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Byzantine music (Greek: Βυζαντινή μουσική, romanized: Vyzantiné mousiké) originally consisted of the songs and hymns composed for the courtly and religious ceremonial of the Byzantine Empire and continued, after the fall of Constantinople in 1453, in the traditions of the sung Byzantine chant of Eastern Orthodox liturgy.
The names ascribed to the eight tones differ in translations into Church Slavonic.The Slavonic system counted the plagioi echoi as glasa 5, 6, 7, and 8. For reference, these differences are shown here together with the Ancient Greek names of the octave species according to the Hagiopolites [2] (see Hagiopolitan Octoechos) and to the chant treatises and tonaries of Carolingian theorists.
A canon (Greek: κανών, romanized: kanōn) is a structured hymn used in a number of Eastern Orthodox services. It consists of nine odes , based on the Biblical canticles . Most of these are found in the Old Testament , but the final ode is taken from the Magnificat and Song of Zechariah from the New Testament .
A kontakion (Greek κοντάκιον, kondákion, plural κοντάκια, kondákia) is a form of hymn in the Byzantine liturgical tradition.. The kontakion form originated in the Byzantine Empire around the 6th century and is closely associated with Saint Romanos the Melodist (d. 556).
Hence, several manuals of Orthodox Chant mentioned that the enharmonic use of intervals had been spread over all different genera (Chrysanthos discussed these differences within the genus as "chroa"), but several Phanariotes defined this general phenomenon by the use of the word "harmony" (ἁρμονία) which was the Greek term for music and ...
Students of Orthodox chant today often study the history of Byzantine chant in three periods, identified by the names John of Damascus (675/676-749) as the "beginning", John Koukouzeles (c. 1280–1360) as the "flower" (Papadic Octoechos), and Chrysanthos of Madytos (c. 1770-c. 1840) as the master of the living tradition today (Neobyzantine Octoechos).
Presently, she chants at St. Olympia Orthodox Church, Potsdam, New York, and Holy Trinity Greek Orthodox Cathedral, Camp Hill, Pennsylvania. Suchy-Pilalis' research in harp includes historical harps. She is a specialist on the life and compositions of Madame Delaval [ 6 ] and has restored a single-action Érard harp specifically for ...
It is widely believed that ison was first introduced in Byzantine practice in the 16th century. [1] It stresses or supports the melody. [2] Before that Greek church chanting was purely monophonic (as it still remains in some more archaic traditions, such as Kyiv's Znamenny chant).