“Strochki” and “fitki”, “rosvodets” and “roznamenka”. Special features of theoretical texts in the manuscript from the Russian State Library mus. № 875

The musical and theoretical manuals of the 17th century contain extensive information about the znamenny chant and the processes of change that took place in it over the course of a century. Created in many russian scriptoriums they reflected the local features of church singing and the features of its theoretical comprehension, expressed, in particular, in the formation of specific terminology. The manuscript of the Museum Collection of the Russian State Library (fund 178) No. 875, which conventionally dates back to 1605-1610, includes an extensive theoretical codex, which presents in general traditional theoretical manuals, but in a special design and with the use of unusual terminological forms. The codex includes two major manuals – “Grani” and “Fito-kokiznik”, each of which covers different types of documents. The predominant ones in them are kokizniks and fitnics, which are sequentially copied the various independent manuals, demonstrating formulas with and without divorces, containing material from various singing books (Oktoich, Stichirar’ Minayny, etc.) and genres (tropari, blazhenny etc.), organized by eight modes. The author of the codex does not intend to bring together the information of different manuals, he prefers to save each document in its original form. But at the same time, to denote theoretical positions, the author uses diminutive and affectionate suffixes that give traditional terms a special, soft shade: "strochka" instead of "stroka", "fitka" instead of "fita", "rosvodetc" instead of "rosvod", etc. It is also unusual to use literary terminology to denote special textual and musical lines, in particular, "dinfong" (diphthong). A remarkable feature of the codex is also the presence of special chants with the corresponding remarks "Troitsky", as well as the introduction of a fita divorce of the monk Isaiah (presumably Ivan Lukoshkov).