;opera&#8217; &#8211; and the production of the first titles of music theatre responding to the will to create a national repertoire, which took place [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1780,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[57],"tags":[],"class_list":["post-1782","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-philology-and-literary-studies"],"acf":[],"_links":{"self":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1782","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/comments?post=1782"}],"version-history":[{"count":6,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1782\/revisions"}],"predecessor-version":[{"id":3386,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/posts\/1782\/revisions\/3386"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/media\/1780"}],"wp:attachment":[{"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/media?parent=1782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/categories?post=1782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/inclusivehumanities.eu\/en\/wp-json\/wp\/v2\/tags?post=1782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}