Православната музика в академичната практика
Ortodox Music in Academic Practices

Summary/Abstract: There is no denying the fact that the tuition in Orthodox Church Music in Bulgarian higher educational institutions is not sufficient. That creates favourable soil for lack of knowledge. Firstly, it results in closing the way of a great part of the works of the world music treasure to performers’ practice as most of these works have been created on the basis of general Christian ideas and images. Secondly, the lack of professional knowledge in respect to ecclesiastical and particularly Eastern Orthodox Church Music causes problems from the point of view of proper artistic interpretation of this music. The insufficient apprecia­tion of the beauty and importance of Orthodox Church Music for world culture is traditional. The neglectful attitude is transferred to the large musical stages and research centers. The author knows from personal experience how many efforts are necessary to convince the European musical specialists that, for in­ stance, the creative work of Nikolai Diletski is not less significant than that of his contemporary Ian Svelink. If we visit a statistically average music shop anywhere in Europe, we could find without any difficulty at least ten recordings of “Requiem” by Mozart or Verdi. But among the thousands of compact disks we can hardly find as Orthodox Church Music anything else but a recording of the “Svetoslav Obretenov” Bulgarian Cappella Choir or another tasteless compilation performed by a not reputable choir. The introduction into the higher educational institutions regular tuition in Orthodox Church Music and church service practice will broaden the possibilities of the students for professional realization as its interpreters and researchers.

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