Chenoza auctorială în tradiţia cântării religioase bizantine
The auctorial kenosis in the tradition of Byzantine religious singing

Summary/Abstract: In the value system of creative Byzantine culture, not only the composition (within the limits of the canons) appears, but also the rewriting – with additions, modifications, embellishments – of songs produced by others. Translating songs from one language into another with the related melodic retouching will also come within the scope of the notion of creative activity. Finally, the one who gives voice to the song, the performer, can intervene creatively in the melodic substance, thus encompassing the work of the hymnologist, of the gifted copyist or, eventually, of the interpreter. It is deduced from this that the notion of paternity is relativized; paternity not being a person’s privilege, nor even of a guild of ecclesiastical musicians; it is distributed unquantifiably between different people and specializations. The auctorial kenosis of Byzantine hymns of praise is in close connection with these phenomena, attitude whose deep conditions are: - humility in front of the one glorifed in the song, also being the source of inspiration – God; - respect for tradition, former teachers and early musicians; - the mechanisms of the composing act, the compositional algorithm; - opacity to artistic originality, care not to fall into the sin of the haughtiness.

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