constantinople - Musicologie Médiévale2024-03-29T08:22:08Zhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/feed/tag/constantinopleDiscussion of the Byzantine tonal systemhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/discussion-of-the-byzantine-tonal-system2019-10-18T14:44:13.000Z2019-10-18T14:44:13.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Discussion</strong></p><p>After Oliver Strunk’s study of the Byzantine tonal system in 1942, mainly based on Late Byzantine sources of the Papadikai, there has been very few resonance around Christian Thodberg’s study of the tonal system of the kontakarion 60 years ago. Christian Thodberg aimed the whole cathedral rite, although he mentioned and studied only the <em>kontakia</em> in Middle Byzantine notation, but also with respect to the tonal system behind the repertoire of proper chant such as <em>prokeimena</em> and <em>allelouiaria</em> (which was only exceptionally mass chant unlike the corresponding antiphonal responsoria such as <em>graduals</em> and <em>alleluia verses</em> in Western plainchant).</p><p>Thus, Thodberg’s study was much closer to the Byzantine rite in the narrow sense (church music during ceremonies at the Constantinopolitan Hagia Sophia) than Oliver Strunk’s essay which focussed on a synthesis of the later mixed rite, when the former cathedral rite had been abandoned according to his own observation. The discussion has not developed much during the last decades and there are many open questions about the tone system of the Asma and its organisation and what was its impact on the Slavic reception documented by the kondakar’s since 1100 (beginning with the Tipografsky Ustav).</p><p><strong>References</strong></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Thodberg, Christian. <em>The Tonal System of the Kontakarium: Studies in Byzantine Psalticon style</em>. Historisk-filosofiske meddelelser, 37:7. Copenhagen: E. Munksgaard, 1960.</div><div class="csl-entry">Husmann, Heinrich. “Modalitätsprobleme des psaltischen Stils.” <em>Archiv für Musikwissenschaft</em> 28, Nr. 1 (1971): 44–72. <a href="http://www.jstor.org/stable/930363" target="_blank">jstor</a>.</div><div class="csl-entry">Thodberg, Christian. “The Discussion of the Psaltikon Tonality.” In <em>Report of the Eleventh Congress of the International Musicological Society, Copenhagen 1972</em>, ed. Henrik Glahn, Søren Sørensen, and Peter Ryom, 2:782–90. Copenhagen: Wilhelm Hansen, 1974.</div><div class="csl-entry">Artamonova, Yulia. “<a href="http://www.musicologytoday.ro/BackIssues/Nr.16/studies2.php" target="_blank">Kondakarion Chant: Trying to Restore the Modal Patterns</a>.” <em>Musicology today</em>, 16 (2013).</div><div class="csl-entry">Floros, Constantin. <em>Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition</em>. Universität Hamburg: Habilitation 1961, <a href="http://www.fbkultur.uni-hamburg.de/hm/forschung/publikationen/byzantinische-kontakien.html" target="_blank">2015</a>.</div><div class="csl-entry">Pfisterer, Andreas. “Beobachtungen zum mittelbyzantinischen Kontakion.” In <em>Theorie und Geschichte der Monodie – Bericht der Internationalen Tagung Wien 2016</em>, ed. Maria Pischlöger. Theorie und Geschichte der Monodie, 9,2:759–74. Brno: Tribun EU, 2018.</div><div class="csl-entry">Gerlach, Oliver. “The Sources of the Kontakion as Evidence of a Contradictory History of Reception.” In <em>Theorie und Geschichte der Monodie – Bericht der Internationalen Tagung Wien 2018</em>, ed. Maria Pischlöger. Theorie und Geschichte der Monodie, 10:145-88. Brno: Tribun EU, 2020. <a href="https://www.academia.edu/38349148" target="_blank">academia</a>.</div></div></div>The Byzantine manuscript known as “Book of Imperial Ceremonies” is online!https://gregorian-chant.ning.com/group/byzantin/forum/topics/the-byzantine-manuscript-known-as-book-of-imperial-ceremonies-is2019-10-11T13:51:34.000Z2019-10-11T13:51:34.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>University Library of Leipzig (D-LEu)</strong></p><p>The University reader already has a well made content bar which allows you to go through the manuscript without any further need of a detailed description (see the screenshot). The manuscript which is the main source of the book of ceremonies, was written at a Constantinopolitan scriptorium like other manuscripts with military content: Tours, Bibliothèque municipale, ms. C 980, Vatikan Library Vat. gr. 73, Ms. B 119 supp. of the Milanese Biblioteca Ambrosiana, and the manuscript <a href="http://opac.bmlonline.it/Record.htm?record=685112440339" target="_blank">Plut. 55,4</a> of the Florentine Biblioteca Medicea Laurenziana.</p><p><strong>Ms. <a href="https://digital.ub.uni-leipzig.de/object/viewid/0000013160" target="_blank">Rep I 17</a></strong></p><p><strong><a href="{{#staticFileLink}}3656932581,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}3656932581,RESIZE_710x{{/staticFileLink}}" alt="3656932581?profile=RESIZE_710x" /></a></strong></p><p style="text-align:center;">Beginning of 34th chapter in the first book about ceremonies on Theophany etc. (fol. 70v)</p><p>Late X • Book of Ceremonies (Περὶ τῆς Βασιλείου Τάξεως “About the imperial order”, ff.21v-256v) written and compiled during the Makedonian Renaissance. The first book was commissioned by Emperor Constantine VII Porphyrogennetos, the second book with a description of historical ceremonies was probably compiled after his death to complete the collection (it was currently used to reconstruct the different layers of the Imperial palace between the current ruins of the hippodrome and Hagia Sophia III, see for instance publications by Jeffrey Featherstone and many others).</p><p>The compilation of this manuscript (Featherstone 2002) was partially revised later under Nikephoros II (963-969): book I:93-105 and II:26-55, perhaps under the supervision of Basil Lekapenos, the imperial parakoimomenos, and it also contains earlier descriptions of the 6th century. One of the book's appendices are the three treatises “on imperial military expeditions”, a war manual written by Constantine VII for his son and successor, Romanos II (ff.1r-21r preceding the preface, προοίμιον, of the ceremonial book).</p><p>In this completed form (known from this manuscript) chapter 1–44 of <strong>book I</strong> describe processions and ceremonies on religious festivals (many lesser ones, but especially great feasts such as the Elevation of the Cross, Christmas, Theophany, Palm Sunday, Good Friday, Easter and Ascension Day and feasts of saints including St Demetrius, St Basil etc. often extended over many days), while chapter 45–92 describe secular ceremonies like horse races or rites of passage such as coronations, weddings, births, funerals, or the celebration of war triumphs. <strong>Book II</strong> follows a very similar composition: (1) religious feasts and the more or less mythological description of certain palace buildings according to the Macedonian Renaissance, (2) secular ceremonies and imperial ordonations, (3) imperial receptions and war festivities at the hippodrome. But its descriptions remember later customs of the Porphyrogennetos dynasty, including those of Constantine and his son Romanos. It seems to be less normative, it rather describes particular ceremonies as they had been celebrated during particular imperial receptions of the past.</p><p><strong>References</strong></p><p>The manuscript was edited and translated into Latin by Johann Jakob Reiske and commented by Johannes Heinrich Leich during the 18th century, even the current edition by Ann Moffatt is still based on Reiske:</p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Konstaninos Porphyrogennetos. <em>Constantini Porphyrogeniti Imperatoris De Ceremoniis Aulae Byzantinae libri duo graece et latini e recensione Io. Iac. Reiskii cum eiusdem commentariis integris</em>. ed. Johann Jakob Reiske & Johannes Heinrich Leich. Leipzig (<a href="https://books.google.com/books?id=uJNEAAAAcAAJ" target="_blank">1751</a>–<a href="https://books.google.com/books?id=xZNEAAAAcAAJ" target="_blank">1754</a>). Corpus Scriptorum Historiae Byzantinae. Bonn: Weber, 1829. <a href="http://archive.org/details/corpusscriptorum07niebuoft" target="_blank">archive.org</a>.</div><div class="csl-entry">Featherstone, Jeffrey Michael. “Preliminary Remarks on the Leipzig Manuscript of De Cerimoniis.” <em>Byzantinische Zeitschrift</em> 95 (2002): 457–79. doi:<span class="article-doi"><a href="https://doi.org/10.1515/BYZS.2002.457" target="_blank">10.1515/BYZS.2002.457</a></span>.</div><div class="csl-entry"> </div><div class="csl-entry">Konstantinos Porphyrogennetos. <em>The book of ceremonies in 2 volumes</em>. ed. Ann Moffatt. Byzantina Australiensia. Canberra: Australian Association for Byzantine Studies, 2012.</div></div></div>Surprise for Orthodox Easter 2019: 5 Akolouthiai of the National Library of Greece (ΕΒΕ)https://gregorian-chant.ning.com/group/byzantin/forum/topics/surprise-for-orthodox-easter-2019-5-akolouthiai-of-the-national2019-04-27T22:28:30.000Z2019-04-27T22:28:30.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Among many other sources the Akolouthiai (τάξις τῶν ἀκολουθίων “order of services”) are one of the most important sources of Byzantine psaltic art. This new book type of the 14th century replaced the old books of the cathedral rite (the choir book known as “asmatikon”, the book of the monophonaris or lampadarios known as “psaltikon” or “kontakarion”, and the “typikon” as the Eastern liber usualis or ordo). The criteria of datation are the rulers adressed within the polychronia, the repertoire and composers present in earlier or later layers of the manuscript, and the style of the manuscript in comparison to similar contemporary sources.</p><p><strong><a href="https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3442" target="_blank">EBE 2458</a></strong></p><p style="text-align:center;"><a href="{{#staticFileLink}}2222720465,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222720465,RESIZE_710x{{/staticFileLink}}" alt="2222720465?profile=RESIZE_710x" /></a>Beginning of the cherouvikon asmatikon with change between the domestikos and the choir (f.160v)</p><p style="text-align:center;"><a href="{{#staticFileLink}}2222708322,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222708322,RESIZE_710x{{/staticFileLink}}" alt="2222708322?profile=RESIZE_710x" /></a>Cherouvikon asmatikon with change to the monophonaris (f.162v)</p><p>1336 • Taxis ton akolouthion written in Constantinople, probably same scribe like Athos Mone Pantokratorou Ms. 214. Ἀκολουθίαι συντεθειμέναι παρὰ τοῦ Μαϊστόρου κυροῦ Ἰωάννου τοῦ κουκουζέλη ἀπ᾽ ἀρχῆς τοῦ μεγάλου ἑσπερινοῦ μέχρι καὶ τῆς συμπληρόσεως τῆς θείας λειτουργίας (f.11r), preceded by a Papadike (beginning is missing, Mega Ison with flag on f. 3r, great wheel of the parallage of Ioannes Koukouzeles on f.5v, echemata kata echon, small doxologies kalophonikai f.8r, oi methodoi f.9v). Anthology of Hesperinos (troparia and psalm settings ff.11-36, kekragaria ff.36-37, prokeimena and dochai 37-46), of Orthros (Orthros psalm ff.46-48, allelouiaria ff.49-57v, axion estin and other heirmoi ff.57v-62v, agios kyrios o theos kata echon f.62v-63r, pasapnoaria with aineite psalm ff.63r-71r, prokeimena ff.71v-74v, polyeleos settings ff.75r-113v, antiphona for the panagia Theotokos in echos protos and tetartos, antiphona for the Archangels in echos plagios devteros 113v-125r, amomos psalms ff.125r-142v), for the divine liturgies (antiphona ff.142v-144v, trisagia and anti-trisagia ff.144v-146v, prokeimena ff.146v-147r, allelouiaria ff.147v-149r, prokeimena / koinonika of the week, of the martyres ff.149v-150, allelouiaria ff.151r-161r, cherouvika and anti-cherouvika ff.161v-167v, Anaphora of the divine liturgy of Saint Basil ff.167v-168r, koinonika ff.168r-172r, divine liturgy of the presanctified gifts with anti-cherouvika and koinonika ff.172v-178r), katanytika kata echon (ff. 179r-190r); mathematarion (triadika polyphonika ff.190v-191v, prologos ff.192r-194v, Akathistos Hymnos ff.195r-201r, kratema ff.201v-202r); kratematarion kata echon (unorganised ff.203r-217v); anagrammatismoi and stichera kalophonika by Xenos Korones, (ff.218r-226r); allelouiaria, cherouvikon and various Sunday and Monday koinonika by Xenos Korones, anti-cherouvikon and koinonikon for Maundy Thursday (f.226v-230r), kratema (f.231).</p><p><strong><a href="https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3361" target="_blank">EBE 2061</a></strong></p><p style="text-align:center;"><a href="{{#staticFileLink}}2222732752,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222732752,RESIZE_710x{{/staticFileLink}}" alt="2222732752?profile=RESIZE_710x" /></a>Ps 85 κλῖνον, κύριε, τὸ οὖς σου καὶ ἐπάκουσόν μου troparion in echos plagios devteros (f.25v)</p><p>ca. 1410 • Αkolouthiai of the Hagia Sophia of Thessalonika. Troparia for the daily services of Hesperinos and Orthros in different echoi beginning with echos varys Akolouthias asmatikes to be sung during the week (f.1), another akolouthia asmatike for other weeks (f.25v) in different echoi with megalynarion, eisodikon and allelouiarion beginning with plagios devteros, Cross exaltation 14 Sept (f.73r), Polyeleoi Psalms (f.75v), Idiomela (f.90v), anti-trisagion for Lent (f.98v) with Hypakoai, cherouvika asmatika to be sung during the Maundy Thursday (f.114) with koinonikon (f. 115r), Baptesimal hymn (f.115v), koinonikon of Lazarus Saturday, great doxology in echos devteros (f.117r), trisagion in echos tritos (f.119r), Hesperinos of Easter Sunday in echos varys (f.120r), pentekoston Ὁ ἐκ τὸν κόσμον ἐλθὼν kata echon without neumes (f.123v).</p><p><strong><a href="https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3459" target="_blank">EBE 2444</a></strong></p><p style="text-align:center;"><a href="{{#staticFileLink}}2222750178,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222750178,RESIZE_710x{{/staticFileLink}}" alt="2222750178?profile=RESIZE_710x" /></a>Anti-cherouvikon of the divine liturgy of the presanctified gifts, change with monophonaris (f.229r)</p><p>XV • Akolouthiai probably of Thessalonika. Methodoi and mathemata, Doxastikon for Nativity of Christ, extract of the Papadike with a composition by Xenos Korones, koinonika of the week cycle (ff.1-8), Papadike with echemata and stichera heothina (ff.9-20). Ἀκολουθίαι συντεθειμέναι παρὰ τοῦ Μαϊστόρου κυροῦ Ἰωάννου τοῦ κουκουζέλη καὶ ἑτέρων ποιητῶν ἀπ᾽ ἀρχῆς τοῦ μεγάλου ἑσπερινοῦ μέχρι καὶ τῆς συμπληρόσεως τῆς θείας λειτουργίας (f. 21r) with an Anthology for Hesperinos (ff.21-64), Orthros (ff.65-132v), for the Divine Liturgies (ff.132v-236), Mathematarion with megalynaria, stichera kalophonika and anagrammatismoi and kalophonic chant for the Holy Week (ff.237-349).</p><p><strong><a href="https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3437" target="_blank">EBE 2401</a></strong></p><p style="text-align:center;"><a href="{{#staticFileLink}}2222790626,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222790626,RESIZE_710x{{/staticFileLink}}" alt="2222790626?profile=RESIZE_710x" /></a>Mathema of the signs before Mega Ison (f.12r)</p><p style="text-align:center;"><a href="{{#staticFileLink}}2222796814,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222796814,RESIZE_710x{{/staticFileLink}}" alt="2222796814?profile=RESIZE_710x" /></a>The parallage of Ioannes Laskaris (f.224r)</p><p>XV • Akolouthiai. Kratemata (ff.1-8). Papadike with methods (ff.9r-21r) also rare earlier ones than Mega Ison, and, inserted later, Ioannes Laskaris' ἡ ἐρμηνία καὶ παραλαγῆ τῆς μουσικῆς τέχνης with a particular kanonion as a parallage diagramme (ff.223r-224r). Anthology of Hesperinos (small prokeimena and dochai ff.21r-25v, prokeimena ff.25v-28v, megalynaria ff.28v-30r, 2 stichera of the pentekostarion f.30, kekragaria ff.31-46v, various realisations of stichera idiomela and heirmologic chant of the Holy Week ff.46v-76v), of Orthros (Polyeleoi ff.77r-103r, Doxologiai ff.103v-104v, Polyeleoi ff.105r-121r, pasapnoaria ff.121r-126v (an ethnic kratema called “persikon” with a signature of protos eso was added by a later hand on the lower space left on f.122v), aineite psalm kata echon ff.127r-128r, prokeimena ff.128v-130v, stichera idiomela of the moveable cycle ff.130v-136r, antiphona ff.136r-149v, amomos psalms ff.150r-153r, Polyeleoi and Anabathmoi ff.153v-156v, amomos psalms ff.156v-182v), and for the divine liturgies (trisagion ff.182v, anticherouvikon and koinonika for the divine liturgy of the presanctified gifts for Maundy Thursday and Fridays of Lent, Holy Saturday and Easter ff.183r-186v, typika syntoma ff.186v-187r, trisagia and antitrisagaía and their dynameis ff.187r-188v, allelouiaria ff.188v-202v, cherouvika including the protos cherouvikon of Chrysaphes' cycle ff.203r-210r, Anaphora of the divine liturgy of St Basil ff.210r & 221v-222r, koinonika beginning with an oktoechos cycle of the Wednesday and Sunday koinonikon ff.210v-225v, Axion estin and other heirmoi ff.226r-241r, Trisagion by Kornelios ff.241). Mathematarion (asmatic troparia for Great Vespers and the recitation of the canticles (asmatikai odai) and kratemata ff.242-270v, Ps 1 ff.270v-271r, sticherarion and heirmologion kalophonikon in menaion order with the moveable cycle included (hypapante in February) ff.271r-325r; Appendix (ff.325v-329r) with later added mathemata 325v (SAV 451, 2 anagrammatismoi about SAV 214 & 219), Sunday koinonikon by Manuel Gazes the Lampadarios, two teretismata by Nikolaos the Protopsaltes for Good Friday). Trochos of the month with lunar phases (f.329v).</p><p><strong><a href="https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3431" target="_blank">EBE 2406</a></strong></p><p style="text-align:center;"><a href="{{#staticFileLink}}2222797773,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222797773,RESIZE_710x{{/staticFileLink}}" alt="2222797773?profile=RESIZE_710x" /></a>Beginning of the cherouvikon asmatikon realised by Michael Aneotos the Domestikos (f.236v)</p><p style="text-align:center;"><a href="{{#staticFileLink}}2222800527,original{{/staticFileLink}}" target="_blank"><img class="align-center" src="{{#staticFileLink}}2222800527,RESIZE_710x{{/staticFileLink}}" alt="2222800527?profile=RESIZE_710x" /></a>Teretismos of the monophonaris, choir and monophonaris from the ambo (f.237v)</p><p>1453 • Akolouthiai (f.21r: Ἀκολουθίαι συντεθειμέναι [...]γαλαιόντε καὶ νεχ ἀπὸ τῆς ἀρχῆς τοῦ μεγάλου ἑσπερινοῦ μέχρι καὶ τῆς θείας λειτουργίας τῶν προηγϊασμένων). Papadike with methodoi (ff.1-20), Anthology for Hesperinos (ff.21-73v), Orthros (ff.73v-216), for the divine Liturgies (ff.217-292), Mathematarion with stichera kalophonika, kratemata, and anagrammatismoi (ff.293-352v), Encomia for the Theotokos (ff.352v-356), Polyeleoi (357-388v), Theotokia, katanyktika, megalynaria and chairetismoi (ff.389r-452), stichera heothina (ff.453-457), Antiphona and asmatika (ff.458-459), Allelouiaria (ff.460-461v, 467v-468r), cherouvika kata echon in echos protos, tritos, tetartos, plagios devteros, varys, two in plagios tetartos by Manuel Crysaphes and others (ff.462-467r).</p><p><strong>References</strong></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Lingas, A., 2013. From Earth to Heaven: The Changing Musical Soundscape of Byzantine Liturgy. In C. Nesbitt & M. Jackson, ed. <em>Experiencing Byzantium: Papers from the 44th Spring Symposium of Byzantine Studies, Newcastle and Durham, April 2011</em>. Farnham: Ashgate, 311–358. <a href="https://www.academia.edu/4118102/" target="_blank">academia</a>.</div><div class="csl-entry">Moran, N.K., 1979. The Musical „Gestaltung“ of the Great Entrance Ceremony in the 12th century in accordance with the Rite of Hagia Sophia. <em>Jahrbuch der Österreichischen Byzantinistik</em>, 28, 167–193. <a href="https://www.academia.edu/7056180" target="_blank">academia</a>.</div></div><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Raasted, J., 1966. <em>Intonation formulas and modal signatures in Byzantine musical manuscripts</em>, Monumenta Musicae Byzantinae – Subsidia, 7. Copenhagen: Munksgaard.</div></div><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Strunk, W.O., 1956. The Byzantine Office at Hagia Sophia. <em>Dumbarton Oaks Papers</em>, 9/10, 175–202. <a href="http://www.jstor.org/stable/1291096" target="_blank">JSTOR</a>.</div></div><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Wolfram, G., 1995. Der byzantinische Chor, wie er sich in den Typika des 10.-12. Jh. darstellt. In <em>Cantus planus: Papers read at the 6th meeting, Eger, Hungary, 1993</em>. Budapest: Hungarian Academy of Sciences, 397–402. <a href="https://www-app.uni-regensburg.de/Fakultaeten/PKGG/Musikwissenschaft/Cantus/studygroup/papers/1993.php" target="_blank">CP</a>.</div></div></div>Archive of the Konstantinos A. Psachos Music Library (National and Kapodistrian University of Athens)https://gregorian-chant.ning.com/group/byzantin/forum/topics/archive-of-the-konstantinos-a-music-library-national-and2019-03-01T22:31:50.000Z2019-03-01T22:31:50.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Pergamos - Library and Information Center of National and Kapodistrian University of Athens</strong></p><p>Since a very long time I planned to announce this important collection which includes very rare and precious autographs of many important psaltes and Archon protopsaltes who contributed to Greek-Orthodox chant as well as to makam genres (the so-called “external music”, ἡ μουσική ἐξωτερική) between the 17th and 19th centuries, among them the leavings of Konstantinos Psachos and Gregorios the Protopsaltes (one of the “great teachers” who also preserved important autographs and sketchbooks by Petros Peloponnesios). The reason, why I hesitated to announce this important collection (probably the most crucial with all relevant sources concerning the patriarchal hyphos), was that the digitised sources were not available. Meanwhile, the descriptions of the sources are bilingual (in Greek and English), and the medium resolution of the digitised manuscripts allow to study the whole collection online.</p><p>A more recent initiative is a sound-archive with recordings by students of the music department.</p><ul><li><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/root?p.tpl=list" target="_blank">All collections</a><ul><li><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_psachos" target="_blank">K. A. Psachos Music Library Collection</a><ul><li><p><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/1455095" target="_blank">Music manuscripts</a></p><ul><li><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_protopsaltis" target="_blank">Gregorios the Protopsaltes Archive</a></li><li><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_psachoslibrary" target="_blank">K. A. Psachos Collection of Musical Manuscripts</a></li><li><p><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_memvranina" target="_blank">Collection of parchment manuscripts</a></p></li></ul></li><li><p><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_psachosbooks" target="_blank">The earliest printed chant books (1820-1851)</a></p></li><li><a href="https://pergamos.lib.uoa.gr/uoa/dl/frontend/en/browse/col_psachosrecordings" target="_blank">Recordings</a></li></ul></li></ul></li></ul><p>I would like to thank Flora Kritikou and all her staff members who finally succeeded to grant open access for the collection of the Konstantin A. Psachos Library!</p><p>I will offer here some descriptions of selected manuscripts.</p></div>7 Greek kontakaria of the Sinai collection (ET-MSsc)https://gregorian-chant.ning.com/group/byzantin/forum/topics/7-greek-kontakaria-of-the-sinai-collection-et-mssc2018-07-31T11:51:03.000Z2018-07-31T11:51:03.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Also concerning the book <em>kontakarion</em> the collection of Sinai is exceptional, since it has a great variety of books which has only recently be studied by musicologists as well. Especially the unnotated kondakaria-tropologia are interesting, because they prove that the genre <em>kontakion</em> was continued with new poetry, obviously in a rather monastic context. The poets used the well-known models to compose new <em>kontakia-prosomoia,</em> also about the feasts of the model (see alternative <em>kontakia-prosomoia</em> also for the first day of September…).</p><p>Centres to preserve the old books of the cathedral rite notated into the sticherarion notation (outside Constantinople) were Athos, the island of Patmos, and the scriptoria of the Italian Archimandritates during the Staufer period (especially SS. Salvatore di Messina) and Saint Neilos' Abbey at Grottaferrata, but also Sinai.</p><p><strong>3 tropologia-kondakaria</strong></p><p><strong><a href="https://www.loc.gov/item/00271074724-ms/" target="_blank">Sin. gr. 925</a></strong></p><p style="text-align:center;"><a href="https://www.loc.gov/resource/amedmonastery.00271074724-ms/?sp=5" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271957117?profile=RESIZE_1024x1024" alt="1271957117?profile=RESIZE_1024x1024" /></a>Kontakion ἐν ἱερεῦσιν εὐσεβῶς διαπρέψας for Saint Anthimus (μηνὶ τῷ αὐτῷ ·Γ᾽· “in the same month 3rd”: 3 September) sung with the melody of the kontakion for cross elevation (14 Sep) ὁ ὑψωθεῖς ἐν τῷ σταυρῷ in echos tetartos (f.2v)</p><p>X • Kondakarion without notation organised as menaion (September-August ff.1r-96v, part between July and August is missing between f.94v and 95r), triodion beginning with Sunday of the Prodigal son (ff.96v-103r), preceding the one of Meatfare (Apokreo) which is still written within the menaion of February like all the other kondakia of the triodion except that of Lazarus Saturday until Palm Sunday (f.73r-89v) and pentekostarion beginning with Easter and ending with All Saints (ff.103r-114v) and followed by acrostics made over the prooimion of the kondakion, which was later used for Palm Sunday (but not in this kondakarion). The manuscript has an appendix with pages of on older kondakarion-tropologion witten in majuscule script (ff.117r-118v), while the empty verso page of folio 116 has an alternative kondakion for Symeon, probably a prosomoion of common kondakion in the same echos.</p><p>Most of the kondakia have 4 oikoi, those of the triodion 6 or 8, there are two kondakia for the Sunday of Orthodoxy, one dedicated to St Theodore Stoudites (3 oikoi), another to Orthodoxy (only one oikos), there are also many kondakia dedicated to saints which do not appear in the later notated kontakarion-psaltikon. The Akathistos was compiled from another manuscript which arranged the 24 oikoi of the kontakia rubrified as stichera alphabetika (ff.80r-87v). Many prosomoia of the triodion are different from the later repertoire.</p><p><strong><a href="https://www.loc.gov/item/00271074712-ms/" target="_blank">Sin. gr. 926</a></strong></p><p style="text-align:center;"><a href="https://www.loc.gov/resource/amedmonastery.00271074712-ms/?sp=3" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271957234?profile=RESIZE_1024x1024" alt="1271957234?profile=RESIZE_1024x1024" /></a>The tropologion was torn into two parts within the menaion of April (fol. 1)</p><p>XI • Compilation of various kondakaria-tropologia without notation:</p><ul class="org-ul"><li>Incomplete kondakarion (each kondakion truncated to one oikos, important feasts 4 oikoi, dormition of the Theotokos 24 oikoi, with many saints for August who are quite local) without notation beginning with the later part of April of the menaion (April-August ff.1r-43v), triodion (ff.44r-52v) and pentekostarion (ff.52v-60).</li><li>Incomplete kondakarion (probably part of the first half which is lost) without notation organised as menaion (September-March ff.61r-72v), appendix with two kondakia parakletika and a kondakion for John Chrysostom (ff.72v-75v).</li><li>Tropologion by another hand with "exaposteilaria" (troparia) for the menaion (ff.76r-98r), triodion (ff.98r-101r) and pentekostarion (ff.101r-104r), appendix with theotokia (ff.104v-106v) and exaposteilaria preceding the eleven stichera heothina (ff.107r-110r), scriptural lessons (ff.110v-111r), troparia (ff.111v-113v), a sequence of prosomoia about a certain oikos (f.114).</li></ul><p><strong><a href="https://www.loc.gov/item/00271074700-ms/" target="_blank">Sin. gr. 927</a></strong><br /> <a href="https://www.loc.gov/resource/amedmonastery.00271074700-ms/?sp=147" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271958324?profile=RESIZE_1024x1024" alt="1271958324?profile=RESIZE_1024x1024" /></a></p><p style="text-align:center;">Beginning of the month of February with a kondakion for the Holy Martyr Trifon (1 February) composed over <br /> the kondakion for All Saints Ὡς ἀπαρχὰς τῆς φύσεως (f.143r)</p><p>1285 • Kondakarion-tropologion with an exhausting (obviously over-regional) collection of kondakia organised as menaion (September-August ff.1v-249v), triodion (ff. 250r-282v), pentekostarion (ff.283r-314r) and parakletike (ff.314r-322v); an appendix with later added kondakia (ff.322v-335v).</p><p><strong>2 kontakaria-psaltika</strong></p><p style="text-align:left;"><a href="https://www.loc.gov/item/00271076083-ms/" target="_blank"><strong>Sin. gr. 1280</strong></a></p><p style="text-align:center;"><a href="https://www.loc.gov/resource/amedmonastery.00271076083-ms/?sp=157" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271958534?profile=RESIZE_1024x1024" alt="1271958534?profile=RESIZE_1024x1024" /></a>The first kontakion of the movable cycle (Sunday of Apokreo "Meatfare") follows the kontakion of purification (2 February) which means the whole cycle was integrated within the menaion of the immovable cycle (f.149v)</p><p>about 1275 • Kontakarion-psaltikon with Middle Byzantine round notation with the prokeimenon (oktoechos cycle ff.1r-15v; lamp lighting cycle ff.15v-30r; stichologia for Christmas and Theophaneia ff.30r-35r) and the long allelouiarion (oktoechos order: α᾽, β᾽, δ᾽, δ᾽ νανὰ, πλα᾽, πλβ᾽, πλδ᾽ refrains rubrified in red ink ff.35r-75r) cycle, hypakoai anastasima (oktoechos order ff.75r-82v), kontakarion organised as menaion with integrated movable cycle including a few hypakoai / katavasiai (ff.84r-233r).</p><p>On folio 83r another anti-cherouvikon for the Presanctified liturgy and the kekragarion (evening psalm) were added (compare with <a href="https://www.loc.gov/resource/amedmonastery.00271076083-ms/?sp=24" target="_blank">folio 21 recto</a>), but without modal signatures.</p><p><strong><a href="https://www.loc.gov/item/00271076204-ms/" target="_blank">Sin. gr. 1314</a></strong></p><p style="text-align:center;"><a href="https://www.loc.gov/resource/amedmonastery.00271076204-ms/?sp=172" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271960162?profile=RESIZE_1024x1024" alt="1271960162?profile=RESIZE_1024x1024" /></a>Melismatic elaboration of the whole Akathistos hymn (kontakion for Annunciation, 25 March) <br /> after the copy of the psaltikon-kontakarion Sin. gr. 1280 (f.168v)</p><p>about 1330 • Kontakarion-psaltikon with Middle Byzantine round notation by monk Neophyte (during the time when Laurentios was Metropolitan of Damascus) with the prokeimenon (oktoechos and lamp lighting prokeimena ff.1r-20r; first page is missing) and the allelouiarion cycle (ff.20r-53v), an identical copy of the kontakarion with some hypakoai and katavasiai of Sin. gr. 1280 (ff.54r-162r), hypakoai anastasima (ff.162v-167v) and kolophon indicating the end of the kontakarion-psaltikon; a second part was added with the complete melismatic realisation of the Akathistos hymnus (ff.168v-209r), the missing prosomoion cycle of kontakia anastasima (ff.209r-220v), eleven stichera heothina (ff.220v-228r), and allelouiarion cycle (ff.228r-231)—not the missing refrains, but about psalmodic use of alleluia endings in oktoechos order. In an appendix three other prokeimena (Encainia 13 Sep, Sunday after Easter, Sunday of Myrrhbearers) had been added.</p><p>The manuscript is obviously a later copy of Sin. gr. 1280 which the scribe followed in the very detail (Floros commented on the great number of errors he found when he studied this copy), but he omitted the stichologia for Christmas and Theophaneia and the rubrics with the refrains notated in red ink before each echos of the allelouiaria. He added the missing prosomoia cycle of eight kontakia anastasima, also the eleven stichera heothina (which is odd for a kontakarion), and an allelouiarion cycle for psalmody!, and a complete highly melismatic, but not kalophonic version of the whole Akathistos hymn (both after a kolophon where 1280 was finished). The notator used a rather contemporary way to write medial signatures which are very rarely used in Sin. gr. 1280, another hand copied the version of the Akathistos like on f.110v and added the other 23 oikoi in the same (highly melismatic, but not kalophonic) style.</p><p><strong>2 kalophonic manuscripts</strong></p><p style="text-align:left;"><strong><a href="https://www.loc.gov/item/00271076095-ms/" target="_blank">Sin. gr. 1281</a></strong></p><p style="text-align:center;"><a href="https://www.loc.gov/resource/amedmonastery.00271076095-ms/?sp=8" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271961891?profile=RESIZE_1024x1024" alt="1271961891?profile=RESIZE_1024x1024" /></a>Kalophonic elaboration of the Akathistos hymn by Ioannis Lampadarios (f.5r)<br /> </p><p>XV • "Psaltikon of Ioannikios of the Holy Mount Sabas". Some chant of the Asma has been added on its first pages (acclamation τὸν δεσπότην, trisagion, prooimion of the Akathistos hymn, a repeated passage taken from a doxastikon idiomelon for 15 August, obviously belonging to a kalophonic realisation of the same) which have been used to bind two older manuscripts:</p><ul class="org-ul"><li>Complete Akathistos hymnus in the kalophonic realisation by Ioannis Lampadarios (Ioannis Kladas?) (ff.5r-80v);</li><li>Alternative kalophonic realisations: one of the final Omega-stanza Ὦ πανύμνητε Μῆτερ in phthora nenano as echos kratema (note that the whole kontakion is composed in echos plagios tetartos, if the later added signature is right!), and two of the first oikos, one in echos plagios devteros!, another in the original echos plagios tetartos passing to the mele of protos echoi within the first teretismata (ff.81r-88v).</li></ul><p style="text-align:left;"><strong><a href="https://www.loc.gov/item/00271076137-ms/" target="_blank">Sin. gr. 1262</a></strong><br /> <a href="https://www.loc.gov/resource/amedmonastery.00271076137-ms/?sp=71" target="_blank"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271962793?profile=RESIZE_1024x1024" alt="1271962793?profile=RESIZE_1024x1024" /></a></p><p style="text-align:center;">First kalophonic elaboration of the Akathistos hymn (the <em>prooimion</em> and the first <em>oikos</em>) <br /> by Protopsaltis Ioannes Glykaios (ff.61v-67v)</p><p>1437 • Oikematarion kalophonikon based on papadic compositions by Michael Aneotos and kalopismoi by Ioannis Glykys. It was copied by Gregorios Monachos at the Mone Esphigmenou on the Holy Mount Athos. It has the repertoire of the whole kontakarion organised as menaion (ff.1r-47v), triodion (ff.47v-137v), pentekostarion (ff.137v-151v) and parakletike (ff.151v-190r). The scribe's focus was mainly the movable cycle and the Akathistos hymn is realised with kalophonia in full length, composed by Michael Aneotos and embellished by Ioannes Koukouzeles (24 <em>oikoi,</em> ff.67v-131r)<em>.</em></p><p>The manuscript was bound at the scriptorium of the Great Lavra and sold by Gerasimos to the Akataleptos Monastery. Unfortunately the microfilm (of some pages) is in a very bad and almost unreadable quality (low resolution), although it was written by a very clear hand. The manuscript shows that Michael Aneotos reduced his composition of the <em>prooimion</em> to the incipit (obviously the rest was supposed to be sung by the choir). Thus, he did a first step which led to the book form oikematarion whose name indicates that the first <em>oikos</em> (not the <em>prooimion</em>) was the main subject of his arrangements (Ioannis did also embellish some <em>prooimia</em> with teretismata).</p></div>Two Music Manuscripts at the Historical Archive Iannis Vlachoiannishttps://gregorian-chant.ning.com/group/byzantin/forum/topics/two-music-manuscripts-at-the-historcial-archive-iannis2016-12-05T10:02:08.000Z2016-12-05T10:02:08.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Within the database of the Greek State Archives, there are two rather odd, but also interesting music manuscripts at the Historical Archive "Iannis Vlachoiannis". I would like to thank Charis Kornaros who drew my attention to these manuscripts of the Archive.</p><p> </p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?tab=tab02&id=482887" target="_blank">MS 13</a></strong></p><p style="text-align:center;"><a href="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/5e6a27f3f200bb50/2040897.w.1200.jpg" target="_blank"><img class="align-center" src="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/5e6a27f3f200bb50/2040897.w.1200.jpg" alt="2040897.w.1200.jpg" /></a>Nakis composed in makam bestenigâr and usûl sofyan (page 3 of the second manuscript)</p><p>About 1830 • Two handwritten Anthologies by different hands, the second evidently written by scribes of a circle around Georgios Lesvios and Ioannes Kapodistrias (1776-1831) who taught the notation system of Lesvios at a conservatory on the island of Aigina and at an orphanage in Athens. The collection has three parts (part two and three are a second manuscript with a separate pagination bound together with another one consisting the first part): (1) Anthology of Greek love songs transcribed according to the New Method (pp. 2-156, 127 reproduced pages, in fact, with many empty ones containing calculations or drawings), (2) Anthology of Ottoman Makam Music (8 vocal compositions about Ottoman Turkish verses) transcribed according to the Lesvian notation system (pp. 2-109), (3) 2 patriotic songs transcribed according to the Lesvian system (pp. 110-138).</p><p> </p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?tab=tab02&id=482901" target="_blank">MS 27</a></strong></p><p style="text-align:center;"><strong><a href="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/dfd9a501e034532d/2044232.w.1200.jpg" target="_blank"><img class="align-center" src="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/dfd9a501e034532d/2044232.w.1200.jpg" alt="2044232.w.1200.jpg" /></a></strong>Mathemata about the great sign parakalesma by Kyrillos Marmarinos (p. 172)</p><p>After 1781 • Collection of various treatises (four books about drawing, anatomy, history, and astrophysical observatories) with various additions in parts by the same hand, among them music treatises and notated mathemata: mathemata about great signs (pp. 172-181), Erotapokriseis (dialogue treatise) paraphrased by Kyrillos Marmarinos, Archbishop of Tinos (pp. 182-192; 275-277 with mathemata on pp. 304-306), Ioannes Koukouzeles' Mega Ison ("Signs ordered according to the oktoechos by Mr. Ioannes Koukouzeles", pp. 198-201) with unknown exegesis (pp. 202-204); extracts from the treatises by Gabriel Hieromonachos (pp. 307-316) and Manuel Chrysaphes the Lampadarios "About phthorai" (pp. 316-322).</p></div>Three Anthologies of Byzantine composers written around Ioannes Trapezountios (1730s)https://gregorian-chant.ning.com/group/byzantin/forum/topics/three-anthologies-of-byzantine-composers-written-around-ioannes2016-11-03T14:13:44.000Z2016-11-03T14:13:44.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Datation possible to the new appendix at the beginning of Ms. 334 which mentions Ioannes the Protopsaltes (1730s), who was until 1734/1736 still Lampadarios. The Kratematarion (Ms. 336) mentions one composer just as "Lampadarios" and only once as "Ioannes the Lampadarios". Both anthologies are written by the same hand, not far from the style of <a href="http://www.e-kere.gr/%CE%B2%CE%B9%CE%BF%CE%B3%CF%81%CE%B1%CF%86%CE%B9%CE%BA%CE%AC/%CE%99%CE%A9%CE%91%CE%9D%CE%9D%CE%97%CE%A3-%CE%A0%CE%A1%CE%A9%CE%A4%CE%9F%CE%A8%CE%91%CE%9B%CE%A4%CE%97%CE%A3-%CE%9F-%CE%A4%CE%A1%CE%91%CE%A0%CE%95%CE%96%CE%9F%CE%A5%CE%9D%CE%A4%CE%99%CE%9F%CE%A3" target="_blank">Ioannes' autographs</a>.</p><p> </p><p><strong>Archives of Dodecanese, Archeio Demogerontias Symes</strong></p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?tab=tab02&id=16956" target="_blank">Ms. 334</a></strong></p><p><a href="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/b374316a8095aeb7/4183581.w.1200.jpg" target="_blank"><img class="align-center" src="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/b374316a8095aeb7/4183581.w.1200.jpg" alt="4183581.w.1200.jpg" /></a>after 1734 • Complete Anthology of the Papadike (organised closely to the book Akolouthiai): Later added collection of Leiturgika by Ioannes Trapezountios and Antonios the Priest (ff. 1-4r); <strong>Papadike</strong> with small trochos and methods including Mega Ison, methods of Georgios Bouni Alyates, method of nenanismata by Xenos Korones (ff. 4v-16r); <strong>Anthology of Hesperinos</strong> beginning with Anoixantaria etc. (ff. 17r-83v); <strong>Anthology of Orthros</strong> beginning with Hexapsalmos etc. and ending with stichera heothina & doxologiai f. 176r (ff. 83v-221r); <strong>Anthology of the Liturgies</strong> with Cherouvika kat'echon f. 229v and Koinonika f. 282v (ff. 221r-354r); <strong>Mathematarion</strong> with kalophonic compositions dedicated to the Theotokos and of the sticherarion with menaion f. 424v, triodion 505v inlcuding Akathistos Hymn, pentekostarion f. 516r (ff. 354-543v); <strong>Kratematarion</strong> with echemata kat'echon and kratemata not organised according the oktoechos (ff. 545r-546v)</p><p> </p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?page=1&tab=tab02&id=16957" target="_blank">Ms. 335</a></strong></p><p style="text-align:center;"><strong><a href="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/d73f9ed4243822e6/4184718.w.1200.jpg" target="_blank"><img class="align-center" src="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/d73f9ed4243822e6/4184718.w.1200.jpg" alt="4184718.w.1200.jpg" /></a></strong>Xenos Korones' method of the sticherarion</p><p>after 1734 • Complete Anthology of the Papadike (organised closely to the book Akolouthiai): <strong>Papadike</strong> with big trochos and the triphonic diagramme by Ioannes Plousiadinos and methods inlcuding the "method by Ioannes Damaskenos", Kampanes' method of metrophonia, method propedeutica of Ioannes Koukouzeles, 3 methods by Xenos Korones (ff. 1r-29r); <strong>Anthology of Hesperinos</strong> with old and new composers with stichoi kalophonikoi f. 66v (ff. 33r-106v); <strong>Anthology of Orthros</strong> with Polyeleoi f. 106v, ἡ βουλγάρα τοῦ κουκουζέλη f. 119, Pasapnoaria f. 179v, Doxologiai f. 218v, Polychronismoi kalophonikoi f. 246r (ff. 106v-263r); <strong>Anthology for the Liturgies</strong> with Trisagia, Allelouiaria f. 264v, Cherouvika f. 273r, Divine Liturgy of Saint Basil f. 332v, Axion estin and Koinonika f. 333v, and appendix f. 403r (ff. 263r-409'); <strong>Mathematarion</strong> kat'echon dedicated to the Theotokos f. 410r and sticheron for Marianic feasts with menaion f. 485v, triodion f. 517r, pentekostarion f. 527v (ff. 410r-542v); <strong>Kratematarion</strong> with Kratemata kat'echon and appendix with kratemata and mathemata f. 547v (ff. 542v-563r)</p><p> </p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?tab=tab02&id=16958" target="_blank">Ms. 336</a></strong></p><p style="text-align:center;"><a href="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/e30a3ee36ab8652b/4185799.w.1200.jpg" target="_blank"><img class="align-center" src="http://arxeiomnimon.gak.gr/storage/files/image/cache/image/e30a3ee36ab8652b/4185799.w.1200.jpg" alt="4185799.w.1200.jpg" /></a>Xenos Korones: Persikon transcribed as melos of echos protos</p><p>about 1734 • <strong>Kratematarion</strong> in oktoechos order (each section is concluded by an "echema") with compositions mainly by old (Ioannes Glykys, Ioannes Koukouzeles, Xenos Korones, Nikephoros Ethikos, Ioannes Kladas, Gabriel Xanthopoulos, Manuel Chrysaphes, Gregorios Bounes Alyates) and a few by new composers (Demetrios Dokianos, Markos Hieromonachos, Ioannes Lampadarios who is often just called "Lampadarios"?, Kontopetras, Argyros).</p></div>Recent Publications about the Slavonic Kondakarhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/recent-publications-about-the-slavonic-kondakar2016-04-15T09:15:03.000Z2016-04-15T09:15:03.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Artamonova, Y., 2013. <a href="https://musicologytoday.ro/back-issues/nr-16/studies/kondakarian-chant-trying-to-restore-the-modal-patterns/" target="_blank">Kondakarion Chant: Trying to Restore the Modal Patterns</a>. <em>Musicology today</em>, 16.</div><div class="csl-entry">Floros, C. & Moran, N.K., 2009. <em>The Origins of Russian Music - Introduction to the Kondakarian Notation</em>, Frankfurt, M. [u.a.]: Lang.</div><div class="csl-entry">Floros, C., 2016. The Deciphering of the Old Slavic kondakarian notation. <a href="https://www.academia.edu/24398283" target="_blank">academia.edu</a>.</div><div class="csl-entry">Grinchenko, O., 2012. <a href="http://www.ceeol.com/search/article-detail?id=18363" target="_blank">Slavonic Kondakaria and Their Byzantine Counterparts: Discrepancies and Similarities</a>. <em>Българско музикознание</em>, 2012(3-4), 57–70.<div class="csl-entry">Myers, G., 2012. <a href="http://www.ceeol.com/search/article-detail?id=18376" target="_blank">The Ritual and Music for the Dedication of a Church among the Medieval Slavs: Byzantine Cathedral Practice Transplanted</a>. <em>Българско музикознание</em>, 2012(3-4), 35–56.</div></div></div><p> </p><p>If you follow the tag <a href="https://gregorian-chant.ning.com/group/byzantin/forum/topics/list/tag/kontakion">kontakion</a>, you will also find the republication of Constantin Floros' habilitation which is available under free access conditions. See also Floros <a href="http://gregorian-chant.ning.com/group/benevent/forum/topics/discussing-constantin-floros-byzantinische-musitheorie" target="_blank">about the relevance</a> of Eastern chant studies for the history of Western chant.</p></div>Collected works by Petros Bereketes (Archeio Demogerontias Symes, Ms. 341) onlinehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/collected-works-by-petros-bereketes-archeio-demogerontias-symes2016-03-31T09:46:53.000Z2016-03-31T09:46:53.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Archives of Dodecanese, Archeio Demogerontias Symes</strong></p><p><strong><a href="http://arxeiomnimon.gak.gr/browse/resource.html?tab=01&id=16963" target="_blank">Ms. 341</a></strong></p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271923387?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271923387?profile=RESIZE_1024x1024" alt="1271923387?profile=RESIZE_1024x1024" width="750" /></a></p><p style="text-align:center;">One cherouvikon to be sung in all eight echoi (fol. 36)</p><p>XVIII • ἀρχὴ σὺν θεῷ ἁγίῳ τῶν ἁπάντων ποιημάτων , τοῦ μουσικωτάτου κυρίου κύρ πέτρου , τοῦ κωνσταντινουπολίτου , ὅς τις τουρκιστί ὀνομάζεται , μπερεκέτης · [All works by the musician Petros of Constantinople, who was called in Turkish "Bereketes"] with Middle Byzantine notation</p><p>Contents: Polyeleoi & Doxologiai ff. 1-34; Mathema theotokion Σε μεγαλύνομεν ff. 34r-34v; Cherouvika ff. 35-43v; Koinonika ff. 43v-55r; Prokeimena/Kontakia ff. 55r-55v; Theotokia kat'echon ff. 55v- 69v; Mathematarion ff. 69v-80v (incomplete, unfortunately the last part of the heirmologion kalophonikon to which Petros Bereketes contributed so much, is missing)</p></div>Anthology dedicated to Petros Bereketis, Daniel the Protopsaltes, and Petros Peloponnesios (Larissa, Central Public Library)https://gregorian-chant.ning.com/group/byzantin/forum/topics/anthology-dedicated-to-petros-bereketis-daniel-the-protopsaltes2016-03-16T14:28:08.000Z2016-03-16T14:28:08.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong><a href="http://vivl-laris.lar.sch.gr/" target="_blank">Δημόσια Κεντρική Βιβλιοθήκη Λάρισας «Κωνσταντίνος Κούμας»</a></strong></p><p><strong><a href="http://diglib.ypepth.gr/" target="_blank">Ms. 5753</a></strong></p><p style="text-align:center;"><strong><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271927292?profile=RESIZE_1024x1024"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271927292?profile=RESIZE_1024x1024" alt="1271927292?profile=RESIZE_1024x1024" width="518" /></a></strong></p><p style="text-align:center;">Year cycle of koinonika by Daniel the Protopsaltes (fol. 250v)</p><p>1780–1820 • The Bible of Constantinopolitan hyphos (Petros' exegetic notation) Ἀνθολογία περιἐχουσα κατὰ τάξιν συλλογὴν τινὰ μαθημάτων τῆς μουσικῆς τῶν παρὰ διαφόρων νέων ποητῶν συντεθέντων ὁμοῦ καὶ ἄλλια τούτων ἐξηγήσεις ἐκ τῶν παλαιῶν ψαλλεται οὖν τὸ παρὸν εἰς τὰς ἀγρυπνίας συνετέθη δὲ παρὰ τοῦ λαμπαδαρίου τῆς τοῦ Χριστοῦ μεγάλης ἐκκλησίας κυρίου πέτρου τοῦ πελοποννησίου</p><p>Anthology with Makarismoi (ff. 1r-10v), Kekragaria by Panagiotes the New Chrysaphes (ff. 11r-27r), Φῶς ἱλαρὸν δ᾽ (ff. 27v-28r), Anthology of Orthros (ff. 28v-150r), Funeral rites (ff. 150v-155r), Anthology of the Liturgies (starts with despotika ff. 155r-308v), Mathematarion with Christmas, Theotokia, St Nicholas and Akathistos hymnos (ff. 309r-332r), Heirmologion kalophonikon (ff. 332v-365r) and Heirmologion of the Katavasiai (ff. 375r-416r).</p><p>********************************************************************************************************************</p><p>Please type the number of the codex "5753" in the search mask to choose the right reproduction!</p><p>The whole manuscript can be downloaded as pdf-file:</p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271927621?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271927621?profile=original" alt="1271927621?profile=original" width="713" /></a></p></div>The first Kontakarion (F-Pn fonds grec, ms. 397) onlinehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/the-first-kontakarion-f-pn-fonds-grec-ms-397-online2016-02-24T08:52:01.000Z2016-02-24T08:52:01.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong><a href="http://gallica.bnf.fr/ark:/12148/btv1b10723130v" target="_blank">Grec. 397</a></strong></p><p style="text-align:center;"><strong><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271913926?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271913926?profile=RESIZE_1024x1024" alt="1271913926?profile=RESIZE_1024x1024" width="750" /></a></strong>Psalmverses of the Allelouiarion in echos plagios tetartos, the refrain is written out in red ink (fol. 43)</p><p>late XIII • incomplete Kontakarion in short psaltikon style with Middle Byzantine round notation (monastic oktoechos notation of the Sticherarion and Heirmologion)</p><p>Content:</p><p>fol. 1: XII • fragment taken from another manuscript with akrosticha over a given heirmos, extracts between ode 3-5 (Menologion) to bind the Kontakarion.</p><p>ff. 2r-17r: Prokeimena (beginning is missing)</p><p>ff. 17r-19v: Christmas Stichologia for Hesperinos</p><p>ff. 19v-20v: Epiphany Stichologia for Hesperinos</p><p>ff. 20v-47v: Allelouiaria</p><p>ff. 48r-52r: ἀρχὴ τῶν ἀναστασιμῶν ὑπακοῶν (hypakoe is a refrain, a troparion sung during the recitation of psalms and the cantica, these Resurrection hypakoai have been used between Easter and Pentecost)</p><p>ff. 52r-129r: ἀρχὴ τῶν κοντακαρίου οἴκων (strophes, oikoi, of the kontakia)</p><p>ff. 129r-134v: ἀρχὴ τῶν ἀναστασιμῶν κοντακαρίου οἴκων (strophes of Resurrection kontakion)</p><p>f. 135: XIII • Folio of a Menaion of September (Sticherarion with Middle Byzantine notation), SAV 16-21 (the folio was cut to bind the Kontakarion, only part of the original folio is preserved)</p><p><strong>References</strong></p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Thodberg, C., 1966. <em>Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil</em>, Monumenta Musicae Byzantinae - Subsidia, <strong>8</strong>. Kopenhagen: E. Munksgaard.</div></div></div>Research and Publication Centre (KERE) by Manolis K. Hatziyakoumishttps://gregorian-chant.ning.com/group/byzantin/forum/topics/research-and-publications-centre-kere-by-manolis-k-hatziyakoumis2015-12-01T22:59:25.000Z2015-12-01T22:59:25.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Some years ago, I had to ask Greek friends to buy these CDs in the bookstores of the Orthodox church, today you can buy them directly online:</p><p><a href="http://e-kere.gr/" target="_blank">http://e-kere.gr/</a></p><p>The webpage e-kere presents the publishing and research activity of the Research and Publication Centre (KERE), and of Manolis K. Hatziyakoumis.</p><p>Not as good as a living teacher, but very useful to understand the tradition. The founders of MMB would have abandoned certain extravagant obsessions about the past, if they could have listened to these recordings.</p><p>Whether in the English or in the Greek version, the page is very generous provided with music examples and I really recommend to visit it.</p></div>Great Mediterranean Composershttps://gregorian-chant.ning.com/group/byzantin/forum/topics/great-mediterranean-composers2015-12-01T18:37:13.000Z2015-12-01T18:37:13.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><a href="http://www.medimuses.gr/book_publications/corpora.html" target="_blank">http://www.medimuses.gr/book_publications/corpora.html</a></p><p> </p><p>As a European initiative Ottoman composers who used Byzantine neumes, had been transcribed by Kyriakos Kalaitzides and other editors (please note that only Cemil Bey has an entry at the New Grove). You can download the monographies under free access conditions for didactic purpose. Each corpus has a biography and scores with selected works of each composer:</p><ul><li><strong>Zakharia Khanendeh</strong><p>The most important composer of vocal works in the field of secular art music of both the Greek and Turkish communities, as well as a composer of ecclesiastical music. He lived in Istanbul in the 18th century. His works have partly been handed down to us through the oral tradition, but mainly through manuscript codices in Byzantine notation. The author presents the compositions in both western and Byzantine notation, as well as through photographs of manuscripts. (Kyriakos Kalaitzides)</p></li><li><strong>Khmayyis Tarnan<br /> </strong><p>The most influential Tunisian composer. The author collected versions of Tarnan’s compositions that are in use amongst musicians and undertook transcriptions from recordings. (Mahmoud Guettat)</p></li><li><strong>Sayyed Darwish</strong><br /> One of the major figures of Egyptian music in the first quarter of the 20th century, despite his untimely death at the age of 31, Sheikh Sayyed Darwish absorbed many influences to produce a style of composition that remained influential well into the second half of the century. (Ghada Shbeir)</li><li><strong>Tatyos Efendi</strong><br /> The most important Armenian composer of the Mediterranean urban musical heritage. He lived at the end of the 19th century and his work was widely performed by Turks, Arabs, Greeks and Armenians. The author used printed scores as well as undertaking transcriptions from 78 rpm recordings. (Vasilis Tzortzinis)</li><li><strong>Darvish Khan</strong><br /> From one of the most respected musical families of Iran, Gholam Hossein, known however as Darvish Khan, was, until his untimely death in a car accident, perhaps the most influential musician in early 20th century Iran. His compositions re-established a connection with the great Dastgahi tradition of classical Persian music, but in a way that reflected the artists historical context. (Christos Carras, Kiya Tabassian)</li><li><strong>Tanburi Cemil Bey</strong><br /> He is considered to be the major reformer of Turkish music at the turn of the 19th century. The author had recourse to the archives of the Turkish National Radio, the Conservatoire and 78 rpm recordings. (Necip Gulses)</li></ul></div>Historical recordings of cherouvika realised by Thrasyvoulos Stanitsashttps://gregorian-chant.ning.com/group/byzantin/forum/topics/very-rare-recording-of-a-cherouvikon-argon-realised-by2015-11-16T11:26:22.000Z2015-11-16T11:26:22.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Long cycle</strong></p><p>Echos protos (1963):</p><p><iframe src="https://www.youtube.com/embed/SAuGv3pOi3I?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p>I also insert the recordings for the cherouvika in the other echoi since you can also download the partitions.</p><p>Echos devteros:</p><p><iframe src="https://www.youtube.com/embed/VHYWF-st-cM?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Longer version (1959):</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/rU-wNK5uEsU?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos plagios protos (Hypapante, 1961):</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/dYPhBGjGBqs?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos plagios devteros:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/hm-9XzVVpFs?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos varys (1959):</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/eJNWIaNNuRQ?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;"><strong>Short cycle</strong></p><p style="text-align:left;">Echos protos (the beginning starts like a long version, but with the fourth word it is recited almost syllabically until 3'44", first section, the rest of the recording is already the ekphonesis after the Great Entrance):</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/AutTQrqcORI?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p>Longer version:</p><p><iframe src="https://www.youtube.com/embed/WMX5nP8NOCg?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p>Echos devteros:</p><p><iframe src="https://www.youtube.com/embed/FUji_JHCT6s?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos tritos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/7a8JTZ4SYYE?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p>Echos tetartos (Palm Sunday 1963, Patriarchal cathedral St George):</p><p><iframe src="https://www.youtube.com/embed/q3qny3JG9tM?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos plagios protos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/oo6n5xCC2c0?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos varys:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/8Lb2VhoJvAw?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos plagios tetartos (1961):</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/8MJCRDkcCiA?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;"><strong>Third cycle with a choir <br /></strong></p><p style="text-align:left;">Echos protos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/uPwDlVpCS1I?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos devteros:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/mYcisXVdZYI?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos tritos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/nMv6m9EuIZ8?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;">Echos tetartos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/CSxxt2HjPvg?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p style="text-align:left;"></p><p style="text-align:left;">Echos plagios protos:</p><p style="text-align:left;"><iframe src="https://www.youtube.com/embed/Io3LBVYrOY4?wmode=opaque" allowfullscreen="" width="854" height="480" frameborder="0"></iframe></p><p class="attachment"><a href="{{#staticFileLink}}9126360860,original{{/staticFileLink}}" target="_blank">Cherouvika.pdf</a></p></div>Constantin Floros, Das mittelbyzantinische Kontakienrepertoirehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/constantin-floros-das-mittelbyzantinische-kontaktienrepertoire2015-01-11T22:59:19.000Z2015-01-11T22:59:19.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><h1><span style="font-family:'arial black', 'avant garde';"><strong>Publikationsdetails</strong></span></h1><div class="details_right" style="float:right;height:auto;margin:0 10px 0 0;min-height:10px;clear:left;"><div id="pubpicture"><img title="floros-kontakienrepertoire-180x240" src="http://www.fbkultur.uni-hamburg.de/hm/bilder/floros-kontakienrepertoire-180x240.jpg" alt="floros-kontakienrepertoire-180x240" width="180" /></div></div><div class="details_list" style="height:auto;margin:0 10px 0 0;min-height:10px;width:60%;">Autor(en): Constantin Floros<br /> Titel: Das mittelbyzantinische Kontakienrepertoire. Untersuchungen und kritische Edition<br /> Jahr: 2015<br /> Ort: Hamburg<br /> Anmerkungen: Habilitationsschrift, Universität Hamburg 1961</div><h4>Bandübersicht</h4><p><a href="http://www.fbkultur.uni-hamburg.de/hm/pdf/floros-mittelbyzantinisches-kontakienrepertoire-1.pdf" target="_blank">Band I: Untersuchungen (Textteil) (PDF, 37 MB)</a></p><p><a href="http://www.fbkultur.uni-hamburg.de/hm/pdf/floros-mittelbyzantinisches-kontakienrepertoire-2.pdf" target="_blank">Band II: Die Modelle und Idiomela (PDF, 82 MB)</a><br /> 1. Notentext<br /> 2. Kritischer Apparat</p><p><a href="http://www.fbkultur.uni-hamburg.de/hm/pdf/floros-mittelbyzantinisches-kontakienrepertoire-3.pdf" target="_blank">Band III: Die Kontrafakta (PDF, 66 MB)</a><br /> 1. Notentext<br /> 2. Kritischer Apparat</p><p>Bei Interesse an einem gedruckten Exemplar der Schrift, wenden Sie sich bitte per E-Mail an <a href="http://www.fbkultur.uni-hamburg.de/hm/personen/kaeppner.html" target="_blank">Monika Käppner</a>. Materialkosten müssen per Vorkasse entrichtet werden.</p><p><strong>Link</strong>:</p><p><a href="http://www.fbkultur.uni-hamburg.de/hm/forschung/publikationen/byzantinische-kontakien.html" target="_blank">http://www.fbkultur.uni-hamburg.de/hm/forschung/publikationen/byzantinische-kontakien.html</a></p></div>Ioannes Koukouzeles' Mathema "Mega Ison"https://gregorian-chant.ning.com/group/byzantin/forum/topics/ioannes-koukouzeles-mathema-mega-ison2014-12-23T06:09:29.000Z2014-12-23T06:09:29.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>This discussion is dedicated to the kalophonic method of Ioannes Koukouzeles as it can be learnt with the mathema <em>Mega Ison.</em></p><p> </p><p>A critical edition of Mega Ison was made by Maria Alexandru:</p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Alexandru, Maria. “<a href="http://cimagl.saxo.ku.dk/download/66/66Alexandru3-23.pdf" target="_blank">Koukouzeles’ Mega Ison — Ansätze Einer Kritischen Edition</a>.” <em>Cahiers de l’Institut Du Moyen-Âge Grec et Latin</em> 66 (1996): 3–23.</div></div><p>The author told me about her opinion that the beginning must be prôtos esô, a fifth lower than in this edition.</p><p> </p><p>18th-century exegesis by Petros Peloponnesios transcribed into Chrysanthine neumes by Chourmouzios Chartophylakos (Athens, National Library, ΜΠΤ 703, pp. 1-19):</p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;">Kyriazides, Agathangelos, ed. (1896). "Τὸ Μέγα Ἴσον τῆς Παπαδικῆς μελισθὲν παρὰ Ἰωάννου Μαΐστορος τοῦ Κουκκουζέλη". <em>Ἐν Ἄνθος τῆς καθ' ἡμᾶς Ἐκκλησιαστικῆς Μουσικῆς περιέχον τὴν Ἀκολουθίαν τοῦ Ἐσπερίνου, τοῦ Ὅρθρου καὶ τῆς Λειτουργίας μετὰ καλλοφωνικῶν Εἴρμων μελοποιηθὲν παρὰ διάφορων ἀρχαιῶν καὶ νεωτερῶν Μουσικόδιδασκαλων</em> (Istanbul): 127–144.</div><p> </p><p>Luca Ricossa:</p><blockquote><p>Ici par exemple le début de son Ison Oligon. Ma transcription est très approximative et ne reflète que l'essence des signe, en laissant de côté la plupart de l'ornementation.</p><p>Naturellement dans la mesure où c'est du Koukouzelis et pas du Glykys... :-)</p></blockquote><p style="text-align:center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271843242?profile=original" target="_blank">Luca's transcription of the beginning</a></p><p>Two versions in <em>Papadikai</em> of manuscripts kept in the Vatican library:</p><p style="text-align:center;"><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271845027?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271845027?profile=RESIZE_1024x1024" alt="1271845027?profile=RESIZE_1024x1024" width="750" /></a>Beginning of <em>Mega Ison</em></p></div>Different traditions of the ekphonetic style (scriptural readings)https://gregorian-chant.ning.com/group/byzantin/forum/topics/different-traditions-of-the-ekphonetic-style-scriptural-readings2014-11-17T11:03:30.000Z2014-11-17T11:03:30.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Please have a look at this page at Analogion.com, where you can download (historical) recordings from different local schools:</p><p><a href="http://analogion.com/site/html/EkphoneticStyle.html" target="_blank">http://analogion.com/site/html/EkphoneticStyle.html</a></p><p>A discussion between Konstantinos Terzopoulos and Ioannis Arvanitis and some recordings of the Patriarchal School concerning the dialogue around the Holy Anaphora which had originally be sung in the ekphonetic style as well:</p><p><a href="http://analogion.com/site/html/LeitourgikaPatriarchal.html" target="_blank">http://analogion.com/site/html/LeitourgikaPatriarchal.html</a></p></div>"Bulgarian Patriarchs and Bulgarian Neophanariotes: continuities and discontinuities in the Ecumenical Patriarchate during the age of Revolution"https://gregorian-chant.ning.com/group/byzantin/forum/topics/bulgarian-patriarchs-and-bulgarian-neophanariotes-continuities2014-10-26T18:34:48.000Z2014-10-26T18:34:48.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Dimitris Stamatopoulos,</p><p>"Bulgarian Patriarchs and Bulgarian Neophanariotes: Continuities and Discontinuities in the Ecumenical Patriarchate During the Age of Revolution"</p><p>Michel De Dobbeleer, Stijn Vervaet, (Mis)understanding the Balkans. Essays in honour of Raymond Detrez, Ghent: Academia Press 2013, 45-57. <a href="https://www.academia.edu/8950532" target="_blank">Academia.edu</a>.</p><p>Abstract</p><blockquote><p>The Greek Revolution in 1821 violently interrupted the domination of the Phanariote world and its privileged alliance with the Ottomans. The Ottoman power had to revise the old model of governmentality. However, the (re)appearance of a new Neo-Phanariote elite after the end of the Revolution pushed some researchers to support that there was a linear continuity between the two eras of the Rum millet's administration. The present article argues that the Revolution spurred the Ottoman state to nationalize the terms of controlling the Christian Orthodox populations in the Balkans, introducing to the administration of the Ecumenical Patriarchate Bulgarian-speaking clerics as well as laics with Bulgarian origins. Accordingly, the article proposes to understand this crudal period not as a linear continuity between two eras just because some of the members of the old Phanariote personnel survived the destruction of the Phanariote world, but as a continuity marked by a significant regression of the Ottoman policy, the traces of which would be apparent in later years with the emergence of the Bulgarian issue.</p></blockquote></div>2 Armenian hymnals (Šaraknoc') onlinehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/2-armenian-hymnals-online2014-05-19T08:58:19.000Z2014-05-19T08:58:19.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Baltimore, The Walters Art Museum</strong></p><p><strong><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/html/W545/description.html" target="_blank">W.545</a></strong></p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000007_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000007_sap.jpg" alt="W545_000007_sap.jpg" /></a>Head-piece for the Canon of the Birth of the Virgin (fol. 2r)</p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000376_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000376_sap.jpg" alt="W545_000376_sap.jpg" /></a>Illumination for Pentecost (fol. 186v)</p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000473_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W545/data/W.545/sap/W545_000473_sap.jpg" alt="W545_000473_sap.jpg" /></a>Head-piece for the Canon of the Eve of the Holy Cross (fol. 289r)</p><p>XVII-XVIII • This Armenian hymnal with khaz notation was created in the late-seventeenth or early eighteenth century. Although no colophons are recorded in the manuscript, the name of the scribe, Awēt, appears on fol. 11r. This may be the same Awēt whose work is recorded elsewhere in manuscripts produced at the Monastery of Surb Amenap'rkič in New Julfa, Isfahan (Iran). The four miniatures depicting Joachim and Anna, Adam and Eve, the Resurrection of Christ, and Pentecost represent familiarity with European pictorial traditions. They appear to have been retouched after the original paint began to flake off. The head-pieces for canon divisions and the marginal decoration are based on earlier Armenian models. The small size of this hymnal suggests that it was used privately when participating in the Armenian liturgy. Produced in the late seventeenth or eighteenth century, possibly at the Monastery of Surb Amenap'rkič in New Julfa, Isfahan, Iran, by the scribe Awēt (or Awetis).</p><p> </p><p><strong><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/html/W547/description.html" target="_blank">W.547</a></strong></p><p style="text-align:center;"><strong><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000009_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000009_sap.jpg" alt="W547_000009_sap.jpg" /></a></strong>Head-piece for the Canon of the Birth of the Virgin (fol. 3r)</p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000059_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000059_sap.jpg" alt="W547_000059_sap.jpg" /></a>Magnificat with khaz notation of the Resurrection (fol. 26r)</p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000084_sap.jpg" target="_blank"><img class="align-center" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000084_sap.jpg" alt="W547_000084_sap.jpg" /></a>Canon of the Protomartyr Stephen (fol. 37v)</p><p style="text-align:center;"><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000101_sap.jpg" target="_blank"><img class="align-full" src="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000101_sap.jpg" alt="W547_000101_sap.jpg" /></a>Canon of the Prophet Jonah (fol. 46r)</p><p>1687 • This hymnal with modal signatures and khaz notation was completed in Constantinople on August 15, 1678 [AE 1127], by the priest Yakob Pēligratc‘i, having been commissioned by Člav, son of Nawasard, as a dedication to his sons, Astuacatur and Sahak. The structure of the hymns adheres approximately to the standard Armenian hymnal (Շաբակնոց), with minor variations in order and a few substitutions (see Sanjian in the bibliography). The book is illuminated extensively, with thirty-eight full- and half-page polychrome miniatures against gold backgrounds, eight decorated head-pieces marking the principal divisions of the hymnal, and numerous marginal miniatures marking individual hymns, including biblical figures, saints, bishops, and vignettes. The style of the miniatures is largely in imitation of western European models, though more traditional Armenian and Byzantine influences stand out, such as the vibrant color palette, an iconic frontality for depictions of saints and bishops, and the highly abstracted floral motifs and zoomorphic incipits marking hymn divisions.</p><p>Commissioned by Člav, son of Nawasard, from Šṙnuł, as a dedication to his sons, Astuacatur and Sahak (fol. 298r); the scribe was the Constantinopolitan priest Yakob Pēligratc‘i, who finished the hymnal on August 15, 1678 (AE 1127) during the pontificate of Katholikos Yakob IV at Ēǰmiacin and the reign of the Ottoman Sultan Mahmat IV. Mosēs, son of Ohanǰay, from Constantinople, owned the book in the eighteenth century, based on an inscription dated to July 10, 1712 (fol. 125r)</p><p>Kolophon:</p><p><span class="inline-label">In vernacular:</span> <a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000263_sap.jpg" target="_blank">Fol. 118r</a></p><p>Շօշ քաղաք որ էր թագաւորն Շահ Սէլիմն, ի ժամանակն ռ՟ճ՟ի՟է՟ (= 1678) թվին:</p><p>The city of Shosh (Isfahan), which was [word(s) missing?] The King Shah Sulayman (lit: Sēlimn), in the time of the year 1127 ( = 1678).</p><p><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000279_sap.jpg" target="_blank">Fol. 125r</a></p><p>Այս շարակնոցս Ղափանայ երկրէ Մուղանճուղու գեղն Շռնուղու Նաւասարդի որդի Ճլավ և սորա որդոցն է:</p><p>This Hymnal is from the region of Ghap‘an from the village of Mughanchugh (Mughanjigh), from Chlav the son of Nawasard of Shŕnughi (Shuŕnukhi) and his sons.</p><p><a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000635_sap.jpg" target="_blank">Fol. 298r</a>-<a href="http://www.thedigitalwalters.org/Data/WaltersManuscripts/W547/data/W.547/sap/W547_000636_sap.jpg" target="_blank">298v</a></p><p>Փառք ամենասուրբ երրորդութեան հօր և որդւոյ և հոգւոյն սրբոյ, այժմ և միշտ և յաւիտեանս յաւիտենից, ամէն: Աստուածաւանդ սուրբ շարակնոցս գրեցաւ ի խնդրոյ աստուածապաշտ Նուասարդի որդի Ճլավս, ի վայելումն որդոցն, և ետ երկուցունց յիշատակ Աստուածատուրին, և միւս որդոյն (Ս)ահակին, և սա գրեցաւ ձեռամբ Պէլիգրատցի Յակոբ երէցվէ ի մայրաքաղաքն Կոստանդինուպօլի, ի թվականիս Հայոց ռ՟ճ՟ի՟է՟ (= 1678) օգոստոս ամսոյ ժ՟ե՟ (15) պատկերաւրն զ՟շ՟ի ի հայրապետութեան Հայոց տեառն Յակոբայ, և առաջնորդ [SDN 92] սուրբ Երուսաղեմայ Մարտիրոս վարդապետ Կաֆհայեցոյ, և ի պատրիարգութեան Կոստանդինուպօլի տէր Անդրէաս քահանայի, որ մականուամբ Ճիհանլամ մարտիվանի ասեն, որ է դժոխաց սանդուխտ: Եւ ի թագաւորութեան Ոսմանց, սուլթան Մահմատ, ասեն որ ի (20) տարի եկաց ի Անդրիանուպօլի, յետ այս տարովս ռ՟ճ՟ի՟զ՟ (= 1677) Ապրիլի բ՟ (2) օրն, երկուշաբտի մտաւ Իսլամպօլ ինքն և մայրն: Յիշատակ է որդոցն Աստուածատուրին, Սահակին, և ես Նաւասարդի որդի Ճլավս որ եմ ի գեղջէն Շռնըղու, ով ոք յիշէ սրտի մտօք յիշատակօղսդ և ինքն օրհնեալ է և եղիցի յամէնից, ամէն: Հայր մեր որ յերկինս, սուրբ եղիցի անուն քո: Այս է շարակնոցս Մոսէսի, Մոսէսի որդի Ոհանջայ թվս. ռ՟ճ՟կ՟ ումն (= 1711) Հուլիսի ժ՟ ումն (10).</p><p>Glory to the most holy Trinity, the Father, and the Son and the Holy Spirit, now and ever and in all eternity, amen. This holy Hymnal confessing God was written on the request of the pious Chlav son of Nawasard, for the enjoyment of his sons, and he gave it to both in memory of Astuacatur, and his other son (S)ahak, and this was written by Yakob the priest from Pēligrat (Bely Grad?), in the capital Constantinople, in the year of the Armenians 1127 (= 1678) in the month August, on the 15th, [two words unclear] during the patriarchate over the Armenians of Lord Yakob and the leader(ship) over holy Jerusalem of Martiros vardapet from Kaffa, and during the patriarchate over Constantinople of Lord Andreas the priest, who is called by his nickname Chihanlam Martivani, which is the Ladder of Hell. And in the reign over the Ottomans of Sultan Mehmed, they say that he came into A(n)drianople at twenty years, after this year 1126 (= 1667), on the second day of April, on Monday he and his mother entered into Islampol. This is in remembrance of (my) sons Astuacatur and Sahak, and I Chlav, Nawasard’s son, who am from the village of Shŕnĕghi (Shuŕnukhi), whoever remembers with the thoughts of his heart those who (are) remember(ed), he himself also is blessed and will be by all, amen. Our Father who art in heaven, hallowed be thy name.</p></div>Un modèle du Constantinople médiévalhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/un-mod-le-de-constantinople-m-di-val2013-10-05T21:24:59.000Z2013-10-05T21:24:59.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Il byzantiniste Albrecht Berger a installé un site avec une réconstruction de Constantinople envers 1200:</p><p>Le plan:</p><p><a href="http://www.byzantium1200.com/tiles.html" target="_blank">http://www.byzantium1200.com/tiles.html</a></p><p>Quelques édifices prominents (des époques variés):</p><p><a href="http://www.byzantium1200.com/contents.html" target="_blank">http://www.byzantium1200.com/contents.html</a></p></div>Samuel Benaroya et les Mafitirim d'Edirnehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/samuel-benaroya-et-les-mafitirim-d-edirne2013-06-06T14:54:13.000Z2013-06-06T14:54:13.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><strong>Portrait Samuel Benaroya chez Concertzender Amsterdam</strong></p><p>Ce soir au concertzender ou plus tard, nous voudrons vous inviter écouter l'art des confrèries sepharades, les "Maftirim". Ils ont cultivé le chant synagogale selon les genres ottomanes. Cette episode est dédié en particulier à Samuel Benaroya, un hazzan d'une tradition familiale qui était émigré à la Suisse et au Canada :</p><p><a href="http://www.concertzender.nl/programma/bonum-est-614/" target="_blank">http://www.concertzender.nl/programma/bonum-est-614/</a></p><p>La version pleine du scripte anglaise, on pourra télécharger ici :</p><p><a href="http://www.academia.edu/3666746/" target="_blank">http://www.academia.edu/3666746/</a></p><p><strong>İzak Algazi Efendi and the Mafitirim Brotherhoods of Smyrna, Istanbul, and Edirne</strong></p><p>Pour une introduction, je pourrais conseiller l'article de Bülent Aksoy sur Rabbi İzak Algazi Efendi :</p><p><a href="http://www.turkishmusicportal.org/article.php?id=21&lang2=en" target="_blank">http://www.turkishmusicportal.org/article.php?id=21&lang2=en</a></p><p>Pour un archive des enregistrements historique, ce formidable archive web sur la poésie des piyyutim vous serve (ici les enregistrements des hazzanim turquois) :</p><p><a href="http://old.piyut.org.il/cgi-bin/close_search.pl?lang=en&Tradition=6&Notes=&Scripts=&teiman=&act=ladders" target="_blank">http://old.piyut.org.il/cgi-bin/close_search.pl?lang=en&Tradition=6&Notes=&Scripts=&teiman=&act=ladders</a></p><p>Sur les maftirim :</p><p><a href="http://sephardiccenter.wordpress.com/music-2/maftirim/" target="_blank">http://sephardiccenter.wordpress.com/music-2/maftirim/</a></p><p>Edwin Seroussi (The Hebrew University in Jerusalem) "Towards an Historical Overview of the Maftirim Phenomenon" :</p><p><a href="http://www.turkyahudileri.com/index.php/en/history/did-you-know" target="_blank">Turkish Jewish Community</a> (ouvriez "Maftirm Olgusuna..." chez les rubriques de "Did you know?")</p><p><a href="https://www.academia.edu/9846820" target="_blank">The Maqamization of the Eastern Sephardic Liturgy</a></p><p> </p><p>Bon divertissement !</p></div>Reconstructions of the Byzantine Cathedral Ritehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/reconstructions-of-the-byzantine-cathedral-rite2013-03-11T12:22:04.000Z2013-03-11T12:22:04.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Please have a look on the discussion of <a href="http://gregorian-chant.ning.com/video/video/listForContributor?screenName=3svqkupndcqa7" target="_blank">the videos</a> made by a performance of Capella romana in a virtual reconstruction of the Constantinopolitan Hagia Sophia.</p><p>There have been numerous studies of the rite which belongs to this cathedral, and the very unspecific name "Byzantine rite" had been often used for this very particular rite. One of the most remarkable studies is certainly that by Oliver Strunk, because it revealed, that the turn to a mixed rite and the reform by the school of the maistores like Ioannes Glykys and Ioannes Koukouzeles as a synthesis of the former cathedral rite with the notation of the Stoudites reform had been never accepted in other corners of the Byzantine Empire like for instance the Hagia Sophia of Thessaloniki, where the former tradition had been continued until the Turkish conquest in 1430.</p><p>Neil Moran contributed to the earlier tradition by treating a rather unpopular aspect, the role of Eunochs as castrato singers during the celebrations of the cathedral rite. I studied myself the cherouvika in the Italian choir books (<em>asmatika</em>) and found out, that the celebrations of the Greek rite in Norman and Svevian Italy had a certain orientation to contemporary Constantinople, but they still used the old books (<em>asmatikon</em> and <em>kontakarion</em>), and not the "order of services" (Gr. τάξις τῶν ἀκολουθίων), the book of Ioannes Koukouzeles' reform. Nevertheless, they integrated certain elements of the kalophonic style, but never expanded the cherouvika in such a way as we find it transcribed as "cherouvikon asmatikon". Nevertheless, the Constantinopolitan sources are very important, because they combine 3 different books: the typikon, the asmatikon, and the psaltikon.</p><p>Please listen to Konstantinos Terzopoulos' paper which was dedicated to Konstantinos Byzantios' studies of the cathedral rite after the reform, a Phanariot who systematically refused Chrysanthine notation and continued to write manuscripts in Late Byzantine notation. His <em>typikon</em> had also be translated into Bulgarian by Neofit of Rila, an important protagonist of the Bulgarian Orthodox continuation of monodic chant. During his presentation Konstantinos Terzopoulos showed an Akolouthiai manuscripts (Athens, National Library of Greece (EBE), Ms. gr. 2406) which transcribed the <em>cherouvikon asmatikon</em> as an echos devteros, while the Italian <em>asmatika</em>, whose notators already used the notation of the Stoudites reform, use a main intonation of plagios devteros. This is probably an indication that the diatonic plagios devteros had presumably been intoned on a rather high pitch, because its ambitus ranges far under its finalis down to Γ (here understood as a Guidonian letter which had been probably intoned in parallage as a plagios protos). Please note that the Hagiopolites mentions that devteros melodies tend to use the plagios as finalis.</p><p>So far, I never met singers who are able to perform such a long piece than the elaborated or calophonic version of the cherouvikon asmatikon which contains several pages of teretismata and nenanismata of the domestikos (the choir leaders), while large part of the text had been performed by a soloist (monophonares, probably the lampadarios) from the height of the Ambo. The <em>cherouvikon</em> performed by Capella romana uses the oldest source of the Papadic cherouvikon, which replaced the <em>cherouvikon asmatikon</em> by an abridged version to be performed in the echos of the week according to the Hagiopolite oktoechos cycle. The akolouthiai of 1458, which has been preserved as Ms. 1120 of the library of the Iviron Monastery on Mount Athos, has not the cherouvikon asmatikon, but an oktoechos cycle made of the old model by Manouel Chrysaphes, a Lampadarios and famous composer of Constantinople. In the <a href="http://gregorian-chant.ning.com/video/cappella-romana-in-a-virtual-hagia-sophia-cherubic-hymn-in-mode-1" target="_blank">video of Capella romana</a> you can listen to the echos prôtos version, as it has been <a href="http://gregorian-chant.ning.com/group/byzantin/forum/topics/ioannis-arvanitis-reconstruction-of-byzantine-chant" target="_blank">reconstructed by Ioannis Arvanitis</a>.</p><p><strong>Bibliography</strong></p><ul><li>Bucca, D., 2013. <em>Catalogo dei manoscritti musicali greci del SS. Salvatore di Messina (Biblioteca Regionale Universitaria di Messina)</em>. Ed. Biblioteca regionale universitaria Messina. Rome: Comitato nazionale per le celebrazioni del millenario della fondazione dell'Abbazia di S. Nilo a Grottaferrata.</li><li>Di Salvo, B., 1959-1960. "Gli asmata nella musica bizantina." <em>Bolletino della Badia Greca di Grottaferrata,</em> 13, 45-50 & 127-145; 14, 145-178.</li><li>Gerlach, O., 2009. "<a href="http://ensembleison.de/publications/oktoichos/III/4/" target="_blank">Das Cherouvikon in den italogriechischen Asmatika</a>." in: <em>Im Labyrinth des Oktōīchos – Über die Rekonstruktion mittelalterlicher Improvisationspraktiken in liturgischer Musik</em>. Berlin: Ison, 368-379.</li><li>Hanke, G.M., 2002. <em>Vesper und Orthros des Kathedralritus der Hagia Sophia zu Konstantinopel; eine strukturanalytische und entwicklungsgeschichtliche Untersuchung unter besonderer Berücksichtigung der Psalmodie und der Formulare in den Euchologien</em>. Dr. theol. Frankfurt am Main: Philosophisch-Theologische Hochschule St. Georgen. Available at: <a href="http://www.mgh-bibliothek.de/cgi-bin/mgh/regsrch.pl?recnums=338621&db=opac" target="_blank">http://www.mgh-bibliothek.de/cgi-bin/mgh/regsrch.pl?recnums=338621&db=opac</a>.</li><li>Levkopoulos, N., ed. (2010). "<a href="http://analogion.com/forum/showpost.php?p=80200&postcount=33" target="_blank">Cherouvikarion of Psaltologion</a>." Thessaloniki: Analogion.com.</li><li>Lingas, A. L., 1996. "Sunday Matins in the Byzantine Cathedral Rite: Music and Liturgy." Electronic Thesis or Dissertation. <a href="https://circle.ubc.ca/handle/2429/6156" target="_blank">https://circle.ubc.ca/handle/2429/6156</a>.</li><li>Moran, N.K., 1975. <em>The Ordinary Chants of the Byzantine Mass</em>, Hamburg: Verlag der Musikalienhandlung K. D. Wagner.</li><li>——. 1979. "The Musical 'Gestaltung' of the Great Entrance Ceremony in the 12th Century in Accordance with the Rite of Hagia Sophia." <em>Jahrbuch Der Österreichischen Byzantinistik</em>. 28, 167-193. <a href="https://www.academia.edu/7056180/" target="_blank">academia.edu</a>.</li><li>——. 2002. "<a href="http://dx.doi.org/10.1017/S0961137102002073" target="_blank">Byzantine castrati</a>." <em>Plainsong and Medieval Music</em>, 11, 99-112.</li><li>——. 2005. "The Choir of the Hagia Sophia." <em>Oriens Christianus</em>, 89, 1-7. <a href="https://www.academia.edu/6984005/" target="_blank">academia.edu</a>.</li><li>Penčeva, B. V., 2010. <em><a href="http://books.google.com/books?id=qD6sBZCXnloC" target="_blank">The Sensual Icon</a></em>. Hong Kong: Penn State Press, 2010.</li><li>——. 2011. <em>Icons of Sound: Publications—Aesthetics and Acoustics of Hagia Sophia, Istanbul</em>. Available at: <a href="http://iconsofsound.stanford.edu/publications.html" target="_blank">http://iconsofsound.stanford.edu/publications.html</a>.</li><li>Strunk, W.O., 1956. <em><a href="http://www.jstor.org/stable/1291096" target="_blank">The Byzantine Office at Hagia Sophia</a></em>. Dumbarton Oaks Papers, 9/10, 175–202.</li><li>Tardo, L., 1935. "Un manoscritto καλοφωνικὸν del sec. XIII nella Collezione Melurgica bizantina della Biblioteca Universitaria di Messina." <em><span class="st">Εἰς μνήμην Σπυρίδωνος</span></em> <span class="st"><em>Λάμπρου</em>,</span> Athens, 170-176.</li><li>Terzopoulos, K., 2004. "<a href="http://issuu.com/kterzopoulos/docs/somenotes?mode=a_p&wmode=0" target="_blank">Some Notes on the Slavic Translation of Konstantinos Byzantios' 'Typikon Ekklesiastikon'</a>." <em>Theologia</em>, 75, 497-527.</li><li>——. 2009. "Patriarchal Chant Rubrics from Konstantinos Byzantios' Notebook for the Typikon: 1806-1828." In 2nd International Conference of the American Society of Byzantine Music and Hymnography (ASBMH-2009). Presentation: <a href="http://psalticnotes.com/articles/theoria/asbmh09_pages/asbmh09_blue/assets/player/KeynoteDHTMLPlayer.html#0" target="_blank">http://psalticnotes.com/articles/theoria/asbmh09_pages/asbmh09_blue/assets/player/KeynoteDHTMLPlayer.html#0</a>; video of the paper: <a href="http://www.asbmh.pitt.edu/page9/page13/page17/page17.html" target="_blank">http://www.asbmh.pitt.edu/page9/page13/page17/page17.html</a>.</li><li>Thodberg, C., 1966. <a href="https://www.igl.ku.dk/MMB_downloads/Thodberg_Subs_8_Alleluiarionzyklus.pdf" target="_blank"><em>Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil</em></a><em>,</em> in MMB - Subsidia, 8. Copenhagen: E. Munksgaard.</li><li>White, A. W., 2006. <em>The Artifice of Eternity: A Study of Liturgical and Theatrical Practices in Byzantium</em>. University of Maryland, College Park: PhD thesis. Available at: <a href="http://drum.lib.umd.edu//handle/1903/3894" target="_blank">http://drum.lib.umd.edu//handle/1903/3894</a>.</li></ul></div>Bonum est about the Old Patriarchal School of Istanbulhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/bonum-est-about-the-old-patriarchal-school-of-istanbul2012-12-11T15:03:23.000Z2012-12-11T15:03:23.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p><span lang="en-us" style="font-size:12pt;font-family:Arial;color:#800000;" xml:lang="en-us">January 10: <a href="http://www.concertzender.nl/programmagids.php?date=2013-01-10&month=0&detail=60871" target="_blank">Eastern Liturgies 17 - Iakovos Nafpliotis (1864-1942)</a></span></p><p>And finally I also would like to announce my first collaboration with Geert Maessen.</p><p>We had a struggle with it, because it was originally dedicated to Iakovos Nafpliotis, but they did not like the idea that the audience will listen one hour to the earliest recordings during "prime time". So this episode is, as so often, dedicated to the Old Patriarchal school, the old recordings of Nafpliotis are mixed with recordings of the 50s, made from his student (already from the generation of the grandchildren) Konstantinos Pringos.</p><p>While Iakovos Nafpliotis and his master at the Patriarchate were against the liturgical performance of Petros Bereketis' Koinonikon oktaechon "Theotoke parthene" (listen to <a href="http://www.concertzender.nl/programmagids.php?date=2012-08-23&month=0&detail=58421" target="_blank">Bonum est 89</a> dedicated to the interpretation of Frédéric Tavernier-Vellas) and opposed to the school of Galata and the students of Georgios Raidestinos II and their concept to integrate the makamlar into the Octoechos as proposed by Panagiotes Keltzanides (<span id="Kel1881" class="citation book"><a href="http://anemi.lib.uoc.gr/metadata/9/8/c/metadata-00did7jj657f0ugrck8rj8t5u4_1295859324.tkl" target="_blank">Μεθοδική διδασκαλία θεωρητική τὲ καὶ πρακτική πρὸς ἐκμάθησιν καὶ διάδοσιν τοῦ γνησίου ἐξωτερικοῦ μέλους τῆς καθ᾿ ἡμᾶς Ἑλληνικῆς Μουσικῆς κατ᾿ ἀντιπαράθεσιν πρὸς τὴν Ἀραβοπερσικήν</a>, Thessaloniki 1881</span>), Konstantinos left us also recordings of "Theotoke parthene".</p><p>He composed several Leitourgika in <em>makamlar</em> for the dialogue around the Holy Anaphora, including the concluding heirmos Ἄξιον ἐστίν. I leave here for you (to sing together) Konstantinos Pringos' composition in the phthora acem kürdî. It uses in the echos plagios protos the same ambitus as the Carolingian <em>Plagi proti</em>, but with the finalis on <em>a κε</em>. Acem kürdî means that this is a certain way of using a Persian dastgah among Kurdish musicians in Iran. Some phrases of the melody remind of <em>Üsküdara</em>, the main protagonist in Adela Peeva's <a href="http://www.youtube.com/watch?v=4lpvBmJUs_w" target="_blank">documentary</a> "Whose is the song?":</p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271822817?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1271822817?profile=RESIZE_1024x1024" alt="1271822817?profile=RESIZE_1024x1024" width="750" /></a></p></div>Discussing Nicolae Gheorghiţă's "Byzantine Music Treatises in the Manuscripts Fund in Romania"https://gregorian-chant.ning.com/group/byzantin/forum/topics/discussing-nicolae-gheorghi-s-byzantine-music-treatises-in-the2012-04-24T11:42:00.000Z2012-04-24T11:42:00.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Already some time ago I announced the new book by Nicolae Gheorghiţă (published in 2010):</p><p><a href="http://gregorian-chant.ning.com/profiles/blogs/new-book-about" target="_blank">http://gregorian-chant.ning.com/profiles/blogs/new-book-about</a></p><p>Who is interested to order the book, might join the announcement of the publisher:</p><p><a href="http://www.sophia.ro/Byzantine-chant-between-Constantinople-and-the-Danubian-Principalities.-Studies-in-Byzantine-Musicology-by-Gheorghita-Nicolae-autor-en-490.htm" target="_blank">http://www.sophia.ro/Byzantine-chant-between-Constantinople-and-the-Danubian-Principalities.-Studies-in-Byzantine-Musicology-by-Gheorghita-Nicolae-autor-en-490.htm</a></p><p>With respect to Gheorghiţă's contribution to a conference 2008 (held at Hernen Castle), dedicated to Greek treatises in the Boyar Principalities, Neil Moran wrote (the eighth chapter in his book, pp. 135-162):</p><dl class="discussion clear i0 xg_lightborder"><dd><div id="desc_3327296Comment47810" class="description"><div class="xg_user_generated"><p>(The Origins of Russian Music: Introduction to the Kondakarian Notation, p. 1): <em>“In addition it is an indisputable fact that the Russians acquired the Byzantine sacred chant repertoire when they accepted Christianity and the cradle of Russian Church is to be sought in Byzantium. Nevertheless the musical development of scared music within the two traditions took place along two very different pathways. … The heterogeneous influences to which these two antipoles of Orthodoxy were exposed played a pivotal role in determining the style and character of each repertoire. The music development of the Russian and Greek branches of Orthodoxy could be taken as a prime example of how quintessential relationships can be affected over the course of time by changes in taste and fashion.”</em></p></div></div></dd></dl><dl class="discussion clear i0 xg_lightborder"><dd><div class="description"><div class="xg_user_generated"><p>(N. Gheorghita, Byzantine Chant between Constantinople and the Danubian Principalities, p. 202): <em>"Generally, the Postbyzantine period is perceived either as an epoch powerfully influenced by the Orient, or quite the contrary, as a loyal continuation of the past in a different semeiographic disguise"</em>.</p></div></div></dd></dl><dl class="discussion clear i0 xg_lightborder"><dd><div class="description"><div class="xg_user_generated"><p>After the defeat of a Moldavian revolt in 1711, only Greeks from the Phanar district of Constantinople were selected for the much-coveted position of Christian pasha in Moldavia and Wallachia. Almost all the Pharariot princes and boyars maintained Turkish bands as an expression of loyalty to the Sublime Porte . According to Gheorghita, “during 1711-1832, thirty-one Phanariot Princes, from eleven families, were to be on the two countries’ thrones on seventy-five occasions.”</p></div></div></dd></dl><dl class="discussion clear i0 xg_lightborder"><dd><div class="description"><div class="xg_user_generated"><p>As for oriental influences on ecclesiastical chant one is referred to the chapter in codex Bucharest, Romanian Academy Library, Gr. MS 923 with the title Αφημια εκ ποιων, και ποσων…= Comparison between echoi and makams (ff. 304-41v) with 68 music examples. The codex Drobeta Turnu-Severin, State Archives Gr. MS 9 has a theoretical text on the three melodic genera: diatonic, chromatic and enharmonic (=Ποσα ειδη τηχ μελωδιας; Τρια: απμονικον, διατονικον και χρωματικον ). The Byzantine musician Dionysios Photeios wrote a treatise with the title Theoretical and practical didaskalia on the written church music, especially composed for tambour and keman.</p></div></div></dd></dl><p>You are welcome to join the discussion.</p></div>Joyeux Noël spécialehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/joyeux-no-l-sp-ciale2011-12-25T12:01:58.000Z2011-12-25T12:01:58.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Les hymnes pour Noël:</p><p><a href="http://www.ec-patr.net/gr/sounds_htm/12-25.htm" target="_blank">http://www.ec-patr.net/gr/sounds_htm/12-25.htm</a></p><p> </p></div>La musique des makamlar e sa notation dans les manuscrits de l'Empire Ottomanehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/makamlar-la-notation-des-manuscrits-de-l-empire-ottomane2011-12-20T22:41:54.000Z2011-12-20T22:41:54.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Ralf Jäger a fait une belle publication multimédiale sur les variés formes de la notation ensemble avec les musiciens traditionels pour présenter les exemples:</p><p><a href="http://www.musikwissenschaft.uni-wuerzburg.de/struktur/lehrstuehle_professuren_ressorts/projekte_und_materialien_des_lehrstuhls_fuer_ethnomusikologie/osman/#c156719" target="_blank">http://www.musikwissenschaft.uni-wuerzburg.de/struktur/lehrstuehle_professuren_ressorts/projekte_und_materialien_des_lehrstuhls_fuer_ethnomusikologie/osman/#c156719</a></p><p>Bien sûr il y a aussi les manuscrits avec les <em>makamlar</em> transcrits dans la notation byzantine (depuis Cyril Marmarinos et son professeur), parce que les protopsaltes greques à Istanbul étaient toujours dans une échange riche avec les soufis, les muezzins et les chantres séphardes. Je présente ici quelque liens des éditions imprimées les plus importantes:</p><ul><li><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Keïvelis, Ioannis G., éd. 1872. <em>Μουσικόν Απάνθισμα (Μεδζμουάϊ Μακαμάτ) διαφόρων ασμάτων μελοποιηθέντων παρά διαφόρων μελοποιών, τονισθέντων μεν παρά Ιωάννου Γ. Ζωγράφου Κεϊβέλη και παρ’ άλλων μουσικοδιδασκάλων Εκδοθέντων δε υπ’ αυτού, περιέχον προσέτι την οδηγίαν των ρυθμών της Ασιατικής Μουσικής</em>. Istanbul: Evangelinos Misaelidos.<br /> <a href="http://anemi.lib.uoc.gr/metadata/6/d/e/metadata-264-0000326.tkl" target="_blank">http://anemi.lib.uoc.gr/metadata/6/d/e/metadata-264-0000326.tkl</a>.</div></div></li><li><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Phokaeos, Theodoros, & Chourmouzios Chartophylakos. 1830. <em>Βίβλος καλουμένη Ευτέρπη : Περιέχουσα συλλογήν εκ των νεωτέρων και ηδυτέρων εξωτερικών μελών, με προσθήκην εν τω τέλει και τινών ρωμαϊκών τραγωδίων εις μέλος οθωμανικόν και ευρωπαϊκόν εξηγηθέντων εις το νέον της μουσικής σύστημα παρά Θεοδώρου Φωκέως, και Σταυράκη Βυζαντίου των μουσικολογιωτάτων</em>. Galata: Kastoros.<br /> <a href="http://anemi.lib.uoc.gr/metadata/9/8/e/metadata-114-0000009.tkl" target="_blank">http://anemi.lib.uoc.gr/metadata/9/8/e/metadata-114-0000009.tkl</a>.</div></div></li></ul><p>Dans la bibliothèque digitale de l'université de Crète on peut télécharger une réproduction du livre en pdf.</p></div>"Eastern Sacred Chant" - a talk by Dr. Dmitri Conomos for the Oxford Orthodox Christian Student Societyhttps://gregorian-chant.ning.com/group/byzantin/forum/topics/eastern-sacred-chant-a-talk-by-dr-dmitri-conomos-for-the-oxford-o2011-11-26T13:21:47.000Z2011-11-26T13:21:47.000ZDominique Gattéhttps://gregorian-chant.ning.com/members/GATTE<div><p>Dr Dimitri Conomos : Eastern Sacred Chant: A presentation to the Oxford Orthodox Christian Student Society at the Mary Hyde Eccles Room, Pembroke College, on November 24th 2011.</p><p>Dr Dimitri Conomos is a well known Byzantine musicologist. He has taught Medieval and Contemporary musicology at several universities in Europe, North America and Australia. He has written several books and a large number of articles on various theoretical aspects of Eastern Church music, including: The Late Byzantine and Slavonic Communion Cycle: Liturgy and Music, Dumbarton Oaks, 1985, and Byzantine Hymnography and Byzantine Chant, Hellenic College Press, Brookline MA, 1984.</p><p style="text-align:center;"><iframe src="https://player.vimeo.com/video/32671809?h=ec51d88e1d" width="640" height="360" frameborder="0" allowfullscreen=""></iframe></p></div>Enregistrements des grands Protopsaltes du Constantinoplehttps://gregorian-chant.ning.com/group/byzantin/forum/topics/enregistrements-des-grands2011-02-25T09:16:11.000Z2011-02-25T09:16:11.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Malheureusement il y a peu d'articles sur les protopsaltes grecques dans les grands encyclopédies de la musicologie, presque rien sur les grands musiciens dans l'Empire Ottomane.</p><p>Pour cette raison, je pourrais conseiller ce site du Patriarcat à Constantinople. Vous avez les articles avec les détails peu connus et les enregistrements historiques des grand maîtres (compositeurs et chantres) qui ont servi au patriarchat à Constantinople:</p><p><a href="http://www.ec-patr.net/en/" target="_blank">http://www.ec-patr.net/en/</a></p></div>