Muzikata na gornite sărca:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Inst. za Izkustvoznanie
2007
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: The music that lifts up the hearts |
| Beschreibung: | 183 S. |
| ISBN: | 9789548594042 |
Internformat
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| 245 | 1 | 0 | |a Muzikata na gornite sărca |c Kristina Japova |
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| 264 | 1 | |a Sofija |b Inst. za Izkustvoznanie |c 2007 | |
| 300 | |a 183 S. | ||
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Datensatz im Suchindex
| _version_ | 1804137296432201728 |
|---|---|
| adam_text | СЪДЪРЖАНИЕ
Към читателя
......................................7
І. В
търсене на отправна точка
......................11
1.
Църковна и нецърковна музика
....................11
2.
Идеята за подходящата църковна музика
...........12
3.
Църковна и светска музика
.......................14
4.
Функционалното на църковната музика според
конвенцията на съвременната музикология
..........16
5.
Из историята на идеята
...........................19
6.
Лъч към отношението слово
—
музика
.............21
7.
Лъч към идеята за началото
.......................23
8.
Из историята на идеята
...........................25
9.
Лъч към отношението слово
—
музика
.............26
10.
Из историята на идеята
..........................28
11.
Църковната музика и цялата музика
............33
1.
Преднамереността като ключова дума
в идеята за църковната музика
....................33
2.
...преминаването на границата
.....................38
3.
Лъч към понятието за музикалния смисъл
..........42
4.
Музикалното само по себе си
....................46
III.
От идеята към метода
.........................52
1.
Музика
—
богослужение
—
Църква
.................52
2.
Преминаването на границата
......................54
3.
Църковната музика и цялата музика :
фокусът на музикалния език
......................56
4.
Лъч към идеята слово
—
музика
...................58
5.
Лъч към идеята за музикалната тишина
............61
6.
Основанието на теологията на музиката
............62
IV.
От идеята към метода
II
.........................66
1.
За една сполучлива връзка между идея и метод
......66
2.
Музикалното чувство
—
понятие на раздора
........68
3.
Напред към идеята за музикално красивото
.........70
4.
Музикалното чувство: опит за реабилитация
........75
5.
От оригиналност
.................................81
6....
към анамнетичност
.......................84
7.
Кратко обобщение в прехода към началото
.........88
---------------------:----------------------------------------------------------- 5
V.
Логосното начало на музиката
....................92
1.
Музиката като теоретична дисциплина
и модусът на църковността
.......................92
2.
Мащабът
на Логоса
............................93
VI.
Средновековната теория за пластовете на смисъла
в Св. Писание и идеята за църковната музика
.....99
1.
Негативна обосновка
.............................99
2.
Предизвестие за реконструирането
на музикалните пластове
........................103
3.
За риска от механичния пренос на теорията
за пластовете на смисъла в музиката
.............105
4.
Някои опорни пунктове от историята
и идеята на екзегезиса
...........................106
5.
Системността на екзегетическия метод
............110
6.
Единството на пластовете, скрити
под една буква
.............-..................112
7.
За призивите към нов синтез
.....................118
8.
Лъч към познанието за святата музика
............122
VII.
Музиката и методът на екзегезиса
..............128
1.
Музикологични поуки
...........................128
2.
Позитивна обосновка
...........................130
3.
Още за подмяната на буквалността
............... 134
4.
Екзегетическият метод в контекста
на идеята за музиката сама по себе си
........... 138
5.
Идеята за анагогичната същност на музиката
......143
6.
Алегорията и проблемът за тишината
.............148
7.
Музиката и етажът на тропологията
.............152
8.
Res facta
и тоталната музикална реалност
..........154
9.
Някои изводи от методологическо естество
........155
10.
За типа знание и неговата цел
...................158
11.
Вместо преход
................................160
Vin.
Музикалната жертва
.........................167
To the Reader ....................................
181
THE MUSIC THAT LIFTS UP THE HEARTS
TO THE READER
If this book has attracted you with its title and you have
fumbled through its pages, you may have felt cheated. This title
is somewhat essayistic, very popular, too broad and most of all it
is not directly linked with its genre. On the contrary, the book it
heads is a piece of research, i.e. material that is unpopular and
that comes from a completely unpopular field
—
musicology,
and at that it is directed at the most boring part of a research
work, the study of methods. Indeed, my ultimate goal here is to
propose a system of methods for studying church music, a system
of methods appropriate for that music. But do not be too quick
as to adjudge that the title is not appropriate.
This is so because in order to cover the long road leading to
the system of methods the book had to reply to so many ques¬
tions. The first one among them was: What is church music, or
which music is church music? What is the difference between it
and the music that the logic of opposing concepts calls non-
church music? What is its relationship with secular music? And
with music as such ? Is it that music, which is performed
during the services of worship, i.e. liturgical music, and is it
enough for a music to be performed during these services so as
to be considered church music? And when we hear it in the
secular space of the concert hall, does it turn into secular music?
And if it has been created by a composer
—
a figure of the
culture of the Modern Ages,
—
is it just as churchly as the examples
taken from the medieval musical traditions of the European East
and West? And finally, what are the criteria we use so as to
recognize it?
Similar questions run through the entire history of music and
time and again this history reduces them to one question: the
question as to what music is appropriate for performance in
church. Already Blessed Augustine sets the tone for the worries
------------------------------------------------------------------------- 181
around that question, when he vacillates between the danger
stemming from the pleasure caused by the song and the proof for
benefit that proceeds from singing , when he wants to keep the
delight of the ear under control of reason. His anxiety comes
from the fact that the sounds bearing this delight seek to enter a
worthy place in my heart together with the meaning through
which they live, while I succeed, at the cost of great effort, to
keep them at a place appropriate for them. Sometimes it seems
to me that I pay more attention to them than they deserve, when
I feel how our souls flare up in the fire of piety in a more florid
and more fervent way if the holy words are sung in the proper
manner, than if they are not sung like that (Confessions).
The replies differing from each other come with different
speed and in different ways. They seek help from the link of
music with the holy words or from the idea about the religious
musical ethos, they feel suspicious that what comes from the
senses can express fully the spiritual meaning of music, or they
rely too much in this respect on what comes from the senses. And
when they become fixed to what looks most secure in music
—
its
means of expression, its peculiarities, when it begins to look that
it can give the criteria as what is churchly in music (if only it is
adapted in the proper way to what is churchly), only then one can
begin to understand that this adaptation requires that it be directed
to something that is different from the very peculiarities of the
sound and its structures in terms of figures, formulae, chants and
compositions, that it be directed to something else. And there
follows another round of seeking and another division between,
on the one hand, the firm mainstay of the sound form, which has
preserved in itself the church-musical meaning, a sound form
that has been given once and for all and preserved by canon,
validated by the secrets of the compositional principles of music,
and, on the other hand, the optimistic urge to describe this meaning
with the help of somehow another meaning that the sound seems
to express
—
the religious musical feeling, thought, and concept.
The book had to go through the conflict between the one and
182 -------------------------------------------------------------—----------------
another, through their potentialities and when it exhausted these
potentialities, it began seeking new prospects. The book found
these prospects in the tradition of Christian biblical exegesis.
Relying on its original idea, it understood that just as Sacred
Scripture is revered as the inspired word of God so church
music becomes accessible to us when we accept it as divinely
inspired, holy, coming from eternity. The book discovered that its
church quality, the thing that makes it differ from any other
music, cannot be seen if we fix our gaze on things terrestrial
—
the appropriate peculiarities for the appropriate devout idea. The
eyes must be raised upward, where one begins to notice the traces
from the torn link between terrestrial and celestial music.
The ears must hear music as the fundamental principle of divine
creation . For the difference of church music from any other
music is a difference due to a mode of existence and as such we
can perceive it when the fire of piety flares up in our own souls,
when we ourselves take along the way of joining in full the life of
the Church, when going along this way together with music, we
ourselves become appropriate for it, i.e. when we lift up our
hearts .
Kristina
Yapova
Translated by: Alexander
Gospodinov
----------------------------------------------------------------------- 183
|
| adam_txt |
СЪДЪРЖАНИЕ
Към читателя
.7
І. В
търсене на отправна точка
.11
1.
Църковна и нецърковна музика
.11
2.
Идеята за подходящата църковна музика
.12
3.
Църковна и светска музика
.14
4.
Функционалното на църковната музика според
конвенцията на съвременната музикология
.16
5.
Из историята на идеята
.19
6.
Лъч към отношението слово
—
музика
.21
7.
Лъч към идеята за началото
.23
8.
Из историята на идеята
.25
9.
Лъч към отношението слово
—
музика
.26
10.
Из историята на идеята
.28
11.
Църковната музика и "цялата музика"
.33
1.
Преднамереността като ключова дума
в идеята за църковната музика
.33
2.
.преминаването на границата
.38
3.
Лъч към понятието за музикалния смисъл
.42
4.
Музикалното "само по себе си"
.46
III.
От идеята към метода
.52
1.
Музика
—
богослужение
—
Църква
.52
2.
Преминаването на границата
.54
3.
Църковната музика и "цялата музика":
фокусът на музикалния език
.56
4.
Лъч към идеята слово
—
музика
.58
5.
Лъч към идеята за музикалната тишина
.61
6.
Основанието на теологията на музиката
.62
IV.
От идеята към метода
II
.66
1.
За една сполучлива връзка между идея и метод
.66
2.
Музикалното чувство
—
понятие на раздора
.68
3.
Напред към идеята за музикално красивото
.70
4.
Музикалното чувство: опит за реабилитация
.75
5.
От оригиналност
.81
6.
към анамнетичност
.84
7.
Кратко обобщение в прехода към началото
.88
---------------------:----------------------------------------------------------- 5
V.
Логосното начало на музиката
.92
1.
Музиката като теоретична дисциплина
и модусът на църковността
.92
2.
"Мащабът
на Логоса"
.93
VI.
Средновековната теория за пластовете на смисъла
в Св. Писание и идеята за църковната музика
.99
1.
Негативна обосновка
.99
2.
Предизвестие за реконструирането
на музикалните пластове
.103
3.
За риска от механичния пренос на теорията
за пластовете на смисъла в музиката
.105
4.
Някои опорни пунктове от историята
и идеята на екзегезиса
.106
5.
Системността на екзегетическия метод
.110
6.
Единството на пластовете, скрити
"под една буква"
.-.112
7.
За призивите към нов синтез
.118
8.
Лъч към познанието за святата музика
.122
VII.
Музиката и методът на екзегезиса
.128
1.
Музикологични поуки
.128
2.
Позитивна обосновка
.130
3.
Още за подмяната на буквалността
. 134
4.
Екзегетическият метод в контекста
на идеята за музиката "сама по себе си"
. 138
5.
Идеята за анагогичната същност на музиката
.143
6.
Алегорията и проблемът за тишината
.148
7.
Музиката и "етажът" на тропологията
.152
8.
Res facta
и тоталната музикална реалност
.154
9.
Някои изводи от методологическо естество
.155
10.
За типа знание и неговата цел
.158
11.
Вместо преход
.160
Vin.
Музикалната жертва
.167
To the Reader .
181
THE MUSIC THAT LIFTS UP THE HEARTS
TO THE READER
If this book has attracted you with its title and you have
fumbled through its pages, you may have felt cheated. This title
is somewhat essayistic, very popular, too broad and most of all it
is not directly linked with its genre. On the contrary, the book it
heads is a piece of research, i.e. material that is unpopular and
that comes from a completely unpopular field
—
musicology,
and at that it is directed at the most boring part of a research
work, the study of methods. Indeed, my ultimate goal here is to
propose a system of methods for studying church music, a system
of methods appropriate for that music. But do not be too quick
as to adjudge that the title is not appropriate.
This is so because in order to cover the long road leading to
the system of methods the book had to reply to so many ques¬
tions. The first one among them was: What is church music, or
which music is church music? What is the difference between it
and the music that the logic of opposing concepts calls "non-
church" music? What is its relationship with secular music? And
with "music as such"? Is it that music, which is performed
during the services of worship, i.e. liturgical music, and is it
enough for a music to be performed during these services so as
to be considered church music? And when we hear it in the
secular space of the concert hall, does it turn into secular music?
And if it has been created by a composer
—
a figure of the
culture of the Modern Ages,
—
is it just as churchly as the examples
taken from the medieval musical traditions of the European East
and West? And finally, what are the criteria we use so as to
recognize it?
Similar questions run through the entire history of music and
time and again this history reduces them to one question: the
question as to what music is appropriate for performance in
church. Already Blessed Augustine sets the tone for the worries
------------------------------------------------------------------------- 181
around that question, when he vacillates between "the danger
stemming from the pleasure caused by the song and the proof for
benefit that proceeds from singing", when he wants to keep "the
delight of the ear" under control of reason. His anxiety comes
from the fact that the sounds bearing this delight "seek to enter a
worthy place in my heart together with the meaning through
which they live, while I succeed, at the cost of great effort, to
keep them at a place appropriate for them. Sometimes it seems
to me that I pay more attention to them than they deserve, when
I feel how our souls flare up in the fire of piety in a more florid
and more fervent way if the holy words are sung in the proper
manner, than if they are not sung like that" (Confessions).
The replies differing from each other come with different
speed and in different ways. They seek help from the link of
music with the holy words or from the idea about the religious
musical ethos, they feel suspicious that what comes from the
senses can express fully the spiritual meaning of music, or they
rely too much in this respect on what comes from the senses. And
when they become fixed to what looks most secure in music
—
its
means of expression, its peculiarities, when it begins to look that
it can give the criteria as what is churchly in music (if only it is
adapted in the proper way to what is churchly), only then one can
begin to understand that this adaptation requires that it be directed
to something that is different from the very peculiarities of the
sound and its structures in terms of figures, formulae, chants and
compositions, that it be directed to something else. And there
follows another round of seeking and another division between,
on the one hand, the firm mainstay of the sound form, which has
preserved in itself the church-musical meaning, a sound form
that has been given once and for all and preserved by canon,
validated by the secrets of the compositional principles of music,
and, on the other hand, the optimistic urge to describe this meaning
with the help of somehow another meaning that the sound seems
to express
—
the religious musical feeling, thought, and concept.
The book had to go through the conflict between the one and
182 -------------------------------------------------------------—----------------
another, through their potentialities and when it exhausted these
potentialities, it began seeking new prospects. The book found
these prospects in the tradition of Christian biblical exegesis.
Relying on its original idea, it understood that just as Sacred
Scripture is revered as "the inspired word of God" so church
music becomes accessible to us when we accept it as divinely
inspired, holy, coming from eternity. The book discovered that its
church quality, the thing that makes it differ from any other
music, cannot be seen if we fix our gaze on "things terrestrial"
—
the appropriate peculiarities for the appropriate devout idea. The
eyes must be raised upward, where one begins to notice the traces
from the torn link between "terrestrial" and "celestial" music.
The ears must hear music as "the fundamental principle of divine
creation". For the difference of church music from any other
music is a difference due to a mode of existence and as such we
can perceive it when "the fire of piety" flares up in our own souls,
when we ourselves take along the way of joining in full the life of
the Church, when going along this way together with music, we
ourselves become appropriate for it, i.e. when we "lift up our
hearts".
Kristina
Yapova
Translated by: Alexander
Gospodinov
----------------------------------------------------------------------- 183 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Japova, Kristina |
| author_facet | Japova, Kristina |
| author_role | aut |
| author_sort | Japova, Kristina |
| author_variant | k j kj |
| building | Verbundindex |
| bvnumber | BV023059569 |
| ctrlnum | (OCoLC)219435842 (DE-599)BVBBV023059569 |
| edition | 1. izd. |
| format | Book |
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| id | DE-604.BV023059569 |
| illustrated | Not Illustrated |
| index_date | 2024-07-02T19:28:13Z |
| indexdate | 2024-07-09T21:10:02Z |
| institution | BVB |
| isbn | 9789548594042 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016262826 |
| oclc_num | 219435842 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 183 S. |
| publishDate | 2007 |
| publishDateSearch | 2007 |
| publishDateSort | 2007 |
| publisher | Inst. za Izkustvoznanie |
| record_format | marc |
| spelling | Japova, Kristina Verfasser aut Muzikata na gornite sărca Kristina Japova 1. izd. Sofija Inst. za Izkustvoznanie 2007 183 S. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., bulg. - Zsfassung in engl. Sprache u.d.T.: The music that lifts up the hearts Kirchenmusik (DE-588)4030736-0 gnd rswk-swf Musiktheorie (DE-588)4040876-0 gnd rswk-swf Kirchenmusik (DE-588)4030736-0 s Musiktheorie (DE-588)4040876-0 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016262826&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=016262826&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Japova, Kristina Muzikata na gornite sărca Kirchenmusik (DE-588)4030736-0 gnd Musiktheorie (DE-588)4040876-0 gnd |
| subject_GND | (DE-588)4030736-0 (DE-588)4040876-0 |
| title | Muzikata na gornite sărca |
| title_auth | Muzikata na gornite sărca |
| title_exact_search | Muzikata na gornite sărca |
| title_exact_search_txtP | Muzikata na gornite sărca |
| title_full | Muzikata na gornite sărca Kristina Japova |
| title_fullStr | Muzikata na gornite sărca Kristina Japova |
| title_full_unstemmed | Muzikata na gornite sărca Kristina Japova |
| title_short | Muzikata na gornite sărca |
| title_sort | muzikata na gornite sarca |
| topic | Kirchenmusik (DE-588)4030736-0 gnd Musiktheorie (DE-588)4040876-0 gnd |
| topic_facet | Kirchenmusik Musiktheorie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016262826&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=016262826&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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