Musical-theoretical problems of studying Russian obichod polyphony

Abstract

This article examines problems of the theoretical study of the pitch structure of the modern obichod polyphony of the Russian Orthodox Church: modal organization of various Ihos tunes, methods of harmonizing statutory melodies, peculiarities of tonality in liturgical chants, and characteristic harmonic formulas of obichod polyphony. The novelty of this article lies in the application of modern methods of musical-theoretical analysis to the Russian obichod polyphony and substantiation of the thesis about the Russian obichod singing as an individualized branch of the choral culture of the Christian world. The author uses methods of harmonic analysis developed by Yu. N. Kholopov at Moscow State Conservatory. The article also draws on an analytical methodology used by representatives of the structural-typological direction. In addition, the author takes into account the performing aspect of choral singing, which is typical of modern ethnomuscology. The article also uses the method of graphical display of the hierarchy of tones and consonances in obichod tunes. This paper performs a sequential analysis of the modal structure of the melodies of stichera and troparois of all 8 Ihos. The modal analysis of the monodia reveals the forms of modal factor influence on the final structure of the tonal polyphony. The tonality of polyphonic melodies has its own characteristics: a relatively weak tonic center and richness in rapid changes of tonal pillars. In addition, the obichod texture has a clear polyphonic origin. These properties bring together Russian church polyphony with the phenomena of Western European musical culture.