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Experiencing the resonant acoustics of the church of Hagia Sophia allowed the Byzantine participants in its liturgical rituals to be filled with the Spirit of God, and even to become his image on earth. Bissera Pentcheva's vibrant analysis examines how these sung rites combined with the church's architectural space to make Hagia Sophia a performative place of worship representative of Byzantine religious culture in all its sensory richness.Coupling digital acoustic models and video with a close examination of liturgical texts and melodic structures, Pentcheva applies art-historical, philosophical, archeoacoustical, and anthropological methodologies to provide insight into the complementary ways liturgy and location worked to animate worshippers in Byzantium. Rather than focus on the architectural form of the building, the technology of its construction, or the political ideology of its decoration, Pentcheva delves into the performativity of Hagia Sophia and explains how the 'icons of sound' created by the sung liturgy and architectural reverberation formed an aural experience that led to mystical transcendence for worshippers, opening access to the imagined celestial sound of the angelic choirs.Immersive, deeply researched, and beautifully illustrated, this exploration of Hagia Sophia sheds new light on sacred space, iconicity, and religious devotion in Byzantium. Scholars of art and architectural history, religious studies, music and acoustics, and the medieval period will especially appreciate Pentcheva's field-advancing work.
This remarkable book views Agia Sophia in a multidimensional and analytical way, not only as an important temple in terms of architecture and ornamentation, but also as a sacred space. As such the book places considerable emphasis the integration of acoustics, architecture and esthetics. The author generated significant observation as to the distribution of religious chant at different regions of the building and has used unique ways to discus and analyze the impact of the sound to the listener. Such a feat was accomplished using very modern analytical methods involving the contribution of musicologists and auralization experts interpreting how chanting is modified by the soundscape of the sacred space. As a separate dimension of the convolution of light and sound is masterfully interweaved with the spiritual validating the vision of wisdom (Sophia). The various dimensions of sound, space, light and Byzantine chant is masterfully illustrated with manuscript reproductions, diagrams, musical transcriptions. The way the author links these components intergrading the liturgical with the spatiotemporal character of the soundscape creates an exceptional book of remarkable breadth and depth. The awakening generated by the treatment of this subject ensures that any visit to a cathedral or a small church will be most rewarded the kind of consideration promoted by this book.
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