Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
JEFFERS ENGELHARDT
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RIGHT SINGING: THE ORTHODOX
LITURGICAL TRADITION
AN ETHNOMUSICOLOGICAL PERSPECTIVE
by
Jeffers Engelhardt
Amherst College
I BEGIN with what seems like a straightforward and incredibly broad ques-
tion: What is Orthodox music? An intuitive but tautological answer might
simply be the music that is performed as an essential part of Orthodox wor-
ship, wherever and however it happens. For an ethnomusicologist working
from the perspective of the social sciences, this is actually quite a satisfying an-
swer because it invites ethnography—a critical examination of the religious and
aesthetic values and the individual capabilities that both shape and express the
local practice and experience of Orthodoxy.1 This includes the ways singers,
worshipers, and priests link their musical practices to broader understandings
of Orthodox and non-Orthodox musical traditions and identities, both histori-
cally and within local and more dispersed ecclesial communities.
For others within Orthodoxy, the truism that Orthodox music is the
music performed as Orthodox worship may not be sustainable in light of their
understandings of Orthodoxy as a religious ideology and their interest in shap-
ing Orthodox worship and experience: for instance, one should not sing “Silent
Night” at the Vigil of the Nativity, one should not have organs in North
American Greek Orthodox parishes, one should not sing repertoire that is too
“operatic” or too “Western,” one should not try to reproduce esoteric monastic
traditions in local parishes, women should not sing, singing voices should not
be electronically amplified, and the sound of worship should symbolize eccle-
sial, political, and national unity. Movements for musical reform and renewal
within Orthodoxy, like those in nineteenth-century Greece and seventeenth-
25
26 Jeffers Engelhardt
Oh Christ, You illumined with the radiance of Your coming and gladdened with
Your cross all the ends of the earth. Illumine with the light of Your knowledge
the hearts of those who sing of You in the right way.17
The provocation of this text is how it invests singing the right way with trans-
formative power. Here, the energies of sound and light enable the singer to
participate in Christ’s universal redemption when the singing is done right.
But, to a significant extent, the sound and style of that authenticity remain
nebulous. The work of realizing that transformative power in liturgical per-
formance is left up to the faithful and the conciliar wisdom of Orthodox tradi-
tions, both local and more global. Realizing right singing creates a correct
unity of doxa (belief) and praxis (practice) which is inherent in the literal
meaning of Orthodoxy as “right belief” and “right glory” or “right worship.”18
Right singing puts into everyday practice the intimate relationship
within Orthodoxy of beauty and truth, aesthetics and veracity. It is inseparable
from the synesthetic reality of liturgy that incorporates hymnody and chant, the
mystical presence of the Eucharist, the acoustics and architectural symbolism
of the church building, interlocking cycles of liturgical and secular time, sacred
texts articulated through the heightened speech of priests, deacons, and read-
ers, the sanctifying smell of incense which lifts human prayers to God, the
presence of icons whose prototypical, true images instruct and are conduits for
devotion and intercession, the ritual gestures, clothing, and liturgical instru-
ments used by the clergy, and the tastes and anointing touches worshipers ex-
perience. Singing the right way confirms Orthodox truths and refines the relig-
ious sensibilities that aspire to right worship and right action in the world.
28 Jeffers Engelhardt
understand the intimate relationship of certain fixed texts and their correspond-
ing modes. However, for the ethnomusicologist to hear and interpret this as-
pect of right singing as something primarily musical would misrepresent an
ontology of Orthodox sound. Estonian words like teenima (to serve) or
lugema (to read) used to describe sung participation in Orthodox liturgy sug-
gest that, in important ways, right singing may not be singing at all. Rather, it
can be understood as the efficacious sound of heightened speech, sacralized
language, and divine prototypes. In terms of Orthodox theology, it is the
sounding beauty of the word that is the essential complement to and vessel of
its semantic meaning and truth claims.
And third, there are the bodies and spirits of singers: The sensing body
that sings and the person that attends piously to Orthodox right singing is part
of a particular ontology as well. Right singing is not just the Neoplatonic re-
presentation of divine prototypes, but the voice and spiritual labor of an
Orthodox subject. In Orthodox doctrine and tradition, the body and spirit are
disciplined in a number of ways to make singing right. In general, all those
who will receive communion at the Divine Liturgy are fasting—the Eucharist
is the first substance they consume that day. Singers are also fasting through-
out the Orthodox year, including the major periods of Great Lent and Holy
Week (seven weeks), the Nativity Fast (forty days), the Apostles’ fast (ranging
from eight to forty-two days), and the Dormition Fast (two weeks). Like cler-
gy, some singers also observe fasts on Wednesdays and Fridays to commemo-
rate Christ’s betrayal and crucifixion. Those who sing and commune should
have prepared themselves spiritually through confession to a priest. Further,
the singing body is gendered through clothing and comportment (depending
on the parish and the person, women may or may not be expected to cover
their head), through limits on its movement and role in the liturgy (women
should not enter the altar area or perform clerical texts), and through the
negotiation of ritual knowledge and power between choir leaders and priests.
can refer to a large chandelier hanging from the central dome of the nave that,
when lit on special feasts, requires “much oil” as it is swung in monastic prac-
tice with a long rod during the singing of the polyeleos).
Perhaps the most commonplace meaning of polyeleos comes from the
distinctive shape, rhythm, and substance of its text. “Poly eleos” in Greek
means “much mercy,” and the part of the text from Psalm 135 (LXX) is con-
tinually punctuated by the refrain, “For His mercy endures forever. Hallelu-
jah.” Outside of Orthodox monasteries, where its performance can last up-
wards of one hour, the polyeleos is usually abbreviated significantly. Here is
the standard polyeleos text of the Orthodox Church of Estonia:
Kiitke Issanda nime, teie, Issanda Praise the name of the Lord, give
sulased, kiitke. praise, you servants of the Lord.
Halleluuja, halleluuja, halleluuja. Hallelujah, hallelujah, hallelujah.
Kiidetud olgu Issand Siionist, kes Blessed be the Lord from Zion, who
elab Jeruusalemmas. dwells in Jerusalem.
Halleluuja, halleluuja, halleluuja. Hallelujah, hallelujah, hallelujah.
Tänage Issandat, sest Tema on hea. Give thanks to the Lord, for He is
good.
Halleluuja. Hallelujah.
Sest Tema heldus jääb igaveseks For his mercy endures forever.
ajaks.
Halleluuja. Hallelujah.
Tänage taeva Jumalat. Give thanks to the God of heaven.
Halleluuja. Hallelujah.
Sest Tema heldus jääb igaveseks For His mercy endures forever.
ajaks.
Halleluuja. Hallelujah.
the intonations and form of the text, its lack of conventional sentimental ex-
pressive gestures, and the opportunity it affords singers to realize the conciliar,
ascetic values of Orthodoxy through performance.
Fig. 3. Opening of a polyeleos by S.A. Smirnov adapted into Estonian by Tiina Allik
(transcription based on a 1999 recording by the choir of the Cathedral of the Trans-
figuration in Tallinn).
Fig. 4. Opening of a polyeleos from the Monastery of the Holy Trinity in Alatyr,
Chuvashia (transcription based on a 2003 field recording at the Church of Saint Nikolai
in Kuressaare).
34 Jeffers Engelhardt
Above, the hosts of angels sing praise; below, men form choirs in the churches
and imitate them by singing the same doxology. Above, the seraphim cry out in
the [thrice-holy hymn]; below, the human throng sends up the same cry. The
inhabitants of heaven and earth are brought together in a common solemn
assembly; there is one thanksgiving, one shout of delight, one joyful chorus.22
In this often-cited sermon from Saint John Chrysostom, the theology and
ontology of the sound of Orthodox Christianity—the human voice—is
expressed with tremendous evocative power. There is the singing of celestial
beings—the doxology of the angels and the trisagion hymn of the seraphim—
and the mimetic singing of human voices that couples the worldly and the
divine in collective worship. Faith is central to this Neoplatonic theology and
ontology, since the singing of celestial beings is beyond human perception and
understanding. The singing of celestial beings invokes the silence of God, and
36 Jeffers Engelhardt
the human voice, participating in this divine praise, realizes itself, and the per-
son of the singer, as redeemed through the right singing of divine prototypes.
Singing as the means of realizing one’s fullest humanity is fundamental
to Orthodox Christianity. In the Hebrew Bible, God sings: “He will rejoice
over you with gladness, he will renew you in his love; he will exult over you
with loud singing” (Zephaniah 3:17). Like icons, the Orthodox theology of
singing is justified through the incarnation. Stephen Webb explains it this way:
The category of voice can help us to remember that the Word of God is not just
any kind of sound; it is the speech of a person, that is, the Second Person of the
Trinity. The incarnation, in turn, can remind us of the tactile qualities of the
auditory.23
This can work the other way around as well. The sound of worship, rather
than establishing a limit on the human capacity to positively know God, can be
the knowledge and means of divine participation revealed through God’s
grace. Right singing is an act of faith, a conservative re-presentation of divine
prototypes that is the performative pronunciation and recognition of revealed
truth accepted as being beyond discourse or instrumental reason. In its as-
sumption of the Orthodox voice as its medium, right singing is the opposite of
idolatry; ideally, its theological and experiential basis in liturgy precludes the
objectification of the Orthodox voice and the possibility of musical iconoclasm
or Augustine’s “sinning by the ear.”
By way of a brief conclusion, I will simply note that this kind of eth-
nomusicological approach to Orthodoxy can model the dynamics of belief,
practice, and engagement with the world in Orthodoxy more broadly in fields
ranging from iconography and architecture to bioethics and perspectives on
human rights. As a realization of the eternal truths of Orthodox teaching and
tradition in the worldly time of human being, the right in right singing can also
be the right in other forms of Orthodox worship and ethical action as well.
NOTES
18. For a more expanded development of the idea of right singing, see Engelhardt,
“Right Singing in Estonian Orthodox Christianity.”
19. Jaroslav Pelikan, The Christian Tradition: A History of the Development of
Doctrine, vol. 2, The Spirit of Eastern Christendom (600–1700) (Chicago: University of
Chicago Press, 1974), 133.
20. Thanks to Yuri Ivan for his help in identifying S.A. Smirnov as the composer of
this polyeleos.
21. See Jaakko Olkinuora, “Experiences Adapting Post-Byzantine Chant into For-
eign Languages: Research and Praxis,” Muzikologija 11 (2011): 133-46.
22. Cited in James W. McKinnon, Music in Early Christian Literature (Cambridge:
Cambridge University Press, 1989), 89.
23. Stephen H. Webb, The Divine Voice: Christian Proclamation and the Theology
of Sound (Grand Rapids, Mich.: Brazos Press, 2004), 62.