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Крюкова А. [Review] // Вестник ПСТГУ. Серия I: Богословие. Философия. 2012. Вып. 2 (40). С. 141-148. — Rev. op.: Barnes T. D. Early Christian Hagiography and Roman History. Tübingen: Mohr Siebeck, 2010. XX, 437 p.
Крюков П. Д. Октоих нотированный XVII века: современные задачи изучения // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2020. Вып. 38. С. 23-35. DOI: 10.15382/sturV202038.23-35
The purpose of this article is to identify and describe current problems of study of the notated Octoechos of the 17th century, particularly those that are related to the reform of printing in the mid-17th century. The use of the Octoechos notated in the 17th century is fully incorporated in the context of the whole period of development of this book, beginning from its use as a separate collection since the end of the 15th century. In order to solve the main problems, the article formulates the following directions of the study: search for and systematisation of all preserved copies of the Octoechos notated in the 17th century; establishing the typology and compiling, as far as it is possible, a comprehensive catalogue and manual with a scientifi c description of the manuscripts; the study of technical aspects in the process of emendation of singing with this book as an example. An important direction in the range of the formulated tasks is the identifi cation and understanding with the Octoechos of the 17th century as an example of the system of the Russian Octoechos and the study of the role of patterns of singing in chanting hymns. The article shows the features of writing down and structuring chants from the book in question. In order to illustrate the process of the reform of singing in the mid- 17th century, the article uses examples from notated MSs.
notated Octoechos, reform, 17th century, Znamenny chant, manuscript, chant
  1. Artamonova Iu. (1998) Pesnopeniia-modeli v drevnerusskom pevcheskom iskusstve XI–XVIII vekov [Chants-patterns in Old Russian art of singing of the 11th — 18th centuries]. Moscow (in Russian).
  2. Gruzintseva N. (1990) Stikhiry-samoglasny triodnogo stikhiraria v drevnerusskoi rukopisnoi traditsii XII–XVII vekov [Stichera-idiomela of Triodion sticherarion in the Old Russian manuscript tradition of the 12th — 17th centuries]. Leningrad (in Russian).
  3. Guseinova Z. (1997) “Zhanr Blazhenn v tserkovno-pevcheskom iskusstve” [The genre of ‘Blazhenny’ in art of church singing]. Rukopisnye pamiatniki, 4, pp. 193‒214 (in Russian).
  4. Guseinova Z. (1998‒99) “Oktoikh notirovannyi (po materialam rukopisei XV–XVII vekov)” [Notated Octoechos (MSs of the 15th — 17th centuries)]. Dni slavianskoi pis'mennosti i kul'tury, 1‒2 (in Russian).
  5. Kazantseva M. (1997) Istoriia pevcheskogo iskusstva v pis'mennoi kul'ture Drevnei Rusi XII–XVII vv. (po knige Irmologii) [History of the art of singing in the booklore of Ancient Rus’ of the 12th — 17th centuries (the book of Heirmologion)]. Ekaterinburg (in Russian).
  6. Khachaiants A. (2001) Pevcheskie rukopisi XVII–XIX vekov: Katalog [Singing manuscripts of the 17th — 19th centuries: A catalogue], in A. Ziuzin, N. Popkova (eds). Saratov (in Russian).
  7. Krasheninnikova O. (1997) Drevnerusskii Oktoikh XII–XIV vv. kak pamiatnik srednevekovoi gimnografii [Old Russian Octoechos of the 12th — 14th centuries as a monument of mediaeval hymnography]. Moscow (in Russian).
  8. Krasheninnikova O. (2006) Drevneslavianskii Oktoikh sv. Klimenta, arkhiepiskopa Okhridskogo [Ancient Slavonic Octoechos of St. Clement of Ohrid]. Moscow (in Russian).
  9. Krest'ianin F. (1974) Stikhiry [Stichera], in M. Brazhnikov (ed.). Pamiatniki russkogo muzykal'nogo iskusstva [Monuments of Russian musical art], vol. 3. Moscow (in Russian).
  10. Kruchinina A., Egorova M., Shvets T. (2014) Sluzhba na perenesenie moshchei prepodobnogo Sergiia Radonezhskogo. Issledovanie, tekst i rospev [Church service for the transfer of the relics of St. Sergius of Radonezh. Study, text and pattern of singing]. St Petersburg (in Russian).
  11. Kudriavtsev I. (ed.) (1960) Rukopisnye sobraniia D. V. Razumovskogo i V. F. Odoevskogo i arkhiv D. V. Razumovskogo. Opisaniia [Manuscript collections of D. Razumovsky and V. Odoevsky and the archive of D. Razumovsky]. I. Moscow. (in Russian).
  12. Nikol'skaia N. (2008) «Skazanie» inoka Evfrosina i pevcheskaia knizhnaia sprava XVII veka. [“Narrative” of monk Evfrosin and the book emendation of singing of the 17th century]. St. Petersburg (in Russian).
  13. Pentkovskii A. (2004) “Vizantiiskoe bogosluzhenie” [Byzantine church service]. Pravoslavnaia entsiklopediia [Orthodox Encyclopaedia], vol. 8. Moscow. P. 382. (in Russian).
  14. Pletneva E. (2001) “Mnogoraspevnost' v Notirovannom Oktoikhe: bogorodichny Maloi vecherni” [Multipart singing in the Notated Octoechos: Hymns to Theotokos of Smaller Matins]. Muzykal'noe nasledie Rossii: istoki i traditsii [Musical heritage of Russia: Origins and traditions]. St Petersburg. Pp. 80‒107 (in Russian).
  15. Popov A. (2002) “Zhanr antifonov stepenny v traditsii Kirillo-Belozerskogo monastyria (konets XV–XVII vv.)” [The genre of antiphons “stepenny” in the tradition of Kirillo-Belozersky monastery (late 15th — 17th centuries)], in Pevcheskoe nasledie Drevnei Rusi (istoriia, teoriia, estetika) [Art of singing of Ancient Rus’ (History, theory, aesthetics)]. St Petersburg. Pp. 291–302 (in Russian).
  16. Ramazanova N. (2004) Moskovskoe tsarstvo v tserkovno-pevcheskom iskusstve XVI–XVII vv. [Moscow tsardom in the art of church singing of the 16th — 17th centuries]. St Petersburg (in Russian).
  17. Seregina N. (1994) Pesnopeniia russkim sviatym. Po materialam rukopisnoi pevcheskoi knigi XI– XIX vv. «Stikhirar' mesiachnyi» [Chants to Russian saints. Materials of the manuscript book of singing of the 11th — 19th centuries. “Sticherarion of the months”]. St Petersburg (in Russian).
  18. Tiurina O. (2008) “Ob odnom obraztse drevnerusskoi melizmatiki: tsikl Svetil'nov voskresnykh” [One example of Old Russian melismatics: The cycle of Svetilny of Sunday]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 2‒3, pp. 7‒22 (in Russian).
  19. Tutolmina S. (2004) Russkie pevcheskie Triodi drevneishei traditsii [Russian singing Triodia of the most ancient tradition]. St Petersburg (in Russian).
  20. Zabolotnaia N. (2001) Tserkovno-pevcheskie rukopisi Drevnei Rusi XI–XIV vekov: Osnovnye tipy knig v istoriko-funktsional'nom aspekte [Church-singing manuscripts of Ancient Rus’ of the 11th — 14th centuries: Main types of books in historical and functional aspects]. Moscow (in Russian).
  21. Zakhar'ina N. (2007) Russkie pevcheskie knigi. Tipologiia, puti evoliutsii [Russian books of singing. Typology, ways of evolution]. St Petersburg (in Russian).
  22. Zernova A. (1958) Knigi kirillovskoi pechati izdannye v Moskve v XVI–XVII vekakh: svodnyi katalog [Books of Kirill’s print published in Moscow in the 16th — 17th centuries: A catalogue]. Moscow (in Russian).
Kryukov Pavel
Student status: Graduate student;
Place of study: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
ORCID: 0000-0002-5008-5191;
Email: pasha.kryukov.94@mail.ru.
Крюков П. Д. Нотированные антифоны Степенны в Типографском Уставе // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2021. Вып. 42. С. 9-21. DOI: 10.15382/sturV202142.9-21
This article is devoted to one of the central genres of the book Oktoikh notirovanny (‘Notated Octoechos’), i.e. the antiphons Stepenny. It discusses the problems of forming the notated cycles in the Octoechos in the most ancient stage and identifies the ways of their transformation. It also substantiates the problems of continuity of the poetic and musical texts by the mid-15th century with this cycle used as an example. The object of the study is the most ancient extant manuscript from the collection of the Tretyakov Gallery which contains a copy of the antiphons Stepenny with Znamennaya notation. The article studies this copy using the example of the antiphons of the 4th mode (glas) both as an independent mode and in comparison with the copy of the Stepenny from a collection of the Trinity Lavra of St. Sergius; it compares the structure of the chants, principles of notation, reveals discrepancies in the poetic text and the note text. The following conclusions are made based on the comparison of the copies: by the time of the “fracture of style”, the discrepancies in the poetic texts of the chants prove to be insignifi cant and can be explained by local editing; the structure of the chants and their division into lines is practically always identical; the analysis and comparison of the note text allows one to state that the singing of the antiphons Stepenny, judging by the hook line, was similar. This provides evidence of the continuity between the copy of the 15th century as related to that of the 11th century, while techniques of their editing refl ect characteristic features of the singers’ practice.
‘Notated Octoechos’, Typographical Typicon with Contacarium, manuscript, antiphons Stepenny, Znamenny chant, notation
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  4. Guseinova Z. (2015) “Drevnerusskaia kriukovaia notatsiya XV veka: preobrazovaniia i novatsii” [Znamenny notation of the 15th century: transformations and innovations]. Vestnik Iuzhno- Ural’skogo gosudarstvennogo universiteta. Seriia: Social’no-gumanitarnye nauki, 2015, vol. 15, no. 3, pp. 84–90 (in Russian).
  5. Guseinova Z. (1998–99) “Oktoikh notirovannyi (po materialam rukopisei XV–XVII vekov)” [Notated Octoechos (based on the materials of manuscripts of the 15th — 17th centuries]. Dni slavianskoi pis'mennosti i kul'tury [Days of the Slavonic booklore and culture], no. 1–2. URL: https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxndXNlam5vdmF6bXxneDozMDhjYjg0YmM5NGI3NjU0 (02.02.2021) (in Russian).
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Kryukov Pavel
Student status: Graduate student;
Place of study: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow, 127051, Russian Federation;
ORCID: 0000-0002-5008-5191;
Email: pasha.kryukov.94@mail.ru.