Singing with the Angels. The Foundations of the Theology of Sacred Music in orthodoxy
DOI:
https://doi.org/10.15633/pms.1115Keywords:
sacred music, liturgy, Orthodoxy, estheticsAbstract
The author’s reflections on the theology of sacred music in Orthodoxy commences with the fact that the entire Liturgy is precisely outlined in the book known as the Typikon, which is at the same time a scenario and score of the service. The Typikon introduces order in the elements of prayer and also places an emphasis on beauty. For this reason, concepts such as artistry, artist, art and creativity play such an important role in the thought of the Church Fathers. The essence of this music is fundamentally an unceasing pursuit of the heavenly archetype, in order to attain unity between the divine realm and the human world. Liturgical music is therefore one of the ways of overcoming the fallen state and recovering the unity lost. The theory of church singing originates in Byzantium and influenced the formation of the Byzantine musical form, which delighted Prince Vladimir’s representatives in Constantinople. The beauty of the Greek Liturgy has become one of the criterions of authenticity of faith. The fascination with the beauty of the Liturgy is not an esthetic evaluation, but is a desire to grasp the essence of God through beauty. The Byzantine concept has been heavily influenced by the idea of the divine pattern, which was given to people by God by the angels or saints. This principle applies to all types of art including music. According to tradition, the well-known Byzantine hymnographer, poet and musician St. Roman the Melodist received the gift of arranging kontaktions and chants in a vision. The Mother of God appeared to him in a church and gave him a scroll with the instructions to consume it. After waking up, Roman the Melodist sang “Today the Virgin Gives Birth.” As a result, his creativity is the fruit of a gift received from God. Moreover, comparing church chants with the heavenly (from the 8th century, choir) is expressed in liturgical hymns, which tell of human voices blending with the songs of the Cherubim, thus creating a choir proclaiming the glory of God as “an icon in sound.” Liturgical chant contrasts itself with folklore songs. Church singers represented the angels, and for this reason, the name “choir” makes reference to the concept of the nine choirs of angels. Liturgical chant should sound solemnly, heavenly, and should be dematerialized (complemented by church architecture, giving the effect of poured out sounds rising to the dome of the church and returning as celestial and heavenly chant).
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