Samolivkovyy singing: regional phenomenon or common church practice?
DOI:
https://doi.org/10.31318/2522-4190.2018.121.133144Keywords:
samolivka, whole-people's singing church singing, tradition, evaluation criteria, liturgical musical cultureAbstract
The relevance of the study is determined by the powerful development of liturgical musicology. In this area, along with the study of monodic sources and the activities of vivid representatives of the liturgical culture, the value of the previously marginalized areas have increased recently. Understanding of the hidden or previously underestimated processes allows you to rethink the views about such a complex and heterogeneous period, as the nineteenth century, with next sixteen years – before the onset of severe stress of established systems in the confessional different areas of Ukraine. Therefore, attention is drawn to the so-called samolivke, the study of which was the purpose of the research. To achieve it, considering the specifics of this phenomenon in comparison with the academic standards of church choir singing, historical-genetic and compractational methods were used, as well as methods of intonational and vocal-choral analysis, synthesis in generalizing of the data obtained and the allocation on this basis of its characteristic features.
This concept, traditionally applied exclusively to the phenomenon of Western Ukrainian liturgical practice and absent in the apparatus of liturgical musicology of other countries, was applied to the general practice of church singing regardless of denominations and displayed outside the regional use. The detected signs made it possible to detect the stable elements of a certain system, specify its origin and specificity of functioning. Its spread is conditioned by general principles of unprofessional church singing, and its melodic-intonational filling and timbral correspond to regional features of the church-singing tradition. So, the samolivka – this is the kind of a nationwide choral
singing with the active factor improvised polyphony, specific to a particular location distribution of functions of voices and relation klirosnogo and obschehorovogo performance. Established the complexity of its system, based on an oral tradition and longterm cultural memory, which combines an array of heterogeneous elements.
The results obtained give grounds for revision of ideas about processes of the development of the liturgical musical culture, in particular – reflection or even influence this phenomenon to composer creativity.
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