Особливості формотворчих елементів степенних антифонів утрені

Abstract

У статті досліджено особливості формотворчих елементів циклу степенних антифонів утрені з Любачівського Ірмологіону другої половини XVII ст. В процесі аналізу охарактеризовано структурні особливості піснеспівів, зокрема мелодичні формули, метроритмічні та ладові комбінації. Виявлено виразну спорідненість музичних елементів з вербальним текстом степенних антифонів, зокрема з літургійною функцією жанру.

В статье исследовано особенности формообразующих элементов цикла степенных антифонов утрени с Любачевского Ирмологиона второй половины XVII в. В процессе анализа охарактеризовано структурные особенности песнопений, в частности мелодические формулы, метроритмические и ладовые комбинации. Выявлено выразительное родство музыкальных элементов с вербальным текстом степенных антифонов, в частности с литургической функцией жанра.

The article studies the features of the formative elements of the gradual antiphons in the matins, and the features of their musical structure. The liturgical function of chants, as well as their connection with psalms on which they were created is studied. At the core of this genre there is the theme of repentance, as well as glorifying the Holy Spirit. The researchers suggest that the first two troparia of the antiphon and the troparion to the Holy Spirit are not an original unity. The unity of the first two troparia with the troparion to the Holy Spirit had to be before the gradual ones began to be used in the context of Sunday matins. This theologians’ assumption reinforces our melodic analysis of the gradual antiphons, where melodies is a united factor between the initial troparia and the troparion to the Holy Spirit. The genre of the gradual antiphons caused the great interest among the researchers. In particular, the Ukrainian researcher of the church music Miroslav Antonovich compared the genre of the antiphons from the Ukrainian Heirmologion with the Byzantine ones. He concluded that the chants are congenial. Most of the Ukrainian antiphons are more developed, built on the basis of the Byzantine church melodic tunes. So, with them we feel the impact of the Greek original that indicates the close interaction of the melodic and poetic levels. A characteristic sign of the melodic structure of each antiphon is the highly expressed the intonation structure. That is, the melodies consist of the unity of short tunes, that is, the intonation formulas, which flexibly follow the text and reflect the content of its words. The melodic formulas are presented in various rhythmic combinations, forming the basis of musical development. The most common rytmomelodic formula is the four-sound tune of eulogy in the range of thirds, created in the form of equal rhythmic values that hold the architectonics of the chants. The Heirmologion chant is formed by both verbal and melody series, which are always supported by the metrics that aligns in time irregular syllabic verbal fragments of the text. Thus, the formative art means allow conveying the theological meaning of the gradual antiphons in the best way.