О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку
On тhe Chanting Space аnd Hymns That Were Sung In It. Searching for Chanting-Architectural Connections in the Middle Ages
Članak u časopisu (Objavljena verzija)
Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Новији научни радови у вези с развојем појачке традиције у православној цркви
иницирали су проучавање и дефинисање до сада неразјашњених међусобних
утицаја српске средњовековне богослужбене музике и сакралне архитектуре
моравског стила. Литургичке и музичке промене XIV и XV века до сада нису биле
доведене у везу с променама у градитељском обрасцу карактеристичном за тзв.
„моравску школу”. Ове промене се огледају у додавању певничких апсида у осовини
трансепта на већ усвојен облик уписаног крста из претходне епохе, с циљем да се
у њих сместе појци. У склопу вишеструких светогорских утицаја, евидентних у
многим сегментима српске духовности и културе на прелому два столећа и у првој
половини XV века, у раду су сагледане појачке прилике о којима сведоче малобројни,
али драгоцени примарни музички извори, посредни историјски показатељи, као и
поменуте новине у схемама новоизграђених цркава на српском тлу.
The search for the unexplained interactions of domestic medieval liturgical
music and sacred architecture of the Moravian style has not been the subject
of interdisciplinary study so far. А reflection on the potential relationg
between church chanting and architecture is absent from the largest part of
the existing literature on the development of medieval sacral art. Te scarcity
of writen historical sources, and especially musical ones, made it particularly
difcult to defne the connection between the chanting circumstances and the
changes in the architectural form of the late Byzantine period, which is almost
a standardized Moravian architectural form. The earliest preserved bilingual
– Greek-Slavic neumatic manuscripts, mentioning both the names of the frst
famous Serbian medieval composers, and the more or less well known late
Byzantine musicians who had actively participated in the earliest religious
services of the Serbian Church, confirm that the culmination of the ch...anting
art in Serbia occured precisely at the turn of the 15th century and then until the
fall of Serbia under Turkish rule. Comparing the available data, with a general
insight into the migration flows that led to the Byzantinization of Serbian culture
in that period, showed that afer the reconciliation of the Serbian Patriarchate
and the Patriarchate of Constantinople, in 1374, the world-class building
tradition was adopted, which until then was sporadically seen on the Serbian
soil. Te architectural form of the Moravian style would become recognizable
by the singing apses in the axis of the transept, in the middle of the already
adopted form of the inscribed cross from the early 14th century. Within the
framework of the overall church, political and cultural transformation that
was visible in Serbian society, the chanting practice of the Serbian Church, or
more precisely the greater affirmation of the liturgical art and the increase in
the number of the chanters, certainly had a share both in acceptance and in theconsistent implementation of the architectural solutions of the Moravian style.
Future research should focus on the holistic analysis of the Moravian cultural
heritage, in order to map the movement of the known and unknown Serbian
Greek melods and determine the scope of their activity. Te existing knowledge
of the architectural features of the Moravian sacred buildings will thus receive a
signifcant addition, from the liturgical and religious service in which each form
of church art is individually represented as part of a much more complex artistic
ensemble with which the Kingdom of Heaven on the Earth is iconized.
Ključne reči:
црквено појање / богослужбене промене / певнице / моравска архитектура / исихазам / Church singing / liturgical changes / chanting space / Moravian architecture / hesychasmIzvor:
Музикологија / Musicology, 2017, 23, 145-173Izdavač:
- Београд : Музиколошки институт Српске академије наука и уметности
Finansiranje / projekti:
- Identiteti srpske muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi (RS-MESTD-Basic Research (BR or ON)-177004)
URI
http://www.doiserbia.nb.rs/img/doi/1450-9814/2017/1450-98141723145P.pdfhttps://dais.sanu.ac.rs/123456789/3645
Kolekcije
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Пено, Весна AU - Обрадовић, Марија PY - 2017 UR - http://www.doiserbia.nb.rs/img/doi/1450-9814/2017/1450-98141723145P.pdf UR - https://dais.sanu.ac.rs/123456789/3645 AB - Новији научни радови у вези с развојем појачке традиције у православној цркви иницирали су проучавање и дефинисање до сада неразјашњених међусобних утицаја српске средњовековне богослужбене музике и сакралне архитектуре моравског стила. Литургичке и музичке промене XIV и XV века до сада нису биле доведене у везу с променама у градитељском обрасцу карактеристичном за тзв. „моравску школу”. Ове промене се огледају у додавању певничких апсида у осовини трансепта на већ усвојен облик уписаног крста из претходне епохе, с циљем да се у њих сместе појци. У склопу вишеструких светогорских утицаја, евидентних у многим сегментима српске духовности и културе на прелому два столећа и у првој половини XV века, у раду су сагледане појачке прилике о којима сведоче малобројни, али драгоцени примарни музички извори, посредни историјски показатељи, као и поменуте новине у схемама новоизграђених цркава на српском тлу. AB - The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. А reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. Te scarcity of writen historical sources, and especially musical ones, made it particularly difcult to defne the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual – Greek-Slavic neumatic manuscripts, mentioning both the names of the frst famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that afer the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. Te architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in theconsistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. Te existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a signifcant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија / Musicology T1 - О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку T1 - On тhe Chanting Space аnd Hymns That Were Sung In It. Searching for Chanting-Architectural Connections in the Middle Ages SP - 145 EP - 173 IS - 23 DO - 10.2298/MUZ1723145P UR - https://hdl.handle.net/21.15107/rcub_dais_3645 ER -
@article{ author = "Пено, Весна and Обрадовић, Марија", year = "2017", abstract = "Новији научни радови у вези с развојем појачке традиције у православној цркви иницирали су проучавање и дефинисање до сада неразјашњених међусобних утицаја српске средњовековне богослужбене музике и сакралне архитектуре моравског стила. Литургичке и музичке промене XIV и XV века до сада нису биле доведене у везу с променама у градитељском обрасцу карактеристичном за тзв. „моравску школу”. Ове промене се огледају у додавању певничких апсида у осовини трансепта на већ усвојен облик уписаног крста из претходне епохе, с циљем да се у њих сместе појци. У склопу вишеструких светогорских утицаја, евидентних у многим сегментима српске духовности и културе на прелому два столећа и у првој половини XV века, у раду су сагледане појачке прилике о којима сведоче малобројни, али драгоцени примарни музички извори, посредни историјски показатељи, као и поменуте новине у схемама новоизграђених цркава на српском тлу., The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. А reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. Te scarcity of writen historical sources, and especially musical ones, made it particularly difcult to defne the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual – Greek-Slavic neumatic manuscripts, mentioning both the names of the frst famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration flows that led to the Byzantinization of Serbian culture in that period, showed that afer the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. Te architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in theconsistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. Te existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a signifcant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија / Musicology", title = "О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку, On тhe Chanting Space аnd Hymns That Were Sung In It. Searching for Chanting-Architectural Connections in the Middle Ages", pages = "145-173", number = "23", doi = "10.2298/MUZ1723145P", url = "https://hdl.handle.net/21.15107/rcub_dais_3645" }
Пено, В.,& Обрадовић, М.. (2017). О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку. in Музикологија / Musicology Београд : Музиколошки институт Српске академије наука и уметности.(23), 145-173. https://doi.org/10.2298/MUZ1723145P https://hdl.handle.net/21.15107/rcub_dais_3645
Пено В, Обрадовић М. О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку. in Музикологија / Musicology. 2017;(23):145-173. doi:10.2298/MUZ1723145P https://hdl.handle.net/21.15107/rcub_dais_3645 .
Пено, Весна, Обрадовић, Марија, "О певничком простору и химнама које су у њему појане. У трагању за појачко-градитељским везама у средњем веку" in Музикологија / Musicology, no. 23 (2017):145-173, https://doi.org/10.2298/MUZ1723145P ., https://hdl.handle.net/21.15107/rcub_dais_3645 .