Византијска псалмодија у Време Владара Немање – монаха Симеона и химне у част његовом светитељском лику

Abstract

У раду су представљене главне тенденције у развоју литургичких образаца и црквенопојачке уметности у периоду с краја XI и почетка XII века. Указано је на промене које су се јавиле на плану неумске нотације, стилских преференци византијских мелода, осамостаљивању мелодијски развијеног – калофоничног музичког жанра, увећаној продукцији ауторског стваралаштва у задатом поетичком оквиру, као и на разлоге који су омогућили масовнију писарску продукцију у домену појачке књиге. Неумски записи на текстове из Службе светом Симеону приказани су на основу хиландарских неумских рукописа, јединих сачуваних примарних музичких извора. Поменути су писари-мелоди и установљене су мелодијске карактеристике напева.

Appreciable changes considering liturgical patterns that had already spread far and wide at the end of the XI and the first half of the XII century, overlapped with the new tendencies related to liturgical chanting. A different approach to church music was enabled by the modernization of the neum script. Along with the steady manuscript tradition still fundamentally based on koalen-notation, a considerably more analytical Middle Byzantine or round neum semiography was initiated. The last koalen example – Sinai Triodyon no. 754 and the first complete sample of the Middle Byzantine neum notation – Sinai Sticheron no. 1218, date back from 1177. The new notation form did not solely represent the key to decoding musical vocabulary, as had previously been the case. It established clear theoretical principles, defined melodic parameters, and, first and foremost, it set the norm for the interval structure of melodies. The neum system, more exhaustive in details, made a considerably greater creative potential of composers, and the profiling of a new poetics of the art of chanting, possible. An entire class of professional musicians emerged more conspicuously, among which the monks of Mount Athos became especially prominent. In the period in question, chanting customs only began to establish according to the Byzantine model in the young monastic fraternity of the Serbian monastery. The best role models chosen by the Hilandar ktetors, Simeon and Sava, for the sake of monastic life organization of their compatriots were followed regarding liturgical music, as well. Nevertheless, musical literacy did not spread far and wide among Serbs. The hymns out of the Teodosije’s liturgy to Saint Simeon were not set to neums before the second half of the XVIII and the beginning of the XIX century. The selection of a sticheron was notified in the Hilandar manuscripts 312 and 668, in relation to which deacon Savo K. and hierodeacon Teodosije were mentioned. In the XIX century a significantly greater number of sticherons in reformed – analytical neum script dedicated to the Hilandar founder were recorded by Spiridon, a Hilandar scribe and chanter of Bulgarian origin. His comprehensive autographs: 558, 559 and 560 reflect the Slavonic adaptation of a calophonic musical piece in a famous Greek melody from the XVII century, by German, the bishop of Nova Patra. Regarding the hymns in honour of Saint Simeon, that could not, expectedly, be found in the original German’s sticheron, Spiridon is more of a creator, than an adapter of German’s melody. His contribution to the musical pieces for the Hilandar ktetor is thus even greater and more deserving.