UDC 091:783:37.09
https://doi.org/10.20339/AM.03-20.079
T.V. Nadolinskaya is Dr.Sci. (Pedagogy), prof. at Taganrog Institute n.a. Chekhov — branch of Rostov State Economical University (RINKh) e-mail: tatu60@mail.ru
Examined are origins of emergence of art of professional singing, covering the period from the 15th up to the end of the 18th centuries. Comparative analysis of ancient Russian singing alphabets and manuscripts are presented, influence of Greek musical culture on formation of the system of standard singing is shown. Characteristic of the content and structure of the song alphabet is given, their varieties are analyzed (hook and not linear). Specifics of traveling and demine alphabet, instructions for the use of hook and non-linear singing manuscripts are disclosed in detail. Types of manuscript singing literature, features of the content and form of manuscripts are considered. Special attention to such types of alphabets as fitters and coconuts, that reflect the system of teaching standard singing in ancient Russian, is being paid. Methodical analysis of the “collections” was carried out, including several song books, in which theory and practice of ancient Russian singing art are concentrated. Substantive characteristic to banners is given, their names, origin and development of methodology in teaching singing is traced. Analysis of fitters with guidelines for teaching singing, exercises for setting voice are particularly interesting. Significance of the 17th century kokizniks was revealed through the use of example of the analysis of the “Key of the Znamenny” Christopher, whose methodological methods were innovative for that period. The work reflects a tendency to the struggle of znamenny and non-linear linear notation, as well as an attempt to combine them in double-name, that help to decipher some of the znamenny chants.
Key words: Ancient Russia, alphabet of singing, manuscript of singing, coke cake, znamenny singing, fitnik.
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