Eighth International Conference on Orthodox Church Music: “The Sounds of the Holy: From Manuscript to Performance”

Μοιραστείτε το άρθρο:

Συνέδριο : The Eighth International Conference on Orthodox Church Music

Θεματική : “The Sounds of the Holy: From Manuscript to Performance”

Διοργάνωση : University of Eastern Finland, School of Theology

Τόπος, Χρόνος : Γιοενσούου, Φινλανδία, 10 – 16.06.2019(University of Eastern Finland, School of Theology)

Ἀ­να­κοί­νω­ση : “Greek Orthodox Psaltic Art: Performance and/or Prayer ?”

Πε­ρί­λη­ψη : The Church of Jesus Christ, from the very early centuries, has adopted music into its worship as an auxiliary tool so that with the help of music the doctrine would being understood and assimilated by the faithful in an easy way. Later, when the doctrine became clean and finalized, the sacred Psalmody was put in a second role, while there were not few ascetic Fathers of the Church who were perceived a multitude of spiritual dangers for the faithful because of Psaltic Art. Finally, the Orthodox patristic theology recognized the holy Psalmody as a prayering means, especially for the beginners and pneumatically incomplete faithful, but also made clear that the perfect prayer with which the man can reach the viewing of the Uncreated Light of God is the “monologistos” mental and cardinal prayer (“Kyrie, Iessou Christe, eleison me”, Lord Jesus Christ have mercy with me). However, Byzantine and post-Byzantine Psaltic Art reaches to extremely high points of acne and growth.

Today, the problem is that, because the psaltic compositions of Byzantine and post-Byzanti-ne period cannot be used in Orthodox Worship due to their length, they are treated more as artistic and less as worshiping creations. So, nowadays, the compositions of those periods are selected as a repertoire of non-Worship events, that is Western-style performances, which adopted very recently from the Greek psaltic reality, just in the second half of the 18th century.

This paper will try to give convincing answers to some se-rious questions related with the title of it: Do the non-Worship performances serve the Worship of the Holy Trinity God or they have egocentric incentives? Is Lord well pleased with them or Lord dislikes them? How does the ethos of the non-Worship performances influence the ethos of the Chanters during the Holy Worship? What impacts are there when the psaltic prayer becomes a “performance for one per-son”? Does this situation overwhelm the faithful from the Church and from the common Worship? What do the Fathers of the Church have said about Psalmody with self-ishness and Psalmody with secular ethos, which does not give birth to prayer?

Ἐξεδόθη : Τὸ κείμενο τῆς εἰσηγήσεως ἐξεδόθη:

i. Στὸ ἐπίσημο Περιοδικὸ τοῦ διοργανωτῆ φορέα, τὸ Journal of the International So-ciety for Orthodox Church Music, Vol. 4, Νο 2 (2020), Section II: Conference papers, pp. 276 – 284, (ISSN 2342-1258) [βλ. https://journal.fi/jisocm/article/view/97049]

ii. Δίγλωσσο, στὴν ἑλληνικὴ καὶ ἀγγλική γλῶσσα (σελ. 103 – 151) στὸ προμνημονευθὲν σύγγραμμα, Κων/νου Χαριλ. Καραγκούνη, « …ὅπως ἂν δυνηθῶμεν, ἀπερισπάστως ἄδειν τε καὶ ψάλλειν, καὶ ἐξομολογεῖσθαι Σοι…» – Συναγωγὴ ἄρθρων, μελετῶν καὶ δοκιμίων γιὰ τὴν ἱερὰ Ψαλμωδία καὶ τὴν Ψαλτικὴ Τέχνη, ἐκδόσεις ΚΥΡΙΑΚΙΔΗΣ ΙΚΕ, Θεσσαλονίκη, Σεπτέμβριος 2020, σελίδες 224 (14 δεκαεξασέλιδα). Ἐπιμέλεια – σελιδοποίηση – ἐπεξεργα-σία φωτογραφιῶν: Κων/νος Χαριλ. Καραγκούνης. (ISBN : 978-960-599-351-1 – Κωδικὸς Βι-βλίου στὸν ΕΥΔΟΞΟ: 94951750).