Relevant bibliographies by topics / Hymns, Russian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Hymns, Russian'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Hymns, Russian"

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Andreev, Aleksandr, and Hieromonk Dalmat (Yudin). "Kata Stichon Hymnography in the East Slavic Tradition." Religions 13, no. 1 (2021): 40. http://dx.doi.org/10.3390/rel13010040.

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The kata stichon hymns are a peculiar genre of hymnography occurring as part of nocturnal prayer in early sources for the Byzantine Liturgy of the Hours. The use of these hymns in traditions on the Byzantine periphery remains in need of study. In this paper, the authors identify kata stichon hymns translated into Church Slavonic found in early East Slavic Horologia as well as in later Slavonic collections of private prayer used in Russia up to the 17th century. The authors also identify hymns with no known Greek analogs, as well as hymns reflecting the kata stichon genre composed in Church Sla
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Frangulian, Lilia R. "«ANGELIC HYMN» AS AN EXAMPLE OF COPTIC HYMNOGRAPHY." Journal of the Institute of Oriental Studies RAS, no. 3 (21) (2022): 43–53. http://dx.doi.org/10.31696/2618-7302-2022-3-043-053.

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The article is devoted to the philological analysis of poetic passage from the apocrypha «The Investiture of Archangel Michael», which wasto be read on the feast day in honour of the Archistratigus. Coptic hymnography, although derived from Greek, has become distinctive; several collections of ancient hymns are known. The peculiarity of the so-called «angelic hymn» is the fact that it is not included in any collection, but is included in a literary text. The article provides the first Russian translation of this hymn. It differs in style from the entire narrative of «The Investiture». It is su
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Salkowski, David. "The “Economy of Incarnation” and the Cherubic Hymn in Nineteenth-Century Russia." Journal of Musicology 41, no. 1 (2024): 115–48. http://dx.doi.org/10.1525/jm.2024.41.1.115.

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The Russian Orthodox liturgy constantly hovers on the boundary of representation and supposed real presence of the divine. This tension is dramatically illustrated by the Cherubic Hymn, which purports to “mystically represent” angelic song and accompanies the transfer of the bread and wine that will be transformed into the body and blood of Christ in the Eucharist. The Cherubic Hymn was the most commonly set liturgical text in modern Russia, attracting many of Russia’s leading composers, including Dmitry Bortniansky, Mikhail Glinka, Pyotr Tchaikovsky, Milii Balakirev (who arranged the text to
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Кончаревич, К. "Book review: Oktoikh. Selected Hymns in Russian and Church Slavonic." Quarterly Journal of St Philaret s Institute, no. 48 (November 30, 2023): 228–37. http://dx.doi.org/10.25803/26587599_2023_48_228.

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В филологии ареала Pax Slavia Orthodoxa на всем протяжении ее истории отчетливо прослеживаются две линии развития традиции — созидание нового и защита (упрочение) созданного. В филологии ареала Pax Slavia Orthodoxa на всем протяжении ее истории отчетливо прослеживаются две линии развития традиции — созидание нового и защита (упрочение) созданного. Начало традиции
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Shevtsova, Olga. "Archival materials of V. F. Odoevsky at the Russian national museum of music." St. Tikhons' University Review. Series V. Christian Art 52 (December 29, 2023): 33–43. http://dx.doi.org/10.15382/sturv202352.33-43.

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This article is dedicated to the materials of the archives of Prince V. F. Odoevsky, a remarkable Russian musician-researcher, author of the first publications on the theory of znamenny chant. Talking about the manuscripts of V. F. Odoevsky, the author dwells in more detail on those that are in the Russian National Museum of Music and makes a general overview of the fund and its history. The collection of V.F. Odoyevsky's RNMM includes the Prince's musical compositions, materials for the study of folk songs and church hymns, theoretical works on harmony, acoustics, Odoyevsky's letters, noteboo
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Nikiforova, Alexandra Ju. "A Fragment <i>National Library of Russia Greek 87:</i> A New Find of the New Tropologion." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 83, no. 1 (2024): 73–89. http://dx.doi.org/10.31857/s1605788024010078.

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The article identifies a hymnographic 8th–9th centuries fragment National Library of Russia Greek 87, brought in 1859 from the Christian Orient by Constantine Tischendorf and sold by him to the Imperial Public Library, as a witness of the new Hierosolymitan tropologion. The folio contains seven hymns for the Cheesefare Week of Great Lent. It is the second as of today, after Sin. Gr. NF MG 56+5, such a collection in Greek, i.e. of Quadragesima, has been identified. The texts are published for the first time with a Russian translation and accompanied by a commentary.
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Dashieva, Lidiya D., and Surjana B. Miyagasheva. "The cult of the tengries in archival materials of the Center of oriental manuscripts and xylographs of the IMBT SB RAS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 184–94. http://dx.doi.org/10.17223/22220836/45/17.

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An important role in preserving the ethnic and cultural identity of the Buryat ethnos is acquired by traditional culture and a unique historical and cultural heritage, in which a special place is occupied by works of a shamanic cult. In this regard, the study of the phenomenon of the cult of the tengries, shamanic hymns and invocations, as well as shamanic rituals of the Buryats, often lost or modified, their reconstruction becomes obvious urgency and timeliness. The article is devoted to the study of the shamanic cult of the tengries in the archival materials of the Center of Oriental manuscr
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Mosiagina, Natal'ia. "Chants in honour of the Great Martyr Prince Lazar of Serbia in the old Russian notated manuscripts." Muzikologija, no. 28 (2020): 47–60. http://dx.doi.org/10.2298/muz2028047v.

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The manuscript containing the service of St. Lazar Hrebeljanovic was presented to the Russian Tsar in 1550 by the abbot of the Hilandar monastery Paisius. We currently know only two manuscripts containing hymns to the Saint Lazar: RNB, Kir.-Bel. 586/843 (eighth decade of the 16th century) and RBB, f. 379 ? 66 (mid- 17th century). The older source is more complete. It includes stichera of Small and Great Vespers (on Lord I have cried and aposticha), stichera at the Litya, stichera at the end of Psalm 50, aposticha of Matins, as well as exapostilarion and theotokion. In addition, there are indic
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Vasylyshyn, Ihor. "About the poem "We have identified the true light": reflections on the article by Oleksiy Dmitrievsky." Good Parson: scientific bulletin of Ivano-Frankivsk Academy of John Chrysostom. Theology. Philosophy. History, no. 17 (May 30, 2022): 87–94. http://dx.doi.org/10.52761/2522-1558.2022.17.8.

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The article analyzes the origin of singing the stikhiron «We have seen the true light», which is sung almost daily at the Divine Liturgy, referring to the reflections of the famous Russian scholar in the field of liturgy Alexei Dmitrievsky (XIX-XX centuries), who raised the issue about that problem more than a hundred years ago. Why are other hymns used instead of this hymn on certain days, what is the significance of this stikhiron for the worshipers - participants in the Christian temple service, how best to get out of the problem of the need to replace that stikhiron with another prayer on
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Н.Б., Захарьина. "Расшифровка и транснотация древнерусских песнопений в XIX — начале ХХ века". OPERA MUSICOLOGICA 16 / 3, № 2024 (2024): 66–83. http://dx.doi.org/10.26156/operamus.2024.16.3.004.

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Расшифровка древнерусских церковных песнопений, записанных невменной нотацией, началась в XIX в. Основной корпус знаменного распева был издан св. Синодом в нотации, называемой киевской. Синодальные певческие книги использовались в церковной службе, примеры из изданий включались в учебники, формируя представления об истории русской музыки. Однако невменные рукописи содержали и некоторые песнопения других стилей. Стихиры путного роспева, приписываемые Ивану Грозному, записанные в рукописи руки Логина Шишелова с необычной нотацией, были обнаружены архимандритом Леонидом и расшифрованы И. А. Форто
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Dissertations / Theses on the topic "Hymns, Russian"

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Ulff-Møller, Nina Konstantinova. "Transcription of the Stichera idiomela for the month of April from Russian manuscripts from the 12th century /." München : O. Sagner, 1989. http://catalogue.bnf.fr/ark:/12148/cb37598717n.

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Books on the topic "Hymns, Russian"

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Kosti︠u︡kov, O. Pesnʹ vozrozhdenii︠a︡ 2800: Sbornik dukhovnykh gimnov i pesen evangelʹskikh t︠s︡erkveĭ. Izdatelʹ Kosti︠u︡kov, 2005.

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I, Sokolov E., ред. Pesnʹ vozrozhdenii͡a︡: Sbornik dukhovnykh gimnov i pesen evangelʹskikh t͡s︡erkveĭ. 3-тє вид. Izd-vo Evangelʹskoe slovo, 1996.

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Semeni︠u︡k, A. A. Pesnopenii︠a︡ russkoĭ pravoslavnoĭ t︠s︡erkvi: Katalog. "Pashkov dom", 2003.

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Baksa, Tímea. Mélységek könyve: Orosz vallásos népénekek. MTA Néprajzi Kutatóintézete, 2007.

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Filaret. Istoricheskiĭ obzor pesnopevt͡s︡ev i pesnopenii͡a︡ grecheskoĭ t͡s︡erkvi. Svi͡a︡to-Troit͡s︡kai͡a︡ Sergieva lavra, 1995.

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Dayvdov, I. P. Pravoslavnyĭ akafist russkim svi︠a︡tym: (religiovedcheskiĭ analiz). Amurskiĭ gos. universitet, 2004.

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Murʹi︠a︡nov, M. F. Gimnografii︠a︡ Kievskoĭ Rusi. "Nauka", 2003.

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Ulff-Møller, Nina Konstantinova. Transcription of the stichera idiomela for the month of April from Russian manuscripts from the 12th century. Sagner, 1989.

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9

Rabinovich, E. G. Mifotvorchestvo klassicheskoĭ drevnosti: Hymni Homerici, mifologicheskie ocherki. Izd-vo Ivana Limbakha, 2007.

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Rabinovich, E. G. Mifotvorchestvo klassicheskoĭ drevnosti: Hymni Homerici, mifologicheskie ocherki. Izd-vo Ivana Limbakha, 2007.

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Book chapters on the topic "Hymns, Russian"

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Ferro, Maria Chiara. "Una prassi liturgica controversa nella Russia del Cinquecento: il «Breve discorso» sull’alleluia di Massimo il Greco." In Europe in between. Histories, cultures and languages from Central Europe to the Eurasian Steppes. Firenze University Press, 2024. https://doi.org/10.36253/979-12-215-0646-4.16.

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This article focuses on a particular controversy that swept through Eastern Slavic Christianity between the 16th and 18th centuries: the so-called “alleluia dispute” (spor ob allilue), i.e. the problem of the performance of the hymn with the triple or double repetition of the Hebrew term ‘alleluia’ before the verse ‘Glory to you, O Lord’. In this debate, one of the contributing voices was that of Maximus the Greek. This study presents and analyzes his short discourse to those who dared to say “alleluia” three times (Slovco k’’ smějuščim’’ triždy glagolati «alliluia» črez predania cerkovnago, a
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Legkikh, Victoria. "To the Question of Classification and Publication of Russian Services of “Jerusalem” Type: Hymnographical Indexes." In Palaeoslavistica: Lexicology and Textology. In commemoration of R. M. Cejtlin’s 100th birthday. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/2658-3372.2021.21.15.

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Studying and publication of hymnogpaphical texts raise a lot of problems, especially connected with Slavic services, which were often in constant development and sometimes every copy modifies services, adding new hymns or changing the place of old ones, so we face the problem of how to classify all these copies and how to show a real situation of the service’s development. As a help for hymnographical studies, I propose to create a base, consisting of each hymn with notes related to its text-version in different types of manuscripts and its place in every manuscript. On top of everything an el
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Pozhidaeva, Galina A. "Attribution of Singing Schools of Moscow Rus’ by the Features of Musical Style." In Hermeneutics of Old Russian Literature. Issue 22. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/horl.1607-6192-2023-22-529-560.

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The article examines the attribution of singing schools of Moscow Rus’ by the features of musical style. The regional attribution of works of literature and art used in literary criticism and art history according to stylistic features is also possible in musical medievalistics. The basis for this is the stylistic commonality of monastic schools of church singing — Northern and Central Russian — with the main singing schools, respectively, Novgorod and Moscow. Since Veliky Novgorod and Moscow, as major cultural centers, served the monasteries of the regions, singing culture of the parish churc
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Nikiforova, Alexandra Yu. "“Angelic Powers Go Forward”: A Textological Note." In Hermeneutics of Old Russian Literature: Issue 23. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2024. http://dx.doi.org/10.22455/horl.1607-6192-2024-23-104-120.

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In this article, the author discusses the archaic version of one of the most ancient Nativity hymns in Slavonic menaion “Angelic Powers, Go Forward”, which is already known from 12th c. GIM Sin. 162 and still performed on December 20, being attributed to the Byzantine poet of 6th c. Romanos the Melodist. The newly found Greek version of the hymn is published for the first time in Russian translation according to the 9th c. new tropologion Sinai Greek NE ΜΓ 56+ΜΓ 5. Its refrain “Blessed is the fruit of Thy womb” suggests the interpretation shift from the person of Christ to the person of Theoto
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Legkikh, Victoria. "The Service for St. Nicholas of Myra according to the Serbian Menaia of the 13th Century." In Slavic and Balkan linguistics. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/2658-3372.2020.1.08.

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The service for St. Nicholas on the 6th of December in Serbian menaion of the 13th century follows the Typikon of Evergetis. We can see it comparing the service with the description in the Typikon. The section analyzes the service from three serbian manuscripts of the late 13th century. The service of the first one is very similar to the service included in Russian menaions of the same period. Two other manuscripts show some changes of hymns including a canon which is not known in other traditions. The liturgical explanations of the manuscripts help to reconstruct the service as full as possib
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Schmelz, Peter J. "Preludio." In Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.003.0001.

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This chapter sets in motion the primary themes of the book, tracing briefly Alfred Schnittke’s compositional evolution before the Concerto Grosso no. 1, paying special attention to his Symphony no. 1 (1969–72) and his initial ideas about polystylism, as well as the works immediately preceding the Concerto Grosso no. 1, including the Piano Quintet (1972–76), Hymns (1974–79), Requiem (1975), and Moz-Art (1975–76). It also investigates the genesis, construction, and affect of the Preludio of the Concerto Grosso no. 1, focusing on its initial prepared piano chorale together with its other key moti
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Bodin, Helena. "“Weeping at the Grave Creates the Song: Alleluia”: The Nachleben of Russian Orthodox Funeral Hymns in Modern Culture." In Why We Sing: Music, Word, and Liturgy in Early Christianity. BRILL, 2022. http://dx.doi.org/10.1163/9789004522053_021.

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Kelly, Catriona. "The Beauties of Byt: Household Manuals, Social Status, and National Identity, 1830–1880." In Refining Russia. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198159872.003.0002.

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Abstract Pushkin’s paean to Prince Yusupov as the perfect Westernized Russian aristocrat, with which the the previous chapter began, was also a hymn to social harmony. Associating with members of the Third Estate, such as Voltaire, Diderot, or Beaumarchais, as effortlessly as he did with Marie Antoinette and her court, Yusupov exemplified the Enlightenment virtue of lyubeznost’, amiability, a quality that, like self-restraint, wide reading, and sparkling conversation, was considered essential to civilized behaviour.
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Shevzov, Vera. "Between ‘Popular’ and ‘Official’: Akafisty Hymns and Marian Icons in Late Imperial Russia." In Letters from Heaven, edited by John-Paul Himka and Andriy Zayarnyuk. University of Toronto Press, 2006. http://dx.doi.org/10.3138/9781442676640-013.

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Temčinas, Sergejus. "The Greek Origin of the Canon on the Miracles of St. John of Rila: George Skylitzes’ Authorship." In Slavic and Balkan Linguistics. Institute of Slavic Studies, Russian Academy of Sciences, 2022. http://dx.doi.org/10.31168/2658-3372.2022.22.8.

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The article focuses on the Canon on the miracles of St. John of Rila. Its Slavonic text is known solely from a Cyrillic Western Bulgarian manuscript copy of the early 14th century (St. Petersburg, National Library of Russia, Main Collection of the Manuscript Books (f. 550), F.I.p.72, fol. 35r‒38v.). It was published by Kl. Ivanova (1983), who considered it to be an original Slavonic composition, dated it to 1186‒1187 (when the relics of St. John of Rila returned from Hungary to the Bulgarian city of Serdica) and revealed its textual relation to the Life of John of Rila by the Byzantine writer
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Conference papers on the topic "Hymns, Russian"

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Zhivova, Margarita. "The mechanism of adaptation of a hymnographical text: borrowings and adaptation on the example of the Russian menaion of the 16th century." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.08.

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The paper demonstrates the techniques and the mecha-nisms for creating of the new services for saints on the basis of both direct borrowings and an adaptation of the existing chants. It also analyzes the choice of the sources, the way of redirecting of the hymns and the structural peculiarity of the services.
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Stefanov, Orlin. "EVGENY ZAMYATIN - THE GENRE OF ANTI-UTOPIA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3691.rus_lit_20-21/45-49.

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In his novel “We,” the renowned Russian writer Evgeny Zamyatin establishes a new direction in world literature - the genre of anti-utopia. Among his stylistic predecessors are noted figures such as Gogol, Leskov, and Turgenev, regarded as classics of Russian literature, as well as Swift, Wells, and Anatole France. Conceptually, the theme resonates with Dostoevsky's Grand Inquisitor in “The Brothers Karamazov.” However, the impetus for the author's vision can be traced back to Thomas More's “Utopia,” where inhabitants wear identical uniforms. In an even more distant era, this aligns with the no
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Legkikh, Victoria. "Is a hymnographer-compiler a writer or a reader. Service for All Saints Who shone in the Russian land as a typical service of the 16th century." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.13.

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The feast of all the saints who shone in the Russian land was established after the Macariuscouncils of the 1547 and 1549, and already in the 1550s. Gregory, a monk of the Savior-Euthymius monastery in Suzdal, composed a service. The service is created according to chant models mainly taken from services for Russian saints, using both direct borrowing a hymn and adaptation of the hymn and creating a new one according to the model. We can say that this service shows a typical way of compiling a hymnography of the 16th–17th centuries. The report analyzes the sources and methods of creating a ser
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