Жанр кондака в українських монодійних рукописах і стародруках ХІ–XVIII ст.: джерелознавчий аспект дослідження

Abstract

Відновлено корпус кондаків-монострофів за невменними, нотолінійними й ненотованими рукописами та стародруками Київської митрополії XI–XVIII ст.; подано статистику гласів і подобнів; зауважено міжжанрову дифузію в гімнах тропарної групи (тропар, сідален, кондак) та зміну богослужбової функції окремих піснеспівів (у зв’язку з переходом на межі XIV–XV ст. зі Студійського статуту на Єрусалимський); увиразнено новий тип кондака — проіміон акафіста паралітургійної ґенези; введено до історичної музикології ненотовані книги, які мають співацькі відомості: глас, модель, діакритичні знаки.

The relevance of this research is connected with the growing interest in Ukrainian church monophonic singing on the part of musicologists, culturalists, liturgists, theologians, philologists, historians and representatives of some related humanities. The object of this research is kontakion as one of the oldest Byzantine liturgical genres, which has a Semitic-Syrian origin. The subject of this article is written recording of the repertoire of monostrophic kontakia in Ukrainian manuscripts and old prints with and without different types of musical notation. The purpose of the investigation is to restore the written history of the genre of kontakion of the monophonic tradition according to the Kondakarions, Triodions, Anthologions and Heirmologions of the Kyiv Metropolis, to establish its periodization on the basis of manuscripts and old prints of the 11th — 18th centuries (with neume or staff notation and without different types of musical notation). The article uses an interdisciplinary (multidisciplinary) methodological approach, which is based on the method of systematic analysis of sources (with partial use of search-heuristic, classification, statistical and historiographical ones). Musicological (genre-style analysis, comparative studies), codicological, paleographic and liturgical methodology are also involved. The research reconstructs the corpus of kontakia based on sources with and without musical notation, presenting statistics on echoi and models. It highlights the phenomenon of intergenre diffusion in troparion hymns and changes in liturgical timing resulting from the transition from the Studite to the Jerusalem Typikon at the turn of the 14th — 15th centuries. A new type of kontakion is identified — the proimion of the akathistos hymn with paraliturgical roots. The musicological analysis extends to sources without musical notation, revealing liturgical and musical information through echoi, models, and diacritical symbols.