Musicologist, PhD in Arts, Honored Work\u00ader of Art of RF, the founder of and Profes\u00adsor at the Chair of Old Russian Song Art of the N. Rimsky-Korsakov State Conser\u00advatory in Saint Petersburg, author of the study plan. She has received her PhD in 1979. Kruchinina is the author of a mono\u00adgraph, three textbooks on the prosody of hymnography and the Old Russian chant, about sixty articles, which were published in Austria, Ukraine, Finland, Ar\u00admenia, Poland and Hungary, eight pub\u00adlished volumes, as well as an author-de\u00adcipherer of Old Russian chants. She has presented numerous papers at interna\u00adtional conferences and congresses.<\/p>\n
MUSICAL HIEROTOPY IN THE MEDIEVAL CULTURE: ZNAMENNY CHANT AND SACRED SPACES<\/strong><\/p>\n This presentation is dedicated to the phenomenon of musical hierotopy, <\/em>which is considered an important element in the medieval liturgical tradition. The term \u201chierotopy\u201d was introduced into scholarly circulation by A. Lidov who sug\u00adgested that a special practice existed in medieval art related to sacred spaces. Properly speaking, hierotopy <\/em>was a me\u00addieval art of creating spatial images, the symbolism of which was strengthened by a liturgical context. These spatial images involved different components such as the interior space of the temple, icons, liturgical clothes, lighting effects, ritual actions, music, etc. Musicologist, PhD in Arts, Honored Work\u00ader of Art of RF, the founder of and Profes\u00adsor at the Chair of Old Russian Song Art of the N. Rimsky-Korsakov State Conser\u00advatory in Saint Petersburg, author of the study plan. She has received her PhD in 1979. Kruchinina is the author of a mono\u00adgraph, three textbooks on the<\/p>\n","protected":false},"author":5,"featured_media":6677,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-6625","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-participants-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6625","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/comments?post=6625"}],"version-history":[{"count":2,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6625\/revisions"}],"predecessor-version":[{"id":6736,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/posts\/6625\/revisions\/6736"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media\/6677"}],"wp:attachment":[{"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/media?parent=6625"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/categories?post=6625"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/komitasmuseum.am\/en\/wp-json\/wp\/v2\/tags?post=6625"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nThe analysis of recent research shows that the problem of the hierotopical sig\u00adnificance of Old Russian church singing has not yet been presented in contem\u00adporary medieval studies. Our study is based on Russian notated manuscripts of the XVI-XVII centuries and intends to answer the following questions: What role did the artistic devices of ancient Russian monody have in creating the spatial images? What are the various lev\u00adels of interaction between the musical and verbal structures of the znamenny <\/em>chants? How can different nuances of musical intonation, rhythm, contrasts, and melodic resemblance participate in the formation of sacred spaces?
\nIn this context it is interesting to consider some Old Russian chants in a certain as\u00adpect. One of the most significant parts of the interior space of temples is the tomb of a Saint. The richly decorated shrine of a venerated person, whether a hierarch (f. e. St. Peter of Moscow) or a monk, the founder of the monastery (as St. Kyrill Be\u00adlojezerskyj or Sergyj of Radonezh) or even a holy fool (like St. Basil the Blessed), be\u00adcame a source of miracles, which were glorified in numerous texts in hymnog\u00adraphy. The authors of this presentation demonstrate how znamenny <\/em>chant, record\u00aded in authentic medieval codices, was used by Russian ancient composers as an instrument of hermeneutics and at the same as an important device of Hierotopy.<\/p>\n","protected":false},"excerpt":{"rendered":"