Church music in the light of national legislation in the principality of Serbia and the Kingdom of Serbia

Abstract

Officially, the Serbian Orthodox Church enjoyed a legally guaranteed status throughout the 19th century and Orthodox faith was considered to be prevalent both in the Principality of Serbia and in the Kingdom of Serbia. Nevertheless, after gaining its autonomy within the Constantinople Patriarchate in 1831 (under whose forced jurisdiction it had been since 1766), Knez Milos?s attitude and a number of state provisions led to the unsparing diminishing of the Church authority together with frequent subversions of the Church Canon law. Introduction of the constitutional and legislative framework for the activities of the Serbian church, the enforcement of institutionalized mechanisms of control, and above all, direct interference of the State authorities in the elections of Church hierarchs and their activities, marked relations of the Church and the State in the 19th century. ?Might makes right? rule was always on the State side. Investigations so far have least examined those provisions of the Government concerning general and theological education, in which church music also found its place. Presentation and analysis of the facts about the beginnings of organized music education go in favor of the existing findings on concurrencies and discrepancies in two cultural policies - that of the State and the one of the Church. Attitudes of the Sovereign and the Government towards the educational process, so vital during the decades of the State formation, are also indicative for affirmation of chanting practice and music art in general, as are (non-) conflicting interests between the prelates and distinguished public figures on one, and those in charge at the ministries on the other side. This paper presents all relevant government legislations regulating religious and music education at regular and theological schools. Attempts of the Church dignitaries and learned Serbian musicians to raise the level of music culture with the help of the State authorities are particularly emphasized. The emphasis was especially on the promotion of polyphonic church music and endeavors to print notated church chanting books. All relevant direct and indirect contributors to the expansion of church music are mentioned, among them especially music teachers at the Theological high school in Belgrade. Eventually, the paper points to those legal regulations which imposed on teachers certain duties related to everyday church services and reactions of the teachers to those regulations.