Cărkovnost i muzikalno mislenie: s primeri ot tvorčestvo na Dobri Christov
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Inst. z Izkustvoznanie - BAN
2006
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: Churchiness and musical thinking |
| Beschreibung: | 304 S., [12] Bl. Notenbeisp. |
| ISBN: | 9549169766 9789549169768 |
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Datensatz im Suchindex
| _version_ | 1804136537931120640 |
|---|---|
| adam_text | Kristina
CHURCHINESS AND MUSICAL
On Examples of
Summary
The word churchiness lies at the foundation of the present study. Nowadays
we do not use this word frequently and that is why when first heard it may be
sounds alien, and sometimes sounds as a word denoting a phenomenon that may
hinder one s work, and to the ear of those who think in secular terms it may sound
even pretentious. When it is yet used, this is done in a way that is too free, within
boundaries of meaning that are too variable, and with a meaning that is subjective
enough or understood from the context or that has been arrived at by intuition.
There are reasons for that. In Bulgarian the word is known first of all through its
wide range of meanings
become established: the Russian religious-and-philosophical thought of the middle
of the 19th and the beginning of the 20th centuries. This mentally established
location immediately makes it clear that here the word is used to express an
explicit religious position. This is a position based on a kind of knowledge that
differs from scientific knowledge, a position that rests on theological cognitive
foundations. That is why it is not a chance phenomenon that in this case the word
churchiness cannot have categorical stability: according to the main
representatives of the above-mentioned intellectual trend the word should be just
what it is, i.e. it should not be a tool used by the mind that investigates, but should
instead denote the very world in which the man of the Church exists. The concept
churchiness does not exist , wrote fr Pavel
religious philosopher, and scholar, but churchiness itself exists and for every
member living in the Church is the most definite and tangible thing that he knows.
But the life of the Church becomes part of our lives and is attained only when one
lives in it, not in abstract way, not in a rational way. Just because of that
churchiness cannot be stopped within the boundaries of a concept and that is so
because it is the flow of life itself. Cognition comes to know churchiness by living
in it. Churchiness here expresses a profoundly Orthodox understanding of human
cognition, an understanding that is apophatic in its essence. That expiates to a
large extent also the fact that in the West this word is given place chiefly in the
word stock of dictionaries
However, in order for this word to receive its scholarly version and to
become fit for use as a tool of research, it should obtain the status of a concept, a
status that is refused to it by
thought as a whole, which lays the stress on the experience of life itself. So, I
would define the main endeavour of the present book as the endeavour to go along
a definite path of thinking; the path that begins with the most general verbal
designations of the phenomena described by the word churchiness as well as with
287
the use of this word, a use linked with the idea of a specific way of life (i.e., the
life of the Church) towards fixing it within the status of a concept. And only after
that there comes the attempt to investigate through this concept different levels of
the manifestations of church music to the possible limit that can be reached
through it.
To that end the path of reasoning in the first part of the book passes into
next stage by turning to a concept from a different system of thinking, a concept
taken from 20th century philosophy. This is the concept
(Worldliness of the World) used by M. Heidegger in his work
(Being and Time): Worldliness is an ontological concept and refers to the
structure of a constitutive moment of the being-in-the-world . This concept has
been adopted in our study so as to discover whether the linguistic analogy in the
word-formation points the way also to similar discoveries of meaning that become
possible through this word-formation. The worldliness in Heidegger is the
openness of being , which provides the possibility to inhabit. In the same way
churchiness, when understood in theological terms, refers to the way of living in
the Church; it is the thing that determines church life itself. The general
perspective in which one can seek the meaning of churchness lies in pointing to
the semantic area in which something has been laid and from which it comes from.
So in its status of a concept churchiness will mean the ontological grounds of all
factuality (including musical) of the Church. In that status churchiness will assign
the conditions that enable a music to be church music.
Speaking in most general terms there are three areas in which the idea of
churchiness in music is tested. The first area is outlined by the integral view about
what makes one kind of music church music, a view at the foundation of which
there lies the very relationship music
•related to the methodology of investigation as the first stage of the concretization
of this view. The purpose here is to substantiate the main approach that can reveal
in full the idea of churchiness in music. In the third area problems centre round the
possible procedures for working with the musical material. Thus the last goal of
the present study is to test the applicability of a new system of research methods
now with regard to the very process of creating music, a system of methods that
corresponds to the meaning of church music. That brings us to discussing the idea
of churchiness in music along the way of analytical actions (with regard to the
creating of music) and by the way of reconstructions (of musicological works).
Here the subtitle On Examples of
The choice of
first of all to his musical creativity in the field of church music. His are the most
remarkable specimens of this field in new Bulgarian culture. Among them are the
two liturgies of St. John Chrysostom (composed in
on the All-night Vigil
hides risks for the research workers, who, because of their desire to class it within
fixed boundaries, describe it in terms of the bipolar model in which it is either a
musical genre, an autonomous work of music, opus musicum, or applied music for
the needs of the services of worship. This scheme, which has become established
288
with the passage of time, can be overcome by the attempt to reconstruct
Christov s idea about churchiness in music, an idea that itself overcomes the
paradigm either-or.
The question about churchiness in music is a question concerning the
genuine territory of the meaning of music in the Church or, to put it in brief, it
concerns the truth about church music. And this is the point that brings us
immediately to the question about the approach that can formulate that truth.
Speaking in most general terms, the approaches are divided by a boundary that can
be considered to be a boundary between outside of and inside the tradition of
the Church, between belonging or not belonging to that tradition. The main thesis
of the present work asserts the need for a research that in its endeavor to learn the
truth about church music enters the territory of the truth that is revealed by the
music itself.
In support of this thesis the third chapter of the first part brings in the
concept of involvement defining it as an approach that not only traces the
theological foundations of church music but also that accepts them as its own.
Accepting involvement as a research approach is due to its adequacy to the very
idea of churchiness in music. Asserting the cognitive aspect of music itself, the
study asserts also the need of a method that can follow it along the way of
cognition. Thus the knowledge about music seeks what is revealed by music as
cognition.
Such a position in research work, however, cannot remain at the traditional
categories of musicology. It strives to enrich its own resources by bringing in new
theological and philosophical concepts. This position also requires a sensitive
study of the relationships between the concepts in the cases when they take place
in different systems of oppositions {sacred
sacred
methodological change from the position outside of (marked by the concept
sacređ)
scholar s detachment as a side of the scientific opposition object (of study)
subject (of knowledge) towards that scholar s accepting the totality of what the
Church gives us as knowledge.
The second part of the book directs the attention to the church music created
by composers (music as a work of art), while understanding it not within the
framework of facts of culture, but as a phenomenon of churchiness. To that end it
continues to introduce new ideas and relationships in whose context this
phenomenon can be situated and understood. Foremost among them is the
relationship sacred
approaches
what is sacred to the conviction that what is secular should be based totally on
what is sacred. The next step towards the core of the idea of churchiness is taken
by adopting the concepts of memory and remembrance. Liturgically fixed,
remembrance (with its canonical place in the part of the Eucharist that is called
Ανάμνησις
service of worship in its progress through time, but also accomplishes in reality
289
the koinonia (communion) of the Church across the dimensions of transitory and
eternal. The purpose of anamnetic music in the Church is to help the achieving of
that communion and to take part in it.
There comes in order also the question as to the theological understanding
of what is other in music. The understanding in question sees the relationship
between self ana other as one that differs from the relationship as seen by those
who study the problem from the viewpoint of cultural anthropology and history.
Such an understanding shows the link between the human personality and music
within the framework of the sacrament of the Eucharist and recalls the essential
role of music that in the words of Blessed Augustine is meant to baptize .
But that is exactly why the aesthetic interpretation of church music proves
to be rather helpless. It deviates from the very essence of that music, transferring
retrospectively into liturgical music of an idea that has definite historical validity
the idea of autonomous music. The core of this idea is the postulate that musical
materiality received through the senses generates meaning and provides meaning.
During the process of reducing the scope of the discussion, leading it to the
problems of Bulgarian cultural experience, the third part of the book directs its
attention to a reconstruction of the notions concerning churchiness that dominate
in it. This part traces the several turning points in the history of Bulgarian
musicology during the first half of the
coordinate system determined by the categories of artistic and national. The
inserting of the notion of religious in that coordinate system is the first breach in
the edifice of the idea of churchiness. Here the religious has not as yet been
refused the opportunity to make its messages known by way of music; but the
messages have been fixed within a framework alien to the content of the religious
itself. The barely visible slight opening of the door easily grew into the notion that
became popular later, the notion that puts aside thoroughly the messages of
churchiness in music. The attitude of reduction common to both cases, an attitude
that to one or another ideological degree deprived church music of its independent
religious quality, led to the point where the very core of churchiness became the
object of attack. If the remembrance, the an-amnesis, is that core, the weapon used
against it is the strategy of silence, oblivion, amnesia that has been dominating
Bulgarian public life for so long.
Having convinced as to the necessity of discovering the theological
foundations of music, the concept of churchiness will be able to implement its
work to the end when it brings to light the meaning of the specimens of music
studied by means of it. In approaching a specific example
Christov to the All-night Vigil
assignment: to situate that music within the context of the theological idea about
the All-night Service that rests on the exhortation by Christ: So be on the watch.
Pray constantly for the strength to escape whatever is in prospect, and to stand
secure before the Son of Man (Lk.
The music composed by
symbol of unceasing watchfulness at every moment, and of unceasing prayer.
Turning to it the fourth part of the book completes the giving of definite form to
290
the idea of churchiness. It is the revealing of that idea and of the Christov s
compositional method reflecting it that guide the analysis in that part of the book.
The two types of manuscripts left to us by the composer: Notes on the
Order of the Chants on the Eve of
well as on the Feasts of the Saints and Chants on the All-night Vigil reflect two
different approaches to liturgical music and at the same time are united by
Christov s idea on the meaning of church music. The first type of manuscripts can
be described as notes by D. Christov (this time as a conductor in church) written
for his own use during the service of the All-night Vigil. Here the usual hierarchy,
which gives to music prime place in a manuscript that is in essence a musical one,
has given way to the order that should be followed by it.
The Chants on the All-night Vigil are works of another mode of cultural
existence of music. These are compositions written on the one hand so as to be
sung in church (D. Christov) and on the other so as to be part of a bigger musical
entity and serve a wider plan of musical creativity. This plan, however, does not
follow the pattern of a musical cycle; in its ultimate goal it breaks the limits of
such a cycle, the independent and unchangeable opus musicum, which has been
given once and for all , by seeking again its own materialization according to the
order of the chants. At the ground of this plan there stands a definite principle
adopt the idea of infinite prayer and to return it to the liturgical act that has
brought it into being. In accordance with such a principle each composition of the
Chants on the All-night Vigil effects its link with the rest, a link hidden in the
liturgical succession. Under this state of connectedness each of the chants is a link
in the chain of the living and pulsating with meaning unity of the unceasing prayer
through music. Each of these links each time it is sung is brought into being, is
clad in sound, and reaches us. Thus the Notes and the Chants present the two
aspects of one and the same attitude to musical creativity. Such an attitude does
not set the two sides of this creativity into opposition to one another, but brings
them nearer: the one that keeps the unity of living in the Church and the other that
creates musical forms while being aware of its own spiritual foundations.
Now in the end.
wrote in December
music is for me an inexhaustible source of divine humility. One detects in it the
peace that is so much sought.
In the above passage the struggle between the Old Bulgarian chant and
Eastern chant for the name genuine Bulgarian church chant, a struggle to which
Dobry
the background. The aporetical pair opus musicum
too. What is present is the road, along which music reveals its genuine
churchiness, which brings people to God.
Translated by: Alexander
291
СЪДЪРЖАНИЕ
УВОД
ПЪРВА ЧАСТ: ЗА ОСНОВАНИЯТА НА ЦЪРКОВНАТА
МУЗИКА
Първа глава: Понятието църковност
Втора глава: Църковността между вън от и вътре във
църковната традиция
Трета глава: За въвличането, или за метода
Четвърта глава: Книгата на Рудолф Ото Святото и
перспективите на музикологичното изследване
1.
2.
2.1.
2.2.
2.3.
3.
4.
5.
ВТОРА ЧАСТ:
СВЯТОТО
Първа глава: Църковната музика в контекста на отношението
сакрално
Втора глава: Музика и църковна памет
Трета глава: Аспекти на другото в музиката
Четвърта глава: Към критиката на естетическия прочит на
църковната музика
Пета глава: Културни
Шеста глава: Литургията в българското музикално творчество:
opus musicum
Седма глава: Литургия на св. Йоан Златоуст
от Добри Христов
ТРЕТА ЧАСТ: РЕКОНСТРУКЦИИ НА ЦЪРКОВНОСТТА
БЪЛГАРСКИЯ
Първа глава: Българската музикология и идеята за църковната
музика (исторически аспекти)
Втора глава: Иван Камбуров и художеството на
църковно-хоровите творби
Трета глава: Добри Христов за църковната музика
1.
2.
ЧЕТВЪРТА ЧАСТ: СВЕТЪТ НА ВСЕНОЩНОТО
ТВОРЧЕСТВОТО НА ДОБРИ ХРИСТОВ
Първа глава: Музикалната молитва във всяко време
Втора глава: Свидетелството на ръкописите
Трета глава: Бележки за реда на песнопението
Четвърта глава:
ЗАКЛЮЧЕНИЕ
SUMMARY
ЛИТЕРАТУРА
ПРИМЕРИ
|
| adam_txt |
Kristina
CHURCHINESS AND MUSICAL
On Examples of
Summary
The word churchiness lies at the foundation of the present study. Nowadays
we do not use this word frequently and that is why when first heard it may be
sounds alien, and sometimes sounds as a word denoting a phenomenon that may
hinder one's work, and to the ear of those who think in secular terms it may sound
even pretentious. When it is yet used, this is done in a way that is too free, within
boundaries of meaning that are too variable, and with a meaning that is subjective
enough or understood from the context or that has been arrived at by intuition.
There are reasons for that. In Bulgarian the word is known first of all through its
wide range of meanings
become established: the Russian religious-and-philosophical thought of the middle
of the 19th and the beginning of the 20th centuries. This mentally established
"location" immediately makes it clear that here the word is used to express an
explicit religious position. This is a position based on a kind of knowledge that
differs from scientific knowledge, a position that rests on theological cognitive
foundations. That is why it is not a chance phenomenon that in this case the word
churchiness cannot have categorical stability: according to the main
representatives of the above-mentioned intellectual trend the word should be just
what it is, i.e. it should not be a tool used by the mind that investigates, but should
instead denote the very world in which the man of the Church exists. "The concept
churchiness does not exist", wrote fr Pavel
religious philosopher, and scholar, "but churchiness itself exists and for every
member living in the Church is the most definite and tangible thing that he knows.
But the life of the Church becomes part of our lives and is attained only when one
lives in it, not in abstract way, not in a rational way." Just because of that
churchiness cannot be "stopped" within the boundaries of a concept and that is so
because it is the flow of life itself. Cognition comes to know churchiness by living
in it. Churchiness here expresses a profoundly Orthodox understanding of human
cognition, an understanding that is apophatic in its essence. That expiates to a
large extent also the fact that in the West this word is given place chiefly in the
word stock of dictionaries
However, in order for this word to receive its scholarly version and to
become fit for use as a tool of research, it should obtain the status of a concept, a
status that is refused to it by
thought as a whole, which lays the stress on the experience of life itself. So, I
would define the main endeavour of the present book as the endeavour to go along
a definite path of thinking; the path that begins with the most general verbal
designations of the phenomena described by the word churchiness as well as with
287
the use of this word, a use linked with the idea of a specific way of life (i.e., the
life of the Church) towards fixing it within the status of a concept. And only after
that there comes the attempt to investigate through this concept different levels of
the manifestations of church music to the possible limit that can be reached
through it.
To that end the path of reasoning in the first part of the book passes into
next stage by turning to a concept from a different system of thinking, a concept
taken from 20th century philosophy. This is the concept
(Worldliness of the World) used by M. Heidegger in his work
(Being and Time): "Worldliness is an ontological concept'and refers to the
structure of a constitutive moment of the being-in-the-world". This concept has
been adopted in our study so as to discover whether the linguistic analogy in the
word-formation points the way also to similar discoveries of meaning that become
possible through this word-formation. The worldliness in Heidegger is "the
openness of being", which provides the possibility to inhabit. In the same way
churchiness, when understood in theological terms, refers to the way of living in
the Church; it is the thing that determines church life itself. The general
perspective in which one can seek the meaning of churchness lies in pointing to
the semantic area in which something has been laid and from which it comes from.
So in its status of a concept churchiness will mean the ontological grounds of all
factuality (including musical) of the Church. In that status churchiness will assign
the conditions that enable a music to be church music.
Speaking in most general terms there are three areas in which the idea of
churchiness in music is tested. The first area is outlined by the integral view about
what makes one kind of music church music, a view at the foundation of which
there lies the very relationship music
•related to the methodology of investigation as the first stage of the concretization
of this view. The purpose here is to substantiate the main approach that can reveal
in full the idea of churchiness in music. In the third area problems centre round the
possible procedures for working with the musical material. Thus the last goal of
the present study is to test the applicability of a new system of research methods
now with regard to the very process of creating music, a system of methods that
corresponds to the meaning of church music. That brings us to discussing the idea
of churchiness in music along the way of analytical actions (with regard to the
creating of music) and by the way of reconstructions (of musicological works).
Here the subtitle "On Examples of
The choice of
first of all to his musical creativity in the field of church music. His are the most
remarkable specimens of this field in new Bulgarian culture. Among them are the
two liturgies of St. John Chrysostom (composed in
on the All-night Vigil"
hides risks for the research workers, who, because of their desire to class it within
fixed boundaries, describe it in terms of the bipolar model in which it is either a
musical genre, an autonomous work of music, opus musicum, or applied music for
the needs of the services of worship. This scheme, which has become established
288
with the passage of time, can be overcome by the attempt to reconstruct
Christov's idea about churchiness in music, an idea that itself overcomes the
paradigm either-or.
The question about churchiness in music is a question concerning the
genuine territory of the meaning of music in the Church or, to put it in brief, it
concerns the truth about church music. And this is the point that brings us
immediately to the question about the approach that can formulate that truth.
Speaking in most general terms, the approaches are divided by a boundary that can
be considered to be a boundary between "outside of' and "inside" the tradition of
the Church, between belonging or not belonging to that tradition. The main thesis
of the present work asserts the need for a research that in its endeavor to learn the
truth about church music enters the territory of the truth that is revealed by the
music itself.
In support of this thesis the third chapter of the first part brings in the
concept of involvement defining it as an approach that not only traces the
theological foundations of church music but also that accepts them as its own.
Accepting involvement as a research approach is due to its adequacy to the very
idea of churchiness in music. Asserting the cognitive aspect of music itself, the
study asserts also the need of a method that can follow it along the way of
cognition. Thus the knowledge about music seeks what is revealed by music as
cognition.
Such a position in research work, however, cannot remain at the traditional
categories of musicology. It strives to enrich its own resources by bringing in new
theological and philosophical concepts. This position also requires a sensitive
study of the relationships between the concepts in the cases when they take place
in different systems of oppositions {sacred
sacred
methodological change from the position "outside of' (marked by the concept
sacređ)
scholar's detachment as a side of the scientific opposition object (of study)
subject (of knowledge) towards that scholar's accepting the totality of what the
Church gives us as knowledge.
The second part of the book directs the attention to the church music created
by composers (music as a work of art), while understanding it not within the
framework of facts of culture, but as a phenomenon of churchiness. To that end it
continues to introduce new ideas and relationships in whose context this
phenomenon can be situated and understood. Foremost among them is the
relationship sacred
approaches
what is sacred to the conviction that what is secular should be based totally on
what is sacred. The next step towards the core of the idea of churchiness is taken
by adopting the concepts of memory and remembrance. Liturgically fixed,
remembrance (with its canonical place in the part of the Eucharist that is called
Ανάμνησις
service of worship in its progress through time, but also accomplishes in reality
289
the koinonia (communion) of the Church across the dimensions of transitory and
eternal. The purpose of anamnetic music in the Church is to help the achieving of
that communion and to take part in it.
There comes in order also the question as to the theological understanding
of what is other in music. The understanding in question sees the relationship
between self ana other as one that differs from the relationship as seen by those
who study the problem from the viewpoint of cultural anthropology and history.
Such an understanding shows the link between the human personality and music
within the framework of the sacrament of the Eucharist and recalls the essential
role of music that in the words of Blessed Augustine is meant "to baptize".
But that is exactly why the aesthetic interpretation of church music proves
to be rather helpless. It deviates from the very essence of that music, transferring
retrospectively into liturgical music of an idea that has definite historical validity
the idea of autonomous music. The core of this idea is the postulate that musical
materiality received through the senses generates meaning and provides meaning.
During the process of reducing the scope of the discussion, leading it to the
problems of Bulgarian cultural experience, the third part of the book directs its
attention to a reconstruction of the notions concerning churchiness that dominate
in it. This part traces the several turning points in the history of Bulgarian
musicology during the first half of the
coordinate system determined by the categories of artistic and national. The
inserting of the notion of religious in that coordinate system is the first breach in
the edifice of the idea of churchiness. Here the religious has not as yet been
refused the opportunity to make its messages known by way of music; but the
messages have been fixed within a framework alien to the content of the religious
itself. The barely visible slight opening of the door easily grew into the notion that
became popular later, the notion that puts aside thoroughly the messages of
churchiness in music. The attitude of reduction common to both cases, an attitude
that to one or another ideological degree deprived church music of its independent
religious quality, led to the point where the very core of churchiness became the
object of attack. If the remembrance, the an-amnesis, is that core, the weapon used
against it is the strategy of silence, oblivion, amnesia that has been dominating
Bulgarian public life for so long.
Having convinced as to the necessity of discovering the theological
foundations of music, the concept of churchiness will be able to implement its
work to the end when it brings to light the meaning of the specimens of music
studied by means of it. In approaching a specific example
Christov to the All-night Vigil
assignment: to situate that music within the context of the theological idea about
the All-night Service that rests on the exhortation by Christ: "So be on the watch.
Pray constantly for the strength to escape whatever is in prospect, and to stand
secure before the Son of Man" (Lk.
The music composed by
symbol of unceasing watchfulness at every moment, and of unceasing prayer.
Turning to it the fourth part of the book completes the giving of definite form to
290
the idea of churchiness. It is the revealing of that idea and of the Christov's
compositional method reflecting it that guide the analysis in that part of the book.
The two types of manuscripts left to us by the composer: "Notes on the
Order of the Chants on the Eve of
well as on the Feasts of the Saints" and "Chants on the All-night Vigil" reflect two
different approaches to liturgical music and at the same time are united by
Christov's idea on the meaning of church music. The first type of manuscripts can
be described as notes by D. Christov (this time as a conductor in church) written
for his own use during the service of the All-night Vigil. Here the usual hierarchy,
which gives to music prime place in a manuscript that is in essence a musical one,
has given way to the order that should be followed by it.
The "Chants on the All-night Vigil" are works of another mode of cultural
existence of music. These are compositions written on the one hand "so as to be
sung in church" (D. Christov) and on the other so as to be part of a bigger musical
entity and serve a wider plan of musical creativity. This plan, however, does not
follow the pattern of a musical cycle; in its ultimate goal it breaks the limits of
such a cycle, the independent and unchangeable opus musicum, which has been
given "once and for all", by seeking again its own materialization according to the
order of the chants. At the ground of this plan there stands a definite principle
adopt the idea of infinite prayer and to return it to the liturgical act that has
brought it into being. In accordance with such a principle each composition of the
"Chants on the All-night Vigil" effects its link with the rest, a link hidden in the
liturgical succession. Under this state of connectedness each of the chants is a link
in the chain of the living and pulsating with meaning unity of the unceasing prayer
through music. Each of these links each time it is sung is brought into being, is
clad in sound, and reaches us. Thus the "Notes" and the "Chants" present the two
aspects of one and the same attitude to musical creativity. Such an attitude does
not set the two sides of this creativity into opposition to one another, but brings
them nearer: the one that keeps the unity of living in the Church and the other that
creates musical forms while being aware of its own spiritual foundations.
"Now in the end.
wrote in December
music is for me an inexhaustible source of divine humility. One detects in it the
peace that is so much sought.
In the above passage the struggle between the Old Bulgarian chant and
Eastern chant for the name genuine Bulgarian church chant, a struggle to which
Dobry
the background. The aporetical pair opus musicum
too. What is present is the road, along which music reveals its genuine
churchiness, which brings people to God.
Translated by: Alexander
291
СЪДЪРЖАНИЕ
УВОД
ПЪРВА ЧАСТ: ЗА ОСНОВАНИЯТА НА ЦЪРКОВНАТА
МУЗИКА
Първа глава: Понятието църковност
Втора глава: Църковността между "вън от" и "вътре във"
църковната традиция
Трета глава: За въвличането, или за метода
Четвърта глава: Книгата на Рудолф Ото "Святото" и
перспективите на музикологичното изследване
1.
2.
2.1.
2.2.
2.3.
3.
4.
5.
ВТОРА ЧАСТ:
СВЯТОТО
Първа глава: Църковната музика в контекста на отношението
сакрално
Втора глава: Музика и църковна памет
Трета глава: Аспекти на другото в музиката
Четвърта глава: Към критиката на естетическия прочит на
църковната музика
Пета глава: Културни
Шеста глава: Литургията в българското музикално творчество:
opus musicum
Седма глава: Литургия на св. Йоан Златоуст
от Добри Христов
ТРЕТА ЧАСТ: РЕКОНСТРУКЦИИ НА ЦЪРКОВНОСТТА
БЪЛГАРСКИЯ
Първа глава: Българската музикология и идеята за църковната
музика (исторически аспекти)
Втора глава: Иван Камбуров и художеството на
църковно-хоровите творби
Трета глава: Добри Христов за църковната музика
1.
2.
ЧЕТВЪРТА ЧАСТ: СВЕТЪТ НА ВСЕНОЩНОТО
ТВОРЧЕСТВОТО НА ДОБРИ ХРИСТОВ
Първа глава: Музикалната молитва "във всяко време"
Втора глава: Свидетелството на ръкописите
Трета глава: "Бележки за реда на песнопението"
Четвърта глава:
ЗАКЛЮЧЕНИЕ
SUMMARY
ЛИТЕРАТУРА
ПРИМЕРИ |
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| id | DE-604.BV022456516 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:38:26Z |
| indexdate | 2024-07-09T20:57:59Z |
| institution | BVB |
| isbn | 9549169766 9789549169768 |
| language | Bulgarian |
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| physical | 304 S., [12] Bl. Notenbeisp. |
| publishDate | 2006 |
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| publisher | Inst. z Izkustvoznanie - BAN |
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| spelling | Japova, Kristina Verfasser aut Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov Kristina Japova Sofija Inst. z Izkustvoznanie - BAN 2006 304 S., [12] Bl. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: Churchiness and musical thinking Christov, Dobri 1875-1941 (DE-588)122851013 gnd rswk-swf Musikphilosophie (DE-588)4123809-6 gnd rswk-swf Kirchlichkeit (DE-588)4140486-5 gnd rswk-swf Christov, Dobri 1875-1941 (DE-588)122851013 p Musikphilosophie (DE-588)4123809-6 s Kirchlichkeit (DE-588)4140486-5 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015664274&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015664274&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Japova, Kristina Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov Christov, Dobri 1875-1941 (DE-588)122851013 gnd Musikphilosophie (DE-588)4123809-6 gnd Kirchlichkeit (DE-588)4140486-5 gnd |
| subject_GND | (DE-588)122851013 (DE-588)4123809-6 (DE-588)4140486-5 |
| title | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov |
| title_auth | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov |
| title_exact_search | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov |
| title_exact_search_txtP | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov |
| title_full | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov Kristina Japova |
| title_fullStr | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov Kristina Japova |
| title_full_unstemmed | Cărkovnost i muzikalno mislenie s primeri ot tvorčestvo na Dobri Christov Kristina Japova |
| title_short | Cărkovnost i muzikalno mislenie |
| title_sort | carkovnost i muzikalno mislenie s primeri ot tvorcestvo na dobri christov |
| title_sub | s primeri ot tvorčestvo na Dobri Christov |
| topic | Christov, Dobri 1875-1941 (DE-588)122851013 gnd Musikphilosophie (DE-588)4123809-6 gnd Kirchlichkeit (DE-588)4140486-5 gnd |
| topic_facet | Christov, Dobri 1875-1941 Musikphilosophie Kirchlichkeit |
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