| Title of the article: |
Melodic similarity in Stihir of Serbian and Kievan chants |
| Author(s): |
EVDOKIMOVA А. А. |
| Section: |
Art theory and history |
| Year: |
2016 |
| Issue: |
№ 1 (39) |
| Pages: |
162-170 |
| Index UDK: |
783.2 |
| Index BBK: |
85.318 |
| Abstract: |
Historians have studied the centuries-old cultural contacts of Serbia and Russia. They proved that during the Turkish domination (XVI–XIX centuries) many Church books were sent from Kiev and cities of Russia to Serbia. However, the relationship of the Serbian Church singing with the Russian and Ukrainian singing has been poorly researched. There is an unexplained phenomenon: having the same verbal text, there are no melodic similarities of Serbian chant with the chant of Kievan and Znamenny chant, but the public clearly perceives the relationship of these melodic chants. If we compare the hymns based on various verbal texts, we can detect a lot of common melodic turns that are similar to that of Russian Znamenny chant. They clearly sound in the unique Znamenny, Serbian, Kievan, Bulgarian chants. They create a sense of relationship between these Church-singing tradition, different at first glance. General melodic formulas — popevka of the Russian Znamenny chant, like reliable bridges, binds together the Orthodox musical world. They are an important testimony preserving the unity of the Orthodox culture of the Slavic peoples, in spite of the borders lying between them. |
| Keywords: |
Church singing, popevka, Znamenny chant, Kievan chant, Serbian chant, Stevan Mokranjac |
| Bibliography: |
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