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Старостина Т. А. Об особенностях обиходной гармонии (на примере стихирных напевов московской традиции) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2016. Вып. 4 (24). С. 135-165. DOI: 10.15382/sturV201624.135-165
The article is devoted to features of the harmonic language of everyday polyphony. Material for analysis are stikharnyi songs of the eight voices in the versions is that are now common in the religious practice of the Moscow tradition. The method of analysis is based on the functional concept, the backbone for the musical school of the Moscow Conservatory. The concept of «function» is considered in the context of tonal organization, and in terms of modality — altitude system, the center of which lies the scale. Also the elements of the analytical techniques developed in the framework of the structural-typological method are involved. The results of the analysis give reason to believe that the modal properties of the share of the melody affect the functional composition of sentiment harmonization and contribute to the individualization of the pitch system everyday polyphony. The main trend is pronounced modal variability (mostly parallel) and bringing to the fore atonicescie functions, primarily dominant. The result is a centrifugal high-rise system, fully corresponding to the liturgical context and the emotional ranks of the Orthodox Liturgy.
obikhod harmonization, quality of the tone, inversion tone, variable tone, high-altitude prop, cadence accent, functional method

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Старостина Т. А. О принципах варьирования в обработках архимандрита Матфея (Мормыля) на примере Херувимской песни // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 29. С. 138-154. DOI: 10.15382/sturV201829.138-154
This article is devoted to the principles of variation in the adaptations by Archimandrite Matthew (Mormyl) (Russ. архимандрит Матфей (Мормыль)). The material for analysis is constituted by a few samples of the Cherubic Hymn (Херувимская песнь) from the collection of hymns of the Divine Liturgy composed by Archimandrite Matthew. The article considers the genre varieties of adaptations of authorised tunes in the heritage of this outstanding church musician. Besides, the article deals with the specifi city of variation in the sphere of church singing. It cites the statements of authoritative theologians about the priority in church singing of the liturgical component over the artistic. Various forms of musical variation are mentioned, of which the most important for the church-singing culture is the existence of variants. In particular, the article points up signifi cant diff erences in the structure of the verbal text of the Cherubic song in its various versions. Among the main principles of variation in the samples of the Cherubic song from the collection of Archimandrite Matthew, the following are distinguished: change in pitch support in connection with rhythmic changes in the verbal text; the renewal of harmony due to the introduction of new contrapunctal voices; the re-harmonisation of the melody (or its fragment) upon its repetition. The article claims that a characteristic feature of the variation in the adaptations by Archimandrite Matthew is the sequence of accumulation of the renewed elements. As a result, the music is saturated with internal movement but does not change the nature of the sound essentially. Paradoxically, the systematicity and sequence of the introduced changes in the compositions by Archimandrite Matthew reveals a similarity to the so-called “developing variation” method. This method involves the gradual accumulation of changes in a multi-faceted dissonant harmonic complex, which at the same time would remain recognisable. Signifi cantly, the Russian church musician found this method by intuition and successfully refracted it in conditions of the consonant harmony of liturgical tunes.
variation, Cherubic song, Archimandrite Matthew, counterpoint, variant, harmonization, harmonic function
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Starostina Tatiana
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Associate Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/1 Bol’shaia Nikitskaia, Moscow 125009, Russian Federation;
Post: Associated Professor, Russian Music History Division;
ORCID: 0000-0002-5357-8696;
Email: i.starostin@gmail.com. *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.
Старостина Т. А. О музыкальной логике цикла Утрени Великого Пятка архимандрита Матфея (Мормыля) // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2019. Вып. 33. С. 134-144. DOI: 10.15382/sturV201933.134-144
This article deals with musical dramaturgy of the matins of the Great Friday by archimandrite Matthew (Mormyl’). It gives a preliminary outline of history and structure of this monumental and extremely signifi cant liturgical piece. The matins of the Great Friday combines components of the lenten liturgical circle and the Lenten Triodion. The uniqueness of this service is due to both numerous Gospel texts being read and richness of the musical material; between the 1st and 7th fragments of Gospels there are antiphons, i.e. chants that are absent from any other service of the yearly circle. The article claims that 15 antiphons of the matins can be conventionally divided into fi ve cycles (three antiphons in each) which are diff erent as to the level of dramatic tension. The second of them (antiphons 4‒6) narrates of Judas’ betrayal and due to this it is characterised by the most mournful colour. Archimandrite Matthew harmonises all the chants in the minor here. By contrast, in the last group of the antiphons, the sound colour is brightening, there appears the anticipation of the coming Resurrection. The article argues that even in the schematic sequence of the basic accords of musical lines, the Gospel story is recited as it is embodied in sounds by the outstanding church musician archimandrite Matthew.
matins, antiphon, archimandrite, harmonisation, cadence plan
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Starostina Tatiana
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Associate Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/1 Bol’shaia Nikitskaia, Moscow 125009, Russian Federation;
Post: Associated Professor, Russian Music History Division;
ORCID: 0000-0002-5357-8696;
Email: i.starostin@gmail.com. *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.