241. About the concept of style. S. S. Scraper defines style as the highest kind of artistic unity. This is not the last level of unity: the unity of art style, human, stretches, as the sky above, the unity of the Divine. It outshines stylistic differences, making them irrelevant. Seediness light of divine love becomes the most important thing, eliminating any thought about eclecticism. In the Church can easily be connected to the tunes of the entire two thousand year history of the Church and of all Christian Orthodox peoples, often side by side in the same service. Where God is there is melting style.

The music of Christian civilization… the style Category is too small for her, and cannot embrace her uniqueness. “Style is the man” (Buffon). Musical style – the pronounced worldview. Christianity is more than a worldview: it has revealed an update of the world. “God became human so that man obrilsya” is not a worldview, and ontology. Expression of the new, unheard of Genesis, the updated state of the world and became the language of music is Christian civilization. But the language that seeks to cover the Millennium, stretches its borders and even further, to the very beginning of history. As in the case of verbal language, we can speak about language universals (harmony, pitch, meter, genre universal liturgical, magical and secular intonation, tools and techniques of playing them).

The musical language associated with epochal styles, updating them, their wider and seeks to embrace the whole experience of the story. The historic depth of the language is its richness. Without it, it degenerates into jargon along with the degeneration of man.

The power of the masterpieces of music relies on condensed them in the language experience of millennia. It is important to see in the analysis. Where, for example, the amazing effect of Mozart’s music? It is not only the experience of the previous Baroque style, rhetorical figures, rhetorical disposition, polyphony, etc.), but also the distant centuries of the Christian era. The spiritual joy that spilled in many works, – was would be possible without the incredibly flight passages, submersible roots in the art of Jubilate-the jubilation? A peculiar feeling of lightness – is it possible without etymon of secular music, which we saw in the antique cleavage of Sacile?

But the style, the pronounced attitude, not from bare existential force – otherwise it would be pure notion and pathetic fantasy. The lumen of the sky, remaining in-style – accessories from the tradition, which is the transmission of the height and beauty of the spiritual life of action calling for grace.

Because the musical style is not just the originality of the music of a certain historical period, national culture, composer. The style is the spiritual height and beauty of a custom. After all, distinguishable and manners. However, in the manner of the blue of the sky is obscured human, all too human, and even mundane beginning. Manner man-made, and sounds in the style of ontological secret note. The word “manner” (“manners”), introduced by Peter the great in 1701, the French origin means “sleight of hand”. Style is something different, higher: there entelechy – the essence which is hidden in his heart as infinite purpose and desire. It is this power of exaltation that attracts us, encourages the spirit and inspires the soul. Style-originality flame height the extraordinary life and heavenly beauty. Its something not of this world power of inspiring beauty, and we are called to seek in the analysis.

2. Style intonation. This force is represented in a landmark, national and individual style is not disembodied, but as rooted in the sounds. From the body style, you can separate out certain signs, stylistic features. However, the style is not the sum of crumbling will. The spirit of style, marvelous interweaving of energies of the world, as embodied in the holistic style of intonation.

All art intonational in nature. They embody the spirit of life: the art of high – spirit inspired life, low – life spirit vulgar, hateful. Intonation of art, the main specific property, the wholly absorbs energy, existing in the society and forming the atmosphere of life: the energy of faith or of unbelief and confusion, the Holy inspiration or indifference, spiritual bodrennost or cynicism, the great hope or belief sadness, love, or the hardening of the heart. In the soul of man with the energy of life raspolagayutsya – and give it one or another system, or spiritual antiduhovnogo.

How clear this specific power of art!

That’s the spirit of prophetic biblical poetry, embracing the Millennium:

“Why are the Nations in an uproar,

and the Nations imagine a vain thing?” (Psalm 2).

Here the mocking-mocking thieves intonation thieves disguised as revolution:

But MS – ccom in place chick

Liu – th to Medica.

(Evidence-based view VL. Khodasevich Mayakovsky breaks everywhere thirst for mayhem just weak and defenseless, whatever it is. I. A. Ilyin in the study of Politics and criminality” remarkably showed the process of Union of these spheres, and then the whole country was forced to think and speak in criminal language with inverted meanings. But why this desire disorder in a talented poet? According to Sviridov, “it was about the downfall of great values and hoisting the place its name. That’s what burned all the fuss is about. Consumed by an insatiable ambition, because of him and he shot himself.” Moreover, this film was very talented to the verse, witty, inventive and corrupt: and he knew that the corrupt, openly about it screamed. That’s the trick!”. But then the question arises about the nature of the General intonation Mayakovsky: intonation whether it is style that related with the sky, or manners, devoid of connection with the true being? Sviridov was leaning towards the latter. “The whole Mayakovsky (almost all 14 volumes!) – invented by the poet. Invented love, Revolution invented, invented pre-rhymes, invented by Himself, fake to the end, to the limit. Not only invented respiraba his wild anger”)

Here is the ceremonial order of the measured Hellenic speech (Hesiod, Works and days – VIII century B. C.):

The whole city often for husband single afflicted,

If that evil is the creation and conception bold nourishes.

Here’s a unique Pushkin intonation, sincere and endlessly riddled with clear celestial gravitation: Life myshy running. What disturbed me? (Verses composed at night during insomnia, 1841) .

3. Intonation epochal styles. The definition of Buffon: “Style is the man” and attributable to the landmark styles. And if a common theme of high art have transformed, then it is true for a landmark style.


The key to style Baroque intonation – authentic notion of affect. The doctrine of the affections, which developed from 1553 in Western homiletics (a branch of theology that studies the sermon) still kept a residual light of great knowledge about the mysteries of the human senses, completely lost now.

According to patristic anthropology, a person grows out of freedom of volition, which does not break God because without it is unthinkable theosis, to which he is called. Because the notion of arbitrariness must be attributed not only to attention (as in modern psychology), but to all the forces of the soul. Arbitrary and sublime sentiments.

Strange to hear that the natural man. “Lawless heart”, – he blindly believes his condition. Although in fact he cannot himself give birth to heavenly beauty of an all-encompassing divine love, but it transformed him, wondrous image will spill over into the soul in response to the free will, which is manifested in the fulfillment of the commandments. Because in the commandments – God meets man. “My doctrine is not Mine, but his who sent Me; who wants to do His will, he shall know of the doctrine, whether it be of God, or I speak of Myself” (Jn. 7:16-17). According to the word of St. Simeon the New theologian, “the great and avertically, a God-given commandment of love not spoken about natural love, and love spontaneous”!1