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The notation of the russian part-singing style
Abstract
In this article the major elements of the notation in harmonizations in many parts are examined leaning on an extensive hand-written material: ways of it's writing down (separate parts, choir-book and scores) and clefs. Besides it's original features are established in comparison with the West-European tradition. The rare and typical combinations of the C, G and F clefs in the four-part harmonizations are studied. It is also shown that the the new system of clefs is forming in eight-part and twelve-part compositions under the influence of the concert polyphony and also in communication with gradual departure from arrangements of the monophonic church chants. The conclusions about practical use of the theory of clefs in decodings of partesny polyphony are made.
Keywords
notation, harmonization, part-singing (partesny) style, parts, scores, clefs, manuscripts
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