This paper presents data on early vermilion marks in ordinary singing manuscripts. These data are obtained from the analysis of manuscripts from the Russian National Library, namely РНБ Быстр. № 17 and РНБ НСРК. Q.14. These MSs contain a wide range of such marks with various meanings. Their full list exceeds the total number of marks cited in relevant manuals on musicology. The most frequent are marks which specify the direction and forms of melodic movement. According to principles and specifi cs of sound pitch designation, and also with the aim of distinguishing them from another type of marks, we off er to refer to the marks in question as to “relative”.
early marks, relative marks, Old Russian music theory
Vorob’yov Е. Е., Rannie pam’yatniki teorii pomet. Rukopis’, 2004.
Grigor’yeva V. Y., “Rann’yaya teoriya pomet v drevnerusskih musykal’no-teoreticheskih rukovodstvah”, in: Vestnik PSTGU, 2014, V, 15, 42–76.
Grigor’yeva V. Y., Kniga inoka Iosifa Lovzunskago. Ego znameniya i pomety. Pevcheskie Prazdniki XVII veka. Publikaciya i issledovanie pam’yatnika, Moscow, 2014.
Grigor’yeva V. Y., “Osmyslenie obihodnogo zvukor’yada v drevnerusskoj musykal’noj teorii”, in: Materialy mezhdunarodnoj nauchnoj konferencii. Mai 2014 g. (в печати).
Gusejnova Z. M., «Izveshhenie» Aleksandra Mezenca i teoriya muzyki XVII vek, St. Petersburg, 1995, 2008.
Dianova T. V., Kostyuhina L. M., Vodyanye znaki rukopisej Rossii XVII veka, Moscow, 1980.
Dianova T. V., Filigran’ «Kuvshin» XVII v.: Katalog, Moscow, 1989.
Churchill W. A., Watermarks in paper, Amsterdam, MCMXXXV.