Thanks for your response ialmasry.
Khen Ou-methmi Aftonf!
you rather start with an assumption, Western musical traditions are antithetical to Orthodoxy, and are now in search of proof.
Whilst I am confident that many such traditions are antithetical (and in this sense am indeed admittedly looking to prove what I am assuming based simply on sense/intuition/experience), I believe if you read over my post again you will find that I nevertheless admitted two other possibilities (and as such I did not extend such an assumption absolutely to *all* western musical traditions):
a) that whilst not antithetical to the Orthodox faith and spirit, they are, comparatively speaking, not as *ideal* in promoting that Orthodox faith and spirit.
b) that some are rooted in an authentically religious and pious context.
In the case of b), however, I would still like to probe that very “religious and pious” context so as to be able to determine whether the psychological frame of mind that such musical traditions seem designed towards promoting (and this, I assume, would be very much influenced by the particular religious worldview and conception of God prevalent in their original context) is adaptive to the Orthodox phronema. As I mentioned in my post, the pre-Christian Egyptian religious mindset, reflecting a deep sense of awareness of the sacredness of the Divine and inclined towards reverent meditation and inner stillness, was adaptive as such.
An example of the type of questions I have in mind when considering the original context of various Western Christian musical traditions is: were they influenced by those Western movements (e.g. the so-called enlightenment, the renaissance, scholasticism etc) in which Western Christendom lost the fullness of the Orthodox vision of the ‘sacredness’ of the Divine and of the ascetic and meditative approach befitting true worship of God in which humility and inner stillness prevail, and in which the emotional self is bridled and the contemplative self made to soar.