Abstract
Irmos as the leading genre of church monody in the Kyiv metropolis preserved centuries-old musical and poetic longevity from the time of the adoption of Christianity to the middle of the 19th century. This genre also seem to testify to the invariability of the melodic content during their perception and adaptation by the Balkan Slavs, and later in Russia. Irmos did not change their musical style during the reform of notation in the second half of the 16th century from neumatic (kuluzmiana) to linear-mensural (Kiev). Today, the Kyiv square note allows us to clearly and unambiguously read the melodic text of the church monody, including the irmos, and to expand the research discourse on this centuries-old song and music tradition. Some observations already emphasize the strong and perfect organization of musical forms and principles of formation, based on the actual musical principles. And this opens a direct path to learning the musical style of the chant church monody, in particular Irmos.
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