Cтруктурна організація піснеспівів церковної монодії на основі порівняльного аналізу візантійської, слов’яноруської та київської нотацій

Качмар, Марія Ігорівна

Cтруктурна організація піснеспівів церковної монодії на основі порівняльного аналізу візантійської, слов’яноруської та київської нотацій

Качмар, Марія Ігорівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2373

Date: 2016

Abstract:

У дисертації розглядаються основні принципи музичного розвитку піснеспівів, які розкрито через структурний аналіз мелодичної складової піснеспівів. Виявлено повторність на різних масштабно-тематичних рівнях. У роботі вперше обґрунтовано використання методу семіологічного аналізу для вивчення музичної форми піснеспівів сакральної монодії східного обряду. Аналізуючи основні жанри — ірмос і стихиру, за матеріалами українських нотолінійних ірмологіонів знайдено характерні повторні фраґменти та зроблено порівняння з їх відповідниками в невменній системі. Відзначено наявність спільних ознак та збереження тотожних контурів музичної форми в різних нотаційних системах за виявленою збіжністю послідовностей знаків ідентичного призначення від візантійського зразка через слов’янську музику до українських ірмологіонів ранньомодерної доби. Слов’янський невменний матеріал тісніше споріднений з лінійними записами, особливо у порівнянні повторності знаково-звукових комплексів. Візантійські невменні записи часто виявляють інші комбінації графічних форм, що свідчить про певну творчу еволюцію слов’янської церковної монодії.

Description:

This thesis deals with the principles of musical development in the church monody chants of the Byzantine rite. It is focused on the comparative study of the different musical systems and namely the Byzantine and Old Slavonic neumatic and Kyivan five-line square notation. Musical notation manuscripts dating back from the 12th through 17th centuries were used as source material for the study. Such approach allows an examination of the logical organization of the same composition notated in neumatic and linear systems. The continuity of the Byzantine chant tradition is observed through a combination of melodic phrases that create distinctive musical and verse forms. Specific markers of the structural features of the chants are discussed in the following chronological sequence: from early and middle Byzantine period through Slavonic neumas to the Kyivan notation. Beside manuscripts and facsimile editions, scholarly treatises and conceptual studies on notation systems are taken into consideration. As a result of analytical investigation of the three mentioned above notation types, the graphic forms for designation of musical structure are brought to light and their theoretical reasoning is proposed. It was founded out that the structure of chants was marked by certain signs at the beginning, in the middle and at the end of the phrase. At the early stage of neumatic notation, the signs that recorded the phrase ending were used and later the signs for intervals, mode and and rhythm came into service. The object of special interest is the phtorai sign and its relation to the musical composition (after Manuel Chrysaphes’ treatise). The musical structure of the stichera Dnes’ Chrystos (Σήμερον ὁ Χριστός ἐν Βηθλεὲμ) recorded with the Kievan notation (16th century) is analysed for the first time. As a result, the mutation (phtorai) was revealed; the places of its composition are compared as they appear in the three notation types. In the Greek text, the martyrias of the second and second plagal eichos are used for modulation. Instead, in the Slavonic texts mutation was not tagged graphically. The up-to-date research methods of the chant melodic organization intend, in tеrms of multilevel analysis, discovering the musical thinking patterns in thе relation with genre and stylistic peculiarities, structural hierarchy, and musical and poetic structure. Ukrainian Heirmologia in the linear notation from the 16th century appear to be unique source material since enables direct reading of rhythm and pitch. The list of the analysed chants include: kathisma, eichos 6; prosomoion Nebesnym čynom; stichera Slava vo vyšnich Bohu; dogmatic, eichos 2; heirmos of the 3rd and 5th song of the Easter Canon, eichos 1; heirmos of the 1st song of the Canon for thе Entrance into Jerusalem, eichos 4; Resurrectional heirmoi; and antiphon of the anabathmoi, eichos 1. The most characteristic sources for the discovering the structural organisation are the heirmoi of resurrectional canons. This research approach includes the analysis of the structural, melodic, intonation, and rhythmic components. Each chant consists of verses combined into melodic line (kolon). Melodic lines сombіne into sections by motive-thеmatic frequency. Frequency is observed at micro- and macrolevels as the main principle of melodic development in the chants. Melodic frequency on the rhythmical level reveals the following structural types: periodicity, fragmentation and summation at the level of one or several melodic lines. Frequency on the melodic and intonation levels enables to identify a rhetoric mеthod of anadiplosis (duality between melodic lines) and musical rhymes in the chant cadences. This verifies the idea of musical and poetic structure of the chants. In this research, the genres of heіrmоs (Oktoechos, echos 1) and stіchera (echos 6) are comprehensively analysed using the retrospective approach. At the first, the music material in three notation types was written into different scores. Then compositional and structural organisation as well as evolution principles of the musical material in Kyivan square notation was studied. This allowed to reveal frequentativе fragments on different levels: intonation formulas, melodic lines and cadences. Aftеrwards the graphical forms of the selected fragments in linear and neumatic (Byzantine and Slavonic) notation tуpes were compared. Some common features and preservation of the musical 18 form outline in different notation types was observed. It was found that Slavonic neumatic material is related to Kyivan linear system morе closely than to Byzantine onе. Byzantine neumatic notation reveals different combinations of graphical forms that indiсate the Slavonic church monody evolution. However, the structural division into kolons, musical ornaments and cadences remain unchanged. Therefore, this research allows to conclude on рreservation of musical structure features of the chants during the centuries. This testifies to general principles of musical structure on the historical way from formula thinking to motive-thematic thinking of the Early Modern time. Apрlying thе methodology of musical semiology in the research of the chants of Byzantine tradition allows a new interpretation of a single piece in the performing practice аnd suggests further ways for study of various genres and forms of church monody in different notation systems.

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