South Slavic culture and its influence on the formation of liturgical collections of the Ukrainian Orthodox Church

Abstract

The purpose of the article is to analyze the influence of the South Slavic spiritual culture on the formation and development of hymnography in the Ukrainian Orthodox Church in the 16th-17th centuries. The methodology includes a systematic analysis, which made it possible to analyze and study the influence of the South Slavic spiritual culture on the formation of hymnography in the Ukrainian Orthodox Church. To determine the temporal and quantitative characteristics of the analyzed material, statistical and chronological methods were used, which contributed to the identification of spelling and stylistic changes in Ukrainian liturgical collections. The scientific novelty lies in the determination of the characteristic features of the development of Ukrainian church singing under the influence of South Slavic spiritual culture. Establishing the difference in the formation of the two main directions of church singing in the Ukrainian territory, namely in big cities and peripheral spiritual centers. Conclusions. South Slavic influence manifested itself in certain spelling and stylistic changes that took place in Ukrainian liturgical collections. This process contributed to the intensification of the development of Ukrainian musical and hymnographic art. On the model of South Slavic graphics, a new style of writing was formed, which was called the "junior half-stav". Together with the change in spelling and literary language, the "weaving of words" was transferred - a special literary style that arose in Bulgaria during the time of Patriarch Euthymius. In Ukraine-Rus, the variety of translations of instructive and ascetic works of Byzantine and South Slavic writers in the spirit of "hesychasm" has increased. The restrained and austere tone of the previous era of Ukrainian Orthodox worship was filled with major Balkan-Slavic tunes. In the Notolinian Irmologions, polyeleos psalms and glorifications spread mainly in the form of Bulgarian and Serbian tunes, on the basis of which regional variants arose in the spiritual centers of Ukraine.