Teologiczno-estetyczne wyznaczniki sakralności dzieła muzycznego

Autor

  • Jacek Bramorski Akademia Muzyczna im. S. Moniuszki, Gdańsk

DOI:

https://doi.org/10.15633/pms.552

Słowa kluczowe:

muzyka w liturgii, wyznaczniki sakralności dziela muzycznego, ars celebrandi, estetyka teologiczna, Joseph Ratzinger (Benedykt XVI)

Abstrakt

In the face of great music, a human being rises in the attitude of contemplative admiration, feeling the border of everyday life is crossed and the land of transcendental beauty entered. Joseph Ratzinger ‒ Benedict XVI is an experienced guide on this way. Recollecting the ancient concept harmonia mundi, he outlined with impressive momentum the cosmic character of church music, in which heaven joins the earth, and the singing of angels with the singing of people so as to admire God the Creator in one ”new song”. Referring to the ancient logos theory, card. J. Ratzinger presented it as the expression of human longing for the possibility of a dialogue with the Absolute. The eternal Logos receives the face of a human being full of love in Jesus Christ. Christ sends the Holy Spirit, to lead the christian to discover the excellence of Divine Beauty reflecting itself in music. The Holy Spirit makes this beauty express itself in the life of the Church being the Mystical Body of Christ. Participating in the beauty of Divine life becomes possible thanks to liturgy, in which ”the new song” of the Poeple of God pilgrimaging to the eternal home in heaven, resounds continually. The above aspects indicate the basic theological and esthetic determinants of the musical work as sacral.

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