Metropolitan Pitirim (Nechaev)

Church singing occupies a special place in the spiritual life of the Russian Orthodox Church, stimulating the spirit of prayer, edifying and strengthening in the faith. Church hymn and prayer are inseparable. The Russian Church, following the Greek liturgical tradition, never used instrumental music in church. Therefore, when they talk about Russian church music, they mean exclusively vocal art.

Russian singers appeared in our churches at the same time as the Russian clergy. Singing manuscripts preserved from the 11th – 12th centuries indicate that the process of the formation of Russian church singing was complex. The first Russian melodies, written in Greek characters, were called Znamenny. Their distinctive feature is their connection with Russian national music, with Russian folklore, especially with epics. The change in the rhythm of the melodies in connection with the translation of Greek texts into the Slavic language imparted a Slavic character to the singing. A distinctive feature of Old Russian singing is calmness, self-absorption and the predominance of accents on the text.

The issues related to deciphering the ancient hook notation are still not fully resolved. She indicated the direction of voice guidance, and its form was a recitative with a drawn-out pronunciation of vowel sounds, which conveyed the internal state of a person’s experiences from high inspiration and spiritual joy to mournful motives of repentance, but never despair. Even crying about sins, which acts as one of the highest degrees of internal spiritual perfection, is always bright sadness, sadness filled with hope. One name for the signs - “arrow”, “dear greyhound”, “dear with a snag” - speaks not so much about the pitch of the sound, but about its character.

In the 16th and first half of the 17th centuries. Demestvenny chant (which was based on motifs related to Russian folk lyrical songs and a moving rhythm) and travel chant (complicated znamenny) were widespread. In the second half of the 17th century. New chants are spreading: Bulgarian, Kiev, Greek, characterized by pronounced tonic stability, laconicism of motives and simplicity of rhythm. Polyphonic singing was created on the basis of the practice of folk polyphony. In the folk choir there are no parts based on the range and timbre of the voice. The melody is distributed among the choir members in accordance with the experience of the singers and the sonority of their voices. The tradition of ancient church Russian singing is preserved in the Russian Old Believers.

At the turn of the XV - XVI centuries. Ukrainian, and in the middle of the 17th century, Moscow singing masters became acquainted with Western notation and the so-called partes polyphony, based on the use of four voices in the choir: soprano, alto, tenor and bass. In the history of Russian partes singing, Polish partes prepared the ground for Italian partes, of which D.S. became an outstanding representative. Bortnyansky (1752 – 1825). The work of Archpriest Peter Turchaninov (1799 – 1870), G.F. had a great influence on the harmonization of ancient church tunes and church singing. Lvovsky (1830 – 1894), P.I. Tchaikovsky (1840 – 1893), S.V. Rachmaninov (1873 – 1943), A.D. Kastalsky (1856 – 1926). In the field of translating the achievements of A.D. Kastalsky and S.V. Rachmaninov remain unsurpassed. In the field of composition, A.A. occupied a prominent place. Arkhangelsky (1846 - 1941), whose work is characterized by special emotionality and deep expressiveness, A.T. Grechaninov (1864 – 1956) and M.I. Ippolitov-Ivanov (1859 – 1935), who widely used melodies of a pronounced folk character. Their polyphony contains features of folk polyphony. Works by P.G. Chesnokov (1877 - 1944) are distinguished by the richness of the colors of the choral score and high writing technique. Thus, if at the beginning of the 18th century. our composers began by imitating Western art, then in the 19th century. they managed to melt Western tradition into Russian, building their works on the basis of Russian folk songs.

Interest in ancient Russian music arose at the end of the 19th century. Its first researcher was Archpriest V. Metallov, who wrote a work on the study of notation signs.

Currently, polyphony predominates in our churches. We have already lost the habit of the Old Russian tune, although now interest in it is being revived. The best examples of modern church music continue the traditions of ancient chants and the work of composers of the 19th century. The revival of ancient Russian traditions of church music is one of the ways to facilitate the understanding of church services by believers. After all, music, as they once said, is the sister of religion. It creates inner harmony of the soul, and therefore, where it is built on the author’s emotional outbursts, it is very difficult to tune into a prayerful mood, but if the music is in agreement with the meaning, it does not distract, but helps to concentrate on prayer.

The most original form of Russian national musical art is bell ringing. Bells, announcing the beginning of worship and calling for it, are a necessary accessory of an Orthodox church. Russian chroniclers mention bells around 988. At the beginning of the 11th century. there were bells at the churches of St. Sophia in Novgorod, at the Tithe Church in Kyiv, in the churches of Vladimir, Polotsk, Novgorod-Seversky. The Russian people fell in love with the ringing of church bells, in which one can hear a call to escape from earthly vanity and worries. It should be noted that bells are a sign of Western tradition; in Byzantium, a beater was used for these purposes. The Russians first cast a bell in Kyiv in the middle of the 12th century, in the 14th century. Foundry art reached its peak in Moscow. The churches of the city had at least five thousand bells. They sounded for dozens of miles, during celebrations the roar of the bells of neighboring churches merged into a powerful choir, the sound of the bells rolled in waves from one temple to another - it was music for everyone.

Usually there are several bells in the temple, different in size and strength of sound: festive, Sunday, polyeleos, common day (or weekday), fifth (or small). Each ringing has its own purpose - sad, funeral or announcing joy, celebration, victory, deliverance from danger. Since ancient times, two types of ringing have been known in Rus': blagovest (proclaiming good news), when one bell or several bells are struck, but not at the same time, and the ringing itself. The alternating harmonious repetition of bells is called chime. The ringing of several bells in three stages is called tri-ringing or trezvon. The famous Rostov bells are known throughout Rus'. In the middle of the last century, Archpriest Aristarchus of Israel made a musical notation of bells sounding in the C major series. Church bells are witnesses of the history of Rus'. Currently, the art of bell ringing is being revived.

Bibliography

1.Metallov V. Essay on the history of church singing in Russia. Trinity-Sergius Lavra, 1995.

2. Olga (Volodina), mon. Musical culture of Byzantium. M., 1998

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CHESNOKOV, PAVEL GRIGORIEVICH (1877–1944), Russian composer, choral conductor, author of widely performed spiritual compositions. Born near the town of Voskresensk (now the town of Istra), Zvenigorod district, Moscow province, on October 12 (24), 1877 in the family of a rural regent. All the children in the family showed musical talent...

Moscow is becoming not only a center of political unity, but also a cultural center. It absorbs the cultural achievements of the appanage principalities and free cities that became part of Muscovite Rus'.

Formation and development of leading singing schools - Moscow and St. Petersburg. Monastic chants. Non-liturgical spiritual chants. Spiritual verse. Psalm.

The principles of the formation of the Old Russian singing system are fundamentally different not only from the principles of the formation of the Western European musical system, but also from the principles of the formation of the Russian liturgical singing system of the 18th-20th centuries.

Two of his vocal and orchestral works: “Spring” and “Bells” are also closely related to the field of Rachmaninov’s symphonism. The first of them is designated by the composer as a cantata.

The bells of Rostov the Great were famous throughout Rus'. The bells of its main Assumption Cathedral have survived to this day, along with the Rostov belfry. Rostov bells were cast in the 17th century. according to a specific plan.

The Russian Orthodox Church, like the Greek one, from time immemorial allowed only vocal music - singing - into worship. The beginning of our church singing, primarily only melodic, simultaneously with the beginning of Christianity in Rus'.

The Russian land was filled with churches, from the bell towers of which marvelous ringings could be heard. Bells were the main decoration of the Russian land, created by human hands.

Despite the fact that Paul I banned the performance of concerts during divine services back in 1797, it continued to hold out; even arrangements of operatic arias or choruses from oratorios based on sacred texts were performed.

About the nationality of liturgical singing. On the angelic quality of liturgical singing. On the comparison of liturgical singing and icons. About the beauty of singing in the Church of St. Sophia in Constantinople.

The entire annual repertoire in Old Believer churches is reproduced in various ways. The main number of stichera is sung on a voice (that is, on a samoglashen, similar, according to the instructions in the Menaions and the Charter).

(1857-1858).

Edward BenjaminBritten(1913–1976) chorale Te Deum for choir, solo treble and organ (1934), oratorio: “Babylon” on Gen. 11 (1944), music. ballad “Abraham and Isaac” (1955), operas: “Noah’s Flood” (1958), “Cave Act” (based on one of the episodes of the Old Testament, 1966), “Prodigal Son” (1968), for boys’ choir and orchestra “ Children's Crusade" (1969), cantatas: "A Child is Born to Us" (based on the texts of ancient Christmas carols, 1933), "Hymn of St. Cecilia" (1942), for treble and harp "Wreath of Carols" (1942), "St. Nicholas" (1948), "Joy of the Lamb" (1943), Cantata of Mercy (based on the parable of the Good Samaritan, 1963), "War Requiem" (1961), for orchestra "Symphony-Requiem" (1940), "Short Mass" for boys' choir and organ (1959).

Anton Bruckner(1824-1896) Te Deum (1883-1884), 7 masses, motets.

Giuseppe Verdi(1813-1901) “Stabat Mater” (1898), “Te Deum” (1898), operas “Nabucco (Nebuchadnezzar)” (1841) and “Ruth” (1845), “Requiem” (1847), “Pater noster” (1880), “Ave Maria” (1880), sacred plays.

Antonio Vivaldi(1678-1741) oratorios: “Moses” (1714), “Judith Triumphant” (1716), “Adoration of the Magi” (1722), “ Stabat Mater "(1736), motets, psalms (about 60 spiritual works in total).

Franz JosephHaydn(1732-1809) oratorios: “The Creation of the World” (1798), “Seven Words of Christ on the Cross” (1794), “Stabat Mater" (1767), "Return of Tobias" (1775), 2 Te Deum, 14 masses, including: "St. Cecilia" (1769-1773), "Mass of the War" (1796), "Teresa" (1799 ), small mass (about 1750), large organ mass Es-dur (1766), mass in honor of St. Nicholas (G-dur, 1772), small organ mass (1778); motet, cantatas.

George Frideric Handel(1685-1759) oratorios: “Israel to Egypt” (words by Handel based on the Bible, 1739), “Joseph and his brothers” (based on the poem by J. Miller, 1744), “Saul” (libretto by C. Jennens, 1739), “ Samson" (based on the text by Milton, 1743), "Deborah" (libretto by S. Humphrey, 1733), "Belshazzar" (libretto by C. Jennens, 1745), "Judas Maccabee" (libretto by T. Morell, 1747), "Joshua "(libretto by T. Morell, 1748), "Solomon" (libretto by T. Morell, 1948), "Esther" (based on the play of the same name by Racine, -), "Susanna" (1749), "Jephthah" (libretto by T. Morrell, 1752), “Messiah” (words by Klopstock, 1742), “Athalia” (after Racine, 1733), “Sunday” (La Resurrezione, words by C. S. Capece, 1708),Oratorio for the occasion» (Occaslonal Oratorio, libretto by T. Morell based on the “Psalms” of Milton, Spenser and others, 1746); “Theodora” (libretto by T. Morrell, based on the play by Corneille, 1750); “Passion” (based on the “Sacred Poem” of the poet Brockes “For the sins of this world, Christ suffered and died” 1716), "Passion according to the Gospel of John" (based on a text by the German poet Postel, 1705); anthemic psalms; 5 Te Deum (Utrecht 1713, 1714, 1719, 1737, 1743).

Alexander Konstantinovich Glazunov(1865-1936) music for the biblical drama by K.R. "King of the Jews" (1913).

Alexander Tikhonovich Grechaninov(1864 -1956) “Liturgy of St. John Chrysostom” (1903), “Demon Liturgy” (1917).

CharlesGounod(1818-1893) oratorio “Redemption” (1880-81) and “Tobias” (1866) “Death and Life” (1884), “Agnus Dei” (1838), cantatas, masses.

Antonin Leopold Dvorak(1841-1904) “Stabat Mater” (1877), oratorio “Saint Ludmila” (1886), Bible Songs (1894), Requiem (1891), Mass in D Major (1887-1892), Te Deum (1892), Psalm 149 for choir and orchestra.

Claude Debussy(1862-1918) oratorio “The Virgin Chosen” (1887-88), cantata “Daniel” (1880-84), mystery “Martyrdom of St. Sebastian” (1911), cantata “Prodigal Son” (1884).

Mikhail Mikhailovich Ippolitov-Ivanov (1859 - 1935) opera “Ruth” (1887), Liturgy of John Chrysostom (1904), “Selected prayers from the all-night vigil” (1906).

Alexander Dmitrievich Kastalsky(1856-1926) cantata “From past centuries. Judea" (1905), 73 spiritual choirs, 136 spiritual and musical compositions and transcriptions.

Luigi Cherubini(1760-1842) cantata “The Marriage of Solomon” (1816), “The Lamentation of Jeremiah” (1815), Requiem (1816).

Zoltan Kodaly(1882-1967) oratorio “Exile of the Traders” (1934), Psalmus Hungaricus (1923), Budavari Te Deum (1936), Missa brevis (1944), Adventi evek (1963).

FerencSheet(1811-1886) oratorio “Christ” (1866), “The Legend of St. Elizabeth" (1862-1865), "Way of the Cross" (1878-1879), "The Vision of Ezekiel", " Stabat Mater "(1866), "Requiem" (1866), 4 masses incl. “Gran Mass”, “Hungarian Coronation Mass” (1867), cantatas.

Jules Massenet(1842-1912) oratorios: “The Promised Land” (1900), “Herodias” (based on G. Flaubert, 1881), Mary Magdalene (1873), Eve (1875), Virgin Mary (1880), spiritual cantata: Remember, Mary (1880).

Giacomo Meyerbeer( 1791–1864) opera “The Vow of Jephthah” (1812),Psalm 91 (1853), Stabat Mater, Miserere, Te Deum, psalms.

Felix Mendelssohn(1809-1847) oratorios: “Elijah” (1846), “Paul” (1836), “Christ” (1847), 5 cantatas, psalms, motets.

OlivieMessiaen(1908-1992) oratorio “The Transfiguration of Our Lord” (1969), symphonic piece “Ascension” (1934), for organ “Nativity of the Lord” (1935), for piano “Twenty Views on the Face of the Child Christ” (1944), for choir : “Three Little Liturgies of the Divine Presence” (1944), “Mass of Whitsun” (1950), for orchestra: “Forgotten Offerings” (1930), “Hymn” (1932), “Ascension” (1934), opera “Saint Francis” Assisi" (1983).

Claudio Monteverdi(1567-1643) opera “Magdalene” (1617), Spiritual melodies (1582); Spiritual madrigals (1583), Mass “Missa senis vocibus” (1610), “Vespers of the Blessed Virgin” (1610).

Wolfgang Amadeus Mozart(1756-1791) cantata “David Penitent” (1785), 16 church sonatas, 19 Masses, incl. Great Mass in c minor (1783), “Requiem” (1791), Motet “Exsultate, jubilate” (1772).

Modest Petrovich Mussorgsky(1839-1881) “Joshua” (for choir, soloists and piano, 1877), “The Defeat of Sennacherib” for soloists, chorus and orchestra from Byron’s Hebrew Melodies, “King Saul” (for male voice and piano).

Arthur Honegger(1892-1955) oratorios “King David” (1921) and “Joan of Arc at the stake” (1935), opera “Judith” (1925), Christmas cantata (1953), Third “Liturgical” symphony (1946), ballet "Song of Songs" (1938).

Giovanni Palestrina(1525-1594) « Stabat Mater "(1590); 104 masses, over 300 motets, 35 Magnificat, etc.

Krzysztof Penderecki(1933) "Stabat Mater" "(1962); Paradise Lost (1978) - a sacred performance in two acts based on the poem by John Milton; "Psalms of David" for mixed choir and strings (1958); “Polish Requiem” for four soloists, mixed choir and orchestra (2005); oratorio “St. Luke Passion” (1965); Symphonies: No. 2 “Rozhdestvenskaya” (1980) and No. 7 “Seven Gates of Jerusalem” for five soloists, a reader, mixed choir and orchestra (1996); Magnificat (1974) ; Te Deum (1980); "Matins" (1970).

Giovanni Pergolesi (1710-1736) “Stabat Mater” (1736), three masses, several psalms and motets.

Sergei Sergeevich Prokofiev(1891-1953) ballet “Prodigal Son” (1928).

Francis Poulenc(1899-1963) "Stabat Mater" (1950).

Arvo Pärt(1935) De Profundis (1981), “St. John Passion” (1981-1982), “ Stabat Mater" (1985), Te Deum (1984-1986), Dies irae (1986), Miserere (1989), “Magnificat” (1989), “Berlin Mass” (1990-1992), “Litany of St. John for every hour of the day and night" (1994).

Sergei Vasilyevich Rahmaninov(1873-1943) “Liturgy of John Chrysostom” (1910), “All-Night Vigil” (1915).

Nikolai Andreevich Rimsky-Korsakov(1844-1908) opera “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” (1907); Overture “Bright Holiday” (Sunday Overture, 1888).

Gioachino Rossini(1792-1868) “Stabat Mater” (1842), opera “Moses in Egypt” (1818), Little Solemn Mass (1868).

Anton Grigorievich Rubinstein(1829-1894) oratorios: “Paradise Lost” (on a text by Milton, 1856) and “Panebble of Babel” (1869), “Moses” (1892), “Christ” (1893), operas “The Maccabees” (1875) and “ Demon" (1875), biblical scene in 5 scenes - "Shulamit" (1901).

Camille Saint-Saens(1835-1921) oratorios: “The Flood” (1874), “The Promised Land” (1913), “The Christmas Oratorio” (1858), the opera “Samson and Delilah” (1867-1877).

Alexander Nikolaevich Serov (1820-1871) opera “Judith” (1861-1862), cantatas, psalms, hymns, motets, choruses.

Alessandro Scarlatti (1660-1725) Mass of St. Caecilia (1721), Stabat Mater, two "Miserere", oratorios "Zedekiah, King of Jerusalem", "Sin, Repentance and Mercy".

Igor Fedorovich Stravinsky (1882-1971) for soloists, choir and orchestra " Sacred hymn in honor of the name of St. Mark" (based on text from the New and Old Testaments, 1956); “The Lamentations of the Prophet Jeremiah” (based on the Latin text from the Old Testament, 1958); cantata “Sermon, Parable and Prayer” (1961); “Funeral Hymns” (based on the canonical text of the Catholic requiem mass and funeral service, 1966); for choir and orchestra " Symphony of Psalms" (on Latin texts of the Old Testament, 1930, 2nd edition 1948); “Babylon” (based on the 1st Book of Moses, chapter XI, cantos 1-9, 1944); for choir and chamber instrumental ensemble “M” Essa" (for mixed choir and double wind quintet on the canonical text of the Catholic liturgy, 1948); “Our Father” (for mixed choir, based on the Russian canonical text of the Orthodox prayer, 1926; new edition with the Latin text Pater noster, 1926); “I Believe” (for mixed choir, based on the Russian canonical text of the Orthodox prayer, 1932; new edition with the Latin text Credo, 1949); “Virgin Mother of God, Rejoice” (for mixed choir, based on the Russian canonical text of the Orthodox prayer, 1934; edition with the Latin text of Ave Maria, 1949); for voice and orchestra " Abraham and Isaac" (a sacred ballad in Hebrew, from the Old Testament, 1963), a musical performance for readers, soloists, choir, orchestra and dancers "The Flood" (text based on the Old Testament, 1961). ballet “Herodias” (1944), vocal cycle “The Life of the Virgin Mary” (1923; verse by R.M. Rilke), symphonic play “Ascension” (1934), organ suite “Nativity of the Lord” (1935), piano cycle “ Twenty Views of the Child Jesus" (1945).

Peter Ilyich Tchaikovsky(1840-1893) “Liturgy of John Chrysostom” (1878), “All-Night Vigil” (1881).

Arnold Schoenberg(1874-1951) opera “Moses and Aaron” (1930-1932), oratorio for soloists, choir and orchestra “Jacob’s Ladder” (1917-1922).

Richard Strauss(1864-1949) opera “Salome” (1905), ballet “The Legend of Joseph” (1914).

Franz Schubert(1797–1828) oratorio “Lazarus” (1820), “ Stabat Mater "(1815), German Requiem" (1826), 6 masses.

Heinrich Schutz(1585-1672) “Psalms of David” (1619), Oratorio on Easter (1623), “Sacred Hymns” (1625), “Christmas Oratorio” (1660), “Seven Words of Jesus Christ on the Cross” (1657), Passion from Luke (1666), Matthew's Passion (1666), John's Passion (1666).

Music of the Christian Church.

Up to the 17th century. the church remained the main center of music. professionalism; within the framework of the church. cultures were created, high arts, values, many developed. music genres, music theory, notation, and pedagogy developed. For European culture, the process of interaction between the churches is important. Isvetsky art. Early Christ. Central art was formed in close connection with the traditions of a number of Mediterranean cultures (Jewish, Egyptian-Syro-Palestinian, and late antique). The antiphonal and responsorial psalmody goes back to synagogue and temple worship. The influence of antiquity hymn-making is palpable in the hymns. A tradition also developed of chanting passages from the Bible (liturgical recitative). An important role in the formation of the basic forms of Christ. divine services were played by the so-called Agapes, or love suppers, where people gathered in memory of the Last Supper. From these the later forms of liturgy, the all-night vigil, developed. Gradually a complete church system was formed. divine services with its daily (main service - mass), weekly (central, Sunday services), annual (with fixed and moving holidays) cycles, or “circles”. Early Christ. the singing was monophonic. Over time, the participation of women in societies and liturgical singing was prohibited; up to the end In the 1st thousand, the use of musical instruments was not allowed.

The division of the church into the west. Catholic and East Orthodox is officially enshrined in the “schism” of 1054. In the West. In Europe, a number of local centers of Catholicism arose with their own versions of the liturgy: Roman, Milanese (Ambrosian), Old Spanish (Mozarabian), Old French (Gallican), Celtic (British-Irish). Gradually, all regional traditions were supplanted by official Rome. chorale (see Gregorian chant). All canonized chants were divided into 2 large groups, belonging to the mass and the office. The creation of new chants continued until the Council of Trent (1545-63), which banned a number of chants, including tropes and many others. sequences. Paths became one of the sources of liturgical drama. Texts and chants of the church. services were kept specially. books (see Antiphonary, Gradual, and Liber usualis).

Until 9th ​​century Catholic church the singing was monophonic. In the 9th-13th centuries. differences arose. forms of polyphony - organum, treble, gimel, etc. However, up to the 15-16th centuries. polyphony was understood as the processing of one head. Gregorian chant. In the practice of the Notre Dame school of the Ars antiqua era, the foundations were formed. forms and genres of the Middle Ages. polygoal C. m. - organum, motet (not a purely church genre), rondel, conduction, clause, hocket. In the era of Ars nova, polygons appeared. Mass and isorhythmic motet (see Isorhythmia; Philippe de Vitry, G. de Machaut). The mass and motet remained the leading genres in the music of composers of the Dutch school (15th-early 16th centuries).

2nd half 16-start The 17th century is a turning point in the history of Central Asia, the features of which are determined by the activities of the Council of Trent. The personification of the strict church. style, classic Palestrina’s work became an example of the aesthetics of the Roman school (choral singing a sarreia, transparent polyphony, reliance on traditional genres). New, conc. the style developed in Venice. In the Cathedral of San Marco in the 2nd half. In the 16th century, polychoral compositions with rich instruments were heard. resistance A. Villarta, C. de Rore, C. Merulo, A. and G. Gabrieli. At the turn of the 16th-17th centuries. Central music was influenced by the emerging opera style: in the church. compositions? - general bass appeared (A. Banchieri, L. Viadana), solo aria-recitative singing, the role of the instrumental beginning increased; was created independently. instr. literature (primarily organ). Vershinanova Ts. m. in the beginning 17th century - production C. Monteverdi. At 18 - beginning. 19th centuries With the development of opera and symphony, dramatization and symphonization of church genres took place; often works lost their liturgical function and became independent, final compositions. Works in various church genres were created by composers of the Viennese classical school. The last masses were especially significant. I. Haydn, Requiem by W. A. ​​Mozart, “Solemn Mass” by Beethoven. Adjacent to them are masses, the Stabat mater series “Salve Regina” and other church works by F. Schubert. Church genres in the mass and Requiem by R. Schumann, Requiem and Te Vent by Berlioz. In the late 18th-19th centuries, Gregorian chant was almost not used in church compositions. The reaction to the violence of the operatic-concise style was the movement for the restoration of the strict polyphony of sarella of the era of Palestrina and Roman chant (“ Association of St. Cecilia" in Germany, "Schola Cantorum" in France). These tendencies appeared in the late works of F. Liszt, including his Requiem. In the 20th century, I. F. Stravinsky, P. Hindemith, B. Britten, F. Poulenc, O. Messiaen, Z. Kodaly, K. Penderecki, D. Ligeti, etc.

As a result of the Reformation of the 16th century. along with the Spapa Catholic. Autonomous Protestant churches arose: Calvinist, Anglican, Lutheran. Community singing of Calvinists was limited to psalms. Calvin published the French translation of the Psalter with melodies by L. Bourgeois and others. authors; max. They are fully presented in the so-called. Genf (Geneva) Psalter 1562. These melodies formed the basis of polygoals. chorus arrangements by L. Bourgeois, C. Gudimel, C. Le Jeune, C. Janequin (in the 4-chorale warehouse); in the Netherlands, these tunes were processed by Clemens-ne-Papa, T. Suzato, J. P. Sweelinck. The Church of England separated from Rome under Henry VIII (1534). The translation of the Psalter into English was carried out by T. Sternhold and J. Hopkins. They and some other composers were also the authors of new melodies. In the Elizabethan era (2nd half of the 16th century), J. Bull, K. Tye, T. Tallis, T. Morley, W. Bird created a multi-goal. processing of psalms, related productions. Gudimel and Le Jeune. In England a specifically national language appeared. church the genre is an anthem (T. Morley, W. Bird, O. Gibbone, G. Purcell, G. F. Handel), but at the same time music was created in the tradition. Catholic genres in lat. texts (mass, motet). The first translations from Latin into it. The language of the hymns of the mass and the officiation belong to T. Münzer. M. Luther proposed a new procedure for conducting the service; he abandoned most of the services of the hours, the otoffertorium and the canon in the mass, and expanded communal singing. In monasteries, Dome cathedrals, cities from Lat. schools have preserved lat. liturgy with the replacement of separate sections of German. community songs. In small towns, a mass consisting only of him was introduced. spiritual chants (see Protestant chorale). In the 16th and 17th centuries numerous appeared. sb-ki polygonal. arrangements of the chorale (I. Walter, L. Osiander, L. Senfl, H. L. Hasler, M. Pretorius, I. G. Schein, S. Scheidt and others - up to J. S. Bach).

Throughout the 16th and 17th centuries. basic genremultiple goals. Protestant music remained the motet. In the 18th century he gave up the leading place to the cantata. In German countries The genre of “passions” also became widespread in the language (I. Burke, J. Gallus, G. Schütz, R. Kaiser, G. F. Handel, G. F. Teleman, I. Matteson, J. S. Bach). German composers of the 17th and 18th centuries also turned to Catholic church genres, such as Bach's Mass in H minor - one of the largest milestones in the history of music.In the Protestant ritual of the 17th and 18th centuries, especially creatures, the role belonged to the organist. The sound of the organ (prelude on chorale themes) prepared the community chorale, preceded and concluded the service, and during the liturgical action various pieces were performed (preludes, fantasies, fugues, ricercars, toccatas). German masters of the 17th century (S. Scheidt, G. Böhm , D. Buxtehude, I. Pachelbel), relying on the traditions of organizational arrangements of the Gregorian chant, created their own forms of chorale compositions. During the Enlightenment, the church lost its leading importance in society and life. In the 19th century, a movement arose for the revival of the old traditions of celestial music. ; a number of monuments of Protestant music were discovered. German Protestant chants were collected in the publication “Evangelisches Kirchengasangbuch” (Hannover - , 1952).

In Rus', celibate m. became widespread along with the adoption of Christianity by the Byzantines. sample (see Byzantine music) vkon. 10th century According to the system of genres and the composition of verbal texts of Russian chants. Central music (like Byzantine) was fundamentally different from Western European and was exclusively vocal. Her singer The genres reflect the complexity and richness of Byzantine hymnography: stichera, troparion, kontakion, ikos, akathist, canon, choruses, antiphon, doxology, magnification, cynicism, hymn, alleluary, psalms, etc. The majority of chants were subject to the system of osmoglasiya.

Znamenny chant is the basis of Old Russian. C. m. dominated during the 11th-17th centuries. (still preserved by the Old Believers). Rising time other Russian singer culture - 16th century In Moscow, Novgorod and other cities, singers began to play a major role. schools, new chants appeared - the big banner chant, the travel chant, the demesne chant, and also the polygoal chant. line singing. The names of the singers of the 16th century are known: Ivan Nos, Fyodor Krestyanin, Markel Bezborody, I. T. Lukoshko, etc. In the 17th century New author's and local chants arose - Usrlsky, Baskakov, Smolensky, Kirillovsky, Opekalov, Kiev chant, Bulgarian chant. Greek chant. Choir development singing was promoted by 2 choirs - sovereign singing clerks and patriarchal singing clerks (from the 16th century), on the basis of which the Pridv. singer chapel in St. Petersburg and the Synodal Choir in Moscow. From ser. 17th century under the influence of Ukrainian and Polish cultures spread many goals. partes singing. Among the authors: V. Titov, F. Redrikov, N. Bavykin, N. Kalashnikov. Classic Russian type spiritual concert in the 2nd half. 18th century was created by M. S. Berezovsky and D. S. Bortnyansky.

From the beginning 19th century Pridv. became the center of sacred music. singer chapel, later - also the Synodal School of the Church. singing. Composers of the 19th century. created numerous spiritual concerts, service chants and adaptations (harmonization) of other Russian. chants (A. F. Lvov, N. I. Bakhmetev, P. M. Vorotnikov, G. Ya. Lomakin, P. I. Turchaninov, N. M. Potulov, G. F. Lvovsky). CC. M. also contacted M. I. Glinka, M. A. Balakirev, N. A. Rimsky-Korsakov, A. K. Lyadov, A. S. Arensky. Innovative products became “Liturgy” and “Vespers” by Tchaikovsky - the first in Russian. C. m. monumental cyclic. products, characterized by unity of style. In con. 19 - beginning 20th centuries in the works of A. D. Kastalsky, P. G. Chesnokov, A. V. Nikolsky, A. T. Grechaninov, M. M. Ippolitov-Ivanov, S. V. Panchenko, V. I. Rebikov, N. I. Tcherepnin, new principles for processing ancient chants emerged. Their op. acquired features similar to Russian. adv. polyphony. The pinnacle of the development of central music of this time was “The Liturgy of St. John Chrysostom” and “The All-Night Vigil” by Rachmaninov.

Bibliography

Razumovsky D.V., Church. singing in Russia, in. 1-3, M., 1867-69; his, The Sovereign's singing clerks of the 17th century, M., 1881

Smolensky S., The ABC of the Znamenny Singing of Elder Alexander Mezenets..., Kazan, 1888

Ivanov-Boretsky M., Essay on the history of the mass, M., 1910

Metallov V.M., Liturgical singing of the Russian church in the pre-Mongol period, parts 1-2, M., 1912

Nikolsky A., Brief sketch of the church. singing during the I-X centuries... P., 1916

Preobrazhensky A., Cult music in Russia, L., 1924

Belyaev V.M., Other Russian music writing, M., 1962

Uspensky N.D., Other Russian singer art, M.., 1971

Brazhnikov M.V., Other Russian theory of music.L., 1972

Druskin M., Passions and Masses of J. S. Bach, L., 1976

Problems of history and theory of other Russian. music.L., 1979

Hoffman E. T. A., Ancient and new church music, in the book: Muz. aesthetics of Germany in the 19th century, vol. 2, M., 1982

To prepare this work, materials were used from the site www.refcentr.ru/

Section: “Originality of musical culture” In this section we will get acquainted with
themes that reveal originality
musical cultures:
Music in the temple
The song contains the soul of the people
At the origins of folk American
music

“The beauty in music is not
piling up effects and
harmonic oddities, and in
simplicity and naturalness."
Pyotr Tchaikovsky

Lesson topic: “Music in the temple”

Notre Dame Cathedral

Temple of Christ
Savior

As a child, I loved the darkness in the temple,
Sometimes I loved it in the evening
Him, shining with lights,
In front of a praying crowd;
I loved the all-night vigil,
When in tunes and words
Sounds like humble humility
And repentance for sins.
Silently, somewhere in
narthex,
I stood behind the crowd;
I brought it there with me
In the soul and joy and sorrow;
And at the hour when the choir sang softly
About “Quiet Light” - in emotion
I forgot my worries
And my heart brightened with joy...
Ivan Bunin. 1888

Today we'll look at a few
traditions on music
the uniqueness of the main religions of the world
Christianity / Orthodoxy,
Catholicism, Protestantism)
Islam
Buddhism

Christianity

10.

“Nothing elevates the soul like this, nothing like
does not inspire her, does not remove her from the ground, does not
frees from bodily bonds, not
instructs in philosophy and does not help
achieve complete contempt for
everyday things like
consistent melody and controlled
rhythm of divine singing"
John Chrysostom

11.

Choral church singing and bells
bells formed the basis of musical
traditions of Orthodoxy.
In the West, in Catholic and Protestant
temples, from the end of the Middle Ages in
an organ was used during worship, and
then other musical instruments,
and even entire orchestras.
In Rus' the most perfect instrument
the human voice was considered

12.

Music playing in temples
seemed divine, and her
performance - angelic,
heavenly
Based on Old Russian
singing art lies
Znamensky
chant
(“banner”, i.e. “sign”)
In the 18th century, special
became popular
use the so-called
partesnoe
(polyphonic) singing

13.

In the 18th-19th centuries. to the composition of the church
music appealed to many
famous composers:
D. Bortnyansky - “Concerto for choir”
A. Grechaninov - “I Believe”
P. Chesnokov – “Cherubic Song”
P. Tchaikovsky - “Liturgy of St. Joanna
Chrysostom"
S. Rachmaninov – “All-Night Vigil”

14.

Dmitriy
Bortnyansky
1751-1825
"Concert for Choir"

15.

16.

Music together with iconography and
architecture was perceived as
a kind of synthesis of arts, special
temple action, which constituted one of
the most original pages of Russian
culture.
Church music has not only
aesthetic meaning, it carries
deep meaning: it is addressed to
feelings, experiences, and most importantly - to
a person's thoughts.

17. Temple music of Islam

18.

The music of Islam has a different character.
Muslim religion is strictly
regulated not only
architecture, fine arts
and spectacular performances, but also
musical creativity.
On the one hand, music fell into the rank
arts prohibited by Islam, and with
another - the richest
musical heritage with characteristic
national traditions.

19.

She wears exclusively vocal
character.
Expressive and dynamic voice
servant - muezzin (from Arabic -
"caller") should 5 times a day
call the faithful together for prayer and
turn all their thoughts to God.

20.

Among religious
Muslim rituals, except
adhan (call to prayer),
there are others
types of cult music.
Melodic recitation
holy quran
Dikr - a type of cult
chants accompanied
rhythmic body movements

21. Temple music of Buddhism

22.

It was believed that sound plays the most important
role in the universe. Countless
consistent and proportionate sound
vibrations give birth to the divine
harmony of the world, and therefore the attitude towards
music was more supportive.
Beautiful singing, dancing, sounds,
reproduced precious
instruments were perceived as
inalienable affiliation with
"the land of perfect bliss."

23.

24. Question:

What a unique musical
cultures of traditional religions
peace have you noticed?
How is spiritual expressed?
peoples' perceptions?

25. Homework

1. Know the notes!
2. Prepare for questions on
this topic

26. Questions:

1. Name the 3 main world religions?
2. Who are the founders of these religions?
3. Name the main books of the three world
religions?
4. What was considered the most perfect in Rus'
tool?
5. What is the name of polyphonic singing in
temple?

27. Questions:

6. What is the name of the minister of Islam who calls for
prayer 5 times a day?
7. What is the call to prayer called?
8. What does repeated singing of prayers bring you closer to?
Buddhism?
9. What is the name of the type of cult chants in
Islam?
10. What effect does music have on you?
temple?

The universal laws of art, embodied in beliefs, rites, religious rituals, canons of architecture, monumental and decorative arts, painting, sculpture, literary expression and music in the fusion of one artistic whole - this is an incomplete list of what the synthesis of temple art presents to humanity. Moreover, the emergence, development, and very existence of this phenomenon differ among different peoples with rare similarities. It reflects the worldview of the eras, all of humanity’s ideas about the world.

Unity of earthly and heavenly

The main value of absolutely any religion, be it Christianity, Buddhism or Islam, is temples that embody the image of the world order. Such religious buildings are the dwellings of the omnipresent unearthly God on Earth. These are places where God is found through prayer, unity with Him through sacrament and salvation of the soul.

The idea of ​​the divine is contained in the very image of the Temple of the Most High, which lives beyond the boundaries of human consciousness and combines people’s ideas about the world order. There is a refuge from the bustle of the world, there is an awareness of the unity of heaven and earth. The synthesis of arts works in aesthetic education in the same way.

High musicality of the word, ancient icons with stern faces, solemn architecture of temples, monumental frescoes, full of dignity plastic sculptures, beautiful and precisely balanced melodies of church music - all this gives rise to sublime moral feelings when thoughts come about life and death, about sin and repentance, when the soul strives for ideal and truth. The synthesis of temple art addresses compassion and empathy, peace and tenderness, spirituality and enlightened joy.

Arrangement of an Orthodox church

An Orthodox church reserves the entire space under the dome for worshipers, while the altar room is intended for divine super-reality. Icons remind of God and call to Him. Until the eighteenth century, all church music was strictly one-voice, echoing the asceticism of icons, frescoes, and mosaics. Afterwards, the musical compositions that accompanied the services became polyphonic and more concert-like, often composed by composers. This was served by the temple synthesis of arts and the fusion of church and secular principles.

The decoration of temples also became richer in form and brighter in palette. Gold, cinnabar, purple, smalt - the images of saints became more expressive, intense and varied, the singing became more professional, even skillful. All this puts the flock in a solemn, prayerful mood, and the service itself grows in splendor.

Synthesis of temple art in Catholicism

Grandiose and majestic in architectural terms, the interior is bright, the space is filled with air and flight. All parts of the decor are directed upward: the pillars and columns are thin and graceful, the windows are stained glass and tracery, the barriers between the interior of the cathedral and the outside world seem ephemeral.

Unlike the choir without instrumental accompaniment in an Orthodox church, in a Catholic church both a choir and an organ sound. Architecture, painting, sculpture, as well as the sacrament of the service - all types of synthesis of arts are also radically different.

Understanding the truth in Islam

The huge dome - the mosque - is a symbol of the one God (Allah), and the tower next to it - the minaret - symbolizes his prophet Mohammed. The mosque consists of two proportionate spaces - an open courtyard and a shaded prayer hall. All architectural parts of the Muslim temple reflect the Muslim concept of beauty: the dome seems to hover over the mosque, the niches hang over each other like steps into the endless sky, the minaret is directed upward to divine grandeur.

On the walls of the mosque you can see only beautifully designed sayings from the holy book of Muslims - the Koran, since here the temple synthesis of arts absorbed only architecture and the poetic word to the accompaniment of strings. Depicting gods or any living creature is strictly prohibited and is considered sacrilege. Here there is only ornament as a phenomenon of the Muslim worldview - a symbol of infinity in the rhythmic repetitions of the main motifs. In turn, repetition is the most reliable way to express devotion to Allah and comprehend his truth.

The problem is Buddhism

Buddhists organize outdoor festivities. Their processions are very colorfully theatrical and accompanied by music and dancing. The Buddhist is especially impressive. These inhuman sounds seem to connect the worshipers with a distant, unpredictable antiquity, and at the same time carry their consciousness into space, into the music of the spheres.

The ancient one was built from huge slabs and stones as the basis for heavy and lush sculptural and ornamental decoration, which covered almost its entire surface. There are no arches or vaults in a Buddhist temple. Numerous bells usually ring on the roofs, swaying from the slightest gust of wind, ringing melodiously and driving away evil spirits. Bells are a ritual object that is used in worship. However, the temple synthesis of arts in Buddhism and Islam is not as complete as in Christianity.

Florensky about the Trinity-Sergius Lavra

The Lavra cannot be just a museum precisely because an object of art is not a thing - it cannot be a motionless, standing, dead mummy of artistic activity. We need to make it a never-ending, ever-flowing stream of creativity. An object of art is a living, pulsating activity of the Creator himself, albeit removed from Him through time and space, but inseparable and shimmering with all the colors of life, an always agitated spirit.

Art must be vital, and this depends on the degree of unification of impressions and the method of their expression. The unity of content attracts us to true art. By removing any one facet from a full-fledged function, we obtain a fiction of real content.

The Lavra should be considered as a synthesis of temple art, as a single whole in cultural and artistic terms, as a center and monument of high culture. You need to appreciate every little thing: her way of life, her unique life that has receded into the realm of the distant past.

Synthetic arts

Various types of arts are actively combined in theatre, cinema and television. Music, drama, visual arts and literature most often interact here.

First of all, the listener or viewer perceives the literary basis of the play or film. The visual perception of the image is helped by costumes and decorations to create the atmosphere of reality that the plot presents. Music creates and enhances emotional experiences.

A unique genre on stage is the musical, which required a special synthesis of arts. Examples of revealing serious material by the most accessible means for the audience are the following: the musical “Notre Dame de Paris” by Hugo, where the arts of music, drama, choreography, vocal, plastic and artistic merged together. The musical has features of vaudeville, operetta, variety show, and variety show, due to which it is distinguished by the brightness of the material.

The synthesis of arts on television includes not only feature television films and series, but also many shows that are conducted according to certain scenarios. Here, color and music lighting devices are connected to the design and decoration of the studios, which help create the atmosphere, space and a certain sound environment provided for by the script. The synthesis of arts on television includes especially many components.

Philosophy as synthesis

Science reveals to humanity the general, and art reveals the particular. Philosophy is the bridge that connects one thing to another. Science is the stronghold of reason. Art is the territory of feelings. Philosophy, as writers joke, is no longer an art, but not yet a science. It is a synthesis of science and art, since it combines two approaches - universal and individual, connecting reason and feelings, objectivism and abstraction of science and concrete subjectivism of art.

Philosophy is capable of cognizing ecstasy in scientific concepts; it needs the coldness of scientific rationalism, the emotionality of art, and the revelations of religion. She is able to answer questions not only about universal existence as a whole, but also about man’s place in it. Synthesizing reason, feeling and faith, philosophy still brings reason to the first place.

Synthesis of arts in preschool educational institutions

Special programs have been developed for preschool educational institutions (DOU) to help the development of children's perception, based on the synthesis of arts. Three types of activities interact here: music, visual arts and fiction.

The elements mutually enriched in the synthesis of art enhance cognition and have a beneficial effect on the harmonious development of the child’s personality. Literature, painting and music comprehensively fill the spiritual essence, supply new knowledge, enrich the inner world, and give new opportunities.

Literature, music and painting cover the spiritual life of a child comprehensively and completely, and their interaction enriches each of them with new features and possibilities. In classes at preschool educational institutions, the plan provides for the inclusion of children’s artistic activities in a variety of forms: reading poetry and prose, listening to music, watching videos, drawing, dancing.

Integrated classes

The direction of the educational program of the preschool educational institution was the emotional sphere of perception of pupils. Rich artistic experience gives the child accuracy of judgment, logic, and makes his creativity expressive.

Children had the opportunity to learn that one phenomenon is reflected in different types of art. The range of musical impressions expands, the vocabulary is enriched, an idea of ​​costumes and decorations, hairstyles and makeup, and various antiques appears.

The triumph of soul music

Works of architecture, sculpture, and painting help the development of speech and are useful for the perception of musical images. For such work, it is good to stock up on samples of applied art and folk crafts, including the following: Gorodets painting, embroidery, various felted crafts, Dymkovo toys. Literature read simultaneously with the study of artistic crafts must be appropriate - folklore or stylization. And first of all, this should work on the perception of the piece of music that is planned by the program for listening at the moment. Music usually dominates this synthesis of arts.

Children need to be introduced to both opera and ballet. First, it makes sense to show sketches of costumes and scenery or program painting on a given topic, while simultaneously introducing the plot. Then, at the very first listening or viewing, the musical seed will fall on already prepared soil. Children will not be distracted from music, and it will remain a priority.