byzantine chant (19)

Please celebrate Christmas!

My wish for today is that you are all well, without fear and also well informed about what is going on. Please use these days with pleasant things, reconnect yourself with the universe and do celebrate the feasts of your tradition (whatever the religion is) without even thinking of everyday's bullshit and those who do organise it, and definitely without paying any attention of what they could expect from you!

The little Christmas surprise, I have for you this year, is actually not a present of mine, but a present made by Mark Powell and Spyridon Antonopoulos in the context of the group "Cappella Romana" specialised in the reconstruction of Byzantine chant, as they learnt it through a cooperation with Ioannis Arvanitis.

Some days ago, they sent me an email with transcription of a Christmas allelouiarion about the first two stichoi of psalm 18 (according the Greek edition of Septuaginta):

2 Οἱ οὐρανοὶ διηγοῦνται δόξαν θεοῦ, ποίησιν δὲ χειρῶν αὐτοῦ [ἀναγγέλλει τὸ στερέωμα]·

3 ἡμέρα τῇ ἡμέρᾳ ἐρεύγεται ῥῆμα, καὶ νὺξ νυκτὶ [ἀναγγέλλει γνῶσιν].

Here the English translation offered by this email:

Alleluia. V.1 The heavens are telling the glory of God, and the work of his hands [the firmament proclaims].
Day to day pours out speech, and night to night [reveals knowledge].

Here the version in the kontakarion of Paris:


Beginning of the allelouiaria section with protos allelouiaria
(Paris, Bibliothèque nationale, fonds grec ms. 397, f.19v-20r)

The second stichos according to the transcription of Spyridon:


Transcription according I-Fl (Florence, Biblioteca medicea laurenziana) Codex Ashburn 64, f. 200
(Kontakarion of the Grottaferrata Abbey, 13th century)

Realisation by Cappella Romana conducted by Spyridon Antonopoulos:

Realisation by Ansamble Aghiopolitis conducted by Ioannis Arvanitis:

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I am sorry to announce this too late, because it was also possible to join this lecture via zoom. I will insert here a link, as soon as a video is available.


9126157064?profile=originalKosmas of Jerusalem (ca. 675-ca.752)
Fresco attributed to Manuel Panselinos, Protaton on Holy Mount Athos (14th c.)

Byzantine music, deeply ingrained in European and Near-East cultures, presents a plethora of remarkable personalities and a wealth of genres and categories in the realm of hymnography, chant and secular music. This lecture aims at giving an overview of coryphées in the field, along with musical examples, to which the audience is invited to join in. We will also try to approach some examples paleographically and analytically, in order to go on with a discussion concerning transcription, historically informed performance practice, meta-aesthetics of Byzantine chant and didactical approaches.

Source: Events announced by the city of London:


Maria Alexandru, native in Romania, with studies in Bucharest, Bonn, Copenhagen (PhD, 2000), and Greece, is an associate professor for Byzantine music at the Aristotle University of Thessaloniki. Her work comprises 4 books, more than 50 articles and different recordings, translations into Romanian and editorial work on Conference Proceedings, books and the on-line journal Series Musicologica Balcanica. She conducts different ensembles (Study Group for Palaeography of Byzantine Music Chrysorrhemon, Psaltira, both of the School of Music Studies of the aforementioned university, and the female Byzantine Choir “St Anysia” of the Greek Society for Music Education). She is chair of the IMS-Study Group for Music of the Christian East and Orient, and got different distinctions.

Relevant publication

Alexandrou, Maria. Παλαιογραφία Βυζαντινής Μουσικής [Palaeography of Byzantine Music]. Thessaloniki: Aristotle UP, 2017.



Video about Hagia Kassiani

Link to the video published at the Aristotle University, Thessaloniki

In the video, we can listen to music examples and demonstrations of Maria Alexandru together with her students, dedicated to the female hymnographer and higoumenia Saint Kassia.

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Eric Werner's famous and classical studies about the way, how Christian chant developed out of Synagogal chant is available online. The book has a detailed general index (names, places and terms), a huge glossary, and a scriptural index. The study was many times reviewed and discussed still decades after its publication in 1959 (see tag "Tropologion” within the Byzantine group).


Werner, Eric. The Sacred Bridge: The Interdependence of Liturgy and Music in Synagogue and Church during the First Millenium. London, New York: Dennis Dobson, Columbia UP, 1959. archive.
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(Please follow the link, if you would like to support the petition!)


To the Rector of the University of Copenhagen (prof. Henrik C. Wegener:

To the Dean of the Faculty of Humanities of the University of Copenhagen (prof. Jesper Kallestrup:

To the Head of the Saxo Institute of the University of Copenhagen (prof. Stuart James Ward:


Dear Sirs,

We are writing to you as the Editorial Board of the Monumenta Musicae Byzantinae, to express our alarm at your proposal to dismiss Prof. Christian Troelsgård from his position as Associate Professor in the Saxo Institute.

The Monumenta Musicae Byzantinae (MMB) was established in Copenhagen in 1935 under the direction of Prof. Carsten Høeg, and quickly became a world-renowned scientific enterprise devoted to the study and publication of Byzantine musical and liturgical sources. The University of Copenhagen has been central to the activities of the MMB ever since. As you are doubtless aware, it houses a comprehensive library and archive which has supported a sustained and highly productive programme of research and publication by a very international body of scholars. Students of the successive directors of the MMB have gone on to secure prestigious positions around the world in the fields of Classics, Byzantine Studies and Musicology. The MMB volumes are published under the auspices of the Union Académique Internationale, with the support of the Carlsberg Foundation and several other funding bodies, and are universally admired for the quality of their research as well as for their high production standards.

In consideration of the worldwide recognised leading role of the MMB in research on Byzantine music and liturgy, we are deeply concerned by the unexpected news that the intense research activities conducted within the MMB project are in serious danger of coming to an abrupt end. We gather that, for reasons of ‘necessary cut-backs’, the University plans in a few weeks to dismiss – after 26 years of honoured service – the MMB Director Prof. Christian Troelsgård, a highly esteemed scholar and teacher, on the vague grounds that his position no longer ‘matches the future development of the Faculty’.

Since Prof. Troelsgård represents the one and only institutional affiliation of the MMB project in Denmark, this would lead to a sudden cessation of all of the MMB’s research activities, which have for more than 80 years been centred in the University of Copenhagen, and to the lamentable dispersal of a whole scholarly tradition that has represented a jewel in the crown of Danish (and European) research in the humanities thoughout this period. In fact, the consequences of this dismissal on research in the field of Byzantine music and chant would be really dramatic, not only in Denmark: the MMB has since its inception been designated as a ‘research enterprise’ under the auspices of the Union Académique Internationale, a status in which it was recently re-accredited, and the dismantling of its leading research unit in Denmark would condemn the whole international project (with partner-scholars in Austria, Italy, Germany, Greece, the United Kingdom, the United States, and many other countries) to a sudden and definitive closure. The MMB has attracted long-term research funding to the University of Copenhagen over many decades, flourishing successively under the leadership of its founder Prof. Carsten Høeg, then Prof. Jørgen Raasted, and especially now under Prof. Troelsgård’s careful and dedicated guidance. The hasty liquidation of a research school that is so well established in the University of Copenhagen would put at stake a unique and important European research tradition.

We are not party to the ‘future development of the Faculty’ on which grounds you propose to dismiss Prof. Troelsgård, but we respectfully remind you that he is universally regarded as a leading scholar in all branches of the study of Byzantine chant, known internationally through his many books and articles of consistently exceptional quality, and widely respected in the University through his co-ordination of several externally-funded research projects and as a member of the Academic Council of the Faculty of Humanities. In Demark he is honoured as a member of the Royal Danish Academy, and internationally he sits on many advisory panels for leading journals and research projects. His graduate students have taken the field of research into many new directions under his careful guidance, and have developed successful careers in many countries, widening interest in the field of Byzantine chant across the world.

Byzantine music should not be considered an exotic and sophisticated research field reserved for the happy few who are engaged in it: it has important repercussions on our understanding of many aspects of the different cultures of the world we live in. The Byzantine chant tradition is the real core of the Orthodox liturgy in Greece, Eastern Europe, Russia, the Balkans, Southern Italy, and the Middle East, and is therefore an important key to our understanding of the mentality of the different peoples living in this wide area. Language, rite and music constitute fundamental aspects of the cultural identity of the Eastern-Mediterranean Christian communities, many of which are now often under threat. Weakening the study of these traditions would lead to an impoverishment of our understanding of this part of world culture, and could also be seen as turning our backs on these populations on a cultural level. In the context of the study and research activities of the Saxo Institute, Prof. Troelsgård’s teaching and research have the potential to make one of the closest and most direct connections between the ancient world and the lives of many of the most marginalised communities of today. Far from being an arcane and obscurantist discipline, Byzantine chant is a field which can inspire students to embrace the study of Classical and Eastern languages, Theology, Music, History, Ethnography and Social Anthropology.

Perhaps it is not a consequence you intended in your proposal to dismiss Christian Troelsgård, but we fear that the result in the sudden annihilation of the research centre which has placed Copenhagen at the centre of this branch of historical enquiry for the best part of the last century would have serious consequences in terms of our understanding of global culture, and not only of European or global academic studies. Therefore we strongly encourage you to reconsider your decision to cut short a career in which we continue to foresee much promising contribution to the wider understanding of society.



Prof. Nicolas BELL (Trinity College, Cambridge)
Prof. Francesco D’AIUTO (University of Rome "Tor Vergata")
Prof. Sysse Gudrun ENGBERG (University of Copenhagen, emerita)
Prof. Christian HANNICK (Julius-Maximilians-Universität Würzburg, emeritus)
Prof. Christian THODBERG (University of Aarhus, emeritus)
Prof. Gerda WOLFRAM (University of Vienna, emerita)


Prof. John D. BERGSAGEL (former Director of MMB; University of Copenhagen, emeritus)
Prof. Tore Tvarnø LIND (secretary of MMB; University of Copenhagen)


Useful links

The Saxo Institute:

Homepage of the MMB:

The microfilm collection (and an additional international source catalogue with useful information):

Christian Troelsgård’s permanently updated list of the standard abridged version repertoire of stichera idiomela of the menaion part within the sticherarion (very useful to identify missing parts of a sticherarion manuscript):

The «Cahiers de l'Institut du Moyen-Âge Grec et Latin» (CIMAGL), an available publication series of the Saxo Institute:

Homepage of the related studies of Ottoman music “Corpus Musicae Ottomanicae” (CMO):

Middle Ages and Renaissance manuscripts at the collections of “The Royal Danish Library” (Copenhagen):

Read more…

NT lectionaries online (CSNTM)

Preserving Ancient New Testament Manuscripts for a Modern World

GA_038_SPINE.JPG?profile=RESIZE_710xThe Center for the Study of New Testament Manuscripts (CSNTM), under the umbrella of The Center for the Research of Early Christian Documents (CRECD), exists for the following purposes:

  1. To make digital photographs of extant Greek New Testament manuscripts so that such images can be preserved, duplicated without deterioration, and accessed by scholars doing textual research.

  2. To utilize developing technologies (OCR, MSI, etc.) to read these manuscripts and create exhaustive collations.

  3. To analyze individual scribal habits in order to better predict scribal tendencies in any given textual problem.

  4. To publish on various facets of New Testament textual criticism.

  5. To develop electronic tools for the examination and analysis of New Testament manuscripts.

  6. To cooperate with other institutes in the great and noble task of determining the wording of the autographa of the New Testament.

Read more…

L’ensemble international Axion Estin Foundation Chanters célèbrera le Noël arménien en interprétant lors de courts concerts des chants typiques de cette période de l’année, issus des traditions orthodoxe orientale et arménienne (4 janvier, 14h, 16h, 18h). Compris dans le prix du billet d’entrée au musée.


Altar Frontal (detail). New Julfa, 1741. Gold, silver, and silk threads on silk. Mother See of Holy Etchmiadzin, Armenia
(Photo: Hrair Hawk Khatcherian and Lilit Khachatryan)

Le Met accueillera une exposition
d’envergure autour de l’Arménie médiévale

Dates de l’exposition : 22 septembre 2018–13 janvier 2019
Lieu d’exposition : The Met Fifth Avenue, premier étage, Galerie 199

Armenia!, qui ouvrira ses portes le 22 septembre au Metropolitan Museum of Art, explore l’art et la culture des arméniens depuis leur conversion au christianisme au début du IVe siècle jusqu’au XVIIe siècle, époque où ils jouaient un rôle prépondérant sur les routes commerciales internationales. L’exposition met l’accent sur la création par les arméniens d’une identité nationale distincte au sein de leur pays, au pied du Mont Ararat (largement reconnu comme étant le lieu où s’est posé l’Arche de Noé), ainsi que sur le maintien et l’évolution de leurs traditions lors de l’expansion de la communauté arménienne dans le monde entier.

Plus de 140 objets – somptueux reliquaires dorés, manuscrits richement enluminés, tissus rares, tissus d’ameublement liturgiques faits d’étoffes précieuses, khachkars (pierres à croix), maquettes d’églises, livres imprimés – témoignent de l’imagerie caractéristique provenant à la fois de l’Arménie elle-même mais aussi d’autres grands sites arméniens, du royaume de Cilicie en Méditerranée à la Nouvelle Djoulfa, dans la Perse des Safavides. Des comparaisons d’œuvres choisies mettent en lumière les échanges entre les arméniens et d’autres cultures.

La quasi-totalité des œuvres présentées proviennent de grandes institutions arméniennes dépositaires de leur culture. La plupart sont exposées aux États-Unis pour la première fois ; beaucoup d’entre elles n’avaient pas voyagé depuis des siècles.

L’exposition est rendue possible grâce au Hagop Kevorkian Fund.  

Elle bénéficie également du soutien de la Carnegie Corporation of New York, du Michel David-Weill Fund, de l’Armenian General Benevolent Union, de la Giorgi Family Foundation, de la Hirair and Anna Hovnanian Foundation, de la Karagheusian Foundation, de la famille de Nazar et Artemis Nazarian, de la Ruddock Foundation for the Arts, de la famille Strauch Kulhanjian et de la Paros Foundation, d’Aso O. Tavitian et du National Endowment for the Arts. 

Armenia! met en avant les plus importants centres de productions arméniens au-delà de ses frontières, à l’est comme à l’ouest. Au sein de l’exposition figurent des représentations d’arméniens allant de l’autoportrait aux portraits de souverains et de souveraines, de mécènes, de théologiens et d’historiens. Une attention toute particulière est accordée aux œuvres d’artistes de renom tels que T'oros Roslin, Sargis Pidzak, Toros Taronatsi et Hakob de Djoulfa qui travaillaient en Arménie, dans le royaume de Cilicie et à la Nouvelle-Djoulfa.

Plus de la moitié des œuvres font l’objet d’un prêt de la République d’Arménie avec le soutien du ministère de la Culture. Plusieurs objets liturgiques imposants proviennent du Saint-Siège d'Etchmiadzin, principal siège de l’Église arménienne. Le « Matenadaran » Mesrop Masthots Institute – Museum of Ancient Manuscripts d’Erevan a sorti de ses collections d’exceptionnels manuscrits et le Musée d’histoire d’Arménie, de monumentales sculptures religieuses. Le Catholicossat de Cilicie au Liban, le Patriarcat arménien de Jérusalem et la congrégation des mekhitaristes de Venise complètent la liste de grandes communautés religieuses ayant prêtés des œuvres d’exception. Plusieurs œuvres soigneusement choisies sont la propriété de collections d’art arménien : le musée Calouste Gulbenkian au Portugal et en Amérique, le Diocèse de l’Est de l’Eglise arménienne (New York), l’Armenian Museum of America (Boston) ainsi que l’Alex and Marie Manoogian Museum (Southfield dans le Michigan). D’autres œuvres appartiennent au Met ou à d’autres institutions américaines et européennes.

Des photographies de monuments et de paysages arméniens réalisées par le célèbre artiste arméno-canadien Hrair Hawk Khatcherian et son assistante Lilit Khachatryan replaceront les œuvres dans leur contexte au sein de l’exposition, dans le catalogue et sur la page internet dédiée.


L’exposition a été organisée par Helen C. Evans, conservatrice d’art byzantin du musée Mary and Michael Jaharis, avec le soutien de C. Griffith Mann, conservateur en chef Michel David-Weill responsable de la collection d’art médiéval et des  Met Cloisters, et l’aide de Constance Alchermes, assistante de recherche.

La scénographie a été réalisée par Michael Langley, responsable scénographie ; le graphisme est signé Chelsea Amato et Morton Lebigre, graphistes ; l’éclairage a été conçu par Clint Ross Coller et Richard Lichte, responsables de l’éclairage.

Catalogue et activités

Armenia! s’accompagne d’un catalogue somptueusement illustré s’adressant tant au grand public qu’aux spécialistes. Il est publié par le Metropolitan Museum of Art et distribué par Yale University Press. Il sera disponible à la boutique du Met (65 $, format relié).

Le catalogue a vu le jour grâce à la Andrew W. Mellon Foundation, la Tianaderrah Foundation, le Michel David-Weill Fund, le Dolores Zohrab Liebmann Fund, la Ruben Vardanyan and Veronika Zonabend Family Foundation, Joanne A. Peterson, l’Armenian Center de la Columbia University, Elizabeth et Jean-Marie Eveillard, ainsi qu’à Souren G. et Carol R. K. Ouzounian.

Un audioguide, faisant partie du programme d’audioguides du musée, est disponible à la location (7 $, 6 $ pour les membres, 5 $ pour les enfants de moins de 12 ans.)

L’audioguide est sponsorisé par Bloomberg Philanthropies.

Plusieurs événements sont prévus en complément de l’exposition.

Helen C. Evans, commissaire de l’exposition, retracera l’expansion vers l’ouest de l’art et de la culture arménienne du IVe au XVIIe siècle lors d’une conférence MetSpeaks (18 octobre, 18h30). Billets à partir de 30 $.

Un concert de musique arménienne populaire et liturgique sera donné dans l’exposition par Gevorg Dabaghyan au duduk, un instrument à vent à anche double (26 octobre, 17h30 et 18h30). Compris dans le prix du billet d’entrée au musée.

A l’occasion de The Sound of Stone (Le son de la pierre), performance multimédia programmée dans le cadre du MetLiveArts et conçue par le plasticien Kevork Mourad, ce dernier dessinera en direct accompagné de musique composée par le pianiste Vache Sharafyan (2 novembre, 19h). Billets à partir de 50 $.

L’ensemble international Axion Estin Foundation Chanters célèbrera le Noël arménien en interprétant lors de courts concerts des chants typiques de cette période de l’année, issus des traditions orthodoxe orientale et arménienne (4 janvier, 14h, 16h, 18h). Compris dans le prix du billet d’entrée au musée.

La couleur de la grenade, film de 1969 racontant la vie de Sayat Nova, troubadour arménien ayant vécu au XVIIe siècle, sera projeté avec l’accompagnement d’une musique nouvellement composée par Mary Kouyoumdjian et jouée en directe. La séance sera suivie d’une table ronde (11 janvier). Consultez le site internet du Met pour connaître les horaires et le prix des billets. 

Parmi les autres événements, notons le programme Art Explore (Explorer l’art), destiné aux enfants de 11 à 14 ans (4 novembre, 13h-15h) ainsi qu’une série de visites guidées de l’exposition ouvertes à tous. Art Explore est gratuit, mais il est conseillé de réserver. Les exposés donnés dans les galeries sont quant à elle comprises dans le prix du billet d’entrée ; nombre de places limité. Des autocollants pour les exposés  sont distribués à tous les points d’accueil, d’information et aux comptoirs « Adhésion ».

Ces activités sont rendues possibles grâce à l’Armenian General Benevolent Union.

Un symposium international se penchera sur le rôle joués par les Arméniens dans le développement du commerce international au Moyen-Âge et les influences sur leurs propres traditions artistiques qui en ont découlé. (3 novembre, 10h30-17h).

Ce symposium est rendu possible grâce l’Armenian Center de la Columbia University.

L’exposition bénéficiera d’une présence sur le site internet du Met ainsi que sur Facebook et Twitter via le hashtag #MetArmenia. Le blog Now at The Met (Actuellement au Met) présentera des articles sur les recherches menées en Arménie à l’occasion de cette exposition, sur l’expérience d’une jeune historienne de l’art ayant fait partie de l’équipe et sur le travail de création d’une carte pour l’exposition. On y verra également une carte arménienne trouvée en Italie.

Des vêpres rappelant les croyances religieuses et les traditions ayant inspirées certaines œuvres de l’exposition seront spécialement célébrées à la cathédrale arménienne St Vartan (27 novembre, 19h30). Elles seront ouvertes à tous. La cathédrale, l’un des édifices religieux les plus remarquables de New York, a été construite sur le modèle de l’église de St Hripsime, en Arménie, datant du VIIe siècle.

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Former announcement:

Former discussions:

Reply by the author:

The other book:



The Origins of Russian Music : Introduction to the Kondakarian Notation (Revised and Translated by Neil Moran with a Chapter On Relationships between Latin, Byzantine and Slavonic Church Music)



Link zu diesem Datensatz
TitelThe origins of Russian music : introduction to the Kondakarian notation / Constantin Floros. Rev., transl. by Neil K. Moran
With a chapter on relationships between Latin, Byzantine and Slavonic church music / by Neil K. Moran
Person(en)Floros, Constantin (Verfasser)
Moran, Neil K.
VerlagFrankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang
Zeitliche EinordnungErscheinungsdatum: 2009
Umfang/FormatXIX, 311 S. : Ill., Noten ; 21 cm
ISBN/Einband/Preis978-3-631-59553-4 Pp. : EUR 49.80
Sprache(n)Englisch (eng), Originalsprache(n): Einzelne andere Sprachen (und)
AnmerkungenLiteraturverz. S. 288 - 299
DDC-Notation780.1480947 [DDC22ger]
Sachgruppe(n)780 Musik
Weiterführende InformationenInhaltsverzeichnis



Lingas, A., 2012. The origins of Russian music. Introduction to the Kondakarian Notation. Revised, translated, and with a chapter on relationships between Latin, Byzantine and Slavonic church music by Neil K. Moran. By Constantin Floros. Pp. xix+312 incl. 16 figs, 3 catalogues of neumes, 25 musical examples and 60 tables. Frankfurt-am-Main: Peter Lang, 2009. £41.90. 978 3 631 59553 4. The Journal of Ecclesiastical History, 63(01), 133–134. doi:10.1017/S0022046911001965.
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The Ottoman History Podcast

revolvingbanner4hamse7.pngPlease have a look at:

me+emrah+april+2011.JPGChris Gratien and Emrah Safa Gürkan
Georgetown University, April 2011

Ottoman History Podcast began in March of 2011. It was a modest experiment aimed at finding an alternative form of academic production that explores new and more accessible media and allows for a collaborative approach. Since then we have grown to be one of the largest digital resources for academic discussion concerning the Ottoman Empire and the modern Middle East. Our recorded interviews and lectures, while still largely academic in tone, provide serious and constructive conversation in an accessible and almost human format that is easy on the brain and eyes. For more about our mission, see our project overview.

Click here for a complete episode guide.
The Ottoman History Podcast website is customized and edited by Chris Gratien. To read about our revolving banner images, see this short summary.

As of January 2017, Ottoman History Podcast is produced by an editorial team. To learn more, read about our team members here.
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Turkic Folkmusic Archives of János Sipos

This trilingual (Hungarian, English, Turkish) website presents a significant part of János Sipos’s Turkic folk music collection recorded since 1987.

On the left side we get information of the archives, the author, a Hungarian-Turkic comparative music research and much more.

Above we focused on the actual presentation of the collected material.

      Search allows us seeking out video and audio recordings according to genre, lyrics, musical instruments, informants and place of recordings. The “identifier” selects a whole record, for example “SJ_AZE_01_DAT” lists the complete material of the first Azerbaijani cassette.

      Under E-books we can read e-books on the Kyrgyz and the Karachay folk music.

      Books presents the PDF and the ISSUU format of János Sipos’s books. In the latter case, use full-screen mode, and return to the website by closing the ISSUU interface. Here and under Articles we are working on attaching video and audio recordings to the books.

      Studies presents us János Sipos’s articles in PDF form (use Ctrl + F to search for subject titles).

      In Audio, Video and Photo archives each recording is presented in unedited form. Later on, these recordings will be enlarged by a “map of recordings” giving a better orientation.

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The Byzantine Turks, 1204-1461

Rustam Shukurov, Moscow State University

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Nachbyzantinischer liturgischer Gesang im Wandel:

Studien zu den Musikhandschriften des Supplementum graecum der Österreichischen Nationalbibliothek


ISBN 978-3-7001-3543-2
Print Edition
ISBN 978-3-7001-3989-8
Online Edition
Veröffentlichungen zur Byzanzforschung 12 
Denkschriften der phil.-hist. Klasse  358 
2007,  378 Seiten, 64 Abb. auf 23 Tafeln, 29,7x21cm, broschiert
€  124,–   
Open access

Nina-Maria Wanek
ist Dozentin am Institut für Musikwissenschaft der Universität Wien, sowie an der Aufarbeitung des Briefnachlasses von Egon Wellesz an der Musiksammlung der Österreichischen Nationalbibliothek

Die vorliegende Publikation bietet einen fundierten Überblick über die insgesamt achtzehn Musikhandschriften des Supplementum graecum der Österreichischen Nationalbibliothek. Diese Codices sind deshalb von großer Bedeutung für die Forschung, da ihre Entstehungszeit einen Zeitraum vom 15. bis zum 19. Jahrhundert abdeckt. Darüber hinaus zeichnet sie eine Vielfalt an Notationsformen, musikalischen Traditionen, Gesangsgattungen und Komponisten aus. Anhand dieser Codices lässt sich somit die Evolution der musikliturgischen Bücher rekonstruieren, wie auch die unterschiedlichen Kompositionsstile und die einzelnen Entwicklungsstufen der Notenschrift bis hin zur Reform von 1814. Der erste Teil des Buches bringt einen Überblick über die einzelnen Handschriften, ihren Aufbau und ihr Repertoire, während sich der zweite der Meloden und ihren biographischen Details widmet. Im Mittelpunkt der Arbeit steht im dritten Teil die Analyse ausgewählter Gesangsgattungen, wie jene des Anastasimatarion, der elf Heothina sowie der Cherubika. Den Abschluss bildet ein spezielles Kapitel über die sogenannte „Papadike“, die als eine Art kurze Einführung in die byzantinische Notation vielen der Handschriften vorangestellt ist. Abgerundet wird die Publikation durch ein detailliertes Verzeichnis der über 1600 verschiedenen Gesänge und ihrer Komponisten, sowie durch einen ausführlichen Tafelteil.
Gedruckt mit Unterstützung des Fonds zur Förderung der wissenschaftlichen Forschung

The publication gives a detailed overview over the eighteen liturgical manuscripts of the "Supplementum graecum" at the Austrian National Library. These manuscripts are of great interest for the research of music in general as they date from 12th to the 19th centuries. They contain a great variety of notational practices, musical traditions, genres and composers. With the help of these manuscripts not only the evolution of music liturgical books can be reconstructed but also the compositional styles and the various stages of development of the different notations until the reform of 1814 can be traced. The first part of the book contains the overview over the individual manuscripts, their structure and their repertoire, whereas the second part is dedicated to the composers and their biographical details. The third and central part of the book brings analyses of selected genres, such as the "Anastasimatarion", the eleven "Heothina" and the "Cherubika". A special chapter deals with the so-called "Papadike" – a sort of short introduction to Byzantine notation, which can be found at the beginning of most of the manuscripts. The publication also includes a detailed register of the more than 1600 chants and their composers, as well as colour plates of parts of the manuscripts.

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9126132266?profile=originalManuscript reproduction on the cover
Gritsanis 8, 323 (17th c.):

Ἐντεύθεν ἄρχονται καὶ μερικὰ τραγώδια καὶ μουραμπάδες
From here start some songs and murhabbas

Kalaitzidis, Kyriakos (Engl. translation by Kyriaki and Dimitris Koubaroulis)
Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century)
Istanbuler Texte und Studien, 28.
Orient-Institut Istanbul
Würzburg: Ergon, 2012.
356 pages with many reproductions from manuscripts – 170 x 240 mm. Hardcover
ISBN 978-3-89913-947-1



Martin Greve (Orient-Institut):

The idea for this English edition of Kyriakos Kalaitzidis’ Ph.D. thesis came into being during the conference entitled "Writing the History of "Ottoman Music," which was organized by the Orient-Institut Istanbul in cooperation with the State Conservatory for Turkish Music of the Technical University Istanbul in November 2011. It was planned to invite Kyriakos Kalaitzidis to share his experience as a performing musician, but he proposed a paper on Ottoman music in post-Byzantine music manuscripts. As it turned out almost none of the Turkish and international experts on Ottoman music in attendance had ever heard about this research and these sources. The paper itself caused a true sensation: By mining diverse post-Byzantine manuscript collections in libraries and monasteries for the first time, Kyriakos Kalaitzidis discovered about 4,200 pages of previously unknown notations of secular Greek, Ottoman and Persian music. After the publication of two known collections of Ottoman art music prior to the 19th century, Ali Ufki’s Mecmua and the collection of Cantemir, these new sources promise a third outstanding historical corpus of compositions.

Presentation in 2013:

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Please have a look at the hompage of the « Institut du Moyen-Âge Grec et Latin »:

If you click on "Access CIMAGL," you will have open access to all editions until 2015 (including Raasted's edition of the Hagiopolites, vol. 45, and Maria Alexandru's critical edition of Ioannes Koukouzeles' "Mega Ison," published in vol. 66)

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This Sunday about 3 pm or to any later time you can listen to a field recording of a Zikir ceremony which I made last September in the oldest Cerrahi Tekke founded by Nurettin al-Cerrahî in Karagümrük (Istanbul) in 1703.

9126136278?profile=originalJust visit this link and click on the loudspeaker:

9126136655?profile=originalThe Karagümrük district lies up the hill between Fener and the ancient Byzantine wall, and near the stadion there is a street called "Nurettin Tekke Sokak" (the street of Nurettin's brotherhood). As a 19-year-old man Nurettin al-Cerrahî (Nureddin al-Jerrahi) was on his way to Egypt, where he was chosen to work as a Kadi for the Ottoman administration. Stemming from a highly privileged family of Ottoman Istanbul, he visited a Zikir ceremony of the Halveti Sufis in Üsküdar (a district at the Asian coastline of Istanbul in front of Beşiktaş). He was addressed by the Sheykh Alauddin Kostendili to become one of his followers. He did not leave Istanbul, instead he was initiated to Sufism by Kostendili. After 6 years of instruction, he finally became a sheykh himself and he was asked to go to Karagümrük and to found an own brotherhood, which is known until today as "Cerrahiyye".

9126136888?profile=originalThe Zikir ceremony is still the central form celebrated by this brotherhood, but it has many different episodes full of music and dance.

9126137482?profile=originalIn 1991, after a long clandestine period since the foundation of the secular Republic Turkey, the first Cerrahi Tekke became an important institution for Ottoman traditional music. The State Ensemble for Classical Turkish Music was founded and rehearsed regularly in the Tekke, and performed weekly concerts in its ceremonial hall.


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Sa contribution pour la conférence à Genève 2011 est publiée maintenant:

Alexandru, Maria. 2013. “Byzantine kalophonia, illustrated by St. John Koukouzeles’ piece Φρούρηζον πανένδοξε in honour of St. Demetrios from Thessaloniki. Issues of notation and analysis.” Studii Şi Cercetări de Istoria Artei. Teatru, Muzică, Cinematografie 49-50. Serie Novă 5-6: 57–105.



The present paper explores some aspects of the so-called kalophonic musical style which flourished during the last centuries of Byzantium. It focuses on a masterpiece by St. John Koukouzeles, namely the epibole Φρούρησον πανένδοξε (Ο Allglorious, keep watch over the city), in honor of St. Demetrios, the protector of Thessaloniki, and is complementary to some previous musicological analysis of this piece by Stephania Meralidou. After a brief presentation of the old sticheron Ἔχει μὲν ἡ θειοτάτη σου ψυχή, whereof St. John takes his departing point for the kalophonic composition, the paper concentrates on a multi-level analysis of the epibole, firstly on the ground of the late middle-Byzantine notation, according to the ms Vlatadon 46 (A.D. 1551), and secondly by comparing the old notation to its slow exegesis in new-Byzantine notation by Chourmouzios Chartophylax (score and recording issued by the Greek Byzantine Choir, dir. L. Angelopoulos).

The analysis comprises several approaches like textual, music-architectural, modal, micro-syntactical, rhetorical, macro-syntactical, generative, comparative (cf. plates 7-12, 17-20. Since this material is also suitable for didactic purposes, the different plates are given again in the appendix, in form of exercises to be filled in by interested students).

The different analytical approaches reveal the highly refined melodic fabric of kalophonia with its plethora of theseis-combinations, the extensive use of music-rhetorical devices, basic norms of the complex art of musical exegesis in this style, as well as the beauty of this kind of melodies, which have been acknowledged to represent the ‘zenith’ of Byzantine music (Wellesz).

Keywords: Kalophonia, Musicological analysis of Byzantine chant, Hesychasm, St. Demetrios of Thessaloniki, Exegesis, Sectio aurea

Interpretation by the Greek-Byzantine Choir

Μέλος Αγίου Ιωάννου Κουκουζέλους. Ψάλλει η ΕΛ.ΒΥ.Χ. υπό την διεύθυνση του Λυκούργου Αγγελόπουλου

"Φρούρησον πανένδοξε την σε μεγαλύνουσαν πόλιν από των εναντίον προσβολών,
παρρησίαν ως έχων,
προς Χριστόν τον σε δοξάσαντα.
Αοίδιμε Δημήτριε,
φρούρησον την σε τιμώσαν πόλιν,
τους άνακτας συμμάχησον,
την πόλιν σου στερέωσον,
τους σε τιμώντας ευσεβώς αοίδιμε Δημήτριε
(κράτημα τε -ρι - ρεμ)
παρρησίαν ως έχων προς Χριστόν τον σε δοξάσαντα."

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I would like to announce another important publication which, unfortunately, follows a symposium with 5 years delay!

Wolfram, G. & Troelsgård, Chr. eds., 2013. Tradition and Innovation in Late Byzantine and Postbyzantine Liturgical Chant II: Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October - 3 November 2008. In Eastern Christian Studies 17. Leuven, Paris, Walpole: Peeters.


It is already the second conference dedicated to the topic (see the proceedings of 2005 at the publisher Peeters and at Google Books), and Christian Troelsgård wrote in the foreword about these two symposia:

The question of the relationship between the actual musical traditions of the Greek Church of today and the melodies contained in the medieval manuscripts with Byzantine neumatic notation, has very often been raised, and a qualified answer can only be given through a precise study of the transmission and transformations of the melodies and the whole musical heritage during the intermediate centuries. At the 2005 symposium, more general studies of the development of Byzantine chant repertoires and a number of case studies spanning the 14th through the 19th centuries were presented. In this volume, the study of the development of Byzantine-Greek Church music is supplemented with a handful of papers on the development of yet other genres, and with a focus on the education of cantors (psaltai). It is precisely the role of the master cantors, the so-called maïstores, their teachings, treatises, innovations and their relations with the pupils, that is treated in a number of papers in the present volume. As has been learned from these symposia, the evolution of the didactic tradition appears to be one of the key points for understanding phenomena of transmission and development in Byzantine chant in general.



What is the relation between the Greek ecclesiastical chant traditions of today and Byzantine chant? That question can only be answered through a meticulous study of the transmission and transformation of both the melodies, the genres, and the whole musical culture of Late Byzantium and the subsequent centuries.

This book presents a handful of studies focussing on both the development of new musical styles, such as the ornamented Kalofonia ('Beautiful sound'), and on the education of the cantors, the psaltai. The role of the master cantors, the maïstores, their teachings, treatises, traditions, innovations, compositions, and the various modes of interpretation (exegesis) are among the topics covered by this collection of papers, written by specialist scholars of Byzantine chant history.


Table of Contents

See pdf at the publishers page:


Achilleas Chaldaiakis' contribution about the Eunuch Protopsaltis Philanthropinos

Here with facsimiles in colour:


Emmanouil Giannopoulos' contribution about chant treatises in 17th- and 18th-century manuscripts

Please visit his homepage:,%20Hernen%202008.pdf



Gerlach, O., 2014. Review: Gerda Wolfram – Christian Troelsgård, ed. Tradition and Innovation in Late- and Postbyzantine Liturgical Chant II: Proceedings of the Congress Held at Hernen Castle, the Netherlands, 30 October - 3 November 2008. Eastern Christian Studies 17. Leuven, Paris, Walpole: Peeters, 2013. Jahrbuch der Österreichischen Byzantinistik, 64, pp.315–318. doi:10.1553/joeb64s285


Here a quotation:

These are the second proceedings on the same topic, which includes the bridge between Byzantine chant and the living traditions of Orthodox chant, a bone of contention between “Occidental” and “Greek” scholars. And unlike the first time, its focus is on the education of the cantor (1–122) and on more specific studies of chant (123-316), indeed with two exceptions mainly of the sticheraric genre (the sticherarion was the first notated chant book created since the end of the 10th century by the reformers of the Studiu Monastery). [...]

The latter (“the new embellishment of the sticherarion”, gr. καινοφανής καλλωπισμός) is the topic of Flora Kritikou’s philological study of 4 layers (215–251): 14th-­century sticheraria, 15th-­ and 16th-­century sticheraria ascribed to Manuel Chrysaphes (GR-­AOi 950, 954), 17th-­century sticheraria ascribed to Georgios Raidestinos I (GR-­AOka 220), and those ascribed to his pupil Panagiotes the New Chrysaphes (ET-­MSsc gr. 1238–1239). Unlike Wolfram and Wanek her study is less focussed on a comparison of individual compositions than a study of how the great signs had been transcribed. The intention to keep the old method to do the thesis of the sticheraric melos created a new combination of hypostaseis which cannot be found in the earlier manuscripts. During the process of 200 years, these very signs became “innovative composers”. One might miss a comparison with the transcription of the old sticherarion by Chourmouzios whose exegeseis were so long, that abridgements had to be invented between Petros Peloponnesios and Konstantinos Pringos (another 200 years). [...]

The proceedings of the symposium in 2008 are a striking document, how experts of Byzantine chant have finally proceeded with scruples and with an increasing questioning of historiographical constructions referred to those periods, which connect Byzantine traditions with the living ones of Orthodox chant. [...] The vivid exchanges between various traditions of religious chant and across the borders of different religions, as they do still exist within the traditional communities around Galata and other districts of Istanbul are definitely one source of inspiration. A more profound understanding of the Byzantine heritage presumes, that both sides put away cut and dried opinions which had far too often been an obstacle within the study of “post-­Byzantine chant”, insofar as they did not simply prevent to study it at all.

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A collection of essays was published by Nicolae Gheorghiţă:

"Byzantine Chant between Constantinople and the Danubian Principalities"

Bucarest: Editura Sophia, 2010.

9126127896?profile=originalPresentation of the book:

Please use this link to buy the book directly at the publisher:


I. Byzantine Chant in the Romanian Principalities during
the Phanariot Period (1711 – 1821): 1
Proceedings of the Second International Conference on Orthodox
Church Music, The International Society of Orthodox Church Music &
University of Joensuu, Eds. Ivan Moody and Maria Takala-Roszczenko,
Finland (2009), pp. 65-97


II. Secular Music at the Romanian Princely Courts during
the Phanariot Epoch (1711 – 1821): 37
NEW EUROPE COLLEGE YEARBOOK (2008-2009 [forthcoming])


III. Dionysios Photeinos (Moraitēs) (b. 1777 – d. 10 Oct 1821): 83


IV. Nikēphoros Kantouniarēs (Nautouniarēs)
(b. c. 1770 – d. c. 1830): 87


V. The Anastasimatarion of Dionysios Photeinos (1777 – 1821): 91
The Iaşi Centre for Byzantine Studies, pp. 99 – 109


VI. Διονύσιος Φωτεινός: Τὸ Ἀναστασιματάριον: 103
ΠΟΛΥΦΩΝΙΑ (POLYPHONY) 16 (Spring 2010), Athens, pp. 88 – 111


VII. Συντακτικές καὶ μορφολογικές παρατηρήσεις στὸ
Ἀναστασιματάριο τοῦ Διονυσίου Φωτεινοῦ· ἦχος βαρύς: 127
OKTAECHIA, Acta of the Third International Congress of Byzantine
Musicology and Psaltic Art, Ed. Gregorios Stathis, Athens, 17-21
October 2006, Holy Synod of the Church of Greece, Institute of Byzantine
Musicology, Athens (2010), pp. 351 – 366


VIII. Byzantine Music Treatises in the Manuscripts Fund in
Romania. The Case of Gr. MS no. 9 from the National
Archives in Drobeta Turnu – Severin: 135
held at Hernen Castle, the Netherlands [30 October – 3 November 2008]


IX. Οι καλλιτεχνικές και μουσικολογικές σπουδές
Βυζαντινής Μουσικής στη Ρουμανία: 163
– Εξομοίωση – Μεταπτυχιακές Σπουδές, Thessaloniki, 9 – 10 December
2004 (forthcoming)


X. Tradition and Renewal in the Romanian Byzantine Music
Education: 167
Εκπαίδευση – Καλλιτεχνικό έργο, Thessaloniki, 30 – 31 October 2003


XI. Some Observations on the Structure of the «Nouthesia pros
tous mathitas» by Chrysaphes the Younger from the Gr. MS no.
840 in the Library of the Romanian Academy (A.D. 1821): 171
ACTA MUSICAE BYZANTINAE 7 (May 2004), The Iaşi Centre for
Byzantine Studies, pp. 47 – 59. Republished in THEORY AND PRAXIS
THE BYZANTINE MELOPOEIA, Acta of the Second International
Congress of Byzantine Musicology and Psaltic Art, Ed. Gregorios Stathis,
Athens, 15-19 October 2003, Holy Synod of the Church of Greece, Institute of
Byzantine Musicology, Athens (2006), pp. 271 – 289


XII. The kalophonic Idiom in the Second Half of the 18th Century.
The Koinonika Αἰνεῖτε τὸν Κύριον in the First Authentic
Mode: 191
ACTA MUSICAE BYZANTINAE 5 (May 2003), The Iaşi Centre for
Byzantine Studies, pp. 45 – 50


XIII. The Structure of Sunday Koinonikon in the Post – Byzantine
Era: 201
held at Hernen Castle, the Netherlands, in April 2005. EASTERN
CHRISTIAN STUDIES, vol. 8 (ed. by Gerda WOLFRAM), A. A. Bredius
Foundation. PEETERS (Leuven – Paris – Dudley), MA (2008), pp. 331-

XIV. Observations on the Technique of Transcription (εξήγησις)
into the New Method of Analytical Music Notation of the
Sunday Koinonikon of the 18th Century: 225
“Festschrift zu Gerda Wolframs 70. Geburtstag”. “Edition Praesens,
Wien” (forthcoming 2011)

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I would like to announce another publication of this year in the field of Byzantine and Orthodox Chant.


You can buy or review this book here:


The sticherarion is one of the most important chant books since its creation as a fully notated chant book during the 10th century (the genre of the chant sticheron is much older and can even be traced back to the earliest papyrus fragments of the 6th century) until today, when it still represents one of the main genres of Orthodox chant, defined according to the New Method by its own formulaic repertory within the Octoechos and its own tempo.

Because the study is focussed on the late period (since the reform of Ioannes Koukouzeles and his creation of an alternative kalophonic method during the 14th century), it is of particular interest for Orthodox chanters who would like to understand the connection between the "old sticherarion", a mysterious voluminous book called "mathematarion" ("exercise book" as the alternative name for the sticherarion kalophonikon), and the printed editions of the doxastaria today, which are differentiated between a "short" (syntomon), a "moderate" (argosyntomon), and a "long version" (argon). The author does treat the arrangements of the "old sticherarion" by the 17th-century composers Panagiotes the New Chrysaphes and Germanos of New Patras who became the most representative agents of the Byzantine sticherarion for Chourmouzios the Archivist's transcription according to the New Method (around 1814). 

Hopefully the book will answer a lot of open questions. The sticherarion represents a very huge collection of chant, so Nina-Maria Wanek's study has its focus on the sticheraria of August (menaion) concerning the repertory and on the collections of three libraries concerning the sources: the National Libraries of Austria (Vienna), Greece (Athens), and the Bayerische Staatsbibliothek (Munich, a reproduction of cgm 626, fol. 305r,  is already presented on the hard cover).

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9126129662?profile=originalMaintenant le libre est arrivé!!!

Il s'agît d'une collection des articles. Visitez ma nouvelle page, svp. Vous trouvez aussi quelques extraits:

Et si vous avez intéresse, là vous pouvez aussi ordonner le livre.

Il contient aussi un CD supplément avec les enregistrements au champs que j'ai fait en Bulgarie.

Je voudrais remercier pour tous les échanges que je pourrais faire dans ce réseau. Ils m'ont aidé beaucoup dans la révision de mes articles.

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