ABSTRACT The study wishes to emphasize the interference between two musical cultures in the divine cult from the Romanian Orthodoxy, which differ in form, but are essentially the same. We refer to the Romanian Orthodox church music in neumatic (Byzantine) notation and the Slavonic one, in linear notation (staff notation). As one of the essential elements of the church services, the melody becomes support and garment of the liturgical word. To this respect the Romanian musicology focuses on the manner in which church music has been understood and practiced by the generations of the past centuries. This type of literature is rather generous. The two manuscripts from the 18th and 19th centuries in Kievan notation that will be described below prove the fact that despite of the nationality of a member of the Orthodox community (either layman or monk) the spirit of the prayer is the same. The differences in opinion regarding the church music, inevitable at the time, vanished in the interpretation of those who understood that there is no partiality with God.

Keywords: musical manuscripts; church music; Kievan notation; musicology; monastic life

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Associate Professor at Alexandru Ioan Cuza University,
Faculty of Orthodox Theology;
Iaşi, Romania

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