Last week, we introduced Baroque music and its use of the Doctrine of Affections (DOA), which spread musically from opera, to J.S. Bach’s Saint Matthew Passion (SMP), and is even heard quite a bit in contemporary music. Before continuing onward, it would be good to briefly explain in more detail how composers have used the DOA for years.
The idea of the Doctrine of Affections, is actually quite simple in its explanation. It is the use of musical ideas to represent, encourage, and convey emotional expression. For example, and especially as it was in the Baroque, a piece in a major key usually is interpreted as joyous, and one in a minor key is typically interpreted as sad. A descending bass line (one of the most common) has a type of ominous, or dooming quality. Composers used, and continue to use, ideas like this in order to affect the emotions in the style of the ancient Greeks, which was to use the emotions as a way to stir the soul. I talked last week about Bach’s SMP and this concept of overcoming the emotions to call the soul to repentance. This is the kernel of what both parts of this post is all about.
As we know, Orthodox theology works very differently than the rest of the Western world. We fast, pray, and have more church services than any other Christian faith. The theology can also be largely contrarian to popular Christian doctrine. Let me explain:
The Orthodox view of spiritual enlightenment has very little to do with the emotions. Emotions do not, or should not, control us or our actions, but our soul does. Our soul, in communion with God through prayer, fasting, and the sacramental life of the church works with our mind, senses, and maybe then our emotions. To put it briefly, the soul informs the emotions, not the other way around. When we lose a loved one, our earthly emotions mourn and weep. This is natural as one of the great things about being human. However, in this case, our soul should be joyful. It is supposed to recognize that through God’s grace, that person has passed from this world into the next into forever communion with God. So, in this respect, our emotions and our soul’s purpose can seem diametrically opposed.
This will indeed be a three-part series.
To understand Western art music and its place in our Orthodox spiritual lives, we need not look further than Bach’s SMP. Why? It is a pillar of the Western art music tradition, it was spiritual in nature, and every composer (hopefully) of western music in the Orthodox Church has studied Bach at length. That being said, I have a very important question to ask: If we leave out the fact that Bach was Lutheran, ignore that his SMP was composed for Lutherans (primarily), and look at the heart of Bach’s work, is Bach’s Saint Matthew’s Passion Orthodox?
Tune in next week to find the answer and to find how the hymnology of Byzantine music ties it all together.
Thank you again for reading! As always, you can find me on facebook (please message me and let me know you found me here), twitter, or by email at david@ecclesiasticalconsulting.com





