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Some considerations on music

fr. Dan Bdulescu People can be very different by nations, period, the economic, social, cultural, financial, climate, etc. But all share in common a sense of music. This is a language that man has it as constitutive in his nature from the beginning, as it is the proper language (the words). In addition to this there is the affective, aesthetic component own musical art, which increases its attraction power and influence over the souls of men. The beginning of music is at God, the angels in heaven, singing hymns of praise to God: "Holy, holy, holy is the Lord of hosts, the whole earth is full of His glory!" (Isaiah 6:3) and sang in choirs at the creation of the visible world (Job 38:4-7). How sounded this celestial music and with what tones remains of course a mystery that does not make sense to sift it1. St. Gregory of Nazianzus said in this regard: "There was then a unitary state as a chorus of rational nature, angelic and human, who was looking at the unique mastermind who led the choir to choir and harmony given by Him." So we'll deal with that music commonly known: human music. How and when did this occurred is still shrouded in mystery, for which documents could help us in this regard? Needful to address us here as in other fields to the divine revelation contained in Sacred Tradition, from which a value and a special place is the Holy Scripture2. We shall start from the statement that music emerged as being from the beginning a melody3, namely "a sung speech" used by the first humans, Adam and Eve, and their descendants. Of
In any case not as presented in this "hoax": Angels in Mt. Athos sing Divine Liturgy http://www.youtube.com/watch?v=VEAgEJqsp0o There were by no means angelic voices, but a rough spell: a song of a Greek Psalter D. Sourlantzis Triadi http://www.youtube.com/watch? v=N01uDWa_1DI&feature=watch_response at a higher speed and a willful distortion effect or not. Warning: Orthodoxy end does not justify the means (quote actually starts from the Jesuits and call it: the purpose sanctifies the means. But this is not at all true!) 2 As is customary the dogmatic manuals list two sources: Holy Scripture and Holy Tradition. We believe this division as scholastic and harmful rather than helpful. More useful is to consider a whole (without falling into the pantheistic monism of course holism new age type or postmodern cultural grid), the Holy Scripture is an important moment. Dualism scripture- tradition was a source of major conflicts in the West, being resolved incorrectly as Roman Catholicism and Protestantism. 3 In this respect there were also the materialistic evolutionary theory that at the origin of music would be the rhythm, (Hans von Bllow: An Anfang war der Rithmus), the semi-animal primitive people (pithecanthropes, synanthropics, Australo-pitecs) hitting sticks, bones or stones. Obviously they, according to the same theory, have acquired the human language after the developments of hundreds of thousands of years. We firmly reject this hypothesis which contradicts the revelation, and can not be even proven empirically or experimentally. However that may be, under no circumstances we shall not receive the atheistic evolutionary hypothesis of the origin of music as they are presented in music history courses: "The origin of music lies in a very distant past, in the opinion of the French musicologist J. Chailley, music numbering about 40,000 years. Regarding how music arose, opinions are divided as the origin of many
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2 course we can not bring irrefutable scientific evidence and archaeological (we are still in the realm of faith), but only Scripture-based inferences. Composer R. Wagner4 joined the opinion that: "...the assumption that the first language of people must have had a strong resemblance to the song would probably have to look ridiculous." 5 And if to Wagner someone would might challenge the authority on theological, due to the dubious orientation in this area, we will witness a musician and Orthodox: Wagner's contemporary, Anton Pann6, who stated: "We know that music is in world in the same time with the flesh creatures. It is the very voice and the word which God breathed into man because the whole and every voice and every word is a natural melody and therefore all the speaker is musician, who from the starting of the organ and the air hitting through the throat and nostrils rings the voice with climbings and downings and forms the word stronger or slower, angry or crying, according to the feeling and passion of his body. A musician careful pondering that the song is only a crying-speech with which someone describes the spiritual and bodily passions, and so the source and formation of music must have been to Adam, the first man who, after being banished from his mistake from Heaven had enough material for crying-speech (maybe) and described the expulsion mourning in front of his children and grandchildren." After the expulsion from Heaven it continues with two branches: that of Seth (sons of God) blessed, and that of Cain the freemasons claimed to be their forefather 7. In the Old Testament we find the first mention of music in Chapter 4 of the Book of Genesis. After Cain committed fratricide, he founded a lineage that continued and expanded his sins. Among his descendants we find the inventor of musical instruments: "And Adah bare Jubal... he was the father of all such as handle the harp and organ." (4:20-21) As we see here both instruments have a common origin. The difference is that he who accompanies with guitar (stringed instruments) can play voice simultaneously, while wind instruments exclude this possibility. Cain's line will give rise to idolatry, magic, witchcraft, heresy and slips into the mundane. In the time of the son of Seth, Enos, "men began to call upon the name of the Lord" (Genesis 4:26). This passage indicates the setting of the liturgical worship in which it was singing - say in the form of liturgical recitative, were chanted hymns to the glory of God. Arriving in Greek antiquity, from classical rhetoric of the 4th century BC we meet the science of "beautiful reading and speech," the eloquence, a natural passage from the speech singed to a more prominent melody. In the eastern area, the Syrians, Persians and Jews, the Ekphonetic singing (ekfonesis = high or loud voice reading, recitation, term introduced in 1885 by the Greek scientist L. Tzetzes) was characteristic of religious services. Liturgical recitative was a natural organic unity of word and tone.
researchers dealing with them... When homo faber began to made tools, they constituted another source of sounds taken from man to intercede and musical expression. Tools have sound palette, for stones, polished or not, struck one another, as pieces of wood, they provided the first percussion instruments. Cane stalks, devoid of marrow bones or animal horns are the first wind instruments, while the bow strings have suggested plucked stringed instruments. The actual tympanum has its origins in animal hides, drying on tree hollows. From this multitude of sounds, which were at first only means of signaling, the man has chosen different chaining capable of externalizing feelings and thoughts. " 4 Pilgrims Chorus (Wagner) http://www.youtube.com/watch?v=EwDcY0LuSWU&feature=related

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An End in Paris http://users.belgacom.net/wagnerlibrary/prose/wagendpa.htm http://www.youtube.com/watch?v=qvq6AeJLiJE&feature=related 7 Genesis 4:17: and he (Cain) builded a city... Francmaon fr., freemason engl.

3 In addition to its worship functions, music proves also its therapeutic action. In the Book of I Samuel we see King Saul tormented by the evil spirit with terrible headaches (I Samuel 16:1423). The only remedy was the calling of the shepherd David who played the harp masterly and thus relieved the pain king possessed. Although David was a shepherd noticed that instrument was the harp8 and not the flute of the shepherd, thus resembling the Thracian Orpheus. This had consequences later when David became king and prophet and made immortals psalms hymns accompanied on harp and other instruments (trumpet, psaltery, harp, cymbals, drums) depending on the circumstances. In Book II Samuel David defeated the Philistines and Canaanites and then returns the stolen ark (II Samuel 6:15). The joy of victory was manifested in song and dance. The first important concern of establishing some moral and political musical benchmarks is found in Plato (427-347 BC) in his dialogue The State (The Republic). In this ideal utopian society music play a first class role in the education and behavior of citizens. This topic is treated in the form of dialogue between Socrates and the music teacher Glaucon. For Socrates the social importance of the choice of music was decisive: "When modes of music change, the basic laws of the state change with them." He states that certain musical modes should be banned, thus instituting censorship (currently only theoretical). The same concept is encountered during the Renaissance in the following reaction of a Roman Catholic bishop, the Bishop Bernardo Cirillo in a letter in 1549: "To the ancient people music was the most beautiful of the arts. They created through it powerful effects which we today can not produce nor by rhetoric or oratory to move through the emotions and passions of the soul. I am listening to music of our time which, as far as some say, was brought to a degree of refinement and perfection never known before... nowadays they have put all the craft and effort to compose imitative passages, so a voice says "Sanctus", another says "gloria Tua" with howls, screams and noises, so they rather resemble cats in January than the flowers of May9." But not only Plato, but the whole ancient Greek society saw music also in the meaning of "psyhagogia" the guiding of souls: "good music makes the best soul, bad music can corrupt. It can lead a soul in an ethos and therefore they distinguished between good and bad music demanding that good music is protected by law." Plato's student, Aristotle (384-322 BC) also wrote a political treatise dealing with policy issues and music education in which he criticise his master on several points. Thus, he is for accepting or tolerating the modes that can produce the catharsis, the purification of souls. Aristotle divided the modes in ethical, practical and enthusiastic.
On you tube there are several attempts of some Hebrew musicians to reconstruct David's harp sound. This is of course extremely difficult to verify due to the age, but can somehow be an example of such guidance The Biblical Lyre of the Ancient Hebrews https://www.youtube.com/watch?v=4-hWbR68pEw&feature=related 9 Aldo Manuzio, Lettere volgari di diversi nobilissimi huomini, Libro 3, Venice, 1564, in The History of Western Music, p. 200
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4 "The ethical modes influence the entire ethos of man either by equipping him with stability ethics (such as Dorian mode) or actually destroying him (mixolidian and Ionian), and the practical modes awake in man "specific acts of will" and the enthusiastic ones bring the man from the normal condition to ecstasy and causes a emotional discharge." Viewed from the Christian perspective of St. Clement of Alexandria, these modes do not have the same consistency attributed in antiquity, they are no longer needed in the Church: "the new song (shall not use) neither Trepandros rhythm, nor that of Capiton, nor the Phrygian mode nor the Lydian mode, or that of dorid." It is necessary to mention here that to these authors the mode was not only the scale, the tones schematic enumeration. Besides this an even greater importance was the ethos of the mode, the impression ("the tone makes the music") accomplished, the specific cadences, interpretation, character. This is the explanation of the name by region and ethnicity that used them, putting the local character into them. In this regard it is worth remembering the ancient musical myth of the contest between of Apollo and Marsyas. The god was playing the lyre in the Dorian mode and the man was playing the flute in the sonorities of lascivious Phrygian mode. Apollo was triumphant and the bold Marsyas was skinned alive. The educational message of the myth is itself telling. The Latin authors too have dealt with the catharsis problem: "(the music) produce a catharsis because in the delight of its sound (per dulcisonas voluptates) awakens the sleeping souls, frees man from passions and inspires worthy feelings... purify morals... Thanks to the music we think just, talk nicely and move properly."10 These high moral and aesthetic concepts have been perfected in the Christian spirit by the Holy Fathers: "Nothing purifies the soul, does not give him wings, do not pluck from the earth, do not issue the bonds of the flesh, did not inspire Divine wisdom, does not make him to despise the low things, such as the music and the measured accents of a divine song."11 The musical creation is bound to faith and is determined (whether and how unconsciously) to it. Therefore we can see for example that the German Baroque is a reflection of the eighteenth century Protestantism, it is even audible expression of its contents. This can be traced in painting, sculpture and architecture, which reflects those concepts visually.

Musical Myths: Ulysses and the sirens. The rat catcher of Hamelin.

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Cassiodorus, Miscellaneous Writings II, Letter 40, P.L. 69, c 571 St. John Chrysostom, Homily on Psalm XLI, 1 Migne, P.G. 55, 156

5 Ancient pagan civilizations had, regarding music, both practical concerns by interpretive nature as a philosophical-mythological and moral part. Thus in the pagan Greek music was closely related to literature - poetry, drama - and dance. From Pythagoras there was a "music of the spheres", a philosophical- mathematical speculation. Since him it was developed a musical and mathematical theory of great importance for further development. In Plato's dialogue State are described in detail specific the modes that are recommended in the ideal state or not. Here is a link to Greek mythology, mythology being that obscured area of natural revelation where real spiritual elements are mixed with human fantasies. Among the musical myths and legends of ancient and medieval we will retain the well-known myth of Ulysses and the sirens, myth which depicts the magic power of music to attract people, especially young people. On the way home after the exhausting Trojan War, the Greek hero Ulysses had to go to sea near the island of the dangerous sirens. They were known that by their attractive song they charmed the sailors and break their ships and drown them. The human bones scattered on the shore testified the cruelty of the sirens. Ulysses knew from the witch Circe that no man, however it would have been warned, could not resist their song. So he put wax in the ears of the sailors and they tied him to the mast, without wax stoppers for he still wanted to hear this song. The temptation curiosity was strong, but the wise Ulysses has provision to command his men to disobey him if he will ask to be freed from bonds. Indeed, the sirens haunt Ulysses with their song, they sing about the war and his heroic exploits and Ulysses struggles screaming to be released. Another example of the magical power of music on young people is presented us by the story of the 1284 German flutist wizard of Hamelin. Here is the short subject: the residents of the little burg Hamelin of riverside Wesen are invaded by the rats and have no other choice but to turn to a strange flute player that he can escape the pain. This one agrees against considerable amount of 1,000 guilders, and, indeed, at the magical sounds of the flute the rats are leaving the burg and drown in the river. The joy is great, but once out of trouble, the bourgeois are bargaining and just do not want to pay the full amount as was agreed from the beginning and drive the flautist away. This one weaves a bitter revenge: in June 27 when the bourgeois were gathered in church to celebrate the Saints John the Baptist and Paul, the magic sounds of the flute gather now the children of the burg who disappear. Crushed by misfortune, the residents are ready for any sacrifice for the liberation of children, but too late. The moral of this story is a pressing current: children and young people today are drawn irresistibly by rock sounds all variants. Hence the big draw lessons namely music spellbound - how does it sound? - repulsive, horrible, cacophonous? Of course not, but rather, artistic, aesthetic, appealing and misleading.

6 Many people defend their favorite tunes using that hedonistic aesthetic principle then what is pleasant and good. English esthete John Ruskin (1819-1900) gave them the following reply: "theoretic, as opposed to aesthetic enables a vision of the beautiful as intimating a reality deeper than the everyday, at least in terms of the kind of transcendence generally seen as immanent in things of this world"12 The ancient author Athenaidos pointed out that "the purpose of music is not pleasure, but service of virtue." Over many centuries later the great composer J.S. Bach gave a definition that clarified the esthetic aspect: "Music is to the glory of God and to the delight of people," so that we can only agree. The explanation of the dichotomy of good and truth stems from the fact that at the end of creation God saw that things were "very good" (Genesis, 1:31). In the original of the Septuagint here was used the word , which primarily means "beautiful". So these traits: good, beautiful, logical and true, were united and undivided (without confusion and blending) in that heavenly state. After the fall into sin, death came into creation i.e. separation13: of man from God, the soul from the body, the elements that make up the body, the categories listed above. And then it is possible that autonomy about which we talked earlier, thus continually must be pursued unification into Truth, i.e. of Christ. From the Christian point of view we know that the devil can appear as an angel of light (II Corinthians 11:14), which means that he can sing angelically. He always presents first sin as pleasant, easy, attractive, beautiful and logical. This can only be illusory in the recalling of the old times when he was really an angel of light and divine beauty which have lost by pride becoming a dark devil. The music of man and the weakening of the religious sentiment John Ruskin, a name in art history of the 19 th century, defined his attitude in relation to aesthetic objects. But we think that "theory" is present in man from the beginning - as to the angels in a constitutive and necessary mode, and not as an added bonus that would bring some gain. We mind also the opinion of the orthodoxy of the father parent teacher I.D. Petrescu who says in the address to the Deacon teacher G. Panru in the preface of Iasi Gospel Lectionary: "the habit to look after the beautiful at all times - which when helped by a special organ causes usually a disaster shall be set aside." The Council of Trent (1545-1563) gave a canon related to the character of music used in missa: "...the whole plan of singing in musical modes consist not only to please the ear, but in a way that words are clearly understood by all, and thus the listeners should be attracted into desiring heavenly harmonies in contemplation of the blessed joys... Thats why those songs containing lascivious and unclean things will be expelled from the church." 14 In the Western Christianity for a thousand years ago broke in the seeds of heresies such as the filioque and others studied by the symbolic dogmatic theology. As consequence, on the realm of music were born deviations, even in the church and in worship. These decreases are offset from Gregorian music15 canons that were - except for modes and cadences - the same as in the east: strict vocal monody without instruments. In the eighth century the Western church has opened the unfortunate door to cultic
See more in Lectures on Art, Delivered before the University of Oxford in Hilary Term, 1870 Following the work of the devil, whose name comes from the Greek = separation, division 14 A. Theiner Acta... Concilii tridentium... 2 (1874); 122 15 http://en.wikipedia.org/wiki/Gregorian_chant
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7 innovations that have crushed her and caused many schisms and heresies later. After the twelfth century vocal polyphony appears and gradually the organ is introduced in support of the choir. In 1600, the orchestra has intervened in the Roman Catholic Church, thus being achieved a baroque missa with solo arias, choruses and orchestra. It is true that the emergence of the oratorio in the seventeenth century due to G. Carissimi fit the current Catholic Counter-Reformation, so somehow a "right wing", which took measures to crack down on the Protestant march. The oratorio music was opposed to Lutheran hymns and Calvinistic psalms which had by their musical, linguistic and dogmatic accessibility great outlet for the faithful. From the eighteenth century we can not speak of a Christian music in West, but at the most a religious one, which in terms of spiritual belief reflects a lessening, a decadence. This religious music, as the art and religion in general, is characterized by the subjective, personal approach to the religious themes, treated outside the canons and dogma. Religious concerts, motets, cantatas and missas, oratorios, and the later requiems fall here, also the Pietist and then sectarian songs from the Protestant space that characterize their worship even today. This practice can already be seen in the fourth century, as reported by W. Fleming in Arts and Ideas. Christian Worship Music course continued until today in the Roman Catholic Church. Secularization and the autonomy of music The emergence of the organ and of the vocal polyphony in and the Roman Catholic Church, the emergence of opera in the early seventeenth century, and then of the Baroque, can be considered as reference points on the route to the secularization of music. Now the culture is separated from cult, culture is becoming increasingly secular, profane, pagan farthest from God, in the West appeared a kind of cultural-religious fault: north, Protestantism and capitalism - south Catholicism and feudalism. This observation certainly applies to specific musical forms of the "cultivated" baroque music. Here fall the fugue16, concerto grosso17, sonata18, and then the so-called classical music of the Enlightenment with its forms, symphony19 and instrumental concert. Next century brings the romanticism, the national bourgeois-democratic revolutions, the emergence of the socialist and communist leftist movements. Culture on glide decadent, the Eastern Orthodox doors open in 1848 and goes to its secularization: romanticism20, capitalism, modern state, etc. This leads to a more or less intensive decristiniasation of all European states. Historian P. P. Negulescu analyzed in his study The destiny of mankind: "...the objective causes of intellectual anarchy and moral decadence: the democracy, the Declaration of Human Rights of 1789 which through its exciting action arouses ambition, stimulate energies, contribute greatly to the growth and reproduction of crime and immorality crimes. The exodus of villagers to the city, which corrupts and swallow from them all that is good, the vagrancy of people without wealth and trade, of which are recruited within their most delinquents and criminals, the freedom of press and publications that market pornographic and detective novels full of suggestions and details
J.S. Bach G minor fugue (the great) BWV 542/2 http://www.youtube.com/watch? v=6clTa8_QYQE&feature=related 17 Arcangelo Corelli, Concerto Grosso op. VI, n.4 (parte 1) http://www.youtube.com/watch?v=BVM9MpCu_Jc 18 Scarlatti - Sonata D minor K32 (aria) http://www.youtube.com/watch?v=7WW_GIjJcqU&feature=related 19 Toscanini - Beethoven Symphony No.9 (1/7) http://www.youtube.com/watch?v=Nt7pPKXDhPc 20 Valentina Lisitsa Chopin Etude Op 10 No.3 HQ http://www.youtube.com/user/ValentinaLisitsa#p/u/109/mpiJbQvBP8A
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8 of sensational crime; demoralizing cinemas, the political, economic and moral liberalism, the parliamentarian elections, advertising, competition, fraud and other American standards etc." These will lead to occult Theosophy in the New Age, the Aquarian movement will deny the whole period of civilization and culture - 2160 years of the Pisces 21. The movement is radical and goes against Orthodoxy, Catholicism, Judaism, Islam, feudalism, monarchy, republic, Middle Ages, Renaissance, Baroque, Classicism, Romanticism, nationalism, democracy (although the latter now seems to be supported) capitalism, socialism, communism. There is of course a music too that can fit in the newage gender, generally focused on meditation, relaxation, ambient. The twentieth century can be divided as follows: in the first half we as cultural expressions the Impressionism22 emerged in the late nineteenth century, avant-garde23, Futurism24, Expressionism25, atonalism26 - a musical expression of psychoanalysis, dodecaphonism27, Hellenistic synthesis with decadent Judaism, the appearance of the disc, radio and cinema. For 30 years we have witnessed the cultural products of 'democracy': music entertainment 28, 29 jazz , a synthesis of neo-Protestant color elements from the U.S.A., and then rock, a synthesis of black and white Americans. Meanwhile in South America were tango30, samba and other dances, synthesis of Catholicism and natural magical practices. In Europe was "easy listening", especially Italian and French genre. In the villages there was always in the shadow a local agrarian subculture 31. At first the culture was intimately linked to civilization - cities, towns - there was the environment in which it was born and developed, outside the city - so of civilization - were villages or forest. This sub-culture is a natural place with a naive character (contemporary naive painting emphasizes precisely this character), of ingenuity, of innocence. It is observed that in the West the term specialty materials subculture has a horizontal dimension only, as a sector of culture, and no record vertical dimension qualitative typical item leveling and relativistic vision of post-modernism. Originally subculture is also a culture of a lower level. We will see how in the twentieth century the industrial-urban subculture is required
According to the sun's course in the zodiac, it goes through a sign over 2160 years, while the position of the sunrise can be seen in the east to the vernal equinox. This walk is retrograde, so after completing the course in Pisces follows the Aquarius. To these astronomical objective facts were added occult astrological mythology, after which the signs become "era" and acquire cultural, ideological and even spiritual traits. Thus, the Pisces era would be the period of Christianity, absolutist religions, contrary polarity and religious, political and economic conflicts. After it (thus Christianity too!) shall be exceeded, it will follow the new age of Aquarius, of universal reconciliation and harmony. They are nothing more than flights of fancy, both theologically untenable as scientific, but, unfortunately, have a great outlet among some secular people (descristianised) and mostly repaganised. 22 Debussy: L'aprs-midi d'un faune (Stokowski) part 1/2 http://www.youtube.com/watch?v=F5A4CkUAazI 23 H. Cowell - Aeolian Harp (1923) - Franco Meoli.wmv http://www.youtube.com/watch?v=XEb8aoW8Ws&feature=related 24 Novachord and Theremin duet http://www.youtube.com/watch?v=HVfhzLl5C9U&feature=related
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Rudolf Nureyev Pierrot Lunaire http://www.youtube.com/watch?v=QdRRgP29tfc&feature=related Alban Berg: Wozzeck - Act 1 - Scene 1 http://www.youtube.com/watch?v=FCa7QG2oVf0&feature=related Dodecaphonic Canon http://www.youtube.com/watch?v=LYAdl_A7lzo&feature=related http://www.youtube.com/watch?v=X9Y4OenTHqo&feature=related

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Louis Armstrong - When The Saints Go Marching In http://www.youtube.com/watch?v=wyLjbMBpGDA&feature=related 30 Tango Argentino: La Cumparsita - Tito Schipa, 1930 http://www.youtube.com/watch?v=Wm7wYiNt48k 31 http://www.merriam-webster.com/dictionary/subculture

9 smashing on the expense of the fallen culture and increasingly weakened worship and working negative to the removing of the people from God any longer than made the culture. The expression of the American interwar period The "new world" means lands which were among the last inhabited, a Japhetic branch came from the North and East Asia they will be the "Indians"32 and Eskimos later, in Central America and then in Peru were formed the Aztec, Maya and Inca empires, having a fairly advanced culture and civilization. Civilization and culture go hand in hand - where there is no civilization there is only subculture - wild, barbaric, naturism we avoid saying primitivism. (This condition can be corrected only with Christian worship, such as happened to us and in Eastern Europe, where, despite a less developed civilization, through the work of orthodoxy existed - and still exists today! - a spiritual level much higher than that of the civilized peoples). Who were the ones who discovered and civilized the new world among the Europeans? Spanish and Portuguese adventurers, criminals, then later a wave of Anglo-Saxon, Dutch, Swiss sectarians: Huterits, Baptists, Anabaptists, Quakers, Presbyterians - most of them driven from their countries on religious grounds. To these were added economic migrants from Ireland, Italy, Sweden, Greece and other countries. A group inspired and supported by the French Revolution take the political and financial power and form the U.S. In the south is noted the presence of numerous African slaves brought in mines and plantations to replace the native Indians who refused the work and were decimated in time. The Indian empires are totally destroyed with all their civilizations and prairies nomads are gradually displaced and isolated on reservations, few of them are assimilating. Since the early twentieth century U.S. is the target of immigrants from all over the world, generates a new Tower of Babel of nations (ethnic groups) with their respective subcultures. Therefore we can call without reluctance North America as a subcultural 33 country, for U.S. had not in their brief existence for 200 years reached an American tradition and culture, but a civilization and a subculture (the synthesis of several subcultures). "Culture, wrote Professor Crainic, in the glorious and noble sense of European tradition, is impossible to develop in a world without spiritual traditions, where the skyscraper takes the place of the Gothic cathedral, or the Italic dome, where cinema and theater take place of painting, where jazz take place of music, where ledger substitute philosophy, where speed takes the place of contemplation and poetry, and where the historical sects take the place of Christianity and gangsterism the place of the morals." Southern plantation blacks came from different parts of Africa with their subcultures, religions and music. With time, they were baptized by various local denominations. Musically, here are born the blues and ragtime. The African roots of jazz are beyond any doubt, anyone else does not contest. Also the fact that this music is based on rhythm, that rhythm of the dance. About this writes the
There are several theories that describe the Native American and Eskimo Inuit ancestors route across Siberia, and then arriving in Alaska on the extent of dry ice that connected the two continents. From there followed a gradual spread to the center and South America. Without being able to be sure exactly how happened things, we believe that this hypothesis fits the biblical revelation which tells us that humanity has its appearance and irradiation center in Mesopotamia, and after the flood in Babylon (Tower of Babel). But lately, American Indian anthropologists have challenged this theory, while challenging the biblical data. To them, people are not descended from Adam and Eve, but there always have been American aborigines. 33 Throughout the paper we have given the terms of culture and subculture that 'classical' component perception of vertical axiological hierarchy vehemently challenged by the cultural currents of post-modernist anthropology and contemporary post-structuralist.
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10 American musicologist and musician J.L. Collier34. This African music mixed with the European one with which it came in contact: Psalms, Spirituals, military marches, arias from operas and operettas, piano sonatas. Because in the modern culture and sociology is working a lot with Hegelian concepts (which continues to address the Marxist and neo-Marxist), it is clear their use in American cultural phenomenon. Syncretism35 in turn becomes another tool in the astonishing combination of views and attitudes that have no mutual tangency or repel. They become, "thesis" and "antithesis" (as the title former cultural program of Radio Free Europe) in a chaotic world that wants to be artificially "united". Certainly we do not all support the absolute negative character of all syntheses 36. During another empire, this time Christian, The Byzantine Empire the psaltic music was a synthesis of Jewish synagogue psalmody with Syrian and Persian, Armenian and Greek elements, with wonderful results based on the common denominator: Orthodox Christianity. The American synthesis wanted to be a qualitative leap, but we'll find out if so. Till now we have not spoken at all in terms of specific musical arrangements, intervals, measures, accents, tones, counterpoint and others. We will leave aside the musical analyzes to discuss moral and the spirit of music and his conjecture from the Christian orthodox view. Returning to the United States, in time blues moves from the plantation in saloons and brothels. This creates a new guild: saloons professional musicians - a kind of correspondence to Gypsy musicians in Europe in the same period. The American author quoted above puts the question: Why were the white Americans attracted by the entertainment provided by the blacks. He finds two reasons: exoticism and eroticism. In the area called show business, the black entertainment will increase permanently. The commercial view on art has as "synthetical" point of view its tangency with pleasant sensations. We now come to a point with political resonance, i.e. left wing intervention in 1928 describing jazz as proletarian music (!). Others have said that jazz was popular music. Could jazz be considered folklore, i.e. popular music37 in our understanding? No, because it involves primarily a nation with a long tradition in the territory. The Southern American blend, which was then reflected in the creation of jazz is still far from being a people, a nation. If it still made an approach to folk music, this might be more suitable to country and western music. Blues, jazz, and then rock, disco38, funky39, rap40, hiphop41, house42, jungle43, jive44, DJ45, techno46, trance47, etc. Sub-cultural phenomena of American music will follow generally (but not always) this trend: black mentality stem from, and are taken shortly by whites and Creole (or mestizos) and then expanded. Regarding the reggae48, rap, hip-hop and jungle
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J.L. Collier, Louis Armstrong, an American genius AB Kristianstad, 1986, p. 56 http://en.wikipedia.org/wiki/Syncretism

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Unlike syncretism, synthesis has a character of finality and conclusion. Romanian authentic folklore / Folclor romnesc autentic 3 http://www.youtube.com/watch? v=mk8XCOLDbtY 38 Bee Gees - You Should Be Dancing http://www.youtube.com/watch?v=_JoZS6LgqYI&feature=related 39 Kool & The Gang - Funky Stuff - 1974 http://www.youtube.com/watch?v=umVRh0Rpi14&feature=related 40 Design Coding http://www.youtube.com/watch?v=a0qMe7Z3EYg 41 hip hop music videos http://www.youtube.com/watch?v=jqoAdTrVofE 42 Katy B - Witches Brew http://www.youtube.com/watch?v=HkmET8y-RiM&feature=relmfu 43 Jeru The Damaja - D. Original http://www.youtube.com/watch?v=49uSOT_Zxvw&feature=related 44 Jumpin Jive - Cab Calloway and the Nicholas Brothers http://www.youtube.com/watch?v=_8yGGtVKrD8 45 Jeremih - Down On Me fhttp://www.youtube.com/watch?v=AaXaig_43lU&feature=fvwreln 46 Techno Music Rock- by DJJL 2011 http://www.youtube.com/watch?v=AJ_tIxWbbc4 47 coriphaeus - Nostalgia (Extended Mix) [Trance music 2008] http://www.youtube.com/watch?v=QdHbz_1bILk 48 Bob Marley & the Wailers - Roots Rock Reggae http://www.youtube.com/watch?v=pDvdBgJdEzU

11 currents, it was shown that their origins were Jamaica, the American blacks taking after these styles and enhancing them with the technological and financial power of America. Rock: the 50s expression. Environment. Period. Culture and civilization are linked also to the state, the worldly power. States great powers, empires, may require a period of their culture or subculture, and that with discretion or power. Arriving in the 20th century, the world super-power is clearly the U.S. This empire-republic equalized after World War the Western Europe in the field of music, relying mainly on the distribution disks, radio and later movies. After the victory of the Second World War the U.S. impose their rule on this plan too. This is not necessarily a characteristic of the great powers, for example the Roman Empire or Japan have not imposed musical culture. We showed why we cannot say about Americans that they really have a culture (we still use the "classical" meaning), they having especially a civilization and many subcultures. In the twentieth century these subcultures dominated Europe like an avalanche, and even the world. Why do we bring this somewhat negative connotation to the modern subcultures? Because in a civilized environment - almost 2,000 years after Christ - subculture is no longer natural and innocent. The social environment of the origin of civilization subculture is the industrial cities, slums, ghettos, etc. Meanwhile in the U.S. was consolidated what has been called the 8 th art: cinema. After the frantic period of silent comedies by Chaplin and Laurel and Hardy followed the emergence of sound - and there is a high possibility of coupling film with music and dance. Fred Astaire 49 and others did vogue in the cinema musical genre. After the war, America triumphs and strengthens its position in the world. It was preparing a further blow after jazz: rock. This term is rather imprecise and can cause confusion. In the late '40s in black music had appeared boogie-woogie and rhythm-and-blues, a danceable version and whites meant. From here emerged in the '50s rockabilly music or rock and roll, the term belongs to Morris Levy. This gender virtually disappeared in 1962 with the premature death of some that B. Holly50, G. Vincent51, E. Cohran52. In the 1966-1967 period the term appears again, this time short rock - differing by pop through the aggressiveness of the music based on strongly enhanced ("overload") guitars, through provocative texts and attitude. The contribution of the blacks can not be overlooked even now: they set the tone in the late '50s by such men as Chuck Berry 53 and Little Richard54. But in the name of truth let us say this too: the participation of white people, either Hebrew or non-Hebrew in jazz, blues and rock, rose anytime to the level of coloured people. The alleged superiority of the artistic and rhythmic of the coloured is a myth - it is only a certain lack of embarrassment, a liberty and indulgence that characterizes the respective subcultures. When whites removes "barriers" and "taboo"s of Christian education and culture for centuries - then they descend to the level of subculture and compete on equal terms. True, in the 50s America whites in were clearly favored, such as rock-and-roll is assigned to them: to Bill Haley55 and uncrowned king, Elvis Presley56. We shall see that the rock phenomenon is a reaction of Baroque type to the Calvinist Puritanism Methodist and Baptists and Pentecostals fundamentalism.

http://en.wikipedia.org/wiki/Fred_Astaire http://en.wikipedia.org/wiki/Buddy_Holly 51 http://www.rockabillyhall.com/GeneVincent.html 52 http://www.eddiecochran.info/ 53 http://en.wikipedia.org/wiki/Chuck_Berry 54 http://en.wikipedia.org/wiki/Little_Richard 55 http://en.wikipedia.org/wiki/Bill_Haley 56 http://en.wikipedia.org/wiki/Elvis_Presley

49 50

12

The 60s America In the 60s America, with the end of McCarthys anti-communist persecution, we are witnessing a revival of so-called "New Left". Young intellectuals and artists, mostly Hebrew, initiated the beatnik movement led by Allan Ginsberg and then continued in youth environments from colleges and universities with the "citizens movement" for the rights of "marginalized" 57: blacks and homosexuals, for disarmament and pacifism, launched during the Vietnam War the slogan: make love not war. This counterculture was characterized by the well-known symbol of peace. This ancient symbol has returned in spring 1958 current U.S. city Aldermaston in a youth pacifist march led by Hugh Brock and Pat Arrowsmith. They considered the symbol of the letters N and D derived from the semaphore alphabet, initials for Nuclear Disarmament. The peace symbol has been suggested to the two leaders by Bertrand Russell (1872-1970), author among others of the book Why I am not a Christian. He joined the Marxist secret socialist society Fabian Society in 1883, an open anti-Christian society, among which include acquaintances George Bernard Shaw and John Maynard Keynes. These socialist principles were: the fight against love of country (very current in Romania these years!), combating family life, morality and Christian faith, encourage sexual libertinism and the dissolution of nation states (see "Law on Prostitution" and the alternative textbooks!). Their way of working was "Change everything except the facade of the building." Whatever the explanation for the source, this symbol represents the sign of peace without Christ, and young people should be advised carefully about its hidden cargo, a sign totally wrong to be worn and spread, even today when it is attempted by some "Woodstock58" nostalgics a revival of hippie attitude. The following observation is also required: even if we remembered the black and Hebrew, it must be said that in the folk-rock had appeared in abundance Christians too: Protestant, neo-Protestant and some Catholic. It can rightly be said that rock appeared and developed in Protestant and neoProtestant countries. America and England, today called Euro-Atlantic structures, dominated and dominates in this area, while the Catholic and Orthodox countries appear epigones with modest results. A major explanation of this phenomenon is the attitude of protest. This is the engine: rebel, rebellious, "rebel without a cause" as were called the young people in the West in the 50s. Youth has in its nature the germs of rebellion, rather potential tends to rebel against authority: parents, school, church, state. In the West the adolescent attitude of rebellion and conflict between generations is required, according to the "dialectic of progress." Grievances are found easily and anywhere.

"If the state produce "culture" these other centers handling produce "counter-culture", which is aimed primarily to the marginal, cf. I.P. Culianu. See Eros and magic in the Renaissance. 58 http://en.wikipedia.org/wiki/Woodstock
57

13 In the '60s rock scene turned into a drug scene. The hippies stormed LSD, marijuana and others, along with Asian teachings: Yoga, Tibetan Book of the Dead, I-Ching, reincarnation and more. Former editor of the prestigious magazine New Musical Express, Ian MacDonald wrote one of the most relevant studies on Beatles: Revolution in the Head The Beatles' Records and the Sixties . He bluntly describes extremely noxious hippie counterculture propaganda for drugs, sex and rock, backed by some as Timothy Leary (died 1996). In The Politics of Ecstasy, it states that: "Drugs are the religion of the twentieth century." What were the effects of this crazy action? Among famous victims of drug that period included and Janice Joplin 59, Jimmy Hendrix60, Jim Morrison61, Brian Jones62. About the Beatles was told that they, like no others, were just the spirit of the 60s, and we saw in what sense is this statement valid. Note that specific phenomena jazz and rock are specific American synthesis: the rhythmic pulsation of black Americans (baptized neo-Protestant) combined with white Anglo-Saxon ethos (Protestant and neo-Protestant), the folk63 being a manifestation of Judeo-AngloSaxon from the ideological left-anarchist counterculture and Red Masonry. Beat can be described as a synthesis of English dandysm with black eroticism. Later it appeared also a synthesis called jazz-rock fusion music with remarkable results. The liturgical chant, a divine-human harmony. Church Song: sources. Byzantine music. For homophone scales. During the 4th century AD St. John Chrysostom in Antioch and then in Constantinople sets the liturgy and antiphonal chants and recitals chanting, hymns crystallized, kontakions, troparia, Stichera, canons and irmologions. The singing of anthems syllable by syllable is typical for the japhetites while melismatic singing of ecfonetic recitative is characteristic for Semitic peoples. St. Basil the Great said in this regard: "...For who can be considered the enemy of another when he joins his voice with him, to give praise to God together? Psalmody brings everything that can be best: love, companionship together making the kind of lading voice of union between people gathering people in one voice to the choir." There is a certain tension between the two different ways of conceiving the song in East and West. One view more special, this time from the perspective of monastic desert, is presented in Chapter Everghetinos of Paterikon to Ava Silvanus: "So chant is the laity, for it and people gather in churches." During Pope Gregory the Great it was operated a purge in melodic, music adapting the Latin language and ethos. In West existed before the reformation a healthy current of elimination in worship music of instruments and polyphony. From the beginning of the nineteenth century, it should be stated that, under the influence of music and Western European-style education, the ethos of traditional Romanian music paronymic suffered
http://en.wikipedia.org/wiki/Janis_Joplin http://en.wikipedia.org/wiki/Jimmy_Hendrix 61 http://en.wikipedia.org/wiki/Jim_Morrison 62 http://en.wikipedia.org/wiki/Brian_Jones 63 Blowing In The Wind http://www.youtube.com/watch?v=_zY_cM0_6vA&feature=related
59 60

14 serious deterioration, especially in the city. We consider again a brief overview of the history of Western church music for a deeper understanding of these phenomena. Homophone specific ethos was not only Romanians, but almost all the Mediterranean peoples, the spread of Christianity in the early centuries, and therefore the Latins. The Roman Gregorian chant strictly homophone, fully confirm this. But since the time of Charlemagne (800), the Western Church will be dominated by Franks and other Germanic peoples. They will seize the political power and leadership positions in the church and theology, with disastrous consequences later: heresy, rising rival, harm uncured until today. In terms of musical, in the church is manifested the Norman peoples ethos, ethos which requires the use of harmonic singing (using parallel thirds). Another important change is produced in France in the twelfth century, when the French folk ethos conflicts with Roman (Gregorian) ethos. The paradox is that, despite the invaluable contribution of Pope St. Leo the formulation of the definition of Chalcedon, the Western medieval theology was guided by notions of created and supra-added grace, the dichotomy of created uncreated, divine-human, not united in the Chalcedonian way, but remain separate and without being able to work together and transform (obviously those created) due to lack of the bridge that are uncreated energies. This serious dogmatic error was felt in Western religious and secular music, the different ethoses, the universalist roman (Catholicism having here this sense of "universal" with a more horizontal dimension entity) entered into irreconcilable conflict with the local. The latter, although obviously inferior spiritually and culturally, have the advantage that it was alive. In time the conflict was sliced in favor of the local in this way: in France, the locals felt an inclination for the worldly, sensual, profane. They began to introduce a series of worship songs and popular texts, secular unchurchly. The hierarchy was forced to accept this compromise to tolerate simultaneous singing Gregorian hymns of love and romances of the townsmen. This situation almost schizophrenic, a mix of kitsch, is one of the sources of religious vocal polyphony64. When this hybrid threaten to lead to liturgical and musical anarchy rescue intervened by ordering thorough and ranges of modes, controlled counterpoint appearance and phasing of the secular texts. This is, briefly, the history of harmonic and polyphonic ethos on the Western church singing. This phenomenon has been "postponed" in the east up to the nineteenth century. So now disappeared the scholar melisms of the Levantine Performers and appeared the harmonizations with thirds of Russian model of Western romantic inspiration, and in some cases contrapuntal passages too. They require a professional choir that can be found only in cathedrals and greater churches of the city, in monasteries, seminaries and theological institutes. Choirs are placed in Cafasse65 and believers cease to sing together. The situation is encountered in the interwar years by militant groups such as "Army of the Lord" returning to singing together, in the manner according to her own repertoire Pietist Protestant quasi-folk, away from the church tradition. For them the solution is given by Father Deacon Professor David: "As special interest and zeal of former members of "Army of the Lord" for religious song, they can be satisfied in the normal way by generalizing and more intensive cultivation homophonic singing in church, that all believers should actively participate in the religious services present or most of them. It should be abandoned the idea that only the priest and singer are entitled to sing in church, an idea furthered by erroneous

64

Medieval French chanson-motet: Je Langui-Domino-Pucelete http://www.youtube.com/watch?v=TdaeDmdpRIM 65 cafasse = Cafasse, s.n. (Inv and reg.) 1. Open upper room of a house or in a tower, in which one can see freely without; 2. Balcony where a church choir is singing in.

15 interpretation of canon 15 of the Synod of Laodicea 66. Hindrance in this canon refers to those who wanted, through her improvised songs, to introduce sectarian and heretical ideas in the church and not to the Orthodox believers, who then all sang in church service, choir giving answers and running songs that later, for various reason, remained on account of professional singers. Not the religious reforms, evangelical denominations or sects taught us to sing together in church - as is sometimes claimed - but they made us just back to an old tradition and practice of the one and undivided Church 67 of the first 45 centuries, which was then, and remains today, one of the most useful missionary methods and effective to meet the spiritual needs of the church, for our understanding of the gospel and catechizing the faithful, and at the same time, stopping proselytizing." We believe, as a personal opinion, that the homophone ethos, although it seems more primitive and rudimentary, poorer expressive musically, is higher on the spiritual plane. Church music is simply a prayer sung, or since it should help in this regard, anything that would disturb the focus should be regarded as harmful. All the faithful, clergy and laity, monks and laymen, know from experience tend scattering of thoughts, especially typical contemporary man. In this respect, it is obvious that a harmonic singing (vocal), polyphonic (parallel independent songs, imitation, counterpoint), or joining of the instruments can harm liturgical prayer. And then we consider that the musical effects should be abandoned in favor of the homophonic simplicity. Of course this is sometimes more a theoretical aspiration, in practice in our church song the homophone ethos is at most half of met. Our space is not specific to sudden reforms (as was those of Cuza and Peter I). Eventually these "reformation" might naturally occurring slow but sustained a revival of intense singing psaltic, what actually is happening in recent years. In conclusion of this study we affirm the opinion that the best thing in our church singing is to combine the psaltic choir singing the jobs of divine services (Matins68, Vespers69) solo or in groups, with or without eisonon, with a strana or both (antiphonal) according to the local possibilities, with homophone chanting of those present together, the Mass singer conducting. Thus it is not required any alteration or special arrangements because the songs are reprinted in the Liturgycal books. The choristers in the Cafasse should enjoy of much more spiritual benefit of coming down to the pews than
66

15. Concerning the necessity of not permitting any longer persons to chant in church other than those who are canonical salts (or Cantors) ascending the pulpit (or ambo) and chanting from parchments. (c. LXXV of the 6th.). Interpretation. The present Canon forbids persons from chanting in church simply because he wants to do so, allowing regular cantors, or psalts, to do so, i.e., those who are numbered among the clergy and have been ordained in any particular church. The regular cantors mount the pulpit, and chant with cantoral sheets of membrane (for the skins from which membrances are made are called parchments when thus prepared) or of paper. For if every ignorant person that wants to chant be allowed to do so, disorder and discord will ensue, whereas the result of the contrary, when appointed cantors experienced in cantoral matters chant, will be good order. See also c. LXXV of the 6th. 67 Lately, especially in the ecumenical contacts, it was naturalized phrase "undivided Church of the first millennium." Or as shown in the above quote. But spiritually, the Church has never been divided or separated, but the same, "one, holy catholic and apostolic", beginning with Pentecost and continuing until the end. We also disagreed with the metaphor "the Christ torn shirt", linked to her "great schism of 1054." Just like any true shirt of the Lord was not divided, but Roman soldiers drawn by lot, neither in this metaphor does not fit a tear, because the Church is kept whole (Catholic) full by God himself. Nor "great schism" is more accurately because formal party split in effect today in 1054 was due and is due to heresy, the heterodox Catholics, heretics, (with the losing and catholicity and not only schismatics!) 68 http://www.youtube.com/watch?v=thEjgE-d1QE 69 http://www.youtube.com/watch?v=shNKSJuXAgA&feature=related

16 sitting in the distance. Seminarians sing both psalm and choral (male choir), a remnant of the influence mentioned above. The advantage of the homogeneous group is obvious revealed by beautiful artistic effect achieved. However, the disadvantage of the Cafasse choral singing remains: i.e. the passivity of the believers present at the liturgy. The higher the complication of the songs (because harmonic and polyphonic choral arrangements), the greater the risk of errors in the assembly of the faithful to sing. Conclusions The man, made by God according to His image and resemblance, is a being of soul and body. He man lives in this world but is not from this world. The same with the soul: it lives in the body, but is not from the body. The immortal soul is more precious than the body or the whole world. That is the orthodox hierarchy that is universally implemented by the faithful. Thus, the artistic frames, namely the musical one we are speaking about, is subdued to a certain hierarchy too: the religious music, the church music is the highest. The highest does not mean the only. The soul without a body is not a whole for us, living (even if there are saints in Heaven who work wonders being only souls). Our world, our bodies are also creation of God and they have their certain place and aim. The orthodoxy does not despise them, on the contrary, offers them a special significance because the faithful should sanctify them and finally offer them back to God: "Thine own of Thine, we bring to You all and for all." If we look at music in this perspective, it will be easier to give each genre and artist his due place. The "heterodox" music, the "non-Christian", the "secular", etc. are certainly inferior to that mentioned before, but by no means devoid of any value and meaning. For who could doubt the talent sometimes genius of composers and performers of those categories and genres? We could give many examples of this but leave the reader to fill them in their culture and music education. We have in this regard and aesthetic and artistic criteria of time and space: the value of music in these genres is higher and has existed as confirmed with a larger area of distribution. "Image of God" refers to freedom and human reason. They are attacked by three fearsome enemies: the world, the flesh and the devil. We saw that the "world" and "body" not in an absolute sense, but in the negative connotation that the Scriptures and the Fathers. When these three prevail, then we lose our freedom and reason, becoming slaves to passions and idolatry. For they must therefore guard against, and like Ulysses with those sirens we mentioned, let us not be lured and enslaved by magical songs and rhythms, especially with large effect on adolescents and youth. Thus it can create dependence - addiction on music (and dance), at this time you can spend hours in a bath of sound from the headphones and all sorts of gadgets (i phone, i pad, etc.) DVDs radio in cars, computers at home and at work. If we can not get rid of these being in the world than leaving to the monastery or in the wilderness, we seek to keep under control with awareness this torrent of music, listening to music sparingly and never giving it the first place in our lives, even in the church ! This recommendation can be accomplished, even if more difficult by ordinary people who are only "fans" or have "hobby" for this purpose. A special issue, however, is for those who have not only passion and "talent" respectively, but get to be professional, have a career and income in these occupations. There of course be applied the same guidelines, but the special sense of their profession can not ask everyone a denial of this profession, and all the professional musicians to become amateur musicians! What criteria should still be set when a music builds or offend? Somehow might say they are the same as other areas: i.e. if the music - in this case - is approaching or departing the man of God, salvation, kingdom of heaven, makes him better, loving, faithful, merciful, or conversely. We do not exclude that area somewhat "neutral" traditionally called "neither builds nor offend" although it is contested by some in the church.

17 Also notice this: throughout the paper we presented a series of historical sequence fragments of heterodox and profane music. In themselves, they certainly contain those elements that they depart in spirit and form of Orthodox music. But its effects on us notice with some surprise that the more music is older, the harmful effect of it - dose of "poison" contained - seems not to have any adverse effect on us. The same of course can be seen from the other arts. This may be because of two reasons: either the general descend into sins, followed by a callous heart and the not feeling of a lethal dose. Or it can also be a strengthening of the Lord, a kind of "immunization" against those, leaving the states of aesthetic pleasure before the obvious qualities that have given ample evidence those examples. Of course, it is not easy to discern that the same is suitable in each case, and even they can find and join the both cases. This should not surprise us at all: not only the enemy works, but above all, and to all stands God's providence! In this sense every mature and aware man, anchored in the Church, along with his spiritual father and a Christian environment may focus on a case by case, person to person, from one period to another, a place to another, a.s.o. Recipes, patterns and schemes, be they spiritual methods, are rather out of place in Orthodoxy, which is life itself. Therefore we keep in hand to not deliver them, even if there is a personal competence and experience in both areas, religion and music. The Lord will give everyone the right solution, one we want and require. Let us not forget that " All things are lawful unto me, but all things are not expedient: all things are lawful for me, but I will not be brought under the power of any."(I Corinthians 6:12), and understand the words of St. Augustine in the Orthodox spirit, "Love and do what you want". And, especially for young people - but not only for them! let us apply guidelines discerning of St. Basil the Great: "You should, therefore, read the writings of profane authors, as bees do; those do not go no choice at all the flowers, do not try to bring all find the flowers on which sits, but take what they need for their work, and the remaining leaves happy. We, if we are wise to take the books as new suits us and how it is related to the truth and let him rest," of course replacing books with music and "truth" with more appropriate moods.