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Potemkina Nora

“Whilst travelling on foot across the depths of the sea as if upon dry land, Israel”: Sunday heirmoi of the 6th tone in manuscripts of the 17th — 18th centuries and the present-day singing practice


Potemkina Nora (2023) "“Whilst travelling on foot across the depths of the sea as if upon dry land, Israel”: Sunday heirmoi of the 6th tone in manuscripts of the 17th — 18th centuries and the present-day singing practice ", Vestnik Pravoslavnogo Sviato-Tikhonovskogo gumanitarnogo universiteta. Seriia V : Voprosi istorii i teorii hristianskogo iskusstva, 2023, vol. 51, pp. 124-141 (in Russian).

DOI of the paper: 10.15382/sturV202351.124-141

Abstract

Abstract: This article is dedicated to the history of the written form of the well-known church tune – the heirmoi of the Sunday canon of the 6th tone, from the manuscripts of XVII-XVIII centuries until present-day publications of the tune. While comparing different sources of this tune, differences in its variants were discovered, it was shown how the tune changed over time, as it was in different regions in the same time period – i.e., synchronic and diachronic methods of research were used in the study. For clarity, an analytical score of the heirmos of the first song of the canon was compiled, in which the similarities and differences of the tunes are visible, the tendency to reduce the melody of the tune over time. It is noteworthy that the chant has retained some similarity of variants in sources of different types: these are handwritten singing Obikhods, written in znamenny notation, and notolinear Irmologions that came from the Ukrainian and Belarusian lands; Synodal publications of Obikhod and the Octoechos of two editions: 1772 and 1890s, four-part singing editions of the early twentieth century and the present-day sources. In the reduced version of the melody of the znamenny chant, several melodic formulas have been preserved, which sound in a polyphonic presentation. The revealed similarity of the components of the chant in the sources of different times and localities allows us to speak about the continuity of the Orthodox liturgical singing tradition.

Keywords

Orthodox liturgical singing tradition, irmos of the Sunday canon of the 6th tone, znamenny chant, Kievan chant, comparison of variants, singing Obikhods and Irmologions, znamenny notation, five-line notation, polyphonic presentation of the traditional chant, preservation of melodic formulas.

References

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  2. Nikol’skij A. (2017) “Formy russkogo cerkovnogo peniya”, in Russkaya dukhovnaya muzyka v dokumentakh i materialakh, vol. 8. A. V. Nikol’skij i khorovoe dvizhenie v Rossii v nachale XX veka, Moscow, vol.1, pp. 413–514 (in Russian).
  3. Potemkina N. (2008) “Starinnyj napev v sovremennom zvuchanii. Voprosy terminologii i struktury”, in Tradicionnye muzykal’nye kul’tury na rubezhe stoletij : problemy, metody, perspektivy issledovaniya. Materialy mezhdunarodnoj nauchnoj konferencii. Moscow, pp. 446–455 (in Russian).
  4. Shabalin D. (2007) Drevnerusskaya muzykal’naya enciklopediya. Krasnodar (in Russian).

Information about the author

Potemkina Nora


Academic Degree: Candidate of Sciences* in Art Criticism;
Place of work: Russian Gnesins Academy of Music; Russian Federation, Moscow;
ORCID: 0009-0008-8874-6865;
Email: noramaria@mail.ru.

*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.

Acknowledgments

I express my gratitude to the head and staff of the Faculty of Church Singing of the Orthodox Saint-Tikhon University for organizing the church singing section of the Annual Theological Conference and the opportunity to speak at the meeting on January 27, 2023.