Digital technology has come to play a vital role in contemporary religious life, both in the real world and in virtual worlds. Regardless of their comfort with it, whether for facilitating worship or for communicating religious values, all religious traditions have had to face the ubiquity of digital technology and find a place for it in their worldview. While some traditions lean one way or another on the use of digital technology, the majority find themselves somewhere in the middle. This may mean that they are dedicated to a neutral view, but in many cases, it simply means that they have not wrestled adequately with the issues involved. In the case of Orthodoxy, there seems to be a disconnect between private and public use of digital technology. While individuals in the Orthodox community use it in the same way that their non-Orthodox neighbors do, institutional use of digital technology is fraught with contradiction and ambivalence. On the one hand, digital technology is embraced as a way to make Orthodoxy more visible, viable, and more accessible, particularly to its adherents. On the other hand, it is regarded with some suspicion, having limited use for mediating core beliefs, practices, and aesthetics of the Orthodox faith, and potentially serving to disconnect Orthodox faithful from their true community. In the wake of the COVID-19 pandemic, the uncertainly that Orthodox feel about the appropriateness of digital technology for mediating religious life has become particularly acute, and many issues have arisen which call out for resolution.
{"title":"Toward an Understanding of the Role of Digital Technology in Orthodox Life and Practice","authors":"C. Houk","doi":"10.57050/jisocm.113100","DOIUrl":"https://doi.org/10.57050/jisocm.113100","url":null,"abstract":"Digital technology has come to play a vital role in contemporary religious life, both in the real world and in virtual worlds. Regardless of their comfort with it, whether for facilitating worship or for communicating religious values, all religious traditions have had to face the ubiquity of digital technology and find a place for it in their worldview. While some traditions lean one way or another on the use of digital technology, the majority find themselves somewhere in the middle. This may mean that they are dedicated to a neutral view, but in many cases, it simply means that they have not wrestled adequately with the issues involved. In the case of Orthodoxy, there seems to be a disconnect between private and public use of digital technology. While individuals in the Orthodox community use it in the same way that their non-Orthodox neighbors do, institutional use of digital technology is fraught with contradiction and ambivalence. On the one hand, digital technology is embraced as a way to make Orthodoxy more visible, viable, and more accessible, particularly to its adherents. On the other hand, it is regarded with some suspicion, having limited use for mediating core beliefs, practices, and aesthetics of the Orthodox faith, and potentially serving to disconnect Orthodox faithful from their true community. In the wake of the COVID-19 pandemic, the uncertainly that Orthodox feel about the appropriateness of digital technology for mediating religious life has become particularly acute, and many issues have arisen which call out for resolution.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"70 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":"122138125","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 verse “You have wrought salvation in the midst of the earth” (Ps. 74/73:12) occurs in numerous liturgical texts. This article examines how this verse has been understood by patristic authors from circa third to fifth centuries. The Hebrew original and its Jewish interpretations focus on God’s salvific acts in the world, in the eyes of all peoples, while the Septuagint allows a more punctual understanding “in the centre of the world”. The latter option was utilised immediately after the construction of the Church of the Holy Sepulchre, as Golgotha became the solemn centre of Christian pilgrimage and was widely recognised as the centre of the earth in theological and cosmological terms. Therefore, the verse became much used in liturgical celebrations related to the cross, as witnessed already in the Typikon of Mar Saba. Moreover, the idea of Golgotha as axis mundi was soon applied in colourful ways regarding traditions related to the creation and burial of Adam, sacrifice of Isaac, and even eschatological visions. Excitingly, these interpretations have evident predecessors in Judaism and in the early Jewish Christian beliefs and practices. All this guarantees that the verse is one of the richest dictums in liturgical life in terms of theological, mythic, and historical connotations.
{"title":"\"The midst of the earth”: Ps. 73:12b (LXX) in Patristic and Liturgical Understanding","authors":"Serafim Seppälä","doi":"10.57050/jisocm.113081","DOIUrl":"https://doi.org/10.57050/jisocm.113081","url":null,"abstract":"The verse “You have wrought salvation in the midst of the earth” (Ps. 74/73:12) occurs in numerous liturgical texts. This article examines how this verse has been understood by patristic authors from circa third to fifth centuries. The Hebrew original and its Jewish interpretations focus on God’s salvific acts in the world, in the eyes of all peoples, while the Septuagint allows a more punctual understanding “in the centre of the world”. The latter option was utilised immediately after the construction of the Church of the Holy Sepulchre, as Golgotha became the solemn centre of Christian pilgrimage and was widely recognised as the centre of the earth in theological and cosmological terms. Therefore, the verse became much used in liturgical celebrations related to the cross, as witnessed already in the Typikon of Mar Saba. \u0000Moreover, the idea of Golgotha as axis mundi was soon applied in colourful ways regarding traditions related to the creation and burial of Adam, sacrifice of Isaac, and even eschatological visions. Excitingly, these interpretations have evident predecessors in Judaism and in the early Jewish Christian beliefs and practices. All this guarantees that the verse is one of the richest dictums in liturgical life in terms of theological, mythic, and historical connotations.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"99 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114031749","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}
Тhe topic of the transmission of tradition is understudied in musicology. This article contributes to the field by concentrating on the formation of the singing tradition of the parish of St Sergius in Paris. It studies the genesis of its musical tradition at the hands of Vladyka Benjamin (Fedchenkov) and M. M. Osorgin. Both loved Valaam greatly and found inspiration in Valaam and the Holy Trinity St Sergius Lavra to create a monastic liturgical style in the Parisian church. After comparing several chants, it looks at the musical books used by the choir of St Sergius, the Valaam Obikhod and the Psalmist’s Companion, and the different musical traditions they embody. After a review of the history of music at Valaam and a comparison of primary sources and contemporary analyses, the authors propose a picture of the singing tradition of the Karelian monastery prior to the Revolution. It then looks into historical figures such as A. Swan and M. M. Osorgin who studied and attempted to preserve ancient Russian practices in the diaspora, and how these two figures’ correspondence during the 1930s offers a unique window into their attempts at achieving this goal. The article concludes by reviewing the contemporary practices of the Parisian church, offering the reader a reflection on the survival of the great Russian melodic heritage in the Russia Abroad.
Тhe传统传播的主题在音乐学中尚未得到充分研究。本文通过集中讨论巴黎圣塞尔吉奥教区的歌唱传统的形成，为该领域做出了贡献。它研究了其音乐传统的起源，在Vladyka Benjamin (Fedchenkov)和M. M. Osorgin的手中。他们都非常喜欢瓦拉姆，并从瓦拉姆和圣三一圣谢尔盖·拉夫拉身上找到灵感，在巴黎教堂中创造了一种修道仪式风格。在比较了几首圣歌之后，它着眼于圣谢尔盖合唱团、瓦拉姆Obikhod和诗篇作者的伴侣所使用的音乐书籍，以及它们所体现的不同音乐传统。在回顾了瓦拉姆的音乐史，并比较了原始资料和当代分析之后，作者提出了一幅革命前卡累利阿修道院歌唱传统的画面。然后，它研究了历史人物，如a . Swan和M. M. Osorgin，他们研究并试图保存散居海外的古代俄罗斯习俗，以及这两位人物在20世纪30年代的通信如何为他们实现这一目标的尝试提供了一个独特的窗口。文章最后回顾了巴黎教会的当代实践，为读者提供了一个关于伟大的俄罗斯旋律遗产在海外俄罗斯的生存的思考。
{"title":"Valaam as an Oasis of Spirituality and Church Music of Russia Abroad","authors":"S. Zvereva, George Lapshynov","doi":"10.57050/jisocm.113231","DOIUrl":"https://doi.org/10.57050/jisocm.113231","url":null,"abstract":"Тhe topic of the transmission of tradition is understudied in musicology. This article contributes to the field by concentrating on the formation of the singing tradition of the parish of St Sergius in Paris. It studies the genesis of its musical tradition at the hands of Vladyka Benjamin (Fedchenkov) and M. M. Osorgin. Both loved Valaam greatly and found inspiration in Valaam and the Holy Trinity St Sergius Lavra to create a monastic liturgical style in the Parisian church. After comparing several chants, it looks at the musical books used by the choir of St Sergius, the Valaam Obikhod and the Psalmist’s Companion, and the different musical traditions they embody. After a review of the history of music at Valaam and a comparison of primary sources and contemporary analyses, the authors propose a picture of the singing tradition of the Karelian monastery prior to the Revolution. It then looks into historical figures such as A. Swan and M. M. Osorgin who studied and attempted to preserve ancient Russian practices in the diaspora, and how these two figures’ correspondence during the 1930s offers a unique window into their attempts at achieving this goal. The article concludes by reviewing the contemporary practices of the Parisian church, offering the reader a reflection on the survival of the great Russian melodic heritage in the Russia Abroad.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"52 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":"121590564","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}
From the mid-15th century onwards, but especially during the last two centuries of Venetian rule in Crete, a unique repertory was developed probably in order to serve the specific needs of Liturgies and other offices, common to Catholics and Orthodox. The compositions included in this repertory thus merge Byzantine and Western elements, in the image of the meeting between these two cultures playing out in Crete during this period. This Latin influence could be identified on different levels, namely, in the liturgical texts, the morphology of the compositions, the modality and the notation.
{"title":"Cretan idiosyncrasies in the liturgical chant of the Ionian Islands","authors":"F. Kritikou","doi":"10.57050/jisocm.113462","DOIUrl":"https://doi.org/10.57050/jisocm.113462","url":null,"abstract":"\u0000From the mid-15th century onwards, but especially during the last two centuries of Venetian rule in Crete, a unique repertory was developed probably in order to serve the specific needs of Liturgies and other offices, common to Catholics and Orthodox. The compositions included in this repertory thus merge Byzantine and Western elements, in the image of the meeting between these two cultures playing out in Crete during this period. This Latin influence could be identified on different levels, namely, in the liturgical texts, the morphology of the compositions, the modality and the notation.\u0000","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"25 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":"116952060","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}
Many stichera of the twelve Major Feasts contain complex notational fragments, which are generally referred to as melismatic. The main criterion for melismaticity in notation is the theta symbol. The combination of several consistent thetas is a rare and noteworthy phenomenon, on account of which fragments of a very particular sacred character are created in chants. The article attempts to study this theta combination in the oldest Greek and Russian manuscripts of the 10th-13th centuries on the basis of the stichera of the Feast of the Transfiguration. It was discovered that there exist only five theta combinations in five chants defining the main topoi - Sound and Light. A hypothetical reconstruction of the melos of the theta combination of the 10-11th centuries was performed on the basis of the records of the Middle Byzantine notation of the 12-13th centuries, where thetas are transntated in analytical notation. The conclusion are drawn that the beginning of a theta combination is an event and can be emphasized by a transition to another mode or by a registral contrast. In each studied theta combination, the second theta complex appears to be either musically brighter, or more prolonged, or contains a metabola (modulation).
{"title":"Theta Combinations in the Stichera of the Transfiguration","authors":"E. Pletneva, Nadezhda Shchepkina","doi":"10.57050/jisocm.113548","DOIUrl":"https://doi.org/10.57050/jisocm.113548","url":null,"abstract":"\u0000Many stichera of the twelve Major Feasts contain complex notational fragments, which are generally referred to as melismatic. The main criterion for melismaticity in notation is the theta symbol. The combination of several consistent thetas is a rare and noteworthy phenomenon, on account of which fragments of a very particular sacred character are created in chants. The article attempts to study this theta combination in the oldest Greek and Russian manuscripts of the 10th-13th centuries on the basis of the stichera of the Feast of the Transfiguration. It was discovered that there exist only five theta combinations in five chants defining the main topoi - Sound and Light. \u0000\u0000\u0000A hypothetical reconstruction of the melos of the theta combination of the 10-11th centuries was performed on the basis of the records of the Middle Byzantine notation of the 12-13th centuries, where thetas are transntated in analytical notation. The conclusion are drawn that the beginning of a theta combination is an event and can be emphasized by a transition to another mode or by a registral contrast. In each studied theta combination, the second theta complex appears to be either musically brighter, or more prolonged, or contains a metabola (modulation). \u0000","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"1 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":"131045151","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":"Manuscripts of Psaltic Art. Chios. Part 1: Analytical Descriptive Catalogue of the Manuscripts of Psaltic Art in the \"Koraes\" Chios Central Public Library","authors":"Nina-Maria Wanek","doi":"10.57050/jisocm.117023","DOIUrl":"https://doi.org/10.57050/jisocm.117023","url":null,"abstract":"","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"1 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":"128587779","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}
Starting in the ninth century but gaining momentum the late tenth century Byzantium reclaimed its territories in the East: capturing Crete, Antioch, and northern Palestine. These victories were celebrated with triumphal processions in Constantinople. New chants were written specifically to be performed in the Great Church and the palatine chapels. Some of the poetry and music was composed by the emperor himself. Analyzing the melodic contour of some of these songs shows how they strategically used the acoustics of the dome to offer a glittering vision of power. And the same time, the figural mosaics in Hagia Sophia and in the palatine chapels gave an anthropomorphic concreteness to the experience of the divine in the reverberant sound. None of these figural programs survives. Yet, a monastery near Thebes (Greece), Hosios Loukas, preserves one of the most extensive Byzantine mosaic cycles. As this analysis will reveal, it channels the Constantinopolitan liturgy and enables us to explore how chant and figural images operated together to shape a vision of the resurgent empire.
{"title":"Eternal Victory","authors":"B. Pentcheva","doi":"10.57050/jisocm.113301","DOIUrl":"https://doi.org/10.57050/jisocm.113301","url":null,"abstract":"Starting in the ninth century but gaining momentum the late tenth century Byzantium reclaimed its territories in the East: capturing Crete, Antioch, and northern Palestine. These victories were celebrated with triumphal processions in Constantinople. New chants were written specifically to be performed in the Great Church and the palatine chapels. Some of the poetry and music was composed by the emperor himself. Analyzing the melodic contour of some of these songs shows how they strategically used the acoustics of the dome to offer a glittering vision of power. And the same time, the figural mosaics in Hagia Sophia and in the palatine chapels gave an anthropomorphic concreteness to the experience of the divine in the reverberant sound. None of these figural programs survives. Yet, a monastery near Thebes (Greece), Hosios Loukas, preserves one of the most extensive Byzantine mosaic cycles. As this analysis will reveal, it channels the Constantinopolitan liturgy and enables us to explore how chant and figural images operated together to shape a vision of the resurgent empire.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"66 3 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":"131920334","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}
This paper discusses representative examples of audio recordings of traditional Serbian church chant, an important testimony to Orthodox Serbian cultural and spiritual heritage, as well as the characteristics of this oral musical tradition in the twentieth century. My focus lies not only on the most important published audio recordings, but also on the collection of the unpublished audio recordings from the field work on the wide territory of Serbian cultural space, that is: in Serbia, Dalmatia, Bosnia and Herzegovina and Hungary during the last three decades of the twentieth century. All of the examples mentioned in the text represent traditional Serbian church chant in its original, unison version, sometimes also as two-part singing. Taking into account the ethnological and anthropological perception of the multi-generational transmission and concurrent adaptation to the cultural, historical and societal changes, as well as the link between the heritage and the cultural uniqueness of its creators and carriers, these recordings were approached as the authentic trace of a live tradition, and a key to the assessment, study and preservation of the Serbian church chant, as an element of the intangible cultural heritage.
{"title":"Recordings of Twentieth Century Serbian Church Chant","authors":"Nataša Marjanović","doi":"10.57050/jisocm.113079","DOIUrl":"https://doi.org/10.57050/jisocm.113079","url":null,"abstract":"This paper discusses representative examples of audio recordings of traditional Serbian church chant, an important testimony to Orthodox Serbian cultural and spiritual heritage, as well as the characteristics of this oral musical tradition in the twentieth century. My focus lies not only on the most important published audio recordings, but also on the collection of the unpublished audio recordings from the field work on the wide territory of Serbian cultural space, that is: in Serbia, Dalmatia, Bosnia and Herzegovina and Hungary during the last three decades of the twentieth century. All of the examples mentioned in the text represent traditional Serbian church chant in its original, unison version, sometimes also as two-part singing. Taking into account the ethnological and anthropological perception of the multi-generational transmission and concurrent adaptation to the cultural, historical and societal changes, as well as the link between the heritage and the cultural uniqueness of its creators and carriers, these recordings were approached as the authentic trace of a live tradition, and a key to the assessment, study and preservation of the Serbian church chant, as an element of the intangible cultural heritage.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"108 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":"127062298","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 modern musicology, which studies various polyphonic traditions intensively, it would appear that there are no longer any unknown types of polyphony and undiscovered forms of notating music. The most exotic musical phenomena have been researched and transcribed, and a good many of them have been digitized. Still, one must recognize that the focus of these studies up until now has been predominantly on Western and Central European polyphonic schools, while one significant polyphonic tradition, namely, early Russian polyphony, which, moreover, occupied a fairly extensive historical period, is only now beginning to be investigated systematically. The purpose of this article is to introduce my project involving a critical edition of Russian neumatic polyphony. This edition is the culmination of my work on deciphering neumatic scores of the most festive type of early Russian polyphony—four-part Demestvenny singing (or Demestvo). The object of the present study is the Demestvenny All-Night Vigil recorded in a unique source—a ceremonial illuminated codex belonging to the 17th-century Choir of the Tsar’s and Patriarchal Singing Clerics, which is now kept in the British Library—Add. MS 30063. The edition is planned as part of the dissertation project “The All-Night Vigil in early Russian polyphony,” which I am preparing under the guidance of Professor Dr Christoph Flamm at the Musicology Seminar of the University of Heidelberg. Within its scope, the dissertation examines three types of early Russian polyphony using examples from the All-Night Vigil office. A comprehensive analysis of the hymns themselves will be included in the dissertation but remains outside the scope of this publication.
{"title":"The All-Night Vigil in Early Russian Demestvenny Polyphony (Add. MS 30063 of the British Library)","authors":"Elena Chernova","doi":"10.57050/jisocm.113326","DOIUrl":"https://doi.org/10.57050/jisocm.113326","url":null,"abstract":"In modern musicology, which studies various polyphonic traditions intensively, it would appear that there are no longer any unknown types of polyphony and undiscovered forms of notating music. The most exotic musical phenomena have been researched and transcribed, and a good many of them have been digitized. Still, one must recognize that the focus of these studies up until now has been predominantly on Western and Central European polyphonic schools, while one significant polyphonic tradition, namely, early Russian polyphony, which, moreover, occupied a fairly extensive historical period, is only now beginning to be investigated systematically.\u0000The purpose of this article is to introduce my project involving a critical edition of Russian neumatic polyphony. This edition is the culmination of my work on deciphering neumatic scores of the most festive type of early Russian polyphony—four-part Demestvenny singing (or Demestvo). The object of the present study is the Demestvenny All-Night Vigil recorded in a unique source—a ceremonial illuminated codex belonging to the 17th-century Choir of the Tsar’s and Patriarchal Singing Clerics, which is now kept in the British Library—Add. MS 30063.\u0000The edition is planned as part of the dissertation project “The All-Night Vigil in early Russian polyphony,” which I am preparing under the guidance of Professor Dr Christoph Flamm at the Musicology Seminar of the University of Heidelberg. Within its scope, the dissertation examines three types of early Russian polyphony using examples from the All-Night Vigil office. A comprehensive analysis of the hymns themselves will be included in the dissertation but remains outside the scope of this publication.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"10 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":"121467994","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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