Today, April 20, a next-to-last online lecture has been held under the framework of the advanced training in art history, musicology, and music pedagogy “Music in the system of art education: relations and counteractions”. It has been kicking on from April 6 to 22 (inclusively).
The speaker is Osadchaia Svitlana Viktorivna, Doctor of Arts, Professor, Head of the Department of History of Music, Odessa National A.V. Nezhdanova Academy of Music.
Oleksandra Ivanivna Samoilenko has announced Svitlana Viktorivna Osadchaia in such a manner: “In the professional scope, she combines a performer, regent and musicologist, who mastered all intricacies, and a Real Teacher, who runs the original course in Orthodox signing tradition. By the way, it is a unique course in Ukraine”.
The speaker’s research focus covers the features of the Orthodox signing and mournful-memorial tradition (in particular, her PhD thesis was entitled as “Mournful-memorial tradition as a phenomenon of musical culture). Moreover, the doctor’s thesis of Svitlana Viktorivna “Orthodox signing tradition as a systematological phenomenon in the context of the modern music culture” resonates with today’s online lecture – “Orthodox art of signing in the context of modern music education”. In other words, more attention has been paid to pedagogical aspects, not cultural; however, it matters as the lectures of this course are intended to improve both the overall level of proficiency of music education lecturers and their teaching performance. One of the previous lectures delved into the features of teaching music education in present-day conditions, i.e. amidst distance learning. Today’s lecture has covered the relevance of teaching church signing.
Thus, what is the Orthodox art of singing? It has developed and changed for many centuries. The main type is Znamenny Chant – system of the ancient Orthodox cult chants. The name derived from the Old Slavic name of a signing sign, which was used to write chants – “znamia” (or hak). Znamenny Chant was based on the Byzantine church culture. However, it was transformed after a while as was in progress in another cultural environment. Taking into account the above reason, the traditional Znamenny chant, which had been shaped before the XV century, drastically differed from its Byzantine prototypes. At the end of the XV century, there emerged new styles of chants: wide (or broad), demestvenny and putevoy. The above likely happened under the influence of the prosperity of calophonic art in the Byzantine Empire in the XV century that required a highly professional competence of performers.
Consequently, Svitlana Viktorivna has demonstrated a historical review of the features of church chants and told the participants of the ZOOM conference about the relevance of teaching the Orthodox art of signing in details.
Please bear in mind that the last online lecture will take place on April 22, 11:00. A round table on the All-Ukrainian scientific and pedagogical advanced training in art history, musicology and music pedagogy will be held at 15:00.
See you later!
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