BYZANTINE MUSIC SEMIOGRAPHIC SYSTEMS IN THE HYMNS OF TRANSFIGURATION FEAST IN MUSICAL NOTES COLLECTIONS OF THE X–XIX CENTURY
Keywords:
Byzantine music, Transfiguration, Stichera, íchos, notationAbstract
The musical component which is deeply engraved in Orthodox worship caused the formation of a large number of musical notes collections which regulate the course of worship and its drama. This aspect requires a special approach to the formation of Service feast. The main criterion of source selection for analysis is musical material of specific period of Byzantine music semiographic system which includes two groups: ekphonetic and melodic neume notation (Paleo-Byzantine, Middle Byzantine notation and Neo-Byzantine). Consideration of the fest readings from Prophetologium of the tenth century indicates the presence of specific rules for melodic recitation and uniform distribution of musical material (unlike the recitative reading of the Psalms), the usage of intermediate and final cadences and similar intonations with a specific text in the beginning. For comparative analysis of feast Service two Greek manuscripts from the Paleo-Byzantine notation and one slave of this period: alb Vindobonesis theologicus graecus 136 (Coislin V), irmologion Λαύρας Β 32 (Chartres I), Hirmologium sabbaiticum 83 (Coislin II or Coislin III) were taken. The detailed comparison of these manuscripts from the collections of XIII–XVIII century and the analysis of its content shows that there is not only common Stichera idiomela of Transfiguration Feast. In particular, in the manuscript Vindobonesis theol.gr. 136 there is Sticheron which is not found in other collections, Saints and has no analogue in Slavic texts – Σήμερον εν τω όρει τω θαβώρ (Today at Mount Tabor) íchos 2. This is not an isolated hymn which goes beyond the standard liturgical version and gradually disappears as a result of repertoire reduction. Attention is needed also to another fragment of the fest cycle – Stichera to Ps. 50 íchos pl. 1. Comparison of manuscripts and printed heritage of Ukrainian and Slavic-Greek-Byzantine space shows in most cases conservatism of Hymnography forms and clear modes organization
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