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Musicology of Kyiv TCHAIKOVSKY NATIONAL MUSIC ACADEMY OF UKRAINE R.GLIER KYIV INSTITUTE OF MUSIC MUSICOLOGY OF KYIV Collected articles Issue number 50 Kyiv 2014 UDC 78.01 LBC 85.31 E d i t o r i a l b o a r d : Rozhok V. I., Doctor of Arts, professor, People’s Artist of Ukraine (editor in chief). Humeniuk T. K., Doctor of Philosophy, professor. Tyshko S. V., Doctor of Arts, professor. Zilberman Y.A., Doctor of Philosophy, professor. Posvaliuk V. T., Doctor of Arts, professor, Honored Artist of Ukraine. Berehova O. M., Doctor of Arts, acting professor. Cherkashina-Hubarenko M. R., Doctor of Arts, professor, Honored Artist of Ukraine. Zinkevych O. S., Doctor of Arts, professor. Moskalenlo V. H., Doctor of Arts, professor. Kokhanik I.M., Doctor of Philosophy, Associate Professor. Mudretska L.H., Doctor of Philosophy, Associate Professor. Timchenko-Bykhun I.A., Doctor of Philosophy, Associate Professor The next collection issue continues the series of publications, which is the result of the scientific research of young music experts of Ukraine. The articles of this publication cover a wide variety of actual problems of Ukrainian and foreign music culture, theory and history of music, music psychology and music sociology, music performance and pedagogics. The collection is addressed to the specialists in the sphere of music arts and culturology, a big number of musicians-practisers, teachers and students of the higher and secondary educational institutions of culture and arts. Recommended for publication by the Academic Council of the R.Glier Kyiv Institute Of Music (protocol № 1 from 29 august 2014). The edition’s website: www.glierinstitute.org/ukr/digests According to the decree of the Presidium of the Higher Attestation Commission of Ukraine from 14 september 2009 under № 1–05/4 «Musicology of Kyiv» has been included into the list of academic journals of Ukraine in the field of culturology and art studies. Publication was realized by the «International Charitable Found of Vladimir Horowitz Competition» support The editorial board is not responsible for the informational content of the articles. The opinions expressed in the articles do not necessarily reflect the views of the editorial board. © R.Glier Kyiv Institute Of Music, 2014 2 MUSICOLOGY OF KYIV THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY І. THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY Kristina Dyablova THE CANTICLES OF TRANS FIGURATION IN THE ORTHODOX LITURGICAL TRADITION The article is dedicated to the establishing of the liturgical singings egment of the Trans figuration feast during the Old Russian period (since the end of the XIII century till the middle of the XVII century) on the basis of then evmeny hand note-lineal manuscripts of the given period. 43 Old Russian manuscripts which are found in the archives of Russian National Library, Russian State Library and other depositories and old belief manuscripts and printed matters are discovered at this stage. The group of variable songs of service Transfiguration such as stanzases, tropars, kondacs and canons are the basis of the analysis of the singing part of divine service. A peculiar significance of the rank of microcycle verses servise was found in the investigation. The analysis of manuscripts and printed material discovered the evolution of either Transfiguration divine service or singing part of divine service, which pass three stages in its development: The first stage of the holiday access development, that was formed in the Byzantine liturgical practice and inherited by the ancient Russian church, covers the period from the beginning of the XII to XV century and is connected with the ancient true-leden type of liturgical texts. During this period, there are these songs: «Preje raspyatiya Tvoego Gospodi, gora nebesi podoblyashesya», «Preje raspyatiya Tvoego Gospodi, poimo ycheniki», «Na gore vusotse», «Zakonoy i prorokom», «Petroy i Ioannoy, i Iyakovoy», «Preobrasisya Iisoyse na gore», «Pridete vsidem na gory Gospodeny», «Proobrasoyja voskresenie Svoe», «Mraka zakonaago», «Svetom Bojestvenuim», «Versta prorokouv», «Poyat Hristos», «Gora yaje inogda», «Javil esi na gore Favorstei». The middle stage belongs to the period from XV till the first half XVII century. It is the time when a gradual crystallization of lineup of singing service, expansion and the gradual stabilization of the canticle’s circle of the Transfiguration occur. In the same time, one of the most important genres of Orthodox worship service – canon of the holiday appears for the first time, there is a change in wording of canticles, the ancient true-leden is replaced by discrete-speech form. The period under review is represented by the 25 hooking manuscripts, in which the Sticherons dominate, and the Irmologions and the Octoechos are 3 MUSICOLOGY OF KYIV THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY present. Since each handwritten source of ancient Russian period is unique and has individual features, the characteristic feature of song manuscripts of XV – the first half of the XVII century, as well as the manuscripts of the previous period is an unstable position of the canticle of the Transfiguration in them, which is explained both by a specific constitutional features of the monument, and by the reflection of local church traditions in them. During this period, added songs such as «Drevle s Moiseom glagolavui», «Tvoego Edinochadaago Syna», «Bezmernoe Tvoe Svetoprolitie», «Оtо nedro оtеchiho», «Bojestvennogo zraka Tvoego», «Оt devicheskago zraka», tropar «Preobrazisya na gore Favorstei». The third stage of divine stage development begins from the middle of XVII century. This period is associated with the church-reform activities of the Patriarch Joseph (1642–1652) and Nikon (1652–1666), which led, ultimately, to a divide in the Russian Orthodox Church and the formation of anti-nikon, old believer tradition and considerably influenced on the formation of the ordinance of worship service. In our study also identified three types of melody that match the stages of development of the service. The study of the ordinance’s evolution, the lineup of singing service, the forms of fixing and types of melodies of ancient Russian service of Transfiguration at the level of source studies and paleographic and textological research allowed us to reach a number of important, in our view, conclusions regarding the analyzed material: 1. The time of the creation of vocal monuments containing canticles of the Transfiguration is a significant time period of eight centuries – from XII to XX, which allows to identify the evolution of the ordinance service, and also to determine the changes in the text, notation and melody of the analyzed samples. 2. The microcycles of the sticherons of «Lord, I Have Cried», litiy, aposticha and final sticherion «The Praises» – «And after six days Jesus took with him Peter and James, and John» are presented with the greatest number of lists. 3. The most stable genre of the service of Transfiguration is the sticherions on «Lord, I have cried» of the Great Vesper. A significant role is also played by canticle, which complete the pointed part of service – concluding sticherions of litiy, aposticha, praise. 4. Typical for holiday’s hymns, especially for sticherion is change of their location, the cause of which is the change of the Charter at the turn of 4 MUSICOLOGY OF KYIV THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY XIV – XVII centuries and especially in the worship service of the local traditions. 5. The stable element of the singing service is voice’s designation of canticles, an indication of which has not changed from the XII century to the present day. 6. The most common form of notation in the singing handwritten sources of ancient Russian period is a znamenny unsigned form of notation. 7. The analysis of neumatic content of first sticherion on «Lord, I have cried» «Before the Cross of yours, Oh Lord» showed its gradual evolution from recitative to a greater lyricism until the formation centuries melodic structure, including the melodies: kulizma, merezha and grunka in the manuscripts in the second half of XVI – first half XVII. L I T E R A T U R E 1. Владышевская Т. Музыкальная культура Древней Руси / Т.Ф. Владышевская. – М. : Знак, 2006. – 472 с. 2. Гусейнова З. «Извещение» Александра Мезенца и теория музыки XVII века / З.М. Гусейнова. – СПб. : Политехнический университет, 2008. – 226 с. 3. Ефимова И. Источниковедение древнерусского церковно–певческого искусства / И.В. Ефимова. – Красноярск : Красноярский государственный институт искусств, 1999. – 130 с. 4. Ефимова И. Логос и мелос в знаменном роспеве / И.В. Ефимова. – Красноярск : Красноярская государственная академия музыки и театра, 2008. – 235 с. 5. Заболотная Н. Церковно–певческие рукописи Древней Руси XI–XIV веков: основные типы книг в историко–функциональном аспекте / Н.В. Заболотная. – М. : РАМ имени Гнесиных, 2001. – 252 с. Дяблова Кристина. Эволюция песнопений праздника Преображения в православной литургической традиции. Статья посвящена становлению богослужебно-певческой части праздника Преображения в древнерусский период (с конца XII до середины XVII вв.) на основе невменных и нотолинейных рукописей указанного периода. Ключевые слова: праздник Преображения, древнерусская служба, стихиры на «Господи воззвах». Дяблова Крістіна. Еволюція пісноспівів свята Преображення у православній літургічній традиції. Стаття присвячена становленню богослужебно-співочій частині свята Преображення у давньоруській період (з кінця XII до середини XVII ст.) на основі невмених та нотолінійних рукописів вказаного періоду. 5 MUSICOLOGY OF KYIV THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY Ключові слова: свято Преображення, давньоруська служба, стихири на «Господи воззвах». Dyablova Kristina. The canticles of Trans figuration in the Orthodox liturgical tradition. The article is dedicated to the establishing of he liturgical singings egment of the Trans figuration feast during the Old Russian period (since the end of the XIII century till the middle of the XVII century) on the basis of then evmeny hand note-lineal manuscripts of the given period.
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