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17DOI: 10.22394/2070-8378-2017-19-5-110-114
ДУХОВНАЯ СИЛА хорового ПЕНИЯ - РЕЗОНАНС
с окружающим миром
людмилА олЕГовнА ТЕрновАя, доктор исторических наук, профессор кафедры социологии и управления Московский автомобильно-дорожный государственный технический университет (МАди). (125319, Москва, ленинградский проспект, 64). E-mail: 89166272569@mail.ru
аннотация: Хор называют прообразом идеального общества. Хоровое пение известно издревле. В религиозной и в светской традициях оно всегда играло роль объединения людей. Русская хоровая традиция берет начало в византийской духовной музыке. Но очень быстро на Руси начала формироваться собственная хоровая культура, которую поддерживали все слои общества. Пение в хоре не просто оказывало человеку возможность почувствовать свою общность с окружающими людьми и природой, оно придавало новые силы. Поэтому так часто именно в годы военных испытаний рождались выдающиеся произведения для хора. Они воодушевляли бойцов, идущих сражаться. Период Отечественной войны 1812 года связан с созданием многих, ставших известными хоровых коллективов. В 1941 году на Белорусском вокзале Краснознаменным ансамблем красноармейской песни и пляски СССР впервые была исполнена «Священная война» -песня, которая стала гимном защиты Родины. Но хор также призывал к миру, пение становилось частью молитвы о мире. Хоровым пением отмечаются мероприятия в память жертв террористических актов 11 сентября 2001 года. Сейчас хоровое пение выступает одним из направлений международного сотрудничества. С 2000 года раз в два года проводятся Всемирные хоровые игры. Праздники песни стран Балтии включены в список Всемирного наследия ЮНЕСКО. Хоровое пение помогает человеку почувствовать себя причастным к государственным интересам. Их понимание выражается в хоровом пении государственных гимнов, ставшем хорошей традицией в современной России.
ключевые слова: хор, церковная музыка, государственный гимн, хоровое движение, праздники песни, Всемирное наследие ЮНЕСКО, международное сотрудничество
Терновая Л.О. Духовная сила хорового пения - резонанс с окружающим миром. Государственная служба. 2017.№ 5.
С. 110-114.
THE SPIRITUAL POWER OF CHORAL SINGING - A RESONANCE WITH THE SURROUNDING WORLD
LuDMiLA o. TERNoVAYA, Doctor of Historical Sciences, Professor, Department of Sociology and Management Moscow Automobile and Road Construction State Technical University (MADI), (64 Leningradski prospect, Moskow, 125319). E-mail: 89166272569@mail.ru
Abstract: Choir is sometimes called the prototype of an ideal society. Choral singing has been known since ancient times. In religious and secular traditions, it has always played the role of uniting people. Russian choral tradition originates in Byzantine spiritual music. But very quickly Russia began to form its own choral culture, which was supported by all segments of society. Singing in the choir not only made it possible for a person to feel his/her unity with surrounding people and nature, but it also gave the new strength. That's why it was so often during the years of military trials that outstanding music works for the choir were born. They encouraged the fighters who were going to fight. The period of the Patriotic War of 1812 is associated with the creation of many well-known choral collectives. In 1941, at the Belorussian station Krasnoznamennaya Red Army Song and Dance ensemble of the USSR had first performed the "Svyashchennaya voyna" ("Sacred War") - a song that became the anthem for the defense of the Motherland. But the choir also called for peace, choral singing became part of a prayer for peace. Choral singing commemorates the victims of terrorist attacks on September 11, 2001. Now choral singing is one of the directions for international cooperation. Since 2000, World Choral Games are held every two years. Songs of the Baltic countries are included in the UNESCO World Heritage List. Choral singing helps a person to feel involved in the state interests. Their understanding is expressed in choral singing of national anthems, which has become a good tradition in modern Russia.
Keywords: choir, church music, national anthem, choral movement, song festivals, UNESCO World Heritage, international cooperation
Tenrovaya L.O. The spiritual power of choral singing - a resonance with the surrounding world. In: Gosudarstvennaya sluzba. 2017 № 5. P. 110-114.
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Л.О. Терновая. Духовная сила хорового пения - резонанс с окружающим миром
Origins of Choirs
The choir (ancient Greek word xopoq means "a crowd") is not only a singing collective, but also a joint and harmonious sounding of people's voices, which the choir unites irrespective of their religious affiliation, nationality, or social status. Singing in the choir teaches mutual understanding and respect. The founder of the studio movement in our country, the creator of a unique system of mass training in music and choral singing, the president of the Federation of Children and Youth Choirs of Russia G.A. Struve called a choir the prototype of an ideal society
One of the first singing groups in history was the ancient Greek choirs. The choir played the role of public opinion during the tragic performances, which determined the actions of other characters. Aristotle in Poetics pointed out that "the choir should be considered one of the actors, it should be a part of the whole" [Aristotle, 1983. P. 666]. Ancient Greek choir always sang in one voice, either unaccompanied or with a Kitara, also played in unison with the choir. The choir emphasized the national character of the ancient Greek theater, expressed the attitude of the audience to the events of the play. it could act as a kind of "voice of the people", as, for example, in Aeschylus' "Persians" and "Agamemnon", Sophocles' "Antigone". But at the same time the choir could represent an independent actor - in Aeschylus' "Praying" and "Eumenides" [Redko, 2011].
Choirs and Religion
it is not a surprise that choral singing marked the birth of Christianity. The chosen people heard the first Christian singing from the angels when the baby Jesus was born (Luke 2: 13-14). Jesus Christ laid the beginning of singing in the Christian church. "Then they sang a hymn and went out to the Mount of Olives." (Matthew 26:30). Early Christianity adopted the ancient manner of choral singing. Until the X-Xii centuries, the choirs sang only in unison or octave. Later voices were divided into low and high, for which different parties appeared. Until the XV century, and in the church hymn - until the XVii century, the choir consisted only of men. Exceptions were the nuns' choirs. The Laodicean Council, which took place about 360 AD, created 60 rules concerning questions of church administration and Christian piety. Rule 15 read: "Except for the singers who are in the clergy, on the pulpit of entering and according to the book of singers, there should not be some for singing in the church" 1. Beginning with the 4th century, singing during the worship already covered most of the service; ritual examinations acquired a song character, in the voices of singing sounded shades of worldly freedom. This was important for attracting people with beautiful singing to attend church services, but at the same time moved to the development of church chanting, giving it a distinctive character. in the V century in Rome appeared schools that have been preparing singers for church choirs.
Fathers of the church were negative about singing and in particular, performance, in case the very performance, its theatricality, crossed out the spiritual component. The beauty of the chant was necessary at the time of listening to beautiful singing to fill the soul with the necessary morals. Thus, St.
1 The rules of the Laodicean Cathedral // http://www.krotov.info/ acts/canons/0343laod.html.
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Unknown lithographer. Russian singers, assigned to the 1st Infantry Regiment of the Prussian Guard, 1815. Germany, 1830-ies. Paper; lithography, watercolor. 28.8 x 24.1. From the library of the Winter Palace. Inv. ERVG-1196.
John Chrysostom from the church chair spoke to an indiscreet singer: "Miserable pauper! You ought to repeat angelic singing with trembling and reverence, and you introduce the customs of dancers here, waving your hands, stomping your foot, moving your whole body. Your mind is overshadowed by theatrical scenes and what happens there, you bring to the Church..."2.
The beauty born of music was stronger than the prescriptions. Multiplied to a high spiritual meaning, it is preserved in choral singing in the church to this day. "Do you know which sound seems to me the most beautiful in the world?" - Asked the American musician, writer, and artist M. Jira. "You are in the church; a choir of fifty is singing beautifully and loudly, but at some point all are silent, and for a brief moment these voices are merging into one, resonating in the ringing air"3. Such resonance wore the broadest character in the past, combining a separate performance with the world sound.
Choirs in Russia
This pattern is well traced to the example of church hymns on Russian lands, which appeared with the Baptizing of Rus in 988. Since the Christianity was adopted as a religion from Byzantium, the traditions of worship and chants that existed at that time in the Byzantine Church came with it. in Kiev Rus, the centers of choral art were monasteries and princes' courts. in the Xi century, at the St. Andrew's Monastery in Kiev, a women's school was opened where girls were taught singing. in the Xiii century, singing schools appeared in Suzdal, and in the 15th century - in Moscow. Since 1589 in Moscow exemplary "chapels" were princes' singer's deacons and the patriarchal deacons and assistances of the deacons, united in organized fellowship with their own supervisors ("charterers"). At the end of the 17th century from the princes' singers,
2 Nikolsky A.V. A short essay on the history of church singing during the
I-X centuries. Pg., 1916 // http://otechnik.narod.ru/liturgika40.htm.
3 Quotes About Singing // URL: http://quoteka.org/tag/penie/page/2.
who by Peter the Great's decree in 1713 were transferred to Petersburg, the St. Petersburg court choir begins, which name was the Court Chapel. During the reign of Catherine II, increased ties with the West influenced church music. Thanks to the work in St. Petersburg by B. Galuppi and D. Sarti, who wrote church music for Orthodox texts, and classes in Italy, taken by M.S. Berezovsky and D. S. Bortnyansky, they created a new style, close to Western European tradition; but in Russian church music it is usually called "Italian". At the same time, the decree of the Holy Synod of 1797 prohibited the performance of choral concerts at the Liturgy, but this prohibition did not diminish the inspiring nature of choral singing.
It is known that choral singing gives strength, which is especially in demand during the years of ordeal. After the Manifesto of Alexander I "on the Thanksgiving to the Lord God for the Release of Russia from the Invasion of the Enemy" of December 25, 1812, the Patriotic War of 1812 was often called the repulse of the invasion of "Dvunadesyati yazykov". This name came from the number of languages spoken in the invading army of Napoleon. This chaotic polyphony was opposed by a single power of patriotic enthusiasm. It is not surprising that this sound's reflection was the creation and wide performance of oratorios, cantatas and songs, the appearance of choral arrangements of folk songs, the widespread occurrence of landlord choirs (Sheremetyevsky, the choir of Prince Yuri Golitsyn). After General L. York von Wartenburg signed the Taourogen Convention on the stopping of military operations by Prussian troops against Russia, Friedrich Wilhelm III selected two dozen singers and composed a choir. Alexander I left them in the service of the Prussian king, and in 1814, as part of the 1st Life Guards Infantry Regiment, they solemnly entered Paris and there they supported the morale of the winners by choral singing4.
Helping to specify the basic parameters of national identity a special place in Russian culture takes such a notion as "sobornost"'. The choir is the brightest expression of this concept's content. The history of the Russian state can be clearly traced through the life of well-known choral groups. These are: the Choir of the sovereign deacons (Khor gosudarevykh d'yakov) (1479), since 1717 - the Court Choir Chapel (Prid-vornaya pevcheskaya kapella); from 1721 - the Choir of the patriarchal deacons (Khor patriarshikh d'yakov), which was later converted to the Synodal Choir. In 1911 the Choir was led by N.M. Danilin and toured in Italy, Austria, Germany; A. Toscanini and L. Perosi and the head of the Sistine Chapel in Rome enthusiastically spoke about the Choir, but in 1918 it was dismissed [Tugarinov, 2004]. Among the famous choirs were: the Choir of the Free Music School (Besplat-naya muzykal'naya shkola), created in 1862 by G.Y. Lomakin and M.A. Balakirev; Morozovsky Choir; Sokolovsky Choir of the Gypsies (Sokolovskiy Khor tsygan); Agrenev-Slavyanskiy Choir "The Slavonic Chapel" ("Slavyanskaya kapella") (1868); Chudovsky Choir (choir of the Moscow Metropolitan); Choir and Singing Chapel of the Russian Choral Society (Khor i Pe-vcheskaya kapella Russkogo khorovogo obshchestva) (1882 - 1888); the Spiritual Choir (Dukhovnyy khor) of A.P. Kayutov run by the manager of the Moscow branch of the insurance company "Russia"; Independent Choir (Nezavisimyy khor) of
4 Faibisivich V.M. Russian choristers in the Prussian Guard. Rossiiska-yagazeta. May 30, 2017.
A.A Arkhangelsky (St. Petersburg, 1880), after the revolution, it was renamed into the Labor Commulan Choir (Trudovoy kommunal'nyy khor), then into the State Choir (Gosudarst-vennyy khor); the Choir of the Kiev St. Sophia Cathedral (Khor Kiyevskogo Sofiyskogo sobora) led by Y.S. Kalishevsky; Spiritual Choir (Dukhovnyy khor) of I.I. Yukhov which was created as a family ensemble in 1900 by peasant Yukhov, who later received a diploma of the regent of the Synodal School; Choral chapel (Khorovaya kapella) of the merchant N.S. Per-lov, managed by F.A. Ivanov, consisting of a hundred boys and a hundred men; Choir of the Don Cossacks (Khor donskikh kazakov) (1919 - 1985) led by S. Zharov.
Choral Music
Musical works always reflect the surrounding world in its spiritual, socio-economic and political diversity. In Russia, a special place in the development of a patriotically oriented secular choral culture belonged to the opera. M.I. Glinka had given the choir a symbolic position in the dramatic action. The inclusion of choral parts in musical compositions has always conveyed the scale of the influence of the event marked by music in the course of history. For example, the solemn overture "1812" - an orchestral work by P.I. Tchaikovsky in commemoration of the victory of Russia in the Patriotic War of 1812, which premiered on August 20, 1882, begins with the gloomy sounds of the Russian church choir, recalling the declaration of war, which took place in Russia in church services. After that sounds a prayer (troparion "our Lord Save Your People" ("Spasi Gospodi lyudi tvoya")) about the victory of Russian weapons in the war. Then follows the melody representing the marching armies (the French anthem "Marseillaise" reflects the victories of France and the capture of Moscow in September 1812). The sounds of Russian folk dance ("Ey, Dunay, moy Dunay, Ey, veselyy Dunay") symbolize the battle of Borodino. The flight from Moscow in late october 1812 is indicated by a descending motive. The cannon's thunder reflects military successes in approaching the borders of France. With the end of the war, the theme of the troparion returns performed solemnly and joyfully by an orchestra with a bell ringing. Behind the guns and sounds of the march, the energetic theme is heard of the Russian national anthem "Bozhe, Tsarya khrani" ("God, Save the Tzar"), which is contrasted with the French hymn that sounded before. The strength of this work is so great that it is often performed at the most solemn moments in other countries, for example, on July 4, the Independence Day of the United States, along with other patriotic music. With the help of choral singing people's aspiration to express their participation in the most important events in the country and the world is realized. In 1913, in the year of the 300th anniversary of the Romanov dynasty, in the Perm province, 300 peasant choirs sang music from Glinka's opera "Life for the Tsar" ("Zhizn' za tsarya").
Choirs in the Times of Change and Struggle
It is natural that after the revolutions, those get the support in the choral movement, who feel the world alike with the revolutionary masses. The Bolsheviks promised land to peasants. And after october 1917, the state support was given to the oldest Russian folk choir, organized by M.E. Py-atnitsky in 1911 from the peasants of the Voronezh, Ryazan
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and Smolensk provinces. in the years of transformation, many choirs have received brand new titles. Thus, the Court Singing Chapel (Pridvornaya pevcheskaya kapella) was renamed into the Petrograd Choral Academy (Petrogradskaya khoro-vaya akademiya) in 1918, and in 1922 into the Leningrad State Academic Chapel (Leningradskaya gosudarstvennaya akademicheskaya kapella (later - in the name of Glinka)). Although the Synodal College (together with the Synodal Choir) was eliminated, new choral groups appeared. On October 12, 1928, the first performance of the Ensemble of Song and Dance of the Red Army (Ansambl' pesni i plyaski Krasnoy Armii) took place. The international recognition of the collective was expressed in the Grand Prix of the World Exhibition in Paris in 1937. On June 26, 1941, at the Belorussky railway station, one of the groups of the Red Banner Red Army Song and Dance Ensemble (Krasnoznamennyy ansambl' krasno-armeyskoy pesni i plyaski SSSR) for the first time performed the "Svyashchennaya Voyna" ("Sacred War") - the song that became the anthem of the defense of the Motherland.
in those menacing years, once again appeared the spiritual power of choral singing. During the Great Patriotic War, A.V. Sveshnikov opened a Moscow choir school (Moskve khorovoye uchilishche), which was the continuation of the Children's choral school for boys at the Leningrad Academic Chapel (Detskaya khorovaya shkola dlya mal'chikov pri Len-ingradskoy akademicheskoy kapelle), which appeared in 1936. in 1942 Sveshnikovs also created the State Choir of Russian Song (Gosudarstvennyy Khor russkoy pesni) and the All-Russian Choral Society (Vserossiyskoye khorovoye obshchestvo). The authorities understood the patriotic role of choral singing, that s why some men were taken even from the frontline into the choir teams [Asafiev, 1980].
Choral singing helps to unite people during the war, but it is also capable of appealing to peace. Annually, with the performance of the chorus of survivors in the atomic bombing of Nagasaki on August 9, 1945, "Khimavari" (Sunflower) in the Peace Park the song of Kazemiti Terathi "Never Again" is heard, it is performed with a calling for peace to prevent atomic bombings. The Japanese choir performs a song at the Statue of Peace, depicting a 10-meter giant, who points its hands to the sky; this is the very point from where the terrible tragedy of 1945 came. Musicians have always delicately felt the mood of the world; its disturbing events have found and still find response in their work. And this manifested itself in the reaction to the September 11, 2001, attacks in New York and Washington D.C. On October 20, 2001, in the US famous artists and musicians, including M. Jagger, P. McCartney, gave a charity concert in memory of victims of terrorist attacks. A few years later, on September 14, 2007, a concert of the choir of the Moscow Sretensky Monastery (Khor Moskovskogo Sretenskogo monastyrya) in the concert hall of the Library of Congress in Washington D.C. opened with a common prayer in memory of those who were killed in the September 11 attacks.
Choirs and Their Social Meaning
The combination of voices with the peculiarity of the place of performance of a choral work multiplies the force of the music influence on a person. British musician B. Drumond recalls: "While i a was a teenager, every day after school i sang in a church choir. Then my voice began to break, and they threw
me away. But the love for choral singing has not gone away: the Bulgarian women's choir, Bach's "Passion for Matthew", Arvo Part and, of course, the Red Army choir - all this gives you a strength that no other music can give"5.
Choral movement is one of the brightest manifestations of not only amateur creativity but also social movements in general. The amateur choral movement in the last century was mainly drawn to the proletariat and the rural poor and middle classes. European proletarian amateur choral movement in the 1920s embraced Germany, Austria, Czechoslovakia and the Soviet Union. The choral movement of the workers was based on national choral traditions. in 1931 the German composer H. Eisler headed the "Fighting Organization of Workers Singers", which was in the sphere of influence of the Communist Party of Germany. in England, this movement strengthened in the mid-1920s, when the choral workers' clubs in London merged into the London labor choral union, led by the organizer of this union, composer R. Boughton. in the 1930s, thanks to the work of his successor - A. Bush, the proletarian choral movement was on the rise, British choral festivals, for example, the Labor Day in 1934, rallied the proletariat. Communist composers saw the main task of the proletarian choral movement in the creation of national revolutionary songs, bringing it up, aiming at the struggle. The most important event of the movement was the founding of the Workers' Music Association, the chairman and then president of which was Bush. The activities of the association were sympathetically monitored by young English composers. For one of the festivals (1938) B. Britten wrote a cantata on the poems of W.X. Auden and R. Swinger "The Ballad of Heroes" and then the a cappella choir on Swinger's poetry "Forward, Democracy!" The proletarian choral movement was closely connected with folklore. The processing of folk songs served as an important part of the repertoire of working choirs. But the direction of the proletarian choral movement had an impact on the interests of folklorists, directing them to the areas of "field work'. The famous English folklorist A.L. Lloyd was associated for a long time with the London's Workers' Musical Association. in the 1950s he published books based on the folklore of the northeastern mining regions of the country, and his generalizing book "The National Song in England", was published in 1967 and concludes with the chapter "industrial Songs", where proletarian folklore is represented.
The folklore traditions of choral singing are supported by UNESCO. in 2003 the organization introduced the Song Festival, which is held in Latvia, Estonia and Lithuania, into the List of Masterpieces of the Oral and intangible Cultural Heritage as a unique phenomenon of world culture, which needs support and protection. The Song Festival began with concerts of united choirs, the first of which took place in 1864 in Dikli, as well as the first Kurzeme song festival of Dobele in 1870. The repertoire of festivals included mainly works of vocal church music. in June 1873, the First National Song Festival took place in Riga. During the revolutionary events in the Latvian music, the choral works of revolutionary songs appeared, the choristers began to perform the corresponding songs - from the "internationale" to the "Marseillaise". in Moscow in June 1918 in Sokolniki two Song Festivals of Latvian Riflemen took place. in 1940 the Choir of the Radio Committee was orga-
5 Quotes About Singing // http://quoteka.org/tag/penie/page/2.
nized. In the past, song festivals were dedicated to significant dates such as the 25th anniversary of Soviet Latvia, the 100th anniversary of Lenin, the jubilees of the october Revolution and Victory in the Great Patriotic War. In 1973, at the same time as the centennial of the Song Festival, choral events were dedicated to the fiftieth anniversary of the formation of the USSR. Now Song and Dance Celebrations are held every five years in Latvia, it is a show of the achievements of folk choral art in which many bands take place, several thousand of choristers sing together at the final concert.
Choirs in Today's World
Nowadays choral culture is popular in the world. Almost every Western European school and university, with church parishes, is having its choirs. Numerous competitions and festivals are organized, the purpose of which is to enrich the experience, support the beginning choral collectives and vocal ensembles, stimulate the creation of new ensembles, new choral festivals and introduce young people and all those who wish spiritual and cultural heritage through the joint performance of classical works. Various forms of choral societies are common in the UK. Since the middle of the last century, annual festivals and competitions have been held, in which even small choirs of rural communities, singing associations run by school teachers, pastors and local people took part. Traditions of each festival are carefully preserved. English festivals, unlike continental ones, are organized mainly in provincial cities. Lidsky is considered to be the oldest choral festival.
Choral singing helps a person not only to realize his/her own need for communication but also feel him/her involved in the state interests. The English word "anthem" means the hymn, it comes from the Greek concept of "antiphon" which means a certain manner or genre of church singing. In the Catholic liturgy, it is a refrain that is performed before and after the psalm or evangelical songs, in the Protestant church with antiphonal singing one line is sang by a priest or a choir, and the second is picked up by parishioners or another choir. This manages to achieve an amazing sense of people's unity. State hymns, made to unite citizens, as a rule, especially solemnly sound in the performance of the choir. It is true that the history of the performance of national anthems does know some encouraging examples of their singing. Perhaps the best-known example is connected with the FRG, where the hymn is now called "The German song". J. Haydn composed
References
Aristotle. Poetics / Aristotle. Compositions. In 4 volumes. M.: Mysl, 1983. 830 p.
Asafiev B.V. On the choral art: Articles / Comp. and commented by A.
Pavlov-Arbenin. L.: Music, 1980. 216 p. The World Choral Congress began its work in Sochi // URL: http: //
sochi-news.net/other/2016/07/11/46127.html. Of course, it's better to sing along with the choir. Nezavisimaya gazeta. January 21, 2016.
Nikolsky A.V. A short essay on the history of church singing during the I-X centuries. Pg., 1916 // URL: http://otechnik.narod.ru/liturgi-ka40.htm.
the music after he heard the hymn "God Save the King!" during his trip to England. The composer wrote the same majestic work for the Emperor of the Holy Roman Empire Franz II, and subsequently the Emperor of Austria Franz I. But the text used the German translation of the British anthem. Thus, in 1797 the anthem "God save Franz, Our Emperor!" was performed in Vienna for the first time. After the change of several monarchs, the name of the emperor has excluded from the text altogether, and the anthem was called "God, guard and protect our emperor and our land!". As Austria-Hungary broke up this option did not last long. The melody of Haydn was the basis of another solemn song with words composed in 1854 by a certain German cadet: "Germany is above all". In 1922, this song was selected as the official anthem of the Weimar Republic, and since 1933 - of the Third Reich. Since the meetings of the unicameral Reichstag, which, after the arson of the historic building, were held in the premises of the Krol-Opera or Nuremberg, the party congress of the National Socialist German Workers' Party, began and ended with the singing of a hymn, the wit called the composition of the Reichstag "the highest-paid male choir in Germany".
Choral singing develops not only a feeling of unity but also competitiveness. Athletes and fans enthusiastically sing the anthems of their states during international competitions and the hymns of their clubs and teams, performing at their own countries. There are also special competitions of choirs. And since 2000 the World Choir Games are organized every two years. This international choir competition was first held in Linz under the patronage of Austrian President T. Klestil. In the first choral games, 342 teams from 30 countries took part. In 2016, Russia was the host country of the World Choir Games in Sochi6. At the same time, the World Choral Congress was held, attended by representatives of 70 countries7.
In the modern world it is difficult to surprise anyone with virtual choirs or with real singing of many thousands of people gathered together. The secret of the great power of choral singing was revealed by the head of the St. Petersburg amateur chamber choir "Blagovest" A.P. Kudinsky, who simply called ensemble singing a great happiness 8.
6 Of course, it's better to sing along with the choir. Nezavisimaya gazeta. January 21, 2016.
7 The World Choral Congress began its work in Sochi // http: //sochi-news.net/other/2016/07/11/46127.html.
8 The site of the Blagovest choir // http://blagovestchoir.ru.
The rules of the Laodicean Cathedral // URL: http://www.krotov.info/
acts/canons/0343laod.html. Redko A.M. Chorus Functionality in the Space of the Ancient Greek
Representation. Young Scientist. 2011. No. 5. T. 2. Pp. 157-161. The site of the Blagovest choir // URL: http://blagovestchoir.ru. Tugarinov E.S. The Great Russian regent V.S. Orlov. M.: Publishing House of Moscow Compounds of the Holy Trinity Sergius Lavra, Music, 2004. 400 p. Faibisivich V.M. Russian choristers in the Prussian Guard. Rossiiskaya
gazeta. May 30, 2017. Quotes About Singing // URL: http://quoteka.org/tag/penie/page/2.
