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Title of the article: Monastic culture in the history of ancient Russian art of the chant (the Monastery of St. Sergius of Radonezh)
Author(s): POZHIDAEVA G. A.
Section: Art theory and history
Year: 2015
Issue: № 4, (38)
Pages: 157-173
Index UDK: 78.03
Index BBK: 85.318
Abstract: The purpose of the article is to show the historic role of monastic chant culture in the era of the Russian middle ages. The features of monastic chant culture are disclosed on the example of the Trinity monastery — the largest monastery of Moscow Russia, founded in XIV c. by St. Sergius of Radonezh. The chant life of the monastery reflected the main trends in the development of Russian culture and it found a peculiar refraction. A Putevoy chant together with a Znamenny chant (early and late edition) is included in the monastery chant practice no later than the end of the XV c. In the second half of XVI c. its monastic tradition is set – a Putevoy Troitsky chant – which became a notable phenomenon of Russian culture of this period and it included the important hymns of Church service in the repertoire. The author substantiates the hypothesis that the leading role in establishing the Putevoy Troitsky chant belonged to Jonah Zuy, raspevŝik and a deacon of the monastery, who served at 40–50-ies of XVI c. The Putevoy Troitsky chant matched the style of monumental art, typical of the Russian art of the second half of the XVI century. As a more advanced, modern form of Putevoy singing, Putevoy Troitsky chant in contrast to the archaism of the Russian North (Novgorod and Pskov) was adopted as the basis for the early polyphony of strochnoe singing of all Russian tradition. A strochnoe singing and its notation (Putevoy and Kazan notation) was known in the Trinity monastery, but in everyday life the monastery kept the traditional forms of Monody. The Scriptorium of the monastery became one of the centers of education and dissemination of musical literacy and music writing. The abode set the prevailing norms of liturgical chant of prayer, which does not lose their value to our days.
Keywords: chant culture of Moscow Russia, monastic traditions, Putevoy chant, early polyphony, raspevŝiki, author attribution
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