Early Russian Chant and Contemporary Compositions: A Typology of Conjugacy
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Abstract
The transmission of Orthodox Christian sacral monody in the Russian sociocultural domain, stipulated by the gradual liberation from the initial close connections with its sacral activities and the accruement of its significance as an artistic phenomenon, has stipulated its realization by contemporary composers in various functional, stylistic and genre conditions. All the diversity of forms of conjugacy of the Early Russian chant with the authorial text, research of which may be carried out in the sociocultural, genre-related and stylistic, musical-lexical and semiotic perspectives, may be built into a certain system of typologies which presents the topic of study in the present article. Each of the proposed typological schemes is determined by criteria represented by the author’s setting of objectives, the latter's creative method, the function carried out by the chant in the text of the new musical object, and the mechanisms of its adaptation. As a whole, they form a multilevel classification organized in a crisscross principle. Its development realized not only the goal of systematization and generalization of the extensional musical material accrued during the course of the second half of the 20th century and the early 21st century, but also the analytic comprehension of essential phenomena and processes occurring as the result of “germination” of the artifact of medieval sacred musical culture in contemporary compositional practice.
Keywords: Orthodox Christian musical culture, Early Russian chant, sacral monody, sacred music.
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