Musicality Makes the Malankara Liturgy Mystical
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xfhxtf jiasi MOran ‘Eth’O Philip Vysanethu. O.i.C | MUSICALITY d MAKES ~ THE MALANK^ARA LITURGY MYSTICAL St. Ephrem Ecumenical Research Institute (SEERI) Baker Hill, Kottayam — 686 001 Kerala, India 2004 www.malankaralibrary.com www.malankaralibrary.com MUSICALITY MAKES THE MALANKARA LITURGY MYSTICAL www.malankaralibrary.com ^!:.\ Uibns iLictl) iilaibutlio llibrarp riic Malplioiio Cieorj^f Anton Kira/ ('olicction LoVi \«~> L> La,^voN. ouii. vn Ll.1 1 Vl v^v \»~> loo-j )ooo >a^ .nm'^ oi yio Pi■ l_^.ar>o 11 Pi\ ■•>. ^ L,-OOjo I,\m loou >jL^n '^^50^ l>i.cD •■.•©■i^O^ f Ol.-vi. LiD^ ^ Ainonc who asks tor rliis Nolumc. to rcatk collate, or cop\ troni it. anti who appropriates it to himselt or herselt, or cuts antthino out ot it, shoulii realize that (s)he w ill h.i\e to i;i\e .inswer hetore (1 Oil’s awesome tnlnin.il .is it is)he hati rohhetl .1 s.inctu.iiw. Let Mich .i person he heltl .in.uhem.i .uul receue no tori^ixeness until ihe hook is returnetl. ho he it. Amen' \ntl .imone who remotes these .in.iihem.is, tlit;il,ill\ or othemise, sh.ill himselt recent' them in tlouhle. www.malankaralibrary.com MUSICALITY MAKES THE MALANKARA LITURGY MYSTICAL Philip Vysanethu. O.I.C St. Ephrem Ecumenical Research Institute (SEERI) Baker Hill, Kottayam - 686 001 Kerala, India 2004 www.malankaralibrary.com MUSICALITY MAKES THE MALANKARA LITURGY MYSTICAL by Philip Vysanethu. O.LC MORAN ‘ETH’O Series 22 First Publshed by 2004 Published by : St. Ephrem Ecumenical Research Institute (SEERl) Baker Hill, Kottayam - 686 001 Kerala, India. Printed at: Bethany Offset Printers, Kottayam- 686 010 Phone: 0481-2571355 www.malankaralibrary.com CONTENTS Page TABLE OF CONTENTS PREFACE EDITORIAL INTRODUCTION CHAPTER 1 19 CHRISTIAN LIFE IS ESSENTIALLY A LITURGICAL LIFE, A PARTICIPATION IN THE ‘FLESH-BECOMING’ LOGOS 1.1 Liturgy is a participation in the flesh - becoming LOGOS. 21 1.2 Liturgy brings down the heaven on earth and elevates the earth to heaven 23 1.3 Liturgy and music 25 1.3.1 Liturgy, the vessel of mystery poured out through artistic media 26 1.3.2 Dominance of music in cults and rituals 28 1.3.3 Music, a medium to speak to God and to the fellow being 31 1.3.3.1 Music, a medium to speak to God 32 1.3.3.2 Music, a medium to speak to the fellow being 34 1.4 Summary 37 CHAPTER 2 39 MYSTICISM IN THE EAST AND IN THE WEST (A BIRD’S EYE VIEW) 2.1 Mysticism in Indian Spirituality 40 2.1.1 Bhakti Marga/Bhakti yoga 41 2.1.2 Jnana Marga/Jnana Yoga 43 www.malankaralibrary.com 1 1 Mysticism in Christian spirituality 47 2.2.1 Path of love 50 2.2.1.1 Christian mysticism is essentially liturgical 52 2.2.2 Path of Knowledge 54 2.3 Summary 56 CHAP 1 KR. 3 58 INDIAN MUSIC SYSTEM AND THE MUSICALITY OE THE MAEANKARA LITURGY 3.1 The melody character of oriental music, leading to a mystical experience 59 3.2 Indian Music that manifests the mystical nature of the whole nation 60 3.2.1 Nada and its mystical reference 62 3.2.2 Svaras\ the manifestation of nada 65 3.2.3 Ragas 66 3.2.3.1 and emotion 70 3.2.4 Gcuui rasa 11 3.2.5 Sruti Laya 78 3.2.6 Manodhanna sangita & Kalpita safigita 80 3.2.7 'fhe healing power of Indian music 83 3.2.(S Guru kula satuhradaya 85 3.3 The mystical character of the Malankara Liturgy and its musicality 87 3.3.1 The externals add to the mystical nature of the Malankara Liturgy 88 3.3.2 Musicality takes one to the zenith of mystical experience 93 www.malankaralibrary.com 3.3.2.1 The musicality makes the Malankara Liturgy mystical 94 3.3.2.1.1 Musical structure of the Malankara liturgy 96 3.4 Comparative study of Indian music system and the musicality of Malankara liturgy 112 3.4.1 Comparison in the sriiti, laya nature of Indian music 114 3.4.2 Comparison of Raga with Oktoechos 120 3.4.3 Comparison in the realm of Kalpita and Manodharma sangita, God as Nada Brahma 123 3.4.4 Avartana (repetition), in Indian music and 125 Malankara musicality 3.5 Summary 127 CHAPTER 4 129 THE EVOLUTION OF SYRIAN HYMNS, THEIR THEOLOGICAL AND MYSTICAL MOTIVES, THE INTERPRETATION OF THE HYMNS IN THE CONTEXT OF ECUMENICAL AND INTER-RELIGIOUS DIALOGUE 4.1 Evolution of Syrian hymnology in the context of polemics, apologetics and in the mystical experience of the composers 130 1. Mar Ephrem 133 2. Mar Balai 137 3. Mar Jacob of Serugh 138 4. Mar Severios of Antioch 140 5. Simeon of Gesir (Semaoon Qooqoyo) 140 6. Mar Jacob of Edessa 141 4.1.1 Forms of Syrian/Malankara Liturgical hymns 142 www.malankaralibrary.com 4.2 Importance of the liturgical hymns in their theological approach 148 1. The Trinitarian motive of hymns 150 2. The Christological motive of hymns 152 3. The Mariological motive of hymns 154 4. The Ecclesiological motive of hymns 157 4.3 The mystical nature of the hymns, in the realm of Bliakti yoga (path of devotion/love) 159 and Juana yoga (path of knowledge) 4.3.1 The mystical nature of the hymns, in the realm of Bliakti yoga (Path of devotion/love) 160 1. Vatsalya Bliakti model 161 2. Bridal model 164 a. The bridegroom who is in search of the bride 166 b. The bride who is in search of the bridegroom 169 3. Giiru-Sishya model 171 4. Penitential model 174 4.3.2 Mystical nature of the hymns, in the realm of Juana yoga (Path of Knowledge) 176 1. Creator-creature model 177 2. Light analogy 178 4.4 Formation of a hymnology in the context of inter¬ religious dialogue and ecumenism 181 4.4.1 Interpretation and formation of a hymnology in the context of inter-religious dialogue 183 4.4.1.1 Common element of both Syrian and Indian spirituality 185 www.malankaralibrary.com 4.4.1.2 The merging of the Malankara hymnology into Indian music system 189 4.4.1.3 • Composition of hymns in view of interpreting the signs of the time 193 4.4.2 Interpretation of the hymns in ecumenical context 198 4.5 The Expansion of the horizon of Malankara Musicality 202 4.5.1 The proj er study of the liturgical music 203 4.5.1.1 The study demands correction and preparation: 205 a. In the structure of hymns 205 b. In the contents of hymns 207 c. In the tradition of ‘Seniority’ in leading the hymns 209 d. Preparation in the liturgical singing 209 4.5.2 The reformation of Malankara musicality based on Indian music system 210 4.5.2.1 Conscientization and preparation of the community 210 4.5.2.2 Restructuring of hymns and selection of proper 213 raga and laya a. Formation of the musicality of the divine office 213 b. Formation of the musicality of Holy Qurbono 216 c. Selection of ragas based on their ‘healing 218 power’ 4.6 Summary 218 GENERAL CONCLUSION 222 GLOSSARY . 228 BIBLIOGRAPHY 237 APPENDIX 251 www.malankaralibrary.com PREFACE One who participates in the Malankara liturgy undergoes a unique experience that can be called mystical. What makes it ‘really ‘mystical...? This doctoral thesis is an attempt to answer this question by exploring into the mystical nature of the Malankara Liturgy that originated from the Antiochian Liturgy. It is a study on the mystical nature of the Malankara Liturgy and the formation of a liturgical musicality based on Indian Music System in the context of ecumenism and inter-religious dialogue, which was submitted to the Catholic Theological Faculty of Karl- Franzens-University, Graz, Austria for the degree of Doctorate in Theology. The studies already done on the Malankara liturgy are generally centred on the theology or poetry and the very important factor namely the ‘musicality' of the liturgy is forgotten. This is a study on the ‘musicality' of the liturgy, which includes both its poetry arid music. I offer this work as a praise and thanksgiving to God. My heartfelt gratitude is extended to Prof. Dr. Philipp Harnoncourt who has arranged for my scholarship and stay in Austria. May I express my sincere gratitude to Prof. Dr. Erich Renhart, the director of this doctoral work, for his intellectual guidance and ‘non bureaucratic' approachability. 1 cannot forget Prof. Dr. Dietmar W. Winkler who has helped me and encouraged me all along my studies in Austria. Along with them I thank the dean and the staff of the Faculty of Theology as well as the director and staff of the Institute for Liturgiology, Christian Arts and Hymnology of Karl-Franzens-University, Graz. My sincere thanks to Very Rev. Dr. Jacob Thekeparambil (Director of Saint Ephrem Ecumenical Research Institute, Kerala) who is always ready to give me his valuable suggestions and moral support. I am thankful also to Rev. Fr. Abraham Kalakudi (SEERl) for his valuable suggestions and correcting this work and 1 am grateful to the Publication Department of SEERl for publishing this thesis. May I extend my www.malankaralibrary.com sincere gratitude to Prof. Sebastian Brock and Prof. Louis Hage for their suggestions and support. In Austria, Germany and Switzerland there are many who have helped me in my studies. Here I cannot but express my sincere gratitude in words to all of them, especially to the Diocese of Graz-Seckau for granting me scholarship for my studies in Austria, which was properly canalised through the direction of Welthaus and Afro-A latisches Institut.