The pecularities of implementation of musical art reforms in the context of changes in russian spiritual culture in 1650—1670s

Abstract

In the period of relatively stable development of Russian statehood the entrenchment
of monarchical power was accompanied with the revival of an idea
about inheritance of “true Orthodox Christian autocracy” and receiving from
Byzantine a mission to be a stronghold of true Orthodoxy. The spiritual life and
the activity of Byzantine basileis became a model for Russian tsars. A vivid demonstration
of thereof was the creation of church chants by royal persons. The
tsar Aleksey Mikhailovich took a great interest in this art. Profound knowledge
in the area of musical theory and practice assisted him in realizing the necessity
of reforms in music art. Thus the reform in Old Russian church chants art by
the will of the tsar and by efforts of two dozens of masters was implemented.
However, the correctors were late. A new art of European part-singing attracted
the attention of the tsar, the Patriarch and even Russian singers themselves in
the second half of XVII c.