Богословски поглед върху средновековните музикални трактати
The Theological Aspect of Medieval Musical Treatises

Summary/Abstract: This article focuses on Medieval musical treatises. Some of the texts from the Papadite are analyzed in order to reveal in detail their essence and function as complete musical theories or as a mystical combination of sign and symbol. The article covers the 13th and 14th centuries, a period which marked the pinnacle of the dissemination and application of the doctrine of Hesychasm, a doctrine which lies at the basis of the new musical and hymnographic style. This work discusses the collections of songs known as αηκολουθι, αϊ linked with a newly-composed stylistic layer (defined as νέον in the earliest documents). The newly-composed repertory is defined as καλοπισμός, καλοφωνικός, i.e. decoration and sweet-singing (καλοφωνια from καλός “beautiful” and φωνή “voice”). Special attention is devoted to the so-called kratimataria - collections of kratimata, a kind of teriteme - tunes without words that rest on syllables without meaning. The work presents the so-called great hypostases (μεγάλες υποστάσεις), which were seen for the first time in the Athens 2458 MS from the year 1336, a manuscript containing works by St John Koukouzeles, including polyeleion calophonic (sweet-sounding) verses. An analysis is offered (on the basis of a theological and hermeneutical interpretation of the text) of Papadike, the musical theory treatises (in Greek and in Slavonic languages) dating from the end of the Byzantine epoch (the 15th through the 17th centuries). These treatises show the methods of teaching the Faith through the singing practice of the Byzantine Church. This analysis provides grounds to give new meaning to the liturgical life of that church. The Papadike are defined as musical theories and mystical combining of sign and symbol. An analysis is made of texts from the Hilendar 311 MS from the 18th century (and its Church Slavonic version translated from the Greek), Codex Vatic. Gr. 872, from the beginning of the 14th century, as well as other documents. The article reveals the hidden meaning of the introductory intonation formulae (άπήχημα, ενήχημα), which were deciphered in a technical sense by Byzantine musical scholars. That hidden genuine sense can be revealed only through theological interpretation. The introductory intonation formulae are defined as fundamental devotional and confessional formulae. The article draws a comparison with specific texts from the prayers and sacraments of the Church.

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