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The purpose of this article is composed by scientists into identifyingthe ways for individualizing the principles of the New direction in choral art from the late 19th– the early 20th centuries on the analytical material ofthe Liturgy of Svyatnor John Chrysostom P. Chesnokov. The methods areconceptually based on the ideas of human spiritual confession ofN. Berdyaev and P. Florensky, the ideas of human spiritual confession inthe culture of Kievan Rus and the theory of poetics and anthropologicalmeasurement of the spiritual ancient Russian literature and music ofD. Likhachev and S. Averintsev. The main research tools served historical,dialectical, phenomenological, systemic, hermeneutic-interpretative,comparative-analytical methods. Scientific novelty of the publication isdetermined by 1) referring to the little-studied spiritual choral music of oneof the original composers of the New Direction P. Chesnokov, 2) byanalytic revealing the formative role at different levels of musical integrityof the Liturgy of the elements of folk song thinking and influence of thesynodal singing style; 3) by the appearance of individual means andmethods of composerʼs reading of the literature of the canon. Conclusions.The liturgy of St. John of Zlatoust P. Chesnokov is an original example ofthe embodiment of the aesthetic orientations of the composers of the NewDirection. In the Liturgy of Chesnokov late-romantic ways, the principlesof folk song melodic plasticity, melodic romance intonation, areimplemented song variance and linear-singing polyphonic principles forthe development of a key intonation complex, palatal logic plug-in ofbuilding a „dome-centric” cycle structure and horizontal-verticalinteractions, diatonicity as a way to create lyric-contemplative imagery,song rethinking of the Byzantine rosévian basis of the foundation of thefounding body spheres, singing and melodic leitmotive way of combiningintegrity. The defining singing features of the Chesnokov Liturgy are the„transparent” expressiveness, purity and simplicity, the principle ofregister contrast of texture and coloristic timbre comparisons inherent inthe synodal style.

muzikoznavča dumka dnìpropetrovŝini

Individuality of the implementation concerning the principles of the New direction from the choral music in the late 19th – the early 20th centuries into the Liturgy of St. John Chrysostom by P. Chesnokov