МУЗЫКАЛЬНЫЕ И ВЕРБАЛЬНЫЕ КОМПОНЕНТЫ В МУСУЛЬМАНСКОМ БОГОСЛУЖЕНИИ

Abstract

To begin with that is well known fact that any traditional culture (including Islamic culture) is variable in its nature. The regional component of divine service (Krasnoyarsk, Kazan, Moscow) is a specific factor of modification in this article. Moreover, it is assumed that the objective reason of the appearance of regional features of the researched musical material could be the vastness of the Russian territory and the relative distance of mosques in provincial cities from the Kazan center. By the way, despite the different ways of musical intoning, the sacred word of the Koran remains unchanged, and variability is the universal principle of any traditional culture. The ritual-plastic side introduces a special feature in the chanting of juma-namaz, the Friday prayer, that is prescribed by the Koran (obligatory collective prayer of Muslims is performed on Friday during the noon prayers in mosques). Actually in any religious cult prayer practice is associated with certain bodily movements that are determined not only the nature of vocal intonation, but often with the direction of the melodic movement. Moreover, this interconnection of musical and plastic intonations in chanting of juma-namaz deserves a separate consideration. The ritual gestures are strictly defined. They are canonized not only by gestures and movements, but also with what verbal formula they must be coincided. The main complex of ritual movements in juma-namaz is concentrated in “dramatic heart” of worship. It is concentrated two rak’ahat-standing (the canonized order of words and actions that constitute the Muslim prayer). The supreme variety of movements is “Takbir” (exaltation of God), which includes a waist-bow and straightening, two earthly bows and seats, a waist-bow and straightening after a bow. The gestures can be changed during one chant or in the transition between two chants. The special cohesion of bodily and melodic movements is singled out the hymns of rak'ah in general. By the way, if in the first two chants attention is focused on intense melodic movement in a relatively unfolded vocal form, in “Takbir”, on the contrary, the relative “low mobility” and shortness of melodic structures “the score” of body movements is richer. Taking everything into account, the body movement is not an end in itself. It is just one of the ways of expressing the prayer state of the soul, which is in some way consistent with other methods – words and melodies. In this case, the art of the singing also acts as one of the methods of prayer and it determines not only by the proper musical patterns (it is secondary), but it mostly determines be the tajwid (the rules of reading the Koran).