An Overview of Russia's Late Mediaeval Musical Culture, and the "New Repertoires": Demestvenny, Put and Strochnóe Singing and Notations

Authors

• Nikita Simmons

Keywords:

Znamenny Chant, Stolp notation, Demestvenny Chant, Put Chant, Kazan notation, Moscow Master Singing School, Early Russian Polyphony

Abstract

Considering that so very little information about Russia’s late Mediaeval musical culture is available in English translation, it is the author’s intention to present a brief overview of the middle to late periods of Znamenny Chant and the “New Repertoires”. In the absence of such materials in English, foreign music students are at a great disadvantage in understanding several of the musical developments and achievements of the period from c. 1550 to c. 1670, particularly in the historical context of the Church, the State and general folk culture. This paper begins by presenting some particular features of new developments within the mainstream art of early Russian church singing, known as Známenny Chant (“neumatic singing”, i.e. singing by means of symbols). The paper then focuses on the late mediaeval Russian singing masters, as well as the “New Repertoires” and their notations, including Deméstvenny Chant and notation, as well as Put Chant, Strochnóe Singing and Kazan Notation. The paper concludes with a brief mention of the dramatic decline and loss of these traditions. For those who would like to read about this area of study in greater detail, the author is currently working on a lengthy monograph for future publication, of which this presentation is a brief synopsis.