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The Byzantine chant was added by UNESCO in 2019 to its list of Intangible Cultural Heritage "as a living art that has existed for almost 2,000 years, the Byzantine chant is a significant cultural tradition and comprehensive music system forming part of the common musical traditions that developed in the Byzantine Empire."
Byzantine rite in Italy - the tradition of the Italo-Greek-Albanian Church; Fr. Ronald Roberson's book The Eastern Christian Churches – A Brief Survey is the most up-to-date primer on these churches, available online at Catholic Near-East Welfare Association (CNEWA). Rites of the Catholic Church Giga-catholic website
The chant genre offertorium in traditions of Western plainchant was basically a copy of the Byzantine custom, but there it was a proper mass chant which changed regularly. [ 3 ] Although its liturgical concept already existed by the end of the 4th century (see the homily by Chrysostom quoted here), the cherubikon itself was created 200 years ...
Phos Hilaron (Koinē Greek: Φῶς Ἱλαρόν, romanized: Fōs Ilaron) is an ancient Christian hymn originally written in Koine Greek.Often referred to in the Western Church by its Latin title Lumen Hilare, it has been translated into English as O Gladsome Light.
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).
The Paschal troparion or Christos anesti (Koinē Greek: Χριστὸς ἀνέστη) is the characteristic troparion for the celebration of Pascha (Easter) in the Byzantine Rite. Like most troparia, it is a brief stanza often used as a refrain between the verses of a psalm, but is also used on its own. It is sung in the first plagal (or fifth ...
Whereas in Gregorian chant a mode referred to the classification of chant according to the local tonaries and the obligatory psalmody, the Byzantine echoi were rather defined by an oral tradition how to do the thesis of the melos, which included melodic patterns like the base degree , open or closed melodic endings or cadences (cadential ...
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.