Russian Church Singing, vol. II

Front Cover
St Vladimir's Seminary Press, 1980 - Music - 400 pages
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The history of church singing in Russia constitutes an essential aspect of that nation's culture and musical history. For the first 650 years, from the Christianization of Rus' in the year 988, liturgical chant was the only documentable art music in that vast territory that eventually became the modern nations of Russia, Ukraine and Belarus. Indeed, in Russia before the revolution of 1917, "liturgical musicology" was a bona fide scholarly discipline, taught in conservatories, universities, and theological seminaries. All activity in the field came to a halt, however, during the 75-year "Soviet era," when the study and practice of sacred music was severely repressed for ideological reasons, with a resulting lack of published research and secondary material. Consequently, Russian and Western music historians, church musicians, and liturgical scholars (as well as ordinary church-goers), whose interest in Orthodox Christianity and its art has been increasing of late, have been deprived of reference works that would impart even a general knowledge of the history and development of liturgical singing in the Russian Orthodox Church. The present Volume, Russian Church Singing: Volume 2 is the second installment of Professor Johann von Gardner's monumental work to appear in English translation. The 396-page volume, translated and edited by Dr. Vladimir Morosan, considers the development and practice of liturgical chant in the Russian lands from a variety of aspects: its origins and the various cultural influences upon its formation; extant manuscripts; the evolution of the notation and the problematics of deciphering it into modern-day notes; the forces involved in its performance; its stylistic evolution from exclusively monodic forms to improvised and, eventually, notated polyphony; its earliest known composers and performing ensembles; its aesthetics in relation to liturgy, the language, and the various problems that arose over the centuries, resulting in the adoption of Westernized stylistic models around the year 1650, which marks the approximate end of the time period covered in this volume. Much of this information is made accessible for the first time to the English reader, and will be of interest both to the specialist and to the general reader, generating a healthy demand for further research and exploration into this fascinating and hitherto unknown field. Book jacket.
 

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Contents

Introduction
3
VI
9
Summary
38
The Period of Kondakarian Singing
53
Major Centers of Liturgical Singing
71
Liturgical Practices in Monasteries
87
Pronunciation
102
Melodic Structure
116
The Tsars Singing Clerics
203
Put and Demestvo
230
The Period of Early Russian Polyphony
249
The Tsars Singing Clerics and the Patriarchal Singing Clerics
271
Demestvenny Notation
292
Put Notation
305
Liturgical Drama
324
A Period of Transition
339

Kondakarian Singing
129
The Period Dominated by Znamenny Chant
177
The Metropolitans
181

Common terms and phrases

References to this book

Bibliographic information