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ISSN 1409-6900 | UDK 82+7     Blesok no. 06 | volume II | January, 1999



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                     Peer-reviewed journal
Blesok no. 06January, 1999
Sound Reviews

Aculturation as a Possibility for Creation of the Orthodox Monody in Byzantino-Slavonic Music in Macedonia

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p. 1
Boris Ortakov

    The unity between the sound and the word should be the imperative of any observation of church chants in Byzantine music. When A.B. Preobrazenski, speaking about the Russian-Byzantine practice says that “in the basis of musical expression we could see the very same pattern which could be seen in the basis of literary expression”[1], he addresses the same origin of the dynamism of the internal ongoing process, both in the musical and in the literary process of one and the same deed. Thus, it is not difficult to come to a conclusion that the essential characteristics of the Macedonian church language are in the same time esthetical determinants of music, implemented in chants written in that language. Any change in the dynamism of textual flow, which participates in the esthetical essence of the ultimate form, means in the same time a change in the dynamism of sound ideation of the related text.
    One of the most complex problems which faces the musical byzantology concerning Byzantino-Slavonic music is the problem of musical interpretation of the texts, depending on hystorical alterations of the numerous theoretical aspects of that music.The interpretation of church-music texts depends on two, in the same time mutually dependent elements: the written and the verbal musical tradition. Despite the existence of “neumatic” notation (beginning from 10th century), Byzantine and Orthodox Slavonic church music, ever since its beginnings untill the present time, most oftenly have been transmitted by the verbal way[2]. It means that, in addition to the general reliance upon written tradition, musical byzantology will have to find out adequate methodology and technics to disclose the numerous aspects which stress the decisive role of verbal musical tradition in transmission of the manuscripts over the centuries.
    From the aspect of aculturation processes, there have been very significant points of view, although originating from the field of ethnomusicology and relating to folk music, that have shed light on the identical processes in church music, namely upon Byzantino-Slavonic music. In this respect, the fact that church music and folk music had been the same in the beginning of the development of Byzantino-Slavonic music, puts us under an obligation to enter deeper into the ethnomusicological sphere as well. Thus, according to Jerko Bezic, the keystones of those processes have been, above all, the skillfull although usually uneducated singers and players, who have spontaneously and gladly accepted musical phenomena from other cultures[3]. The whole community have

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1. A.V.Preobrazenski, Kultovata muzika vo Rusija, Leningrad, 1924, s.10
2. Danica Petrovic, Osmoglasnik u muzickoj tradiciji Juznih Slovena, Beograd, 1982, s. 17
3. Jerko Bezic, “Akulturacija kao mogucnost daljeg zivljenja folklorne glazbe”, Zvuk (Sarajevo), br.2. 1974, s. 149






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