Фиты в дореформенных и пореформенных списках нотированного Октоиха XVII в.

Abstract

The article is devoted to a significant element of znamenny chant - fitnoy singing. It examines both the lettering and chanting of fitts in the notated Octoechos, in particular, how the general patterns of fitt singing are manifested in the Octoechos. This work shows that the use of fit in the chants of the Octoechos does not depend directly on the genre of the chant, although certain regularities can be traced. In addition, the number of fits is distributed unevenly among the voices, just as in other books and in theoretical manuals - fitniki. At the same time, some fitas are repeated more than once within a vowel section. Comparison of lists close in time and type allows us to identify "author's" variants of the arrangement of fittas or chants of fittas, although in general variants of chants for fittas in the margins or in the banner line of Octoechos chants are rarely recorded. Special attention is paid to the degree of preservation of the chants in connection with the process of correction of liturgical books in the middle of the 17th century, which also affected notated manuscripts. In this connection the lists of the pre-reform, post-reform and transitional editions of the Octoechos are compared diachronically. The comparison shows that most of the fictional formulae were preserved in the process of correcting the notated Octoechos, and, as a rule, their location in the poetic text did not change either. These conclusions testify to the preservation of the tradition, which does not exclude the creative approach of the masters in some cases.