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Шеко Н. А. Риторика в европейской церковной музыке XVII в. // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2017. Вып. 27. С. 27-38. DOI: 10.15382/sturV201727.27-38
Catholic art, in particular music, under the influence of the decrees of the Council of Trent, has undergone drastic changes. The Council of Trent 1545 - 1563 was intended to oppose the dissemination of the ideas of the Reformation. The cathedral marked the transition from the medieval period of the history of the Catholic Church to the classical period. The ideas of Protestantism seriously influenced the church's consciousness of the Catholic Church, therefore, for the successful struggle against them, the Council Fathers decided to actually fulfill the demands of the Protestants regarding church music. Music as a tool that affects a person's aesthetic perception, with proper use, can greatly affect his emotional and psychological state. In the Catholic Church, rhetoric techniques were widely used, not only in oratory, that is, in preaching, but also in instrumental and vocal music accompanying worship. Rhetoric in music transmitted information in a double volume: through the influence of a word pronounced with a certain intonation and at a certain pitch, and the impact of melody, with the help of musical figures and sound effects that affect the emotional state of believers. It was personal emotional experiences that became the main content of both spiritual and secular art in Europe in the 17th and the first half of the 18th centuries. Rhetoric was taught both in Catholic Jesuit educational institutions and in Protestant schools. In fact, it was the basis of European education in the XVII-XVIII centuries. The surviving treatises on rhetoric give us a good basis for studying multiple meanings, concluded not only in European music, poetry and theater, but also in church art.
music, rhetoric, Catholic art, Baroque, Reformation, Council of Trent
  1. G. Buschbell. Concilium Tridentinum: Diarorum, Actorum, epistolarum, tractatuum nova collectio. Т. 10. Freiburg. 1916. р. 762;
  2. Fellerer K. G., Hadas Moses. Church Music and the Council of Trent. Oxford University Press. The Musical Quarterly. Ed.39, No. 4. (1953). р. 576-594;
  3. Gosine.C. Jane., Oland. Erik. Docere, Delectare, Movere: Marc-Antoine Charpentier and Jesuit Spirituality. Oxford University Press. Early Music. ed. 32, No. 4 (2004). p. 511-514; 516-539;
  4. James. Murphy. Medieval Rhetoric: Toronto. University of Toronto Press. 1989;
  5. Marc-Antoine Charpentier. «Messe pour plusieurs instruments au lieu des orgues». H 513;
  6. Palacios Quiroz. Rafael. La pronuntiatio musicale : une interprétation rhétorique au service de Händel, Montéclair, C. P. E. Bach et Telemann. Thèse de doctorat. Paris 2012;
Sheko Nikolay
Place of work: State Institute for Art Studies; 5, Kozitsky pereulok, Moscow 125000, Russian Federation;
Email: nsheko@yandex.ru.
Шеко Е. Д. Сакральная архитектура Франции и Бельгии между двух Великих войн: разворот от Ар-деко к модернизму // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 32. С. 112-131. DOI: 10.15382/sturV201832.112-131
This article deals with the development of church art in the twentieth century, mainly in the 1920‒30s. In these years, after massive destruction of the First World War in Europe, arose the need for the reconstruction and construction of a large number of new churches. The religious and artistic sensitivity of that epoch required from projects of new Catholic churches a certain array of decorative elements, even if their architecture was simple and functional. However, in the projects of reconstruction of churches in the 1920s, new variants of the renewal of materials and constructions began to be off ered more and more often, and these had obvious signs of innovative solutions, both from the point of view of the plan, the formation of surfaces, the technologies employed. The main novel material was concrete, widely used both for the construction of new churches, and for their decoration. In Belgium, in the 1920s, Modernism fi rst emerged as an architectural style, which was then widely developed globally in the 1930s in competition with Art Deco style. Modernism, unlike Art Deco, turns its back on the architectural traditions of the past, rejects any decorations and focuses on the function of the building. It is these characteristics that made the architecture of modernism popular among the supporters of the «liturgical movement» in the Catholic Church in the twentieth century.
Church architecture, art history, Art Deco style, decorative art, sculpture, interior, modernism, Catholic church, liturgical movement
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Sheko Ekaterina
Place of work: St. Tikhon’s Orthodox University for the Humanities; 6/1 Likhov pereulok, Moscow 127051, Russian Federation;
Post: Head of Department of Icon Painting;
ORCID: 0000-0001-8976-8814;
Email: katja_sheko@mail.ru.