Abstract

The hermeneutical interpretation of liturgical texts, singing microcyclestichera on «Gospodi, vozzvah» All Night Vigil of the Transfiguration are researched. Analysis of verbal, insignia and singing hymns texts showed that the poetic and musical levels of monodic tradition are inseparable syncretic unity, through which one perceives the meaning of the encrypted content of such text. Orthodox worship is a complex mechanism, which is differed in the variety of forms and genres of church hymnography. The singing cycle of the Twelve Feast of the Transfiguration, as well as of any other Orthodox service is an association of different genres of chants and texts proclaimed in the church, in accordance with the requirements of the Charter for the performance of the studied service. The relevance and scientific novelty of our article is that the singing part of the Transfiguration ordinance, including the specified microcycles of the most important Orthodox festival, was for the first time the subject of a special examination in musicology. In the process of analyzing the poetic text of the stichera on gGospodi, vozzvah h we singled out a number of key verbal topos of the Transfiguration holiday, through which its basic theological-Christian ideas are revealed. In liturgical and singing texts there are two figurative and semantic spheres of topos. The first are topsymbols. To the second sphere of the Christian topic are topos-images. The study concludes with respect to the fact that Old Russian notation not only offer a way for the musical interpretation of the liturgical text, it also helps in understanding the meaning and also reveals the most significant ideas of a certain verbal text.