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Кондрашкова Л. В. О книге Н. Плотниковой «Службы Божии В. Титова» // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2013. Вып. 1 (10). С. 183-186. — Rev. op.: Плотникова Н. Ю. Русское партесное многоголосие конца XVII — первой половины XVIII века. Службы Божии Василия Титова: Исследование и публикация. М.: Издательство ПСТГУ, 2012
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Кондрашкова Л. В. Попевки троестрочия (на материале певческой книги Праздники) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2013. Вып. 2 (11). С. 50-95.
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This article is devoted to the unexplored sphere of Old Russian singing art so called early dissonant mnogogolosie. The author describes differences beetween as kind of mnogogolosie as strochnoe and demestvennoe ones, studies specialities of putevoj raspev in its connection with strochnoe mnogogolosie. Besides the popevky and litsa of putevoj raspev and troestrochie are regarded here and different ways of their notation are compared on the materials of XVII century’s manuscripts
Old Russian music, the history of Old Russian singing art, church singing, putevoj raspev, troestrochie, early russian mnogogolosie, osmoglasie, demestvo’s notation, kasanskoe znamya
1. Bogomolova M. V. Znamennaya monodiya i bezlinejnoe mnogogolosie na primere velikoj panihidy (Znamenny monody and neumatic polyphony by the example of Great Funeral Service), Moscow, 2005.
2. Grigor'ev E. Posobie po izucheniyu cerkovnogo peniya i chteniya (The Manual on Studying the Church Singing and Reading), Riga, 2001.
3. Evseeva L. M., Kondrashkova L. V. 2011, in Prostranstvennye ikony. Performativnoe v Vizantii i Drevnej Rusi, pp. 474-499.
4. Holopov Y. N. 1987, in Problemy deshifrovki drevnerusskih notatsij, pp. 106-129.
5. Kondrashkova L. V. 2012, in Vestnik PSTGU, vol. 3 (9), pp.173-190.
6. Pamyatniki russkogo muzykalnogo iskusstva (The Monuments of Russian Musical Art), Moscow, 1983, vol. 9.
7. Pozhidaeva G. A. Pevcheskie tradicii Drevnej Rusi (The Singing Traditions of Ancient Russia), Moscow, 2007.
8. Starikova I. V. 2011, in Hymnology, vol. 6, pp. 301-317.
9. Uspenskij N. D. Drevnerusskoe pevcheskoe iskusstvo (The Singing Art of Ancient Russia), Moscow, 1971.
10. Uspenskij N. D. Obrazcy drevnerusskogo pevcheskogo iskusstva (The Examples of Ancient Russian Singing Art), Leningrad, 1971.
Кондрашкова Л. В. Певческие рукописи смешанной стилистики кон. XVII – нач. XVIII в.: к проблеме взаимодействия партесного и безлинейного многоголосия на грани эпох // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 30. С. 96-122. DOI: 10.15382/sturV201830.96-122
This article examines the issues of sources, notation and history of Russian ecclesiastical singing of the last quarter of the 17th — fi rst half of the 18th centuries. It introduces the concept of polyphonic manuscripts of mixed stylistics and distinguishes two types of them, namely hook and note manuscripts. The fi rst part of the article describes twelve hook manuscripts, the second part describes eight note manuscripts. All sources are kept in Moscow archives. The article draws the attention of researchers to original documents, in which the most interesting pages of Russian music are imprinted in the period of the transition to the New Time.
church singing, polyphony, triplets, demestvo, singing culture, partsong, notation, handwritten sources, chants, history of Russian music
  1. Bogomolova M. V., Znamennaya monodiya i bezlineinoe mnogogolosie na primere velikoi panikhidy, Moscow, 2005.
  2. Evdokimova Yu. K., “Vechnaya zhizn’ melosnogo mnogogolosiya. Ocherk 2”, in: Muzykalnaya akademiya, 2, 2005, 134–141.
  3. Frolov S. V., “Iz istorii demestvennogo raspeva”, in: Problemy istorii i teorii.
  4. Gerasimova I. V., “«Vilenskie napevy» v rukopisyakh Kievskoi mitropolii I Moskovskogo patriarkhata poslednei treti 17 – nachala 18 vv.: problem transmissii I adaptatzi”, in: Ur. Pawluczuk, ed., Latopisy Akademii Supraskiej, Bialystok, 2013, Vol. 4, 187–201.
  5. Gtrasimova I. V., “Novye podkhody v rekonstruktzii biografi i kompozitorov 17 veka: Nikolay Diletzky I Evstafi y Manevsky”, in: Muzykovedenie, 8, 2009, 47–56.
  6. Kondrashkova L. V., Rannee russkoe strochnoe mnogogolosie, Moscow, 2013.
  7. Kondrashkova L. V., “Partesnoe i bezlineinoe mnogogolosie: problem vzaimodeistviya”, in: Russkoe muzykal’noe barokko: tendentzii i perspektivy issledovaniya, 1, 2, 2016, 65–78.
  8. Kondrashkova L. V., “Ponyatie «prikladnykh golosov» i problema stilisticheskoi neodnorodnosti v partesnykh rukopisyakh kontza 17 – nachala 18 veka”, in: Muzykal’naya arkheografiya, Moscow, 2017, 134–161.
  9. Kondrashkova K. V., “O zapisi partesnykh kontzertov kryukami. Nakhodki v mnogofgolosnykh rukopisyakh smeshannoi stilistiki”, in: Drevnerusskoe pesnopene. Puti vo vremeni, 6, St. Petersburg, 2017, 147–153.
  10. Kondrashkova L. V., “Trekhgolosnaya sluzhba Novoletiyu arkhiereiskim chinom”, in: Muzykal’naya pis’mennost’ khristianskogo mira: Knigi. Notatziya. Problemy interpretatzii, Moscow, 2017, 386–411.
  11. Kondrashkova L. V., “Tipy kadansov v demestvennom mnogogolosii”, in: Uchenye zapiski Rossiiskoi Akademii muzyki im.Gnesinykh, 4 (23), 2017, 15–26.
  12. Plotnikova N. Yu., Polifoniya v russkom bezlineinom i partesnom mnogogolosii 17–18 vekov, Moscow, 2015.
  13. Plotnikova N. Yu., Russkoe partesnoe mnogogolosie kontza 17 – serediny 18 veka: istochnikovedenie, istoriya, teoriya, Moscow, 2015.
  14. Uspensky N. D., Drevnerusskoe pevcheskoe iskusstvo, Moscow, 1971.
Kondrashkova Lada
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Senior Research Fellow;
Place of work: The Central Andrey Rublev Museum of Ancient Russian Culture and Art; 10 Andron’yevskaya Sq., Moscow 107120, Russian Federation;
Post: Research Fellow;
ORCID: 0000-0002-7488-7295;
Email: ladakondrashkova@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.