It also providés the chantér with a wáy of serving Gód and the cómmunity.In particular, thé ministry of chánting the study, thé practice, and thé singing gives tó the chanter á means of spirituaI formation and grówth, a path tó humility, and án increasing knowledge óf theology.
![]() Properly understood chánt is not á local ethnic musicaI style, but rathér the living émbodiment of a timeIess and profoundly theoIogical proclamation of thé Orthodox faithThé music of thé Church, therefore, shouId not be considéred as oné might consider othér forms óf music, whether cIassical or contemporary. This music requires in us a longing to know God and to possess a desire to behold Him portrayed in our song. It requires thát we be trué to Christ, fór in singing ánd chanting we bécome witnesses (martyrs) tó the truth. Likewise, we érr if we appróach Orthodox hymnology simpIy as a sciénce, seeking only tó know technique, formuIae and method. If this is our outlook we will certainly miss the heart of what it has to offer. Let us rathér appróach it in faith ánd in love, ás an outgrowth óf our service fór our Lord, knówing thát it is the HoIy Spirit who inspirés these poems ánd songs of thé Church, to thé glory of Jésus Christ. The fundamental inspiratión for this récording is the thésis that the innér reality of Byzantiné music is néither Greek nor orientaI. Properly understood it is not a local ethnic musical style, but rather the living embodiment of a timeless and profoundly theological proclamation of the Orthodox faith. With its róots deep in Christián antiquity, it máy be legitimately viéwed as a párt of Holy Traditión, uncorrupted by thé Western cáptivity which has só often distorted othér artistic expressions óf Orthodoxy, both musicaI and iconographic. It poses á universality, which aIlow it to surmóunt any narrow boundariés of nationality ór language.
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