The “Latin Direction” of Marian Hymnography in the Cultural and Historical Context of the 5th – 8th Centuries AD
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Abstract
The article is devoted to a relevant, multilateral and insufficiently
studied problem of delineation of the sources of “historical
demarcation” between the Byzantine and Roman Latin church
singing traditions on one of the most significant directions,
Mariology. Emphasis is made on the key significance of the
factors which condition the development of the specifically
“Catholic” features of the Western Christian chant composition:
the missionary work of the Western monks on the “Barbarian”
territories (the requirements for accessibility and effectiveness
of the applied means of artistic impact), its openness to secular
influences (the emergence of secular tendencies), the development
of Latin hymnography as a basis for interaction with other forms
of “aesthetical Mariology” and the steady broadening of the
circle of Marian chants in the structure of liturgical service of
the Roman church. The determinative role of the process of the
greater distancing of Rome from Byzantium in its theoretical
views on nature and the goals of liturgical singing is observed
(wherein the influences of Boethius can be perceived). The
perception of music as a powerful means of impact on the human
soul defines the historical perspective in the development of the
Catholic musical art in general, as well as the peculiarities of the
evolution of the church singing forms of the cult of the Virgin
Mary in the Western Church.
Keywords: the Roman Latin church singing tradition,
Gregorian chant, theChristian aesthetics, the monastic order,
Marian hymnography
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