title: Musical-theoretical problems of studying Russian obichod polyphony
metadata.name: dc.contributor.author
metadata.value: Starostina, Tatiana A.
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2019-06-26T17:23:52Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2019-06-26T17:23:52Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2019-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Starostina, Tatiana. “Musical-theoretical problems of studying Russian obichod polyphony”. Vestnik of Saint Petersburg University. Arts 9, no. 1 (2019): 46–78.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: https://doi.org/10.21638/ spbu15.2019.103
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/15781
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: This article examines problems of the theoretical study of the pitch structure of the modern obichod polyphony of the Russian Orthodox Church: modal organization of various Ihos tunes, methods of harmonizing statutory melodies, peculiarities of tonality in liturgical chants, and characteristic harmonic formulas of obichod polyphony. The novelty of this article lies in the application of modern methods of musical-theoretical analysis to the Russian obichod polyphony and substantiation of the thesis about the Russian obichod singing as an individualized branch of the choral culture of the Christian world. The author uses methods of harmonic analysis developed by Yu. N. Kholopov at Moscow State Conservatory. The article also draws on an analytical methodology used by representatives of the structural-typological direction. In addition, the author takes into account the performing aspect of choral singing, which is typical of modern ethnomuscology. The article also uses the method of graphical display of the hierarchy of tones and consonances in obichod tunes. This paper performs a sequential analysis of the modal structure of the melodies of stichera and troparois of all 8 Ihos. The modal analysis of the monodia reveals the forms of modal factor influence on the final structure of the tonal polyphony. The tonality of polyphonic melodies has its own characteristics: a relatively weak tonic center and richness in rapid changes of tonal pillars. In addition, the obichod texture has a clear polyphonic origin. These properties bring together Russian church polyphony with the phenomena of Western European musical culture.
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: ru
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Vestnik of St Petersburg University. Arts;Volume 9; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: modal monody
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: obichod harmonization
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: polyphonic hymn
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: diagram
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: modal functionality
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: harmonic formula
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: linear harmony
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: Musical-theoretical problems of studying Russian obichod polyphony
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 4859-Текст статьи-9779-1-10-20190422.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/15781/1/4859-%d0%a2%d0%b5%d0%ba%d1%81%d1%82%20%d1%81%d1%82%d0%b0%d1%82%d1%8c%d0%b8-9779-1-10-20190422.pdf
resources.format: Adobe PDF
resources.size: 2,3 MB