Byzantine Chant - Revision history

FrJohn: /* External links */

2016-05-13T17:44:16Z

‎External links

Loukas12 at 14:18, May 13, 2016

2016-05-13T14:18:33Z

Loukas12: reorganized subsections and added some detail to the resurrectional services.

2016-05-13T14:17:16Z

reorganized subsections and added some detail to the resurrectional services.

Loukas12: The name of the modes are proper nouns, and ought to be capitalized. I also added a little more background behind the cycle of the tones.

2016-05-13T12:57:32Z

The name of the modes are proper nouns, and ought to be capitalized. I also added a little more background behind the cycle of the tones.

BALawrence: /* External links */ updated Antiochian link

2013-03-04T20:32:20Z

‎External links: updated Antiochian link

Wsk: link

2011-11-04T20:59:26Z

link

Orthophil at 19:17, May 1, 2011

2011-05-01T19:17:10Z

Orthophil at 19:15, May 1, 2011

2011-05-01T19:15:44Z

Orthophil at 16:40, May 1, 2011

2011-05-01T16:40:42Z

Orthophil at 16:39, May 1, 2011

2011-05-01T16:39:41Z

← Older revision		Revision as of 17:44, May 13, 2016
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	[[fr:Chant byzantin]]		[[fr:Chant byzantin]]
	[[ro:Cântarea bizantină]]		[[ro:Cântarea bizantină]]
−	~~--[[User:Orthophil\|Orthophil]] 12:27, April 16, 2011 (UTC)~~

@@ Line 40: / Line 40: @@
 ==General Information==
 The current usage of Byzantine Chant is built upon eight modes (tones), each mode with its own specific tonality.
-====Resurrectional Cycle====
+===Resurrectional Cycle===
 The modes change sequentially from week to week, starting the Monday after the [[Sunday of St. Thomas]], with the First Mode (1).
@@ Line 52: / Line 50: @@
 At Great Vespers, typically the Kekragarion (Lord I Have Cried & Let My Prayer Arise), the following verses, the Stichera of the Resurrection and the Aposticha of the Resurrection all correspond to the mode of the week. Great Vespers is also dismissed with the Apolytikion (Troparion) of the Resurrection in the appropriate mode  of the week. Orthros and the Divine Liturgy on Sunday likewise follow the mode of the week with certain hymns and readings. Services starting with Sunday Vespers to the end of the week all rely on whatever daily commemoration and festal commemoration is called for in the liturgical rubrics.
-====Bright Week====
+===Bright Week===
 Within [[Bright Week]] itself, the mode changes each day, thus:
 :Bright Sunday – First Mode (1),
@@ Line 64: / Line 62: @@
 The Grave Mode (7) was chosen as the mode to be left out due to its heavier sound, considered least appropriate for the festal period among the eight modes. Since [[Pentecost]] falls on the Sunday when the grave mode would have been used in the normal sequence, the mode is once again skipped and the hymns of Pentecost are used. The sequence resumes the following week with Plagal of the Fourth Mode (8).
-====Festal Changes====
+===Festal Changes===
 In the time between a [[Great Feasts|great feast]] and its [[Leavetaking|leave-taking]], for example, during the week following Pentecost, the hymns of the feast are chanted rather than the hymns pertaining to the mode of the week.

@@ Line 42: / Line 42: @@
 ===Liturgical Cycle of the Modes===
 Within [[Bright Week]] itself, the mode changes each day, thus:
 :Bright Sunday – First Mode (1),
@@ Line 55: / Line 64: @@
 The Grave Mode (7) was chosen as the mode to be left out due to its heavier sound, considered least appropriate for the festal period among the eight modes. Since [[Pentecost]] falls on the Sunday when the grave mode would have been used in the normal sequence, the mode is once again skipped and the hymns of Pentecost are used. The sequence resumes the following week with Plagal of the Fourth Mode (8).
 In the time between a [[Great Feasts|great feast]] and its [[Leavetaking|leave-taking]], for example, during the week following Pentecost, the hymns of the feast are chanted rather than the hymns pertaining to the mode of the week.
 ===The scale===

@@ Line 41: / Line 41: @@
 ==General Information==
-The current usage of Byzantine chant is built upon eight modes (tones), each mode with its own specific tonality.  The modes change sequentially from week to week, starting the Monday after the [[Sunday of St. Thomas]], with mode 1.  Within [[Bright Week]] itself, the mode changes each day, thus:
+===Liturgical Cycle of the Modes===
-:Sunday – mode 1,
+The current usage of Byzantine Chant is built upon eight modes (tones), each mode with its own specific tonality.  The modes change sequentially from week to week, starting the Monday after the [[Sunday of St. Thomas]], with mode 1.
-The grave mode (7) was chosen as the mode to be left out due to its heavier sound, considered least appropriate for the festal period among the eight modes.  Since [[Pentecost]] falls on the Sunday when the grave mode would have been used in the normal sequence, the mode is once again skipped and the hymns of Pentecost are used.  The sequence resumes the following week with plagal of the fourth.
+Within [[Bright Week]] itself, the mode changes each day, thus:
 In the time between a [[Great Feasts|great feast]] and its [[Leavetaking|leave-taking]], for example, during the week following Pentecost, the hymns of the feast are chanted rather than the hymns pertaining to the mode of the week.
 ===The scale===

@@ Line 147: / Line 147: @@
 *[http://www.ecclesia.gr/Multimedia/Audio_index/audioindex_en.html Ecclesia] The chanting page of the official website of the Church of Greece
 *[http://www.kelfar.net/orthodoxiaradio/ Orthodoxia Radio] - Source for information and recordings of Byzantine chant as sung in the Church of Antioch
-*[http://www.jamilsamara.com/sacredmusic/music.asp Sacred Music (Orthodox Liturgical Music)] - Official Antiochian Archdiocese site for free music downloads, including many Byzantine chant
+*[http://www.antiochian.org/music/library Sacred Music Library] - Official Antiochian Archdiocese site for free music downloads, including many Byzantine chant
 *[http://chant.hchc.edu/ Learn Byzantine Chant] - A simplistic flash presentation from the [[Holy Cross Greek Orthodox School of Theology (Brookline, Massachusetts)|Holy Cross Greek Orthodox School of Theology]]
 *[http://www.byzantinechant.org/ Byzantine Chant Resources] - The homepage of the Byzantine Choir of St. George Antiochian Orthodox Cathedral in Pittsburgh, PA. There are many links for learning byzantine notation and for new and transcribed hymns in byzantine notation.

@@ Line 37: / Line 37: @@
 With the end of creative poetical composition, Byzantine chant entered its final period, devoted largely to the production of more elaborate musical settings of the traditional texts: either embellishments of the earlier simpler melodies, or original music in highly ornamental style. This was the work of the so-called ''Maistores'', "masters," of whom the most celebrated was St. [[John Koukouzeles]] (active ca. 1300), compared in Byzantine writings to St. John of Damascus himself, as an innovator in the development of chant. The multiplication of new settings and elaborations of the old continued in the centuries following the [[Fall of Constantinople]], until by the end of the eighteenth century the original musical repertory of the medieval musical manuscripts had been quite replaced by later compositions, and even the basic model system had undergone profound modification.
-[[Chrysanthos of Madytos]] (ca. 1770-1846), [[Gregory the Protopsaltes]], and [[Chourmouzios the Archivist]] were responsible for a much needed reform of the notation of Greek ecclesiastical music. Essentially, this work consisted of a simplification of the Byzantine musical symbols which, by the early 19th century, had become so complex and technical that only highly skilled chanters were able to interpret them correctly. Despite its numerous shortcomings the work of the three reformers is a landmark in the history of Greek Church music, since it introduced the system of neo-Byzantine music upon which are based the present-day chants of the Greek Orthodox Church.
+[[Chrysanthos of Madytos]] (ca. 1770-1846), [[Gregory Protopsaltes the Byzantios|Gregory the Protopsaltes]], and [[Chourmouzios the Archivist]] were responsible for a much needed reform of the notation of Greek ecclesiastical music. Essentially, this work consisted of a simplification of the Byzantine musical symbols which, by the early 19th century, had become so complex and technical that only highly skilled chanters were able to interpret them correctly. Despite its numerous shortcomings the work of the three reformers is a landmark in the history of Greek Church music, since it introduced the system of neo-Byzantine music upon which are based the present-day chants of the Greek Orthodox Church.
 ==General Information==

← Older revision		Revision as of 19:17, May 1, 2011
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−	'''~~Psalmody~~''' ~~(greek: ψαλμωδία), the Chant of Constantinople,~~ more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].	+	'''Chant of Constantinople''' more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].

	==History==		==History==

← Older revision		Revision as of 19:15, May 1, 2011
Line 1:		Line 1:
−	'''~~Psalmodia~~''' (greek: ψαλμωδία), the Chant of Constantinople, more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].	+	'''Psalmody''' (greek: ψαλμωδία), the Chant of Constantinople, more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].

	==History==		==History==

← Older revision		Revision as of 16:40, May 1, 2011
Line 1:		Line 1:
−	'''~~Chant of Constantinople~~''', ~~'''ψαλμωδία'''~~, or more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].	+	'''Psalmodia''' (greek: ψαλμωδία), the Chant of Constantinople, more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].

	==History==		==History==

← Older revision		Revision as of 16:39, May 1, 2011
Line 1:		Line 1:
−	'''~~ψαλμωδία~~''', ~~the~~'''~~Chant of Constantinople~~''', more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].	+	'''Chant of Constantinople''', '''ψαλμωδία''', or more commonly known as '''Byzantine Chant''' is the sacred [[Church Music\|chant]] of the Orthodox churches in the former lands of the eastern [[Byzantine Empire\|Roman Empire]] and many of their ecclesiastical offshoots beyond those areas. This tradition, encompassing the Greek-speaking world, developed in [[Eastern Roman Empire\|Byzantium]] from the establishment of its capital, Constantinople, in 330 until [[Fall of Constantinople\|its fall]] in 1453. It is undeniably of composite origin, drawing on the artistic and technical productions of the classical age, on [[Judaism\|Jewish]] music, and inspired by the monophonic vocal music that evolved in the early Christian cities of Alexandria, Antioch, and Ephesus. In the [[Orthodox Church]] today, many churches use Byzantine Chant as their primary musical tradition, including the Churches of [[Church of Constantinople\|Constantinople]], [[Church of Alexandria\|Alexandria]], [[Church of Antioch\|Antioch]], [[Church of Jerusalem\|Jerusalem]], [[Church of Serbia\|Serbia]], [[Church of Romania\|Romania]], [[Church of Bulgaria\|Bulgaria]], [[Church of Cyprus\|Cyprus]], [[Church of Greece\|Greece]], and [[Church of Albania\|Albania]].

	==History==		==History==