The article attempts to assess the current state of the singing component of worship. Attention is focused on the centrifugal and centripetal tendencies of the dynamics of stylistic tendencies in composers’ creativity for the church, as well as the presence of a cyclical pattern. The events that initiated a significant increase in the number of authors writing chants for church choirs are indicated; a transition from the quantitative accumulation of the 2000s to a selective attitude to the liturgical repertoire and the quality of the created music, its stylistic correspondence to the church singing canon is observed. The relevance of the problem of mastering a special singing manner in the choir and performing interpretation in concelebration with the altar, discussed in the regent-singing environment and brought to the rostrum of international congresses held in the Cathedral of Christ the Savior, is noted. The article touches upon the technology of creating new repertoire units for a church choir by following certain musical-poetic, figurative-thematic, syntactic, constructive, textural, lexical, performing and other cliches, as well as choosing a certain stylistic model, following which composers do not risk going beyond the “style of direction” and avoid secularization.
The factors contributing to the renewal of the corpus of church hymns have been identified, among which the most important is the ongoing process of creating new liturgical texts in the post-Soviet era, as well as significant signs of the localization of tradition, when sometimes it turns out to be better preserved in the Orthodox diaspora of distant countries than in Russia. The destructive trends of the 2020s, observed during the lockdown and post-Covid period, which have not been overcome to this day, are outlined. The significance of the subjective factor in the formation of the musical component of the daily service and, as a result, its significant difference even within one region is not excluded.
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