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Author: Galina A. Pozhidaeva
Information about the author:

Galina A. Pozhidaeva, DSc in Arts, Professor, Higher Theatre School (Institute) named after M.S. SHchepkin at the State Academic Maly Theatre of Russia, Neglinnaya St. 6/2, build. 1–2, 109012 Moscow, Russia.

ORCID ID: https://orcid.org/0000-0003-0572-4887

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For citation:

Pozhidaeva, G.A. “Spiritual and Musical Culture of Russia in Its Relations with the Typology of National Musical Art.” Germenevtika drevnerusskoi literatury [Hermeneutics of Old Russian Literature]. Issue 21. Ed.-in-chief O.A. Tufanova. Moscow, IWL RAS Publ., 2022, pp. 527–546. (In Russian) https://doi.org/10.22455/HORL.1607-6192-2022-21-527-546

DOI: https://doi.org/10.22455/HORL.1607-6192-2022-21-527-546
UDC: 821.161.1.0
Keywords: typology of Russian professional music, subvocal polyphony of folklore and sacred music of the late Middle Ages, timbre features of the choir a capella.
Date of publication: 16.12.2022


The article reveals the importance of sacred music of the late Russian Middle Ages (15th–17th centuries) for the formation of the most important typological qualities of Domestic professional music. The advanced development of subvocal polyphony in professional music in comparison with folklore is shown. On the material of the choral classics of the 20th century — All-Night Vigil by S.V. Rachmaninov and the concert Pushkin Wreath by G.V. Sviridov — it is shown that the basic of the Russian musical classics of the 20th century, along with folklore, was created by the spiritual music of Orthodox worship, its choral culture. She identified many typologically important features of Russian professional music — this is the vocal nature of thematism, subvocal polyphony, the use of sound of choir a capella and its timbre capabilities instead of orchestra. In the music of the 20th century, professional traditions of the Russian Middle Ages are continued in the development of intonation fund of chants, subvocal polyphony, and performing culture of choral singing. The latter is manifested in an expanded slow pace, clear diction, chain breathing, multilayered choral texture, dating back to the Baroque era, but even more complex, dynamic features of liturgical singing of patriarchal choir, dating back to the end of the 16th century. The preservation of performing features has a great importance: internal concentration and prayerful fullness of choral singing, which turn the modern listener to the monastic tradition with its self-deepening in prayer. This already expresses the mental depths of Russian consciousness that have developed thanks to the Orthodox spiritual culture.


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