On church singing in the Fedoseevtsy collection Paternal Testaments. Article I

IF 0.1 0 HUMANITIES, MULTIDISCIPLINARY
A. A. Mikheeva
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引用次数: 0

Abstract

For the first time, the article examines the chapter “On Church Singing” from Paternal Testaments, the collection of Fedoseevtsy Old Believers, which was compiled in their ideological center, Moscow Preobrazhenskoe Cemetery, to approve the rules that determined the life of Fedoseevtsy communities in the 19th century. As for church singing, the choir of the Moscow Fedoseevtsy Preobrazhenskaya community was considered exemplary among the Bespopovtsy [Priestless Old Believers] at the beginning of the 19th century. The chapter “On Church Singing” was included in the collection as a result of the appeal of regional communities to Moscow mentors for clarifications regarding liturgical practice, which makes it possible to find out what issues in this area disturbed the Old Believers. The essay was included in the final version of Paternal Testaments as one of the additional 15 chapters selected for inclusion in the book between 1805 and 1809. The chapter’s author is unknown, as well as the exact date of its creation: its writing can be confidently attributed to the second half of the 18th century. In the collection, “On Church Singing” follows at number 49 and is divided into 15 articles. Justifying the canonicity (or non-canonicity) of a particular tradition, about which, apparently, the question was asked, the author of the essay refers to a decent list of sources (ancient, Old Believer and New Believer) quoting some of them. This article examines all of these references. According to the text of the document, the teachers of the Preobrazhenskaya community approved the Old Znamenny Chant, including Stolpovoy, Demestvenny and Three Line chants, as canonical. As it appears, the Three Line singing appeared in this list only as a quote from the Stepennaya Kniga [Book of Generations], it was hardly practiced in reality. Such a widespread kind of hook singing as the Putevoy chant is not mentioned in the essay. This is possibly due to the fact that it did not raise questions, in contrast to, as it appears, the less common Demestvenny chant, to which the author of the chapter “On Church Singing” pays special attention. The texts of the chants were admitted strictly in the razdelnorechnaya edition (half of the chapter is dedicated to this question since there are a number of polemical writings and resolutions of Old Believer councils about it). As it appears, regional communities were troubled by some Greek elements in liturgical chant. The author of the chapter proves the canonicity of these elements’ use - anenaiki (special additional syllables), prayers in Greek and Svyatogorski (Athos) edition of the Theotokos hymn “It is Truly Meet”. This is the range of questions that the regional communities addressed to the Preobrazhenskoye Cemetery, and what was enshrined as a canon.
在Fedoseevtsy收集父亲的遗嘱教堂歌唱。篇文章中,我
这篇文章首次检视了费多谢耶夫齐老信徒文集《父亲的遗嘱》中的“关于教堂歌唱”一章,该文集是在费多谢耶夫齐老信徒的思想中心莫斯科普列奥布拉任斯科公墓(Preobrazhenskoe Cemetery)编纂的,目的是批准19世纪决定费多谢耶夫齐社区生活的规则。至于教堂唱诗班,莫斯科Fedoseevtsy Preobrazhenskaya社区的唱诗班在19世纪初被认为是Bespopovtsy(无祭司的老信徒)中的典范。“关于教堂歌唱”这一章是由于区域社区向莫斯科导师呼吁澄清礼仪实践的结果,这使得有可能找出这方面的哪些问题使老信徒感到不安。这篇文章在1805年至1809年期间被收录在《父亲的遗嘱》的最终版本中,作为该书额外选择的15章之一。这一章的作者是未知的,以及它的确切创作日期:它的写作可以自信地归因于18世纪下半叶。《论教堂歌唱》排在第49位,共分15篇。证明某一特定传统的正典性(或非正典性),显然,这个问题被问到,这篇文章的作者引用了一份体面的来源清单(古代,旧信徒和新信徒),引用了其中的一些。本文将研究所有这些参考文献。根据该文件的文本,Preobrazhenskaya社区的教师批准了Old Znamenny圣歌,包括Stolpovoy, Demestvenny和Three Line圣歌,作为正典。正如它所显示的那样,三行歌唱出现在这个列表中只是作为Stepennaya Kniga[世代之书]的引用,它几乎没有在现实中实践过。像Putevoy吟诵这样一种普遍存在的勾唱在文章中没有提到。这可能是因为它没有提出问题,与不太常见的Demestvenny圣歌形成鲜明对比,这是“论教会歌唱”一章的作者特别关注的。圣歌的文本在razdelnorechnaya版本中得到了严格的承认(这一章有一半是专门讨论这个问题的,因为有许多关于这个问题的争论性著作和老信徒委员会的决议)。看起来,区域社区被一些希腊元素在礼拜圣歌中所困扰。这一章的作者证明了这些元素的使用- anenaiki(特殊的额外音节),希腊语祈祷和斯维亚托戈尔斯基(Athos)版的Theotokos赞美诗“It is Truly Meet”的正典。这是地区社区向普列奥布拉任斯科耶公墓提出的一系列问题,以及被奉为经典的东西。
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Tekst Kniga Knigoizdanie-Text Book Publishing
Tekst Kniga Knigoizdanie-Text Book Publishing HUMANITIES, MULTIDISCIPLINARY-
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