During the Easter Week of 1999, the composer John Tavener (1944-2013) visited the Holy Trinity Archdiocesan Greek Orthodox Cathedral in New York City, to attend a unique concert, that occured under the auspicies of His Eminence Archbishop Spyridon, featuring Tavener's sacred para- liturgical music, conducted by the late maestro Dino Anagnost (1944-2011). Using this event as a base, regarding its reception and meaning, this paper ventures to compose a theoretical context, in which the performance of sacred works can function in a sacred performance space, while focusing on the composer's understanding of the notion of sacred in composition and in music making in general. Througout the course this research paper, the reader will explore ways in which the systematic application of musicological and theological tools on the complete musical material of the performed works, leads to a provocative analogy of sacred music being performed in a sacred space with a communal event within the church community. Ultimately, this paper suggests that such an occassion is closer to the idea of ecclesial event; an original concept created by the greek philosopher and theologian Christos Yannaras (1936-).
{"title":"Sacred Music in a Sacred Space: Performance as Communal Event","authors":"Pavlos Kordis","doi":"10.57050/jisocm.120485","DOIUrl":"https://doi.org/10.57050/jisocm.120485","url":null,"abstract":"\u0000 \u0000 \u0000During the Easter Week of 1999, the composer John Tavener (1944-2013) visited the Holy Trinity Archdiocesan Greek Orthodox Cathedral in New York City, to attend a unique concert, that occured under the auspicies of His Eminence Archbishop Spyridon, featuring Tavener's sacred para- liturgical music, conducted by the late maestro Dino Anagnost (1944-2011). Using this event as a base, regarding its reception and meaning, this paper ventures to compose a theoretical context, in which the performance of sacred works can function in a sacred performance space, while focusing on the composer's understanding of the notion of sacred in composition and in music making in general. Througout the course this research paper, the reader will explore ways in which the systematic application of musicological and theological tools on the complete musical material of the performed works, leads to a provocative analogy of sacred music being performed in a sacred space with a communal event within the church community. Ultimately, this paper suggests that such an occassion is closer to the idea of ecclesial event; an original concept created by the greek philosopher and theologian Christos Yannaras (1936-). \u0000 \u0000 \u0000","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123278499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cyril of Jerusalem’s notion of ecclesiastical music and praise has received very little attention in academic research. When mapping this territory, I found that the Cyrilline gradation between each stage of the ecclesial initiatory process was reflected in the author’s view of the ability of the catechetical audience to participate in psalmody. First, the early-stage catechumens were not mentioned as participants in psalmody or praise. Secondly, the baptismal candidates were exhorted to magnify the Lord. Nevertheless, at the pre-baptismal stage, candidates were mainly regarded as “students” of psalmody. Thirdly, psalmody and praise were discussed chiefly in the context of the congregation of baptized Christians. In Cyril’s view, the Hagiopolite liturgies of baptism and eucharist included a celestial dimension as well. In the liturgies, the fully initiated members of the church—neophytes and authorized cantors alike—were, in effect, granted participation in celestial doxology in the presence of angels. This article fills a significant gap in the research on the mid-to-late fourth century theology of psalmody. It reveals a Patristic view of the relationship between participation in psalmody and church membership, thus emphasizing the markedly ecclesiastical nature of Christian song.
{"title":"Participation in Psalmody and Church Membership in Cyril of Jerusalem","authors":"Harri Huovinen","doi":"10.57050/jisocm.113242","DOIUrl":"https://doi.org/10.57050/jisocm.113242","url":null,"abstract":"Cyril of Jerusalem’s notion of ecclesiastical music and praise has received very little attention in academic research. When mapping this territory, I found that the Cyrilline gradation between each stage of the ecclesial initiatory process was reflected in the author’s view of the ability of the catechetical audience to participate in psalmody. First, the early-stage catechumens were not mentioned as participants in psalmody or praise. Secondly, the baptismal candidates were exhorted to magnify the Lord. Nevertheless, at the pre-baptismal stage, candidates were mainly regarded as “students” of psalmody. Thirdly, psalmody and praise were discussed chiefly in the context of the congregation of baptized Christians. In Cyril’s view, the Hagiopolite liturgies of baptism and eucharist included a celestial dimension as well. In the liturgies, the fully initiated members of the church—neophytes and authorized cantors alike—were, in effect, granted participation in celestial doxology in the presence of angels. This article fills a significant gap in the research on the mid-to-late fourth century theology of psalmody. It reveals a Patristic view of the relationship between participation in psalmody and church membership, thus emphasizing the markedly ecclesiastical nature of Christian song.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122292191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the present essay, I review and evaluate the three main hypotheses about the historical background and emergence of the nonsense syllables in the chant tradition of teretismata and kratēmata in Byzantine music. The different historical hypotheses as to the historical roots and development of this singing practice are examined and analyzed thoroughly, namely those of Gregorios Stathis (1979, 2014), Diane Touliatos (1989), and Grigorios Anastasiou (2005). The aim of the analysis is to summarise and discuss the contribution of the up-to-date historical hypotheses to the theoretical approaches of the topic, including the identification of potential flaws, lacunae and inadequacies of their explanatory power. Touliatos takes antiquity as a starting point for her hypothesis and posits the roots of nonsense syllables in the music of Ancient Greece. After a historical gap of several centuries, those syllables reappear in the Byzantine music during the 14th c. Stathis and Anastasiou examine the phenomenon exclusively within the boundaries of Byzantine music. Before reviewing the three hypotheses concerning the historical development of nonsense syllables in Byzantine music, we must consider the sources on which the theories are postulated.
{"title":"Existing Hypotheses about the Emergence of Nonsense Syllables in the Chant Tradition of Teretismata and Kratēmata in Byzantine Music","authors":"V. Varelas","doi":"10.57050/jisocm.122997","DOIUrl":"https://doi.org/10.57050/jisocm.122997","url":null,"abstract":"In the present essay, I review and evaluate the three main hypotheses about the historical background and emergence of the nonsense syllables in the chant tradition of teretismata and kratēmata in Byzantine music. The different historical hypotheses as to the historical roots and development of this singing practice are examined and analyzed thoroughly, namely those of Gregorios Stathis (1979, 2014), Diane Touliatos (1989), and Grigorios Anastasiou (2005).\u0000The aim of the analysis is to summarise and discuss the contribution of the up-to-date historical hypotheses to the theoretical approaches of the topic, including the identification of potential flaws, lacunae and inadequacies of their explanatory power.\u0000Touliatos takes antiquity as a starting point for her hypothesis and posits the roots of nonsense syllables in the music of Ancient Greece. After a historical gap of several centuries, those syllables reappear in the Byzantine music during the 14th c. Stathis and Anastasiou examine the phenomenon exclusively within the boundaries of Byzantine music. Before reviewing the three hypotheses concerning the historical development of nonsense syllables in Byzantine music, we must consider the sources on which the theories are postulated.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116986685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tntesean and the Music of the Armenian Hymnal","authors":"I. Moody","doi":"10.57050/jisocm.129814","DOIUrl":"https://doi.org/10.57050/jisocm.129814","url":null,"abstract":"","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130125504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The term hagiosophitikon is quite well-known in Byzantine chant, where it occurs in manuscripts from the 14th century onwards: Most often one encounters the designation hagiosophitikon in rubrics of settings of Psalm 1 (Μακάριος ἀνήρ) and Psalm 3 (Κύριε, τί ἐπληθύνθησαν οἱ θλίβοντές με). Nevertheless, neither the exact meaning of hagiosophitikon has ever been clearly determined, nor have the settings themselves been melodically analysed yet. Thus, hagiosophitikon is sometimes explained to denote chants associated with services in the church of Hagia Sophia in Constantinople and in Thessaloniki respectively, and/or to represent hymns rather conservative in outline or to have been composed in a very local style. The present article will aim at both clarifying the term’s meaning itself as well as presenting a detailed analysis of the compositional style by comparing the hagiosophitikon settings of Psalms 1 and 3 among themselves and with melodies named palaion (old) in manuscripts of the 14th and 15th centuries: What kind of compositional style do the hagiosophitikon settings display, do they use formulas and if yes which ones, might their syllabic parts show traces of the old, so-called “simple” psalmody and how are the melismatic parts treated? – These are just some of the questions which will be discussed in the article in order to get closer to resolving the unanswered questions surrounding the term hagiosophitikon.
hagiosophitikon这个词在拜占庭圣歌中是非常著名的，它出现在14世纪以后的手稿中:最常见的是，人们在诗篇1 (Μακάριος ν ν ρ)和诗篇3 (Κύριε， τί ο πληθ ησαν ο ο θλ τ ςµε)的标题中遇到hagiosophitikon这个名称。然而，无论是圣徒哲学的确切含义从未明确确定，也没有设置本身的旋律分析。因此，hagiosophitikon有时被解释为与君士坦丁堡和塞萨洛尼基的圣索菲亚教堂的服务有关的圣歌，和/或代表在轮廓上相当保守的赞美诗或以非常当地的风格创作的赞美诗。本文旨在澄清这个词的含义本身，并通过比较诗篇1和3的圣徒哲学背景，以及14和15世纪手稿中名为palaion(旧)的旋律，对其作曲风格进行详细分析。圣哲学的背景表现出什么样的创作风格，它们是否使用公式，如果是，它们的音节部分是否显示出古老的，所谓的“简单”诗篇的痕迹，以及如何处理装饰音部分?-这些只是文章中讨论的一些问题，以便更接近解决围绕“圣哲学”一词的未解问题。
{"title":"Geography in Psalms: Hagiosophitikon Settings of Psalms 1, 2 and 3","authors":"Nina-Maria Wanek","doi":"10.57050/jisocm.113600","DOIUrl":"https://doi.org/10.57050/jisocm.113600","url":null,"abstract":"The term hagiosophitikon is quite well-known in Byzantine chant, where it occurs in manuscripts from the 14th century onwards: Most often one encounters the designation hagiosophitikon in rubrics of settings of Psalm 1 (Μακάριος ἀνήρ) and Psalm 3 (Κύριε, τί ἐπληθύνθησαν οἱ θλίβοντές με). Nevertheless, neither the exact meaning of hagiosophitikon has ever been clearly determined, nor have the settings themselves been melodically analysed yet. \u0000Thus, hagiosophitikon is sometimes explained to denote chants associated with services in the church of Hagia Sophia in Constantinople and in Thessaloniki respectively, and/or to represent hymns rather conservative in outline or to have been composed in a very local style. \u0000The present article will aim at both clarifying the term’s meaning itself as well as presenting a detailed analysis of the compositional style by comparing the hagiosophitikon settings of Psalms 1 and 3 among themselves and with melodies named palaion (old) in manuscripts of the 14th and 15th centuries: What kind of compositional style do the hagiosophitikon settings display, do they use formulas and if yes which ones, might their syllabic parts show traces of the old, so-called “simple” psalmody and how are the melismatic parts treated? – These are just some of the questions which will be discussed in the article in order to get closer to resolving the unanswered questions surrounding the term hagiosophitikon.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"370 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123389070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Paper presented at the ISOCM Conference in Joensuu in 2021.
论文于2021年在约恩苏举行的ISOCM会议上发表。
{"title":"The Localization of Orthodox Spiritual Songs","authors":"Jenni-Tuuli Hakkarainen","doi":"10.57050/jisocm.131824","DOIUrl":"https://doi.org/10.57050/jisocm.131824","url":null,"abstract":"Paper presented at the ISOCM Conference in Joensuu in 2021.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114733298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bessarion and music. Concepts, theoretical sources and styles. Proceedings of the international meeting Venice, 10-11 November 2018","authors":"I. Moody","doi":"10.57050/jisocm.131703","DOIUrl":"https://doi.org/10.57050/jisocm.131703","url":null,"abstract":"","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130609299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When a composer intends to write a setting of the Liturgy of St John Chrysostom (“Liturgy”, for short), he or she needs to be sure what the character of the work to be composed would be: ecclesiastical in character, to be performed in church during a service, or of a concert character to be performed in a concert hall? What are the differences between the works of ecclesiastical character and works of concert character? To answer the question, we need to compare a performance of a musical work in church during a service and at a concert hall during a concert, i.e., using the method of oppositions. We need to consider the opposition “service/church – concert/concert hall” in the context of a musical performance.
{"title":"The Liturgy of St John Chrysostom: a work of ecclesiastical or concert character?","authors":"Oleh Harkavyy","doi":"10.57050/jisocm.113241","DOIUrl":"https://doi.org/10.57050/jisocm.113241","url":null,"abstract":"When a composer intends to write a setting of the Liturgy of St John Chrysostom (“Liturgy”, for short), he or she needs to be sure what the character of the work to be composed would be: ecclesiastical in character, to be performed in church during a service, or of a concert character to be performed in a concert hall?\u0000What are the differences between the works of ecclesiastical character and works of concert character? To answer the question, we need to compare a performance of a musical work in church during a service and at a concert hall during a concert, i.e., using the method of oppositions. We need to consider the opposition “service/church – concert/concert hall” in the context of a musical performance.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114235171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Each year in the summer months in the United Kingdom, some Orthodox young people gather to live together for a time. They live, work, eat, play, worship and sing together, in a community that mimics a small village or even a monastery. For many, this may be their first exposure to some of the Church services, to the rhythms of prayer and hymnography. It may be the first time they have heard these prayers and hymns in a language they understand. Organisers understand that teaching young people about the faith as a lived reality is a vital part of helping young people who may not see other Orthodox people in their daily lives outside the home. In this paper, I reflect on interviews with attendees and organisers of some of the Orthodox youth camps in the UK, past and present. I will consider the importance of a shared musical tradition amongst young people and seek to identify lessons for the wider engagement of young people through music.
{"title":"Sacred Encampment","authors":"M. Haig","doi":"10.57050/jisocm.113278","DOIUrl":"https://doi.org/10.57050/jisocm.113278","url":null,"abstract":"Each year in the summer months in the United Kingdom, some Orthodox young people gather to live together for a time. They live, work, eat, play, worship and sing together, in a community that mimics a small village or even a monastery. For many, this may be their first exposure to some of the Church services, to the rhythms of prayer and hymnography. It may be the first time they have heard these prayers and hymns in a language they understand. Organisers understand that teaching young people about the faith as a lived reality is a vital part of helping young people who may not see other Orthodox people in their daily lives outside the home. In this paper, I reflect on interviews with attendees and organisers of some of the Orthodox youth camps in the UK, past and present. I will consider the importance of a shared musical tradition amongst young people and seek to identify lessons for the wider engagement of young people through music.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121582777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In Memoriam Archpriest Michael Fortounatto (1931–2022)","authors":"I. Moody","doi":"10.57050/jisocm.117024","DOIUrl":"https://doi.org/10.57050/jisocm.117024","url":null,"abstract":"","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132440264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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