[znamenny chant, znamenny chant, hook singing], the main singing tradition of Dr. Russia. It became widespread after the adoption of Christianity and is still preserved in liturgical singing. The concept of "znamenny singing" is first encountered in the texts of Ser. 17th century (see, for example: “Foreword, from whence and from what time did osmomon singing begin to be in our Rustei land” (until 1652): “sing much to the znamenny singing”; “The legend of various heresies ... contained from ignorance in znamenny books” ( 1651) Monastery of Euphrosyne: "some blasphemous nonsense in the znamenny singing"). This concept is semantically conditional, because it comes from the singer. the term "sign", known from texts from the 1st floor. 15th century (“sign”, later “banner” - a sign, indication, symbol, image, mark, designation, etc.), common to various singers. traditions (pillar, traveling, Kazan, “petia of the red”, demesne key, musical banner). Preservation of the concept of "znamnaya" for one particular singer. tradition, received no later than the XV century. the name "pillar" is obviously associated with its leading role in Russian. church singing since ancient times.
Origin
Z. r. associated with Byzantium. singing (see Art. Byzantine Empire, section "Church singing"), which came to Russia in the 10th century. along with the penetration of Christ. culture (the agreement of 944 by the Christian ambassadors of Prince Igor with Byzantium in the “collection of the church” of St. Prophet Elijah in Kyiv - PVL. 1999. S. 26; probably also the presence of Byzantine clergy and singers surrounded by St. Kng. Olga after her baptism). From the official the adoption of Christianity under blgv. book. Vladimir and the establishment of the Russian metropolia as part of the K-Polish Patriarchate, the influence of the Byzants. chanter tradition has grown significantly. Arrived in Kyiv "Priests of the Queen and Korsun" (Ibid. p. 53), Greek metropolitans and hierarchs, who headed the Russian. dioceses, and their surroundings contributed to the spread and assimilation of not only Byzantium. liturgical rites, originally performed most likely in Greek, but also Byzantine. church singing. To the erected by order of St. book. Vladimir Church of the Tithes The Mother of God, entrusted to Anastas Korsunyanin, possibly as an steward, was assigned to serve the "priests of Korsun" (numerous Greek graffiti existed on the walls of the temple as early as the 17th century). In the XI century. on the mountain next to Tithe c. the “court of demestiki” was located, where the head of the choristers lived, who usually performed the function of a teacher. It is difficult to say whether the domestic (see also: PE. T. 16. S. 751) was a Slav or had a Greek. origin; the latter seems quite probable. The choir of the cathedral metropolitan church of St. Sophia certainly had to include singers from the Greeks who were part of the metropolitan's entourage. Traces of Byzantine presence. singing in Russia survived in glory. chanter manuscripts of the 12th century: this is the Greek. texts of individual hymns in the Blagoveshchensk kondakar (RNL. Q.p.I No. 32 - for example, troparion to the Cross on fol. 84-84v.), characteristic byzantine overtones. intonation formulas such as "neagia", "agia" in the same place and in the Typographic Rule with Kondakar (TG. K-5349 - for example, on fol. 120v.), inserted syllables "ne-ve" in the melismatic chants "Alleluia" ( all of them are given in Cyrillic transliteration, which means that they were intended for Slavic singers trained in Byzantine singing - see: Der altrussische Kondakar". St. Sophia in Kyiv, containing fragments of texts and individual inscriptions of neums (see: Evdokimova. 2008).
From its inception to the end. 11th century Old Russian chanter the tradition was only oral; to a large extent, this way of transmitting both the melos itself and the laws of chant. skill due to the peculiarities of the znamenny notation was preserved later, especially in the XII - 1st half. 15th century The oldest notated manuscript containing the chants of Z. r. is the Typographic Rule with Kondakar (border of the 11th and 12th centuries; at the same time, the fragmentary surviving Stihirar was rewritten - BAN. No. 4.9.13). Only from the turn of the XI and XII centuries. it is possible to speak about Z. r. in the strict sense of this term, i.e., about the texts of chants recorded with banners (“marked”). Previously, liturgical books sometimes included only the outlines of individual melismatic formulas - fity (the so-called fit notation), which denoted more or less extended melodic turns, also reproduced from memory (see: Novgorod Service Menaions of 1095-1097 - RGADA, Type No. 84, 89, 91, Putyatina Menei of the 11th century, RNL, Sof. No. 202, Tsvetnaya Triod, 11th/12th century, RGADA, Type No. 138, etc.). Most of the lists of hymnographic books of the 11th-14th centuries that have come down to us - Menaeus, Triodey and varieties of Oktoikh - contain unnotated texts, which were sung either on the basis of a complex of existing typical melodic models - self-similar (in ancient Russian traditions they are called similar), an extensive selection to-rykh is contained in the song. application of the Typographic Charter, or with an individual combination of formulas in self-vowels, which were originally memorized in the learning process along with similar ones. Predominantly oral method of assimilation and dissemination of Byzantium. church singing had a significant impact on the emerging melos Z. r. and features of its further development. The foundation for it, as far as can be judged by the later singers that can be reliably reconstructed. forms, was the perception of the tetrachord sound system, the principles of modal organization and formulaic structure (osmosis), as well as the modal-melodic basis of the Byzantines. monody. The specificity of existence, common to all ancient singers. cultures, led to the possibility of variable melodic filling of stable modal-rhythmic structures, modification of formulas and even the intonation contour of chants, re-intonation of texts in Eastern Slavic conditions. intonation. At the same time, oral tradition, memorization of tunes by memory contributed to the long-term preservation of Byzantium. the basis of chants, which can be seen to a greater or lesser extent both in the graphics of notated texts and in the melos of znamenny chants up to the modern. printed publications. The appearance of an ideographic type of notation, which fixed only the most general chant. information, although it introduced greater stability into the chant of the texts, at the same time it left significant opportunities for melodic variation.
Already in the XII century. chants Z. r. in the main hymnographic books were recorded using notation in its developed form. Byzantium was undoubtedly the source of Znamenny notation. notated manuscripts of the 10th-12th centuries, as evidenced by the high degree of kinship between the nemens dictionaries of both traditions and the similarity of the formulaic graphics of the chants. Yuzhnoslav. the manuscripts of this time were unnotated, so ch. arr. Church Slavonic Byzantine translations. texts or original Bolg. hymnography (St. Clement of Ohrid and Constantine of Preslav); at an early stage, with the dominance of the oral form of the dissemination of singing art, the influence of the Balkan singing cannot be completely excluded. culture, but in the X-XII centuries. she was also in line with the Byzantines. traditions. In the set of books of the early period, actually singing (in addition to Kondakar, representing a different type of chant) were Stihirar and Irmologion, which included mostly self-voiced chants of Z. r. or models for singing other texts and in most cases contained znamenny notation. The presence of completely (or almost completely) notated separate lists of Menaion, Triodey and Paraklitika, which had a significant number of such texts, is a characteristic feature of Old Russian. chanter bookishness of the XII-XIII centuries. and the result of the activity of masters of singing. Russian art. The creators of these books, obviously, took into account both their service and teaching function, as well as those that arose after. translation of the difficulty of adapting such a text to a melodic model that did not completely coincide with it (self-similar, irmosu) when playing such chants without a written notation, especially by insufficiently experienced singers.
XI - con. 14th century
Information about the early stage of development of Z. r. in Dr. Russ are contained mainly in the chant. manuscripts, notated and not notated, partly in the Typicon. These manuscripts provide the most complete information about the repertoire of chants and the degree of its variability (sometimes about the place of chants in worship), about its belonging to the system of osmosis, about the presence of different melodic versions or chant variants of one text, about the characteristic features of melos. The surviving sources, however, do not allow us to draw up a complete picture of the origin and initial development of the art of painting. The stage of formation of church singing, obviously, should be associated with Kyiv, where all the innovations due to the spread of Christ. divine services were transferred to large centers - cities and mon-ri Dr. Russia. This is how the process of assimilation of Z. r is presented. in “Notice of Concordant Marks” (1670) by Elder Alexander Mezenets: “The first ubo besha at the beginning of this banner are the creators and church singers in the capital of the Russian state, the God-saved city of Kyiv. After a few years from Kyiv, this singing and banner were brought by some amateurs to Velikago Nova Grad. From the Great New City, the teachings spread out and multiplied by the great longevity of this singing to all cities and monasteries of the Great Russian dioceses and to all their borders ”(RNB. Q. XII. No. 1. L. 71 vol. - 72; Alexander Mezenets and others. 1996. S. 44-45). The first news about the creation of a book-writing workshop is associated with the name of St. blgv. book. Yaroslav the Wise, who "gathered many scribes"; then “prekladashe from the Greek to the Slovenian letter. And many books have been written off” (PVL, 1999, p. 66). This report does not make it possible to establish the composition of the books transcribed in the grand ducal scriptorium, although it can be assumed that not only chapels, but also chants were created there. books. The introduction of the Studian statute in the Kiev-Pechersk mon-re, as evidenced by the Life of St. Theodosius of the Caves and PVL (Assumption collection. 1971. L. 37b - 37c; PVL. 1999. S. 69-70), should have been accompanied by the creation of a set of liturgical books necessary for the performance of "monastic singing" and "the whole series of church" according to this charter (PVL. 1999, p. 70). There is every reason to believe that these books were in the library of the Kiev-Pechersk monastery and that they served as a source for liturgical books used in churches and monasteries in other cities. Most of the surviving singers. manuscripts comes from the northwest. lands, primarily from Vel. Novgorod. The oldest of them, at the turn of the 11th and 12th centuries, are associated with the Lazarev scriptorium - the Menaion (RGADA. Type. No. 84, 89, 91, 103, 110, 121, 125), Triode Tsvetnaya (Ibid. No. 138), Typographic Charter (see: Yanin. 1982; Stolyarova. 1998; Ukhanova. 2006); a number of notated lists 2nd floor. 12th century comes from the same scriptorium (Stichirar triode - RGADA. Type. No. 147) and from the Sofia scriptorium (Sophian Menaion - GIM. Syn. No. 159-168, Paraclitic - RGADA. Type. No. 80). Only one notated manuscript - the Hilandar Hermology (the so-called Irmology of Grigorovich) - is associated with South Russian on the basis of an analysis of orthographic features. lands (Ath. Chil. 308; ed.: Jakobson R. 1957; other parts - RSL. Grigor. No. 37 and RNB. Q.p.I. No. 75; an opinion about the southern Russian origin was expressed by R. O. Jacobson: Jakobson 1957, p. 9; see also Hannick, 1978, p. 8); this list and in the notation of irmoses has noticeable differences from the surviving Irmologia of the north-west. lands (GIM. Voskr. No. 28; RGADA. Type. No. 150-149; see: Lozovaya. 1993. . S. 419-420; She. 2000. S. 220-221).
Together with a set of liturgical chants. byzantine books. traditions in Russia, the system of octoich, which was associated both with liturgical time (dividing the annual circle into time periods), and with a corpus of hymn texts organized in a certain way, as well as with specific muses, became widespread. system that was formed in Byzantium no later than the 7th century. Old Russian. Octoechos XII-XIV centuries. was not notated, but the cycles of chants related to it were sometimes written out with notation in other books. A large number of such chants are contained in the Typographic Charter after Kondakar - notated psalm verses of kathismas (the so-called alliluaries of St. Theodore the Studite) and troparia of power antiphons (preserved record of 5 tones), as well as a selection of similar ones. Gospel stichera for 8 voices came in the Annunciation kondakar con. 12th century (RNB. Q.p.I. No. 32), Stihiraryakh of the XII century. (GIM. Sin. No. 279) and 1403 (RGB. F. 304. I. No. 22 - 1 stichera notated; see: Lifshits. 2003). The Annunciation kondakar also contains a cycle of asmatics for all tones except the 7th (see: Shvets. 2008). An exceptional phenomenon was the notation of a whole book of the seven-cycle cycle, part of the ancient Oktoechos-Paraclitic (RGADA. Type. No. 80, 2nd half of the 12th century).
Changeable chants
Z. r. usually retained the vowel affiliation of Greek. originals. Unlike the Byzantine notation systems, in which the division into 2 groups was adopted - 4 authentic and 4 plagal tones (see also Authentic mode, Plagal mode), in Old Russian. in manuscripts, as in South Slavic, continuous vowel numbering from 1 to 8 prevailed, although occasionally they contain a translation of the term πλάγιος - - and the accompanying numbering in fours (Strumitsky Oktoikh - State Historical Museum. Khlud. No. 136. L. 36 43, 44; Putyatina Mineya - RNB. Sof. No. 202. Sheet 4, 8 rev., 29 rev., etc.; Stihirar - BAN. No. 34.7.6. Sheet 50, 50 rev., 53v, 57, 124v-125v, see: Lazarevi č 1964; Schenker 1981; Muryanov 1981). The ratio of the authentic and plagal voices was repeated by the Byzantine. a system with a paired connection of voices - the 1st voice with the 5th (1st plagal), the 2nd - with the 6th (2nd plagal), etc. (see, for example, the sequence of voices for verses on "Alleluia" in the Typographic Charter, sheets 110-117: 1st - 5th, 2nd - 6th, 4th - 8th), in contrast to Western Europe. osmosis, in which the authentic voice and its plagal variety were designated by neighboring numbers (plagal ones received numbers 2,4, 6 and 8 in this system). In Russia, the earliest form of Byzantium was adopted. vowel signatures, or martyria, which includes only the letter designation of the number of the voice without the accompanying neumes, specifying in Byzantium. manuscripts of a later time, the cadence of the intonational formula (ihima) of the voice. It is difficult to say whether the very tradition of singing vowels ihim was borrowed: in Old Russian. chanter In manuscripts of the initial period, indications of their syllabic subtexts are occasionally found, but later. this form of tuning to vowel singing was apparently lost, because the goblins, known from the manuscripts of the late period, had a different function - they were models for singing psalm verses “Lord, cry out” and one of the methods of teaching chanters to osmoglas, and not a way chants settings.
Notated manuscripts of the early era testify to the formulaic nature of the vowel melos and the graphic similarity of many others. formula revolutions with Byzantium. prototypes. Comparative studies of the Byzantines. and ancient Russian. formulas make it possible to draw a conclusion about the relationship and often about the proximity of the melodic contour in the chants of both traditions (see: Velimirovi ć . 1960; Floros. 1970; Strunk. 1977; Schkolnik M. 1997, 1999; Schkolnik I. 1999). However, already in the oldest notated lists, signs of Byzantine reworking are noticeable. melos and forms of recording melodies: preserved Old Russian. manuscripts have obvious differences from the Byzantines. analogues in the fixation of both formulaic and, especially, non-formula sections, which does not allow the reconstruction of chants without taking into account the later tradition of Z. r. (see: Shkolnik. 1996). In Z. r. the set of formulas for each voice separately, a kind of lexicon, also had characteristic modal features - a complex of supporting and final tones characteristic of it, which determined the "grammar" of the vowel melos - the structure of the vowel scale and the patterns of combining formulas. The modal structure of Old Russian osmosis is closely related to Byzantine, but it also has significant differences in the specific implementation of modal patterns, due to the re-intonation of melodic formulas in Old Russian. traditions, and sometimes, probably, following the archaic Byzants. samples that do not coincide with the "classical" modal structure; the temporal coordinates and the sequence of changes that have taken place have not yet been adequately studied.
In the liturgical books of the most ancient period, all the main stylistic varieties of Z. r. are represented - syllabic, neumatic, melismatic, and transitional forms.
The simplest melos syllabic variety Z. r. with a ratio of 1-2 sounds per syllable of the text, which was recorded extremely rarely, is characteristic primarily for the unanimous singing of the psalms of Vespers and Matins. Melodic half-line formulas for singing psalms according to the monastic rank (psalm tones, or alleluiaries of St. Theodore the Studite) 9 each (for 3 “glories” (antiphons) 3 kathismas) in each of the 8 voices were written out as chants. appendices in the Typographic Charter (in the surviving fragment - formulas 2, 3 and 4th kathisma of the first 5 voices, starting from l. 98) and partly in the supplement Irmology 1st floor. 15th century (GIM. Bars. No. 1348. L. 133-134; formulas 3 "glories" of the 2nd kathisma with the 2nd and 3rd "glories" of the evening 1st kathisma added to them in all 8 tones). When moving from one section (“glory”) of the kathisma to another, not only the psalm melodic formula changes, but also the chant of the Alleluia refrain that accompanies each half-line, in which the authentic (high) and plagal or medial (low) cadences can alternate . The measured and intonationally uniform alternation of verses is enriched by the means of mode and melody, as well as performing techniques: the use of various formulas that break the inertia of perception and arouse attention, and antiphonal singing (see illustration).
Little-sung irmoses and stichera are close to the style of psalm formulas. Among the stichera, the simplest form is represented by the oral tradition of the Sunday self-vowels of Oktoikh, recorded only in the 2nd half. XV century, a more developed form - in some self-similar and similar stichera derived from them from the notated Menaion and Triodion. The principles of melodic reading of the text, which took shape in psalmody and were developed in chants with the simplest melody, form the basis of the Znamenny tradition as a whole. The chant of the stichera reveals one of the most specific features of the tradition. chanter cultures - the formula structure of melos; combinatorics of formulas acts as the most important method of compositional deployment. In each type of chants, a complex of stable melodic turns is presented, called chants. The methods of arranging chants in a verbal text have also become established according to its structure and the melodic function of revolutions - initial, middle or cadenza (final). The division of the text into columns reflects, first of all, the intonation-melodic organization of the chants: the dots put down in the manuscript often do not coincide with the syntactic division; they can single out phrases that are relatively complete in meaning, having the integrity of the intonational contour, and less independent semantic units, and a separate word - if these parts of the text are sung by a formula with a single intonation, longitude or dynamic accent and cadence (the latter is more characteristic of melodically developed chants) . The end of a column, coinciding with a completed semantic turn, is accompanied by a chant with a more or less deep cadence, usually with rhythmic inhibition, when the duration of the final 1-3 syllables is at least twice as long as the duration of the main rhythmic unit corresponding to the syllable. Irmos and stichera of the syllabic type only occasionally contain simple and short fit phrases decorating melos.
Self-voiced stichera in most cases represent a neumatic, or syllabo-neumatic, type of chant with 1-4 sounds per syllable of text, characteristic of the Stihirar's style. In the most ancient layer Z. r. it is in such stichera that the formulaic type of melos is most clearly expressed - the use of various chants organized in accordance with the text structure. The rhetorical form (disposition) of a verbal text often determines the grouping of melodic lines, semantic and syntactic parallelism is reflected in melos - the repetition of chants corresponding to it, exact or variant, forms a series of anaphoras and homeotheleuts, while updating the melodic material indicates the beginning of the next section of the rhetorical composition (see. : Lozovaya, 1987; She, 1989; Shekhovtsova, 1994). As a specific means of enriching the voice melos, a transition (modulation, in the Byzantine theory παραλλαγή - change) to other voices within the same chant is also used, which could be marked by middle martyrias (designations for the number of the voice; see: Stihirar triode of the XII century - RGADA Type No. 148. L. 3, 44v., 52, 70, 83v.-84, etc.). The skillful choice, distribution and plastic articulation of formulaic turns, their melodic and functional character ensured a clear perception of texts by ear during the service (see illustration: Stihira on the Presentation of the Lord). Symbolic images of a verbal text, exclamations, hayretisms, or the most important, characteristic words are often accompanied by various fites, melismatic insertions in neumatic melos, which are present in abundance in Stihirar. Their participation in the chant gives the chants a solemn, festive character. An extended chant can fall on conjunctions or pronouns, which allows using melos to give the chant a high sounding style without fear of losing a significant word in the melodic flow (in most cases, the places of using fit in the chants of the Byzantine and Old Russian traditions coincide).
Part of the chants of the Stihirar has a melismatic melos - they contain lengthy intra-syllable chants, sometimes of a very long length. Melismatica Z. r. associated with the predominance of melodic formulas of a special kind, called fites and faces. In contrast to the usual vowel chants with the normative reading of znams, these classes of formulas graphically represent an encoded record of melodic turns of several. signs, but suggesting extended chants of the syllables of the text; faces differ in composition and unconventionals. a sequence of znams, although at the same time the “sign-syllable” ratio, usual for chants, can be preserved, the external simplicity of which turns out to be deceptive. Both classes are derived from similar Byzants. formulas - thematisms (θεματισμοί or θέματα) and hypostases - and differ from each other by the melodic function in the chant. If the fites have the character of an embellishing insertion into the neumatic chant, then the faces (or kokises, as they were sometimes called in Russia, probably in honor of St. John Kukuzel, the Byzantine melody, which composed the chant alphabet from hypostases) form the very melismatic fabric of chants, intrasyllabic chant of the word (Lozovaya, 1999, pp. 65-67). The melismatic chant, written down in znamenny notation, in the early period had not only some stichera of the menaine and triode Stihirar (see illustration: Stichera on the Cathedral of the Archangel Michael), but also the hymns of the Sunday Octoechos - a cycle of 11 gospel stichera and Sunday exapostilaria, representing 11 texts sung according to one model (without vowel markings; see: Tyurina, 2006).
In the XI-XIV centuries. Z. r. services (or individual hymns) were sung to the saints and feasts of Dr. Russia. Services of St. Passion-bearers Princes Boris and Gleb (24 stichera, 2 canons, 3 kontakia, ikos, saddles and luminaries; the number of stichera indicates that by the 12th century there were several services to these saints), St. Theodosius of the Caves, St. Euphrosyne of Polotsk and for the consecration of St. George the Great Martyr of the church in Kyiv are preserved in notated lists of the 12th century; St. equal to ap. book. Vladimir (Vasily) Svyatoslavich, St. Leonty of Rostov, on the feast of the Intercession of the Blessed. Theotokos and the transfer of the relics of St. Nicholas of Myra in Bari - in manuscripts of the XIV century. (Seregina. 1994). Stylistics and principles of chanting original glories. texts follow the norms adopted with translated hymnography, and do not differ from the main body of chants of Z. r.
Unchanging chants
which formed the basis of various liturgical rites, primarily liturgies, vespers and matins, were not recorded with notation signs until the 16th century. (with the exception of certain hymns of the Great Lent period, for example, replacements for the cherubic song, notated since the last quarter of the 15th century). Their full texts or initial words are recorded in the Missal, the performance remarks of which (“lyudiya” - “singers”) indicate the predominance of community singing of unchanging texts. In the Service Book 14th century (GIM. Syn. No. 605) to the "singers", that is, the professional choir, at the Liturgy of St. John Chrysostom is entrusted only with "Like Cherubim" and "The Grace of the World" (L. 19, 23v.), in the Missal at the turn of the XIV and XV centuries. (Ibid. No. 601. L. 14v., 16, 26; No. 952. L. 18v., 20v., 31v.), containing a later version of the text of the time of the introduction of the Jerusalem Rule - Trisagion, “Alleluia and (together with the community) the Father and the Son and the Holy Spirit. The main reasons for the oral existence of such singing texts were probably the firm knowledge of their tunes in the communities and the steady adherence to one melodic version; in addition, the authors of the lists of liturgical books of the most ancient period were guided by Byzantium. book tradition, in which until the end. XIII - beginning. 14th century unchanging chants were also not notated.
Con. XIV - 1st floor. 15th century
Marked in the song. books by a combination of obvious signs of an ancient basis, bringing them closer to the early manuscript tradition, and new trends associated with the revival of close Byzants. and Yugoslav. contacts, with the influence of Athos culture. Most of the ancient hymnographic books of this time, the texts of which were performed by Z. r., either do not contain notation marks, or, as in antiquity, reproduce only the inscriptions of fit (for example, Oktoih chosen - RGADA. Type. No. 67, 1374; Paraclitic - Ibid. No. 81, XV century, in the appendix contains the gospel stichera and lamps, i.e. Sunday exapostilaria). Some of these books reflect the Studio type, and in its archaic version (for example, Paraklitik - RSL. Vol. No. 2, late XIV - early XV centuries), others correspond to the recently adopted Jerusalem statute (Oktoikhi - State Historical Museum. Syn. No. 199, 1436, and State Historical Museum Sunday No. 10, 1437, with features of South Slavic orthography).
An important stage in the history of Z. p. was the appearance of the notated Oktoikh-Stichirar (GIM. Miracle No. 59, 1st half of the 15th century), in which for the first time with signs of notation the stichera of the seven cycle were recorded. Their graphic edition at that time had not yet developed, but was already close to the one that would become the main one, starting with the last lists. thurs. XV century; the order of the stichera was also not fully determined: their cycles corresponding to Vespers and Matins, as well as the days of the week, did not have rubrics, individual texts were not placed in the sections where they followed. take a stable position (see illustration). Some lists contain only a part of the stichera of Oktoikh, fragmentarily notated (RNB. Kir.-Bel. No. 9/1086, 30-50s of the 15th century; see: Kagan, Ponyrko, Rozhdestvenskaya. 1980, p. 135).
In the 1st floor. 15th century the edition of the famous Irmologion began to change. Lists of this time, which have preserved many elements of notation from Irmology domong. epoch, contain features that bring them closer to the editors, which became widespread in the last. thurs. 15th century The typological features of this edition were preserved later. The search for a more adequate form of fixation of melos, which probably changed, although not fundamentally and very gradually, in the manuscripts of this transitional period was reflected in the less stable recording: in noticeable discrepancies in the non-mental graphics of chants between lists, in the variability of division into columns, in a different arrangement of accent banners with a tendency to observe text stresses, in the edition of the formulas (RSL. Trinity. No. 407; State Historical Museum. Bars. No. 1348 and Sin. No. 748, 1st half of the 15th century; see: Lozovaya. 2000). The changes also affected the texts of chants, phonetics (partial reduction of semivowels, including in the form of the removal of the banners that sound them, or, conversely, the clarification of the stem vowels) and vocabulary. The result of the search was a parallel, within half a century, existence of differing - to a much greater extent than in the early era - versions of the recording of irmos, corresponding to generally similar, but still not coinciding melodies.
Other trends are noted in the evolution of the Stihirar, the early stage of development of which, in contrast to Irmology, is characterized by the instability of the editions of the tunes, which acquire a more stable character only in the updated graphics in the 2nd half. 15th century (see: Seregina, 1994, p. 17).
A sign of the changes that took place in the tradition of Z. r. in the 1st floor. XV century, and maybe a little earlier, was the appearance of the first alphabets of singing - musical and theoretical guides. At first, they contained only a list of the main banners with their names. The earliest in terms of content, the alphabet “And all the names are a sign” (RNB. Kir.-Bel. No. 9/1086, 1st half of the 15th century) reflects the transitional stage in the understanding of signs, with which the chants of Z. r. were recorded. (“preliminary edition”, as defined by Z. M. Huseynova (1990, p. 21)). It presents a small number of banners, they are not systematized as consistently as in later manuals, the graphics of signs and formulas (chants) and their names do not fully correspond to the tradition that developed in the 2nd half. 15th century There are contradictions between the styles of banners and their names: for example, “light” are called both signs with 2 dots (light hook, light article), which became normative later, and signs with a dot (light closed article, light stick, light arrow, foot light), some of them after. will be called "gloomy". These contradictions reflect different interpretations of inscriptions in Byzantium. and early Old Russian. (signs with a dot - a high level in the scale or a jump up) and later Old Russian. (position between the relatively lower "plain" without dots and the higher "light" with 2 dots) notation systems.
Accompanying banners of a large body of texts that were not previously notated, a change and a significant degree of variability in notation in chants that previously had a relatively stable schedule, the appearance in the same period of alphabetic texts - all this testifies to the purposeful work of the masters of church singing to revise and edit the chants Z. r ., which was probably dictated by the change of the Studio Charter by Jerusalem and the need to prepare a set of chants. books that corresponded both to the changed liturgical practice and to a different level of comprehension of the connections between melos and its non-mental notation.
Last third XV - 1st half. 16th century
The period of formation and registration of the updated tradition of recording chants of Z. r., the creation of new and partial processing of previously used chants. books. At this time, as a result of what was happening in the singing. the practice of gradual crystallization and selection of formulas, as well as the development of more detailed and universal recording methods, which were accompanied by the reform of the banner dictionary, a new edition of the Z. r. and triode, Everyday. The verbal text of the chants also underwent changes during this period, ch. arr. in orthography, which reflected the influence of the South Slavic book reform (the appearance of large yuses), and in giving the full-vowel form “eram” (> and>) in all positions, since semi-vowels in ancient manuscripts were melodically voiced by various banners and could not be reduced without damage to the melody. This led to the emergence of the so-called. separate speech, or homonia.
Irmology for a long time kept the tradition. the composition of irmoses, already characteristic of the early lists of the book (XII century), however, their notation has undergone changes that reflect the emergence of a more stable graphics of formulas, their clearer, although not always consistent differentiation, and also, apparently, the ornamentation of tunes, which reduced the volume syllabic melos, which smoothed out melodic jumps and gave the chant greater smoothness and flexibility. Similar phenomena during this period are noted in the Stihirary, the recording of chants in different lists becomes more stable (Seregina. 1994, p. 17). In the triode section of the Stihirar with the last. decades of the 15th century. began to include fasting chants, which had never before been notated, first of all, rarely sounded and needed to fix the replacement of the cherubic song (see, for example: “Let all flesh be silent”, “Now the powers of heaven” - RSL. Trinity. No. 408. L. 163 rev. - 164, 2nd half of the 15th century), which had a melismatic chant in a "secretly closed" (encoded) notation, without indicating the vowel belonging. In the 1st floor. 16th century the volume of everyday hymns in the manuscripts began to increase, but their composition was unstable - in addition to the named main text of the “transfer” - “Who are the cherubs”, as well as “The Only Begotten Son”, Ps 136, a cycle of unchanging hymns of the all-night vigil, according to the Jerusalem typikon that had already been in force for a century , etc. The collection of notated everyday texts, most of which did not contain indications of the voice, made up a special cycle of the so-called. unvoiced chants, although some of them were originally vowel, they lost the corresponding designations in the manuscripts, and sometimes their vowel character. The melos of the lengthy chants that accompanied the rituals, which required a longer time to perform, differed markedly from the traditions. vowels. It was dominated not by the combinatorics of clearly outlined, easily distinguishable by ear formulas, but by the melodic type of unhurried deployment, without noticeable caesuras between textual syntagmas, the length of the lines of a wavy contour, a leveled rhythm with an elusive pulsation by ear - features that create an image of timeless sojourn (see Fig. : "Now the powers of heaven").
In the last thirds of the XV - beginning. 16th century Varieties of the famous Octoechos-Stihirar were taking shape: a short one, which included separate cycles of Sunday stichera of great vespers, and a lengthy one, with a more extensive set of stichera, the lists of which differed in the number of texts and the completeness of the liturgical cycles presented in them. The Octoechos-Stichirar contained notated cycles of stichera of the seventh circle, marked with liturgical rubrics (at vespers - on “Lord, cry”, eastern, theotokion, on the verse, “alphabet”, theotokos; at matins - on praises, eastern), including weekdays (more often theotokos ), which were usually supplemented by power antiphons (in their place in each voice or in the form of an independent section) and isolated from the sequence of voices, first notated back in the 12th century. gospel stichera (sometimes with Sunday lamps and theotokia). Introduction to the singer. Oktoikh with the rite of small vespers was perceived as early as the first decades of the 16th century. as a new phenomenon, as evidenced by the headings of manuscripts (“we create scripture as if it were new and in new okhtaiks” - RSL. Trinity. No. 411. L. 377). Early lists, unlike the unnotated Octoechos, could include only a part of the stichera (for example, only Sunday ones), and not all cycles and an incomplete set of texts (for example, 3 on “Lord, cried” with the Mother of God and 1 on the verse in the list of the RSL. Trinity No. 408). The notation of Oktoikh's stichera testifies to the fact that the manuscripts of that time recorded a well-established melodic version, which later changed slightly. Later, the non-mental notation of the chants was subjected to correction and clarification, it could reflect the slight variability of the melos, became more detailed, however, the formula structure of the melos already in this period took on the form that is well known from manuscripts of the 17th century. The chant of the Oktoikh-Stihirar, the basis of the sticherary melodic style, includes a rich fund of znamenny chants of the syllabo-neumatic type, supplemented by a small amount of melismatics (fits and faces).
Pevch. books of Z. r., previously written on parchment in the form of independent codes, each of which focused on a specific liturgical circle and / or type of chants, in the last. thirds of the 15th century, with the transition to paper, they begin to be combined into collections, a kind of anthology of chants. They could include both a complete corpus of znamenny hymns necessary for performing divine services at any time, as well as separate parts in various combinations - Irmologion, Octoechos (often its liturgical cycles - Sunday, Eastern, Mother of God, Gospel stichera - were placed in different parts of the manuscript) and A stihirarion of various lengths, more or less extended fragments of everyday life, and often elementary texts. In con. XV - beginning. 16th century in the song collections appear small collections of "repentance" (repentant verses, or tender verses; see also Art. Spiritual verses), to-rye already in the middle. 16th century were framed in an osmotic cycle, after. constantly updated with new texts. The melodies of penitential verses were based on the chants of Z. r., although they could also be combined with melodic turns characteristic of folk song lyrics. Their texts were heterogeneous - borrowed from hymns devoted to the theme of repentance, contrition for sin (troparia of repentant content, triode stichera or their fragments), compilations from individual verses of well-known hymns or non-liturgical ones, in which eschatological expectations of “judgment is terrible”, moral ideals of purity, goodness, non-possession, as well as historical events (see: Korableva. 1979; Petrova, Seryogin. 1988).
With the creation of the famous Octoechos-Stihirar, the appearance in the headlines of the singers is probably connected. alphabet of enumerations of the concept of “pillar sign” (GIM. Eparch. No. 176. L. 208 rev., last quarter of the 15th century; IRLI. Brazhn. No. 1. L. 3, middle of the 16th century; later also “ pillar singing "- RNB. Weather. No. 385. L. 164, 20s of the 17th century; see: Shabalin. 2003. S. 17, 29, 24), which comes from the gospel pillars - an indicator of Sunday readings of the Gospel in connection with the successive alternation of weekly voices. The number of alphabetic texts in the last. thurs. XV - 1st floor. 16th century increased markedly. Along with the alphabets-enumerations, “tales of a sign” were copied, musical-theoretical manuals containing the interpretation of signs, that is, a description of the relationship between them in height, the methods of their performance, indicating the direction of movement, melodic and rhythmic features, as well as an explanation of the most characteristic vowels chants (for example: RNB. Solov. No. 277/283. L. 252v. - 254v., 40s of the 16th century; see: Shabalin. 2003. P. 51-52). The method of presenting information in these manuals resembles the synopsis of the speech of the didascal (teacher), who uses all the methods of influencing students: he depicts the banner, and shows with his voice “how” it is sung, and gives a verbal commentary on the performance. The appearance of a larger number of such alphabets, apparently, indirectly testifies to the activities of the church authorities aimed at raising the level of knowledge and skill of the singers. In Novgorod, which from antiquity had, judging by the surviving manuscripts, a high level of development of singers. art, St. Gennady (Gonzov), archbishop. Novgorod and Pskov, however, critically assessed the results of modern. him the choir education and upbringing of singers, considered it necessary to create schools, which were supposed to prepare “readers and singers”, reproached the “masters” for the low quality of education (AI. 1841. T. 1. S. 144-145, 147-148, Parfentiev 1991, pp. 30, 32).
In the 2nd floor. XVI - 1st floor. 17th century
complete versions of the main singing books of the Znamenny r. are being formed, recorded in the well-established znamenny notation. The result of the improvement and detailed development of the formula dictionary Z. r. in the beginning. 17th century became independent sets of znamenny chants (“names of chants” in the “Znamenny Key” of monk Christopher from his chant. collection of 1604; see: Christopher. 1983), separated from the lists of banners, as well as collections of fit and persons, often accompanied by divorces and replenished over time. In continuation of the general trends that developed in the previous period, the composition of the singers expanded. manuscripts. As an appendix to the Irmology, in addition to the retailers (the irmos of the Triodes for the forefeast of the Nativity of Christ and the Epiphany), they began to include a section of irmos "profitable", among which were those known by the Byzants. Irmos-like lists, compiled according to the festive model (Christmas, Easter), as well as new texts for Old Russian. services (for example, the canon of St. Equal-to-April. King Olga). The cave dewdrops could also become an addition - irmoses with troparions of the 7th and 8th songs, sung "before Christmas, when the angel is lowered", i.e. during the cave performance (RNB. Q. I. No. 898. L. 67, 1573 G.). In Oktoikh, along with a complete set of stichera of Great Vespers and Matins, all the stichera of the Lesser Vespers were written in Znamenny notation, the texts of which did not coincide with the Great (Mother of God, verse); at the great vespers they added the "ammorean" stichera of the Pres. Theotokos (the cycle of Paul of the Amorites), sung in the like (Ibid.). The composition of the commemorations and znamenny hymns of the Menaine Stihirar has noticeably expanded: on feast days with a vigil, the stichera of small vespers were written out, many others. memories were replenished with lithium stichera, new texts (“other stichera”) appeared, in which researchers note special attention to historical events related to the life of the celebrated saint (Seregina. 1994, pp. 16, 196, etc.). After the canonization councils of 1547 and 1549. in line with church events led by St. Macarius, Met. Moskovsky, extensive Stihirari were created - sets of znamenny chants (some of them in several volumes), which included a significant number of memoirs of Russian. saints (GIM. Chud. No. 60; Edinoverch. No. 37; Eparch. Singer. No. 24; RGADA. F. 381. No. 17, 18, 320; RNB. Kir.-Bel. No. 586/843, 681/938 and others); included in them and services of glory. saints - equal to Cyril (Konstantin) the Philosopher, St. John of Rila, St. Savva I, St. Simeon Myrrh-streaming, cor. St. Milutin (Stefan Uros II) and St. Arseny I, archbishop. Serbian, mts. Paraskeva, mch. George New. The full Stichirary was sometimes given an additional name - “The Devil's Eye” (GIM. Miracle No. 60; Syn. Singer No. 1150). In connection with the growth of Stichirar at the turn of the 16th and 17th centuries. independent books emerged from its composition. The first - notated services of the lord, the Mother of God holidays and great saints, called "Holidays", and the 2nd - services of medium and small holidays, sometimes called "Trezvony" in later lists. Some Stikhirari and Trezvons were composed almost exclusively from the chants of Rus. and glory. saints (RNB. Q. I. No. 238, beginning of the 17th century; see: Seregina. 1994. P. 20-28) and served as an important addition to the normative lists of the Stihirar, based mainly on the memories of the Byzants. Monthly words (see illustration: Stichera of St. Prince Alexander Nevsky).
In the 2nd floor. XVI - beginning. 17th century a lengthy edition of the Ordinance is being formed: znamenny notation records in full the chants of the all-night vigil and the liturgy, the detailed sequences of the chants of the funeral rites, individual chants of the prayer service, weddings, and some other rites. Along with the unchanging hymns, after a long break in the manuscripts, a new tradition of notated recording of psalmody is increasingly found - selected verses of kathismas at matins, an indication of the chanter. the performance of which in an ordinary (“real”) voice was preserved in the earliest lists of the Jerusalem Charter (GIM. Sin. No. 329. L. 18 rev., last quarter of the 14th century; see: Korotkikh. 2001; Zhivaeva. 2003).
In the 2nd floor. 16th century Old Russian masters Z. r. based on a deep knowledge of tradition, they begin to create original versions of the chant of liturgical texts. Often their activity remains anonymous, such versions are supplied with remarks “in chant”, “foreign banner”, “in translation”, etc. Famous chanters appear among them, references to the creations of which are recorded in the chant. manuscripts from con. 16th century Variants of the chant of liturgical texts, although they remained in line with the culture of znamenny chant, provoked the beginning of a tough controversy, which was reflected, in particular, in the Valaam Conversation. Its compiler was very critical of the works of such "great singers", believing that "there was no evidence of more than one translation of them from heaven, and there will not be," and calling on the authorities to "fasten one translation" (see: Moiseeva. 1958. S. 176). The names of some experts Z. r. and creators of hymns are associated with the Novgorod chants. school, to-ruyu, as they suggest, no later than the 30-40s. 16th century headed by Savva Rogov (see: Parfentiev, 2005, p. 23). The chanters came out of it, leaving a noticeable mark on Old Russian. singing 2nd floor. XVI-XVII centuries, some of them became prominent figures of church culture, representing the singer. schools of Moscow and Salt Vychegodskaya: brother of Savva Rogov, Met. Rostov Varlaam, Fr. Theodore Khristianin, a student of Stefan Golysh (who studied at Savva's school), archim. Monastery of the Nativity Virgin Mary in Vladimir Isaiah (Lukoshko). About these "old masters" and their students, the compiler of the musical-theoretical guide "The Legend of the Zarembas" speaks with admiration, noting that they sang "kakiznik and similitude by heart", "they knew the agreement and the banner in a different way, sang and laid the banner by heart" (State Historical Museum Synonym chant No. 219. L. 376v.- 377). The headmaster, later the headmaster of the Trinity-Sergius Monastery, Loggin (Shishelov), nicknamed the Cow, also created his own versions of some znamenny chants, who, according to the Life of St. Dionysius (Zobninovsky), “a gift from God more than human nature” (see: Parfentiev. 1991. pp. 106-107; He. 2005. pp. 139-149; Parfentiev. 1997. pp. 172-180) (see ill.: The inscription and the beginning of the slavnik of the Week of the Cross).
At the turn of the XVI and XVII centuries. along with indications of anonymous, local monastic (Trinity, Kirillov, Chudovsky) and nominal translations of Z. chants, related to both the annual and daily cycle, remarks appear in the manuscripts, meaning various melodic styles - “greater chant”, “greater banner” (in turn, they can have a nominal or local affiliation), as well as “smaller chant”. The big chant is a znamenny tradition of melismatics, which since ancient times has been characteristic of certain types of chants, for example. gospel stichera, but to con. 16th century translated by masters of singing. art from a "secretly closed" form to an adjustable one. Recording chants in a divorce with a fractional banner, which required a deep knowledge of the rich formulaic vocabulary of Z. r., was sometimes marked in the lists with the name of one or another famous chanter; determination of the degree of the author's participation in divorce records, which consists in the peculiarities of the interpretation of individual banners and formulas, in each case needs a special study (see: Parfent'eva. 1997; Tyurina. 2006; She. 2008). Divorce of "secretly closed" styles could reflect both the author's reading of signs and graphic formulas, and local traditions transmitted orally, the subtle differences of which needed to be fixed with the help of detailed clarifying notation. In contrast to the “greater”, “lesser” was usually called a chant, corresponding in style to the pillars of the banner edition. The emergence of the "smaller" chant of liturgical texts of different types did not occur simultaneously. Thus, the dogmatists of the pillar Z. p. in the edition of the last third of the 15th century acquired the designation "lesser" after in the XVII century. their new, "big" version was recorded; their "smaller" chant was stylistically no different from the traditional ones. pillar melos the stichera of Oktoikh. Otherwise, the melismatic and syllabo-neumatic versions of the gospel stichera correlate in time: the “big” is primary, it arose several times. centuries earlier than the "smaller" one, created on the basis of the formula dictionary of Oktoikh's stichera in con. 16th century The development of Znamenny melismatics, along with other melismatic chants. traditions (travel chant and demestvenny singing), obviously associated with the influence of the Greek. calophonic singing and cultivating ornamental inserts in the text of chants, sung in various syllables (“no-na”, “ho-bu”, “he-bu-ve”, etc.), caused a number of polemical speeches. Anonymous, who compiled in the 2nd half. 1600s message ssmch. Patriarch Hermogenes about the inclusion of the chant “khabuva” (“ine khebuva”) in pillar singing, wrote that “that fita khabuva ... according to reason in the word repairs a split” and that the Greeks that were then in Russia. hierarchs denied the presence of such words in Greek. language, books of "conarchist" and chanters. He objected not to the chant of the fita itself, but to its subtext - the insertion of meaningless syllables into the text of the chants of the Stihirar, distorting and obscuring its meaning (see: Epistle to Hierarch Patriarch Hermogenes. 1973, pp. 59-65). Shmch. Hermogenes, during his Patriarchate, took care of the serviceability of the service, including objecting to polyphony, the spread of which was due to the overgrown singing component of the rites (“A punishing message ... on the correction of church singing”; see: Preobrazhensky, 1904, p. 8-10).
The appearance of various variants of the chant of liturgical texts, special melodic versions of chants that differed from the traditional one, was soon followed by a reform of the notation of Z. r. After the registration of the updated notation system in the 2nd floor. 15th century small changes were made to the recording of chants, the process of editing the recording of znamenny chants throughout the 16th century. was constant, but they were associated mainly with the refinement of the graphic fixation of traditions. melos. Significant departures from tradition. editions of chants, the creation of new melodic versions of texts, the transformation of the formula system, the multiplication of variants required new ways of recording them adequately in chant. manuscripts. The search for means that made it possible to more accurately display the features of melodies and the metabola of the scale (transferring it to other steps) in non-mental graphics, in Old Russian. Znamenny culture led to the creation of a complex of special signs that complemented and detailed the content of the banners and melodic formulas from the v. sp. performance techniques, rhythm and pitch, - a system of cinnabar litters (“anonymous consonant words”): originally, in the 1st floor. XVII century, “indicative” (- “borzo”, - “quietly”, - “soon”, - “exactly”, - “highly”, - “lowly”, etc. - see: RNB. Solov. No. 621/660. Sheet 162v., later - RNB. Elm. O. No. 80. Sheet 541v.-542; Huseynova. 1996. P. 493-494), and to the middle. XVII century - and "power" (RNB. O. XVII. No. 19. L. 60-89 rev.; Shabalin. 2003. S. 156-158, 162-165, 170-172). The introduction of “powerful” marks, necessary in order to “even if the banner, by agreement of the voice of each time, truly sing, and untruely sing in the singing of denunciation” (RNB. O. XVII. No. 19. L. 86 rev.), attributed in the alphabets to the Novgorodian Ivan Shaydur and a certain Leonty (Ibid. L. 64v.), radically changed the understanding of the sound space of Z. r., turning it from an undivided precious “substance” - “divine singing” perceived “anciently ... the Most Holy and Life-Giving Spirit by inspiration” - into a scale ("ladder") of neutral in meaning "consonant words", "degrees", and banners - into a number of discrete units with a precisely defined, but noticeably lost dependence on each other, altitude position. The indivisible sound "substance" began to be described, divided and denoted with the help of separate "consonant words" or "accords" (Lozovaya, 2002, pp. 43-45). This innovation brought the notation of znamenny chants, designed to record “on earth the divine singing by human lips” sung (RNB. O. XVII. No. 19. L. 79 rev.), to a notolinear system, content-indefinite, universal elements of which are adapted for recording any earthly "musicia" in all its varieties.
In con. 16th century special singers appeared in the Western Russian metropolis. collections, so-called. Irmologions, which contained a large number of chants Z. r. from Irmologiya, Oktoikh, Stihirar of the mine and triode, Simple and Lenten everyday life in South Russian. editions; they were translations of the znamenny unmarked lists of this book, similar to the Greek. Anthologies, into the notolinear system (the earliest - Suprasl Irmologion - NBUV IR. F. 1. No. 5391, 1598-1601). Last notolinear Irmologions were brought by people from South Russian. lands in Great Russian. mon-ri - Valdai Svyatoozersky in honor of the Iberian Icon of the Mother of God, New Jerusalem in honor of the Resurrection of the Lord, where in the 2nd half. 17th century lists were made from them that preserved South Russian. design features (see: Ignatieva, 2001).
2nd floor 17th century
in the history of Z. r. marked by coexistence, interaction, and sometimes confrontation of different directions - traditional and new, national, Greek-Eastern and Western European. The change in ideas required the professionals to chant. cases of special justification, theological understanding of new trends. Approximately from Ser. 17th century musical-theoretical manuals appeared, significantly different from the previous practical manuals on Znamenny singing. They include lengthy discussions about the importance of studying chants. letters (“literate teaching, vems, as if it were God’s work” - RNL. O. XVII. No. 19. L. 71), the activity of the inventor of new designations - “consonant words” - is considered on a par with the activities of the followers of “divine John of Damascus” , the number of consonants (i.e., steps of the scale) symbolically correlates with the 7th day, the week and the "seventh age" (Ibid. L. 76). The “literate teaching” of the chanters is elevated to the rank of virtue and is compared with the teaching of the book, the assimilation of the alphabet (“is it not with small words that many divine books are written, so with these seven words, all divine singing is affirmed” - Ibid. L. 84-84v. ).
The resolution of purely professional problems of fixing chants Z. r. (introducing clarifications into the non-mental record, introducing "power" marks) was part of the mainstream of the general public. measures aimed at correcting errors in liturgical books and bringing them into line with modern. them Greek. Book right con. 40s - 1st floor. 60s 17th century had a great influence on the development of liturgical poetry, affecting not only liturgical texts, but also melos. The need for reform was felt more and more acutely (see, for example, “The Tale of Various Heresies” by monk Euphrosynus), as a result, 2 “commissions” were formed to correct notated books (see: Parfentiev. 1986. P. 128-139 ; He. 1991. S. 188-210). Editing translations, bringing verbal texts to singers. books (homonia) in agreement with non-notated books (the so-called translation “into speech” - see True Speech), the desire for a unified interpretation of banners and formulas was reflected in the recording of chants Z. p. in the song books 2nd half. 17th century In 1666, in the interval between the work of 2 "commissions" of spravochnikov, the elder of the Zvenigorod Savvin Storozhevsky monastery, Alexander Mezenets, compiled a singing collection of Z. p. with the true-verbal edition of Irmologiya, Oktoikh and Obikhod, equipped with cinnabar marks (GIM. Syn. singer. No. 728; see ill.).
Musical-theoretical results of singing. the reforms were recorded in the treatise "Notice of Concordant Marks", compiled by Alexander Mezenets "with others", as stated in the final verses. A group of spravschiki and connoisseurs, "good leading the znamenny singing and knowing that banner of the face and their rozvodka and chants of Moscow, that of Khristianinov, and Usolsky, and other masters" ( Alexander Mezenets and others. 1996. P. 118), who worked at the Moscow Printing House in 1669-1670, summed up the work, which was carried out by their predecessors, as well as “the banner singing of little skillful masters” “in all cities and monasteries and in villages” (There same), offering true-verbal Irmology Z. r. and a new guide for the unification of chant. performance (“if only all singing was ... arranged equally and in a good voice” - Ibid., p. 117). The innovations of the singing theory of Z. r. steel: systematization of banners according to the types of melodic movement; introduction of black signs
From the texts accompanying the practical sections of "Notices ...", it becomes clear that in addition to unifying the record, the masters were faced with the task of improving the traditions. notation of chants that can withstand more radical changes in this area. The right, which caused an influx of learned Kyiv scribes to Muscovy, led to a reorientation of part of the literate Moscow society towards the traditions and norms of Western European culture, which was also reflected in musical and theoretical thought. The negative attitude towards the arrogant "from the newest song-makers" who wished to "transform Old Slavonic Russian ... singing into organ-vowel singing" was clearly expressed by the elder Alexander Mezenets, a highly educated theorist of Z. R., who belonged to the traditions. chanter direction: “We, the Great Russians, who directly lead this banner secretly lead the voices and in it many different persons and their divisions, measure and strength and all fraction and subtlety, there is no need for this musical banner” (Ibid., p. 122). However, despite the protest against linear notation, the influence of Western Europe is also noticeable in the "Notice ...". music theory, in particular in the presentation of the system of marks. Instead of the earlier 7-step (GN - N - S - M - P - V - GV; “there are no more than seven accords in all osmi glasakh” - RNB. O. XVII. No. 19. L. 60 ob. - 61) , and then, apparently, in connection with the development of polyphony, an 8-step octave (“The legend is known about osmost litters”: “Except for these osmi degrees in any singing, no other agreement is found” - RSL. F. 379. No. 1, last quarter of the 17th century; see: Shabalin, 2003, p. 181) and even 9-step (Ibid., p. 180) tetrachord scales with functional identity of steps at a distance of a quart (“In high accords in singing, these soles: the dot comes to lead, to think comes to the verb, ours comes to rest "- RNL. O. XVII. No. 19. L. 64-64v.), Elder Alexander writes out a 12-step scale, which, when translated into a system of signs, is divided them into trichords (“because all singing rises and falls with three natural voices to the second and ten degrees, if you can and more” - Alexander Mezenets and others. 1996, p. 119). The structure given by him is a direct analogue of the solmization scale, consisting of hexachords and associated with the name of Guido Aretinsky, and the closest predecessor of the same scale in the “Key of Understanding” by archim. Tikhon Makarievsky, compiled presumably in the 70s. 17th century, shortly after the Notice... (see: Shabalin, 2003, pp. 315, 317; Bulanin, Romodanovskaya. 2004. S. 31-42). Archim. Tikhon was a musician. a theoretician of a new direction, the creator of a manual on the notolinear system of notation, which he “wrote for the sake of those who wish to know the different signs of singing and the secretly different faces with the revelation of marks and degrees of the banner of everything - by notes” (see: Shabalin. 2003. p. 314). Addressing readers, Archim. Tikhon, possibly responding to the attack of Alexander Mezenets. In characteristic self-deprecating expressions, he speaks of his adherence to tradition (“as a dog collects grains falling under the meal of his masters, so also az, ancient songwriters - from their translations - having gathered this together” - Ibid), claims that in his “Key ...” there is nothing that “is written here sternly or pervertedly,” and asks, before condemnation, to delve into his words. At the same time, among the singers. books appear similar to the "Key ..." archim. Tikhon's double banners, in which chants are written in 2 ways - in znamenny notation and musical notation, the so-called. square Kievan notation (see illustration: Slavnik on praises on the Entry into the Church of the Most Holy Theotokos). The surviving double banner lists represent all types of liturgical chants. books.
In the polemical writings of the middle - 2nd floor. 17th century the problems of meaningful perception of the texts of chants were touched upon - the transition from homonia to vernacular singing, competent and justified breakdown into lines of texts intended for singing that had departed from traditions. chants of author's and local translations, obscuring the meaning of melismatic anenaeks (“some blasphemous nonsense in Znamenny singing, like “Ainani”, “Tainani”) and, in general, the problem of the predominance of melos over the word in Znamenny chants, generated by the influence of Greek. calophony (“they spoiled the sacred speeches in the Holy Scriptures, in order to make them powerfully set the kokiza” - “The Tale of Various Heresies”; “They attach themselves to fit long-drawn-out singing by their self-made, for the sake of vanity, wanting to receive fame that the singer” - “The spiritual grove ”; see: Euphrosyn. 1973. S. 72-73; [Anonymous]. 1973. S. 91), the admissibility of removing fit and other melismatic inserts for the sake of the correct perception of words (“And the banner on which speech will come a lot and inescapably to sing everything: and put it off unscrupulously, only don’t put off speech”; “I sing according to the seal, and I won’t destroy those hooks, I won’t sing anything else”; see: Avvakum, 1973, pp. 88, 90).
Together with the creation of a true-verbal edition of the chants of Z. r. the composition of the notated singers also changed. books. Corrected "for speech" Irmologiy in a brief edition retained the tradition. a set of irmos, known from the ancient period, however, from the 70s. 17th century in a new, lengthy edition, it contained more than 1 thousand texts. Significant changes were made to the composition of the Znamenny Oktoech, where the texts of the stichera at the small vespers were completely updated. Similar replacements also affected the stichera at the small vespers of the Znamenny Feasts of the mobile cycle (see: Parfentiev, 1986, p. 138-139; Kazantseva, 1998, p. 126). Stihirar of the full composition, formed by the 1st half - ser. 17th century and divided in some lists into several. volumes, after transformed into collections of stichera of unstable composition - for selected holidays, often with a predominance of Russian. memories (Trezvony). In con. 17th century collections of chants are distributed, including different melodic versions of texts, mainly from Holidays and Everyday life. In the XVIII century. chanter books Z. r. are represented by 2 main types: 1) belonging to the synodal tradition, notolinear lists of Feasts, Trezvonov and Obikhod, less often Irmologiya and Oktoikh (chap. arr. beginning of the 18th century), as a rule, as part of chants. collections; 2) hook manuscripts of traditions. singing books and collections, created in various Old Believer centers before the beginning. 20th century (Khomov, or Naon, among the Bespopovtsy and with the corrected "Josephian" text among the Old Believers of priestly consent). Conservation Z. r. in a church chanter The repertoire was facilitated by musical notation editions of liturgical chants. books, carried out by the Synodal printing house since 1772. In 1884-1885. at the expense of A. I. Morozov, the Society of Lovers of Ancient Literature published the “Circle of Church Ancient Znamenny Singing” (at 6 hours; the so-called Morozov books). After 1905, the publication of books of Znamenny Singing and teaching aids began in the Znamenny Singing publishing house under the direction of. L. F. Kalashnikova (Kyiv, Moscow; Kalashnikov books), reprints to-rykh up to the present. time are used by singers of priestly consent, as well as in the printing house at the Preobrazhensky almshouse in Moscow (books of Pomor consent), also reprinted in Riga under the arm. S. P. Pichugin. Awakened since the 90s. 20th century the interest of church singers in Old Russian. chanter culture was reflected in the editions of collections of chants and practical aids for mastering the znamenny notation and the skills of performing chants Z. p. (Singing Octoechos of the 18th century, notated (znamenny and five-line notations) / Intro. Art.: E. V. Pletneva. SPb., 1999; A guide to the study of the church. singing and reading / Comp.: E. A. Grigoriev. Riga, 2001 2; Self-voiced and sung lines of pillar chant: [Textbook. allowance] / Comp.: G. B. Pechenkin. M., 2005; Liturgy of St. John Chrysostom we know. chant: post-reform ed. / Comp.: M. Makarovskaya; intro. Art.: hierodiac. Pavel [Korotkikh]. M., 2005 and others).
Source: Preobrazhensky A.V. The question of unanimous singing in the Russian Church of the 17th century. SPb., 1904. S. 8-10. (PDPI; 155); Jacobson R. Praef. Fragmenta Chiliandarica Palaeoslavica. Copenhagen, 1957. Tl. B: Hirmologium: Cod Chil. 308 (MMB. Ser. Principale; 5b); Assumption collection of the XII-XIII centuries. M., 1971; Avvakum, archpriest. Message to Boris and other servants of the Most High God // Muz. Aesthetics of Russia in the XI-XVIII centuries. / Comp., trans. and intro. Art.: A. I. Rogov. M., 1973. S. 90; he is. Epistle by the servants of Christ // Ibid. S. 88; [Anonymous, 1683]. Spiritual furrow // Ibid. S. 91; Euphrosynus, Mon. The legend of various heresies // Ibid. pp. 72-73; Message ssmch. to Patriarch Hermogenes about abuse in church singing "Khabuva" // Ibid. pp. 59-65; Der altrussische Kondakar"/ Hrsg. v. A. Dostal und H. Rothe unter Mitarb. v. E. Trapp. Giessen, 1976-1980. Bd. 8. T. 2-5; Christopher. Znamenny key. 1604 / Pub. , trans.: M. V. Brazhnikov and G. A. Nikishov, foreword, commentary, researcher: G. A. Nikishov, M., 1983. (PRMI; 9); Alexander Mezenets and others. Notice ... to those wishing to learn singing (1670) / Introduction, publ. and trans., ist. researcher: N. P. Parfentiev; comments and research., deciphering the familiar. notations: Z. M. Huseynova. Chelyabinsk, 1996; The Tale of Bygone Years / Prepared. text, trans., art. and comments: D. S. Likhachev; Ed.: V. P. Adrianov-Peretz. SPb., 1999; Typographic charter: Charter with Kondakar con. XI - beg. 12th century / Ed. B. A. Uspensky. M., 2006.
Lit .: Moiseeva G.N. The Valaam conversation is a monument to Russian. journalism ser. 16th century M.; L., 1958; Velimirovi ć M. Byzantine Elements in Early Slavic Chant: The Hirmologium. Pars Principalis et Pars Suppletoria. Copenhagen, 1960. (MMB. Subs.; 4); Lazarevič St. V. An Unknown Early Slavic Modal Signature // Bsl. 1964. T. 25. P. 93-108; Floros K. Universale Neumenkunde. Kassel, 1970. 3 Bde; Strunk O. Two Chilandary Choir Books // Essays on Music in the Byzantine World. N. Y., 1977. P. 220-230; HannickChr. Aux origins de la version slave de l "hirmologion // Fundamental Problems of Early Slavic Music and Poetry. Copenhagen, 1978. (MMB. Subs .; 6); Korableva K. Yu. Penitential verses as a genre of ancient Russian singing art: Kand Dissertation, Moscow, 1979; Kagan M. D., Ponyrko N. V., Rozhdestvenskaya M. V. Description of collections of the XV century. scribe Euphrosyn // TODRL. 1980. T. 35. S. 3-300; Muryanov M.F. On the Old Slavonic "sparks" and its derivatives // VYa. 1981. No. 2. S. 115-123; Shenker A.M. Old Church Slavonic "sparks" (close) and its derivatives // Ibid. pp. 110-114; Yanin V. L. Novgorod scriptorium of the XI-XII centuries: Lazarev Monastery // AE for 1981. M., 1982. S. 52-63; Parfentiev N.P. On the activities of commissions for the correction of Old Russian. chanter books in the 17th century. // AE for 1984. M., 1986. S. 128-139; he is. Old Russian singer. art in the spiritual culture of the Russian state of the XVI-XVII centuries: Schools. centers. Masters. Sverdlovsk, 1991; he is. Outstanding Russian. musicians of the 16th-17th centuries: fav. scientific Art. Chelyabinsk, 2005; Lozovaya I.E. Original features of the Znamenny chant: Cand. dis. K., 1987; she is. “Word from words weaves sweet singing” // GDRL. 1989. Sat. 2. S. 383-422; she is. Old Russian. notated Paraclitic con. XII - beginning. XIII century: Prev. notes for the study of singing. books // GDRL. 1993 Sat. 6. Part 2. S. 407-432; she is. Byzantine prototypes of Old Russian. chanter terminology // Keldyshevsky Sat.: Muz.-ist. Thu. in memory of Yu. V. Keldysh, 1997. M., 1999. S. 62-72; she is. Old Russian. notated Paraclete in the circle of Irmologii XII - 1st half. XV century: Melodic variants and versions in the chant of the canons // Gimnologiya. 2000. Issue. 1. S. 217-239; she is. Images and symbols of ancient Russian. chanter art: Canons of melopei and "Shestodnev" // From the history of Russian. music culture: In memory of A. I. Kandinsky. M., 2002. S. 31-47. (Scientific tr. MGK; Sat. 35); Petrova L. A., Seregina N. S., comp. Early Russian. lyric: Repertoire reference book. music-poetic. texts of the XV-XVII centuries. L., 1988; Huseynova Z. M. Guidelines for the theory of signs. 15th century singing (sources and editions) // Old Russian. chanter culture and literacy: Sat. scientific tr. L., 1990. S. 20-46. (Problems of musicology; 4); she is. "Notice ... to those who demand to learn to sing" - a monument to Russian. medieval music-theor. thoughts: Comment. and research. // Alexander Mezenets and others. Announcement ... about the most concordant litters requiring learning to sing. Chelyabinsk, 1996, pp. 493-494; Seregina N. S. Chants Rus. saints: According to the materials of the handbook. chanter books of the 11th-19th centuries "Monthly Stihirar". SPb., 1994; Shekhovtsova IP Hymn and Sermon: Two Traditions in Byzantium. hymnographic art // Music. orthodox culture. of the world: Traditions, theory, practice. M., 1994. S. 8-34; Shkolnik M. G. Problems of Reconstruction Znam. chant of the XII-XVII centuries: (Based on the material of the Byzantine and Old Russian Irmology): Ph.D. dis. M., 1996; eadem (Schkolnik M.). 4 Principles of the Development of the 11th-17th Cent. Significant Notation // Musica Antiqua Europae Orientalis. Acta Musicologica, XI. Bydgoszcz, 1997. P. 241-253; eadem. Reconstructing the Znamenny Chant of the 12th-17th Cent.: Problems and Possibilities // Palaeobyzantine Notations, II: Acta of the Congr. Held at Hernen Castle (The Netherlands) in Oct. 1996 / Ed. Chr. Troelsgard, G. Wolfram. Hernen, 1999, pp. 63-70; Schkolnik I. Stichera-Automela in Byzantine and Slavonic Sources of the Late 11th - Late 18th Cent. // Ibid. P. 81-97; Parfentieva N.V. Creativity of the Old Russian masters. chanter art of the XVI-XVII centuries. Chelyabinsk, 1997. S. 172-180; Gruzintseva N.V. Triode Stihirar in Russian. chanter practice of the XII-XVII centuries. // Glory days. writing and culture: Mat-ly Vseros. scientific conf. Vladivostok, 1998, part 1, pp. 112-120; Kazantseva M. G. Evolution of the book. Irmology in singing practice Dr. Russia (XII-XVII centuries) // Ibid. pp. 121-128; Stolyarova L.V. Old Russian. inscriptions of the XI-XIV centuries. on parchment codices. M., 1998. S. 197-199; Zabolotnaya N.V. Church chorister. manuscripts dr. Russia XI-XIV centuries: The main types of books in the historical-functional aspect: Issled. M., 2001; Ignatieva A. A. Singing manuscripts from the collection of the New Jerusalem Monastery (State Historical Museum, Synodal Singing Collection) // EzhBK. 2001. S. 428-437; Korotkikh D. Stihirar Logina Shishelova // Ibid. pp. 405-411; Zhivaeva O. On the tradition of performing kathismas in the Russian Church // Gymnology. 2003. Issue. 3. S. 152-153; Zakharyina N. B. Russian liturgical singers. books of the 18th-19th centuries: Synodal tradition. St. Petersburg, 2003; Lifshits A. L. On the dating of the Stihirar from the library of the Trinity-Sergius Lavra // Chrysograph: Sat. Art. to the anniversary of G. Z. Bykova. M., 2003. S. 96-101; Shabalin D.S. Singing ABCs Dr. Rus: Texts. Krasnodar, 2003; Bulanin D. M., Romodanovskaya E. K. Tikhon Makarievsky // SKKDR. 2004. Issue. 3. Part 4. S. 31-42; Ramazanova N.V. The Moscow kingdom in the church choir. art of the XVI-XVII centuries. St. Petersburg, 2004; Tyurina O.V. Gospel Stichera: A New Look at the History. the path of development of the cycle and the ratio of editions // "I'm going to a path unknown to me ...": In memory of E. Filippova. M., 2006. S. 53-61. (Scientific tr. MGK; Sat. 55); she is. Cycle of stichera of the Gospels: Stylistic editions according to the manuscripts of the end. XV - ser. 17th century // Hymnology. 2008. Issue. 5: Oral and written transmission of church choristers. traditions: East - Russia - West. pp. 171-176; Ukhanova E.V. The most ancient Russian. redaction of the Studian statute: the origin and features of worship according to the Typographic list // Typographic statute. M., 2006. S. 239-253; Pozhidaeva G. A. Singing traditions Dr. Rus: Essays on theory and style. M., 2007; Smilyanskaya E. B., Denisov N. G. Old Believers of Bessarabia: Books and Singing Culture. M., 2007; Evdokimova A. A. Musical Greek. graffiti from the church of St. Sophia in Kyiv // ADSV. 2008. Issue. 38. S. 185-195; Shvets T. V. Azmatik of the Annunciation kondakar // Greco-Russian singers. parallels: To the 100th anniversary of the Athos expedition of SV Smolensky. M.; SPb., 2008. S. 100-132. See also lit. in Art. Church singing in the volume "Russian Orthodox Church" PE.
I. E. Lozovaya
HOOKS (banners) - signs of Russian church non-linear musical notation. They originate from the early Byzantine notation. Each hook represents 1-3 or more tones. There are three types of fixation of melodies: hook proper, singing (see singing), and fitting (see fitting). In the 17th century to indicate the pitch of the sound, cinnabar marks began to be placed above the hooks. At the same time, in order to be able to distinguish the tonality in one-color recording (printing), ink signs were invented. Hooks are still traditionally used by the Old Believers, and in the Russian Orthodox Church fell out of use in the 17-18 centuries. simultaneously with the transition from znamenny singing to partes and five-line notation.
The basic principles of liturgical singing were outlined already in the first centuries of Christianity. Initially based on Greek musical modes, it subsequently moved more and more away from secular music, acquiring features peculiar only to it. The Christian Church, following the path of high spirituality and asceticism, abandoned the use of instrumental music, leaving an instrument created by the Creator to glorify the Creator: the human voice. Even at the dawn of Christianity, St. Clement of Alexandria called for the expulsion from church singing of chromatic melodies used in secular music, which are necessary in expressing human emotions. The scale of znamenny chants is formed by the sequence of the main steps of the mode, hence the severity, grandeur and impassivity of the melody.
The Orthodox tradition distinguishes between the concepts of "singing" and "music". Such an attitude was adopted by the Sixth Ecumenical Council at the end of the 7th century, and subsequently took root in the Russian Orthodox consciousness. This distinction is based on a clear understanding of the fundamentally different tasks of music and singing: music is called upon to deliver aesthetic pleasure, the goal of liturgical singing is to elevate the mind to God.
Famous Christian saints were aware of the need for singing in the church and took every possible care of its development and organization. Ignatius the God-bearer, Methodius of Patara, Ephraim the Syrian, Basil the Great, John Chrysostom and many other famous theologians and saints of their time left a great legacy as composers and hymnographers, organizers of church choirs, founders of antiphonal singing. Many of their works are aimed at clarifying the view of the church on liturgical singing, at clarifying its tasks.
Through the labors of many great ascetics, that image of church singing was gradually looming, which most corresponded to the spirit of the truth of Orthodoxy. In the middle of the VIII century. The Monk John of Damascus finally formed the system of homophony - the distribution of the entire range of church hymns into eight groups, eight singing tones. The number eight for Christians is very symbolic - it symbolizes the future, endless age. Each voice has its own special mood, sound, and melodic turns. They sound different shades of the spiritual states of a person: deep repentance, tenderness or victorious triumph. Sunday troparia, stichera, canons, written at different times by different songwriters, and to a large extent by John himself, were collected by him and brought into a coherent, ordered system. This meeting was called "Oktay" - according to the number of voices ("octa" - eight).
To carry out such a huge work, one had to have a truly unique talent for singing and poetry, a brilliant ability to systematize. It was these qualities that John of Damascus, the first nobleman of the Caliph of Damascus, deeply and comprehensively educated and a believer, possessed. Retiring from the court, John took monastic vows in the monastery of Saint Sava, where he completely dedicated his life to serving God in songwriting. He wrote an amazing service for Holy Pascha, 64 canons, many stichera, and compiled by Oktay. Having included in it, as has already been said, the best works of his predecessors in homophonous creativity and supplementing what was missing with his own creations, St. ) were a model for singing the following stichera and troparia. Oktay quickly became widespread in the liturgical practice of the Eastern Church, and to this day serves as the basis for holding Orthodox services, as well as a guide for the study of osmosis.
In Russia, liturgical singing began to develop along with the adoption of Christianity and the construction of the first churches, as well as the translation of liturgical books. Greek tunes took root in their own way on the Slavic land - they acquired great smoothness and melodiousness. Russian chanters often translated Damascene's tunes into Russian musical language, as it were, preserving the main contours. In Russia, church tunes have long been exceptionally soft and smooth.
Znamenny singing in Russia sounded not only in the church, but also at home, the singing culture was widespread and loved. The handwritten hook book existed in all segments of the population - from the grand ducal and boyar environment to the last slave. Grand dukes sang along the hooks, middle and small service people in the cities, ordinary peasants, indentured workers and serfs sang, as evidenced by the chronicles.
Znamenny singing did not just take root on Russian soil: it was enriched with many new chants written by Russian chanters. It was in Russia that red (cinnabar) marks were introduced, accurately indicating the pitch of each banner. From the middle of the 15th century, the first Znamenny alphabets began to appear. Many schools of Znamenny singing appeared, the singing tradition was passed down from teacher to student, from one generation to another.
The recording of the Znamenny chant melody is carried out with the help of special signs - banners or hooks. Hence the name of the singing: Znamenny or Kryukovoe. Each banner carries information about the number of sounds, their duration and performance features. For a competent singer, the very design of the hook in combination with the name is an expression of the essence and an indication of how it should be performed: “arrows” and “darlings” striving upwards, static “stations” - light, gloomy, simple; the soft outlines of the “comma” do not allow it to be performed with amplification of the sound, and the energetic swing of the “hook”, on the contrary, dictates the stress. Black hook lines with red markings are transformed by the singer's voice into an amazing melody that emphasizes the words of the chant and enhances its effect on the soul of the worshiper (in liturgical singing, the word is primary, and the melody is secondary). That is why in ancient times the words "prayer" and "singing" often had the same meaning.
In addition to the eight voices of singing, various “chants” are also distinguished: demestvenny, travel, Irgiz, Kyiv, Bulgarian. "Way" and "demestvo" are stylistic varieties of znamenny singing, which give names to chants: big and small demestvenny, way, big way. There is a special notation for recording chants of local chant, its banners differ significantly from ordinary hooks. The names of the other chants - "chants", as they wrote in the old days - most often come from the geographical name of the area or monastery where this chant was written and performed. In addition to various "chants" there is also an infinite number of "chants" or "chants" - variants of the performance of the same chants, which in each parish or locality are performed a little differently. The chant is very rarely recorded with banners, in most cases it exists in the form of an oral tradition and is transmitted from one generation of chanters to another.
In the ancient Russian liturgical tradition, the voices of the singers are not divided into different parts in polyphony, but merge together, creating a prayer "with one mouth and one heart." That is why Znamenny singing is characterized by a special prayerful mood, fundamentality and impartiality. The unison performance of hymns is the most important principle of ancient liturgical singing, which eloquently expresses unity, Christian humility and love.
Historical events in Russia in the second half of the XVII century. endangered the existence of ancient liturgical singing: during this period, the reforms of Patriarch Nikon were carried out, which entailed the tragedy of a church schism. The Italian partes became much closer in spirit and content to the post-reform church. The modest, noble voice of the Znamenny chant continued to sound only among the persecuted adherents of ancient Orthodoxy, who did not at all accept Nikon's novelties.
The persecution of the old faith continued for almost three centuries, now weakening a little, then resuming with new cruelty. The Old Believer sketes and prayer rooms, which were also centers of spiritual education, from time to time were ruined, the Old Believers themselves were subjected to all sorts of persecution and infringement. Old books, including singing ones, were set on fire. The Old Believers were forbidden to establish schools and colleges. In order to preserve their faith, spiritual and cultural values, a lot had to be done secretly from the authorities, in the deep underground. Thus, there was more than one singing school: ruined in one locality, it often arose in another, and continued to operate, passing on invaluable knowledge.
At the end of the 19th and beginning of the 20th centuries. pressure from the authorities and the dominant church eased a little. The potential, accumulated not years - centuries, splashed out with colossal force. Public performances in the halls of the St. Petersburg and Moscow Conservatories of the famous Morozov Choir, created by A.I. Morozov at the Bogorodsko-Glukhovskaya manufactory. Under the brotherhood of the Honest and Life-Giving Cross, a choir operated under the direction of Yakov Bogatenko. Since 1909, a singing school arose in the village. Strelnikovo, Kostroma province, which marked the beginning of the organization of the famous Old Believer Strelnikovsky choir. The surviving recordings of these choirs, although of very poor quality, testify to the high skill and culture of the singing art of the performers. The study of church singing was put on a professional basis, while the singers preserved the most important thing - the Christian faith.
This outburst was not to last long. During the years of Soviet power and anti-religious propaganda, persecution was already raised against all believers of various denominations. Many churches were blown up, a huge number of liturgical books and icons were destroyed, and prisons and camps awaited Christians. The surviving temples were empty. This powerful blow could not but affect the state of singing in many Old Believer parishes, and its consequences are felt to this day.
Today, more and more people understand the importance of preserving this unique singing culture, preserved and carried through the centuries by people for whom serving God was the meaning of their lives. For this purpose, choirs have been organized, Evenings of spiritual hymns, spiritual concerts are held, singing books and alphabets have been republished. Znamenny chant continues to live not only in the Old Believers' worship, today it attracts the attention of musicologists, and some parishes of the Russian Orthodox Church are returning to ancient singing. The sounds of ancient hymns testify more eloquently than anything else to the truth of Orthodoxy in its ancient form, undamaged by reforms. After all, the znamenny chant crystallized in the centuries of Christian asceticism, martyrdom, theology, all the milestones of Christian history were imprinted in it. This singing is originally intended to awaken in the soul the desire for repentance, the desire for God, and it should not and cannot be forgotten.
Based on materials from Valentina Sinelnikova
Znamenny chant is the main chant of ancient Russian monodic music of the 11th-17th centuries). It received its name from the general name of the signs used to record it - "banners".
Znamenny chant is the main chant of ancient Russian monodic music of the 11th-17th centuries). It received its name from the general name of the signs used to record it - "banners". The source for Znamenny was the Paleo-Byzantine (so-called Kualen - "Coislin") notation; From the Byzantine liturgical practice, the principle of organizing musical material, the system of osmosis, was also borrowed. The melody of the Znamenny chant is based on the Everyday scale, and is distinguished by the smoothness and balance of the wavy lines. In the process of development, several types of it arose. Pillar znamenny chant belongs to the neumatic style - there are 2-3, less often 4 tones per syllable (an atypical number of tones in one neumatic banner); there are also melismatic inserts (see Fita). He has the richest fund of melodies - chants, the connection and sequence of which is subject to certain rules. The rhythm of the pillar znamenny chant is varied. They sang the main singing books - Irmology, Oktoich, Triod, Everyday life, Holidays. Small znamenny chant - syllabic style, recitative - is intended for daily services. Similar to the old Znamenny chant, found in manuscripts from the 11th century, are close to him. The grand znamenny chant of the melismatic style originated in the 16th century. Among its creators are chanters Fyodor Krestyanin, Savva Rogov and their students. Large znamenny chant is distinguished by wide intra-syllable chant, free variability of the melodic pattern (alternation of movement and jumps).
3name chant served as a source of travel chant and local chant; The development of signs of Znamenny notation underlies the way and demestvenny notations. Znamenny chant melodies were used in polyphonic line singing, partes singing (3- and 4-voice harmonization). In 1772, the Synodal Printing House published notolinear monophonic singing books with chants of Znamenny and other chants, which served as the basis for adaptations and harmonization of the 19th-20th centuries. M. I. Glinka, M. A. Balakirev, N. A. Rimsky-Korsakov, P. I. Tchaikovsky addressed the harmonization of the Znamenny chant; new principles for processing the znamenny chant, found by A. D. Kastalsky and based on Russian folk song polyphony, influenced the work of P. G. Chesnokov, A. V. Nikolsky, A. T. Grechaninov, S. V. Rachmaninov (Liturgy , All-night vigil, etc.) Znamenny chant in a monophonic version has survived to this day among the Old Believers.
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Znamenny chant
Old Russian church hymns of the XII-XVII centuries, recorded in numerous singing manuscripts, are most often presented in the znamenny form of recording, which was the leading one in the system of musical writing of that time. Banners are special signs that serve to convey musical sounds. When translating them into a modern notolinear form in readable "manuscripts of the 17th century, they are interpreted by chains of notes of variable length (usually from one to five note signs).
Most researchers agree that ancient Russian church music and the corresponding znamenny notation are of Byzantine origin. Ancient Greek Christian church singing was regulated by the system of osmosis, which means singing in eight frets or (which is the same) in eight voices. Different voices corresponded to different musical modes (Ionian, Dorian, etc.), i.e. melodic scales of different heights, differing in the location of tone and semitone intervals and having different dominant and final sounds.
The system for constructing Greek modes was rather complicated for learning it "by ear" (apparently, there were no musical-theoretical manuals on this subject). It is natural to assume that the Russian singers caught only the most characteristic melodic figures and turns in the chants of each voice borrowed from the Greeks. The process of assimilation of the characteristic melodic figures of the voice (vocal chants) was accompanied by their transformation (variation), inevitable if only because when translating Greek poetic texts into Russian, the balance of syllables in the original and translation was disturbed. The gradual accumulation of changes led to the emergence and consolidation in singing practice of new tunes, more and more complex and perfect. This process occurred spontaneously and led to the blurring of the concept of voice as a modal system. Ultimately, Russian osmosis in the form in which it developed by the end of the 16th century can be interpreted as a system consisting of eight independent parts - voices, each of which was characterized by a set of typical melodic turns - chants.
Znamenny chant reached its peak by the end of the 16th - beginning of the 17th century, having, according to experts, about 1000 chants in total for all tones. To clarify the reasons for the stoppage of Znamenny chant in its development and its subsequent degradation, it is appropriate to cite several statements by M. V. Brazhnikov, the largest specialist in the field of musical medieval studies: chants. This led to the loss of their specificity, to the fact that the system of vowel chants began to outlive itself. The melodic characterization of the vowels is lost, becoming confused and unconvincing. This happened in the second half of the 17th century, which was greatly facilitated by a number of secondary reasons. " One of these reasons is the penetration of Western five-line notation into Russia. Attempts to clarify the musical meaning of znams by means of this notation inevitably led to a distortion of the znamenny chant. According to M. V. Brazhnikov, "the main feature of the five-linear presentation of znamenny chants is that they willy-nilly become dependent on the tempered system, and the natural system of znamenny singing immediately turns out to be the cause of discord between it and the way it is written - five-linear." At present, Znamenny chant, together with its notation, has remained in use only among the Old Believers.
Literature:
M. V. Brazhnikov. Ancient Russian theory of music. Publishing house "Music", L. otd. 1972, 422 pp.
V. M. Metallov. Osmosis of Znamenny Singing. M., 1899.
Types of chants
Kondakar chant
One of the oldest types of Znamenny singing. The name comes from the word "kondak" - one of the types of chants. The notation comes from the Paleo-Byzantine and was borrowed in Russia in the 9th century. It is characterized by the presence of melodically developed elements, special melismatics. The heyday of kondakar singing in Russia - XI-XII centuries, by the XIV century disappears from the Russian liturgical tradition in connection with the change of the liturgical Charter from Studian to Jerusalem and the corresponding change in the corpus of liturgical books. It is found in kondakars, the basis of which are kontakia and ikos in honor of the holidays of the entire period of the church year and in memory of the saints. The most famous written sources containing chants recorded in kondakar chant are the Typographic Charter, Blagoveshchensky kondakar, Trinity kondakar.
Pillar chant
The main type of znamenny chant, with which practically the entire corpus of books of the Russian liturgical tradition is sung. The name comes from the word "pillar" - the eight-week cycle Oktoikh, a book sung in this chant and became widespread in Russia in the last third of the 15th century, in connection with the adoption of the Jerusalem Charter. (Compare the gospel feet of Octoechos). Pillar chant has become widespread and is the most common in the Russian monophonic liturgical tradition at the present time. The chant consists of chants (kokiz), fit and faces, which in turn consist of smaller units - hooks (banners). It has an osmotic system, i.e. each voice corresponds to a certain set of coquises, as well as a set of fit and persons characterizing the voice. Fita and faces are long melodic phrases that the chanter had to know by heart. In the modern tradition, they are often written with a fractional banner and do not have a secretly closed record, that is, one that would not allow the singer to read the melody from the sheet, but only sing it by heart. The composition of the pillar chant includes anenaiki, special decorations of chants, a kind of Byzantine kratim. Pillar chants are present not only in liturgical chants, but in everyday chants. The most common chants that have come into use are considered to be kokizy of the 6th voice. In addition to liturgical books, special singing alphabets, kokizniks and fitniks were created to study notation.
Travel chant
A singing style common in ancient Russian musical culture along with Znamenny chant and demest chant. The origin of the name is a controversial issue in medieval studies. Originated in the last quarter of the 15th century. Until the middle of the XVI century. was used in Stihirar, then also in Everyday life. At first it was recorded in znamenny notation (“pillar way”) and played a secondary role in comparison with znamenny chant. In the mid 80s. 16th century an original travel notation arose (“travel path”), with which the znamenny one coexisted. The repertoire of the track chant coincided with the repertoire of the znamenny chant. At the end of the XVI century. Travel chant became an independent, developed branch of the ancient Russian singing art, distinguished by greater solemnity, chant and smoothness. The melody of track chant is formed by a set of canonical melodic formulas subordinate to the system of osmosis. The pinnacle of the development of travel chant is the end of the 16th - 1st half. 17th century At the beginning of the XVII century. the first musical travel alphabets were created, a specific terminology arose that determined the belonging of chants to travel chant (“put”, “putnoy”, “way”). In the 2nd half of the 17th century. The travel chant began to fall into disuse. A small number of travel tunes recorded "by the pillars" have been preserved in the Old Believer manuscripts of the 18th-20th centuries.
Demestvenny chant
Demestvenny chant - demestvennoe singing, demestvo - one of the style directions of ancient Russian singing art. An early mention of it refers to the city (Moscow Chronicle of the end of the 15th century). It became widespread in the 16th-17th centuries, including in polyphony (3- or 4-voice; in 4-voice demestvenny polyphony, one of the voices was called demestvo, and the other way). The repertoire of local chant includes individual chants of Everyday life, Holidays and Trezvonov, Lenten Stihirar, Oktoikh and Irmologiya. From the 3rd quarter of the 18th century. a number of hymns of everyday life entered the Old Believer book Demestvennik. Initially, demestvenny chant was written in znamenny (pillar) notation (see Kryuki). In the 2nd half of the 16th century, demestvennaya notation was created on its basis, using elements of znamenny notation, but in a more complicated form. In the demestve, stylistic patterns were developed that played a significant role in the evolution of Russian singing art: a solemn style of singing was formed with wide chants of individual syllables of the text.It is currently used as a special solemn chant, for example, during hierarchal services.
Historical outline
The oldest manuscripts notated with hooks date back to the 11th century. By the 17th century additional signs appeared in the hook notation - “signs” and “marks”, early manuscripts represent “markless” notation. Manuscripts of the 17th century record the appearance, along with traditional monophonic singing, of early “folk” polyphony (linear singing), which was also recorded with banners. During the reforms of the XVII century. znamenny singing was gradually supplanted by the forms of European singing, based not on the old modal modes, but on the major-minor key of the Western European model.
Gospel stichera "Mary's Tears" in the notation "hatchets" (fragment). From the book: Octoechos of Musical Singing. 7th ed. Moscow, 1811
At the end of the 17th - beginning of the 18th centuries, Znamenny melodies in the Kyiv tradition began to be written in square notation, reminiscent of the Roman square notation used in Catholic chant books. Unlike the latter, "hatchets" (the slang name for this type of notation) were written not on a four-line, but on a five-line staff, and only in the key C ("cephout"). It was in such a square notation that in 1772 the Synod in Moscow issued a set of basic church hymns - 4 singing books (Obikhod, Irmologiy, Oktoikh and Holidays), which were subsequently reprinted several times. Additionally, in 1778, the Abridged Daily Musical Singing was published in Moscow, in which the most common chants from all four books were recorded in square notes. This edition was widely distributed and was accepted as the initial guide for teaching church singing in theological schools. In 1899 (also in square notation) the Lenten and Color Triod was issued.
In the 19th century, znamenny singing was gradually supplanted by "partes" (polyphonic). This meant the actual rejection of the basic principles of the Znamenny monody. At the same time, some composers made efforts to incorporate "znamenny" melodies into partesnoe usage, harmonizing them in accordance with the rules of Western European harmony. At present, Znamenny chant chants are usually notated both in the traditional "hook" and in the round, "Italian" notation, although a number of musicologists recognize the latter as incorrect (to convey the ancient monody). A compromise solution is to record the Znamenny chant in the form of the so-called "double-signners". With this method of writing, the use of znamenny and "classical" five-line notation is combined. There are several varieties of hook writing, depending on the type of chant, the time and place of the origin of the tradition, and may be characterized by special marks (see Cinnabar marks).
reception
Many melodies of Znamenny singing in the 18th - early 20th centuries underwent polyphonic processing in the traditions of Western European harmonic tonality; among the authors of the arrangements are P. I. Turchaninov, A. F. Lvov, P. I. Tchaikovsky, A. D. Kastalsky, S. V. Rachmaninov, P. G. Chesnokov, N. A. Rimsky-Korsakov and others.
Until now, the tradition of znamenny singing is observed by the Old Believers, including in the Old Believer Church. There are enthusiasts who are trying to revive Znamenny singing in the Russian Orthodox Church.
see also
Notes
Literature
- Razumovsky D.V. Church singing in Russia. Moscow, 1867-1869.
- Arnold Yu. The theory of ancient Russian church and folk singing<…>. Moscow, 1880,
- Metalov V. Essay on the history of Orthodox singing in Russia, 4th ed. Moscow, 1915.
- Voznesensky I. About the church singing of the Orthodox Greco-Russian Church. Big banner chant. Kyiv, 1897.
- Brazhnikov M. Ways of development and tasks of deciphering the Znamenny chant, XII-XVIII centuries. Leningrad - Moscow, 1949.
- Uspensky N. Old Russian singing art, 2nd ed. Moscow, 1971.
- Uspensky N. Samples of ancient Russian singing art, 2nd ed. Leningrad, 1971.
- Vurgaft S. G., Ushakov I. A. Old Believers. Persons, events, objects and symbols. The experience of the encyclopedic dictionary. Moscow, 1996.
- Gardner I. A. Liturgical singing of the Russian Orthodox Church. Moscow: PSTBI, 2004 (2 volumes).
- Kutuzov B. Russian Znamenny Singing. Moscow, 2008, 304 pages, ISBN 978-5-9901442-1-7.
Links
- Archpriest Boris Nikolaev, Znamenny chant and hook notation as the basis of Russian Orthodox church singing, Orthodox Encyclopedia "ABC of Faith".
- "Deacon's Eye" - a site on ancient Russian church singing, there are manuals for studying ancient Russian singing notation - hooks.
- "Evening Song" - a site about the ancient church singing culture.
- Pages for lovers of ancient Orthodox church singing.
- Znamenny Chants Fund. Electronic corpus of ancient Russian singing manuscripts. . Here is a guide to deciphering hooks and a short fitting.
- "Ancient voice" - a site about the traditions of Orthodox worship.
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Wikimedia Foundation. 2010 .
Znamenny singing (hook singing) is a type of church singing, which is based on a monophonic choral performance of the composition. Znamenny singing is also called Orthodox canonical singing due to its antiquity and prevalence in Orthodoxy during the Byzantine Empire, as well as its development within the framework of osmosis.
The very name of Znamenny singing comes from the word "banners" and its synonym "hooks" (hence the hook singing). The fact is that in liturgical books it was customary to designate sound intervals with the help of special signs called “banners” or “hooks”, which were placed above the canonical text. These signs carried information about the melodic turnover (chants, melody). For the singer, such melodic turns formed original samples that he could use to compose melodies, depending on the time and rank of the service.
Znamenny singing was widespread in Russia from the 11th to the 17th century. The source of Znamenny chant is Byzantine liturgical practice. In the 17th century, Znamenny singing was replaced by partes. Znamenny chant melodies were used by P.I. Tchaikovsky, S.V. Rachmaninov and others. Now in the Orthodox Church there is an interest in Znamenny singing and its revival.
At present, one can speak of the revival of canonical liturgical singing in the Russian Orthodox Church. Znamenny chant is again heard in many monasteries and parishes, schools of znamenny chant are organized, congresses of headmen (regents), etc. At the same time, the experience of the practical restoration of znamenny chant shows that a number of misconceptions have accumulated in relation to Russian liturgical singing.
First of all, Znamenny chant is often associated with the Old Believer Church, calling it the singing of schismatics. This is not true. Znamenny singing is the singing of the united Russian Church, which sounded in it for 7 centuries. At its origins stood such ascetics as St. Theodosius of the Caves, such singing was heard by St. Sergius of Radonezh . Liturgical singing was seen as a continuation of monastic prayer work. Only znamenny chant has completeness - the hook books that have come down to us include a full range of chants, which surprisingly correspond to the service in rhythm, character, duration, since the chant was formed in indissoluble unity with the service.
The second misconception: Znamenny chant is considered one of the styles of music included in the line of evolutionary development of musical styles. As if Znamenny chant had some kind of musical style as its predecessor, and with time it naturally passes into more developed forms, for example, into polyphony. This is also incorrect. Changes in styles in secular music are based primarily on changes in content. But for liturgical singing, the content is invariable, eternal, and in time there is not development, but revelation, approaching the Truth during periods of spiritual upsurge, or distortion, clouding during downturns. The peak points associated with the prayer feat of the Russian Orthodox people were imprinted and fixed in the Znamenny chant. This is Tradition - the collected experience of the great ascetics of the Church, which becomes the property of the entire Church, all its members.
The difference between liturgical singing and music can also be seen in the means used by Znamenny chant. Its main function - a clear and strong pronunciation of the word - dictates the use of monody, the absence of metric pulsation and periodicity in the form. Liturgical singing is characterized by evenness, continuity, corresponding to the constancy of the prayerful feat. There are no actual musical formal effects, climaxes, dynamic and tempo contrasts in it. There is no isolation, completeness, characteristic of a musical work. The hymns are open, included in the whole divine service. The gospel stichera of a large znamenny chant, sounding at the end of a long service, is listened to quite differently from that performed separately. Her perception is prepared by the whole previous sound of the service, and not only melodically. In Sunday Matins, she returns the attention of the worshiper to what has already been experienced - first when reading the Gospel, then when it is repeated-retelling in the exapostilary. Only a special concentrated attention to the Word of God during divine services can explain the very phenomenon of the great znamenny chant.
Another wrong bias in relation to the Znamenny chant is the museum one. Znamenny chant from this point of view is a historically localized phenomenon, which has nothing to do with modern practice. Researchers set the task to accurately reconstruct the performance of past centuries. But at the same time, it is overlooked that liturgical singing is only one plane in the complex integrity of worship, is determined by this integrity and bears its imprint.
With a “museum” look, it is difficult for theorists to distinguish fundamental features from random and unimportant ones, and practitioners begin to look for an archaic “manner”, fall into a stylization that kills Znamenny chant as a means of communion with God. The museum approach completely excludes the continuation of the living tradition of Russian liturgical singing, the possibility of the appearance of new znamenny hymns, such as, for example, canonically sung services to the newly glorified saints are today ...
In the process of development of the Znamenny chant, several types of it arose. pillar Znamenny chant belongs to the neumatic style - there are 2-3, less often 4 tones per syllable (the most typical number of tones in one neumatic banner); there are also melismatic inserts (Fita). It has the richest fund of melodies - chants, the connection and sequence of which obeys certain rules.
The rhythm of the pillared Znamenny chant is varied. He sang the main singing books - Irmologion, Oktoih, Triod, Everyday life, Holidays. Small znamenny chant - syllabic style, recitative - is intended for daily services. He is close to the likes of the old Znamenny chant, found in manuscripts from the 11th century. The large Znamenny chant of the melismatic style originated in the 16th century; among its creators are chanters Fedor Krestyanin, Savva Rogov and their students. The Great Znamenny chant is distinguished by a wide intra-syllable chant, free variability of the melodic pattern (alternation of gradual movement and jumps).
Elena Nechiporenko
