Паралітургійна спрямованість василіянської пісенності

Abstract

У статті зосереджено увагу на переважаючій паралітургійності василіянської духовнопісенної творчості на всіх етапах її розвитку. Літургійний аспект духовної пісенності пов’язується в греко-католицькій традиції із широким застосуванням так званого «всенародного співу» у церкві. Виявлено вплив василіянської пісенності на розвиток духовної пісні інших християнських конфесій в Україні.

В статье сосредоточено внимание на преобладающей паралитургичности василианского духовнопесенного творчества на всех етапах его развития. Литургический аспект духовной песенности связывается в греко-католическрй традиции с широким применением так называемого «всенародного пения» в церкви. Обращено внимание на влияние василианской песенности на развитие духовной песни других христианских конфессий в Украине.

As a results of ritual changes that took place in the uniat Church of the 18th–19th centuries, Greek-Catholic practice of spiritual songs had character mainly paraliturgical, i.e. one that is relevant to the prayer practices, but there is no direct connection with the liturgy. Introduction of spiritual songs in paraliturgical practice has been perceived as one of the elements of the Romanization of the Church. Those Eastern Church leaders, who supported the Union, saw in it the possibility of symbiosis of the Catholic Church and the Orthodox Rite as a method of preserving the Orthodox faith and native culture. These, in the uniat church were processes of balancing between the penetrate influences of Western liturgical practices and compliance with established traditions. About great spread of spiritual songs on Ukrainian lands affirms issued in the late 18th century by Vasylians, anthology «Bohohlasnyk» containing 250 older and newly created spiritual songs, grouped by calendar thematic principle: songs to Jesus Christ, songs to the Virgin Mary and her miracle-working icons, dedicated to various saints and penance prayer songs. This principle of structuring spiritual song collections became a common and most spread up until the present. Publishers of «Bohohlasnyk» define the scope of application of the collected songs in it, firstly, to Liturgy, secondly, for the singing of the people during the religious holidays. Paraliturgical thrust of Ukrainian spiritual songs still clearly manifested itself in the new stage of development: at the end of the 19th in the first half of the 20th century. This orientation was common in the circles Greek-Catholic clergy desiderate nation wide singing in the churches to attract the active participation of all the faithful in the liturgy, and the internal demand of the people to join the singing to prayerfully-music components of ecclesiastical rite. The authors of the spiritual songs of the late 19th- the first half of the 20th centuries, actively picked up the baton lean articulation, established in the Baroque era. The new songs were based on the colloquial speech of the people and it has become their defining trait. The appointment of new songs to perform in the Church was emphasized by the name of many collections of «Church-folk songs», «Religious songs». In addition, in spiritual song-books of this period appears the separate section «Song during the Liturgy». For a short period over 400 songs were created by Vasylians, most of which were published in «Church songs and Carols or Songs for Christmas». Implementation of the ideas of popular singing in churches in Galicia is positively appreciated by personalities of great Ukraine, who belonged to the Commission of the ukrainization of the Church and prepared the reform of ecclesiastical singing. In the decision of the Ukrainian Orthodox Church synod on December 4, 1918 was need for the introduction of common singing in the Church. At the same time in the Western Ukraine territory continued to evolve Vasylian songs, spreading its influence on Transcarpathia, Lemkivschyna, Western Volyn’. Greek Catholic Church strongly supported the participation of the people in the Church in general and Liturgical singing paraliturgical in particular. In the Decree of the Archieparhial synod from April, 25 1941 directly states that the nationwide singing is a necessary condition for each Liturgy. In 1946 was suspended the activities of the Greek Catholic Church in Ukraine, and with it ended the second phase of the development of the Vasylian songs. In our time, we witness the third stage in the development of spiritual songwriting of Vasylians. Developing and modifying on different historical periods of the time, Vasylian song retains and strengthens its affinity with various displays of religiosity of people from outside the Church to the Church. Not going beyond paraliturgic by virtue of the Greek-Catholic religious tradition, Basilian songs have found their application in the organic Church life of Ukrainians.