Abstract
This article examines the notolinear handwritten collections that existed in the church singing practice of Russia from the second half of the XVII century to the revolution. A brief historical digression is given that characterizes the external features of manuscripts in the XVII, XVIII, XIX centuries, describes the change in notation in singing books. The classification of handwritten singing collections is proposed. The characteristics of the most important singing centers of Moscow, St. Petersburg and the province are given. The question is raised about the importance of ownership records, allowing to trace the ownership of the manuscript to a particular temple, the owner, to determine the time of creation of the manuscript. We are talking about the repertoire preserved in the singing collections of different historical periods.
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