Revista MUZICA Nr.3 /2017 91SUMMARY Nicolae Teodoreanu

The Drone in the Tradition of Psaltic Music in RomaniaThe drone is that continuous sound that accompanies Byzantine melody. Although similar to the shadja in Indian music, to the constant sound produced by the bagpipe, or to the pedal sound in Western music, it differs from them through certain conceptual particularities, as well as through its execution, which more often than not includes a certain limited mobility. The presentation of the drone includes a short historical account, as well as references to the issue of notation.The drone directly reflects the theological view of the Orthodox Church, directing the listener‟s thoughts and feelings towards the Transcendental. From the point of view of practical execution, the drone is tightly connected to melody, just as the face in the icon is connected to its golden background. Melos and drone form a unit together, an essentialised form of pluri-vocality, situated between monody and heterophony.

Muzică, ritual şi comunitate în cadrul pelerinajelor ortodoxe din România –
Music,ritual and community during the Romanian Orthodox pilgrimages, by MireL Bănică

More than 20 years after the fall of the Communist regime, we are witnessing the unprecedented development of religious pilgrimage in Romania, a country where, according to the latest census, 84% of the population self-identifies as Orthodox Christian. Apart from the pilgrimages to well-known destinations (Jerusalem, Rome, etc.) organized by the Romanian Patriarchy’s Pilgrimage Bureau, a separate category is the improvised, hybrid pilgrimages, both religious and touristic, organized by individuals using hired minibuses. This paper offers an ethnographic description of a pilgrimage. The focus is on the relationship between music, ritual, the sacred space of the pilgrimage and the public space. Music is used as a barrier and immaterial border to the ritual space, while in its interior it is better suited for the emotional control and the proper management of pilgrims. The analysis of pilgrimages points to new forms of blending of music and ritual, outside established institutional frameworks, as well as to changing notions of pilgrimage, movement, religious practice and piety.Keywords: Music, ritual, pilgrimage, Orthodox Church, Romania, Orthodox monasticism, sacred space, communitas.

Rudolf PACik:

Singing in church means responding (in glorification) to God’s appeal and his doing: the majority of religious denominations would agree to this sentence. However, the idea of singing not being oriented towards God exclusively but addressing the human beings and hence communicating the word of God like a sermon has not been accepted in general. This thought evolved out of the German Protestantism in the 16th and 17th century based on Martin Luther’s opinion of proclamation and his relation to music, but many of these beliefs correlate with the situation in music history up until the end of the baroque era: thus, changes in the manner of composing began at the end of the 15thcentury to the point of a “music of expression” [Ausdrucksmusik]. In the 20thcentury we can observe a limited comeback of these views.