Sources, including chronicle vaults, contain interesting data on the history of ancient Russian music. Even at the earliest stage of development, instrumental music making was not only sharply distinguished from liturgical singing, but even opposed to it. In the "Life of Theodosius of the Caves" there is such a story: "Once I came to the prince... And when Theodosius entered the chambers where the prince was sitting, he saw a multitude of musicians playing before him: some strumming the harp, others rattling the organs, and others whistling the orchestras, and so they all played and made merry, as is the custom among princes." Theodosius, who opposed this kind of fun, made a suggestion to the prince, and he " ordered to stop the music. And since then, if he invited musicians to his house and found out about the arrival of the blessed one, he ordered them to stop playing. " 1
The events described in the "Life" took place during the struggle of Christianity with pagan cults. The persecution of folk music by the church is what later gave rise to the persecution of buffoons. After all, their playing on musical instruments in ancient authors was often associated with all sorts of" devilry " and evil forces. The liturgical chanting was, as it were, a means against them, as indicated by the source just mentioned, where the singing of psalms by Theodosius is depicted as an effective means against demons, who, among other things, "beat tambourines... and blew snuffles" 2 . This was a time when pagan and Christian rites, warring, coexisted. It is interesting that in St. Sophia in Kiev, one of the frescoes in the society of saints depicts musicians playing various instruments.

What did professional liturgical music singing look like then? In the literature, it was assigned the name "znamennoye" (banners - signs that served to record sounds). These banners did not indicate the exact pitch of the sounds. Therefore, the manuscripts with the znamenny chants recorded up to the XVI century cannot be accurately deciphered. Liturgical singing was also called stolpov. The fact is that in the Byzantine calendar borrowed by the Russians, eight weeks formed the so-called pillar. The musical material of the church service was divided into eight voices .3 There was a certain voice for each week. After eight weeks, it was all over again. Therefore, singing was called stolpov.

It is generally believed that, in addition to the znamenny, in Russia there was also demestvenny singing. The latter was adopted at solemn services, when performing the rites of the "donkey march" and "cave action", as well as when making music at home and was more free from the mandatory voice system and more closely connected with everyday life. Monuments of such singing have been preserved, however, only since the XVI century. However, the historical news that has come down to us suggests that in the most ancient era this type of singing was almost the only one. Demestik, or demestvennik, was then called the regent of the church choir. This was, for example, Stephen, a disciple of Theodosius of the Caves, as is evident from the latter's "Life" and the Novgorod Chronicle .4 The following news is also interesting: "6453. Nacha-

1 "Izbornik", Moscow, 1969, p. 135.

2 Ibid., p. 109. Cf. with the attitude to folk music in Russia in the XVI-XVII centuries:"...For this reason, they deny all divine writings and sacred rules, and all games, and grain, and chess, and tavlei, and harp, and smyk, and snuffles, and all humming, and mockery, and disgrace, and dancing... "("Stoglav", 1551);"...For the holidays... instead of the joy of spiritual cultivation, they create the joys of devils, and they perceive non-festive feasts, which are what the devil wants to create and go rampaging through the streets among the people according to the will of their hearts... instead of spiritual celebration and gaiety, we perceive games and blasphemous devils, commanding the bear and the buffoon in the streets and at the marketplaces and at the crossroads of Satanic games to create, and beat tambourines, and roar surny, and splash with your hands, and dance, and other inappropriate actions" ("Memory of Ivan Radivonovich tyvun, Manoilov and Popovsky the elder St. Nicholas Priest Pankratius", 1636, Cit. by: T. Livanova. Essays and materials on the history of Russian Musical Culture, Moscow, 1938, pp. 286-287).

3 There is still no generally accepted definition of voice in science. Some believe that it was determined depending on which sounds in a particular chant were dominant and final. Others judge belonging to a particular voice by the predominance in the chant of melodic turns characteristic of this voice (see S. Skrebkov. Russian choral music of the 17th-early 18th centuries, Moscow, 1969, pp. 18-38).

4 "Izbornik", p. 140; "Novgorodskaya pervaya letopis srshego i mladshego izvodov". Moscow-L. 1950, p. 201.

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lo of Olgin's reign... there is a yard of Dvmestikov " 5 . Since the XIV century, there are references to demestvenny singing in everyday life. Here is the chronicler's account of the demise of Prince Dmitry Yuryevich Krasny: "Prince is one word first glagolashe then begin Petya demich" 6 .

Strict systematization of musical material in liturgical singing did not interfere with the presence of a noticeable genre diversity. Analysis of decipherable samples of chants shows the validity of the conclusions of Academician D. S. Likhachev, who noted that " genres differ in what they are intended for." "Many types of church hymns differed not in form and content, but in what church service and in what part of this service they were performed. Other types - by the way they were performed (ternary vowels... antiphones). Some types of church hymns were named after how one was supposed to behave when performing them. These are the sedals (when they were sung, they began to sit down), katavasia (the last verse, for which the singers gathered in the middle of the church to sing) " 7 .

The musical material then directly depended on the text. The structure of the melody was determined by words. In the znamenny chant, the leading principle was the size of the text, the number of its lines. If a word dropped out or appeared, then a pop song was added to the melody, respectively. Such operations with the chant were always one-sided, because the verbal text was never changed to preserve the structure of the melody. "Popevki was a" neutral " material in its versatility. They could be used in any order and in any sequence. " 8
Canonization of the use of chants occurred in Kievan Rus. In the annalistic news of that time, the expression "singing ordinary songs over it"is often found9 . Here is the news from the Ipatiev chronicle: "Prince Volodimir, put your priests in charge, ride in front of the regiment, Petya troparia and kondaks... and the eve (canon - according to the Khlebnikov and Ermolaevsky lists. - A.M.) of the Holy Mother of God " 10 . The canonized order of use of hymns was also the basis of handwritten song collections. The Rogozhsky Chronicler mentions singing from books: "Poyashe himself from books"11 . Singing books are listed in the annals as great valuables 12 .

A number of information about music has come down to us from the XVI century. In particular, chants written by Ivan the Terrible have been preserved. According to the data contained in the sources, it is possible to judge his musical talent. As you know, literary cliches of that time were always the result of something rather significant, which is why they appeared. Such a stamp was, in particular, the expression: the tsar went to the Trinity-Sergius Monastery for "prayer singing to obey" 13 . The fact that this expression is not accidental is confirmed by a certain "variation" in the mention of Ivan IV's interest in the musical side of the service: "And the tsar and grand Duke listened to that prayer chant, until which time the baptism was performed"14 . This behavior is all the more interesting because it was observed at the baptism of his newly married wife, Mary. Or another passage from the source: "When the sovereign was alone with his spiritual father, Andrew the protopop, he began to arm himself, to lay his hands on himself, and heard many bells ringing, and said to his neighbors:" I hear the bells of the Monastery of Simon ringing " 15. If we take into account that each monastery had its own bells, then we should recognize the presence of a good musical memory in Ivan IV. By the way, the XVI century was a time when many new local chants spread. There were chants of Kiev, Vladimir, Yaroslavl (by the names of cities), lukoshkov, Christians (by the names of singers, their authors).

The XVI century is generally rich in the names of outstanding singers. Sources have preserved information about Vasily Shaidur, Ivan Nos, Fyodor Christian and others. Let us mention here another name that belongs to a number of very significant ones in the history of Russian singing art: Protopop, and later Metropolitan Andrey. Mentions of

5 PSRL. Vol. 15, p. 58.

6 PSRL. T. 26, p. 195.

7 D. S. Likhachev. Poetics of Old Russian Literature, L. 1967, pp. 49-50.

8 p. Skrebkov. Op. ed., pp. 56-57.

9 PSRL. Vol. 1, pp. 198, 201, 202, 203, etc.

10 PSRL. Vol. 2, stb. 2.

11 PSRL. Vol. 15, p. 39.

12 PSRL. Vol. 30, p. 183.

13 PSRL. Vol. 13, p. 151.

14 Ibid., p. 333.

15 Ibid., p. 215.

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However, the chronicles describe him as a musically literate person 16 . Was Andrey the author (or one of the authors)? the so-called" Kazan " banner, composed on the occasion of the capture of Kazan in 1552? In the Nikon and Alexander Nevsky chronicles it is said :" And the emperor and that hour called his father elegant in virtue Ondrej Protopop Blagoveshchensk and ordered him to come from his royal camp... Ondrej is the same... with psalmody and with the whole council, come to the sovereign... And the pious tsar and Grand Duke led in his regiment under his banner molebenya petya, for victory... " 17 .

In general, it was the XVI century that was to some extent a turning point for the history of Old Russian music, and not only in the performing singing art. It was from that time that we can speak of the birth of "theoretical musicology" in Russia, the first results of which were numerous singing ABCs .18 And the XVII century is a period of a kind of flourishing of Russian musicology. It is enough to mention here the names of such authors as Nikolai Diletsky, Alexander Mezenets, Tikhon Makaryevsky. They deserve special consideration, especially since the next epoch in the history of Russian music - the era of part-part singing-is already associated with purely professional musical and theoretical monuments of Russian culture.

16 See, for example, PSRL. T. 15, p. 66.

17 PSRL. Vol. 13, p. 219; vol. 29, p. 203-204.

18 For more information, see: M. Brazhnikov. Old Russian music textbooks. "Soviet Music", 1970, N 11, pp. 87-92.

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