The Seraphim above: Some Perspectives on the Theology of Orthodox Church Music

Ivan Moody

doi:10.3390/rel6020350

Abstract

Some outstanding contributions notwithstanding, much recent scholarship in Western European languages concerning art and the sacred has been quite prolific but has generally avoided discussion of specifically liturgical music, a particular problem when dealing with the sacred music of the Orthodox Church. The present discussion aims at establishing some bases for furthering this discussion, drawing not only on recent commentators but especially commentary on the question of liturgical singing by the Fathers of the Church.

Highlights

Some outstanding contributions notwithstanding, much recent scholarship in Western European languages concerning art and the sacred has been quite prolific but has generally avoided discussion of liturgical music, a particular problem when dealing with the sacred music of the Orthodox Church
Daniel Chua, for instance, in his essay “Music as the Mouthpiece of Theology” writes that, “If music is an integral part of what it is to be human, it ought to reflect something of the image of God in which we are made
Chua is quite clear that in discussing “music as a mouthpiece for theology”, he wishes theology to “articulate the difference while engaging with the modern and postmodern world” ([2], p. 161), and while one might wish liturgical chant to engage with the modern and postmodern world, if it is to do so, it must first be understood as music transmitting theology, which is what it was designed to do

Summary

Introduction

Much recent scholarship in Western European languages concerning art and the sacred has been quite prolific but has generally avoided discussion of liturgical music, a particular problem when dealing with the sacred music of the Orthodox Church.

Results

Conclusion