Samoglasen stihiras in Stikhirar' Mineinyi of the latter half of the 16th century
Guseinova Zivar (2018)
"Samoglasen stihiras in Stikhirar' Mineinyi of the latter half of the 16th century ",
Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta.
Seriia V : Voprosi istorii i teorii hristianskogo iskusstva
pp. 70-82 (in Russian).
DOI of the paper: 10.15382/sturV201831.70-82
The term samoglasen (Russ. самогласен, α¥τόμελον) has steadily been inscribed in Russian singing manuscript books since the 11th century as a margin comment accompanying certain chants. In scientifi c literature has developed a stable look at samoglasen as an indication of melodic autonomy of the chant, the opposite of which is the term podoben (подобен, ²διόμελον), when the chant is sung according to a melodic pattern (i.e. podoben). Meanwhile, in the copies of Stikhirar' Mineinyi, starting from the oldest MSs until the end of the 16th century, it is seen that, fi rstly, only few number of stichera are accompanied by the remark “samoglasen”; secondly, there is a discrepancy identifi ed when comparing the repertoire of stichera with this remark; thirdly, the melodically individual chant is lacking in samoglasen-shichera in all cases. The author of the articles comes to the conclusion that the term samoglasen entered the singing books from the Canon (Устав), where the term самогласен дня (“samoglasen of the day”) indicates the function of the stichera to refl ect main events of the holiday.
stichera, manuscript, Stikhirar' Mineinyi, samoglasen, manuscript copy
- Gardner I. A. (2004) “Zabytoe bogatstvo (o penii na «podoben»)” [“Forgotten Wealth (On Singing according to “Podoben”)”], in L. V. Vovchuk (ed.) Podobny. Kiev, pp. 4‒14 (in Russian).
- Kiprian (Kern), archimandrite (1999) Liturgika. Gimnografi ia i eortologiia [Liturgics. Hymnography and Heortology]. Moscow (in Russian).
- Potemkina N. A. “A. V. Nikol'skii i ego rabota «Formy russkogo tserkovnogo peniia»: metody analiza, terminologiia” [“A. V. Nikol'skii and his Work “Forms of Russian Church Singing”: Methods of Analysis and Terminology], available at http://docs.google.com/a/gnesinacademy.ru/viewer?url=http://vestnikram.ru (15.01.2017).
- Seregina N. S. (1985) “Stikhiry Sergiiu Radonezhskomu kak pamiatnik otechestvennogo pesnotvorchestva” [“Stichera to Sergy Radonezhsky as a Monument of Russian Art of Chants”]. Trudy Otdela drevnerusskoi literatury. 1985, vol. XXXVIII, pp. 338-355 (in Russian).
- Skaballanovich M. (2004) Tolkovyi Tipikon [Explanatory Typikon], pt. 2. Moscow (in Russian).
- Uspenskii N. D. (1971) Obraztsy drevnerusskogo pevcheskogo iskusstva [Examples of Old Russian Art of Singing]. Leningrad (in Russian).
- Vladyshevskaia T. F. (2006) “Tipografskii Ustav i muzykal'naia kul'tura Drevnei Rusi XI– XII vekov” [“Typographic Canon and Music Culture of Ancient Rus’ in the 11th — 12th Centuries”], in B. A. Uspensky (ed.) Tipografskii Ustav: Ustav s kondakarem kontsa XI — nachala XII veka [Typographic Canon: Canon with Kontakia of the Late 11th — Early 12th Centuries], vol. 3. Moscow (in Russian).
Information about the author
Guseinova Zivar Academic Degree:
Doctor of Sciences*
in Art Criticism; Academic Rank:
Professor; Place of work:
St Petersburg State Conservatory; 3 Teatral’naya Sq., St Petersburg, 190000, Russian Federation; Post:
professor; ORCID: 0000-0001-8940-6485
*According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.