MELODIC FORMULA AS A UNIVERSAL MODEL OF LITURGICAL AND FOLKLORE MELODY (BASED ON THE CORRESPONDENCE OF MYROSLAV ANTONOVYCH AND PAVLO MATSENKO)

Abstract

The article examines the correspondence of Myroslav Antonovych and Pavlo Matsenko from the perspective of medieval sacred monody, particularly its structure, the basic unit of which was a melodic formula – a fixed melodic-intonational phrase (chant, melodic phrase). The formulaic material served as the basis for the construction of chants of various genres, varied, was transposed, but remained recognizable, ensuring the stylistic integrity of the liturgical repertoire. Formulaic thinking is characteristic of the Greek-Byzantine, Latin, and Slavic-Russian liturgical traditions, as confirmed by liturgical collections with neumatic and linear notation.The somewhat different views of P. Matsenko and M. Antonovich on the genesis of Ukrainian liturgical singing stand out. In particular, P. Matsenko insisted on the process of “Ukrainization” of the ritual repertoire in the first centuries after the baptism of Rus, on its profound transformation on local soil. M. Antonovich, on the other hand, leans toward the theory of the Byzantine origin of Ukrainian church music, drawing certain analogies with painting and architecture, which were strongly influenced by Byzantium.Particular attention is paid to the functionality of melodic formulas from the perspective of the connections between the internal melodic structure and the osmo-gloss system. This direction was also of interest to P. Matsenko, who considered the question of form and voice affiliation to be the key to solving the problem of voices in Byzantine music. The forms and degrees of similarity of intonation within different rites and connections with folklore are also considered. The possibility of the influence of sacred melodies on folk song creativity is suggested. In this context, the use of the wide possibilities of computer technology is proposed, which will allow a large amount of research material to be covered.In conclusion, the prospects for determining the degree of closeness of melodic-intonational connections in the sung liturgical space of Christian rites of different denominations, as well as the genetic connection between sacred monody and Ukrainian folklore, are outlined.