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Guseinova Zivar

The data on church music theory in the manuscript of Archpriest Methodius (1647)


Guseinova Zivar (2017) "The data on church music theory in the manuscript of Archpriest Methodius (1647) ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2017, vol. 26, pp. 96-108 (in Russian).

DOI of the paper: 10.15382/sturV201726.96-108

Abstract

The aim of this article is to present the theoretical codex included in hooked notation manuscript written by Archpriest Methodius in 1647 in Kashira. In the history of Russian musical theory, manuscripts of the mid-17th century manifest the wish of masters of singing to validate traditional phenomena in singing, to systematise existing techniques and to integrate purely theoretical information into the context of historical and pedagogical precepts. The note manuscript Ф. 229 № 154 (collection of N.S. Tihonravov) of the Russian State Library contains a theoretical codex that sets out both established and non-traditional fragments supplemented by literary and philosophical statements using cryptography (Russ. простая литорея). The bulk of materials on musical theory is related to the form of dvoznamenniki (“double sign”), where lines are written in putnaya and znamennaya notations (putnaya in vermilion, znamennaya in black ink). The codex also contains a fragment of the famous “Preface” to the collection of note sticherons (Russ. нотный Стихирарь) and the ABC-enumeration Имена столповому знамени. The fact that Archpriest Methodius included such changes into traditional manuals serves as a sign of his own creative work. As a result, the author of the manuscript acts as an experiences connoisseur of church singing rather than a mere copyist.

Keywords

Archpriest Methodius, manuscript, codex of musical theory, putny and znamenny notations

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Information about the author

Guseinova Zivar