Concerning the Study of the Processes of Transmission of the Byzantine Tradition of Church Singing in the Art of Russia and Korea
Article Sidebar
Main Article Content
Abstract
The article presents a summary of the main conclusions of the author’s basic methodology of comparative research of Byzantine and Russian music and sheds light upon their new perspective, which helps examine approaches to study of dissemination of church singing in the Orthodox Christian tradition in Korea. The material for research of the Byzantine-Russian part is presented by numerous manuscript sources of church singing books and textbooks of church singing of Byzantium and Ancient Rus from the 11th to the 19th century (over 450 manuscripts). The process of adaptation was studied by the author diachronically in three aspects: the preservation of the homiletics of the texts, adaptational processes in the terminology of church singing texts, the metatext of the systems of the Byzantine Echos and the Russian Glas, which make it possible to reveal more lucidly the melodic artistry of the music. A comparative analysis of the hymn to Mary the Theotokos “Worldwide Glory” in the Byzantine, Russian and Korean Orthodox Christian tradition reflects the isomorphism of the texts, their homiletics, the musical structure and the melodic endings of the respective lines upon the transmission of the genetically original Byzantine tradition into other lands. The melodic peculiarity of the traditions is also present, but is in need of further research.
Keywords: the methodology of adaptational research, homiletics of texts, terminology of guidebooks of church singing.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Alekseeva G. V. Drevnerusskoye pevcheskoe iskusstvo (muzykal’naya organizatsiya znamennogo rospeva) [The Early Russian Art of Church Singing (The Musical Organisation of the Znameny Chant)]. Vladivostok: Far- Eastern State University Press, 1983, 172 p.
3. Alekseeva G. V. Kompleksnoe vospriyatie mekhanizmov adaptatsii vizantiyskogo iskusstva v Drevney Rusi: sovremennye metodologicheskie podkhody [The Complex Perception of the Mechanisms of Adaptation of Byzantine Art in Ancient Rus: Contemporary Methodological Approaches]. Vestnik Akademii russkogo baleta im. A. Ya. Vaganovoy [Bulletin of the Academy of Russian Ballet named after A. Vaganova. 2014. No. 4 (33), pp. 81–94.
4. Alekseeva G. V. Problemy adaptatsii vizantiyskogo peniya na Rusi: monografiya [The Problems of Adaptation of Byzantine Singing in Russia: a Monograph]. Vladivostok: Dalnauka RAN, 1996. 380 p.
5. Alekseeva G. V. Semantika «imen popevok» i ikh muzykal’noe napolnenie v kontekste sravnitel’nykh vizantiysko-russkikh issledovaniy [The Semantics of the “Names of the Popevkas” and Their Musical Content in the Context of Comparative Byzantine-Russian Research]. Problemy muzykal’noj nauki/Music Scholarship. 2011. No. 1 (8), pp. 16–20.
6. Alekseeva G. V. Stroka [The Musical Line]. Muzykal’no-entsiklopedicheskiy slovar’ [Musical Encyclopedic Dictionary]. Moscow, 1990, p. 525.
7. Bakhmutova I. V., Gusev V. D., Titkova T. N., Shindin B. A. Elektronnye azbuki dlya notolineynoy rekonstruktsii znamennogo raspeva [Electronic Alphabets for Reconstruction of the Znamenny Chant in Staff Notation]. Problemy muzykal’noj nauki/Music Scholarship. 2017. No. 2, pp. 14–21. DOI: 10.17674/1997-0854.2017.2.014-021.
8. Kim G. N. Rasskazy o religiyakh Korei. 2014 [Stories about the Religions of Korea]. URL: https://koryo-saram.ru/kim-g-n-rasskazy-o-religiyah-korei/ (01.02.2018).
9. Lidov A. M. Ierotopiya. Prostranstvennye ikony i obrazy-paradigmy v vizantiyskoy kul’ture [Hierotopy. Spatial Icons and Image-Paradigms in Byzantine Culture]. Moscow: Design. Information. Cartography, 2009. URL: http://hierotopy.ru/ru/?page_id=244 (01.02.2018).
10. Alekseeva G. Der Anspassungsschlussel der byzantinischen Gesangtradition in der russischen Tradition durch Isomorphismus der Gestaltungsmittel [The Adaptation Key of the Byzantine Singing Tradition in the Russian Tradition through Isomorphism of the Means of Design]. Theorie und geschichte der monodie. Bericht der International Tagung Wien 2012 [Theory and History of the Monody. Report of the International Conference Vienna 2012]. Part 1. Brno, 2014, pp.13–25.
11. Alekseeva G. Mechanisms of the Byzantine Culture Adaptation in Russia: Singing, Miniature, Church Service. Proceedings of the 22nd International Congress of Byzantine studies. Sofia, 22–27 August 2011. Volume 3. Abstracts. Sofia, 2011, рp. 271–272.
12. Psarianos Dionisios L. Ecclesiastical Hymns in Byzantine and European Notation. Athena, 2004. 230 p.
13. The Hagiopolites. 1983 – The Hagiopolites. A Byzantine Treatise on Musical Theory. Preliminary. Edition by J. Raasted; Cahiers de l’Institut du Moyen Age, Grec et Latin, 45. Copenhagen, 1983. 114 p.
14. Σταθη. Γρ. Θ. Τα χειρογραϕα Βυζαντινης Μουσικης. Αγιον Ορος. Καταλογος περιγραφικος των χειρο γραφων κωδικων Βυζαντινης μουσικης των αποκειμενων εν ταις βιβλιοθηκας των ιερων μονων και σκητων τογ Αγιον Ορος. Τ. ΙV, Αθηναι. 2015. 994 P.