Znamenny chant

The main view is Old Russian. church. singing. Name comes from the Old Church. the word "banner", i.e. sign. Banners or hooks were called lineless signs used to record tunes. Z. r. represented a monody performed in unison; only at the later stages of its development (not earlier than the middle of the 16th century) do elements of polyphony appear in it. Time of occurrence of Z. r. it is not possible to establish with complete accuracy. S. V. Smolensky believed that it had already taken shape by the end of the 10th century. D.V. Razumovsky, V.M. Metals, and A.V. Preobrazhensky believed that Z. r. was brought from Byzantium after the baptism of Rus. VM Belyaev claimed that he has a distinctive, Russian. origin and arose in the 11th century. The most probable assumption is that the Z.R., In its original foundations borrowed from Byzantium, developed as an independent genus of singing in the 12th century, when Christianity spread to the Nar. the masses and the Byzantine. forms began to be exposed to bunkers. muses. language. Z. r. developed within the framework of the osmoglasia system. Eight voices with their special hymn. the texts constituted a "pillar", i.e. a cycle repeated every 8 weeks; therefore Z. p. sometimes called pillar singing (less often it is called hook singing). The osmoglash system was a sum of settled melody, formulas (singing), which served as material for singing a text to one or another voice. A similar type of muses. composition based on formulas was characteristic of both Byzantine and Western Europe. Gregorian singing. He reflected the general typical. Middle-century features. arts. thinking. Popevkami Z. r. there were brief diatonic motives. warehouse in the volume of a third or a quarter. From three or four tunes, the proclamation of a whole chant was formed. The Poglasians survived in the 16th century records, but their origin is undoubtedly earlier.

First voice proclaimer. Manuscript of the 17th century. State Public Library. M. E. Saltykova-Shchedrin. Collection of N.K. Mikhailovsky, O. No 14, sheet 47.
In glory. translated from Greek syllabic. versification was not preserved, but the structure of the chants remained the same, and the singer was required to match the rhythm of the music with the prosody of the text. Singing texts based on the songs of the poglasitsa, the singing masters used techniques similar to the principles of nar. songwriting: singing of one or another sound of the song as a reference and moving the support to the adjacent non-supporting sound. Dominance in records of the 12-13th centuries. simple banners denoting one or two sounds, and the repeated repetition of such signs give reason to believe that the tunes of the early Z. r. were uncomplicated both in terms of rhythm and melodic. picture.
Melodies of Z. r. in the early period were divided into self-conscientious and similar. Similar differed from self-conscientious objectors in greater melodic originality. turns and clarity of the construction of the lines, which made it possible to use them for singing unsung texts. Self-conscientious and similar, according to tradition, were brought into the chorister. books of the 16th and 17th centuries, when the same chants were already presented in a chanting manner.

Self-agreed of the 1st voice. Same manuscript, folio 50 and reverse.

Similar to the 1st voice. The same manuscript, folios 52 reverse and 53.
Fund of popevok Z. r. gradually increased, at the same time their range expanded. He reached the minor seventh, and the entire scale is duodecima. Laconic motives developed into broad-ranged ones, and the melody as a whole - into a cantilena with flowery high-pitched and rhythmic ones. contours. The composition technique has been improved. Masters of the 15th century were no longer limited to the elementary methods of presenting the melody: singing the reference tone and moving it. They used more complex techniques: repetition, variaz. development, reduction and expansion of tunes, sequences. Chants of chants were sometimes decorated with the so-called. feats and faces. These were some kind of anniversaries. The first were marked with a sign in the form of the letter fita, in muses. relations were distinguished by the spaciousness of the chant. The faces were laconic. By the beginning. 16th century all the chants of the Sunday services of the eight tones, the holidays of the whole year, etc. were sung. everyday life, i.e. chants of everyday worship - Vespers, Matins and Liturgy.
Melodica Z. throughout the history of its development has been smooth. Tertz and quart jumps within the melodic. lines were allowed only in those cases when they were included in this or that song, the combination of the same tunes in one melodic. the line was carried out by a gradual movement. The rhythm was the same smoothness and uniformity. Banners with "guy lines" increasing the duration by half were used relatively rarely, especially rhythmic. figures from a quarter with a dot and an eighth. Concludes, the cadance was a gradual and uniform movement of the voice in the volume of a trichord or tetrachord, associated with the humming of one of its steps, on which the hum ended.
Z. r. recorded a special ideographic. notation, the cut was based on the so-called. Paleo-Byzantine notation (see Byzantine music). As the number of singers increased, the number of singers expanded. the scale, the development of the tunes and the complication of the techniques of composition, the notation itself became more complicated. In the 15th century. in connection with the widespread manner of decorating tunes with anniversaries, the notation underwent especially great changes. Feats were recorded in abbreviated form, using a special "secretly closed" combination of banners. The variety of anniversaries necessitated the systematization of "secretly closed" banners. There were collections of fit (fitniks), which were used when composing tunes and teaching singing. The continuing complication of the "secretly closed" banners led to the appearance of "divorces" in the fittings, ie. an extensive record of the encrypted fit with ordinary banners. There were similar collections of tunes (called kokizniki); they usually indicated only the phrase of the text, with a cut this song (kokiza) was sung. At the end of the 17th century. the fits and coquises have been converted to five-line notation.
In the 16th century. some znamenny melodies were complicated mainly due to the increase in duration and the use of syncopation. As a result of the transformation of the tunes, a new style of monody arose - track chant, characterized by a slow and heavy movement.

The line of the melody of the 8th voice of the znamenny chant and the melody of the track chant. The manuscript of the con. 17 - early. 18th century State Public Library. M. E. Saltykova-Shchedrin. Collection of M.P. Pogodin, No 418, sheets 55 and 63 turns.
Traveling melodies were initially written in znamenny notation, but as they became more complex, a special travel notation was created on the basis of znamenny notation.
K ser. 17th century in the chorister. art, there has been a tendency to reduce lengthy melodies for the sake of greater clarity of the text and a better sense of harmony. The abbreviated melodies began to be called the small chant, and the original ones - the large chant. In the chorister. In books, usually, along with the small chant, the big chant of the same name was also recorded.
Melodies of Z. r. were used in the early forms of polyphony in the so-called three-line singing (see. Line singing), as well as in demestvenny chant. In the second half of the 17th century. many of the znamenny one-legged. chants were translated into a five-line notation, and part singing composers harmonized most of these chants. In addition, they made extensive use of the songs of Z. r. in the melodies of my own composition.
In connection with the approval of new forms of the choir. culture in the 2nd half. 17th century Z. r. has lost its former meaning. It was preserved in the hook notation among the Old Believers, and in the five-line chap. arr. in the repertoire of the monastery choirs and in the singing of clerks. In order to protect Z. r. from distortions and the establishment of the uniformity of the text, the Synod of the Russian Church issued in 1772 in a "square" note (see Notation), incl. cephaut key, "Church music chanting", "Irmology of music singing", "Octoichus of music singing" and "Holidays of music singing". In 1891 the Lenten and Color Triode was published. (These books have been reprinted.)
Attention to Z. r. increases again at the beginning. 19th century in connection with the awakening of interest in Russian. nat. music. The first to Z. r. D.S.Vortnyansky appealed, although his harmonization was a transposition of melodies taken not from synodal editions, but prevalent in Western Ukrainian. church. singing. Later P. I. Turchaninov, N. M. Potulov, A. F. Lvov were engaged in harmonization of melodies from synodal editions. Their arrangements, however, are not free of creatures. disadvantages. Turchaninov, trying to subordinate the znamenny melody to a certain size, distorted it. Potulov kept the asymmetrical rhythm of the znamenny melody and did not allow its alteration, but considering almost all the sounds of the melody to be carriers of certain harmonies. functions, created on this basis a heavy and monotonous harmonization. Lvov observed an asymmetrical rhythm and achieved clarity and transparency of harmonization, but used harmonious. minor, not characteristic of Z. r. The problem of harmonization of Z. r. interested in MI Glinka. PI Tchaikovsky harmonized the department. chants of Z. r. in the "All-night vigil" (op. 52). But the key to solving the problem of harmonization of Z. r. was found by A.D. Kastalsky in folk song polyphony. The harmonization performed by him in this regard revealed the beauty and nat. the nature of the melody of Z. r. S. V. Rachmaninov in the "All-night vigil" (op. 37) harmonized several chants of Z. r. To Z. r. N. A. Rimsky-Korsakov, M. A. Balakirev, S. V. Smolensky, M. Ippolitov-Ivanov, A. T. Grechaninov, P. G. Chesnokov, A. V. Nikolsky, N. Ya. Myaskovsky and other composers.
Literature: Razumovsky D., Church singing in Russia, M., 1867; Voznesensky I., On Church Singing of the Orthodox Greek-Russian Church, vol. 1. Big znamenny melody, K., 1887; Smolensky S., Alphabet of Znamenny Singing, Kazan, 1888; him, On Old Russian singing notations, St. Petersburg, 1901; Metals V., Essay on the history of Orthodox church singing in Russia, Saratov, 1893, M., 1915; his, ABC of hook singing, M., 1899; his, Osmoglasie znamenny chant, M., 1899; his, liturgical singing of the Russian church. Pre-Mongol period, M., 1908, (M., 1912); Pokrovsky A., ABC of hook singing, M., 1901; Preobrazhensky A., Cult music in Russia, L., 1924; Brazhnikov M., Ways of development and tasks of deciphering the znamenny chant of the XII-XVIII centuries, L.-M., 1949; his, Russian Church Singing XII-XVIII centuries, "Musica antlqua Europae Orientalis. Acta scientifica congresses I. Bydgoszcze. 1966", Warsz., 1966; his, New monuments of the znamenny chant, L., 1967; his, Old Russian theory of music, L., 1972; Belyaev V., Music, in the book: History of culture of ancient Russia, t. 2, M.-L., 1951; his, Old Russian musical writing, M., 1962; Uspensky N., Old Russian singing art, M., 1965, 1971; his e, Samples of Old Russian singing art, L., 1968, 1971; Skrebkov S, Russian choral music XVII - early. XVIII century., M., 1969; Levasheva O., Keldysh Y., Kandinsky A., History of Russian music, vol. 1, M., 1972, ch. 3; Swan A., The znamenny chant of the russian church, "MQ", v. XXVI, 1940; Koschmieder E., Die DLtesten Novgoroder Hirmologien-Fragmente, Bd 1-2, Munch. 1952-55; Palikarova-Verdeil R., La musique byzantine chez leg Bulgares et les Russes, Cph., 1953; Velimirovic M., Byzantine elements in early Slavic chant, n. 1-2, Cph., 1960. H. D. Uspensky.

Musical encyclopedia. - M .: Soviet encyclopedia, Soviet composer. Ed. Yu.V. Keldysh. 1973-1982 .

Znamenny chant- (hook singing), in the 11-17 centuries. the main chant of Old Russian church music. The name from the name of the signs of the banners (or hooks) used to write it. Subordinate to the system of osmoglash. Used in the works of S.V. Rachmaninov, P.G. ... ... Illustrated Encyclopedic Dictionary

Znamenny Chant- a system of old Orthodox church chants. The name comes from the Old Slavonic word "banner" - a singing sign. Banners (or hooks) were used to record tunes. Znamenny chant has various variants associated with the forms ... ... Orthodoxy. Reference dictionary

- (hook singing), the main type of Old Russian church singing (tunes were recorded with special signs, banners, or hooks). Known since the 11th century; developed within the framework of the osmoglasia system (see also Glas). Znamenny chant melodies were used in ... ... encyclopedic Dictionary

THE FAMOUS CHAY- [znamenny chant, znamenny chant, hook chant], the main singing tradition of dr. Rus. 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 ... Orthodox encyclopedia

The main fund of Russian church tunes. The name comes from the Old Slavonic word "banner". Banners, or hooks (See Hooks), were called lineless signs used to record tunes. The original name of Z. r. meant ... ... Great Soviet Encyclopedia

See: RASPEV.

HOOKS (banners) - signs of Russian church non-linear musical notation. They originate from early Byzantine notation. Each hook represents 1-3 or more tones. There are three types of fixation of melodies: proper hook, singing (see singing), and fit (see fit). In the 17th century. to indicate the pitch of the sound above the hooks, they began to put cinnabar droppings. 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 they fell out of use in the Russian Orthodox Church in the 17th and 18th centuries. simultaneously with the transition from znamenny singing to partes and five-line notation.

The basic principles of liturgical singing were already outlined in the first centuries of Christianity. Initially based on the Greek musical modes, it subsequently moved more and more away from secular music, acquiring features characteristic only of it. The Christian Church, following the path of high spirituality and asceticism, abandoned the use of instrumental music, leaving for the glorification of the Creator the instrument created by the Creator: the human voice. Even at the dawn of Christianity, St. Clement of Alexandria called for the exclusion of chromatic melodies used in secular music, which are necessary in the expression of human emotions, from church singing. The scale of the znamenny chants is formed by the sequence of the main degrees of the harmony, hence the severity, grandeur and dispassionateness of the melody.

The Orthodox tradition distinguishes between the concepts of "singing" and "music". This 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 concept of fundamentally different tasks of music and singing: music is designed to provide aesthetic pleasure, the purpose of liturgical singing is to raise the mind to God.

Famous Christian saints recognized the need for singing in the church and in every possible way took care of its development and dispensation. Ignatius the God-bearer, Methodius of Patarsky, 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 antiphonic singing. Many of their writings are aimed at elucidating the church's view of liturgical singing, at clarifying its tasks.

Through the efforts of many great ascetics, the image of church singing was gradually emerging, which most closely corresponded to the spirit of the truth of Orthodoxy. In the middle of the VIII century. The Monk John of Damascus finally formed a system of homonyms - the distribution of the entire circle of church chants into eight groups, eight chanting voices. The number eight is very symbolic for Christians - it symbolizes the future, endless age. Each voice is characterized by its own special mood, sound, its own melodic turns. They sound different shades of a person's spiritual states: 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 harmonious, ordered system. This collection was named "Oktay" - according to the number of voices ("octa" - eight).

To carry out such a huge work, it was necessary to have a truly unique singing and poetic talent, an ingenious ability to systematize. It was these qualities that John of Damascus possessed, the first nobleman of the Damascus caliph, a deeply and comprehensively educated and believing person. Having retired from the court, John took monastic vows at the monastery of Saint Sava, where he completely devoted his life to serving God in song-making. He wrote an amazing service on Holy Pascha, 64 canons, many stichera and compiled Oktay. Having included in it, as already mentioned, the best works of his predecessors in osmotic creativity and supplementing the missing with his own creations, St. ) were the model for the chanting of the stichera and troparia following them. Oktay quickly became widespread in the liturgical practice of the Eastern Church, and to this day serves as the basis for conducting Orthodox worship, as well as a guide for the study of osmoglasia.

In Russia, liturgical singing began to develop along with the adoption of Christianity and the establishment of the first churches, as well as the translation of liturgical books. Greek melodies took root in their own way on the Slavic land - they acquired greater fluidity and melodiousness. Russian singers often, as it were, translated Damaskin's tunes into Russian musical language, preserving the basic contours. In Russia, church tunes have long been exceptionally soft and smooth.

The famous singing in Russia sounded not only in the church, but also at home, the singing culture was widespread and loved. The handwritten hook book was common in all strata of the population - from the grand ducal and boyar environment to the last slave. Grand dukes, middle and small service people in cities sang on hooks, ordinary peasants, bonded workers and slaves sang, as evidenced by the chronicles.

Znamenny chant did not just take root on Russian soil: it was enriched by a multitude of new chants written by Russian singers. It was in Russia that red (cinnabar) markings 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 from teacher to student, from one generation to the next.

The recording of the melody of the znamenny chant is carried out using special signs - banners or hooks. Hence the name of the singing: znamenny or hook. Each banner carries information about the number of sounds, their duration and performance characteristics. For a literate singer, the very shape of the hook in conjunction with the name is an expression of the essence and an indication of how it should be performed: “arrows” and “darlings” striving upward, static “statues” - light, dark, simple; the soft outlines of the "comma" do not allow to perform it with amplification of the sound, and the energetic swing of the "hook", on the contrary, dictates the stress. Black hook lines with red marks 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 praying person (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 eight voices of singing, various "chants" are also distinguished: demestvenny, traveling, Irgiz, Kiev, Bulgarian. "Way" and "demestvo" are stylistic varieties of znamenny singing, which give names to chants: big and small demestvenny, travel, big travel. There is a special notation for recording chants of the demestvenny chant; its banners differ significantly from ordinary hooks. The names of the rest of the 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 "tunes", or "tunes" - versions of the same chant, which is performed slightly differently in each parish or locality. The melody is very rarely recorded in banners, in most cases it exists in the form of an oral tradition and is passed down from one generation of singers to another.

In the Old Russian liturgical tradition, the voices of singers are not divided into different parts in polyphony, but merge together, making a prayer "with one mouth and one heart." That is why the znamenny chant is characterized by a special prayer attitude, fundamental character and impartiality. The unison performance of chants is the most important principle of the ancient liturgical chant, which eloquently expresses unity, Christian humility and love.

Historical events in Russia in the second half of the 17th century. endangered the existence of the ancient liturgical singing: during this period, reforms of Patriarch Nikon are being carried out, entailing the tragedy of church schism. The post-Reform Church has become much closer in spirit and content to the Italian partes. 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 novines.

Persecutions against the old faith continued for nearly three centuries, sometimes weakening a little, then renewing themselves with new cruelty. Old Believers' monasteries and prayer houses, which were also centers of spiritual education, from time to time were subjected to ruin, the Old Believers themselves - all sorts of persecution and infringement. Old books - including songs for songs - were set on fire. Old Believers were forbidden to create schools and colleges. To preserve my faith, spiritual and cultural values, I had to do a lot secretly from the authorities, in deep underground. Thus, there was more than one singing school: ruined in one settlement, it often arose in another, and continued to operate, transmitting invaluable knowledge.

In the late 19th and early 20th centuries. the pressure from the authorities and the mainstream church has eased slightly. The potential, which had been accumulating 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-Glukhovsky manufactory. Under the brotherhood of the Honest and the Life-Giving Cross, a choir acted under the direction of Yakov Bogatenko. Since 1909, a singing school appeared in the village. Strelnikovo, Kostroma province, which laid the foundation for 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 kept the most important thing - the Christian faith.

This surge was not destined to continue for long. During the years of Soviet power and anti-religious propaganda, persecutions were already raised against all believers of the most diverse confessions. Many churches were blown up, a huge number of liturgical books and icons were destroyed, Christians were awaited in prisons and camps. The surviving temples were empty. This powerful blow could not but affect the state of singing in many Old Believer parishes, its consequences are still felt today.

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 chants, sacred concerts are held, singing books and alphabets have been republished. Znamenny chant continues to live not only in the Old Believer worship, today it attracts the attention of musicologists, and some parishes of the Russian Orthodox Church return to ancient singing. The sounds of ancient chants are more eloquent than anything else testifying 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 consigned to oblivion.

based on materials by Valentina Sinelnikova

[znamenny chant, znamenny chant, hook chant], the main singing tradition of dr. Rus. It became widespread after the adoption of Christianity and is still preserved in liturgical singing. The concept of "znamenny singing" was first encountered in the texts of ser. XVII century. (see, for example: "Preface, where and from what time did singing in our Rustei begin to exist in our Rustei land" (before 1652): "Petit znamenny chanting"; "The legend of various heresies ... contained from ignorance in the znamenny books" ( 1651) mon. Euphrosynus: "some blasphemous nonsense in the znamenny singing"). This concept is semantic conditional, since it comes from the chorister. the term "sign", known from the texts from the 1st floor. XV century ("Sign", later "banner" - a sign, indication, symbol, image, outline, designation, etc.), common to various singers. traditions (pillar, track, Kazan, "petia red", demestvennoe key, musical banner). Preservation of the concept of "znamennaya" for one particular singer. a tradition that received no later than the 15th century. the name "stolpovaya" is obviously associated with its leading role in Russian. church singing since ancient times.

Origin

Z. r. associated with the Byzantine. singing (see Art. Byzantine Empire, section "Church Singing"), which came to Russia in the 10th century. together with the penetration of Christ. culture (the agreement of 944 was sealed by the Christian ambassadors of Prince Igor with Byzantium in the "assembly of the church" of St. Elijah in Kiev - PVL. 1999, p. 26; probably also the presence of Byzantine clergy and choristers surrounded by St. Prince. Olga after her baptism). With officer. the adoption of Christianity under the blgv. book Vladimir and the establishment of the Russian Metropolitanate as part of the K-Polish Patriarchate influenced by the Byzantines. chorister. tradition has expanded significantly. Arrived in Kiev "the priests of the tsaritsins and Korsun" (Ibid. P. 53), the Greek metropolitans and hierarchs who headed the Russian. dioceses, and their environment contributed to the spread and assimilation of not only Byzantine. liturgical ranks, originally performed most likely in Greek, but also Byzantine. church singing. To the erected by the order of St. book Vladimir of the Tithe Church of the Blessed. The Mother of God, entrusted to Anastas Korsunian, perhaps as an economist, was assigned to the service of 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 the Tithe Ts. there was a "court of demestics", where the leader 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 must have included singers from the Greeks who were part of the metropolitan's entourage. Traces of the presence of Byzantines. singing in Russia was preserved in glory. chorister. manuscripts of the XII century: this is Greek. texts of individual hymns in the Annunciation Condakar (RNB. Q.p.I No. 32 - for example, troparion to the Cross on fol. 84-84v.), characteristic subtexts of the Byzantines. intonational formulas such as “neagia”, “agia” in the same place and in the Typographical charter with Kondakar (Tretyakov Gallery K-5349 - for example, on fol. 120v.), the inserted syllables “no-ve” in melismatic chants “Alleluia” ( all of them are given in Cyrillic transliteration, which means that they were intended for glorious singers trained in Byzantine singing - see: Der altrussische Kondakar ". 1976-1980; Typographical charter. 2006). The same is evidenced by the Greek graffiti on the walls of the stone cathedral St. Sophia in Kiev, containing fragments of texts and individual outlines of neum (see: Evdokimova. 2008).

From the moment of emergence to the end. XI century. Old Russian. chorister. the tradition was only oral; to a large extent, this is a way of transmitting both the melody itself and the laws of the singers. skill due to the peculiarities of the znamenny notation was preserved in the past., especially in the XII - 1st half. XV century The oldest notated manuscript containing the chants of the Z.R. is the Typographical Charter with Kondakar (the turn of the 11th and 12th centuries; at the same time the fragmentary surviving menaean Stihirar - BAN. No. 4.9.13) was rewritten. Only from the turn of the XI and XII centuries. you can talk about Z. r. in the strict sense of this term, that is, about the texts of chants written in banners ("signified"). Earlier, in liturgical books, sometimes only the outlines of individual melismatic formulas were introduced - fitas (so-called fitnational notation), which denoted more or less extended melodic turns, also reproduced from memory (see: Novgorod service Menaion 1095-1097 - RGADA. Type. No. 84, 89, 91; Putyatina Minea XI century. - RNB. Sof. No. 202; Color Triode XI / XII century. - RGADA. Type. No. 138, etc.). Most of the lists of hymnographic books of the XI-XIV centuries that have come down to us - the Menaeus, the Triodeus and the varieties of the Octoichus - contain unnotated texts that were sung either on the basis of a complex of existing typical melodic models - self-renewal (in Old Russian traditions they are called like), an extensive collection to-rykh is contained in the chorister. the application of the Typographical Charter, or with an individual combination of formulas in self-consent, which were initially memorized in the learning process along with similar ones. Mostly an oral way of assimilating and spreading Byzantium. church singing had a significant impact on the melody of the Z. r. and features of its further development. The foundation for it, as far as can be judged by the later choristers, amenable to reliable reconstruction. forms, there was the perception of the tetrachordal scale system, the principles of modal organization and formula structure (osmoglasie), as well as the modal-melodic basis of the Byzantine. monody. The specificity of being common to all ancient singers. cultures, led to the possibility of variable melodic content of stable modal-rhythmic structures, modification of formulas and even the intonation contour of chants, reintonation of texts in the conditions of Eastern Slavs. intonation. At the same time, oral tradition and memorization of melodies contributed to the long-term preservation of the Byzantines. the basis of chants, which can be seen to a greater or lesser extent both in the graphics of the notated texts, and in the melody of znamenny chants up to the present day. printed publications. The emergence of an ideographic type notation that recorded only the most common chorister. information, although it brought great stability to the chant of the texts, but at the same time left significant opportunities for melodic variation.

Already in the XII century. chants of Z. r. in the main hymnographic books were recorded using notation in its developed developed form. The sources of the znamenny notation were undoubtedly the Byzantine. notated manuscripts of the X-XII centuries, as evidenced by the high degree of kinship between the irresponsible dictionaries of both traditions and the similarity of the formula graphics of chants. Yuzhnoslav. the manuscripts of this time were unnotated, so Ch. arr. church glory. Byzantine translations. texts or original bulg. hymnography (saints 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 singers cannot be completely excluded. culture, however in the X-XII centuries. she was also in line with the Byzantine. traditions. In the set of books of the early period, the actual singing books (in addition to Kondakar, which represented a different type of chant) were Stihirar and Irmologii, which included mainly self-contained chants of Z.R. or models for chanting other texts and in most cases contained znamenny notation. The presence of completely (or almost completely) notated separate copies of the Menaeus, Triodeus and Paraclitics, which had a significant number of such texts, is a characteristic feature of the Old Rus. chorister. bookishness of the XII-XIII centuries. and the result of the activities of the singing masters. art of Russia. The creators of these books, obviously, took into account both their service and teaching function, as well as those that followed. translating the difficulty of adapting such a text to a melodic model that did not quite coincide with it (self-similar, irmos) when playing such chants without written notation, especially by insufficiently experienced singers.

XI - end. XIV century.

Information about the early stage of development of Z. r. in dr. Russ are contained mainly in the chorister. manuscripts, notated and unotated, 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 osmoglasia, about the presence of different melodic versions or variants of chanting of the same text, about the characteristic features of melos. The surviving sources, however, do not make it possible to form a complete picture of the origin and initial development of the art of goldsmithing. The stage of the formation of church singing, obviously, should be associated with Kiev, from where all the innovations due to the spread of Christ. divine services, were transferred to large centers - cities and mon-ri Dr. Rus. This is how the process of assimilation of z. r is presented. in the "Notice of the most agreeable markings" (1670) of Elder Alexander Mezents: "The first ubo mad at the beginning of this banner were the creators and church singers in the divinely saved city of Kiev, the capital of the Russian state. On some flights from Kiev, this singing and the banner were brought by some lovers to Velikago Nova grad. From the Great Nova grad, the teaching spread and multiplied by a fraction of this singing to all the towns and monasteries of the Great Russian diocese and to all their limits ”(RNB. Q. XII. No. 1. L. 71v.- 72; Alexander Mezenets and others. 1996.S. 44-45). The first news of the creation of a book-writing workshop is associated with the name of St. blgv. book Yaroslav the Wise, to-ry "gathered the scribe many"; then “I am going from the Greeks to the Slovenian letter. And there are many books written off ”(PVL. 1999, p. 66). This message does not make it possible to establish the composition of the books rewritten in the grand ducal scriptorium, although it can be assumed that not only chets were created there, but also a chorister. books. The introduction of the Studite charter in the Kiev-Pechersky Monastery, as evidenced by the Life of Venerable Theodosius of Pechersky and PVL (Uspensky collection. 1971. L. 37b - 37c; PVL. 1999. S. 69-70), was to be accompanied by the creation of a set of liturgical books necessary for the performance of the "monastic singing" and "the entire 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 North-West. 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), Triod Tsvetnaya (Ibid. No. 138), Typographic charter (see: Yanin. 1982; Stolyarova. 1998; Ukhanova. 2006); a number of notated lists 2nd floor. XII century. comes from the same scriptorium (Triode Stihirar - RGADA. Type. No. 147) and from the Sofia scriptorium (Sofia Minea - State Historical Museum. Syn. No. 159-168, Paraclitic - RGADA. Type. No. 80). Only one notated manuscript - Khilandar Irmologii (so-called Irmologii Grigorovich) - is associated with the southern Russian on the basis of an analysis of spelling features. lands (Ath. Chil. 308; ed .: Jakobson R. 1957; other parts - RSL. Grigor. No. 37 and NL. Jakobson 1957 P. 9; see also Hannick 1978 P. 8); This list, even in the notation of the Irmos, has noticeable differences from the surviving Irmologii sev.-zap. lands (State Historical Museum. Sunday. No. 28; RGADA. Type. No. 150-149; see: Lozovaya. 1993. S. 419-420; She. 2000. S. 220-221).

Together with a set of liturgical singers. Byzantine books. tradition in Russia, the octoichus system became widespread, which was associated both with the liturgical time (dividing the annual circle into time intervals), and with the corpus of the texts of chants organized in a certain way, as well as with specific muses. system that formed in Byzantium no later than the 7th century. Old Rus. Octoix 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 Typographical charter after Kondakar - notated psalm verses of kathisma (the so-called alleluiaries of St. Theodore the Studite) and troparion of power antiphons (preserved record of 5 voices), as well as a selection of similar ones. Evangelical stichera in 8 tones reached the Annunciation kondakar in the late 19th century. XII century (RNB. Q. p.I. № 32), Stihirary XII century. (State Historical Museum. Syn. No. 279) and 1403 (RSL. F. 304. I. No. 22 - 1 stichera is notated; see: Lifshits. 2003). The Annunciation Kondakar also contains a cycle of asmatics for all voices, except for the 7th (see: Shvets. 2008). An exceptional phenomenon was the notation of a whole book of the week cycle, a part of the ancient Octoichus-Paracliticus (RGADA. Type. No. 80, 2nd half of the 12th century).

Changeable chants

Z. r. usually retained the Greek voice. originals. Unlike the Byzantine. notation system, in which the division into 2 groups was adopted - 4 authentic and 4 plagal voices (see also Authentic mode, Plagal mode), in Old Russian. manuscripts, as in the South Slavic, predominated through vowel numbering from 1 to 8, although occasionally they contain a translation of the term πλάγιος - - and the accompanying numbering in fours (Strumitsky Oktoykh - State Historical Museum. Chlud. No. 136. L. 36 ob., 43, 44; Putyatina Minea - RNB. Sof. No. 202.L. 4, 8v., 29v., etc.; Stihirar - BAN. No. 34.7.6. L. 50, 50v., 53v., 57, 124v. - 125v .; see: Lazarevi č. 1964; Schenker. 1981; Muryanov. 1981). The ratios of the authentic and plagal voices repeated the Byzantine. a system with a paired connection of voices - 1st voice with 5th (1st plagal), 2nd - with 6th (2nd plagal), etc. (see, for example, the sequence of voices for verses on "Alleluia" in the Typographical Charter, fol. 110-117: 1st - 5th, 2nd - 6th, 4th - 8th), in contrast to Western Europe. osmoglasia, in which the authentic voice and its plagal variety were indicated by adjacent numbers (the plagal ones received numbers 2,4, 6 and 8 in this system). In Russia, the earliest form of the Byzantine was adopted. vocal signatures, or martyries, including only the letter designation of the voice number without the accompanying neums, which specified in the Byzantine. manuscripts of a later time, the cadence of the intonation formula (ichima) of the voice. It is difficult to say whether the very tradition of singing vowel ihim was borrowed: in Old Russian. chorister. manuscripts of the initial period, indications of their syllabic overtones are occasionally found, however, after. this form of tuning to vowel chanting was apparently lost, since the poglashes known from the manuscripts of the later period had a different function - they were models for chanting the psalm verses "Lord, I have cried out" and one of the methods of teaching singers to osmoglion, and not a method settings for the performance of chants.

Notated manuscripts of the early era testify to the formulaic nature of the vocal melos and the graphic similarity of the plural. formula revolutions with vizant. prototypes. Comparative studies of the Byzantines. and Old Russian. The formulas allow us to draw a conclusion about the kinship and often about the closeness 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 most ancient notated lists, signs of Byzantine processing are noticeable. melos and forms of recording melodies: preserved Old Russian. the manuscripts have obvious differences from the Byzantines. analogues in the fixation of both formulaic and, in particular, non-formal sections, which does not allow the reconstruction of chants without taking into account the later tradition of Z. r. (see: Shkolnik. 1996). In the Z. r. a 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 vocal melos - the structure of the vowel scale and the patterns of combining formulas. The fret structure of Old Russian osmoglasy is closely related to the Byzantine one, but it also has significant differences in the concrete implementation of the modal laws, due to the reintoning of melodic formulas in Old Russian. tradition, and sometimes, probably, following the archaic Byzantine. samples that do not coincide with the "classical" modal structure; the time coordinates and the sequence of the changes that have taken place are not yet sufficiently understood.

In the liturgical books of the earliest period, all the main stylistic varieties of zoology are presented - syllabic, neumatic, melismatic, and transitional forms.

The simplest syllabic variety in terms of melosis. with a ratio of 1-2 sounds per syllable of the text, recorded extremely rarely, is characteristic primarily for the osmotic singing of the psalms of Vespers and Matins. Melodic formulas-hemistichs for singing psalms according to the monastic rank (psalm tones, or alleluiaries of St. Theodore the Studite) 9 (for 3 "glories" (antiphons) 3 kathismas) in each of 8 tones are written as singers. appendices in the Typographical Charter (in the surviving fragment - formulas 2, 3 and 4-th kathisma of the first 5 tones, beginning with fol. 98) and partially in the supplement Irmology 1st half. XV century (State Historical Museum. Bars. No. 1348. L. 133-134; Formulas 3 "glories" of the 2nd kathisma with the added 2nd and 3rd "glories" of the evening 1st kathisma in all 8 tones). When passing from one section ("glory") of kathisma to another, not only the psalm melodic formula changes, but also the chant of the refrain "Alleluia" accompanying each hemistich, in which the authentic (high) and plagal or medial (low) cadences can alternate ... The measured and intonationally uniform alternation of verses is enriched by means of mode and melody, as well as performing techniques: the use of various formulas that violate the inertia of perception and arouse attention, and antiphonic singing (see illustration).

To the stylistics of the psalm formulas, the low-singing irmos and stichera are close. Among the stichera, the simplest form is represented by the oral tradition of the Sunday self-consenting Octoichus, recorded only in the 2nd floor. XV century, a more developed form - in some self-similar and similar stichera derived from them from the notated Menaion and Triodi. The principles of melodic reading of the text, which took shape in the psalmody and developed in the simplest chants in terms of melody, underlie the znamenny tradition as a whole. In the chant of the stichera, one of the most specific features of the tradition is manifested. chorister. cultures - formula structure of melos; combinatorics of formulas is the most important method of compositional deployment. In each of the types of chants, a complex of stable melodic turns, called chants, is presented. The methods of arranging the hums in the verbal text according to its structure and the melodic function of turns - initial, middle, or cadence (final) - have also become established. The division of the text into columns reflects, first of all, the intonation-melodic organization of the chants: the dots in the manuscript often do not coincide with the syntactic division; they can isolate phrases that are relatively complete in meaning, possessing the integrity of the intonation contour, and less independent semantic units, and a separate word - if these parts of the text are sung with a formula with pronounced single intonation, longitudinal or dynamic accent and cadence (the latter is more characteristic of melodiously developed chants) ... The end of the column, which coincides with the completed semantic turn, is accompanied by a singing with a more or less deep cadence, usually with rhythmic inhibition, when the duration of the final 1-3 syllables is at least doubled in comparison with the duration of the main rhythmic unit corresponding to the syllable. Irmos and stichera of the syllabic type only occasionally contain simple and short phytotic phrases decorating the melos.

Self-consonant stichera represent, in most cases, a neumatic, or syllabo-neumatic, type of chant with 1-4 sounds per syllable of the text, characteristic of the sticherard style. In the most ancient layer of the Z. it is in such stichera that the formula type of melos is most clearly expressed - the use of various tunes, organized in accordance with the textual structure. The rhetorical form (disposition) of a verbal text often determines the grouping of melodic lines, semantic and syntactic parallelism is reflected in the melos - the repetition of the melodies corresponding to it, exact or variant, forms a number of anaphores and homeotheleutists, while the renewal of the melodic material indicates the beginning of the next section of rhetorical composition (see. : Lozovaya. 1987; She. 1989; Shekhovtsova. 1994). As a specific means of enriching vocal melos, the transition (modulation, in Byzantine theory παραλλαγή - change) into other voices within one chant is also used, which could be marked by middle martyria (designations of the voice number; see: Triode sticherard XII century - RGADA Type. No. 148. Sheet 3, 44v., 52, 70, 83v.- 84, etc.). Skillful selection, distribution and plastic articulation of formula turns, their melodic and functional specificity ensured a clear perception of the texts by ear during divine services (see illustration: Stanza for the Meeting of the Lord). Symbolic images of a verbal text, exclamations, hayrethisms or the most important, characteristic words are often accompanied by various fit, melismatic insertions into neumatic melos, which are abundantly present 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 melodic means to give chants a high style of sound without fear of losing a significant word in the melodic stream (in most cases, the places of use of fit in chants of Byzantine and Old Russian traditions coincide).

Some of the chants of the Stihirar have a melismatic melody - they contain lengthy intrasyllabic chants, sometimes of very long length. Melizmatika Z. associated with the predominance of melodic formulas of a special kind, called fit and person. In contrast to the usual vocal tunes with a normative reading of the banners, these classes of formulas are graphically an encoded recording of the melodic turns of several. signs, but suggesting expanded chants of the syllables of the text; faces differ in composition and non-traditional. a sequence of banners, although at the same time the relationship "sign - syllable", which is usual for singing, can be preserved, the external simplicity of which turns out to be deceiving. Both classes are derived from similar Visants. formulas - thematicisms (θεματισμοί or θέματα) and hypostases - and differ among themselves by melodic function in chants. If the phytos have the character of a decorating insert in a neumatic chant, then the faces (or kokizy, as they were sometimes called in Russia, probably in honor of Venerable John Kukuzel, a Byzantine melody that made up the singing alphabet of hypostases) form the very melismatic fabric of chants, intrasyllabic chant of the word (Lozovaya. 1999. S. 65-67). Melismatic chant, recorded in znamenny notation, in the early period had not only some stichera of the Menaion and triode stichera (see illustration: Stichera for the Cathedral of the Archangel Michael), but also the chants of the Sunday Octoechos - a cycle of 11 Gospel stichera and Sunday exapostilaria, representing 11 texts sung according to the same model (without vowel designations; see: Tyurina. 2006).

In the XI-XIV centuries. Z. r. there were chants of the service (or separate chants) to the saints and holidays of dr. Rus. Services of St. to the passion-bearers of princes Boris and Gleb (24 stichera, 2 canons, 3 kontakions, ikos, sedal and luminous; the number of stichera indicates that by the 12th century there were several services to these saints), St. Theodosius of the Caves, Venerable. Euphrosyne of Polotsk and for the consecration of St. George the Victorious the Great Martyr, the churches in Kiev have been preserved in the 12th century notated lists; St. Equalap. book Vladimir (Vasily) Svyatoslavich, St. Leonty Rostovsky, on the feast of the Intercession of the Most Holy. Theotokos and the transfer of the relics of St. Nicholas of Mirlikisky in Bari - in the manuscripts of the XIV century. (Seregina. 1994). The style and principles of chanting original glories. of the texts follow the norms adopted with translated hymnography and do not differ from the main body of the Z.R.

Unchanging chants

which formed the basis of various liturgical orders, primarily liturgy, Vespers and Matins, were not written with notation signs until the 16th century. (with the exception of individual chants of the period of Great Lent, for example, replacements of the cherubic song, which were notated from the last quarter of the 15th century). Their full texts or initial words are recorded in the Service Books, the performing remarks to-rykh ("people" - "singers") indicate the predominance of communal singing of unchangeable texts. In the Service Book, early. XIV century. (State Historical Museum. Syn. No. 605) "singers", that is, the professional choir, at the liturgy of St. John Chrysostom is entrusted only with "Izhe cherubs" and "The Grace of the World" (sheets 19, 23 rev.), In the Service Books of 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 charter, - Trisagion, "Alleluia ”And (together with the community)“ Father and Son and Holy Spirit ”. The main reasons for the oral existence of such chanting 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 the Byzantine. book tradition, in which up to the end. XIII - early. XIV century. unchangeable chants were also not noted.

Con. XIV - 1st floor. XV century

Marked in the chorister. books by combining obvious signs of an ancient basis, bringing them closer to the early handwritten tradition, and new trends associated with the revival of the close Byzantines. and yuzhnoslav. contacts with the influence of the Athonite culture. Most of the Old Russians. hymnographic books of this time, the texts of which were performed by Z.R., either does not contain notation signs, or, as in ancient times, reproduces only the outlines of the fit (for example, Oktoikh Izborny - RGADA. Type. No. 67, 1374; Paraclitic - Ibid. No. 81, XV century, in the appendix contains the Gospel stichera and lamps, that is, Sunday exapostilaria). Some of these books reflect the Studian type, and in its archaic version (for example, Paraclitic - RSL. Vol. No. 2, late 14th - early 15th centuries), others correspond to the recently adopted Jerusalem charter (Oktoichi - SHM. Syn. No. 199, 1436, and the State Historical Museum. Sunday. No. 10, 1437, with features of southern Slavic spelling).

An important stage in the history of Z. r. was the appearance of the notated Octoikha-Stihirar (State Historical Museum. Miracle. No. 59, 1st half of the 15th century), in which for the first time the stichera of the week cycle were written with notation signs. Their graphic edition at this time had not yet taken shape, but it was already close to the one that would become the main one, starting with the lists of the last. Thursday 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 headings, individual texts were placed in the wrong sections where they were later. 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, Christmas. 1980.S. 135).

In the 1st floor. XV century the edition of Znamenny Irmology began to change. Lists of this time, which have preserved many. elements of notation from Irmologii Domong. epochs, contain features that bring them closer to the editorial board, edges became widespread in the last. Thursday XV century The typological features of this edition were preserved in the past. The search for a more adequate form of fixing the melos, which probably changed, although not fundamentally and very gradually, in the manuscripts of this transitional period was reflected in the lower stability of the recording: in the noticeable discrepancies in the irregular graphics of chants between the lists, in the variability of division into columns, in a different arrangement of accent banners with tendency to obey text accents, in the wording of the formulas (RSL. Trinity. No. 407; State Historical Museum. Bars. No. 1348 and Syn. No. 748, 1st half of the 15th century; see: Lozovaya. 2000). The changes also affected the texts of chants, phonetics (partial reduction of semi-vowels, including in the form of removing the banners that sound them, or, conversely, clarifying the vowel base) and vocabulary. The result of the searches was the parallel, within half a century, the existence of different - to a much greater extent than in the early era - versions of the recording of irmos, corresponding to generally similar, but still not coinciding with each other, tunes.

Other tendencies are noted in the evolution of Stihirar, the early stage of development of which, unlike Irmology, is characterized by the instability of the editions of tunes, which acquire a more stable character only in the updated graphics in the 2nd half. XV century (see: Seregina. 1994, p. 17).

A sign of changes in the tradition of Z. r. in the 1st floor. XV century, and maybe a little earlier, was the appearance of the first alphabet of singing - musical-theoretical manuals. At first, they only contained a list of the main banners with their names. The earliest alphabet in terms of content, "Ace Names in a Sign" (RNB. Kir.-Bel. No. 9/1086, 1st half of the 15th century) reflects a transitional stage in the understanding of the signs by which the chants of the Z. r. ("Preliminary edition", as defined by ZM Guseinova (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 (songs) and their names do not fully correspond to the tradition that developed in the 2nd half. XV century There are contradictions between the designs of the banners and their names: for example, “light” are named as signs with 2 dots (a light hook, a light station), which became normative later, and signs with a dot (a light closed station, a light stick, a light arrow, light foot), some of them in the post. will be called "gloomy." These contradictions reflect different interpretations of the Byzantine style. and early Old Rus. (signs with a dot - a high level in the scale or a jump up) and the later Old Russian. (position between the relatively lower "simple" no dots and the higher "light" with 2 dots) notation systems.

The accompaniment by banners of a large corpus of texts that had not previously been notified, a change and a significant degree of variability in notation in chants that previously had a relatively stable graphics, the appearance of alphabetical texts in the same period - all this testifies to the purposeful work of the masters of church singing to revise and edit the chants of Z. r ., which was probably dictated by the change of the Studian charter to the Jerusalem one and the need to prepare a set of singers. books that responded to both the changed liturgical practice and a different level of comprehension of the connections between melos and its irresponsible writing.

Last third of XV - 1st floor. XVI century

The period of the formation and formalization of the renewed tradition of recording the chants of Z.R., the creation of new and partial processing of previously used singers. books. At this time, as a result of what was happening in the chorister. the practice of gradual crystallization and selection of formulas, as well as the development of more detailed and universal methods of writing, which were accompanied by the reform of the dictionary of banners, a new edition of the chants of Z.R. appeared, recorded in the main singing books - Irmology, Oktoihe-Stihirar (with additions), Stihirary minein and triode, Obihode. The verbal text of the chants also underwent changes during this period, ch. arr. in spelling, reflecting the influence of the South Slavic book reform (the emergence of large yus), and in giving the full-voiced form "eram" (> and>) in all positions, since half-vowels in ancient manuscripts were melodiously sounded by various banners and could not be abbreviated without prejudice to the melody. This led to the emergence of the so-called. divisiveness, or homony.

Irmologii kept the tradition for a long time. the composition of irmos, characteristic already for the early copies of the book (XII century), however, their notation has undergone changes, reflecting the emergence of a more stable graphics of formulas, their clearer, although not always consistent differentiation, as well as, apparently, ornamentation of tunes, which reduced the volume syllabic melody, which smoothed out the melodic leaps and made the chant more smooth and flexible. Similar phenomena during this period are noted in the Stanza, the recording of chants in different lists of which becomes more stable (Seregina. 1994, p. 17). In the triode section of the Stanza with the last. decades of the 15th century began to include chants for guard duty, which had never been noted before, 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 forces of heaven" - RSL. Trinity No. 408. L. 163v. - 164, 2nd half of the 15th century), which had a melismatic chant in a "secret" (coded) recording, without designation of the vowel. In the 1st floor. XVI century the volume of everyday chants in the manuscripts began to increase, but their composition was unstable - in addition to the above-mentioned, the main text of the "transfer" was introduced - "Like cherubim", as well as "The Only Begotten Son", Ps 136, a cycle of unchanged chants of the all-night vigil, in accordance with the Jerusalem Rule in force for a century , etc. The collection of notated everyday texts, most of which did not contain any indication of the voice, constituted a special cycle of the so-called. unspoken chants, although some of them were originally vocal, but have lost the corresponding designations in the manuscripts, and sometimes even the vocal character. The melody of lengthy chants accompanying the rituals, which took a longer time to complete, differed markedly from the tradition. vowel. It was dominated not by the combinatorics of clearly outlined formulas that were easily discerned by the ear, but the melodic type of unhurried deployment, without noticeable caesura between the text syntagmas, the length of the lines of the undulating contour, the leveled rhythm with an imperceptible pulsation - features that create the image of a timeless stay (see Fig. : "Now are the powers of heaven").

In the last. third of XV - early. XVI century the varieties of the znamenny Oktoikh-Stihirar were formed: a short one, which included individual 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. Octoikh-Stihirar contained notated cycles of the stichera of the weekly circle marked with liturgical headings (at Vespers - on "Lord, cries", Eastern, theotokos, on verses, "alphabet", theotokos; at matins - on praises, oriental), including weekdays (more often ), 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 succession of voices, first notated back in the 12th century. gospel stichera (sometimes with Sunday lamps and theotokos). Introduction of the chorister. The octoicha 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 the manuscripts (“we make the writing as it is, and it is put in new okhtaiks” - RSL. Trinity. No. 411. L. 377). The early lists, in contrast to the unnotated Octoechos, could include only a part of the stichera (eg, only on Sundays), and not all cycles and an incomplete set of texts (eg, 3 on "Lord, I have cried out" with the Mother of God and 1 on the verse in the RSL list. . No. 408). The notation of the stichera of the Octoikh testifies to the fact that in the manuscripts of this time a fully developed melodic edition was recorded, which subsequently changed slightly. Later, the deafening recording of chants was subject to correction and refinement, it could reflect insignificant variability of melos, became more detailed, however, the formulaic structure of melos already in this period took the form that is well known from the manuscripts of the 17th century. The chant of the Octoikha-Stihirar, the basis of the stichirary melodic style, includes a rich fund of znamenny melodies of the syllabo-neumatic type, supplemented by a small amount of melismatics (fit and faces).

Singer. books of Z. r., previously written on parchment in the form of independent codes, each of which was guided by a certain liturgical circle and / or type of chants, in the post. third of the 15th century, with the transition to paper, they begin to unite into collections, a kind of anthology of chants. They could include both the complete corpus of the znamenny chants necessary for the celebration of the divine service at any time, or individual parts in various combinations - Irmologii, Oktoykh (often his liturgical cycles - Sunday, Eastern, Theotokos, Gospel stichera - were placed in different parts of the manuscript) and Sticherard of varying completeness, more or less detailed fragments of Everyday life, often alphabetical texts. In the end. XV - early. XVI century in the chorister. collections appear small collections of "repentance" (penitential verses, or affectionate verses; see also the article Spiritual verses), to-rye already in the middle. XVI century were issued in the osmoglous cycle, after. constantly updated with new texts. The melody of the penitential verses was based on the melodies of Z.R., although they could also be combined with the melodic phrases characteristic of folk song lyrics. Their texts were heterogeneous - borrowed from chants dedicated to the theme of repentance, contrition about sin (troparia of penitential content, triode stichera or their fragments), compilations from individual verses of well-known chants or extra-liturgical, which reflected eschatological expectations of "the judgment is terrible", moral ideals of purity, goodness, non-possession, as well as historical events (see: Korableva. 1979; Petrova, Seregina. 1988).

The appearance of singers in the headlines is probably connected with the creation of the znamenny Oktoikh-Stihirar. alphabet-enumeration of the concept "sign of the pillar" (State Historical Museum. Eparch. No. 176. L. 208v., last quarter of the 15th century; IRLI. Brazhn. No. 1. L. 3, mid. XVI century; later also " pillar singing "- RNB. Weather. No. 385. L. 164, 20-ies of the XVII century; see: Shabalin. 2003. P. 17, 29, 24), a cut comes from the Gospel pillars - the index of Sundays readings of the Gospel in connection with the successive alternation of the weekly voices. The number of alphabetical texts in the last. Thursday XV - 1st floor. XVI century increased markedly. Along with the alphabets-enumerations, "legends to the sign" were rewritten, musical-theoretical manuals containing the interpretation of signs, that is, a description of the relationships between them in height, methods of their execution, indicating the direction of movement, melodic and rhythmic features, as well as an explanation of the most characteristic vocal popevok (for example: RNB. Solov. No. 277/283. Sheet 252v. - 254v., 40s of the XVI century; see: Shabalin. 2003. S. 51-52). The way of presenting information in these manuals resembles a synopsis of the speech of a didascal (teacher), which uses all 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 increasing the level of knowledge and skill of singers. In Novgorod, which, judging by the surviving manuscripts, has had a high level of development of singers since antiquity. art, St. Gennady (Gonzov), Archbishop. Novgorod and Pskov, nevertheless, critically assessed the results of the modern. to him kliros education and upbringing of singers, considered it necessary to create schools, to-rye were to prepare "for singers and singers", reproached the "masters" for the low quality of training (AI. 1841. T. 1. S. 144-145, 147-148; Parfentiev. 1991.S. 30, 32).

In the 2nd floor. XVI - 1st floor. XVII century.

complete versions of the main singing books of znamenny music are formed, written down in a well-established znamenny notation. The result of the improvement and detailed elaboration of the formula dictionary of Z. r. in the beginning. XVII century. independent vaults of znamenny chants became independent vaults of znamenny chants ("names for znamenny chants" in Monk Christopher's "Znamenny Key" from his chanting collection of 1604; see: Christopher. 1983), separated from the lists of banners, as well as assemblies of fit and persons, often accompanied by divorces and replenished over time. In continuation of the general trends that had developed in the previous period, the composition of the singers expanded. manuscripts. As an appendix to 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 the irmos "profitable", among which there were also known Byzantines. lists irmosy-like, compiled on the basis of the holiday model (Nativity of Christ, Easter), as well as new texts for Old Russian. services (for example, the canon of St. Equal-to-the-Apostles Olga). Cave dewweeds could also be added - irmos with troparions 7th and 8th songs, sung "before Christmas, when the angel is lowered," that is, during the cave performance (RNB. QI No. 898. L. 67, 1573 G.). In Oktoikha, along with a complete set of stichera of Great Vespers and Matins, all stichera of Little Vespers were written in znamenny notation, the texts of which did not coincide with the Great (theotokos, verse); at Great Vespers, the "Ammore's" stichera of the Most Holy Ones were added. Theotokos (cycle of Paul of Ammoree), sung like (Ibid). The composition of the memorials and znamenny chants of the Menaean Stihirar has noticeably expanded: for the holidays that have a vigil, the stichera of small vespers were written out, pl. the memory was replenished with lithium stichera, new texts arose ("ina stichera"), in which researchers note special attention to historical events associated with the life of the celebrated saint (Seregin. 1994, pp. 16, 196, etc.). After the canonization Councils of 1547 and 1549. in line with church events led by St. Macarius, Met. Moscow, were created extensive Stihirari - collections of znamenny chants (some of them in several volumes), which included a significant number of memoirs of Rus. saints (State Historical Museum. Miracle. No. 60; Edinoverch. No. 37; Eparch. Chorister. No. 24; RGADA. F. 381. No. 17, 18, 320; RNB. Kir.-Bel. No. 586/843, 681/938 and etc.); included in them and services of glories. the saints are equal to the apostles. Cyril (Constantine) the Philosopher, Venerable John of Rilski, St. Savva I, Venerable Simeon the Myrrh-streaming, cor. St. Milutin (Stefan Urosh II) and St. Arseny I, archbishop. Serbian, mts. Paraskeve, mch. George the New. Complete Stanchions were sometimes given an additional name - "Devil's Eye" (State Historical Museum. Miracle. No. 60; Syn. Chorister. No. 1150). In connection with the growth of Stihirar at the turn of the 16th and 17th centuries. independent books emerged from its composition. The first - the notorized services of masters', feasts of the Mother of God and the great saints, called "Holidays", and the second - services of medium and small holidays, in later lists sometimes called "Trezvony". Some Stihirari and Trezvons were composed almost exclusively of Russian chants. and glory. saints (RNB. Q. I. No. 238, early 17th century; see: Seregina. 1994. pp. 20-28) and served as an important addition to the Stihirar's normative lists, based mainly on the Byzantine memories. mesyaslov (see illustration: Stichera of St. Prince Alexander Nevsky).

In the 2nd floor. XVI - early. XVII century. a lengthy edition of Obikhod is formed: the znamenny notation fully records the chants of the all-night vigil and the liturgy, the expanded successions of the chants of the funeral ranks, individual chants of the prayer service, weddings and some other ranks. Along with unchangeable chants, after a long break in manuscripts, a new tradition of notated recording of psalmopenia - the selected verses of kathisma at matins, an indication of the chanter - is increasingly encountered. the performance of which in an ordinary ("real") voice was preserved in the earliest copies of the Jerusalem charter (State Historical Museum. Syn. No. 329. L. 18v., last Thursday. XIV century; see: Korotkikh. 2001; Zhivaeva. 2003).

In the 2nd floor. XVI century Old Russian. masters Z. on the basis of deep knowledge of tradition, they begin to create the author's versions of chanting of liturgical texts. Often their activities remain anonymous, such versions are supplied with the remarks "in chant", "other banner", "in translation", etc. Among them, there are famous singers, references to whose creations are recorded in the chanter. manuscripts from con. XVI century Variants of chanting of liturgical texts, although they remained in the mainstream of the culture of znamenny chanting, provoked the beginning of a tough polemic, which was reflected, in particular, in the "Valaam conversation." Its compiler was very critical of the creations of such "keen singers", believing that "there was not, and never will be, evidence of their translation from heaven," and urging the authorities to "seal one translation" (see: Moiseeva, 1958. P. 176). The names of some connoisseurs of Z. r. and the creators of chants are associated with the Novgorod singer. school, to-ruyu, as it is assumed, no later than 30-40-ies. XVI century headed by Savva Rogov (see: Parfentiev. 2005, p. 23). Singers came out of it, leaving a noticeable mark on the 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, priest. Theodore Christian, student of Stefan Golysh (who studied at Sava's school) archim. mon-rya of the Nativity of the Blessed. Theotokos in Vladimir Isaiah (Lukoshko). The compiler of the musical-theoretical guide The Legend of the Zarembs speaks with admiration about these "old masters" and their pupils, noting that they sang "as a name and a priest by heart," . Syn. Singer. No. 219. Sheet 376v.- 377). His versions of certain znamenny chants were also created by the head, later instructor of the Trinity-Sergius monaster Loggin (Shishelov), nicknamed the Cow, who, according to the Life of St. Dionysius (Zobninovsky), "from God a gift more than human nature" (see: Parfentiev. 1991, pp. 106-107; He. 2005, pp. 139-149; Parfentieva. 1997, pp. 172-180) (see ill .: Inscription and beginning of the glorifier of the Week of the Cross).

At the turn of the 16th and 17th centuries. along with indications of anonymous, local monastic (Troitsky, Kirillov, Chudovsky) and nominal translations of chants of the Z.R., referring to both the annual and the daily circle, remarks appear in the manuscripts, meaning different melodic styles - "greater chant", "Larger banner" (in turn, they may have a personal or local affiliation), as well as "smaller chant." The big chant is a znamenny tradition of melismatics, since ancient times characteristic of certain types of chants, for example. evangelical stichera, however, to the end. XVI century translated by the masters of singers. art from a "secret" form to a wedge. Recording of chants in 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 singer; determination of the degree of author's participation in divorce records, which consists in the peculiarities of the interpretation of individual banners and formulas, in each case requires a special study (see: Parfentieva. 1997; Tyurina. 2006; She. 2008). The 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 consolidated with the help of detailed clarifying notation. In contrast to the "larger", the "smaller" was usually called a chant corresponding to the style of the stolpovy znamenny edition. The emergence of the "lesser" chant of liturgical texts of different types did not occur simultaneously. Thus, the dogmatics of the pillar Z. r. as amended by the post. third of the 15th century acquired the designation "lesser" after in the XVII century. a new, "large" version of them was recorded; their "lesser" chant was stylistically no different from the tradition. pillar melos stichera Octoichus. The melismatic and syllabic-neumatic versions of the Gospel stichera are correlated differently in time: the "big" one is primary, it arose several times. centuries earlier than the "lesser", created on the basis of the formula dictionary of the stichera of Oktoikha at the end. XVI century The development of znamenny melismatics, along with other melismatic singers. traditions (track chant and demestvenny singing), obviously associated with the influence of the Greek. calophonic singing and cultivated ornamental inserts into the text of chants, chanted in various syllables ("ne-na", "ho-boo", "he-boo-ve", etc.), caused a number of polemic performances. Anonymous, who made up in the 2nd half. 1600s message of the schmch. to Patriarch Hermogen, about the inclusion of the chant “khabuva” (“ine khebuve”) in the pillar singing, he wrote that “that fita khabuva ... in reason in the word repairs a split” and that the Greek. the hierarchs denied the presence of such words in Greek. language, books of "conarchist" and choristers. He objected not to the chanting of fita itself, but to its subtext - the insertion of meaningless syllables into the text of Stihirar's chants, distorting and obscuring its meaning (see: Epistle of the Holy Martyr to Patriarch Hermogen. 1973, pp. 59-65). Schmch. During his Patriarchate Hermogenes took care of the serviceability of the divine services, including objected to polyphony, the spread of which was due to the overgrowth of the singing component of rites ("The Punitive Epistle ... about the correction of church singing"; see: Preobrazhensky. 1904, p. 8-10).

The appearance of various variants of chanting of liturgical texts, special melodic versions of chants that differed from the traditional one, was soon followed by a reform of the notation of the Z.R. After the registration of the updated notation system in the 2nd floor. XV 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 mainly associated with the clarification of the graphic fixation of the tradition. melos. Significant deviations from the tradition. the editing of chants, the creation of new melodic versions of texts, the transformation of the formula system, the multiplication of variants required new ways of their adequate recording in the chanter. manuscripts. The search for means that made it possible to more accurately reflect the features of the tunes and metabolism of the scale (transferring it to other stages) in the irregular schedule, in Old Russian. znamenny culture led to the creation of a complex of special signs that supplemented and detailed the content of the banners and melodic formulas with t. sp. techniques of performance, rhythm and pitch, - a system of cinnabar droppings ("anonymous consonant words"): initially, in the 1st floor. XVII century, "indicative" (- "greyhound", - "quiet", - "soon", - "exactly", - "high", - "nisko", etc. - see: RNB. Solov. No. 621/660. Sheet 162v .; later - RNB. Elm. O. No. 80. L. 541v.- 542; Guseinova. 1996. S. 493-494), and to ser. 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 "power" marks necessary for "like the flag, according to the consent of one voice, truly petit, and those who truly sing in the singing of denunciations" (RNB. O. XVII. No. 19. L. 86v.), Attributed in the ABCs to a Novgorod citizen Ivan Shaidur and a certain Leonty (Ibid. L. 64v.), Radically changed the understanding of the sound space of the sound space, transforming it from an undivided precious "substance" - "divine singing" perceived by the "ancient ... Most Holy and Life-Giving Spirit" - into a scale ("ladder") of meaning-neutral "consonant words", "degrees", and banners - into a series of discrete units with a precisely defined, but noticeably lost dependence on each other, altitude position. The indivisible sound “substance” began to be described, separated and designated with the help of separate “consonant words” or “agreements” (Lozovaya. 2002, pp. 43-45). This innovation has brought the notation of znamenny chants, designed to fix "on earth the divine singing of human lips" sung (RNB. O. XVII. No. 19. L. 79 rev.), To a notolinear system, meaningfully indefinite, universal elements are adapted to the record any earthly "musikia" in all its varieties.

At the end. XVI century special singers appeared in the Western Russian metropolis. collections, so-called. Irmologions containing a large number of chants of Z. r. from Irmology, Oktoikh, Stihirar of the minea and triode, Usage of the simple and lean to the southern Rus. edition; they were translations of the znamenny blank copies of this book, similar to the Greek. Anphologies, in the notolinear system (the earliest - Supral Irmologion - NBUV IR. F. 1. No. 5391, 1598-1601). After. notolinear Irmologions were brought by people from the Southern Rus. 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. XVII century. from them were made lists that saved the southern Russian. design features (see: Ignatieva. 2001).

2nd floor XVII century.

in the history of Z. r. marked by coexistence, interaction, and sometimes opposition of different directions - traditional and new, national, Greek-Eastern and Western European. The change in performances required professional singers. cases of special justification, theological comprehension of new trends. Approximately from mid. XVII century. there are musical theoretical manuals that differ significantly from the previous practical manuals on znamenny singing. They include lengthy discourses on the importance of studying singers. letters ("literate teaching, vems, as if the deed is God" - RNL. O. XVII. No. 19. L. 71), the activity of the inventor of new designations - "consonant words" - is considered along with the activities of the followers of "divine John Damascene" , the number of accords (that is, the degrees of the scale) is symbolically correlated with the 7th day, the seventh and the "seventh century" (Ibid. L. 76). The "literate teaching" of the singers is elevated to the rank of virtue and is compared with the teaching of books, the assimilation of the alphabet ("are not many divine books written in small words, all divine chanting is affirmed with these anonymous words" - Ibid. L. 84-84 vol. ).

Solving purely professional problems of fixing chants of Z. r. (making adjustments to the invalid entry, introducing "power" marks) was part of the mainstream. measures aimed at correcting errors in liturgical books and bringing them in line with modern. im Greek. Bookstore on the right end. 40s - 1st floor. 60s XVII century. exerted a great influence on the development of Z. r., having affected not only liturgical texts, but also melos. The need for reform was felt more and more acutely (see, for example, "The Legend of Various Heresies" by mon. Euphrosynus), as a result, 2 "commissions" were formed to correct the notated books (see: Parfentiev. 1986, pp. 128-139 ; Same. 1991, pp. 188-210). Correction of translations, bringing verbal texts of the singer. books (homonia) in agreement with unnotated books (the so-called translation "into speech" - see True Speech), the desire for a unified interpretation of banners and formulas were reflected in the recording of the chants of Z. r. in the chorister. books of the 2nd floor. XVII century. In 1666, in the interval between the work of 2 "commissions" of reference officers, the elder of the Zvenigorod Savvin of the Storozhevsky mon-ry Alexander Mezenets compiled a song collection of Z. with the true-language edition of Irmology, Oktoikh and Obikhod, supplied with cinnabar marks (State Historical Museum. Syn. singing. No. 728; see ill.).

Musical and theoretical results of the singer. reforms were recorded in the treatise "Notice of the most agreeable marks", compiled by Alexander Mezenets "with others", as stated in the concluding verses. A group of directors and connoisseurs, "who are kindly leading the banner singing and who know that banner of the face and their divorces and songs of Moscow, that of the Christians, 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 that their predecessors carried out, as well as “little skillful masters of the banner singing” “in all the towns and manastere and in the Selekh” ( same), proposing the true-flux Irmologii Z. r. and a new guide to unify choristers. performance ("every singing would be ... arranged equally and kindly" - Ibid. P. 117). The innovations of the singing theory of Z. became: systematization of banners according to the types of melodic movement; introduction of black signs

From the texts accompanying the practical sections of the "Notice ...", it becomes clear that in addition to the unification of the recording, the masters were faced with the task of improving the traditions. chant notation that can withstand more radical changes in this area. On the right, which caused an influx of scholars from Kiev scribes into Muscovy, it led to a reorientation of a part of the literate Moscow society towards the traditions and norms of Western European culture, which was also reflected in musical-theoretical thought. The negative attitude towards the arrogant "from the newest songwriters" who wanted "Old Slavic ... singing to be transformed into organo-voiced singing" was clearly expressed by the elder Alexander Mezents, a highly educated theorist of Z.R. who belonged to the traditionalists. chorister. direction: “We are a Great Russian, like the one who directly leads the secret-making of this banner, the voices and in it of many different persons and their divorces the measure and strength and every fraction and subtlety of nikai are in need of this musical banner” (Ibid. p. 122). However, despite the protest against not-linear writing, the influence of Western Europe is also noticeable in the "Notice ..." muses. theory, in particular in the presentation of the litter system. Instead of the earlier 7-step (GN - N - S - M - P - V - GV; "more than seven accords are by no means present in all osmi glasekh" - RNB. O. XVII. No. 19. L. 60 ob. - 61) , and then, apparently, in connection with the development of polyphony, 8-step octave ("The legend is known about osmotsennye marks": "Besides these osmi degrees in any singing, no other agreement is obtained" - RSL. F. 379. No. 1, last quarter of the 17th century; see: Shabalin. 2003, p. 181) and even 9-step (Ibid. p. 180) tetrachordal scales with functional identity of steps at a distance of a quarter (“In high accords in singing, these soles: the point comes to the lead, the thought comes to the verb, ours comes to rest "- RNL. O. XVII. No. 19. L. 64-64 rev.) Elder Alexander writes out a 12-step scale, which, when translated into a system of signs, is divided them on trichords ("before any singing rises and falls by three natural accords to the second ten degrees, if it is possible and even more" - Alexander Mezenets and others. 1996.S. 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" archim. Tikhon Makarievsky, presumably compiled in the 70s. XVII century, soon after "Notice ..." (see: Shabalin. 2003. S. 315, 317; Bulanin, Romodanovskaya. 2004.S. 31-42). Archim. Tikhon was a muses. a theorist of a new direction, the creator of a guide to the notation system of notation, which he “wrote for the sake of those wishing to learn various melodies and intimate different faces with revelation of the marks and degrees of the banner of everything - according to notes” (see: Shabalin. 2003, p. 314). Addressing the readers, Archim. Tikhon may have responded to Alexander Mezents' attack. In typical self-deprecating expressions, he speaks of his adherence to tradition ("like a dog, the grains falling under the meal, his masters collect ... "there is nothing that is" written here obstinately or depraved ", and asks, before condemnation, to delve into his words. At the same time, among the singers. books appear similar to the "Key ..." Archim. Tikhon double-sign, in which chants are written in 2 ways - znamenny notation and not linear, the so-called. square Kiev notation (see illustration: Slavnik on praises for the Introduction to the Temple of the Most Holy Theotokos). The surviving double-sign lists represent all types of liturgical chanters. books.

In the polemical writings of the middle - 2nd floor. XVII century. the problems of meaningful perception of the texts of chants were touched upon - the transition from homonia to adverbial singing, competent and justified breakdown into lines of texts intended for singing that had departed from tradition. chants of the author's and local translations, obscuring the meaning of melismatic anenaeks ("some blasphemous nonsense in znamenny chanting, like" ainani "," tainani ") and, in general, the problem of the prevalence of melos over the word in znamenny chants, generated by the influence of the Greek. calophonies (“they spoiled the sacred speeches in the Holy Scriptures, in order for them to powerfully set kokizy” - “The Legend of Various Heresies”; "; See: Euphrosynus. 1973, pp. 72-73; [Anonymous]. 1973, pp. 91), the admissibility of the removal of fit and other melismatic inserts for the sake of correct perception of words (“ A banner on which there will be a lot of speech all to sing: and put it aside, just do not postpone speech ";" I sing according to the press, and I will not ruin those hooks, I don’t sing any more "; see: Avvakum. 1973, pp. 88, 90).

Together with the creation of a true-speech edition of the chants of Z. r. the composition of the notated singers also changed. books. Corrected "to speech" Irmology in a short version retained the tradition. a set of irmos, known from the most ancient period, but from the 70s. XVII century. in a new, lengthy edition, it contained more than 1,000 texts. Significant changes were made to the composition of the Znamenny Oktoikh, where the texts of the stichera at the Small Vespers were completely updated. Similar changes were made to the stichera at the small vespers of the Znamenny Feasts of the mobile cycle (see: Parfentiev 1986, pp. 138-139; Kazantseva, 1998, pp. 126). The clerk of the full composition, formed by the 1st half - mid. XVII 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 (peals). In the end. XVII century. collections of chants are distributed, including different melodic versions of texts, mainly from Holidays and Obihoda. In the XVIII century. chorister. books by Z. are represented by 2 main types: 1) not-linear lists of Holidays, Trezvons and Obikhod belonging to the synodal tradition, less often Irmology and Oktoikha (ch. arr. beginning of the 18th century), as a rule, in the composition of choristers. collections; 2) hook manuscripts of trad. singing books and collections created in different Old Believer centers before the beginning. XX century. (Khom, or naon, among the Bespopovites and with the corrected "Joseph" text among the Old Believers of the priest's consent). Conservation of Z. r. in church singer. the repertoire was facilitated by not-linear editions of liturgical singers. books, carried out by the Synodal Printing House since 1772. In 1884-1885. At the expense of AI Morozov, the Society of Lovers of Ancient Writing published the "Circle of Church Ancient Znamenny Singing" (in 6 hours; so-called Morozov books). After 1905, the publication of books of znamenny singing and teaching aids began in the publishing house "Znamenny Singing" under the hands of. L. F. Kalashnikova (Kiev, Moscow; Kalashnikov books), reprints to-rykh to the present. of the time are used by the singers of the priest's consent, as well as in the printing house at the Preobrazhensky almshouse in Moscow (books of the Pomor consent), also republished in Riga under the hands. S.P. Pichugin. Awakened since the 90s. XX century. the interest of church singers to Old Russian. chorister. culture is reflected in editions of collections of chants and practical manuals for mastering znamenny notation and the skills of performing chants by Z. r. (Singing Octoix of the 18th century, notated (znamenny and five-line notation) / Int. Art .: E.V. Pletneva. SPb., 1999; Church Study Guide. singing and reading / Compiled by E. A. Grigoriev. Riga, 2001 2; Self-consonant lines of the pillar chant are also self-consistent: [Textbook. manual] / Compiled by: GB Pechenkin. M., 2005; Liturgy of St. John Chrysostom banner. chant: Post-reform ed. / Compiled by: M. Makarovskaya; entry Art .: hierodiac. Pavel [Korotkikh]. M., 2005, etc.).

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 slaves of God above // ​​Muses. aesthetics of Russia XI-XVIII centuries. / Comp., Per. and entered. Art .: A.I. Rogov. M., 1973.S. 90; he is. Message from the servant of Christ // Ibid. P. 88; [Anonymous, 1683]. Spiritual Brozda // Ibid. P. 91; Euphrosynus, mon. Legend of various heresies // Ibid. S. 72-73; Message from the schmch. to Patriarch Ermogen on the abuse in church singing "Habuv" // Ibid. S. 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 / Publ. , trans .: M.V. Brazhnikov and G.A.Nikishov; foreword, commentary, research: G.A. Alexander Mezenets and others. Notice ... to those wishing to learn to sing (1670) / Introduction, publ. and per., ist. Issled .: NP Parfentiev; comment. and issled., decoding of banners. notation: Z.M. Huseynova. Chelyabinsk, 1996; The Tale of Bygone Years / Prep. text, trans., art. and comments: D. S. Likhachev; ed .: V.P. Adrianova-Peretz. SPb., 1999; Typographical charter: Charter with Kondakar con. XI - early. XII century / Ed. B. A. Uspensky. M., 2006.

Lit .: Moiseeva G. N. Valaam conversation - a monument to Russian. journalism ser. XVI century M .; L., 1958; Velimirović M. Byzantine Elements in Early Slavic Chant: The Hirmologium. Pars Principalis et Pars Suppletoria. Copenhagen, 1960 (MMB. Subs .; 4); Lazarevi č 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; Hannick Chr. Aux origins de la version slave de l "hirmologion // Fundamental Problems of Early Slavic Music and Poetry. Copenhagen, 1978. (MMB. Subs .; 6); K. Yu. Korableva. dissertation, M., 1979; Kagan M.D., Ponyrko N.V., Rozhdestvensk M.V. Description of collections of the 15th century. book writer Euphrosin // TODRL. 1980, vol. 35, pp. 3-300; Mur'yanov MF On the Old Slavonic "iskr" and its derivatives // VYa. 1981. No. 2. S. 115-123; Schenker A. M. Old Church Slavonic "spark" (close) and its derivatives // Ibid. S. 110-114; Yanin V.L. Parfentiev N.P. chorister. 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-va XVI-XVII centuries: Schools. Centers. Masters. Sverdlovsk, 1991; he is. Outstanding Russian musicians of the XVI-XVII centuries: Fav. scientific. Art. Chelyabinsk, 2005; Lozovaya I. Ye. The distinctive features of the znamenny chant: Cand. dis. K., 1987; she is. "The word from words is weaving sweet humor" // GDRL. 1989. Sat. 2.S. 383-422; she's the same. Old Rus. notated Paraclitic con. XII - early. XIII century: Prev. notes for the study of singers. books // GDRL. 1993. Sat. 6. Part 2. S. 407-432; she is. Byzantine prototypes of Old Rus. chorister. terminology // Keldyshev collection: Muz.-ist. NS. in memory of Yu. V. Keldysh, 1997. M., 1999. S. 62-72; she's the same. Old Rus. notated Paraclite in the circle of the Irmologians XII - 1st half. XV century: Melodic variants and versions in the chant of the canons // Gymnology. 2000. Issue. 1.S. 217-239; she's the same. Images and symbols of Old Rus. chorister. Art: Canons of Melopeia and "Six Days" // From the history of Rus. muses. 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 lyrics: Repertoire ref. music and poetry texts of the XV-XVII centuries. L., 1988; Guseinova ZM Guides to the theory of banners. singing of the 15th century. (sources and editions) // Drevnerus. chorister. culture and bookishness: Sat. scientific. tr. L., 1990.S. 20-46. (Problems of musicology; 4); she's the same. "Notice ... to those demanding to learn to sing" - a monument to Russian. medieval. music-theorist. thoughts: Comments. and issled. // Alexander Mezenets and others. Notice ... of the most agreeable marks that require learning to sing. Chelyabinsk, 1996.S. 493-494; Seregina N. S. Chants of Rus. saints: According to mat-lam rukop. chorister. books of the XI-XIX centuries. "Monthly sticherar". SPb., 1994; Shekhovtsova I.P. Anthem and Sermon: Two Traditions in Byzantine. hymnographic art // Muses. Orthodoxy culture peace: Traditions, theory, practice. M., 1994.S. 8-34; Shkolnik M.G. Problems of reconstruction of banners. chanting of the XII-XVII centuries: (On the material of Byzantine and Old Russian. Irmology): Cand. dis. M., 1996; eadem (Schkolnik M.). 4 Principles of the Development of the 11th-17th Cent. Znamenny 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. P. 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 ancient Russian masters. chorister. art of the XVI-XVII centuries. Chelyabinsk, 1997.S. 172-180; Gruzintseva N.V. Triodny Stihirar in Russian. chorister. practice of the XII-XVII centuries. // Days of glory. writing and culture: Materials of Vseros. scientific. conf. Vladivostok, 1998. Part 1. S. 112-120; Kazantseva M.G. Evolution of the book. Irmology in singing practice Dr. Rus (XII-XVII centuries) // Ibid. S. 121-128; Stolyarova L. V. Drevnerus. inscriptions of the XI-XIV centuries. on parchment codes. M., 1998.S. 197-199; Zabolotnaya N.V. Church-singer. manuscripts by dr. Rus XI-XIV centuries: The main types of books in the historical-functional aspect: Issled. M., 2001; Ignatieva A.A. Singing manuscripts of the collection of the New Jerusalem Mon-ry (State Historical Museum, Synodal Singing Sobr.) // EzhBK. 2001.S. 428-437; Korotkikh D. Stihirar Login Shishelova // Ibid. S. 405-411; Zhivaeva O. On the tradition of performing kathisma 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. SPb., 2003; Lifshitz A.L. Art. to the anniversary of G.Z. Bykova. M., 2003.S. 96-101; Shabalin D.S. Rus: Texts. Krasnodar, 2003; Bulanin D.M., Romodanovskaya E.K. Tikhon Makarievsky // SKKDR. 2004. Issue. 3. Part 4. S. 31-42; Ramazanova N.V. Muscovy in the church-singer. art of the XVI-XVII centuries. SPb., 2004; Tyurina OV Stichera Evangelical: A New Look at the East. the path of development of the cycle and the ratio of editions // "I am going on a path unknown to me ...": In memory of E. Filippova. M., 2006.S. 53-61. (Scientific tr. MGK; Sat 55); she's the same. The cycle of the Gospel stichera: Style editions based on the manuscripts of the con. XV - mid. XVII century. // Gymnology. 2008. Issue. 5: Oral and written transmission of the church-chanter. traditions: East - Russia - West. S. 171-176; Ukhanova E.V. The most ancient Russian. edition of the Studian charter: the origin and features of worship according to the Typographic list // Typographic charter. M., 2006.S. 239-253; Pozhidaeva G.A. Singing traditions of Dr. Rus: Essays on theory and style. M., 2007; Smilyanskaya E.B., Denisov N.G. Old Beliefs of Bessarabia: Book-writing and singing culture. M., 2007; Evdokimova A.A. Musical Greek. graffiti from the church of St. Sophia in Kiev // ADSV. 2008. Issue. 38.S. 185-195; Shvets T.V. parallels: To the 100th anniversary of S. V. Smolensky's Athonite expedition. M .; SPb., 2008.S. 100-132. See also lit. in st. Church singing in the volume "Russian Orthodox Church" PE.

I. E. Lozovaya

Russian church music began with a znamenny chant that arose at the time of the baptism of Rus. Its name is associated with the use of special notation signs for its recording - "banners". Their intricate names are associated with a graphic image: a bench, darling, a cup, two in a canoe, etc. Visually, the banners (otherwise - hooks) are a combination of dashes, periods and commas.

Each banner contains information about the duration of sounds, their number in a given motive, the direction of the sound of the melody and the peculiarities of the performance.

The intonations of the znamenny chant were mastered by the choristers and parishioners of the church by ear from the masters of the znamenny chant, since the exact pitch of the banners was not fixed. Only in the 17th century. the appearance in the texts of special cinnabar (red) droppings made the designation of the pitch of the hooks available.

The spiritual component of the znamenny chant

It is not possible to understand what a znamenny chant is and to appreciate its beauty without referring to the spiritual significance of the chant in Russian Orthodox culture. Samples of znamenny melodies are the fruits of the highest spiritual contemplation of their creators. The meaning of the znamenny singing is the same as that of the icon - the liberation of the soul from passions, detachment from the visible material world, therefore the old Russian church unison is devoid of chromatic intonations that are needed when expressing human passions.

An example of a chant created on the basis of a znamenny chant:
S. Trubachev "The Grace of the World"

Thanks, the znamenny chant sounds majestic, dispassionate, stern. The melody of a monophonic prayer chant is characterized by smooth movement, noble simplicity of intonation, clearly defined rhythm, and completeness of construction. The chant is in perfect harmony with the spiritual text being played, while chanting in unison focuses the attention of the singers and listeners on the words of the prayer.

From the history of the znamenny chant

An example of znamenny notation

To reveal more fully what a znamenny chant is, an appeal to its origins will help. Znamenny originates from the ancient Byzantine liturgical practice, from which Russian Orthodoxy borrowed the annual circle of osmoglash (the distribution of church chants into eight singing voices). Each voice has its own bright melodic turns, each voice is designed to reflect different moments of a person's spiritual states: repentance, humility, tenderness, delight. Each melody is associated with a specific liturgical text and tied to a specific time of the day, week, year.

In Russia, the chants of Greek singers gradually changed, absorbing the features of the Church Slavonic language, Russian musical intonations and metro rhythms, acquiring great melodiousness and fluency.

Types of znamenny chant

Asking the question of what a znamenny chant is and what its varieties are known, one should look at it as a single musical system that actually embraces znamenny, or pillar (eight voices form a set of melodies "pillar", cyclically repeating every 8 weeks), travel and demestny chants ... All this musical matter is united by a structure based on tunes - short melodic turns. The sound material is built on the basis of the liturgical rite and the church calendar.

Track chant - solemn, festive chant, which is a complicated and transformed type of pillar chant. The track chant is characterized by rigor, firmness, rhythmic virtuosity.

Of the aforementioned style varieties of znamenny chant, the demestvenny chant is not included in the book of Oktoykh ("octopus"). It is distinguished by a solemn character of sound, a festive style is presented, the most important liturgical texts, hymns of the bishop's divine service, weddings, and the consecration of churches are sung with it.

At the end of the XVI century. a "big znamenny chant" was born, which became the highest point in the development of Russian znamenny chant. Long and chanting, smooth, unhurried, equipped with an abundance of extensive melismatic constructions with rich intrasyllabic chants, the "big znamenny" sounded at the most significant moments of the service.

Theological-liturgical dictionary

archpriest

B. Kutuzov

prot. Boris Nikolaev

B.P. Kutuzov

Znamenny singing(hook singing) - a type based on a single-part choral performance of a composition. Znamenny chant is also called Orthodox canonical chant due to its antiquity and prevalence in the times of the Byzantine Empire, as well as its development within the framework of osmoglash.

The very name of the znamenny chant comes from the word "znamena" and its synonym "hooks" (hence the hook singing). The fact is that it was customary to designate sound intervals using special signs called "banners" or "hooks", which were placed over the canonical text. These signs carried information about the melodic turn (singing, melody). For the singer, such melodic turns formed peculiar patterns that he could use to compose melodies, depending on the time and rank of the service.

Znamenny chanting was common in Russia from the 11th to the 17th century. The source of the znamenny chant is the Byzantine liturgical practice. In the 17th century, the znamenny chant was replaced by partes. The melodies of the znamenny chant were used in their compositions by PI Tchaikovsky, SV Rachmaninov, and others. Now in the Orthodox Church there is an interest in znamenny singing and its revival.

From the book: "Temple, Rites, Divine Services":

Znamenny chant- the main chant of Old Russian monodic music (11-17 centuries). It got its name from the general name of the signs used to write it - "banners". Late Byzantine (so-called "Coislin") notation served as a source for znamennaya; from the Byzantine liturgical practice, the principle of organizing musical material was borrowed - the system of osmoglash. The melody of the Znamenny chant is based on the Obihodny scale, it is distinguished by its smoothness, balance of wavy lines.

In the process of development of the Znamenny chant, several of its types arose. Stolpovoy 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 banner is nevme); there are also melismatic inserts (Fita). It has the richest fund of melodies - singing, the connection and sequence of which is subject to certain rules. The rhythm of the pillar Znamenny chant is varied. They sung the main singing books - Irmologion, Oktoikh, Triod, Obikhod, Holidays. Small znamenny chant - syllabic style, recitative - intended for daily services. They are close to him like the old Znamenny chant, found in manuscripts from the 11th century. The Bolshoi Znamenny chant of the melismatic style originated in the 16th century; among its creators are the singers Fyodor Krestyanin, Savva Rogov and their students. Bolshoi Znamenny chant is distinguished by wide intrasyllabic chant, free variability of the melodic pattern (alternation of forward movement and leaps).

Znamenny chant served as a source of track chant and demestvennoe chant; the development of the signs of written notation underlies the path and demestnaya notation. The melodies of the Znamenny chant were used in polyphonic line singing, part singing (3 and 4 voice harmonizations). In 1772, the Synodal Printing House published not-linear monophonic singing books with chants of the znamenny and other chants, which served as the basis for the adaptations and harmonizations of the 19th and 20th centuries. MI Glinka, MA Balakirev, NA Rimsky-Korsakov, PI Tchaikovsky addressed the harmonization of the Znamenny chant; new principles of processing 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.) The znamenny chant in monophonic version has been preserved to this day among the Old Believers.

Fita is a melodic formula of the melismatic style used in Byzantine and Old Russian music. In musical monuments of different times, there are Fita, designated in abbreviated form ("secretly closed" Fita) - with the help of the letter of the Greek alphabet "fita". From the 16th century. Feats began to be written out entirely with the help of a series of simple banners; such a record was also used as a decoding of abbreviations, receiving the name "divorce". The melodic content of Fita consists, as a rule, of developed tunes of different lengths (for example, 17 sounds in Fita “occasional”, 67 in “consolation”), which are sung in 2-3 syllables of the text. Feats are used only at the beginning or in the middle of chants. Fita were most widely used in stichera of especially solemn holidays. The name Fit, their styles, as well as divorces are also contained in the ancient Russian musical theoretical manuals - the ABCs of music and fittings.

Hooks, banners (Slavic banner - sign; Latin neuma), signs of Old Russian nonlinear notation. Hook (by the name of one of its main signs) notation (also znamennaya, or pillar) is derived from early Byzantine (Paleo-Byzantine) notation and is the main form of Old Russian musical writing. In the development of znamenny notation, there are 3 periods - early (11-14 centuries), middle (15-early 17th centuries). and late (from the middle of the 17th century). The notation of the first two periods has not yet been deciphered. In the 17th century. recordings of the pitch line appeared cinnabar marks, then ink signs, which made the znamenny notation available for decoding. Distinguish between unlabeled, annotated, both annotated and signed hook manuscripts.

Banner notation is ideographic in nature. There are 3 types of graphic fixation of melodies, corresponding to melodic formulas of different scale levels: hook proper - Hooks, denoting 1-3 tones (sometimes more) in a certain sequence; singing - includes relatively short melodic formulas written in simple banners, often with elements of secret writing ("secrecy"); fit - contains lengthy melodic constructions, completely encrypted.

Znamenny chant

[Against known misconceptions]

At the present time, we can talk about the revival in the Russian Orthodox Church of canonical liturgical singing. The znamenny chant is heard again in many monasteries and parishes, schools of znamenny chant are organized, congresses of the choir chiefs (choir directors), etc. At the same time, the experience of the practical restoration of the znamenny chant shows that a number of errors have accumulated in relation to Russian liturgical chant.

First of all, the znamenny chant is often associated with the Old Believer church, calling it the singing of schismatics. This is not true. The Znamenny Singing is the singing of the one Russian Church that sounded in it for 7 centuries. At its origins stood such ascetics as St. , such singing was heard by St. Sergius of Radonezh. Liturgical singing was viewed as a continuation of monastic prayer work. Only the znamenny chant is complete - the hook books that have come down to us include a full circle of chants that surprisingly correspond to the divine service in rhythm, character, duration, since the chant was formed in indissoluble unity with the divine service. The second misconception: the znamenny chant is considered one of the styles of music included in the evolutionary development of musical styles. As if the znamenny chant has a predecessor of some kind of musical style and over time naturally turns into more developed forms, for example, polyphony. This is also not true. At the heart of the change in styles in secular music is primarily a change in content. But for liturgical singing, the content is invariable, eternal, and in time it is not development that takes place, but revealing, approaching the Truth during periods of spiritual upsurge, or distortion, clouding during declines. The summit points associated with the prayerful feat of Russian Orthodox people were imprinted, 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 be seen in the means used by the znamenny chant. Its main function is clear and strong pronunciation. the words- dictates the use of monody, the absence of metric pulsation and periodicity in the form. Liturgical singing is characterized by evenness, impetuosity, corresponding to the constancy of prayer. There are no musical formal effects, climaxes, dynamic and tempo contrasts in it. There is no isolation, completeness characteristic of a piece of music. The chants are open, included in the whole divine service. The Gospel stichera of a large znamenny chant, which sounds at the end of a long service, is listened to in a completely different way than when it is performed separately. Its perception is prepared by all the previous sounding of the service, and not only melodiously. On Sunday Matins, she returns the attention of the praying person to what has already been experienced - first when reading the Gospel, then when it is repeated-retelling in the exapostilaria. Only a special, focused attention to the Word of God during the divine service can explain the very appearance 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 that 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 plan in the complex integrity of worship, is determined by this integrity and bears its imprint.
With a "museum" view, it is difficult for theorists to distinguish the principal features from the accidental and unimportant, while practitioners begin to look for an archaic "manner", fall into a stylization that kills the 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 chants, such as, for example, canonically sung services to newly glorified saints are today ...