Ентелехія людини музикуючої : історичний дискурс

Abstract

У статті здійснено спробу розглянути антропологічний аспект проблеми семасіології антиномічної взаємодії сакрального і музичного просторів, зокрема подано панораму намірів афективного переживання, пізнання (sapere aude), створення «месіанських ідолів», лукавого загравання і, нарешті, заперечення інтонуючим суб’єктом Світла Досконалої Радості; верифіковано концептуальне положення про наївність сучасних прагнень до повноти становлення і оформленості музичного смислу (як антиномічної тріади сутності, її неявної присутності й вираження у інтонованих іконах, індексах і символах) у постхармсівській ситуації різоми музичних просторів, без зумовленості процесу рівнем аскези homo musicus.

Тhe “qualities proper to genuine sacred music” that need to be followed attentively in the composition and performance of new works is in fact a crucial question which requires much more space than the scope of this introduction would allow, in order to be answered adequately. It does not do justice to the nature of music of sacer space to be merely correct, even according to the above-mentioned principles. In order for sacred music to reach its full stature, composers and musicians need to exercise true artistry, in which knowledge, inspiration, and skill all play a vital role. Many may object here, saying that this music is meant for “prayer rather than performance,” implying that prayer, being a humble, intimate communication with God, excludes or minimizes the need for artistry, which by its nature demands a focus on the externals of minimalistical musicmaking. There is an element of truth in this, namely, that the relational dimension of the sacer space is of immeasurably more importance than the artistic dimension. However, it is this very relational dimension which should motivate and empower composers and musicians as they devote all of their skill to create something as beautiful as possible for God. In addition, a certain level of artistry in composition can more fully interiorize the meaning of the words and more prayerfully join in the singing of their parts. In the context of sacred music, compositional artistry will be manifested in gracefulness and dignity of melodic line, harmony, and dynamics, rather than in striking effects or grandiosity. The artistic performance of this music by cantors and choirs requires, among other things, diligent attention to precision of pitch and rhythm, resonance, lively and sensitive dynamics, appropriate tone quality, and clear diction. Qualities such as interiority and unity of sound among voices should preclude any harsh effects or displays of virtuosity, however appropriate these latter might be in other contexts. Composers and performers of all kinds of music bear witness to the fact that the phenomenon of inspiration is a mysterious but important element in their creative process, which is directed toward the praise and glory of God.