Meždu angelite i čovecite: liturgičeskata muzikalno-chimnografska tradicija na isichazma
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Sinodalno Izdat.
2006
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Betweeen the angels and the people. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 366, 35 S. Ill., Notenbeisp. |
| ISBN: | 9548398389 9789548398381 |
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| 245 | 1 | 0 | |a Meždu angelite i čovecite |b liturgičeskata muzikalno-chimnografska tradicija na isichazma |c Ivan Stojanov Ivanov |
| 250 | |a 1. izd. | ||
| 264 | 1 | |a Sofija |b Sinodalno Izdat. |c 2006 | |
| 300 | |a 366, 35 S. |b Ill., Notenbeisp. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a PST: Betweeen the angels and the people. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache | ||
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Datensatz im Suchindex
| _version_ | 1804136568649154560 |
|---|---|
| adam_text | СЪДЪРЖАНИЕ
ПРЕДГОВОР
/13/
ОТ АВТОРА
/19/
Вместо увод
ОТ ВИДИМОТО КЪМ НЕВИДИМОТО
ОТ ЧОВЕКА КЪМ БОГА
/25/
Иконата
Христовата светлина
Човекът
Белеоіски
Глава
ИСИХАЗМЪТ И ЛИТУРГИЧЕСКАТА
ЦЪРКОВНО-ПЕВЧЕСКА ТРАДИЦИЯ
/43/
Мистичното ангелско пеене на исихастите в певческите сборници
οτΧΐν
Исихастко богословие и мистика
Исихастката мистика в калофонните творби
и ролята на хирономичните знаци-афона
Ръкопис Атина
Влиянието на късновизантийския исихастки модел в балканския
славяноезичен регион
Синодикът на цар Борил
Произход и специфика на ръкописа
Богословска интерпретация на откритите
невмени знаци в ръкописа
Литургическа употреба
Ръкопис Месина
Ръкопис
Датировка,
Авторство и съхранение на Рилските музикални
Влиянието на сладкогласните майстори върху
Рилската църковно-певческа традиция
Музикологично представяне и богословска интерпретация
на проблеми, свързани
от ръкописа РМП
Текст и музика
Молитвата, отправена към Бога
Ръкопис Атина
Датировка,
проблеми на ръкописа
Евстатиев кодекс
Датировка,
проблеми на ръкописа
Бележки
Глава
МУЗИКАЛНИТЕ ТРАКТАТИ
ТЕОРИИ И МИСТИЧЕСКО СЪЧЕТАНИЕ НА ЗНАК И СИМВОЛ
/165/
Пападиките във византийската богослужебна практика
Хилендарски ръкопис
Произход и датиране на ръкописа
Съдържание и език на ръкописа
Богословско-екзегетическа и
интерпретация на Хилендарския ръкопис
Codex Vatic.
Произход и съдържание
Codex Vatic.
Произход и съдържание
Текстово-критично
интерпретация на текста
Codex Laurae 1656........................................................................................212
Произход
Господи, очисти
и
Codex Vatic.
Специфика на ръкописа
Ms. Ottobon. Gr. 317.....................................................................................220
Специфика на
Ръкопис
Специфика на ръкописа
Codex 610
Произход и съдържание на ръкописа
Богословски проблеми, откриващи се в ръкописа
Бележки
ЗАКЛЮЧЕНИЕ
/249/
SUMMARY
/253/
СЪКРАЩЕНИЯ
/278/
АЗБУЧЕН ПОКАЗАТЕЛ НА ТЕРМИНИТЕ
/280/
АЗБУЧЕН ПОКАЗАТЕЛ НА ИМЕНАТА
/323/
БИБЛИОГРАФИЯ
/327/
ТЕКСТОКРИТИЧНИ ИЗДАНИЯ,
СВЕТООТЕЧЕСКА И БОГОСЛУЖЕБНА ЛИТЕРАТУРА
/343/
253
SUMMARY
Created as a crown of creation, the man in the Church is called
to be a participant in God s creativity. The history, teaching and
tradition of the Orthodox Church are a true testimony for this pro¬
cess. The acceptance of the Christian confession of belief, the real
and at the same time mystical experience of this acceptance by the
Christian believer, leaves a profound imprint in the church process
of artistic creation, participating in this way in the angelic glorifica¬
tion of the Creator of Heaven and Earth. This activity of creating
worship music has been fully expressed in the song and hymnographic
works of the Eastern fathers from the Middle Ages.
The book „Between the Angels and the People , which rep¬
resents the liturgical tradition of Hesychasm in musical and
hymnographic monuments from
for cross- disciplinary liturgical research where the achievements in
the field of theology and musicology are brought together.
THE PURPOSE OF THE RESEARCH
The purpose of this book is to reveal the influence of the teach¬
ing of Hesychasm on the creation, development and the liturgical
application of the church music and hymnography, through the dis¬
cussion of different problems, on the basis of written and oral testi¬
monies, preserved till nowadays. This purpose is also achieved
through an interpretation of the source materials
musical and hymnographic works) in the context of Orthodox be¬
lief and the teaching of the Holy Fathers, closely connected with
the liturgical tradition of the Church in 14th
of the teaching of Hesychasm. The deepness of meaning of the
254_______________________________
musical phenomena from the tradition of the Middle Ages has been
revealed on the basis of the theological cognitive foundation, the
foundation of belief.
This research is based on data, connected with the liturgical
Greek and Slavonic tradition and also, with the mystical perception
and interpretation of the musical and hymnographic works in
14th century- in the period of blossoming forth of the theological
cognition of Hesychasm. The testimonies of one of the most impor¬
tant theological, musical and hymnographic resources from this
period have been used, described in the liturgical codices, involved
in the dissertation.
METHODS OF RESEARCH
The principles of the liturgical and musical methodology have
been used in the book, applied in accordance with the sources and
their theological interpretation. The basic methods, which have been
applied are: the method of historical comparison, applied in con¬
nection with particular historic events and people from the period
described, and also, in order to solve the problem of the authentic¬
ity of the monuments, used in the research; the method of text-
criticism, applied to particular musical and hymnographic texts; the
hermeneutic,
terpretation of the contents of different liturgical- musical and
hymnographic works.
CONTENTS
The contents of the book Between the Angels and the People
involves basic problems, connected with the theological, musical,
and hymnographic tradition of Hesychasm. The hypothesis that the
spread and application of the teaching of Hesychasm was expressed
through the new music and hymnographic stylistics, has been of¬
fered by the author. This has been proved through the liturgical
Summary
analysis of the presented texts from the musical and theoretical trea¬
tises (Greek and Slavonic) in the period of ll 1 and
The analysis reveals the methods of preaching the belief in the sing¬
ing tradition of the Byzantine church, which gives a reason for ra¬
tionalization of its liturgical life.
INTRODUCTION:
In the introduction titled From the visible to the invisible
from the man to God a focus has been put on the icon- painted,
word and musical, as a liturgical image- reflection of God s image
in liturgy. Ancient liturgical texts and hymns have been discussed.
They depict the act of enlightenment with Evangelic light (presented
in the sacraments Baptism, Anointment and Eucharistia), the light
which springs from the life and deed of Lord Jesus Christ as an icon
of the Glory of God. A liturgical analysis of some of the texts from
the prayers, involved in the
cording to the Byzantine liturgical tradition, presenting testimonies
that Jesus Christ is an icon of God the Father and the man is an
icon of Jesus Christ. On the basis of the achievements of contempo¬
rary liturgists, the thesis has been expressed that the Liturgy is a
living icon, built up by people, which features the reflected image of
the Kingdom of God.
CHAPTER I: HESYCHASM AND THE
LITURGICAL CHURCH SINGING TRADITION
The first part of this chapter sets the topic of the mystical an¬
gelic singing or sweet- voice singing of the Hesychasts according to
the musical and liturgical characteristics of the song collections
(akolouthiai) in the period of 14th
Basic views of the teaching of Hesychasm has been clarified,
set in the context of the discussed problems, concerning the influ¬
ence of Hesychasm on the formation of the oral and written church
256
singing tradition of 14th
The connection of Christian faith and mystics has been under¬
lined as a basis in the process of creation and interpretation of the
music and theoretical treatises of the Middle Ages.
The authors of the treatises- Papadiki (in most of the cases
masters creating music and protopsalts- the first singers), introduced
people into the art of singing on the basis of the Orthodox confes¬
sion of faith. The students, (psalmists and anagnosts- readers),
learned from their teachers the mysterious teaching about church
music, thanks to their belief in God. During the Middle Ages a
testimony for Christian belief was everything created in the sphere
of theology and Christian art, involving the musical and
hymnographic creations of the Holy Fathers of the Church. The
medieval authors of music needed belief to dare to worship and
praise the always glorified God. The authors and performers of the
Byzantine church music, as the texts of the treatises testify, speak a
lot about cognition, which the singers have to acquire (Ms. Vatic.
Gr.
the Papadiki in order to be able to interpret and create a perfect
music according to the Church tradition. The authors of the medi¬
eval Byzantine music aimed at reaching unity with God
which has been testified by the Holy Fathers of the East.
The new music and notation, connected mainly with the name
of St John Koukouzeles, are discussed in the context of the desire
for obtaining the archetype- angelic singing, serving to assist the per¬
sonal spiritual perfection and reaching a knowledge of God. Thus,
in order to obtain the archetype- the angelic singing, the prototype
has been preserved or the particular musical decision. As a direct
proof of this for example, St Basil the Great in the Prologue of the
Eucharistie
ing, uses the therm theology
God (theology)
man praise doxology
rectly, the singers are required a due behavior by the music treatises
and angelic-like or image reflecting interpretation of the hymnographic
and musical texts.
The akolouthiai in 14th
sic, based on written testimony. Sometimes they are anonymous. As
Summary
it was testified by MS Sinai
attributed to John Papadopulos, appears in the repertory of Great
Vespers. It is a written proof of the appearance of a new Byzantine
church singing repertory.
Studying the MS Sinai
to some theologists doing research, the idea of the new is a specific
one and it is not used in the manuscripts after this period. In this
regard, it is considered that the new is the well interpreted old. The
creation of such repertory was in harmony with the new theological
concepts. The old singing repertory turned out to be not satisfac¬
tory and because of this reason, an active creation of music started
in the period between 13th and 14th century.
The song collections called avkoluqi,ai, involving church sing¬
ing repertory from the Paleologion time, were connected with a
new or newly composed, stylistic layer (defined as new
his earliest documents). The newly composed repertory has been
defined as
improvement, sweet voice
φωνή
from 14th
oikratimata or melodies, deprived of words, built on syllables with¬
out words. The neumatic class is formed of the so called Great
hypostasis
in two South Italian manuscripts from 13thcentury, the first of which
is the Ms. Mesina
tine collections- akolouthiai. This term is connected with the music
treatises, the so-called Papadike.
The process of liturgical synthesis marks its pinnacle during
the second half of the 14th century as a monastic blossoming,
Paleologian, musical Renaissance, when the idea of the mystical word¬
less worship takes an advantage and stable place in the liturgical
practice of the Orthodox church.
Hesychasm finds its place in the music and hymnographic works
which preserve the authenticity and originality of the dogmatic defi¬
nitions of belief and even enrich them with an angelic character.
The new neumatic classification has been attributed to St John
Koukouzeles as called angel-voiced from the Great Laura of Mount
Athos,
258_________________;______________
particular historical age, but also, initiates the tendency of renewing
the paleological prototypes. As a creator of art Koukouzeles, he ex¬
presses the typical for the Byzantine art aspiration for taking out
the elements, (for example the melodic figures- formulas or the music
words), from the whole (the types of melodies and their traditional
phraseology system) to the level of a separate existence, which can
be understood only in the context of the teaching of Hesychasm.
The personal contacts of St John with St Gregory of Sinai and St
Gregory Palamas testify for the connection of the musical work of
St John Koukouzeles with the teaching of Hesychasm. The doxa-
refrains also reveal the common elements between the newly cre¬
ated music and Hesychasm, i.e. the connection between words and
sound. The texts of the doxa- refrains from the Preliminary psalm
of the Great Vespers of St John Koukouzeles are a clear evidence
of this: Glory to You Lord, Light which has not been created, which
appeared in front of Your disciples at Tavor, Glory to You Holy Trin¬
ity or
glory to You Son, transfigured at the Mount of Tavor, glory to You .
The newly appeared song books with mixed character, regard¬
ing genre and stylistics, called avkolouqiai, testify for the increased
activeness of the musical and theoretical thought during the 14th
century.
The kalophonic melodies
by the specific treatment of the text. An evidence for this, is the
introduction of a great number of syllables the typical te-ri-re, (be¬
cause of which these melodies- a part of the collections
Kratematarioni are also called teretismi -kratimata). The accent has
not been put on the outer appearance of the kalophonic singing, but
on the principle of relationship between God and the man, expressed
in the musical works of Hesychasm. The connection between the
musical manuscripts from the late Byzantine period and the newly-
composed repertory has been emphasized. The
dies without words and without any poetic sense, but they are an
expression of the spiritual experience of the singer. In this sense, the
ideal for perfection of the teaching of Hesychasm-
the man s spirit for what he has been created for- trying to reach
knowledge of God, was achieved by the creation of the calophonic
melodies, considered the most perfect.
Summary
According to the interpretations in the late Byzantine musical
and theoretical works, the calophonic tunes expressed in a specific
way the idea of Hesychasm for getting to know God through the so
called wordless prayer. The idea for the wordless singing is connected
with the concept of the word according to Hesychasm. This is the
reason for the appearance of an increased demand of the musical
word. Connected with the influence of the tradition of Hesychasm
over the musical creativity on the Balkans, the process of musical
reformation for the Slavonic liturgy starts in 14th- 15th centuries. It
refers not only to the usage of the Slavonic language in liturgy but
also to the acceptance of the newly- created late Byzantine angelic
singing and its notation in the Slavonic language.
An attempt for an interpretation of the calophonic melodies
has been made in the discussed book. A right interpretation of the
calophonic melodies is being searched through a theological inter¬
pretation of this new musical stylistics.
The mystics and singing of Hesychasm take a basic part in this
theological interpretation. St Gregory of Sinai also testifies for the
singing of Hesychasm. According to the interpretation of different
authors, the musical treatises with
contents, are accepted as angelic singing. An opportunity is given to
the human soul to contemplate the presence of God and His great¬
ness, to elevate itself closer to Him, similarly to the angelic pres¬
ence at the throne of God, through the principles of the calophonic
and the angelic wordless singing, used in the musical works of the
14th century. It was definitely provoked by the theological teaching
of hesychia (silence, contemplation) and absence of words in the
relationship between the Christian believer and God. In the period of
the sweet- singing the church singers did not try to enjoy the perfec¬
tion of their voices and their talent for singing but on the contrary,
they tried to separate themselves from the words, involved in the
text and to continue to express their worship in a mystical, even
wordless way, according to what we can see as evidence in the Song
of The Cheroubims .
The most early dated source for the collections of songs-
akolouthiai, which testifies for the conception of hyronomic sym¬
bols, is the anthology Ms. Athenae
of St John Koukouzeles, involving polyeleion calophonic verses as
260_______;________________________
well. This manuscript also introduces terirem- melodies, impressing
with the presence of a great number of hyronomic symbols, carry¬
ing on the one hand, a variety in their performance, and on the
other hand, the coded musical stylistics of John Koukouzeles. It
could have been presented only through a real participation in the
process of performance and interpretation of the melody.
The term Great hypostasis
hyronomic symbols
14th century. But we can find the names of these symbols and their
graphics before the 14th century- in the earliest neumatic descrip¬
tion that has been preserved till nowadays in the
Γ
come a base for the creation of exercises for singing, the most sig¬
nificant of which are those written by St John Koukouzeles and
John Glykis.
time, writes about the hyronomy that it is a law left as a legacy by
the Holy Fathers, two of which are St
John of Damascus, to whom the Byzantine singing tradition has
attributed the creation of hyronomy.
The musical treatises- Papadike are based on the teaching of
Hesychasm and are turned into a canon of the belief lot the singers
in the period
St John Koukouzeles, he spent weeks outside the monastery, prac¬
ticing hesychia. Metropolitan Theolept of Philadelphia, mentioned
by St Gregory Palamas, as one of the forefathers of Hesychasm,
emphasizes in his works the importance of listening to
comparing it with God s commandments and calls it
the monk s values. St Gregory Palamas preaches about the vital
necessity and the potential miraculous help coming from the liturgi¬
cal singing. He warns the people about the evils that will come if
they neglect the singing worship of God. St Gregory of Sinai classi¬
fies the
akolouthiai-anthologies turn out to be a basic evidence for the char¬
acter of music in the 14th
style, improved into a new calophonic vocal style.
The calophonic style in Bulgaria has been thoroughly re¬
searched by the Bulgarian experts in medieval study and the musi¬
cal scholars. They set a goal to analyze the Balkan singing practice
Summary
in the 14th century, that is reflected in the oldest preserved collec¬
tion of songs from the akolouthiai type, presenting its contents and
explaining the problems accompanying the authorship of the musi¬
cal work
The musical sources attribute its authorship to the singer with an
angelic voice from the late Balkan Middle ages
Koukouzeles.
The presence of the unvoiced signs
calophonic musical works, reveals the mystical side of the musical
text.
Doing their research, some authors refer to biblical testimo¬
nies as the written in Revelation by the St Apostle Evangelist John
Theologian
many waters, and as the voice of a great thunder...
verse from St John s Revelation and the teretismata an analogy is
made, according to which the syllables te-ri-re are similar to the
sound coming from many waters, and as the voice of a great thun¬
der. Melodies without words
of the collections of songs from the akoluothiai type as a separate
material. The monk Gerasim of Crete explains the meaning of the
teriremi
are similar to the angelic singing without words- worshiping God in
an indescribable way, i.e. angelic singing. The testimony of the monk
Gerasim of Crete is very clear. According to him
re were discovered by the prophets when they heard sound from
heaven as the voice of many waters, which as he emphasizes was a
sound, not a word. This monk also supports his statement with the
testimony of the St Apostle Paul about the third heaven- paradise.
The singing without words means to understand and worship God
in an indescribable way.
The Paleologian musical practice is closely connected with the
newly created music. The definition kalos, kalophonikon has a par¬
allel in the literature where it is called po
ness, virtue. We can consider that the stylistic phenomena in music,
connected with the definition calophonic, did not mean rather a
decoration, but improvement, making nobler, increasing the num¬
ber of virtues, perfection in a spiritual sense
strive for reaching a resemblance with God, typical for Hesychasm.
262 -_________- ________________
The influence in the Balkan Slavonic region of the late Byzan¬
tine model of medieval singing, typical for Hesychasm, is shown in
the research. Different manuscripts are referred to as evidence.
Synodic of King
King
volves accusations against heresies. The Synodic of King
written on the basis of a Greek Synodicon, thah was made on the
occasion of the Council, summoned on February
jecting the heresy of the Bogomils. The original document has been
lost, but there are its copies that have been preserved
Palauzov
from
method of the singing positions- melodic figures- formula e), it is
found out that it belongs to the late Byzantine stylistics. Having in
mind the popularity of the master of singing St John Koukouzeles,
and that he probably belongs to the Bulgarian ethos, he is attrib¬
uted a possible authorship of the melodies in the Synodic.
At the comparative research of the neumatic signs in the monu¬
ment, regarding one of them, (which remained initially unidenti¬
fied), it became evident that according to its size and its place in the
neumatic texts, it belongs to the so-called big hyronomic symbols
great hypostaseis
It is difficult to find out why there are new terms, signs and
whole neumatic formula e, that appear in the formation of the me¬
dieval musical palette. They are defined simultaneously with the
old Byzantine and the old Slavonic musical church tradition, as giv¬
ing a new meaning to the already established formulations and con¬
necting them with the mystical experience of the church cult. The
church songs from the Uspenski Kondakar, from about
LavarskiKondakar from the second half of 12th century, are brought
as evidence of this, together with the record of the late Byzantine
notation and the old Bulgarian monument Trefologiy of the Zograf
monastery „St Great Martyr George from the second half of the
13th century.
The liturgical application of the Synodic of King
basic place. This monument is of exceptional importance because
of the basic liturgical and canonic essence which it had within the
Church. The Synodic of Orthodoxy or the Orthodox Sunday, (as it
Summary
is often written in the sources), is closely connected with the holi¬
day, celebrating the triumph of the Orthodox church against the
teaching of
of respecting icons. As a musical monument, the Palauzov s copy of
the Synodic of King
melodies, (with Slavonic parallels in the text), that are in its con¬
tents, is the one that has been an object of a greatest research. Its
liturgical application is connected directly with reading out acts at
the Oecumenical councils during Divine Liturgy. According to the
research that has been made so far of the sources of the Synodic
preserved till nowadays, its liturgical application during church ser¬
vice is connected with its reading (chanting and melodic) behind
the pulpit, similarly to the Gospel and the sermon.
Acclamations are offered, connected with the acts of the
Oecumenical and the Local councils of the Church. We discover
the presence of a wish for many years of life and prosperity, which
was traditionally directed to the emperor or the patriarch. Texts of
church singing, closely connected with the acts of church councils,
are found in the second part of the Palauzov s copy, which accord¬
ing to scholars is connected with the writing of the Sluzhebnik of St
Patriarch Evtimiy of Tirnovo. The main conclusion from this new
interpretation of the musical texts in the Synodic of King
that these unique musical monuments of ceremonial solemn perfor¬
mance belong to the Byzantine acclamations, according to the writ¬
ten sources. A connection has been made between Ms.
and the Synodic of King
Another resource is Ms.
musical inscribtions (RMI), which is now being preserved in the
library of the Academy of science in St Petersburg.
At this exhibition, a special attention is paid to this resource
and the influence of the sweet- singing masters of the
singing tradition. The possible identification of the author is con¬
nected with the
Bulgarian scholar Vladislav
The
of the glagollic fragments with the
song collection of Vladislav
1473.
264 ___________________________
tions about that time, but there is such in the second, preserved in
the library of the
Rila Panagerik
During their research of the musical notes that are in the manu¬
script, Bulgarian theologians find out, that they are made by one
and the same person
writing and singing. The Bulgarian musical scholars and
palaeographers draw the conclusion that the author of these musi¬
cal notes was definitely trained in psaltic singing. The results from
this research allow the defining of the
unique monument of liturgical singing in the western region of Bul¬
garia in 15th century.
An important fact in the research of the
script is its connection with other written (Greek and Slavonic)
musical sources from 15tb century, as for example the Papadika
anthology from
above mentioned monuments there is a synthesis of an earlier and
more popular singing practice and late Byzantine sweet- singing; a
synthesis that could have had as a result a brilliant performance of
the Balkan Slavonic musical technique, the so called pletenie
-
In regard with the theological liturgical interpretation of the
offered information in this medieval treatise, we find some more
details in the spirit of the discussed problems and on the basis of the
already established scientific terminology. A basic attention is paid
on the melodic formula, noted with matching two basic hyronomic
symbols-
scholars, this combination is among the most popular in the neumatic
records from the late Byzantine period. The idea of a musical tech¬
nique called rolling of the voice is explained, in connection with the
symbolic conjuncture psifiston- pamclesma and intensified tremolo,
referring it to the tromikon-paraklesma. An interesting information
is received from note III-c. In the explanation, referring to the per¬
formance of the antikenoma, the writer introduces the abbreviation
„г -„глаголюще
An attention is paid on the singing, connected with this monu¬
ment and more particularly
In this case it has two melodic beginnings of First
Summary
where the author writes in notes the melodic formula of the
paracalesma twice. According to the comparative research, in com¬
paring the melodic beginnings of the „Cheroubikon hymn on the
first
thor David
sions, mentioned in the notes of Ms. Athens
century and Ms. Athens
gical singing has been defined as one of the most popular in the late
Byzantine, the so called Cheroubikon
According to the theological interpretation of the church sing¬
ing „Cheroubikon hymn , requiring a particular spiritual mood from
the believers, the author pays a serious attention to the beginning
and offers it in a different version, with a highly analytical realiza¬
tion of the musical structure. An example is given with the usage of
the hyronomic sign paraclesma. The
lels in other Byzantine and Slavonic monuments.
The attention is focused on the Ms. Athens (Gr. Slav.)
Collection of songs from Jegligovo (Anthology oflsay). In it we dis¬
cover Slavonic translations of works written by St John Koukouzeles
from the late Byzantine period- seven polyeleion refrains.
This source offers some essentially valuable information about
the Slavonic medieval church singing on the Balkans. It is known
that these the so-called polyeleion refrains were introduced into the
practice of the selected psalms; a practice which was connected
with the activity of the respected Byzantine scholar and theologian,
Niikifor Vlemid from 13th century. According to the musical schol¬
ars Slavonic texts of refrains were created at the beginning of
century by the Romanian monk Filotei and it has been accepted
that they put the beginning of the Romanian Slavonic hymnographic
creativity. The Slavonic translations of the polyeleion refrains of St
John Koukouzeles, bring forward the problem of the musical trans¬
lation, i.e. the combination of Greek melodies with parallel Slavonic
translated texts during the period full of melodic innovations, and
more particularly, about the relation- melodic example and local
singing tradition.
The earliest neumatic record of polyeleion refrains to the ba¬
sic Psalm
Bachkovo, which presents the earliest discovered monument of
266_______________________________
polyeleion singing from the late Byzantine type. According to some
musical scholars these early polyeleion refrains are anonymous.
According to the musical resources from the
14th
John Koukouzeles- the resources attribute to him nine refrains, (to¬
gether with separate creative activities most of which are of his con¬
temporaries John Glykis and Ksenos Koronis). The refrains are
composed in Greek, but in the presented
lated in Slavonic. The fact, that the manuscript represents the transi¬
tion from the oral Slavonic singing tradition to the written tradition,
is very important. Through the written sources we have the opportu¬
nity to reconstruct the hymnographic and singing tradition of the
Slavonic melodies in the period from 9th to 13th and 14th century.
The presented Ms. Athens
Jegligovo), involves manuscripts, known as Polyeleion refrains of St
John of Rilski, at the first authentic modes. In the Anthology-
akolouthiai from Jegligovo there are two types of hymns, stylisti¬
cally similar to the traditional practice, from the type singing as in
modes, which is accepted to have been established in the Slavonic
oral tradition. As a more ancient singing, it can be found in the
musical Byzantine manuscripts.
The Ms. Evstatiy is being discussed not on the last place. This
manuscript is from the book of
the well known
„Putna
from Middle Bulgaria has been presented nearly totally in the
Evstatie s collection of songs. There are separate liturgical songs in
it together with the whole series of liturgical songs in Middle Bul¬
garian. The manuscripts from the
used as evidence. They also present a bilingual church practice in
Greek and Middle Bulgarian. The manuscripts belong to the type
of the late Byzantine collections of songs
musical repertory for the basic parts of the liturgy: Matins, Vespers
and the three Byzantine liturgies.
The Palauzov s copy of the Synodic of King
ond half of the 14th century has been connected with the
activity of the St Patriarch Evtimiy of Tirnovo. This is the earliest
document proving the existence of a process of the influence of
Summary
Hesychasm not only on the written works, but also on the creation
of musical and hymnographic works. The personality of St Evtimiy
of Tirnovo is revealing the great importance of the acceptance and
establishment of Hesychasm in the liturgical tradition of Bulgaria.
Some musical scholars think that the holy patriarch Evtimiy, who
introduces a reform of the Bulgarian language in literature on the
basis of the concept of word typical for Hesychasm, could not avoid
the introduction in details of the music, created in the spirit and
practice of Hesychasm. This probably lead to the improvement of
the Bulgarian liturgical music (according to the evidence provided
by the musical monument from
involving archaic notation for that time).
CHAPTER II: THE MUSICAL TREATISE
THEORIES AND MYSTICAL COMBINATION
OF SIGN AND SYMBOL
In this chapter of the book the focus is put is on the medieval
musical treatises. An analyses has been made on some of the texts
from the Papadiki in order to reveal in details their essence and
function as completely musical theories or as a mystical combina¬
tion of sign and symbol.
At the beginning the Slavonic My. Hilandar311 from 18th cen¬
tury and its treatise- translation are discussed. On the basis of theo¬
logical and
cal analyses of the text, a hypothesis has been made, that the Byz¬
antine medieval melody is created on principles, referring to the
faith and the dogmas, coded in the songs- prayers. Because of this
reason the content of this chapter is connected with other earlier
treatises, reflecting the theological and musical concepts from that
period. In the theological interpretation which has been offered,
there is an accent on the announcement through music, referring to
the perfect truth, i.e. knowledge of God.
Very important in musical and theological terms are both the
theoretical texts, having the so-called echemata (introductions in
the melodies), that clearly testify for the confession of Christian
268_______________________________
belief.
The connection of the intonation formulas with the prayers
and mysteries of the Church has been revealed. This is proved by
the texts of Cod. Laurae
the Byzantine Eucologion
gr.213, Goar,
and others). The mystical combination of musical symbols is dis¬
covered in the Circle of St John Koukouzeles.
The Papadiki are defined as kind of musical and theoretical
treatises, which appeared in 14th century in the new mixed as genre
and style collections- the anthologies. They reflect a tradition, which
proves the influence of Hesychasm in the creation of music and
hymns in the late Middle Ages. The similarities and differences in
the texts and treatises are presented, through focusing on the signs
and their symbolic meaning. Here we find a connection of basic
principles for the belief with the practice of learning the musical
signs or phrases and the liturgical application of separate writings,
which become basic examples in the theoretical treatises.
The research of the Papadiki begins with a Slavonic transla¬
tion of a papadika in Ms. Hilandar
the 18th century, but it presents the principles of Byzantine music
from 14th
the Byzantine writing of the notes- neumas in the treatises from the
papadiki type. The Hilandar codex has in its counts of
paper, where the first
the first Byzantine papadika, translated from Greek into Slavonic,
which was discovered together with a bilingual codices
papadika from the
monastery.
Theological, exegetical and text criticizing interpretation of the
text has been made of the Hylendar s papadika. The problems re¬
searched here refer to the first lines of the papadika. It turns out
that this musical and theoretical treatise presents a text which re¬
flects the theological concept and mystical view of music at the end
of the 14th and
pretation of the introductory words in the treatise, connected with
God, God s name and creation- those of higher places and those of
lower places, (every speaking and wordless creature). In support of
Summary
the conclusions that have been made, testimonies from the teach¬
ing of the Holy fathers of the church are given. Here we find the
allegoric method in the interpretation and explanation of the lite¬
rary texts.
The teaching of
ing „About the Heaven Hierarchy ) is discussed, about the contrast
between the two ways of knowing God and also about God s ener¬
gies that appear, similarities and differences. An example has been
given with the teaching of St Maxim the Confessor in „Mistagogia
about the way through which we can reach knowledge of God. The
mystical theology of the church has been discussed and the teach¬
ing about God s predetermination connected with it according to
the interpretation of these problems by respected theologians. The
concepts of St Grigoriy Palamas have been emphasized referring to
the apophatic theology of the Eastern church. The concepts of St
Gregory Theologian and St John of Damascus are added, referring
to the nature of God and to the energies from God.
A conclusion is drawn that the Byzantine medieval melodies
respond to principles, referring to the faith and dogmas, coded in
the liturgical songs- prayers. The Byzantne creators payed a great
attention on the harmony between the text and the melodies, which
is a subject of musical interpretation.
A critical research of the Greek and Slavonic texts of the mu¬
sical treatise has been made and also of their parallels with texts
from the Holy Scripts (the words beginning-
i.e. A and
logian
accent is on the second introductory sentence of the musical trea¬
tise, beginning in this way:
parallel has been made with the teaching of Dionisiy Areopagit about
the energies regarding the numerous names of God
and „in the beginning: (Genesis
ing of St Maxim the Confessor about time as a form of the world
being. The cosmology of the holy Fathers is discussed and more
particularly the teaching of St Basil the Great.
The text of the discussed Hilendar s musical and theoretical
document is an evidence about the deep dogmatic and theological
concept of the authors during the Middle ages and more particu-
270_______________________________
larly
From the very beginning of the treatise with the words
συν Θεφ άγίφ
with the sacred grace and power of God s name
Sanctus
Revelation of St John Theology s
Λόγος ην προς τον Θεόν,
There is a focus on the adjective Holy. The Angelica song
(Sanctus) has a basic importance in the prayers of the Church from
ancient times. The so called theology of the angelic song is explained,
found in the different
the Church both on the East and the West The text of the
tie
the people worship God-
rifying God in hymns-
and church authors are applied.
When we make an analyses of the concepts upper and lower,
(in the hierarchy), spirits and bodies
φωνών, σωμάτων τε καί πνευμάτων),
liturgical symbolism of
with St Basil the Great classify the hierarchy of the angelic host in
nine ranks, divided into groups. St Cyril of Jerusalem proves in his
„Mystagogia , catechizing the newly baptized, that it concerns one
true and definitely praising memory. Through this praise God is
worshiped as the only one and true Creator of everything visible
and invisible.
At the theological analyses and interpretation of the text we
discover that these upper and spiritual voices answer the angelic words
or hymns of praise, and the lower, who are in bodies- answer human
praise (of every creation on earth
tises can be interpreted as a visual explanation of the main truths of
the faith of the Orthodox Church, similarly to the worshiping of the
icon. For example the sign
omnipresence of God, His inalterability. On this terms every musi¬
cal sign can be a subject of discussion not only in the context of
musical exegetics but also in the context of theological interpreta¬
tion.
According to the evidence, provided by an anonymous author
Summary
of a late Byzantine treatise „Akrivia (from 15th century), the signs-
spirits are enlisted after the signs- bodies. The same treatise gives an
example for the similarities and differences between the signs. It
gives an explanation of the meaning of the signs- spirits. Pseudo-
Damaskin uses as evidence verses from the Holy Scriptures. A par¬
allel has been made with the Codex Petropolitanus Graecus
The Byzantine author Cyril from Marmara (from 18th century) also
testifies about it. According to the rules of the papadiki,, the upper
spirits subordinate only the upper bodies and the lower spirits- the
lower bodies. The teaching of St Gregory from Nissa about the soul
and the body is given as an example.
The words „beginning, middle part, end from the second part
of the Hylendar treatise are connected with the idea of God s
omnipresence. He is the Beginning and the End of everything that
exists. They are also connected with the allegoric interpretation of
Pseudo- Dionisiy
gelic and human. Under the influence of the theological contempla¬
tions of the church fathers and writers, the character of the medi¬
eval musical treatises has been formed as a kind of cathehysic in¬
structions.
A conclusion is drawn that the author of the Papadiki, respec¬
tively of the discussed treatises, who most probably is John
Koukouzeles, was well acquainted with the writing of Pseudo-
Dionisiy Areopagit „About the Heaven s hierarchy . A text from the
/Zaamvonnaja
as an example
above mentioned problems other manuscripts are discussed as Co¬
dex Vatkanus Barberinus Graecus
dating-
containing teretismoi is an interesting subject of research.
Codex Vatic. Gr.
ment from the beginning of
theory is situated between the ff. 240V-243V. The text-critical re¬
search of the text and the theological and
the text lead to the conclusion that the musical theory is an excep¬
tionally important monument, because apart from the theoretic and
technical information about the signs that they give, as we saw in
Codex Vaticanus Barberinus Graecus
272_______________________________
tion
way it reveals the practice of an ascetic way of life of the clergymen.
The treatise presents the Jerusalem practice of singing. The
interest of this research is directed to the mystical experience, which
the author tries to transfer to his disciples in mastering and inter¬
preting of the Byzantine tune. He uses imperative in his written
words as it is testified by the text of the papadika. This classifies the
music treatise Vatic. Gr.
cathechysic words that are connected with the music as a means of
reaching a pure prayer. Separate parts of the text of the treatise are
in Greek and translated into Bulgarian, and also their parallels with
other manuscripts testify for the discussed problems of the intro¬
ductory texts.
There is a special emphasis on the words about the Holy
Trinity
„Holy God, holy strong God, holy immortal God, have mercy on us
-
West In his interpretation of the Holy Liturgy, St Maxim the Con¬
fessor explains the meaning of the words of the song „Trisagion
praising God.
When the author of the treatise Vatic. Gr.
the study of the intonation formula e, he mentions God in three
Persons
is our Lord and
Consoler. The author uses excamples from the liturgical practice,
when he explains the formation of the particular voices. Some in¬
teresting questions appear: what does the author of the manuscript
Vatic. Gr.
the technical information that we receive from the treatise enough
or the author is trying to find another meaning for the better under¬
standing and rationalization of the music.
In the discussed period 14th
attributed to the calophonic or sweet- voice, angelic singing, as it was
mentioned in the book. This sweet singing or words of blessing, or
more particularly musical announcement also refers to the truth,
which is mentioned in the discussed musical treatises.
Speaking about the truth, which refers only to God and no¬
body else, St Maxim the Confessor, says: The truth and the Mild¬
ness reveal God. The separation of the nature of energy is charac-
Summary
teristic for the St Maxim. God s nature is connected with the truth
and energy is connected with the Mildness. According to St Maxim
the spiritual sweetness of the godly singing expresses the joyfulness
from God s blessings which elevates the soul to the pure and bless¬
ing love- from God. It also inspires a strong feeling of loathing sin.
What is the meaning of the prayer, used in the treatise?
It is obvious that it is the Prayer of Jesus, which has an essen¬
tial meaning in the life of the active Christian believer. The practice
of Hesychasm of constant, wordless and concentrated prayer is ex¬
plained. During this prayer the Christian believer concentrates in
contemplation of God s almightiness and greatness. The
mentioned in the manuscript Vatic. Gr.
begins to teach his disciples in the art of singing. First, he teaches
them how to pronounce the prayer of Jesus.
Another problem which is discussed in the treatise Vatic. Gr.
872
formula.
What is hidden in the therms
αν ες?
A strict order for every beginning of singing a tune has been
set since ancient times. The tune is supported by the melodic into¬
nation formula e, distributed according to the authentic and
voices. This formula
were called intonation formulas
ένήχημα.
called circle or cycle, responding to the cyclical character of time.
Basic views are expressed taken from the teachings of St Maxim the
Confessor and St Gregory from Nissa about the nature of the mat¬
ter. In the same way the musical treatises describe the arrangement
and systematization of the neumas, which cannot sound separately
but only in a relation with each other in a particular order. They
construct the tune in one inseparable, melodic body.
The construction of the Byzantine tune and its generalization
builds one perfect body. This is why the authors of the treatises re¬
quire a perfect study of the principles of melody, giving as an ex¬
ample respected writers as St John
St John Koukouzeles, Joanis Glikis. The vision of a tree or a wheel,
attributed to St John Koukouzeles, is given as an example. It repre¬
sents the relations and connections. Things exist one within another,
274_____________________________
says St Gregory of Nissa, and they support each other in a deter¬
mined cycle. The works of St John Koukouzeles testify for a similar
cycle or circle, which consists of the basic voices, supporting the
construction and systematization of the Byzantine melody. We dis¬
cover this in manuscripts from 14th
Jerusalem
A transcription is offered of neumatic and staff notation from
the first text criticizing edition of the Hylendar s collection of songs
311,
according to the circle of St John Koukouzeles. Every voice has a
matching intonation formula. An example is given with the intona¬
tion formula from Codex Ashburnham
The
does not happen by chance, because the connection between the
separate musical forms and intonation formula e, voices and the
deviation within them, follow a strict system. St John Koukouzeles
together with other Byzantine musical authors do not deviate from
the theology of the teaching of the Holy fathers and use it even as a
solfeggio or musical theory as it appears on the surface. The circles
of Saint John are four and they are set around one big circle (a
wheel), which is the life of Byzantine melodies. Examples are given
from the „Mistagogia of St Maxim the Confessor about the unity
and inseparability of the world.
In this way, using the circle, St John Koukouzeles depicts two
worlds- the one on the earth, with its physical order and the heav¬
enly world with its infinity and continuity.
An analysis is made of Codex Laurae
In order to achieve a greater representativeness and authority
of his work, the anonymous author signs under the name of John
Damaskin, which is used to discover a great number of manuscripts
even in later times. The authors of the manuscript Vatic. Gr.
and Laurae
figures- formula e, teaching their disciples with the help of rhetoric
questions and short answers.
The author of Laurae
which probably originates from the ancient practice of the Church,
connected with the forgiveness of sins and confession. The follow¬
ing verse has an exceptional importance:
Summary
ΤΩ Αναξ καί Βασιλεϋ
ούρανοΰ καί γης, καί άνες καί
άφες τα παραπτώματα, μου....
King and Lord of heaven
and Earth, please forgive me
and set me free from my sins...
A connection is made between the treatises and the mystery
Repentance (Confession). The act of confession is necessary both
for the people who perform the music, each tune during the Liturgy
and for those who go forward to receive the Body and the Blood of
Jesus Christ. No liturgical singing can start without the intonation
formula e.
The introductory part of the musical treatises, which are a sub¬
ject of discussion in the presented codices, synchronizes with the
introductory prayers, said at the beginning of the Holy Liturgy by
the priests and at every single mystery of the church and prayer.
Every part of the prayer, directed at the three Persons of the Holy
Trinity, finds its place in the texts of the musical treatises with the
recommendation to begin every church singing with these words of
prayer which is done with the intonation formula
convenience.
Examples are given by different authors. According to them
ananes originates from
from
combination of words is:
ευχή έστι προς Θεον αναφερομένη
give, Holy King, bring this prayer as a gift for God ).
Emperor
„God, God and agiya means „Save us , as a result of which the
two words combine to form one compound word nanagia.
Texts with similar meaning are discovered in the liturgical prac¬
tice of the Orthodox Church for the acceptance of people who have
rejected the Christian faith, people with other religions (Muslims)
and for heretics manicheis and iconoclasts), mentioned in the
Diataksis of the Patriarch Metodiy
ritual the application of four prayers is practised, the first of which
involving some technical terms. They can be found in the musical
treatises. The texts- extracts can be found in different Byzantine
Eucology as Barberini
276_______________________________
Grotta/errata Gb4, Zervos, Dmitrìevskiy
the Slavonic liturgical practice.
The three main verbs unburden, allow, forgive the sins can be
discovered in other prayers, connected with the mystery Repentance
as well as the monks office „Izobrazitelni , performed in IX century
(connected with the personal receiving of the Holy Communion of
the ermiti, as it is proved by the manuscripts Sinai
1964).
also be found in the Liturgy of the St Apostle Jacob, where after
pronouncing the words „The Holy is for the saints , the priest says
secretly this prayer before taking the Communion. A parallel is made
with texts from the Gospels, The Lord s prayer, The Acts and The
Epistles. The Greek words
some Hebrew texts. A connection is made with Ms. Jerusalem
from The Patriarch s library in Jerusalem.
Codex Laurae
XVI
kind of musical collection with psalms from the holiday Vespers
and from different Liturgies, involving The Proiasmena
presantificatis). There is a rich repertory written by different mas¬
ters of medieval music. St John Koukouzeles is one of these au¬
thors. The authenticity of the authorship of this manuscript is not
exact and has not been determined.
Most of the musical treatises were made for teaching church
singers, so they carried an information about the composing and
application of the Byzantine music in liturgy. However, many of
them have a basic introducing part where the authors introduced
texts referring to the Orthodox confession of faith, the meaning of
which was revealed on the principle teacher- student with the help
of the oral church singing tradition.
Every Christian believer has the opportunity to choose and
live the truth as is testified by the text of Cod.Vatic. Gr.872
ει θέλεις μάθειν το Αληθέ)
formed during Byzantine liturgies after the receiving of the Holy
Communion: „We saw the real light, accepted the Spirit from
Heaven, discovered the true faith: we worship the inseparable Trin¬
ity, because it s the Trinity that saved us . (The Byzantine editions
of the Liturgy of St Basil the Great and the Liturgy of St John
Summary
Crisostom).
The problems that were discussed in chapter
connected with the musical and theoretical treatises are interpreted
by most of the musical scholars in the language of musicology and
paleography. However, they cannot be separated from the charac¬
ter of the time when they were written. This is the time of an inten¬
sive theological creativity, when the Church practice of Hesychasm
and liturgy is established. This imposes the necessity for giving a
new spiritual meaning to the musical works.
On the basis of the drawn conclusions, mainly connected with
the character of the theological treating of the musical and
hymnographic sources, and also revealing the mystery of the musi¬
cal and theoretic medieval works, it is concluded that the authors of
Byzantine music followed the principle of harmony in the relation
between the text and the melody. In this way the musical treatises
describe the arrangement and systematizing of the neumatic sym¬
bols, which cannot sound separately but only in a relation with each
other, in a particular sequence. They construct the melody in one
inseparable melodic body.
All that becomes clear thanks to the attempt for a new study of
the musical sources from
the musical exegetics and the theological interpretation that reveal
the truths about the Orthodox faith, coded in Church music.
This research would contribute for the better understanding of
the medieval Byzantine tune, described in the written works of the
singing hesychasts and its establishment in the entire musical and
hymnographic canon of the contemporary liturgy of the Orthodox
Church.
|
| adam_txt |
СЪДЪРЖАНИЕ
ПРЕДГОВОР
/13/
ОТ АВТОРА
/19/
Вместо увод
ОТ ВИДИМОТО КЪМ НЕВИДИМОТО
ОТ ЧОВЕКА КЪМ БОГА
/25/
Иконата
Христовата светлина
Човекът
Белеоіски
Глава
ИСИХАЗМЪТ И ЛИТУРГИЧЕСКАТА
ЦЪРКОВНО-ПЕВЧЕСКА ТРАДИЦИЯ
/43/
Мистичното ангелско пеене на исихастите в певческите сборници
οτΧΐν
Исихастко богословие и мистика
Исихастката мистика в калофонните творби
и ролята на хирономичните знаци-афона
Ръкопис Атина
Влиянието на късновизантийския исихастки модел в балканския
славяноезичен регион
Синодикът на цар Борил
Произход и специфика на ръкописа
Богословска интерпретация на откритите
невмени знаци в ръкописа
Литургическа употреба
Ръкопис Месина
Ръкопис
Датировка,
Авторство и съхранение на Рилските музикални
Влиянието на сладкогласните майстори върху
Рилската църковно-певческа традиция
Музикологично представяне и богословска интерпретация
на проблеми, свързани
от ръкописа РМП
Текст и музика
Молитвата, отправена към Бога
Ръкопис Атина
Датировка,
проблеми на ръкописа
Евстатиев кодекс
Датировка,
проблеми на ръкописа
Бележки
Глава
МУЗИКАЛНИТЕ ТРАКТАТИ
ТЕОРИИ И МИСТИЧЕСКО СЪЧЕТАНИЕ НА ЗНАК И СИМВОЛ
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Пападиките във византийската богослужебна практика
Хилендарски ръкопис
Произход и датиране на ръкописа
Съдържание и език на ръкописа
Богословско-екзегетическа и
интерпретация на Хилендарския ръкопис
Codex Vatic.
Произход и съдържание
Codex Vatic.
Произход и съдържание
Текстово-критично
интерпретация на текста
Codex Laurae 1656.212
Произход
"Господи, очисти
и
Codex Vatic.
Специфика на ръкописа
Ms. Ottobon. Gr. 317.220
Специфика на
Ръкопис
Специфика на ръкописа
Codex 610
Произход и съдържание на ръкописа
Богословски проблеми, откриващи се в ръкописа
Бележки
ЗАКЛЮЧЕНИЕ
/249/
SUMMARY
/253/
СЪКРАЩЕНИЯ
/278/
АЗБУЧЕН ПОКАЗАТЕЛ НА ТЕРМИНИТЕ
/280/
АЗБУЧЕН ПОКАЗАТЕЛ НА ИМЕНАТА
/323/
БИБЛИОГРАФИЯ
/327/
ТЕКСТОКРИТИЧНИ ИЗДАНИЯ,
СВЕТООТЕЧЕСКА И БОГОСЛУЖЕБНА ЛИТЕРАТУРА
/343/
253
SUMMARY
Created as a crown of creation, the man in the Church is called
to be a participant in God's creativity. The history, teaching and
tradition of the Orthodox Church are a true testimony for this pro¬
cess. The acceptance of the Christian confession of belief, the real
and at the same time mystical experience of this acceptance by the
Christian believer, leaves a profound imprint in the church process
of artistic creation, participating in this way in the angelic glorifica¬
tion of the Creator of Heaven and Earth. This activity of creating
worship music has been fully expressed in the song and hymnographic
works of the Eastern fathers from the Middle Ages.
The book „Between the Angels and the People", which rep¬
resents the liturgical tradition of Hesychasm in musical and
hymnographic monuments from
for cross- disciplinary liturgical research where the achievements in
the field of theology and musicology are brought together.
THE PURPOSE OF THE RESEARCH
The purpose of this book is to reveal the influence of the teach¬
ing of Hesychasm on the creation, development and the liturgical
application of the church music and hymnography, through the dis¬
cussion of different problems, on the basis of written and oral testi¬
monies, preserved till nowadays. This purpose is also achieved
through an interpretation of the source materials
musical and hymnographic works) in the context of Orthodox be¬
lief and the teaching of the Holy Fathers, closely connected with
the liturgical tradition of the Church in 14th
of the teaching of Hesychasm. The deepness of meaning of the
254_
musical phenomena from the tradition of the Middle Ages has been
revealed on the basis of the theological cognitive foundation, the
foundation of belief.
This research is based on data, connected with the liturgical
Greek and Slavonic tradition and also, with the mystical perception
and interpretation of the musical and hymnographic works in
14th century- in the period of blossoming forth of the theological
cognition of Hesychasm. The testimonies of one of the most impor¬
tant theological, musical and hymnographic resources from this
period have been used, described in the liturgical codices, involved
in the dissertation.
METHODS OF RESEARCH
The principles of the liturgical and musical methodology have
been used in the book, applied in accordance with the sources and
their theological interpretation. The basic methods, which have been
applied are: the method of historical comparison, applied in con¬
nection with particular historic events and people from the period
described, and also, in order to solve the problem of the authentic¬
ity of the monuments, used in the research; the method of text-
criticism, applied to particular musical and hymnographic texts; the
hermeneutic,
terpretation of the contents of different liturgical- musical and
hymnographic works.
CONTENTS
The contents of the book 'Between the Angels and the People'
involves basic problems, connected with the theological, musical,
and hymnographic tradition of Hesychasm. The hypothesis that the
spread and application of the teaching of Hesychasm was expressed
through the new music and hymnographic stylistics, has been of¬
fered by the author. This has been proved through the liturgical
Summary
analysis of the presented texts from the musical and theoretical trea¬
tises (Greek and Slavonic) in the period of ll"1 and
The analysis reveals the methods of preaching the belief in the sing¬
ing tradition of the Byzantine church, which gives a reason for ra¬
tionalization of its liturgical life.
INTRODUCTION:
In the introduction titled 'From the visible to the invisible
from the man to God' a focus has been put on the icon- painted,
word and musical, as a liturgical image- reflection of God's image
in liturgy. Ancient liturgical texts and hymns have been discussed.
They depict the act of enlightenment with Evangelic light (presented
in the sacraments Baptism, Anointment and Eucharistia), the light
which springs from the life and deed of Lord Jesus Christ as an icon
of the Glory of God. A liturgical analysis of some of the texts from
the prayers, involved in the
cording to the Byzantine liturgical tradition, presenting testimonies
that Jesus Christ is an icon of God the Father and the man is an
icon of Jesus Christ. On the basis of the achievements of contempo¬
rary liturgists, the thesis has been expressed that the Liturgy is a
living icon, built up by people, which features the reflected image of
the Kingdom of God.
CHAPTER I: HESYCHASM AND THE
LITURGICAL CHURCH SINGING TRADITION
The first part of this chapter sets the topic of the mystical an¬
gelic singing or sweet- voice singing of the Hesychasts according to
the musical and liturgical characteristics of the song collections
(akolouthiai) in the period of 14th
Basic views of the teaching of Hesychasm has been clarified,
set in the context of the discussed problems, concerning the influ¬
ence of Hesychasm on the formation of the oral and written church
256
singing tradition of 14th
The connection of Christian faith and mystics has been under¬
lined as a basis in the process of creation and interpretation of the
music and theoretical treatises of the Middle Ages.
The authors of the treatises- Papadiki (in most of the cases
masters creating music and protopsalts- the first singers), introduced
people into the art of singing on the basis of the Orthodox confes¬
sion of faith. The students, (psalmists and anagnosts- readers),
learned from their teachers the mysterious teaching about church
music, thanks to their belief in God. During the Middle Ages a
testimony for Christian belief was everything created in the sphere
of theology and Christian art, involving the musical and
hymnographic creations of the Holy Fathers of the Church. The
medieval authors of music needed belief to dare to worship and
praise the always glorified God. The authors and performers of the
Byzantine church music, as the texts of the treatises testify, speak a
lot about cognition, which the singers have to acquire (Ms. Vatic.
Gr.
the Papadiki in order to be able to interpret and create a perfect
music according to the Church tradition. The authors of the medi¬
eval Byzantine music aimed at reaching unity with God
which has been testified by the Holy Fathers of the East.
The new music and notation, connected mainly with the name
of St John Koukouzeles, are discussed in the context of the desire
for obtaining the archetype- angelic singing, serving to assist the per¬
sonal spiritual perfection and reaching a knowledge of God. Thus,
in order to obtain the archetype- the angelic singing, the prototype
has been preserved or the particular musical decision. As a direct
proof of this for example, St Basil the Great in the Prologue of the
Eucharistie
ing, uses the therm theology
God (theology)
man praise doxology
rectly, the singers are required a due behavior by the music treatises
and angelic-like or image reflecting interpretation of the hymnographic
and musical texts.
The akolouthiai in 14th
sic, based on written testimony. Sometimes they are anonymous. As
Summary
it was testified by MS Sinai
attributed to John Papadopulos, appears in the repertory of Great
Vespers. It is a written proof of the appearance of a new Byzantine
church singing repertory.
Studying the MS Sinai
to some theologists doing research, the idea of the new is a specific
one and it is not used in the manuscripts after this period. In this
regard, it is considered that the new is the well interpreted old. The
creation of such repertory was in harmony with the new theological
concepts. The old singing repertory turned out to be not satisfac¬
tory and because of this reason, an active creation of music started
in the period between 13th and 14th century.
The song collections called avkoluqi,ai, involving church sing¬
ing repertory from the Paleologion time, were connected with a
'new' or newly composed, stylistic layer (defined as 'new
his earliest documents). The newly composed repertory has been
defined as
improvement, sweet voice
φωνή
from 14th
oikratimata or melodies, deprived of words, built on syllables with¬
out words. The neumatic class is formed of the so called Great
hypostasis
in two South Italian manuscripts from 13thcentury, the first of which
is the Ms. Mesina
tine collections- akolouthiai. This term is connected with the music
treatises, the so-called Papadike.
The process of liturgical synthesis marks its pinnacle during
the second half of the 14th century as a monastic blossoming,
Paleologian, musical Renaissance, when the idea of the mystical word¬
less worship takes an advantage and stable place in the liturgical
practice of the Orthodox church.
Hesychasm finds its place in the music and hymnographic works
which preserve the authenticity and originality of the dogmatic defi¬
nitions of belief and even enrich them with an angelic character.
The new neumatic classification has been attributed to St John
Koukouzeles as called angel-voiced from the Great Laura of Mount
Athos,
258_;_
particular historical age, but also, initiates the tendency of renewing
the paleological prototypes. As a creator of art Koukouzeles, he ex¬
presses the typical for the Byzantine art aspiration for taking out
the elements, (for example the melodic figures- formulas or the music
words), from the whole (the types of melodies and their traditional
phraseology system) to the level of a separate existence, which can
be understood only in the context of the teaching of Hesychasm.
The personal contacts of St John with St Gregory of Sinai and St
Gregory Palamas testify for the connection of the musical work of
St John Koukouzeles with the teaching of Hesychasm. The doxa-
refrains also reveal the common elements between the newly cre¬
ated music and Hesychasm, i.e. the connection between words and
sound. The texts of the doxa- refrains from the Preliminary psalm
of the Great Vespers of St John Koukouzeles are a clear evidence
of this: 'Glory to You Lord, Light which has not been created, which
appeared in front of Your disciples at Tavor, Glory to You Holy Trin¬
ity' or
glory to You Son, transfigured at the Mount of Tavor, glory to You'.
The newly appeared song books with mixed character, regard¬
ing genre and stylistics, called avkolouqiai, testify for the increased
activeness of the musical and theoretical thought during the 14th
century.
The kalophonic melodies
by the specific treatment of the text. An evidence for this, is the
introduction of a great number of syllables the typical te-ri-re, (be¬
cause of which these melodies- a part of the collections
Kratematarioni are also called teretismi -kratimata). The accent has
not been put on the outer appearance of the kalophonic singing, but
on the principle of relationship between God and the man, expressed
in the musical works of Hesychasm. The connection between the
musical manuscripts from the late Byzantine period and the newly-
composed repertory has been emphasized. The
dies without words and without any poetic sense, but they are an
expression of the spiritual experience of the singer. In this sense, the
ideal for perfection of the teaching of Hesychasm-
the man's spirit for what he has been created for- trying to reach
knowledge of God, was achieved by the creation of the calophonic
melodies, considered the most perfect.
Summary
According to the interpretations in the late Byzantine musical
and theoretical works, the calophonic tunes expressed in a specific
way the idea of Hesychasm for getting to know God through the so
called wordless prayer. The idea for the wordless singing is connected
with the concept of the word according to Hesychasm. This is the
reason for the appearance of an increased demand of the musical
word. Connected with the influence of the tradition of Hesychasm
over the musical creativity on the Balkans, the process of musical
reformation for the Slavonic liturgy starts in 14th- 15th centuries. It
refers not only to the usage of the Slavonic language in liturgy but
also to the acceptance of the newly- created late Byzantine angelic
singing and its notation in the Slavonic language.
An attempt for an interpretation of the calophonic melodies
has been made in the discussed book. A right interpretation of the
calophonic melodies is being searched through a theological inter¬
pretation of this new musical stylistics.
The mystics and singing of Hesychasm take a basic part in this
theological interpretation. St Gregory of Sinai also testifies for the
singing of Hesychasm. According to the interpretation of different
authors, the musical treatises with
contents, are accepted as angelic singing. An opportunity is given to
the human soul to contemplate the presence of God and His great¬
ness, to elevate itself closer to Him, similarly to the angelic pres¬
ence at the throne of God, through the principles of the calophonic
and the angelic wordless singing, used in the musical works of the
14th century. It was definitely provoked by the theological teaching
of hesychia (silence, contemplation) and absence of words in the
relationship between the Christian believer and God. In the period of
the sweet- singing the church singers did not try to enjoy the perfec¬
tion of their voices and their talent for singing but on the contrary,
they tried to separate themselves from the words, involved in the
text and to continue to express their worship in a mystical, even
wordless way, according to what we can see as evidence in the 'Song
of The Cheroubims'.
The most early dated source for the collections of songs-
akolouthiai, which testifies for the conception of hyronomic sym¬
bols, is the anthology Ms. Athenae
of St John Koukouzeles, involving polyeleion calophonic verses as
260_;_
well. This manuscript also introduces terirem- melodies, impressing
with the presence of a great number of hyronomic symbols, carry¬
ing on the one hand, a variety in their performance, and on the
other hand, the coded musical stylistics of John Koukouzeles. It
could have been presented only through a real participation in the
process of performance and interpretation of the melody.
The term Great hypostasis
hyronomic symbols
14th century. But we can find the names of these symbols and their
graphics before the 14th century- in the earliest neumatic descrip¬
tion that has been preserved till nowadays in the
Γ
come a base for the creation of exercises for singing, the most sig¬
nificant of which are those written by St John Koukouzeles and
John Glykis.
time, writes about the hyronomy that it is a law left as a legacy by
the Holy Fathers, two of which are St
John of Damascus, to whom the Byzantine singing tradition has
attributed the creation of hyronomy.
The musical treatises- Papadike are based on the teaching of
Hesychasm and are turned into a canon of the belief lot the singers
in the period
St John Koukouzeles, he spent weeks outside the monastery, prac¬
ticing hesychia. Metropolitan Theolept of Philadelphia, mentioned
by St Gregory Palamas, as one of the forefathers of Hesychasm,
emphasizes in his works the importance of listening to
comparing it with God's commandments and calls it
the monk's values. St Gregory Palamas preaches about the vital
necessity and the potential miraculous help coming from the liturgi¬
cal singing. He warns the people about the evils that will come if
they neglect the singing worship of God. St Gregory of Sinai classi¬
fies the
akolouthiai-anthologies turn out to be a basic evidence for the char¬
acter of music in the 14th
style, improved into a new calophonic vocal style.
The calophonic style in Bulgaria has been thoroughly re¬
searched by the Bulgarian experts in medieval study and the musi¬
cal scholars. They set a goal to analyze the Balkan singing practice
Summary
in the 14th century, that is reflected in the oldest preserved collec¬
tion of songs from the akolouthiai type, presenting its contents and
explaining the problems accompanying the authorship of the musi¬
cal work
The musical sources attribute its authorship to the singer with an
angelic voice from the late Balkan Middle ages
Koukouzeles.
The presence of the unvoiced signs
calophonic musical works, reveals the mystical side of the musical
text.
Doing their research, some authors refer to biblical testimo¬
nies as the written in Revelation by the St Apostle Evangelist John
Theologian
many waters, and as the voice of a great thunder.
verse from St John's Revelation and the teretismata an analogy is
made, according to which the syllables te-ri-re are similar to the
sound coming from many waters, and as the voice of a great thun¬
der. Melodies without words
of the collections of songs from the akoluothiai type as a separate
material. The monk Gerasim of Crete explains the meaning of the
teriremi
are similar to the angelic singing without words- worshiping God in
an indescribable way, i.e. angelic singing. The testimony of the monk
Gerasim of Crete is very clear. According to him
re were discovered by the prophets when they heard sound from
heaven as the voice of many waters, which as he emphasizes was a
sound, not a word. This monk also supports his statement with the
testimony of the St Apostle Paul about the third heaven- paradise.
The singing without words means to understand and worship God
in an indescribable way.
The Paleologian musical practice is closely connected with the
newly created music. The definition kalos, kalophonikon has a par¬
allel in the literature where it is called po
ness, virtue. We can consider that the stylistic phenomena in music,
connected with the definition calophonic, did not mean rather a
decoration, but improvement, making nobler, increasing the num¬
ber of virtues, perfection in a spiritual sense
strive for reaching a resemblance with God, typical for Hesychasm.
262 -_- _
The influence in the Balkan Slavonic region of the late Byzan¬
tine model of medieval singing, typical for Hesychasm, is shown in
the research. Different manuscripts are referred to as evidence.
Synodic of King
King
volves accusations against heresies. The Synodic of King
written on the basis of a Greek Synodicon, thah was made on the
occasion of the Council, summoned on February
jecting the heresy of the Bogomils. The original document has been
lost, but there are its copies that have been preserved
Palauzov
from
method of the singing positions- melodic figures- formula e), it is
found out that it belongs to the late Byzantine stylistics. Having in
mind the popularity of the master of singing St John Koukouzeles,
and that he probably belongs to the Bulgarian ethos, he is attrib¬
uted a possible authorship of the melodies in the Synodic.
At the comparative research of the neumatic signs in the monu¬
ment, regarding one of them, (which remained initially unidenti¬
fied), it became evident that according to its size and its place in the
neumatic texts, it belongs to the so-called big hyronomic symbols
great hypostaseis
It is difficult to find out why there are new terms, signs and
whole neumatic formula e, that appear in the formation of the me¬
dieval musical palette. They are defined simultaneously with the
old Byzantine and the old Slavonic musical church tradition, as giv¬
ing a new meaning to the already established formulations and con¬
necting them with the mystical experience of the church cult. The
church songs from the Uspenski Kondakar, from about
LavarskiKondakar from the second half of 12th century, are brought
as evidence of this, together with the record of the late Byzantine
notation and the old Bulgarian monument Trefologiy of the Zograf
monastery „St Great Martyr George" from the second half of the
13th century.
The liturgical application of the Synodic of King
basic place. This monument is of exceptional importance because
of the basic liturgical and canonic essence which it had within the
Church. The Synodic of Orthodoxy or the Orthodox Sunday, (as it
Summary
is often written in the sources), is closely connected with the holi¬
day, celebrating the triumph of the Orthodox church against the
teaching of
of respecting icons. As a musical monument, the Palauzov's copy of
the Synodic of King
melodies, (with Slavonic parallels in the text), that are in its con¬
tents, is the one that has been an object of a greatest research. Its
liturgical application is connected directly with reading out acts at
the Oecumenical councils during Divine Liturgy. According to the
research that has been made so far of the sources of the Synodic
preserved till nowadays, its liturgical application during church ser¬
vice is connected with its reading (chanting and melodic) behind
the pulpit, similarly to the Gospel and the sermon.
Acclamations are offered, connected with the acts of the
Oecumenical and the Local councils of the Church. We discover
the presence of a wish for many years of life and prosperity, which
was traditionally directed to the emperor or the patriarch. Texts of
church singing, closely connected with the acts of church councils,
are found in the second part of the Palauzov's copy, which accord¬
ing to scholars is connected with the writing of the Sluzhebnik of St
Patriarch Evtimiy of Tirnovo. The main conclusion from this new
interpretation of the musical texts in the Synodic of King
that these unique musical monuments of ceremonial solemn perfor¬
mance belong to the Byzantine acclamations, according to the writ¬
ten sources. A connection has been made between Ms.
and the Synodic of King
Another resource is Ms.
musical inscribtions (RMI), which is now being preserved in the
library of the Academy of science in St Petersburg.
At this exhibition, a special attention is paid to this resource
and the influence of the sweet- singing masters of the
singing tradition. The possible identification of the author is con¬
nected with the
Bulgarian scholar Vladislav
The
of the glagollic fragments with the
song collection of Vladislav
1473.
264 _
tions about that time, but there is such in the second, preserved in
the library of the
Rila Panagerik
During their research of the musical notes that are in the manu¬
script, Bulgarian theologians find out, that they are made by one
and the same person
writing and singing. The Bulgarian musical scholars and
palaeographers draw the conclusion that the author of these musi¬
cal notes was definitely trained in psaltic singing. The results from
this research allow the defining of the
unique monument of liturgical singing in the western region of Bul¬
garia in 15th century.
An important fact in the research of the
script is its connection with other written (Greek and Slavonic)
musical sources from 15tb century, as for example the Papadika
anthology from
above mentioned monuments there is a synthesis of an earlier and
more popular singing practice and late Byzantine sweet- singing; a
synthesis that could have had as a result a brilliant performance of
the Balkan Slavonic musical technique, the so called pletenie
-
In regard with the theological liturgical interpretation of the
offered information in this medieval treatise, we find some more
details in the spirit of the discussed problems and on the basis of the
already established scientific terminology. A basic attention is paid
on the melodic formula, noted with matching two basic hyronomic
symbols-
scholars, this combination is among the most popular in the neumatic
records from the late Byzantine period. The idea of a musical tech¬
nique called rolling of the voice is explained, in connection with the
symbolic conjuncture psifiston- pamclesma and intensified tremolo,
referring it to the tromikon-paraklesma. An interesting information
is received from note III-c. In the explanation, referring to the per¬
formance of the antikenoma, the writer introduces the abbreviation
„г"-„глаголюще"
An attention is paid on the singing, connected with this monu¬
ment and more particularly
In this case it has two melodic beginnings of First
Summary
where the author writes in notes the melodic formula of the
paracalesma twice. According to the comparative research, in com¬
paring the melodic beginnings of the „Cheroubikon hymn" on the
first
thor David
sions, mentioned in the notes of Ms. Athens
century and Ms. Athens
gical singing has been defined as one of the most popular in the late
Byzantine, the so called Cheroubikon
According to the theological interpretation of the church sing¬
ing „Cheroubikon hymn", requiring a particular spiritual mood from
the believers, the author pays a serious attention to the beginning
and offers it in a different version, with a highly analytical realiza¬
tion of the musical structure. An example is given with the usage of
the hyronomic sign paraclesma. The
lels in other Byzantine and Slavonic monuments.
The attention is focused on the Ms. Athens (Gr. Slav.)
Collection of songs from Jegligovo (Anthology oflsay). In it we dis¬
cover Slavonic translations of works written by St John Koukouzeles
from the late Byzantine period- seven polyeleion refrains.
This source offers some essentially valuable information about
the Slavonic medieval church singing on the Balkans. It is known
that these the so-called polyeleion refrains were introduced into the
practice of the selected psalms; a practice which was connected
with the activity of the respected Byzantine scholar and theologian,
Niikifor Vlemid from 13th century. According to the musical schol¬
ars Slavonic texts of refrains were created at the beginning of
century by the Romanian monk Filotei and it has been accepted
that they put the beginning of the Romanian Slavonic hymnographic
creativity. The Slavonic translations of the polyeleion refrains of St
John Koukouzeles, bring forward the problem of the musical trans¬
lation, i.e. the combination of Greek melodies with parallel Slavonic
translated texts during the period full of melodic innovations, and
more particularly, about the relation- melodic example and local
singing tradition.
The earliest neumatic record of polyeleion refrains to the ba¬
sic Psalm
Bachkovo, which presents the earliest discovered monument of
266_
polyeleion singing from the late Byzantine type. According to some
musical scholars these early polyeleion refrains are anonymous.
According to the musical resources from the
14th
John Koukouzeles- the resources attribute to him nine refrains, (to¬
gether with separate creative activities most of which are of his con¬
temporaries John Glykis and Ksenos Koronis). The refrains are
composed in Greek, but in the presented
lated in Slavonic. The fact, that the manuscript represents the transi¬
tion from the oral Slavonic singing tradition to the written tradition,
is very important. Through the written sources we have the opportu¬
nity to reconstruct the hymnographic and singing tradition of the
Slavonic melodies in the period from 9th to 13th and 14th century.
The presented Ms. Athens
Jegligovo), involves manuscripts, known as Polyeleion refrains of St
John of Rilski, at the first authentic modes. In the Anthology-
akolouthiai from Jegligovo there are two types of hymns, stylisti¬
cally similar to the traditional practice, from the type singing as in
modes, which is accepted to have been established in the Slavonic
oral tradition. As a more ancient singing, it can be found in the
musical Byzantine manuscripts.
The Ms. Evstatiy is being discussed not on the last place. This
manuscript is from the book of
the well known
„Putna"
from Middle Bulgaria has been presented nearly totally in the
Evstatie's collection of songs. There are separate liturgical songs in
it together with the whole series of liturgical songs in Middle Bul¬
garian. The manuscripts from the
used as evidence. They also present a bilingual church practice in
Greek and Middle Bulgarian. The manuscripts belong to the type
of the late Byzantine collections of songs
musical repertory for the basic parts of the liturgy: Matins, Vespers
and the three Byzantine liturgies.
The Palauzov's copy of the Synodic of King
ond half of the 14th century has been connected with the
activity of the St Patriarch Evtimiy of Tirnovo. This is the earliest
document proving the existence of a process of the influence of
Summary
Hesychasm not only on the written works, but also on the creation
of musical and hymnographic works. The personality of St Evtimiy
of Tirnovo is revealing the great importance of the acceptance and
establishment of Hesychasm in the liturgical tradition of Bulgaria.
Some musical scholars think that the holy patriarch Evtimiy, who
introduces a reform of the Bulgarian language in literature on the
basis of the concept of word typical for Hesychasm, could not avoid
the introduction in details of the music, created in the spirit and
practice of Hesychasm. This probably lead to the improvement of
the Bulgarian liturgical music (according to the evidence provided
by the musical monument from
involving archaic notation for that time).
CHAPTER II: THE MUSICAL TREATISE
THEORIES AND MYSTICAL COMBINATION
OF SIGN AND SYMBOL
In this chapter of the book the focus is put is on the medieval
musical treatises. An analyses has been made on some of the texts
from the Papadiki in order to reveal in details their essence and
function as completely musical theories or as a mystical combina¬
tion of sign and symbol.
At the beginning the Slavonic My. Hilandar311 from 18th cen¬
tury and its treatise- translation are discussed. On the basis of theo¬
logical and
cal analyses of the text, a hypothesis has been made, that the Byz¬
antine medieval melody is created on principles, referring to the
faith and the dogmas, coded in the songs- prayers. Because of this
reason the content of this chapter is connected with other earlier
treatises, reflecting the theological and musical concepts from that
period. In the theological interpretation which has been offered,
there is an accent on the announcement through music, referring to
the perfect truth, i.e. knowledge of God.
Very important in musical and theological terms are both the
theoretical texts, having the so-called echemata (introductions in
the melodies), that clearly testify for the confession of Christian
268_
belief.
The connection of the intonation formulas with the prayers
and mysteries of the Church has been revealed. This is proved by
the texts of Cod. Laurae
the Byzantine Eucologion
gr.213, Goar,
and others). The mystical combination of musical symbols is dis¬
covered in the Circle of St John Koukouzeles.
The Papadiki are defined as kind of musical 'and theoretical
treatises, which appeared in 14th century in the new mixed as genre
and style collections- the anthologies. They reflect a tradition, which
proves the influence of Hesychasm in the creation of music and
hymns in the late Middle Ages. The similarities and differences in
the texts and treatises are presented, through focusing on the signs
and their symbolic meaning. Here we find a connection of basic
principles for the belief with the practice of learning the musical
signs or phrases and the liturgical application of separate writings,
which become basic examples in the theoretical treatises.
The research of the Papadiki begins with a Slavonic transla¬
tion of a papadika in Ms. Hilandar
the 18th century, but it presents the principles of Byzantine music
from 14th
the Byzantine writing of the notes- neumas in the treatises from the
papadiki type. The Hilandar codex has in its counts of
paper, where the first
the first Byzantine papadika, translated from Greek into Slavonic,
which was discovered together with a bilingual codices
papadika from the
monastery.
Theological, exegetical and text criticizing interpretation of the
text has been made of the Hylendar's papadika. The problems re¬
searched here refer to the first lines of the papadika. It turns out
that this musical and theoretical treatise presents a text which re¬
flects the theological concept and mystical view of music at the end
of the 14th and
pretation of the introductory words in the treatise, connected with
God, God's name and creation- those of higher places and those of
lower places, (every speaking and wordless creature). In support of
Summary
the conclusions that have been made, testimonies from the teach¬
ing of the Holy fathers of the church are given. Here we find the
allegoric method in the interpretation and explanation of the lite¬
rary texts.
The teaching of
ing „About the Heaven Hierarchy") is discussed, about the contrast
between the two ways of knowing God and also about God's ener¬
gies that appear, similarities and differences. An example has been
given with the teaching of St Maxim the Confessor in „Mistagogia"
about the way through which we can reach knowledge of God. The
mystical theology of the church has been discussed and the teach¬
ing about God's predetermination connected with it according to
the interpretation of these problems by respected theologians. The
concepts of St Grigoriy Palamas have been emphasized referring to
the apophatic theology of the Eastern church. The concepts of St
Gregory Theologian and St John of Damascus are added, referring
to the nature of God and to the energies from God.
A conclusion is drawn that the Byzantine medieval melodies
respond to principles, referring to the faith and dogmas, coded in
the liturgical songs- prayers. The Byzantne creators payed a great
attention on the harmony between the text and the melodies, which
is a subject of musical interpretation.
A critical research of the Greek and Slavonic texts of the mu¬
sical treatise has been made and also of their parallels with texts
from the Holy Scripts (the words beginning-
i.e. A and
logian
accent is on the second introductory sentence of the musical trea¬
tise, beginning in this way:
parallel has been made with the teaching of Dionisiy Areopagit about
the energies regarding the numerous names of God
and „in the beginning: (Genesis
ing of St Maxim the Confessor about time as a form of the world
being. The cosmology of the holy Fathers is discussed and more
particularly the teaching of St Basil the Great.
The text of the discussed Hilendar's musical and theoretical
document is an evidence about the deep dogmatic and theological
concept of the authors during the Middle ages and more particu-
270_
larly
From the very beginning of the treatise with the words
συν Θεφ άγίφ
with the sacred grace and power of God's name
Sanctus
Revelation of St John Theology's
Λόγος ην προς τον Θεόν,
There is a focus on the adjective Holy. The Angelica song
(Sanctus) has a basic importance in the prayers of the Church from
ancient times. The so called theology of the angelic song is explained,
found in the different
the Church both on the East and the West The text of the
tie
the people worship God-
rifying God in hymns-
and church authors are applied.
When we make an analyses of the concepts upper and lower,
(in the hierarchy), spirits and bodies
φωνών, σωμάτων τε καί πνευμάτων),
liturgical symbolism of
with St Basil the Great classify the hierarchy of the angelic host in
nine ranks, divided into groups. St Cyril of Jerusalem proves in his
„Mystagogia", catechizing the newly baptized, that it concerns one
true and definitely praising memory. Through this praise God is
worshiped as the only one and true Creator of everything visible
and invisible.
At the theological analyses and interpretation of the text we
discover that these upper and spiritual voices answer the angelic words
or hymns of praise, and the lower, who are in bodies- answer human
praise (of every creation on earth
tises can be interpreted as a visual explanation of the main truths of
the faith of the Orthodox Church, similarly to the worshiping of the
icon. For example the sign
omnipresence of God, His inalterability. On this terms every musi¬
cal sign can be a subject of discussion not only in the context of
musical exegetics but also in the context of theological interpreta¬
tion.
According to the evidence, provided by an anonymous author
Summary
of a late Byzantine treatise „Akrivia"(from 15th century), the signs-
spirits are enlisted after the signs- bodies. The same treatise gives an
example for the similarities and differences between the signs. It
gives an explanation of the meaning of the signs- spirits. Pseudo-
Damaskin uses as evidence verses from the Holy Scriptures. A par¬
allel has been made with the Codex Petropolitanus Graecus
The Byzantine author Cyril from Marmara (from 18th century) also
testifies about it. According to the rules of the papadiki,, the upper
spirits subordinate only the upper bodies and the lower spirits- the
lower bodies. The teaching of St Gregory from Nissa about the soul
and the body is given as an example.
The words „beginning, middle part, end" from the second part
of the Hylendar treatise are connected with the idea of God's
omnipresence. He is the Beginning and the End of everything that
exists. They are also connected with the allegoric interpretation of
Pseudo- Dionisiy
gelic and human. Under the influence of the theological contempla¬
tions of the church fathers and writers, the character of the medi¬
eval musical treatises has been formed as a kind of cathehysic in¬
structions.
A conclusion is drawn that the author of the Papadiki, respec¬
tively of the discussed treatises, who most probably is John
Koukouzeles, was well acquainted with the writing of Pseudo-
Dionisiy Areopagit „About the Heaven's hierarchy". A text from the
/Zaamvonnaja
as an example
above mentioned problems other manuscripts are discussed as Co¬
dex Vatkanus Barberinus Graecus
dating-
containing teretismoi is an interesting subject of research.
Codex Vatic. Gr.
ment from the beginning of
theory is situated between the ff. 240V-243V. The text-critical re¬
search of the text and the theological and
the text lead to the conclusion that the musical theory is an excep¬
tionally important monument, because apart from the theoretic and
technical information about the signs that they give, as we saw in
Codex Vaticanus Barberinus Graecus
272_
tion
way it reveals the practice of an ascetic way of life of the clergymen.
The treatise presents the Jerusalem practice of singing. The
interest of this research is directed to the mystical experience, which
the author tries to transfer to his disciples in mastering and inter¬
preting of the Byzantine tune. He uses imperative in his written
words as it is testified by the text of the papadika. This classifies the
music treatise Vatic. Gr.
cathechysic words that are connected with the music as a means of
reaching a pure prayer. Separate parts of the text of the treatise are
in Greek and translated into Bulgarian, and also their parallels with
other manuscripts testify for the discussed problems of the intro¬
ductory texts.
There is a special emphasis on the words about the Holy
Trinity
„Holy God, holy strong God, holy immortal God, have mercy on us
-
West In his interpretation of the Holy Liturgy, St Maxim the Con¬
fessor explains the meaning of the words of the song „Trisagion"
praising God.
When the author of the treatise Vatic. Gr.
the study of the intonation formula e, he mentions God in three
Persons
is our Lord and
Consoler. The author uses excamples from the liturgical practice,
when he explains the formation of the particular voices. Some in¬
teresting questions appear: what does the author of the manuscript
Vatic. Gr.
the technical information that we receive from the treatise enough
or the author is trying to find another meaning for the better under¬
standing and rationalization of the music.
In the discussed period 14th
attributed to the calophonic or sweet- voice, angelic singing, as it was
mentioned in the book. This sweet singing or words of blessing, or
more particularly musical announcement also refers to the truth,
which is mentioned in the discussed musical treatises.
Speaking about the truth, which refers only to God and no¬
body else, St Maxim the Confessor, says: The truth and the Mild¬
ness reveal God. The separation of the nature of energy is charac-
Summary
teristic for the St Maxim. God's nature is connected with the truth
and energy is connected with the Mildness. According to St Maxim
the spiritual sweetness of the godly singing expresses the joyfulness
from God's blessings which elevates the soul to the pure and bless¬
ing love- from God. It also inspires a strong feeling of loathing sin.
What is the meaning of the prayer, used in the treatise?
It is obvious that it is the Prayer of Jesus, which has an essen¬
tial meaning in the life of the active Christian believer. The practice
of Hesychasm of constant, wordless and concentrated prayer is ex¬
plained. During this prayer the Christian believer concentrates in
contemplation of God's almightiness and greatness. The
mentioned in the manuscript Vatic. Gr.
begins to teach his disciples in the art of singing. First, he teaches
them how to pronounce the prayer of Jesus.
Another problem which is discussed in the treatise Vatic. Gr.
872
formula.
What is hidden in the therms
αν ες?
A strict order for every beginning of singing a tune has been
set since ancient times. The tune is supported by the melodic into¬
nation formula e, distributed according to the authentic and
voices. This formula
were called intonation formulas
ένήχημα.
called circle or cycle, responding to the cyclical character of time.
Basic views are expressed taken from the teachings of St Maxim the
Confessor and St Gregory from Nissa about the nature of the mat¬
ter. In the same way the musical treatises describe the arrangement
and systematization of the neumas, which cannot sound separately
but only in a relation with each other in a particular order. They
construct the tune in one inseparable, melodic body.
The construction of the Byzantine tune and its generalization
builds one perfect body. This is why the authors of the treatises re¬
quire a perfect study of the principles of melody, giving as an ex¬
ample respected writers as St John
St John Koukouzeles, Joanis Glikis. The vision of a tree or a wheel,
attributed to St John Koukouzeles, is given as an example. It repre¬
sents the relations and connections. Things exist one within another,
274_
says St Gregory of Nissa, and they support each other in a deter¬
mined cycle. The works of St John Koukouzeles testify for a similar
cycle or circle, which consists of the basic voices, supporting the
construction and systematization of the Byzantine melody. We dis¬
cover this in manuscripts from 14th
Jerusalem
A transcription is offered of neumatic and staff notation from
the first text criticizing edition of the Hylendar's collection of songs
311,
according to the circle of St John Koukouzeles. Every voice has a
matching intonation formula. An example is given with the intona¬
tion formula from Codex Ashburnham
The
does not happen by chance, because the connection between the
separate musical forms and intonation formula e, voices and the
deviation within them, follow a strict system. St John Koukouzeles
together with other Byzantine musical authors do not deviate from
the theology of the teaching of the Holy fathers and use it even as a
solfeggio or musical theory as it appears on the surface. The circles
of Saint John are four and they are set around one big circle (a
wheel), which is the life of Byzantine melodies. Examples are given
from the „Mistagogia" of St Maxim the Confessor about the unity
and inseparability of the world.
In this way, using the circle, St John Koukouzeles depicts two
worlds- the one on the earth, with its physical order and the heav¬
enly world with its infinity and continuity.
An analysis is made of Codex Laurae
In order to achieve a greater representativeness and authority
of his work, the anonymous author signs under the name of John
Damaskin, which is used to discover a great number of manuscripts
even in later times. The authors of the manuscript Vatic. Gr.
and Laurae
figures- formula e, teaching their disciples with the help of rhetoric
questions and short answers.
The author of Laurae
which probably originates from the ancient practice of the Church,
connected with the forgiveness of sins and confession. The follow¬
ing verse has an exceptional importance:
Summary
ΤΩ "Αναξ καί Βασιλεϋ
ούρανοΰ καί γης, καί άνες καί
άφες τα παραπτώματα, μου.
King and Lord of heaven
and Earth, please forgive me
and set me free from my sins.
A connection is made between the treatises and the mystery
Repentance (Confession). The act of confession is necessary both
for the people who perform the music, each tune during the Liturgy
and for those who go forward to receive the Body and the Blood of
Jesus Christ. No liturgical singing can start without the intonation
formula e.
The introductory part of the musical treatises, which are a sub¬
ject of discussion in the presented codices, synchronizes with the
introductory prayers, said at the beginning of the Holy Liturgy by
the priests and at every single mystery of the church and prayer.
Every part of the prayer, directed at the three Persons of the Holy
Trinity, finds its place in the texts of the musical treatises with the
recommendation to begin every church singing with these words of
prayer which is done with the intonation formula
convenience.
Examples are given by different authors. According to them
ananes originates from
from
combination of words is:
ευχή έστι προς Θεον αναφερομένη"
give, Holy King, bring this prayer as a gift for God").
Emperor
„God, God" and agiya means „Save us", as a result of which the
two words combine to form one compound word nanagia.
Texts with similar meaning are discovered in the liturgical prac¬
tice of the Orthodox Church for the acceptance of people who have
rejected the Christian faith, people with other religions (Muslims)
and for heretics manicheis and iconoclasts), mentioned in the
Diataksis of the Patriarch Metodiy
ritual the application of four prayers is practised, the first of which
involving some technical terms. They can be found in the musical
treatises. The texts- extracts can be found in different Byzantine
Eucology as Barberini
276_
Grotta/errata Gb4, Zervos, Dmitrìevskiy
the Slavonic liturgical practice.
The three main verbs unburden, allow, forgive the sins can be
discovered in other prayers, connected with the mystery Repentance
as well as the monks office „Izobrazitelni", performed in IX century
(connected with the personal receiving of the Holy Communion of
the ermiti, as it is proved by the manuscripts Sinai
1964).
also be found in the Liturgy of the St Apostle Jacob, where after
pronouncing the words „The Holy is for the saints", the priest says
secretly this prayer before taking the Communion. A parallel is made
with texts from the Gospels, The Lord's prayer, The Acts and The
Epistles. The Greek words
some Hebrew texts. A connection is made with Ms. Jerusalem
from The Patriarch's library in Jerusalem.
Codex Laurae
XVI
kind of musical collection with psalms from the holiday Vespers
and from different Liturgies, involving The Proiasmena
presantificatis). There is a rich repertory written by different mas¬
ters of medieval music. St John Koukouzeles is one of these au¬
thors. The authenticity of the authorship of this manuscript is not
exact and has not been determined.
Most of the musical treatises were made for teaching church
singers, so they carried an information about the composing and
application of the Byzantine music in liturgy. However, many of
them have a basic introducing part where the authors introduced
texts referring to the Orthodox confession of faith, the meaning of
which was revealed on the principle teacher- student with the help
of the oral church singing tradition.
Every Christian believer has the opportunity to choose and
live the truth as is testified by the text of Cod.Vatic. Gr.872
ει θέλεις μάθειν το 'Αληθέ)
formed during Byzantine liturgies after the receiving of the Holy
Communion: „We saw the real light, accepted the Spirit from
Heaven, discovered the true faith: we worship the inseparable Trin¬
ity, because it's the Trinity that saved us". (The Byzantine editions
of the Liturgy of St Basil the Great and the Liturgy of St John
Summary
Crisostom).
The problems that were discussed in chapter
connected with the musical and theoretical treatises are interpreted
by most of the musical scholars in the language of musicology and
paleography. However, they cannot be separated from the charac¬
ter of the time when they were written. This is the time of an inten¬
sive theological creativity, when the Church practice of Hesychasm
and liturgy is established. This imposes the necessity for giving a
new spiritual meaning to the musical works.
On the basis of the drawn conclusions, mainly connected with
the character of the theological treating of the musical and
hymnographic sources, and also revealing the mystery of the musi¬
cal and theoretic medieval works, it is concluded that the authors of
Byzantine music followed the principle of harmony in the relation
between the text and the melody. In this way the musical treatises
describe the arrangement and systematizing of the neumatic sym¬
bols, which cannot sound separately but only in a relation with each
other, in a particular sequence. They construct the melody in one
inseparable melodic body.
All that becomes clear thanks to the attempt for a new study of
the musical sources from
the musical exegetics and the theological interpretation that reveal
the truths about the Orthodox faith, coded in Church music.
This research would contribute for the better understanding of
the medieval Byzantine tune, described in the written works of the
singing hesychasts and its establishment in the entire musical and
hymnographic canon of the contemporary liturgy of the Orthodox
Church. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Ivanov, Ivan S. |
| author_GND | (DE-588)133095827 |
| author_facet | Ivanov, Ivan S. |
| author_role | aut |
| author_sort | Ivanov, Ivan S. |
| author_variant | i s i is isi |
| building | Verbundindex |
| bvnumber | BV022478516 |
| ctrlnum | (OCoLC)219692797 (DE-599)BVBBV022478516 |
| edition | 1. izd. |
| era | Geschichte 1200-1500 gnd |
| era_facet | Geschichte 1200-1500 |
| format | Book |
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| id | DE-604.BV022478516 |
| illustrated | Illustrated |
| index_date | 2024-07-02T17:47:29Z |
| indexdate | 2024-07-09T20:58:28Z |
| institution | BVB |
| isbn | 9548398389 9789548398381 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015685892 |
| oclc_num | 219692797 |
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| physical | 366, 35 S. Ill., Notenbeisp. |
| publishDate | 2006 |
| publishDateSearch | 2006 |
| publishDateSort | 2006 |
| publisher | Sinodalno Izdat. |
| record_format | marc |
| spelling | Ivanov, Ivan S. Verfasser (DE-588)133095827 aut Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma Ivan Stojanov Ivanov 1. izd. Sofija Sinodalno Izdat. 2006 366, 35 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier PST: Betweeen the angels and the people. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Geschichte 1200-1500 gnd rswk-swf Hesychasmus (DE-588)4159706-0 gnd rswk-swf Liturgischer Gesang (DE-588)4036056-8 gnd rswk-swf Hesychasmus (DE-588)4159706-0 s Liturgischer Gesang (DE-588)4036056-8 s Geschichte 1200-1500 z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015685892&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=015685892&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ivanov, Ivan S. Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma Hesychasmus (DE-588)4159706-0 gnd Liturgischer Gesang (DE-588)4036056-8 gnd |
| subject_GND | (DE-588)4159706-0 (DE-588)4036056-8 |
| title | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma |
| title_auth | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma |
| title_exact_search | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma |
| title_exact_search_txtP | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma |
| title_full | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma Ivan Stojanov Ivanov |
| title_fullStr | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma Ivan Stojanov Ivanov |
| title_full_unstemmed | Meždu angelite i čovecite liturgičeskata muzikalno-chimnografska tradicija na isichazma Ivan Stojanov Ivanov |
| title_short | Meždu angelite i čovecite |
| title_sort | mezdu angelite i covecite liturgiceskata muzikalno chimnografska tradicija na isichazma |
| title_sub | liturgičeskata muzikalno-chimnografska tradicija na isichazma |
| topic | Hesychasmus (DE-588)4159706-0 gnd Liturgischer Gesang (DE-588)4036056-8 gnd |
| topic_facet | Hesychasmus Liturgischer Gesang |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015685892&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015685892&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT ivanovivans mezduangeliteicoveciteliturgiceskatamuzikalnochimnografskatradicijanaisichazma |