Рассматриваются нелинейные, диффузные отношения сакрального и
музыкального компонент в истории европейской художественной
культуры. Акцентируется внимание на взаимосвязь теоретического
философского дискурса и художественных практик в разные
социокультурные эпохи: античность, средевековье и Возрождение.
Взаимопроникновение сакрального и музыкального интерпретируется
как глубинное мировоззренческое основание возникновение оперы.
Розглядануті нелінійні, дифузні відносини сакральної та музичної
компоненти в історії європейської художньої культури. Акцентовано
увагу на взаємозв’язок теоретичного філософського дискурсу і художніх
практик в різні соціокультурні епохи: античність, середньовіччя та
Відродження. Взаємопроникнення сакрального і музичного
інтерпретується як глибинна світоглядна передумова виникнення опери.
Nonlinear diffuse relations of sacred and musical components in the history
of European artistic culture are discovered. Attention is focused on the
interrelation between theoretical philosophical discourse and artistic practices in different socio-cultural epochs: antiquity, the Middle Ages and
the Renaissance.
The birth of musical theater in antiquity was directly connected with the
realization of cult practices. The consequence of these was the ambivalence of
ancient reflections on the nature of the relationship between the sacred and
the theatrical in culture. On the one hand, the ultimate basis from which the
discourse of the meaning and role of the Musical Arts are begun and maintained
as the return to the sacral. On the other hand, references to the sacred in the
situation of the unfolding of discourse are turned into some background for
reflection on the political (in its ancient sense) such as paideia or civic
education, the achievement of a virtuous state, justice.
In the medieval Christian culture, with its paradigm of theocentrism, the sacred
foundation of musical art appears to be obvious, however, the interrelation
between the sacred and the musical is filled with internal collisions and the
complex contradictory nature of the relationship. The authors distinguish
three semantic changes in the relationship between the sacred and the musical
in the Middle Ages – music as a participant in the internal conflict between
the secular and the sacred (St. Augustine, St. Pope Gregory the Great), the
restoration of the ancient understanding of the correspondence between cosmic
harmony and the harmony of human body and soul (Guido d’Arezzo) and the
reaction to music as a path that leading to personal meeting with the sacred
(Hildegard von Bingen, Perotin the Great).
Anthropocentrism of the Renaissance replaced the emphasis on music and the
sacred. If in the ancient and medieval discourse there was drawn an immediate
connection between the musical and the divine, then in new humanistic culture
the relations between them are determined by the presence of new principle
component – a human being is not only intelligent but above all sensible and
able to appreciate harmony and beauty and enjoy them.
The interpenetration of the sacred and musical is interpreted as the basic
foundation of the origin of the opera.
