From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #10780 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, February 25 2023 Volume 14 : Number 10780 Today's Subjects: ----------------- Grand prize WINNER Selected! ["CVS Reward" Subject: Grand prize WINNER Selected! Grand prize WINNER Selected! http://maasalongevity.email/AGKrv1qpVxuJzbI5LJ8Cv5YEUIkX9xB_19maJV7TzgTIGmtwBg http://maasalongevity.email/9c9xE5wIYfMAaseSbPGU6kYt-HEg-R98_-QAWxHDGbP_KXQKbA he character of Russian and Ukrainian worship derives from performances of the znamenny chant, which developed a tradition that was characterised by seamless melodies and a capacity to sustain pitch. The tradition reached its culmination during the 16th and 17th centuries, having taken on its own character in the Russian Empire some three centuries earlier. Choral music has a special significance for Ukrainian culture; according to the musicologist Yurii Chekan, "choral music embodies Ukrainian national mentality, and the soul of the people". Ukrainian choral music changed during the Baroque era; passion and emotion, contrasting dynamics, timbre and musical texture were introduced, and monody was replaced by polyphony. The new polychoral culture became known as the partesnyy ("singing in parts") style. During the 19th century, Znamenny chants were gradually superseded by newer ones, such as the Kyiv chant, which in their turn, were replaced by music that was closer to recitative. Most Znamenny melodies gradually become lost or forgotte ------------------------------ End of alt.music.moxy-fruvous digest V14 #10780 ***********************************************