MUSICAL STRUCTURE OF KONDAK: FROM SIGN TO MUSIC PRINCIPLE
Keywords:
neume, notation, kondak, musical structure, repetitionAbstract
The article focuses on the musical and structural organization of the chant of St. Symeon's Kondak. Comparative Semiological Analysis of Byzantine, Slavic and Kiev notations reveals the features of chant's melody. Attraction to the analysis of different systems of notation - neumatic Byzantine-Slavic and Kievan fiveline is a new task today. It allows to expand the consciousness of musical thinking in the church monody, which has evolved over many centuries, using the achievements of high poetic style and keeping them in the melodic design. The interpretation of early music through understanding semiografic features musical writing creates conditions for a better understanding of the musical work in theory. This facilitates a clearer distinction between musical structures form in different notation systems. Early in the development neumatic notation there is a system of signs that regardless of textual punctuation reflect certain elements of musical form of Chants. Historical music selection means, organization structures in the piece of music is the result of the transfer of information, features which determine the existence of music features and practices reflect the needs of a particular historical stage. Kondakar’s notation, which does not currently stands, opens other possibilities for analysis. Its signs convey not only the melodic line, but melodic structure kondak. Kondakar`s notation written in two lines. A large number of characters in each composition indicates melizmatic style of melody. Thus the point in notation have two functions – syntactic and music. To complete the distinctive sign used "Omega", or martyriya the letter Г , ІV. For the singer than the typical dial rhythmic formual and height are determined by the length of the verbal text as a single line, and in the chants as a whole, it was important and structuring the musical text. The sacred monody, the important formative factor is actually a musical component, which helps to "stretch" or "shrink" and organize a verbal poem, forming metrically organized structure chants. The article takes into account the semiography observation of K. Floros and T. Vladishevskaia. They used the sources for the XI centuries – the Typografic and Uspenskyy.. They found the sign под as an element of marking musical structure. The principle of repetition the first two lines of chant's verse have importance in structural organization melody. The text of kondak has different number of lines (styshok): an example at Byzantine notation – 8 styshok, in Slavonic – 6, in Kyievan – 4, but repetition in the first two lines as a structural principle are retained. Thus, understanding the structuring of musical texts preClassical music directs us towards research of ancient paleography features of notation systems "from sign with the principle" - from identifying mark to understanding in maintaining a musical shaping.
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