scholarly journals Communion songs not regulated by the typicon in the recent tradition of Serbian church singing

Muzikologija ◽  
2004 ◽  
pp. 121-152
Author(s):  
Vesna Peno
Keyword(s):  
20Th Century ◽  
Fundamental Question ◽  
Orthodox Church ◽  
Liturgical Texts ◽  
Historical Themes ◽  
19Th And 20Th Century ◽  
The Church ◽  
The Way

In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.

Mesyatseslovs memory of the Russian Orthodox Church

2020 ◽  
pp. 160-198
Author(s):  
Макарий Веретенников
Keyword(s):  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
Analysis And Synthesis ◽  
Liturgical Texts ◽  
History Of ◽  
Complete Form ◽  
Characteristic Features ◽  
Heaven And Earth ◽  
The Church

Статья посвящена содержанию, общим принципам построения и характерным особенностям календаря, или месяцеслова, Русской Православной Церкви. Автор использует методы анализа и синтеза. В итоге делаются нижеследующие обобщения. Месяцеслов был принесён на Русь из Византии в достаточно завершённом виде, однако в процессе исторического развития он дополнился особенными русскими праздниками. Календарь-месяцеслов - это грандиозный собор святых, подвизавшихся в разных местах на протяжении веков, единение Церкви Небесной и земной, история святости и история нашей Церкви. Месяцесловным памятям посвящены составленные гимнографами богослужебные тексты, которые поются и читаются в храмах. Традиционно почитается день кончины угодников Божиих, память открытия мощей святых, перенесения их святых мощей или же день канонизации угодников Божиих, реже - день их рождения. Фенологические наблюдения русского народа связаны с повседневной деятельностью и увязаны с месяцесловом, что свидетельствует о его проникновении в повседневную жизнь русского человека. The article is devoted to the content, General principles of construction and characteristic features of the calendar, or mesyatseslov, of the Russian Orthodox Church. The author uses methods of analysis and synthesis. As a result, the following generalizations are made. The mesyatseslov was brought to Russia from Byzantium in a fairly complete form, but in the course of historical development it was supplemented with special Russian holidays. The calendar-mesyatseslov is a grandiose council of saints who have labored in different places over the centuries, the unity of the Church of Heaven and earth, the history of holiness and the history of our Church. Liturgical texts composed by hymnographers, which are sung and read in churches, are dedicated to the mesyatseslovs memory. Traditionally, the day of the death of saints, the memory of the discovery of the relics of saints, the transfer of their Holy relics, or the day of the canonization of saints, less often - the day of their birth are honored. Russian people’s phenological observations are related to their daily activities and are linked to mesyatseslov, which indicates its penetration into the daily life of the Russian people.

Priest Peter Ilyinsky (1871-1938): Educator, publicist, confessor

2019 ◽  
pp. 286-292
Author(s):  
Николай Сергеевич Черепенин
Keyword(s):  
20Th Century ◽  
Pastoral Ministry ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Chronological Order ◽  
Economic Activities ◽  
Crucial Point ◽  
Russian Orthodox Church ◽  
History Of ◽  
The Church

Изучение жизненных обстоятельств священнослужителей первой половины XX в. является важной составляющей изучения истории Русской Православной Церкви. Оно позволяет детально проследить некоторые процессы и явления, происходившие в Церкви того периода, на конкретных примерах. Данная статья посвящена священнику Петру Ильинскому, около сорока лет прослужившему на сельском приходе. Его служение раскрывается в статье в хронологическом порядке: педагогическая и хозяйственная деятельность пастыря дополняется описанием его публицистических трудов и заканчивается описанием его семьи и исповеднического подвига. Данная работа служит свидетельством незаурядного пастырского служения священника Петра в переломный момент жизни нашего государства и в достаточной мере иллюстрирует историческую эпоху конца XIX - первой половины XX веков на конкретном примере. The study of the life circumstances of clergymen in the first half of the 20th century is an important part of the study of the history of the Russian Orthodox Church. It allows us to trace in detail some of the processes and phenomena that took place in the Church in that period, using concrete examples. This article is about the priest Peter Ilyinsky, who served forty years in a rural parish. His ministry is presented in chronological order: his teaching and economic activities are followed by a description of his publicist writings and ending with a description of his family and confessional deeds. This work is a testimony to the extraordinary pastoral ministry of the Priest Peter at a crucial point in the life of our nation, and illustrates the historical era of the late 19th century and the first half of the 20th century with concrete examples.

Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music

Tekstualia ◽  
2018 ◽  
Vol 2 (53) ◽  
pp. 99-114
Author(s):  
Wojciech Paszkowicz
Keyword(s):  
20Th Century ◽  
Bertolt Brecht ◽  
German Language ◽  
Pop Music ◽  
Language Poetry ◽  
Foreign Literature ◽  
Diffi Cult ◽  
The Subject ◽  
19Th And 20Th Century ◽  
The Way

The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.

scholarly journals THE CONTROVERSY ON THE JURISDICTION OF THE PATRIARCHATE OF CONSTANTINOPLE OVER THE ORTHODOX DIASPORA IN THE FIRST HALF OF THE 20TH CENTURY AND ITS OUTCOME

2019 ◽  
pp. 16-28
Author(s):  
Pavel V. Ermilov ◽  
Keyword(s):  
20Th Century ◽  
Orthodox Church ◽  
Relevant Document ◽  
The Church ◽  
Canonical Status

One of the crucial challenges facing the Orthodox world is the necessity to regulate the canonical status of the Orthodox diaspora. The Council on Crete, held in 2016, accepted a relevant document and stated the willingness of all Orthodox Churches “to resolve the problem of the Orthodox diaspora and its organization in accordance with Orthodox ecclesiology, and the canonical tradition and practice of the Orthodox Church”. A model of a compromise that could reconcile the competing approaches of various Orthodox Churches has been long searched for. However, less and less attention is paid to the fact that the theory imposed by the Church of Constantinople is purely arbitrary and devoid of any solid reasons. Throughout the 20th century, it has been more than once challenged as pseudo-canonical. It is clear that any consensus based on erroneous theological assumptions will be leading to failure. This article is intended to show that the repeatedly refuted approach of the Church of Constantinople cannot help in formulating a truly canonical decision of the problem of diaspora.

scholarly journals An Academic Review of Anton LaVey’s Satanic Philosophy

2017 ◽  
pp. 1-25
Author(s):  
Dr. Gabriel Andrade
Keyword(s):  
Key Words ◽  
20Th Century ◽  
19Th Century ◽  
Cultural Movements ◽  
Academic Review ◽  
The 19Th Century ◽  
The Devil ◽  
The Church ◽  
The Way

Satan has been a changing character for the last 2500 years. For most of its history, the Devil was represented as God’s archenemy, the representation of absolute evil. By the 19th Century, this approach had begun to change with the Romantics, some of whom represented a more heroic character. In the mid-20th Century, in the mist of counter-cultural movements, the figure of Satan was once again apprehended by non-conformists. The most notorious of these was Anton LaVey, who founded the Church of Satan. This article reviews LaVey’s approach to the figure of Satan, some of the rituals and symbolisms associated with this movement, and the way LaVey used Satan as a way to represent his particular philosophical views. Key Words: Satanism, Anton Lavey, Church of Satan, Devil

scholarly journals The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20thCentury

2020 ◽  
Vol 35 (1) ◽  
pp. 7-34
Author(s):  
Elena Chircev ◽  
Keyword(s):  
20Th Century ◽  
Church Music ◽  
Communist Regime ◽  
Political Regime ◽  
Orthodox Church ◽  
Religious Music ◽  
Original Works ◽  
Romanian Revolution ◽  
Difficult Times ◽  
The Church

During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.

A Diachronic Analysis of the Religious Role of the Woman in Euskal Herria: The Serora and her Helpers

2021 ◽  
Author(s):  
Roslyn M Frank
Keyword(s):  
20Th Century ◽  
Catholic Church ◽  
High Status ◽  
Religious Institution ◽  
Hypothetical Model ◽  
Diachronic Analysis ◽  
The Church ◽  
The Way ◽  
The Catholic Church

<p>In the churches of Euskal Herria there exists today a religious institution of great antiquity and one that clearly demonstrates the high status traditionally afforded to the female in Basque culture. The serora, also referred to as sorora, freila, benoîte, benedicta and beata, is a woman who acts as an adjunct to the priest in the ritual activities of the Catholic Church. In the 20th century her continuing presence represents an anachronism and anomaly when viewed in light of repeated decisions by the Catholic hierarchy concerning the officially approved role of women in the Church. The morphology of this institution will be viewed from two perspectives. First, it will be analyzed synchronically as a set of functions or structures constituting the field of activity of the serora. Then, in order to understand the significance of the survival of these functions, a diachronic approach will be utilized to trace their evolution back into the indigenous religious structures and associated patterns of belief. Having established a hypothetical model for the pre-existing morphology of the institution, it will be possible to describe the way in which the earlier set of structures was modified by increasing contact with the forms and contents of Christianity. With the passage of time the formative elements of the indigenous substratum become overlaid and modified by their fusion with Christianity. Nonetheless, as will be demonstrated, the syncretistic processes at work allowed the earlier structures to survive under the guise of what are understood to be Christian rituals and symbols. Thus, the original indigenous patterns continued to function as generative infrastructures latent even in their modern counterparts. In the latter sections of the paper the duties and responsibilities of the serora are compared with those associated with the Beguines and a new etymology of the term “Beguine” is put forward.</p>

scholarly journals Polityka rosyjskiej Cerkwi prawosławnej wobec cudownych obrazów katolickiej proweniencji na wschodnich terenach dawnej Rzeczypospolitej w XIX w. na kilku przykładach

Porta Aurea ◽  
2021 ◽  
pp. 71-90
Author(s):  
Volha Barysenka
Keyword(s):  
20Th Century ◽  
Russian Empire ◽  
Local Communities ◽  
Orthodox Church ◽  
Sacred Art ◽  
Christian Art ◽  
The Russian Empire ◽  
The 19Th Century ◽  
Catholic Churches ◽  
The Church

Due to the liquidation of the Union in 1839 and the transfer of Catholic churches to the Orthodox Church after the rebellions of 1830–1831 and 1863–1864 in the territories of the former Polish -Lithuanian Commonwealth which were incorporated into the Russian Empire, a great deal of sacred art pieces of western -Christian art became property of the Orthodox Church. As per directions of the Church authorities, the images of Jesus Christ, Our Lady and the Saints of the Undivided Church could remain in Orthodox churches, while those of Catholic and Greek -Catholic Saints were to be given back to Catholics. The images that were left in Orthodox churches were to be changed to meet the Orthodox rules. That usually meant addition of an inscription or repainting of the image partially or fully. The situation was different in relation to miraculous images. After being transferred to the Orthodox churches they remained unchanged, even in the cases when their iconography was unacceptable for the Orthodox Church or when they represented Catholic Saints, such as Ignatius Loyola or Anthony of Padua. This was related to the effect miraculous images had on local communities. The cult of miraculous images was above -confessional; believers of different Christian confessions went on pilgrimages to them. Leaving these images as is they were aimed at converting Catholics to Orthodoxy to strengthen the position of the Russian Empire on the land of the former Polish - -Lithuanian Commonwealth. To justify the functioning of western -Christian images in the Orthodox Church, both new legends were developed stating the images had Orthodox origins and were taken by Catholics, and attempts of theological rationale were made. These activities were successful: the images that survived through the disasters of the 20th century are still in the cult of the Orthodox Church along with the legends of their Orthodox origin developed in the 19th century.

The System of Views on the Orthodox Church of the Participants in “Religious-Philosophical Meetings” (1901–1903)

2019 ◽  
Vol 60 ◽  
pp. 146-164
Author(s):  
Vasiliy A. Shchipkov
Keyword(s):  
Orthodox Church ◽  
Christian Doctrine ◽  
Secular Institution ◽  
The World ◽  
Doctrine Of The Church ◽  
The Church ◽  
Main Flaw ◽  
The Way

The purpose of the article is to identify and analyze ecclesiology, the doctrine of the Church, offered by the participants of Religious and philosophical meetings (1901–1903) from the “party” of the intelligentsia (Ternavtsev, Merezhkovsky, Rozanov, Philosofov, Minsky, Romanov), as well as to show its secular and political nature. This ecclesiology contained the following provisions: change in Christian dogma was declared possible; the Church was differentiated as “historical” and “mystical”; the main flaw of the “historical” Church being that it preached only the heavenly and ignored the worldly ideals; the worldly principles were declared autonomous and equal to the divine principles; the intelligentsia proposed the way of Christianizing the world and returning the Church to its “fullness”, in which not the world approached the Church, but the Church approached the world and became a worldly, secular institution; the secularization of the Church in this context meant the introduction of Protestant and pagan elements into the Christian doctrine.

scholarly journals Orthodox samizdat in Chuvashia in the 1960s–1980s

2021 ◽  
Vol 37 (1) ◽  
pp. 162-175
Author(s):  
Andrew G. Berman ◽  
Keyword(s):  
Public Life ◽  
Orthodox Church ◽  
Typical Representative ◽  
Paradise Regained ◽  
The Social ◽  
Liturgical Texts ◽  
Specific Position ◽  
The 1960S ◽  
The Church ◽  
Additional Income

The article is devoted to the phenomenon of Orthodox church samizdat in the second half of the 20th century. The term Orthodox samizdat used in this article refers to a set of texts reproduced in an artisanal way and distributed in church goers circle without the sanction of the church or secular authorities. In the conditions of Soviet reality, the church circles were a deep periphery of public life and was formed from the marginalized or those pushed out by the Soviet authorities to the social margins. The specific position of church people in the USSR determined the repertoire of samizdat texts and their ideological orientation. The source base for this article was formed by a large library of church samizdat left after the death of Elizabeth Feodorovna Zakharova, an active parishioner of the Vvedensky Cathedral in Cheboksary. Zakharova was a typical representative of the church goers. The article reviews the genres of works that were available as the samizdat in Zakharova’s library: liturgical texts, artisan copies of pre-revolutionary publications, spiritual verses, thematic collections, folklore, apologetic literature, eschatologicaland conspiralogical texts, etc. One of the peculiarities of the existence of Orthodox samizdat in Chuvashia was that many texts circulated in translations into the Chuvash language. Among the features of Cheboksary samizdat is the replication of the prosaic translation of John Milton’s poems “Paradise Lost” and “Paradise Regained”. Church samizdat performed a number of important functions in church circles: it solved the problem of demand for liturgical and doctrinal literature in deficit conditions, shared uncensored texts, rallied church people and could besource of additional income. In general, church samizdat was an important part of the culture of the church circle during the Soviet era. The spelling and punctuation features of the original unpublished sources are preserved in the article when cited.

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