This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obligatory discipline was irmoloinyi singing. It is probable that in the 18th century, the teaching of singing in the collegium was carried out in the primary classes, where Church Slavonic literacy was studied at the same time, and in the first years of the 19th century musical singing was officially reflected in the name of a separate class. All students of the collegium underwent compulsory liturgical singing practice. The most gifted of the students were members of the Episcopal Cathedral Vocal Chapel. The students of the collegium were not limited to singing only in the cathedral; they also sang during the festive processions, during the begging, as well as in the parish churches during the holidays, where they also taught church singing. Among the music books, we know for sure about several Irmologions that were used in the collegium. From the memoirs of an eyewitness of the first third of the 19th century, we learn about the singing of hymns during public exams, as well as the singing of vocal concerts during the traditional holiday greetings to the Bishop, Rector, and Prefect of the seminary. It was noted that this tradition existed in the last quarter of the 18th century. Such a practice did exist at the same time in Kyiv-Mohyla Academy, so this evidence seems plausible. The only evidence of the use of musical instruments among the students of the Pereyaslav Collegium comes from the descriptions of the May recreational festivities, when both vocal and instrumental ensembles from among the pupils were heard.

The proposed article is based on the corpus of historical sources of the 18th century and is devoted to the study of the singers of bishops of Pereyaslav. We found documentary evidence of the singers in 9 of the 14 bishops of Pereyaslav. According to the traditional order at the episcopal cathedrals of the Hetmanate, during the services, only the monks (kryloshany) sang. This tradition can be eloquently traced in the Pereyaslav Ascension Cathedral and other monasteries of the Pereyaslav eparchy during the 1720-1740s. The total number of singers in the cathedral monastery ranged from 5 to 9 people. At the head of the monks were two ustavnyky, who ruled the right and left choirs. And only in 1722, by a special decree, the Most Holy Governing Synod unified the rules, which primarily concerned the Ukrainian eparches. Since then, the order for the service of 10 singers has been established in the bishop's houses. Despite this, even before the decree was issued, vicar bishop Cyryl Szumlański was served by his own singers, led by the regent. The presence of the regent can be traced in the service of the next vicar bishop Joachim Strukov. Both the church monody and the polyphony sounded in the cathedral. We draw this conclusion from the available music books. Bishop Joakim Strukov in Pereyaslav owned the Heirmologia with musical notation, and in the time of Bishop Arseniy Berlo in the cathedral the musical-theoretical treatise of Mikołaj Dilecki "Musical Grammar" was rewritten. On the cover of this manuscript it was stated that one day a solemn partesnyi concert was performed. In connection with the last musical manuscript, the bishop's intention to introduce and consolidate innovations in the field of music education can be traced, when the aim of the students was to master the art of partes singing at a qualitatively better level. In addition to the above, this thesis is confirmed by information from the life of the singer of one of the previous bishops, when the teaching of partes singing took place outside Pereyaslav. The bishops' singers were called "pivchi" in authentic terminology, which we see both in documents from the archives of the Most Holy Governing Synod in St. Petersburg and in local documents from Pereyaslav. Beginning with the act sources of 1760 and at least until 1782, the group of bishop's singers was called "vocal music". During the same period, there is another name for this vocal group, which was used for internal use - "pivcha", which probably meant primarily a separate room where the singers lived. The choir was financed, first of all, from the bishop's treasury. And the singers received additional income by collecting money from the parishioners in a "singing mug", a special container for donations. According to expenditure sources, the funds received went to sewing, repairs, as well as the purchase of clothing and footwear. Among the information found in the sources about the singers, the total number of which reaches 29 names, not counting the mentioned singers without names and monks, we find representatives of various social stratum - children of clergy, Cossacks, burghers, commoners. For many of them, singing in the cathedral choir was not only an opportunity to earn a steady income, but also served as a springboard for career growth, for the rank of priest, or a place as a singer in one of the imperial capital choirs. In the second half of the 18th century there is a certain pattern, when most singers were disadvantaged, mostly orphans. In the life of the Pereyaslav bishops there were contacts with secular musicians-instrumentalists. In the 1720s, a bandura player served to vicar bishop Joachim Strukov. In the early 1780s, Hilarion Kondratkovskyi used the services of military musicians for solemn greetings during church holidays.

This article explores the newly discovered account books of the Lviv Uniate Musical Chapel of the Bishop Leon Szeptycki. The main stay of this musical chapel was the architectural complex of the Cathedral of St George in Lviv. Today, two account books are stored in the department of old books and manuscripts of the Andrey Sheptytsky National Museum in Lviv in the archives of the Lviv bishops; they cover the years 1760-1779. In the first two parts of the article, the author investigates the issues of the founding of the musical chapel and its place of activity. In the third part, there is a list of musicians who were members of this chapel over the years. In addition to the names and surnames, their positions, years of employment, musical instruments which they played and details of their biography are indicated. In the next part, there is a list of pupils of the chapel. It appears that the total number of pupils ranged from 2 to 14. Adult musicians and pupils played various instruments: harpsichord ("klawicymbaly"), clavichord ("klawikort"), organ, violin, alto, viola da gamba ("kwartviola"), cello ("basetla"), oboe, bassoon, trumpet and horn; there were singers as well. In the fifth part, the author specifies in what way the Lviv Uniate musical chapel was financed. In the next part, both the church and the secular musical repertoire of the musical chapel are described. In Kwartalnik Młodych Muzykologów UJ, nr 38 (3/2018) 6 this section, also information from the Warsaw periodicals are used. In the seventh part, the collaboration of the Uniate music chapel with other chapels and monastic orders, Jesuits, Dominicans and Conventual Franciscans is explored. In the last part, the author examines the information about the human settlements that are found on the pages of the account books.

No abstract

Музична культура й освіта у Києво-Могилянській академії Спів постійно супроводжував студентів Києво-Могилянської академії у їхньому житті, що підтверджують академічні інструкції, різномантні документи, іконографія, свідчення очевидців тощо. Усі вихованці були зобов'язані відвідувати храми на території Братського монастиря, а найздібніші ставали тут співаками. Вони співали у головних «братських» храмах-Богоявленському соборі та Благовіщенській (Конґреґаційній) церкві, а також у різних церквах Подолу, у київській митрополичій капелі, у Придворній співочій капелі Санкт-Петербурґа тощо. Академічні співаки брали участь у богослужіннях, на похоронах, під час церковних та світських урочистостей, під час випрошування милостині (саме тому бурсу деякий час називали «співочою»). Окрім цього, спів та гра на музичних інструментах були частиною навчання, зокрема є припущення, що вірші на уроках поетики виконували за допомоги співу та гри на музичних інструментах. Музичні номери були частиною шкільних вистав, а хор та оркестр обов'язково супроводжували урочисті богословські та філософські диспути. Поза тим, гра на музичних інструментах належала до рекомендованих розваг і її всіляко вітали поза навчанням, хоч спеціальні музичні дисципліни почали викладати в Академії лише на початку XIX ст. До наших днів збереглася тільки частина нотної спадщини, пов'язаної з Академією та Братським монастирем,-паралітургійні та учнівські пісні, партесні концерти, Ірмологіони. Безумовно, найбільшим серед тих композиторів, хто представляє Академію, слід вважати Артемія Веделя. На відміну від решти видатних композиторів українського походження XVIII ст.-Дмитра Бортнянського та Максима Березовського, Ведель не лише навчався тут, а й писав твори для студентського хору. Ключові слова: спів, музичні інструменти, музична культура та освіта. Перше спеціальне дослідження про музичну культуру та освіту в Києво-Могилянській академії було здійснено Пилипом Козиць