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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.
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).
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]
Kassia, Cassia or Kassiani (Greek: Κασσιανή, romanized: Kassianí, pronounced; c. 810 – before 865) was a Byzantine-Greek composer, hymnographer and poet. [1] She holds a unique place in Byzantine music as the only known woman whose music appears in the Byzantine liturgy. [2]
Romanos the Melodist (Greek: Ῥωμανὸς ὁ Μελωδός; late 5th-century – after 555) was a Byzantine hymnographer and composer, [1] who is a central early figure in the history of Byzantine music.
The only woman Byzantine composer whose work is included in the Byzantine liturgy. The most important and renowned woman in Byzantine music. She had a letter correspondence with Theodore the Studite [30] [31] Joseph the Hymnographer: c. 816 – 886 Various kanōns, of which 525 survive. Contributed to the Parakletike [32] [33] Thekla fl. 9th ...
He is the firstborn child in a large Greek family. He studied Byzantine music under the protopsaltes (leading cantor) George Michalis. He became a professional cantor when he was 13 years old, and at the age of 15 received an award in Byzantine music from the Greek Ministry of Education. He subsequently moved to Athens. [3] [4]
Additionally, selected verses from the poem including the refrain were set to Byzantine musical notation by the Simonopetra Monastery of Mount Athos in Greece. The result was the hymn "Virgin Pure" in Byzantine Greek. The monastery published the work in a book titled Ψαλτήριον Τερπνὸν (Psaltirion Terpnon, "The Pleasant Psaltery").