The meaning of ZNAMNY CHANT in the Dictionary of Musical Terms
ZNAMNY CHANT
A system of ancient Orthodox cult chants. The name comes from the ancient Slavic "banner" - a singing sign. banners (or hooks) were used to record chants. Znamenny chant has various options related to forms church service. the text could be sung using different melodic techniques, which provided significant creative initiative to church choristers.
Dictionary of musical terms. 2012
See also interpretations, synonyms, meanings of the word and what ZNAMENNY CHANT is in Russian in dictionaries, encyclopedias and reference books:
- ZNAMNY CHANT
(hook singing) is the main type of Old Russian church singing (the tunes were recorded with special signs - banners, or hooks). Known since the 11th century; developed... - ZNAMNY CHANT
chant, the main fund of Russian church chants. The name comes from the Old Slavonic word for "banner". Banners, or hooks, were called non-linear signs... - ZNAMNY CHANT
(hook singing), the main type of Old Russian church singing (tunes were recorded with special signs - banners, or hooks). Known since the 11th century; ... - ZNAMNY CHANT in the Modern Encyclopedic Dictionary:
- ZNAMNY CHANT in the Encyclopedic Dictionary:
(hook singing), in the 11th - 17th centuries. the main chant of the Old Russian church music. The name comes from the names used to record it... - CHANT in the Big Encyclopedic Dictionary:
(chanting) system of ancient Russian singing. There are 7 main chants: Znamenny (from the 11th century), Kondakar (11-14 centuries; see Kondakar singing), demestvenny and ... - CHANT in the Great Soviet Encyclopedia, TSB:
(ancient - chant), independent system monody, characterized by a certain fund of melodic motifs and patterns of their organization in melodies. In the Russian church... - CHANT
RASPEV (chanting), ancient Russian system. singing. There are 7 main ones. R.: Znamenny (from the 11th century), Kondakar (11-14 centuries; see Kondakar singing), ... - Znamenny in the Big Russian Encyclopedic Dictionary:
ZNAMENNY CHANT (hook singing), main. view of other Russian church singing (tunes were recorded with special signs - banners, or hooks). Known since... - Znamenny in the Big Russian Encyclopedic Dictionary:
BANNER PLATOON, a unit assigned to accompany the battle flag with a flag bearer, assistants and a drummer. Armed with machine guns or... - CHANT in Collier's Dictionary:
a form of vocal music, something between ordinary speech and a real melody (in the modern European sense). The term is usually attached to the Gregorian... - CHANT
sing"in, sing"you, sing"va, sing"vom, sing"vu, sing"you, sing"in, sing"you, sing"vom, sing"you, sing"ve, ... - Znamenny in the Complete Accented Paradigm according to Zaliznyak:
znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, ... - Znamenny in the Complete Accented Paradigm according to Zaliznyak:
znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamen znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, znamenny, … - CHANT in the Russian Synonyms dictionary:
song, chant, ... - CHANT
m. 1) The process of action according to the meaning. verb: to sing, to sing, to sing, to sing. 2) a) Drawing melody. b) colloquial Chant pronunciation. 3) ... - Znamenny in the New Explanatory Dictionary of the Russian Language by Efremova:
- CHANT
ras`ev, ... - Znamenny in Lopatin’s Dictionary of the Russian Language:
Znamenny (from... - Znamenny in Lopatin’s Dictionary of the Russian Language:
famous... - CHANT
chant... - Znamenny full spelling dictionary Russian language:
Znamenny (from... - Znamenny in the Complete Spelling Dictionary of the Russian Language:
banner... - CHANT in the Spelling Dictionary:
ras`ev, ... - Znamenny in the Spelling Dictionary:
Znamenny (from... - Znamenny in the Spelling Dictionary:
famous... - CHANT in Modern explanatory dictionary, TSB:
(chanting), a system of ancient Russian singing. There are 7 main chants: Znamenny (from the 11th century), Kondakar (11-14 centuries; see Kondakar singing), demestial ... - CHANT in Ushakov’s Explanatory Dictionary of the Russian Language:
chant, m. 1. unit only Action according to verb. chant-sing and chant in 2 meanings. - to sing (musical argot). Sing something. ... - CHANT
chant m. 1) The process of action according to meaning. verb: to sing, to sing, to sing, to sing. 2) a) Drawing melody. b) colloquial Chant pronunciation. ... - Znamenny in Ephraim's Explanatory Dictionary:
adj. 1) Correlative in meaning. with noun: banner (1) associated with it. 2) Characteristic of the banner (1), characteristic of ... - CHANT
m. 1. process of action according to Ch. sing, sing, sing, sing 2. Drawing chant. Ott. decomposition Chant pronunciation. 3. Circle of chants... - Znamenny in the New Dictionary of the Russian Language by Efremova:
adj. 1. ratio with noun banner 1., associated with it 2. Characteristic of the banner [banner 1.], characteristic of ... - CHANT
I m. 1. process of action according to Ch. chant, chant 2. The result of such an action; lingering chant. 3. decompression Chant pronunciation. ... - Znamenny in the Large Modern Explanatory Dictionary of the Russian Language:
adj. 1. ratio with noun banner 1., associated with it 2. Characteristic of the banner [banner 1.], characteristic of ... - CHURCH SINGING in the Orthodox Encyclopedia Tree.
- GERASIMOVSKY CHANT in the Orthodox Encyclopedia Tree:
Open Orthodox encyclopedia "TREE". Gerasimov's chant, incomplete, not consonant; brought into the court singing chapel in 1740 by the charter monk Gerasim from ... - RUSSIA, SECTION CHURCH MUSIC (PREHISTORIC AND ANCIENT PERIOD) in the Brief Biographical Encyclopedia.
- RUSSIAN SOVIET FEDERAL SOCIALIST REPUBLIC, RSFSR in the Great Soviet Encyclopedia, TSB.
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After the conquest of Bulgaria by the Turks in 1393, the independence of the Bulgarian church was destroyed; The Bulgarian hierarchy was replaced by the Greek one, which began to be introduced into ... - SIMONOVSKY CHANT V Encyclopedic Dictionary Brockhaus and Euphron:
one of the complete chants of the Russian Orthodox Church, bearing close resemblance to the old Znamenny chant. It got its name from the Moscow... - SERBIAN CHANT in the Encyclopedic Dictionary of Brockhaus and Euphron:
The Orthodox Church is subject to osmoglas. He penetrated into the South Russian Church earlier than into the Great Russian Church, namely in the 15th century. thanks to Gregory... - RUSSIA. ART: MUSIC in the Encyclopedic Dictionary of Brockhaus and Euphron.
- Kyiv CHANT in the Encyclopedic Dictionary of Brockhaus and Euphron:
one of the Russian chants of the Orthodox Church that appeared later than Znamenny. K. chant refers to the complete chants of the Russian church, i.e. having ... - OLD BULGARIAN CHURCH CHANT in the Brockhaus and Efron Encyclopedia:
? After the conquest of Bulgaria by the Turks in 1393, the independence of the Bulgarian church was destroyed; The Bulgarian hierarchy was replaced by the Greek one, which began to introduce...
The main type of ancient Russian church singing. The name comes from the Old Slavonic word “banner”, i.e. sign. Banners or hooks were non-linear signs used to record chants. Z.r. was a monody performed in unison; Only at the later stages of its development (not earlier than the mid-16th century) did 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 developed by the end of the 10th century. D.V. Razumovsky, V.M. Metallov and A.V. Preobrazhensky believed that Z. r. was brought from Byzantium after the baptism of Rus'. V. M. Belyaev argued that he has an original, Russian. origin and arose in the 11th century. The most likely assumption is that singing, borrowed in its original foundations from Byzantium, developed as an independent type of singing in the 12th century, when Christianity was spreading among the people. masses and Byzantium. forms began to be exposed to environmental conditions. music language. Z.r. developed within the framework of the osmoglas system. Eight voices with their special hymns. the texts constituted the “pillar”, i.e. cycle repeated every 8 weeks; therefore Z. r. sometimes called pillar singing (less commonly called hook singing). The osmoglas system was a sum of settled melody and formulas (chant), which served as material for singing the text in one voice or another. Similar type of music. compositions based on formulas were characteristic of both Byzantine and Western European. Gregorian chant. It reflected the general typical features of the Middle Ages arts thinking. Singing Z. r. there were brief diatonic motifs. warehouse in the volume of a third or a quart. The poglasitsa of an entire chant was composed of three or four chants. Poglasitsa were preserved in records from the 16th century, but their origin is undoubtedly earlier.
Poglasitsa 1st voice. Manuscript 17th century. State Public Library named after. M. E. Saltykova-Shchedrin. Collection of N. K. Mikhailovsky, O. No. 14, sheet 47.
In glory translated from Greek syllabich. the versification was not preserved, but the structure of the chants remained the same, and the singer was required to ensure that the rhythm of the music corresponded to the prosody of the text. Singing texts based on poglasitsa songs, the singing masters used techniques close to the principles of folk music. song creation: singing one or another sound of a song as a reference and moving the support to an adjacent non-reference sound. Prevalence in records of the 12th and 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 melody. drawing.
Melodies Z. r. V early period divided into self-agreed and similar. The similar ones differed from the self-glases in their greater originality of melodies. turns and clarity of line construction, which made it possible to use them for singing unsung texts. Samoglasny and similar, according to tradition, were included in the chant. books of the 16th-17th centuries, when the same chants were already set out in a chanting manner.
Self-agreement of the 1st voice. The same manuscript, sheet 50 and verso.
Similar to the 1st voice. The same manuscript, sheets 52 verso and 53.
Popevok Fund Z. r. gradually increased, and at the same time their range expanded. He reached the minor seventh, and the entire scale reached the duodecimus. Laconic motives developed into broadly chanted ones, and the melody as a whole - into a cantilena with flowery high-pitched and rhythmic ones. contours. The composition technique has improved. Masters of the 15th century They were no longer limited to the elementary techniques of presenting a melody: singing a reference tone and moving it. They used more complex techniques: repetition, variation. development, reduction and expansion of chants, sequences. The melodies of the chants were sometimes decorated with the so-called. fits and faces. It was a kind of anniversary. The first were marked with a sign in the form of the letter fita, in muses. respectfully differed in the spaciousness of the chant. The faces were more laconic. To the beginning 16th century All the chants of Sunday services in eight voices, holidays of the whole year, etc. were sung. everyday life, i.e. chants of daily worship - Vespers, Matins and Liturgy.
Melodika Z. r. throughout the history of its development was smooth. Tertz and fourth jumps within melodic. lines were allowed only in those cases when they were included in one or another chant, and the combination of chants into one melodic. the line was carried out in a forward motion. The rhythm was characterized by the same smoothness and uniformity. Banners with “delays”, increasing the duration by half, were used relatively rarely, especially rhythmic ones. figures from a quarter with a dot and an eighth. To conclude, the cadence was a gradual and uniform movement of the voice in the volume of a trichord or tetrachord, associated with the singing of one of its steps, at which the melody ended.
Z.r. a special ideographic was recorded. notation, based on the so-called paleo-Byzantine neumatic notation (see Byzantine music). As the fund of singers increases, the singers expand. scale, the development of chants and the complication of composition techniques, the notation itself became more complex. In the 15th century In connection with the widespread manner of decorating chants with anniversaries at that time, the notation underwent particularly great changes. Fits were written down in abbreviated form, using a special “secret” combination of banners. The variety of anniversaries necessitated the systematization of “secret” banners. Collections of fits (fitniki) appeared, which were used when composing tunes and when teaching singing. The continued complication of the “secret” banners led to the appearance of “divorces” in the fitniks, i.e. a lengthy recording of encrypted fits using ordinary banners. There were similar collections of songs (called kokizniki); they usually indicated only the phrase of the text with which the given song (kokiza) was sung. At the end of the 17th century. Phites and Coquises were translated into five-line notation.
In the 16th century Some znamenny melodies were complicated mainly due to increased durations and the use of syncopation. As a result of the transformation of the chants, arose a new style monody - traveling chant, characterized by slow and ponderous movement.
The chant line of the 8th tone of the Znamenny chant and the melody of the travel chant. Manuscript con. 17 - beginning 18th centuries State Public Library named after. M. E. Saltykova-Shchedrin. Collection of M.P. Pogodin, No. 418, leaves 55 ver. and 63 ver.
Travel melodies were initially written using znamenny notation, but as they became more complex, a special travel notation was created based on znamenny.
K ser. 17th century in chanter. In art, there has been a tendency to shorten lengthy melodies for the sake of greater clarity of the text and a better sense of harmony. The shortened melodies began to be called small chant, and the original ones - large chant. In the chanter. In books, usually, along with the chant of the small chant, the chant of the same name in the large chant was also recorded.
Melodies Z. r. They were also used in early forms of polyphony in the so-called three-line singing (see Line singing), as well as in demesnic chant. In the 2nd half of the 17th century. many of the banners are single-headed. chants were translated into five-line notation, and composers of partes singing harmonized most of these chants. In addition, they widely used Z. r.'s songs. in melodies of his own composition.
In connection with the approval of new forms of choir. culture in the 2nd half. 17th century Z.r. lost its former meaning. It was preserved in the hook notation by the Old Believers, and in the five-line chap. arr. in the repertoire of monastery choirs and in the singing of clerks. In order to protect Z. r. from distortions and the establishment of uniformity of the text, the Synod of the Russian Church published in 1772 in a “square” note, in the so-called. in the tsefaut key, “Usage of church music singing”, “Irmology of musical singing”, “Octoechos of musical singing” and “Holidays of musical singing”. In 1891 the Lenten and Colored Triodion 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. national music. First to Z. r. addressed D.S. Vortnyansky, although his harmonizations were an arrangement of melodies taken not from synodal publications, but existing in Western-Ukrainian. church singing. Later, P. I. Turchaninov, N. M. Potulov, A. F. Lvov were involved in the harmonization of melodies from synodal publications. Their transcriptions, however, are not free from creatures. shortcomings. Turchaninov, trying to subordinate the znamenny melody to a certain size, distorted it. Potulov maintained the asymmetrical rhythm of the znamenny melody and did not allow its alteration, but, considering almost all sounds of the melody to be carriers of certain harmonics. functions, created on this basis a ponderous and monotonous harmonization. Lvov observed an asymmetrical rhythm and achieved clarity and transparency of harmonization, but used harmonic. minor, not typical for Z. r. The problem of harmonization of environmental regulations interested M.I. Glinka. P.I. Tchaikovsky harmonized the dept. chants of Z. r. in "All-Night Vigil" (op. 52). But the key to solving the problem of harmonization of the Z. r. was found by A.D. Kastalsky in folk song polyphony. The harmonizations he performed in this regard revealed the beauty and nationality. the nature of the melody of Z. r. S. V. Rachmaninov in “All-Night Vigil” (Op. 37) harmonized several chants of the Z. R. To Z. r. addressed in their writings by N. A. Rimsky-Korsakov, M. A. Balakirev, S. V. Smolensky, M. 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 chant, K., 1887; Smolensky S., ABC znamenny singing, Kazan, 1888; by him, On ancient Russian singing notations, St. Petersburg, 1901; Metallov 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., Paths of development and tasks of deciphering Znamenny chant of the 12th-18th centuries, L.-M., 1949; his, Russian church singing of the XII-XVIII centuries, "Musica antlqua Europae Orientalis. Acta scientifica congresses I. Bydgoszcze. 1966", Warsz., 1966; his, New monuments of Znamenny chant, Leningrad, 1967; by him, Old Russian Theory of Music, Leningrad, 1972; Belyaev V., Music, in the book: History of the culture of ancient Rus', vol. 2, M.-L., 1951; his, Old Russian Musical Writing, M., 1962; Uspensky N., Old Russian singing art, M., 1965, 1971; his, Samples of Old Russian singing art, Leningrad, 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.
N. D. Uspensky
Znamenny chant
The main type of ancient Russian. church singing. Name comes from Staroslav. the words "banner", i.e. sign. Banners or hooks were non-linear signs used to record chants. Z.r. was a monody performed in unison; Only at the later stages of its development (not earlier than the mid-16th century) did 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 developed by the end of the 10th century. D.V. Razumovsky, V.M. Metallov and A.V. Preobrazhensky believed that Z. r. was brought from Byzantium after the baptism of Rus'. V. M. Belyaev argued that he has an original, Russian. origin and arose in the 11th century. The most likely assumption is that singing, borrowed in its original foundations from Byzantium, developed as an independent type of singing in the 12th century, when Christianity was spreading among the people. masses and Byzantium. forms began to be exposed to environmental conditions. music language. Z.r. developed within the framework of the osmoglas system. Eight voices with their special hymns. the texts constituted the “pillar”, i.e. cycle repeated every 8 weeks; therefore Z. r. sometimes called pillar singing (less commonly called hook singing). The osmoglas system was a sum of settled melody and formulas (chant), which served as material for singing the text in one voice or another. Similar type of music. compositions based on formulas were characteristic of both Byzantine and Western European. Gregorian chant. It reflected the general typical features of the Middle Ages arts thinking. Singing Z. r. there were brief diatonic motifs. warehouse in the volume of a third or a quart. The poglasitsa of an entire chant was composed of three or four chants. Poglasitsa were preserved in records from the 16th century, but their origin is undoubtedly earlier.
Poglasitsa 1st voice. Manuscript 17th century. State Public Library named after. M. E. Saltykova-Shchedrin. Collection of N. K. Mikhailovsky, O. No. 14, sheet 47.
In glory translated from Greek syllabich. the versification was not preserved, but the structure of the chants remained the same, and the singer was required to ensure that the rhythm of the music corresponded to the prosody of the text. Singing texts based on poglasitsa songs, the singing masters used techniques close to the principles of folk music. song creation: singing one or another sound of a song as a reference and moving the support to an adjacent non-reference sound. Prevalence in records of the 12th and 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 melody. drawing.
Melodies Z. r. in the early period they were divided into samoglasny and similar. The similar ones differed from the self-glases in their greater originality of melodies. turns and clarity of line construction, which made it possible to use them for singing unsung texts. Samoglasny and similar, according to tradition, were included in the chant. books of the 16th-17th centuries, when the same chants were already set out in a chanting manner.
Self-agreement of the 1st voice. The same manuscript, sheet 50 and verso.
Similar to the 1st voice. The same manuscript, sheets 52 verso and 53.
Popevok Fund Z. r. gradually increased, and at the same time their range expanded. He reached the minor seventh, and the entire scale reached the duodecimus. Laconic motives developed into broadly chanted ones, and the melody as a whole - into a cantilena with flowery high-pitched and rhythmic ones. contours. The composition technique has improved. Masters of the 15th century They were no longer limited to the elementary techniques of presenting a melody: singing a reference tone and moving it. They used more complex techniques: repetition, variation. development, reduction and expansion of chants, sequences. The melodies of the chants were sometimes decorated with the so-called. fits and faces. It was a kind of anniversary. The first were marked with a sign in the form of the letter fita, in muses. respectfully differed in the spaciousness of the chant. The faces were more laconic. To the beginning 16th century All the chants of Sunday services in eight voices, holidays of the whole year, etc. were sung. everyday life, i.e. chants of daily worship - Vespers, Matins and Liturgy.
Melodika Z. r. throughout the history of its development was smooth. Tertz and fourth jumps within melodic. lines were allowed only in those cases when they were included in one or another chant, and the combination of chants into one melodic. the line was carried out in a forward motion. The rhythm was characterized by the same smoothness and uniformity. Banners with “delays”, increasing the duration by half, were used relatively rarely, especially rhythmic ones. figures from a quarter with a dot and an eighth. To conclude, the cadence was a gradual and uniform movement of the voice in the volume of a trichord or tetrachord, associated with the singing of one of its steps, at which the melody ended.
Z.r. a special ideographic was recorded. notation, based on the so-called paleo-Byzantine neumatic notation (see Byzantine music). As the fund of singers increases, the singers expand. scale, the development of chants and the complication of composition techniques, the notation itself became more complex. In the 15th century In connection with the widespread manner of decorating chants with anniversaries at that time, the notation underwent particularly great changes. Fits were written down in abbreviated form, using a special “secret” combination of banners. The variety of anniversaries necessitated the systematization of “secret” banners. Collections of fits (fitniki) appeared, which were used when composing tunes and when teaching singing. The continued complication of the “secret” banners led to the appearance of “divorces” in the fitniks, i.e. a lengthy recording of encrypted fits using ordinary banners. There were similar collections of songs (called kokizniki); they usually indicated only the phrase of the text with which the given song (kokiza) was sung. At the end of the 17th century. Phites and Coquises were translated into five-line notation.
In the 16th century Some znamenny melodies were complicated mainly due to increased durations and the use of syncopation. As a result of the transformation of the chants, a new style of monody arose - traveling chant, characterized by slow and ponderous movement.
The chant line of the 8th tone of the Znamenny chant and the melody of the travel chant. Manuscript con. 17 - beginning 18th centuries State Public Library named after. M. E. Saltykova-Shchedrin. Collection of M.P. Pogodin, No. 418, leaves 55 ver. and 63 ver.
Travel melodies were initially written using znamenny notation, but as they became more complex, a special travel notation was created based on znamenny.
K ser. 17th century in chanter. In art, there has been a tendency to shorten lengthy melodies for the sake of greater clarity of the text and a better sense of harmony. The shortened melodies began to be called small chant, and the original ones - large chant. In the chanter. In books, usually, along with the chant of the small chant, the chant of the same name in the large chant was also recorded.
Melodies Z. r. They were also used in early forms of polyphony in the so-called three-line singing (see Line singing), as well as in demesnic chant. In the 2nd half of the 17th century. many of the banners are single-headed. chants were translated into five-line notation, and composers of partes singing harmonized most of these chants. In addition, they widely used Z. r.'s songs. in melodies of his own composition.
In connection with the approval of new forms of choir. culture in the 2nd half. 17th century Z.r. lost its former meaning. It was preserved in the hook notation by the Old Believers, and in the five-line chap. arr. in the repertoire of monastery choirs and in the singing of clerks. In order to protect Z. r. from distortions and the establishment of uniformity of the text, the Synod of the Russian Church published in 1772 in “square” notes (see Notation), in the so-called. in the tsefaut key, “Usage of church music singing”, “Irmology of musical singing”, “Octoechos of musical singing” and “Holidays of musical singing”. In 1891 the Lenten and Colored Triodion 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. national music. First to Z. r. addressed D.S. Vortnyansky, although his harmonizations were an arrangement of melodies taken not from synodal publications, but existing in Western-Ukrainian. church singing. Later, P. I. Turchaninov, N. M. Potulov, A. F. Lvov were involved in the harmonization of melodies from synodal publications. Their transcriptions, however, are not free from creatures. shortcomings. Turchaninov, trying to subordinate the znamenny melody to a certain size, distorted it. Potulov maintained the asymmetrical rhythm of the znamenny melody and did not allow its alteration, but, considering almost all sounds of the melody to be carriers of certain harmonics. functions, created on this basis a ponderous and monotonous harmonization. Lvov observed an asymmetrical rhythm and achieved clarity and transparency of harmonization, but used harmonic. minor, not typical for Z. r. The problem of harmonization of environmental regulations interested M.I. Glinka. P.I. Tchaikovsky harmonized the dept. chants of Z. r. in "All-Night Vigil" (op. 52). But the key to solving the problem of harmonization of the Z. r. was found by A.D. Kastalsky in folk song polyphony. The harmonizations he performed in this regard revealed the beauty and nationality. the nature of the melody of Z. r. S. V. Rachmaninov in “All-Night Vigil” (Op. 37) harmonized several chants of the Z. R. To Z. r. addressed in their writings by N. A. Rimsky-Korsakov, M. A. Balakirev, S. V. Smolensky, M. 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 chant, K., 1887; Smolensky S., The ABC of Znamenny Singing, Kazan, 1888; by him, On ancient Russian singing notations, St. Petersburg, 1901; Metallov 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., Paths of development and tasks of deciphering Znamenny chant of the 12th-18th centuries, L.-M., 1949; his, Russian church singing of the XII-XVIII centuries, "Musica antlqua Europae Orientalis. Acta scientifica congresses I. Bydgoszcze. 1966", Warsz., 1966; his, New monuments of Znamenny chant, Leningrad, 1967; by him, Old Russian Theory of Music, Leningrad, 1972; Belyaev V., Music, in the book: History of the culture of ancient Rus', vol. 2, M.-L., 1951; his, Old Russian Musical Writing, M., 1962; Uspensky N., Old Russian singing art, M., 1965, 1971; his, Samples of Old Russian singing art, Leningrad, 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 famous 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 11th - 17th centuries. the main chant of ancient Russian church music. The name comes from the name of the banners (or hooks) used to record it. Subject to the osmoglas system. Used in the works of S.V. Rachmaninova, P.G.... ... Illustrated Encyclopedic Dictionary
Znamenny Chant- a system of ancient Orthodox church chants. The name comes from the Old Slavonic word “banner” - a singing sign. Banners (or hooks) were used to record chants. The Znamenny chant has various variants related to the forms... ... Orthodoxy. Dictionary-reference book
- (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 osmoglas system (see also Glas). The melodies of the Znamenny chant were used in... ... encyclopedic Dictionary
ZNAMNY CHANT- [znamenny chant, znamenny singing, hook singing], 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” first appears in the texts of the ser... Orthodox Encyclopedia
The main fund of Russian church tunes. The name comes from the Old Slavonic word for “banner”. Banners, or hooks (See Kryuki), were non-linear signs used to record chants. Originally the name Z. r. meant... ... Great Soviet Encyclopedia
See: CHANT.
ZNAMNY CHANT, the main type of liturgical singing Ancient Rus'. It got its name from the non-meaning signs - “banners” (see Hooks) used to record it. The source for the Znamenny notation was the Paleo-Byzantine (the so-called Kualensky); The principle of organizing texts, chants, and intonation formulas was also borrowed from Byzantine liturgical practice - the system of osmoglasis (see also Voice). Znamenny chant from the 11th to 17th centuries is a strict vocal monody; it is characterized by a modal modal organization, which has not yet received a satisfactory scientific explanation(most of the chants of the 11th-16th centuries cannot be deciphered; the basis of the 17th century melody is an everyday scale, the steps of which are reflected in the notation through marks or signs). The musical form corresponds to the structure of liturgical texts (text-musical form); the irregular rhythm of the chants relates differently to the prayer verse. There are syllabic (syllable-sound), neumatic (2-4 sounds per syllable) and melismatic (wide vocalization, characteristic of especially solemn moments of worship) types of relationship between text and melody. The most extended chanting phrases - the so-called faces and fits - usually refer to the key words of the text.
While maintaining the Byzantine liturgical canon in Old Russian singing early on, intonation differences between the tunes and their Greek prototypes emerged, reflecting the specifics of the translated texts in Church Slavonic language and local features. Greek-Russian bilingualism was sometimes preserved with alternating antiphonal singing in two choirs. At the same time, the innovations of late Byzantine church singing (for example, intervallic definiteness of notation) were not reflected in znamenny chant, which remained faithful to the most ancient models. The stability of the melodic appearance of the Znamenny chant is ensured by the principle of singing “like”: most chants are sung according to known models, preserving the semantic and structural supports of the model chant. The main liturgical books- Irmologion, Octoechos, Lenten and Colored Triodion, Daily Life, Holidays. In the 11th-14th centuries, both written and oral form transmission of Znamenny chant, many song books of this period were not fully notated. In the 15th-17th centuries, as the iotized song books were typified, znamenny notation was improved, reflecting the richest fund of melodies, the connection and sequence of which are subject to certain rules.
In the process of development of Znamenny chant, several of its varieties arose. The Small Znamenny Chant retained the syllabic pronunciation of the text, common in liturgical singing since the 11th century. The large znamenny chant of the melismatic type arose in the 16th century; Among its creators are singers Fyodor Krestyanin, Savva Rogov and their students. The Great Znamenny chant is distinguished by a wide intra-syllable chant and free variability of the melodic pattern (alternating progressive movement and leaps). Znamenny chant served as the source of travel chant and demestvenny chant; The development of signs of znamenny notation underlies the travel and demotic notations. The melodies of the Znamenny chant were used in polyphonic line singing and partes singing (three- and four-voice harmonizations).
In 1772, the Synodal Printing House published notolinear monophonic singing books with chants of Znamenny and other chants, which served as the basis for adaptations and harmonizations of the 19th and 20th centuries. M. I. Glinka, M. A. Balakirev, N. A. Rimsky-Korsakov, P. I. Tchaikovsky turned to the harmonization of Znamenny chant; new principles for 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 and etc.). In modern church singing, znamenny chant is used in an abbreviated form - sometimes in the form of monody, but more often as the intonational basis of everyday polyphony, as a source of polyphonic arrangements and spiritual and musical compositions. In the worship services of the Old Believers, the znamenny chant sounds like a traditional monody.
Lit.: Voznesensky I. About church singing of the Orthodox Greek-Russian Church. K., 1887. Issue. 1: Great Znamenny chant; Smolensky S. ABC of the Znamenny singing of Elder Alexander Mezenets. Kazan, 1888; Swan A. The famous chant of the Russian church // The Musical Quarterly. 1940. Vol. 26; Brazhnikov M. Development paths and tasks of deciphering Znamenny chant of the 12th-18th centuries. L.; M., 1949; aka. New monuments of Znamenny chant. L., 1967; aka. Old Russian music theory. L., 1972; aka. Articles about ancient Russian music. L., 1975; aka. Faces and features of Znamenny chant. L., 1984; aka. Russian singing paleography. St. Petersburg, 2002; Belyaev V. Music // History of the culture of ancient Rus'. M.; L., 1951. T. 2; aka. Old Russian musical writing. M., 1962; Skrebkov S. Russian choral music XVII - beginning of XVIII V. M., 1969; Uspensky N. Old Russian singing art. 2nd ed. M., 1971; aka. Samples of ancient Russian singing art. 2nd ed. L., 1971; Problems of history and theory of ancient Russian music. L., 1979; History of Russian music. M., 198Z. T. 1: Keldysh Yu. Ancient Rus' XI-XVII centuries; Lozovaya I. E., Shevchuk E. Yu. Church singing // Orthodox Encyclopedia. M., 2000. T.: Russian Orthodox Church(bibl.); Vladyshevskaya T. F. Musical culture of Ancient Rus'. M., 2006. See also the literature under the articles Osmoglasie, Chant.
T. F. Vladyshevskaya, N. V. Zabolotnaya.
