St. Tikhon’s University Review . Series V: Problems of History and Theory of Christian Art

Church hymns of Eastern Christian tradition have some common musical forms constructed with intonation formulae. The use of these forms is connected with the system of podobie (‘similarity’). Musical composition of the canon to the Dormition of Theotokos The one adorned by divine glory (Church Slav. Преукрашенная Божественною славою) is made of intonation formulae of Znamenny chant. Two formulae have the same beginning and diff erent endings, thus forming the intrigue of the hearer’s expectation. The canon is preseved in Byzantine, Old Russian and Kievan chant books. It is written with Paleobyzantine, Middle Byzantine (round) and fi ve-line (Kievan) notation. The Paleobyzantine version is a basis of the Znamenny version, and the Kievan copies (both neumatic and fi ve-line) are based on the Znamenny version. Comparison of manuscripts of the three traditions shows stability in the musical form. Manuscripts with the Middle Byzantine notation and printed chant books are additional sources which were used for the reconstruction of the melodic line. Comparison of the melodies demonstrates certain diff erences in the three traditions. The composition based on two intonation formulae is also used in Slavonic copies of the automelon O wonderful miracle (O дивное чудо, sticheron to the Dormition). The automelon is preserved in the same manuscripts as the canon. The structure of the sticheron was changed over the centuries, which may be due to the infl uence of the canon.

comparative studies, Znamenny chant, canon, automelon, musical structure, intonation formula

1. Brazhnikov M. (1984) Litsa i fity znavennogo raspeva [‘Litsa’ i ‘fi ty’ of Znamenny chant]. Leningrad (in Russian).
2. Guseinova Z. (2009) “Rannie Irmologii Troitse-Sergievoi lavry” [Early Heirmologions of Trinity Lavra of St. Sergius]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 1 (4), pp. 7‒16 (in Russian).
3. Jakobson R. (ed.) (1957) Fragmenta Chilandarica palaeoslavica: B.: Hirmologium: Codex monasterii Chilandarici 308: Phototypice depictus. Copengagen.
4. Krysko V. (ed.) (2005) Il’ina kniga: Rukopis RGADA, Typ. 131 [Il’ina kniga: Manuscript of RGADA, 131]. Moscow (in Russian).
5. Kruchinina A. (2002) “Popevka znamennogo rospeva v russkoi muzykalnoi teorii XVII veka” [‘Popevka’ of Znamenny chant in Russian music theory of the 17th century], in Pevcheskoe nasledie Drevnei Rusi [Legacy of the art of singing of Ancient Rus’]. St. Petersburg (in Russian).
6. Parfentieva N., Parfentiev N. (2015) “Stikhiry ‘na podoben’ tsaria Ivana Groznogo v chest’ Vladimirskoi ikony presviatoi Bogoroditsy” [Ivan’s the Terrible Stichera “on automelon” dedicated to Vladimir icon of Theotokos]. Bulletin of the South Ural State University. Series Social Sciences and the Humanities, 15 (4), pp. 83–99. (in Russian)
7. Popov A. (2000) “Tekhnika kompozitsii drevnerusskikh rospevshchikov (Na primere Irmologia kontsa XVII v.” [Technique of composition of Old Russian chanters, with Heirmologion of the late 17th c. as an example]. Gimnologiia, 1 (1), pp. 281‒290 (in Russian).
8. Ramazanova N. (1992) “Ob ierarkhii zhanrov v drevnerusskoi sluzhbe” [On the hierarchy of genres in Old Russian church service], in A. Kruchinina, N. Ramazanova (eds) Istochnikovedcheskoe izuchenie pamiatnikov pis'mennoi kul'tury: Poetika drevnerusskogo pevcheskogo iskusstva [Study of sources of literary monuments. Poetics of Old Russian art of singing]. St Petersburg. Pp. 150–160 (in Russian).
9. Rakhmanova M., Borisovets E., Shekhovtsova I., Tutolmina S. (eds) (2012) Russkaia dukhovnaia muzyka v dokumentakh i materialakh [Russian spiritual music in documents and materials]. Vol. 7: Afonskaia ekspeditsiia Obshchestva liubitelei drevnei pis'mennosti (1906) [Athos expedition of the Ancient Texts Society (1906)]. Book 2: Afonskaia kollektsiia [Athos collection]. Moscow (in Russian).
10. Starikova I. (2017) “Kanon” [Canon], in Pravoslavnaia encyklopedia [Orthodox Encyclopaedia], vol. 30. Moscow. Pp. 204–212 (in Russian).
11. Strunk O. (1977) Essays on Music in the Byzantine World. New York.
12. Troelsgard Ch. (2000) The Repertories of Model Melodies (Automela) in Byzantine Musical Manuscripts. Cahiers de l'Institut du Moyen-Âge Grec et Latin, 71. Copenhagen. Pp. 3–27.
13. Uspenskii B. (ed.) (2006) Tipografskii Ustav: Ustav s kondakarem kontsa XI — nachala XII veka. Moscow (in Russian).

Zakharina Nina

*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.

This research was supported by the Russian Foundation for Basic Research (RFBR) grant № 17-34-00023 (Monodichymns to the Mother of God on the Great Feasts of the 11th-17th centuries: Greek-Slavonic parallels)My thanks to N. A. Shchepkina for consulting on the Greek copies of hymns.My thanks to I. V. Gerasimova for the materials provided by the Kiev-Lithuanian tradition

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

This article deals with one of the copies of the famous musical and theoretical document of the 17th century Ukaz o podmetkakh in the manuscript of the Russian State Library, fund 379 (of D. V. Razumovsky), no. 1. This document, preserved in several copies of the 17th and 18th centuries with diff erent names, became famous because of the presentation of the “teaching” of the Novgorod chanter Ioann Shaidur regarding the introduction cinnabar letter marks specifying the height of symbols of the hook notation and the structure of the scale. The need to introduce such adjustments was caused by the gradual attrition of unity in the performance of one chant by diff erent singers, and even more so in diff erent churches. The “teaching” of Ioann Shaidur is based on information about the singing of signs in explanatory manuals, abbreviated to one or two letters added to the notation signs in red. This system of marks came into use in the middle of the 17th century and was actively used until the introduction of marks presented in the other theoretical document, Izveshchenie (“Notifi cation”) by Alexander Mezents (1670). In the text studied in this article, the system is presented several times in diff erent variants, which shows that diff erent masters repeatedly introduced additional information and clarifi cation in the document refl ecting local traditions of church singing. As a result, the marks and the structure of the scale are presented in this document in diff erent versions. The copy also contains important historical information on the personality of Ioann Shaidur, as well as on the origin of church singing, which was not borrowed from Byzantium, but originated on Slavic soil, similarly to the Cyrillic alphabet.

Ukaz o podmetkakh, hook notation, marks, sound, church singing, music theory, chanter

1. Brazhnikov M. (1972) Drevnerusskaia teoriia muzyki [Old Russian theory of music]. Leningrad (in Russian).
2. Grigor'eva V. (2014) Ranniaia teoriia pomet v drevnerusskikh muzykal'no-teoreticheskikh rukovodstvakh [The early theory of marks in the Old Russian musical-theoretical handbooks]. Vestnik PSTGU. Ser. V: Voprosy istorii i teorii khristianskogo iskusstva, 3 (15), pp. 42–76 (in Russian).
3. Guseinova Z. (2008) «Izveshchenie» Aleksandra Mezentsa i teoriia muzyki XVII veka [Alexander Mezent’s “Notice” and the theory of music of the 17th century]. St Petersburg (in Russian).
4. Kloss B. (2012) O proiskhozhdenii nazvaniia «Rossiia» [On the origin of the name “Russia”]. Moscow (in Russian).
5. Likhachev D. (1998) Razvitie russkoi literatury X–XVII vekov [Development of Russian literature of the 10th — 17th centuries]. St Petersburg (in Russian).
6. Rogov A. (ed.) (1973) Muzykal'naia estetika Rossii XI–XVIII vekov [Musical aesthetics of Russia of the 11th — 18th centuries]. Moscow (in Russian).
7. Orlov A., Skripil' M. (1941‒1956) “Vvedenie: Obobshchaiushchie predpriiatiia XVI v.” [Introduction: Generalising enterprises of the 16th century], in Istoriia russkoi literatury [History of Russian literature], II, 1, pp. 432–445 (in Russian).
8. Parfent'ev N. (2013) “Osobennosti provedeniia reformy muzykal'nogo iskusstva v kontekste izmenenii v dukhovnoi kul'ture Rossii 1650–1670-kh gg.” [The pecularities of implementation of musical art reforms in the context of changes in Russian spiritual culture in 1650—1670s]. Vestnik IuUrgU. Ser. «Sotsial'no-gumanitarnye nauki», 13, 2, pp. 94–102 (in Russian).
9. Smoliakov B. (1980) “Dve redaktsii «Predisloviia, otkudu i ot koego vremeni nachasia byti v nashei Rustei zemli osmoglasnoe penie...»” [Two versions of the “Introduction, from where and from what time the Octoechos started to exist in our Russian land...”]. Pamiatniki Otechestva: al'manakh VOOPIiK, 1, pp. 53–57 (in Russian).

Guseinova Zivar

*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.

Since the mid-17th century, partsong replaced Znamenny chant in Russia. This turning point is associated with reforms of Patriarch Nikon, who allowed polyphony in Orthodox churches, and with the infl uence of the musical culture of European Baroque, primarily Polish and Italian, that came to Russia through the territory of the Ukraine. In this regard, the name of the Russian composer Nikolai Diletsky is usually mentioned, who, in turn, called himself a student of the Polish composer Marcin Mielczewski. Nikolai Diletsky was a theorist, composer and choir master. In the history of Russian music he is known as an author of choral music and as a creator of the musical treatise Grammatika musikiiskago peniia (“Grammar of Musical Singing”). This work shows a high level of musical education of its author. Polychoral style was traditional in the Polish-Lithuanian Commonwealth of the fi rst quarter of the 18th century. It entered Russian musical culture alongside the practice of polyphonic singing. It should be noted that Chapter 7 of the Grammar, entitled “On forgotten items about which I forgot to write”, already contains the section “Choral samples” devoted to the problems of double-choir composition. In three editions of the Grammar one can fi nd seven examples from works of Marcin Mielczewski. One of them, according to Protopopov, is ascribed to Melczevski by mistake. All samples are contained in the section “On composition”. Particularly interesting is a sample belonging to Mielczewski and associated with the rule of continuous tones in cadence. Diletsky first gives Mielczewski’s original musical text and then shows the simple bass, instead of which, in his opinion, the continuous tone was used. Apparently, this bass was added by Diletsky himself. In the second half of the 17th century, an interest to Polish music was quite high in Russia. It is known that Patriarch Nikon specifi cally looked for for Mielczewski’s cantica, and Mielczewski’s psalms and masses were sent to him as a gift.

Russian-Polish musical contact, sacred music, Nikolay Diletsky, Marcin Mielczewski, Grammatika musikiiskago peniya, partsong

1. Belza I. (1954) Istoriia pol'skoi muzykal'noi kul'tury [A history of Polish musical culture], vol. 1. Moscow (in Russian).
2. Protopopov V. (ed.) (1979) Diletskii N. Idea grammatiki musikiiskoi [Idea of a musical grammar]. Moscow (in Russian).
3. Protopopov V. (1989) Russkaia mysl' o muzyke v XVII veke [Russian thought on music in the 17th century]. Moscow (in Russian).
4. Kazem-Bek J. (1999) “Marcin Mielczewski w “Gramatyce muzycznej””, in M. Szweykowski (ed.) Marcin Mielczewski. Cracow. Pp. 177–186.
5. Krzepkowska A. (2012) Zygmunt Lauxmin. Traktat “Ars et praxis musica”. Warsaw.
6. Przybyszewska-Jarmińska B. (2006) Historia Muzyki Polskiej. Tom III część pierwsza, Barok 1595–1696. Warsaw.
7. Przybyszewska-Jarmińska B. (1999) “Marcin Mielczewski — katalog tematyczny utworów”, in M. Szweykowski (ed.) Marcin Mielczewski. Cracow. Pp. 27–66.
8. Przybyszewska-Jarmińska B. (1999) “Marcin Mielczewski — życie i dorobek”, in M. Szweykowski (ed.) Marcin Mielczewski. Cracow. Pp. 25–26.
9. Przybyszewska-Jarmińska B. (2011) Muzyka pod patronatem polskich Wazow. Marcin Mielczewski. Warsaw.
10. Tsalai-Iakimenko O. (ed.) (1970) Dilets'kii Mikola. Gramatika muzikal'na. Muzykal'naia grammatika. Fotokopіia rukopisu 1723 roku [M. Diletsky. A Musical Grammar. Photocopy of the MS of 1723]. Kiev (in Ukrainian).

Viskova Irina

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

Тhe article deals with archival materials of Prince V. F. Odoevsky, the Russian musician and theorist, author of the fi rst articles on the theory of Znamenny chant. Specifically, it describes his text “Church-related notation for the initial teaching of Orthodox church singing”, kept at the Russian National Museum of Music.

Prince V. F. Odoyevsky, archives of V. F. Odoyevsky, church singing, theory of church singing, studies in mediaeval music, Znamenny chant, Old Russian art

1. Bernandt G. (ed.) (1956) V. Odoevsky. Muzykal’no-literaturnoe nasledie [Musical and literary heritage]. Moscow (in Russian).
2. Liapunova A. (2005) “N. G. Rubinshtein i V. F. Odoevsky”, in V. Odoevsky. Dnevnik. Perepiska. Materialy. Moscow. Pp. 15‒68 (in Russian).
3. Odoevsky V. Dnevnik. Perepiska. Materialy (2005) [Diary. Letters. Materials]. Moscow (in Russian).
4. Russkaia dukhovnaia muzyka v dokumentakh i materialakh (2002) [Russian sacred music in documents and materials], vol. 3. Moscow (in Russian).
5. Shevtsova O. (ed.) (2008) “V. Odoevsky. “Drevnerusskoe pesnopenie. Opyt rukovodstva k izucheniyu osnovnykh zakonov melodii i garmonii dlya ne-muzykantov, prisposoblennogo v osobennosti k razrabotke rukopisei o nashem drevnem pesnopenii” [Old Russian chant. Attempt of a guide to the study of the basic laws of melody and harmony for non-musicians, adapted in particular to the study of manuscripts of our ancient chants]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 1 (3), pp. 121‒153 (in Russian).
6. Shevtsova O. (2019) “Arkhivnye materialy V. F. Odoevskogo” [Archival materials of V. F. Odoevsky]. Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 34, pp. 146‒156 (in Russian).

Shevtsova Olga

This article studies chants-dvoeglasniki with the structure 8-4-8 and is based on the material of Sticherarion Дьячье око from the collection of D. V. Razumovsky (Russian State Library, f. 379, no. 63‒66). Specifi cally, it deals with four stichera with mode transitions marked by the copyists: Гласо пророка твоего Моисея to the Elevation of the Cross, Свето пресветлыи звезда невечерняя to St. Constantine and his mother Helen, Во истину вожделеваше тебе слове Божии to martyrs Manuil, Saveliy and Ismail, and Иже от неплодныхъ to the Dormition of St. Anna. The article identifi es the musical features of dvoeglasniki from the point of view of their form, examines the principles of mode transition and identifi es regularities in mode change. The fi nding of the article is that there can be traced a single archetype in composition of the studied dvoeglasniki regardless of their text. Its origins can go back to the Byzantine tradition. The result of the article is a transcription of three chants that are preserved on Old Believers’ vygovskaya tradition, as well as a reconstruction of one chant which is not recorded in Old Believers’ monuments of vygoleksinskoe script. The transcriptions and publications are designed as comparative scores, where the upper line is a copy from Sticherarion Дьячье око, the lower is the Old Believers’ source.

dvoeglasniki, mnogoglasniki, mode, Sticherarion Дьячье око, Old Russian art of singing, transcription, reconstruction

1. Brazhnikov M. (1984) Litsa i fity znamennogo raspeva: Issledovanie [Litsa and fi ty of Znamenny chant: A study]. Leningrad (in Russian).
2. Brazhnikov M. (ed.) (1983) Khristofor. Kliuch znamennoi 1604. Moscow.
3. Grigor'ev E. (2001) Posobie po izuchenie tserkovnago peniia i chteniia [Manual for the study of church singing and reading]. Riga (in Russian).
4. Grigor’eva V. (2014) “Kniga inoka Iosifa Lovzunskago, ego znameni i pomety”. Pevcheskie prazdniki XVII veka [“Kniga inoka Iosifa Lovzunskago, ego znameni i pomety”. Singers’ feasts of the 17th century]. Moscow (in Russian).
5. Guseinova Z. (2018) Stikhirar' mineinyi kontsa XVI veka: aspekty izucheniia. Po rukopisi Troitse- Sergievoi Lavry № 427 [Sticherarion of Menaia of the late 16th century: Aspects of study. MS 427 from St. Sergius Lavra]. St Petersburg (in Russian).
6. Pichugin S. (ed.) (2006) Kniga “Prazdniki” [The book of “Feasts”]. Riga (in Russian).
7. Lyubchenko E. (2018) “Mnogoglasniki v Stikhirare «D'iach'e oko» iz sobraniia D. V. Razumovskogo (RGB. F. 379. № 63–66)” [Mnogoglasniki in Sticherarion “D'iach'e oko” from D. V. Razumovsky’s collection]. XVIII Ezhegodnaia bogoslovskaia konferentsiia PSTGU: Materialy. Moscow. Pp. 342–351 (in Russian).
8. Lyubchenko E. (2018) “Pesnopeniia-dvoeglasniki Stikhiraria «D'iach'e oko» iz sobraniia D. V. Razumovskogo” [Chants-dvoeglasniki in Sticherarion “D'iach'e oko” from D. V. Razumovsky’s collection]. Bogosluzhebnye praktiki i kul'tovye iskusstva v sovremennom mire, 3/2, pp. 639–651 (in Russian).
9. Panchenko F. (ed.) (2001) Pevcheskie knigi vygoleksinskogo pis'ma: XVIII — pervaia polovina XIX v. [Singers’ books of vygoleksinskoe script: 18th — fi rst half of the 19th centuries]. St Petersburg.
10. Pletnev E. (1999) Pevcheskii Oktoikh XVIII veka, notirovannyi. Iz sobraniia notirovannykh rukopisei Solovetskogo monastyria, khraniashchikhsia v Rossiiskoi Natsional'noi biblioteke: RNB Sol. 619/647 [Singers’ Octoechos of the 18th century, notated. From the collection of notated MSs of Solovetsky monastery kept at Russian National Library]. St Petersburg (in Russian).

Lyubchenko Elizaveta

This article deals with practical implementation of singing in automelon in Old Believers’ bezpopovtsy communities of the Pomor branch of the Baltic region. The choice of this branch of Old Believers was caused by the fact that bespopovtsy adhere to the singing and manuscript traditions of the early period, i.e. razdel'norechie, carefully preserve and reproduce features of implementation of the chants, of the pronunciation and intonation, as well as linguistic nuances. The material of the article is audio recordings of services and special recordings outside of services, transcribed by the author. The most part of the recordings belong to Grebenshchikov community of Riga, which is the most important singing centre of bezpopovtsy. As examples of local tradition, we used the recordings of services in the communities of Klaipeda, Kaunas and Raiushi. The article provides a brief overview of the method of singing in automelon, studies available written sources containing samples of the automelon, and compares the “book” version and the version of “napevka”. Based on the results of comparative analysis of these variants, the principles of modifying the compositional and mode structures under the infl uence of the oral form of chant are established. It was found that the “book” variant is considered by performers as a certain standard, but in practice only some of its elements remain. The variant of “napevka” as a system appears to be organised in a more structiured fashion due to a diff erent order of the alternation of lines, as well as due to some mode changes. The analysis of audio recordings allowed us to reveal a range of regularities in the actual implementation of automela in the singing practice (with the fi rst glas as an example). These regularities generally tend to make the singing tissue smooth and as varied as possible. When singing texts, main place is given by the performers to the melody rather than to the text. The singing of chants common to all bezpopovtsy manifested itself to the full in the entirety of the existing variants with periodically emerging concords. The revealed positions complement our current knowledge about traditions of church singing.

automelon, Old Believers, church singing, oral version, Znamennyi chant, “book” version, “napevka”

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2. Artamonova J. (1998) Pesnopeniia-modeli v drevnerusskom pevcheskom iskusstve XI–XVIII vekov [Chants-Models in Old Russian art of singing of the 11th — 18th centuries]. Moscow (in Russian).
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7. Dem'ianchuk T. (2004) “Podobny velikogo raspeva v russkoi tserkovnopevcheskoi traditsii” [Automela of the great chant in Russian tradition of church singing], in Drevnerusskoe pesnopenie. Puti vo vremeni. Po materialam nauchnoj konferencii “Brazhnikovskie chteniia 2002” [Old Russian chants. Paths in time. Materials of the conference “Brazhnikov readings 2002”]. St. Petersburg. Pp. 108−119 (in Russian).
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10. Gardner I. (2004) “Zabytoe bogatstvo (o penii na podoben)” [Forgotten wealth (On singing in autopelon)], in Vovchuk L. (ed.) Podobny [Automela]. Kiev. Pp. 4–14 (in Russian).
11. Grigor'ev E. (2001) Posobie po izucheniiu tserkovnogo peniia i chteniia [Manual for the study of church singing and reading]. Riga (in Russian).
12. Gulieva O. (2002) “Podobny velikogo rospeva (Nekotorye aspekty izucheniia)” [Automela of the great chant (some aspects of study)], in Tezisy nauchnoi konferentsii “Brazhnikovskie chteniia 2002” [Abstracts of the conference “Brazhnikov’s readings, 2002”]. St. Petersburg. Pp. 10−11 (in Russian).
13. Kazantseva T. (2009) “Stikhiry-podobny v bogosluzhebnoi praktike staroverov-strannikov sibirskogo regiona” [Stichera-automela in the divine service of Old Believers stranniki of Siberia]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 2 (5), pp. 76–124 (in Russian).
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Konoreva Svetlana

This article discusses restoration of the tradition of church singing at Ioanno-Predtechensky Monastery of Astrakhan during the post-Soviet period (2001‒2013). This tradition was disrupted in years of militant atheism of the 20th century. It analyses the processes of restoration of the practice of liturgical singing, creation, development and activity of choirs of the monastery. Particular attention is paid to the present-day state of the order of the service as well as to the practical aspect of the combined service of the choirs. The studied period is evaluated as a period of positive development and flourishing of art of singing at the monastery.

tradition of singing, liturgical practice, Znamenny chant, worship, chant, monastery school, choral performance

1. Gustova-Runtso L. (2018) Pravoslavnaia pevcheskaia praktika Belarusi (tipologiia i ispolnitel'skie stili) [Practice of Orthodox singing in Belarus (Typology and styles of performance)]. Minsk (in Russian).
2. Iosif, hegumen (Mar'ian A.) (ed.) (2013) Pokrovskii sobor goroda Astrakhani [Cathedral of Intercession of Theotokos in Astrakhan]. Astrakhan (in Russian).
3. Iosif, hegumen (Mar'ian A.) (ed.) (2010) Sviatye i podvizhniki blagochestiia zemli Astrakhanskoi [Saints and champions of piety of the land of Astrakhan]. Astrakhan.
4. Iosif, hegumen (Mar'ian A.) (ed.) (2002). Astrakhan'. Khramy i monastyri [Astrakhan. Churches and monasteries]. Astrakhan.
5. Khvatova S. (2011) Pravoslavnaia pevcheskaia traditsiia na rubezhe XX–XXI stoletii [Orthodox tradition of singing at the turn of the 20th — 21st centuries]. Maikop.

Chervyakova Irina

This article deals with key events in the life and work of the outstanding Russian composer of the 20th century, Herman Galynin (1922‒1966), whose artistic heritage is one of the obvious lacunae in modern Russian art history. Due to the initiatives of the international creative workshop Terra Musica over the past two years, all of the composer's chamber-orchestral and string-ensemble opera without exception were performed and recorded for the fi rst time for the British company Toccata Classics. The preparation of these recordings required a thorough intertextual analysis of the most striking scores, strangely excluded from the concert repertoire and academic publicity. The article clarifi es and systematises information about the diffi cult and tragic fate of the artist. For the fi rst time, it studies the entire corpus of H. Galynin's chamber-orchestral and ensemble compositions for various string ensembles. These are two string quartets, a suite for string orchestra, aria and scherzo for violin and string orchestra. Most of these works have never been dealt with in the context of a phenomenological analysis that addresses a wide range of issues of professional and aesthetic, historiographical, and metaphysical nature. The methodology applied is based on lexical attribution of the author's style, poetics, and of the composer's ethos. For the fi rst time, the questions of stylistically adequate interpretation of all the considered scores have been raised. One of the important components of the analysis is a connection of the studied works with the fundamental problems of theory and practice of modern instrumental (orchestral) writing. The article argues for the need to revise a number of published “editions” that appeared during the preparation and implementation of the fi rst world (digital) recordings of all string scores by Herman Galynin.

Herman Galynin, string orchestra, score, quartet, style, poetics, interpretation, ethos

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3. Dorman O. (2013) Nota. Zhizn' Rudol'fa Barshaia, rasskazannaia im v fi l'me Olega Dormana. [A musical note. The life of Rudolf Barshay, narrated by himself in Oleg Dorman’s film]. Moscow (in Russian).
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5. Sabinina M. (2016) “Mozaika proshlogo” [Mosaic of the past]. In D. D. Shostakovich. Pro et contra. Antologiia. [D. D. Shostakovich. Pro et contra. Anthology]. St Petersburg (in Russian).

Abdokov Yuri

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

This article is dedicated to memory of Anna Udaltsova, artist-ceramist, professor, Head of the Department of Art Ceramics of Stroganov Moscow State Academy of Arts and Industry. The main direction of A. L. Udaltsova’s academic and artistic work was connected with the study and creation of architectural ceramics for church architecture. As an architect by profession, Udaltsova was particularly interested in the historical experience of Old Russian architects and masters of tile decor in architectural monuments. This topic was dealt with in her ground-breaking publications and dissertation which studied compositional techniques related to the use of glazed tiles, mainly with birds, in the decoration of Old Russian architecture. Her academic work reveals artistic methods of Old Russian masters, demonstrates great commitment to the theme and the material, deep interest for church art, which came to play a prominent role in her life. In the 2000s, the connection between Udaltsova’s academic interests and her architectural and artistic practice manifested iteslf very clearly. For the walls of Moscow Conception (Zachatievsky) Monastery in Ostozhenka Street, Udaltsova made relief polychrome tiles depicting birds and rosettes as well as a large-scale panel with the Cross of Calvary. The most complicated projects of the latter years were ceramic iconostaseis for Znamenskaya church in the village of Kholmy near Moscow and for the cathedral of Conception Monastery. On the whole, A. L. Udaltsova’s creative work continues the unique tradition of making ceramic iconostaseis. It originated in the 17th century, continued in the 19th, and has recently been revitalised.

ceramics, architecture, tile, temple, iconostasis, decor, modern ceramics, glazes for ceramics, painting with glazes

1. Avtorskaia keramika: katalog (2016) [Authors’ ceramics: A catalogue]. St Peyersburg.
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4. Kramarenko L. (2005) Katalog vystavki A. L. Udal'tsovoi [Catalogue of A. L. Udaltsova’s exhibition]. Moscow.
5. Udal'tsov B. (2014) Anna Leonidovna Udal'tsova: keramicheskie ikonostasy, izraztsy, vitrazhi, plasty, pechi, arkhitekturnaia keramika [Anna Leonidovna Udal'tsova: Ceramic iconostaseis, glazed tiles, stained glass, plasty, stoves, architectural ceramics]. Velikii Novgorod.
6. Udal'tsova A. (2007) “Batalov Leonid Il'ich”, in Moskovskaia entsiklopediia [Moscow Encyclopaedia], vol. 1. Moscow. P. 141.
7. Udal'tsova A. (2012) “Kharlamova Anna Matveevna”, in Moskovskaia entsiklopediia [Moscow Encyclopaedia], vol. 1. P. 174.
8. Udal'tsova A. (1984) “Keramicheskii pol XVI veka pridela Blagoveshchenskogo sobora Moskovskogo Kremlia (rekonstruktsiia)” [Ceramic fl oor of the 16th century in Annunciation Cathedral of Moscow Kremlin (Reconstruction)]. Dekorativno-prikladnoe i monumental'noe iskusstvo: Mezhvuzovskii sbornik nauchnykh trudov [Applied and monumental art. Collection of articles]. Moscow. Pp. 60–65.
9. Udal'tsova A., [Kharlamova A. M.] (1985) “Trapeznaia Makar'evskogo monastyria v Kaliazine” [Canteen of Makarievskiy Monastery in Kaliazin]. Arkhitekturnoe nasledstvo, 34, pp. 230–237.
10. Udal'tsova A. (1985) “Nekotorye kompozitsionnye zakonomernosti russkikh stennykh izraztsov XVII v.” [Some compositional regularities of Russian wall glazed tiles of the 17th century]. Arkhitekturnoe nasledstvo, 34, pp. 266–268.

Baranova Svetlana

*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.