PRINCIPLES OF “NAPEVKA” FORMATION IN THE OLD BELIVERS’, LITURGICAL PRACTICE
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271.2+784
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Information about authors: Fattakhova Leyla Rinatovna, PhD in Art History, Associate Professor of Instrumental Performance and Musicology Department, Dostoevsky Omsk State University (Omsk, Russian Federation). E-mail: fattler@omsu.ru
Annotation: Many liturgical traditions of the Siberian Old Believers are at the very initial stage of study. Meanwhile, this study gives us an opportunity to reveal the current state of the Old Believers culture, to determine the principles of culture variants formations depending on the foundations of exact Old Believers Hierarchy. This study is based on the analysis of Old Believers service, put down by the author in different communities of Belokrinitsa Hierarchy (offi cial name is Russian Orthodox Old Believers Church) in Kemerovo region. The main principles of Belokrinitsa Hierarchy (Novokuznetsk city) “napevka” formation are discussed in the paper. At the same time, the practice of “napevka” singing became commonly used among the Old Believers. Therefore, performance of liturgical chants in the way of “napevka” is a signifi cant component of the modern Old Believers liturgical practice. The repertoire of “napevka” singing includes various everyday prayers, but the leading genre is the irmos of the canons. Based on the analysis of individual hymns and their “hook” samples, it is found that the “napevka” melody is somewhat at variance with the book source, but these changes are of a systematic nature: they are aimed at a signifi cant reduction of all long chants and rhythm simplifi cation. Many hooks in “napevka” are performed inaccurately, nevertheless its melody repeats the melody of the handwritten version with some abbreviations (which somewhat simplifi es stylistics). Changes contribute to a more clear pronunciation of the text at a moving tempo, that is more typical for recitative forms of liturgical singing. All the chants were written by the author during the expedition work in the Kemerovo region and are given in the author’s transcript. The decryption of the “hook” samples also belongs to the author.
Keywords: Russian Orthodox Old Believers Church, liturgical chants of Old Believers, melodic model, liturgical canon, napevkа.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Fattakhova Leyla Rinatovna, PhD in Art History, Associate Professor of Instrumental Performance and Musicology Department, Dostoevsky Omsk State University (Omsk, Russian Federation). E-mail: fattler@omsu.ru
Annotation: Many liturgical traditions of the Siberian Old Believers are at the very initial stage of study. Meanwhile, this study gives us an opportunity to reveal the current state of the Old Believers culture, to determine the principles of culture variants formations depending on the foundations of exact Old Believers Hierarchy. This study is based on the analysis of Old Believers service, put down by the author in different communities of Belokrinitsa Hierarchy (offi cial name is Russian Orthodox Old Believers Church) in Kemerovo region. The main principles of Belokrinitsa Hierarchy (Novokuznetsk city) “napevka” formation are discussed in the paper. At the same time, the practice of “napevka” singing became commonly used among the Old Believers. Therefore, performance of liturgical chants in the way of “napevka” is a signifi cant component of the modern Old Believers liturgical practice. The repertoire of “napevka” singing includes various everyday prayers, but the leading genre is the irmos of the canons. Based on the analysis of individual hymns and their “hook” samples, it is found that the “napevka” melody is somewhat at variance with the book source, but these changes are of a systematic nature: they are aimed at a signifi cant reduction of all long chants and rhythm simplifi cation. Many hooks in “napevka” are performed inaccurately, nevertheless its melody repeats the melody of the handwritten version with some abbreviations (which somewhat simplifi es stylistics). Changes contribute to a more clear pronunciation of the text at a moving tempo, that is more typical for recitative forms of liturgical singing. All the chants were written by the author during the expedition work in the Kemerovo region and are given in the author’s transcript. The decryption of the “hook” samples also belongs to the author.
Keywords: Russian Orthodox Old Believers Church, liturgical chants of Old Believers, melodic model, liturgical canon, napevkа.
