Abstract: The article deals with issues related to the return to the native ancient Russian singing tradition in the theory and practice of church singing in Russia of the 1850-s – 1860-s of the 19th century and the leading role in this process of the musicologist and musical theorist V. F. Odoyevsky. The composition and the content of Odoevsky's manuscript collection, which is stored in the Department of manuscripts of the Russian state library, including the largest musical and theoretical works of the XVII century, is revealed. It reflects the development of singing thought of the time: note codes hooks, double-character codes, note codes hooks on linear notes; various collections of songs, chrestomathies on church singing. The activity of Odoyevsky in the “Society of Ancient Russian Art” at the Rumyantsev Museum, including the work on the creation of fonts for the publication of hook notes, is considered. Odoevsky stood at the origins of the work on correcting the music books of liturgical singing, thanks to his efforts, a department of Russian church singing was created at the Moscow Conservatory, which included lectures on the history of church singing in its the curriculum.
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