Lyrics and music analysis of the Third Canticle ‘Hoos’ according to the Coptic rite

Abstract

he Third Hoos is the praise chanted by the three youths while in the furnace of fire, as mentioned in the Book of Daniel, Dan 3:13–26 NKJV. It is a complex composition, both lyrically and musically, that transports the chanter to the early order of creation with all its seen and unseen elements. Its lyrics form a profound dialogue between the chanter and every member of creation, calling all to praise the Omnipotent Creator and to offer Him the glory due to His name. This atmosphere of prayer is further strengthened by the musical structure of the Hoos. The unusually wide tonal range, uncommon in Coptic hymnology, reflects the spiritual elevation attained by the chanter, while the distinct repetitive rhythmic patterns of the final stanza appear to address humankind, who intuitively recognise rhythm as an essential form of expression. Finally, the phrase Esmou erof that appears in other hymns such as Psalm 150 is never sung with such an expansive melodic range, suggesting two possible reasons: first, that the Esmou epchoic melody was not intended for congregational use during liturgies but for midnight praises, allowing monks to spend contemplative time calling all creation to glorify the Creator; and second, that the composer was likely a gifted monk, fluent in both Coptic and musical composition, capable of crafting the remarkable melodic variations on the word erof to emphasise its theological importance within the context of the Third Hoos. Thus, the Third Hoos represents an excellent example of musical composition which aims at emphasising the depth of the liturgical words using unique Coptic melodies and musical patterns.