Википедија

Византијска музика — разлика између измена

Интерактиван преглед историје
← Старија изменаНовија измена →
Садржај обрисан Садржај додат
ВизуелноВикитекст
мНема описа измене
Нема описа измене
Ред 1:
 
{{bez inlajn referenci}}
'''Византијска музика''' подразумијева један цјелокупни систем изражавања и испитивања мелодије, у складу са гласовима, родовима и хроама (бојама). Названа је византијском, зато што се почела значајније развијати у доба [[Византијско царство|Византијског царства]], заједно са ширењем [[Хришћанство|хришћанства]].
 
Ред 13:
 
Византијске мелодије обучене у полифонију, губе своју посебну изражајност, свој духовни ритам, духовну величину, а тиме и моћ да нас духовно уздигну и преображавају. Духовна криза у којој су се нашли поједини православни народи у одређеном историјском тренутку, као што смо већ рекли, се одразила и на појање.
 
Изгледа да је византијска музика музика Византијског царства, али политичка историја је прилично компликована и наслеђе византијске музике се такође развијало и настављало изван њене територије. Првобитно се састојао од песама и химни састављених од грчких текстова који се користе за дворске церемоније, за вријеме фестивала, или као паралитургијска и литургијска музика. Црквени облици византијске музике данас су најпознатији облици, јер се различите православне традиције и даље поистовећују са наслеђем византијске музике, када њихови кантори певају монодично пјевање из традиционалних књига певања, као што је стицхерарион, који се заправо састоји од пет књига, и хеирмологион. Византијска музика није нестала након пада Цариграда. Његове традиције су се наставиле у Цариградској патријаршији, која је након османског освајања 1453. године добила административне одговорности над свим православним хришћанима. Током пада Османског царства у 19. веку, растуће нације на Балкану прогласиле су аутономију или "аутокефалност" против екуменске патријаршије. Нове самопроглашене патријаршије биле су независне нације дефинисане њиховом религијом. У том контексту, хришћански религиозни напјеви који су се практиковали у Османском царству, Бугарској, Србији и Грчкој међу другим народима, били су засновани на историјским коренима уметности која се враћала до Византијског царства, док је музика Патријаршије настала у османском периоду била често се сматра "пост-византијским". То објашњава зашто се византијска музика односи на неколико православних хришћанских традиција Медитерана и Кавказа које су се практиковале у новијој историји, па чак и данас, и овај чланак се не може ограничити на музичку културу византијске прошлости.
 
== Доба царства ==
 
Традиција источњачког литургијског пјевања, која обухвата грчко говорни свет, развила се у Византијском царству од оснивања њеног главног града, Константинопола, 330. до пада 1453. године. Неоспорно је да је композитно порекло, ослањајући се на уметничке и техничке продукције. класичног грчког доба и инспирисана монофонском вокалном музиком која се развила у раним грчким хришћанским градовима Александрије, Јерусалима, Антиохије и Ефеза.<ref>[http://www.musicportal.gr/byzantine_music?lang=en "The origin of Byzantine music"] Institute For Research On Music And Acoustics</ref> Имитирали су је музичари 7. века да би створили арапску музику као синтезу византијске и перзијске музике, а ове размене су се наставиле кроз Отоманско царство до данашњег Истанбула.<ref>{{Cite journal
| volume = 9
| pages = 373–414
| last = Neubauer
| first = Eckhard
| title = Die acht "Wege" der arabischen Musiklehre und der Oktoechos – Ibn Misğah, al-Kindī und der syrisch-byzantinische oktōēchos
| journal = Zeitschrift für Geschichte der Arabisch-islamischen Wissenschaften
| date = 1994
}}</ref>
 
Термин византијска музика се понекад повезује са средњовековним светим песмама хришћанских цркава након константинополског обреда. Ту је и идентификација "византијске музике" са "источњачко-хришћанским литургијским појањем", што је последица одређених монашких реформи, као што је октоишка реформа Васељенског сабора у Трулану (692) и касније реформе манастира Стоудиос под његовим опатима Сабасом и Теодором.<ref>Акти Труланског сабора осудили су многе цариградске обичаје, укључујући одређене пхторије и месоије које су користили пјевачи катедралног обреда. Стоудитеове реформе су биле под утицајем [[Другог савета у Никеји]] (787), што је потврдило реформу Октоиха за источни и западни пјев. Типодела Теодора није преживела, али мора да је усвојила Хагиополитске обичаје Мар Саба.</ref> Триодион настао реформом Теодора ускоро је преведен на словенски језик, што је захтијевало и адаптацију мелодијских модела на прозодију језика. Касније, након што су се патријаршија и суд вратили у Константинопол 1261. године, некадашњи катедрални обред није настављен, већ је замењен мешовитим обредом, који је коришћен у византијском кругу, да би се интегрисале некадашње записе некадашњих књига певања (Пападике). Ова нотација се развила у оквиру књиге коју је створио манастир Стоудиос, али је коришћена за књиге катедралних обреда написаних у периоду после четвртог крсташког рата, када је катедрални обред већ напуштен у Константинопољу. Разговара се о томе да је у припрати Хагије Софије постављен орган за употребу у процесијама цара.<ref>[http://www.stgregoryoc.org/article/article-archive/the-use-of-the-organ-in-the-orthodox-church/ "The use of the organ in the Orthodox Church"]</ref>
 
=== Најранији извори и тонски систем византијске музике ===
 
According to the chant manual "[[Hagiopolitan Octoechos#Phthorai and mesoi of the Hagia Sophia|Hagiopolites]]" (Jerusalem), the earliest that has survived until today, chanters of the [[Hagia Sophia]] used a system 16 church tones ([[Echos|echoi]]), while the author of this treatise introduces to a tonal system of 10 echoi. Nevertheless, both schools have in common a [[Hagiopolitan Octoechos#8 diatonic echoi of the Hagiopolitan Octoechos|set of 4 octaves]] (''protos, devteros, tritos'', and ''tetartos''), each of them had a ''kyrios echos'' ([[Authentic modes|authentic mode]]) with the finalis on the degree V of the mode, and a ''plagios echos'' ([[plagal mode]]) with the final note on the degree I. According to Latin theory, the resulting eight tones ([[octoechos]]) had been identified with the seven modes (octave species) and tropes ([[Mode (music)|tropoi]] which meant the transposition of these modes). The names of the tropes like “Dorian” etc. had been also used in Greek chant manuals, but the names Lydian and Phrygian for the octaves of devteros and tritos had been sometimes exchanged. The Ancient Greek [[Ancient Greek music|''harmonikai'']] was a Hellenist reception of the [[Pythagoreanism|Pythagorean]] education programme defined as mathemata (“exercises”). Harmonikai was one of them. Today, chanters of the Christian Orthodox churches identify with the heritage of Byzantine music whose earliest composers are remembered by name since the 5th century. Compositions had been related to them, but they must be reconstructed by notated sources which date centuries later. The melodic neume notation of Byzantine music developed late since the 10th century, with the exception of an earlier [[ekphonetic notation]], interpunction signs used in [[Lectionary|lectionaries]], but modal signatures for the eight echoi can already be found in fragments ([[Papyrus|papyri]]) of monastic hymn books (tropologia) dating back to the 6th century.<ref>{{cite book|last = Troelsgård|first = Christian|contribution = A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications|title = Proceedings of the 1st International Conference of the ASBMH|year = 2007|url = http://www.asbmh.pitt.edu/page12/Troelsgard.pdf|pages = 668–679|accessdate = 14 April 2012|ref = Tro07}}</ref>
 
Amid the rise of [[Christian civilization]] within Hellenism, many concepts of knowledge and education survived during the imperial age, when Christianity became the official religion.<ref>{{cite book|last1=Constantelos|first1=Demetrios|chapter=The Formation of the Hellenic Christian Mind|title=Christian Hellenism. Essays and Studies in Continuity and Change|date=1998|publisher=Caratzas|location=New Rochelle, New York & Athens|isbn=978-0-89241-588-5|chapter-url=http://www.myriobiblos.gr/texts/english/Constantelos_1.html}}</ref> <!-- I think the link to the article about Pythagoreanism is more appropriate than any quotation. The subject is not really important for this article. {{citation needed span|text= |date=October 2016}} -->The [[Pythagoreanism|Pythagorean sect]] and music as part of the four "cyclical exercises" (ἐγκύκλια μαθήματα) that preceded the Latin quadrivium and science today based on mathematics, established mainly among Greeks in southern Italy (at [[Taranto]] and [[Crotone]]). Greek anachoretes of the early Middle Ages did still follow this education. The Calabrian [[Cassiodorus]] founded Vivarium where he translated Greek texts (science, theology and the Bible), and [[John of Damascus]] who learnt Greek from a Calabrian monk Kosmas, a slave in the household of his privileged father at Damascus, mentioned mathematics as part of the speculative philosophy.<ref>{{cite book|last = John of Damascus|title = Πηγή Γνώσεως|date = 1958|location = New York|page = 12|url = https://archive.org/stream/fathersofthechur009511mbp#page/n63/mode/2up|publisher = Fathers Oe The Church}}</ref>
{{cquote|Διαιρεῖται δὲ ἡ φιλοσοφία εἰς θεωρητικὸν καὶ πρακτικόν, τὸ θεωρητικὸν εἰς θεολογικόν, φυσικόν, μαθηματικόν, τὸ δὲ πρακτικὸν εἰς ἠθικόν, οἰκονομικόν, πολιτικόν.<ref>[[Patrologia Graeca|PG]] 94, col. 533.</ref>}}
 
According to him philosophy was divided into theory (theology, physiology, mathematics) and practice (ethics, economy, politics), and the Pythagorean heritage was part of the former, while only the ethic effects of music were relevant in practice. The mathematic science ''harmonics'' was usually not mixed with the concrete topics of a chant manual.
 
Nevertheless, Byzantine music is modal and entirely dependent on the Ancient Greek concept of harmonics.<ref>[[Ptolemy]]'s harmonics are the concluding main reference in didactic writings of [[Georgius Pachymeres]] and [[Manuel Bryennios]], except the [[Aristoxenus|Aristoxenian]] fragments, and later authors including [[Nichomachus]], [[Cleonides]], [[Theon of Smyrna]], and [[Aristides Quintilianus]] (2nd-4th century). All Byzantine authors teach harmonics as a mathematic science without any concern over contemporary composition. {{Cite conference
| publisher = Magyar Tudomanyos Akademia
| pages = 575–584
| last = Wolfram
| first = Gerda
| title = Fragen der Kontinuität zwischen antiker und byzantinischer Musiktheorie
| booktitle = Cantus Planus: Papers read at the ninth meeting
| location = Budapest
| date = 2001
| url = http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/CPvolumes/1998.pdf#page=563
}}</ref> Its tonal system is based on a synthesis with [[Ancient Greek music|ancient Greek models]], but we have no sources left that explain to us how this synthesis was done. [[Carolingian]] cantors could mix the science of harmonics with a discussion of church tones, named after the ethnic names of the octave species and their transposition tropes, because they invented their own octoechos on the basis of the Byzantine one. But they made no use of earlier Pythagorean concepts that had been fundamental for Byzantine music, including:
{| class="wikitable" style="margin: 1em auto 1em auto;"
! style="width:50%" |Greek Reception
! style="width:50%" |Latin Reception
|-
| the division of the [[tetrachord]] by three different intervals
| the division by two different intervals (twice a tone and one half tone)
|-
| the temporary change of the [[Genus (music)|genus]] (μεταβολὴ κατὰ γένος)
| the official exclusion of the enharmonic and chromatic [[Genus (music)|genus]], although its use was rarely commented in a polemic way
|-
| the temporary change of the echos (μεταβολὴ κατὰ ἤχον)
| a definitive classification according to one church tone
|-
| the temporary transposition (μεταβολὴ κατὰ τόνον)
| ''absonia'' ([[Musica enchiriadis|Musica]] and [[Scolica enchiriadis]], [[Berno of Reichenau]], [[Frutolf of Michelsberg]]), although it was known since [[Boethius]]' wing diagramme
|-
| the temporary change of the tone system (μεταβολὴ κατὰ σύστημα)
| no alternative tone system, except the explanation of ''absonia''
|-
| the use of at least three tone systems (triphonia, tetraphonia, heptaphonia)
| the use of the [[Musical system of ancient Greece#Syst.C3.AAma ametabolon.2C an overview of the tone system|systema teleion]] (heptaphonia), relevance of [[Daseian notation|Dasia system]] (tetraphonia) outside polyphony and of the triphonia mentioned in the [[Cassiodorus]] quotation ([[Aurelian of Réôme|Aurelian]]) unclear
|-
| the microtonal attraction of mobile degrees (κινούμενοι) by fixed degrees (ἑστώτες) of the mode (echos) and its melos, not of the tone system
| the use of [[Diesis|dieses]] (attracted are E, a, and b natural within a half tone), since [[Boethius]] until [[Guido of Arezzo]]'s concept of mi
|}
It is not evident by the sources, when exactly the position of the minor or half tone moved between the devteros and tritos. It seems that the fixed degrees (hestotes) became part of a new concept of the echos as melodic [[Gregorian mode|mode]] (not simply [[octave species]]), after the echoi had been called by the ethnic names of the tropes.
 
=== Музички инструменти у Византијском царству ===
{{Annotated image
| image = Mosaic of the Female Musicians.jpg
| image-width = 800
| image-left = -210
| image-top = -100
| width = 360
| height = 260
| float = right
| annotations =
| caption = Late 4th century AD "Mosaic of the Musicians" with [[pipe organ|organ]], [[aulos]], and [[lyre]] from a Byzantine villa in [[Maryamin, Hama|Maryamin]], [[Syria]].<ref name = Ring>{{cite book |last=Ring | first = Trudy | title = International Dictionary of Historic Places: Middle East and Africa | url = https://books.google.com/?id=R44VRnNCzAYC&dq=mariamin+hama | year = 1994 |publisher = Taylor & Francis | volume = 4 | isbn = 978-1884964039}}</ref>
| icon = none
}}
 
The 9th century [[Persian people|Persian]] geographer [[Ibn Khordadbeh|Ibn Khurradadhbih]] (d. 911); in his lexicographical discussion of instruments cited the [[Byzantine lyra|lyra]] (lūrā) as the typical instrument of the Byzantines along with the ''urghun'' ([[pipe organ|organ]]), ''shilyani'' (probably a type of [[harp]] or [[lyre]]) and the ''salandj'' (probably a [[bagpipe]]).<ref name=Kartomi124>{{harvnb|Kartomi|1990|p=124}}.</ref>
 
The first of these, the early bowed stringed instrument known as the [[Byzantine lyra]], would come to be called the ''[[lira da braccio]]'',<ref>{{cite encyclopedia |title=lira |url=http://www.britannica.com/EBchecked/topic/343204/lira |work=[[Encyclopædia Britannica]] |year=2009}}</ref> in Venice, where it is considered by many to have been the predecessor of the contemporary violin, which later flourished there.<ref name=Arkenberg109>{{cite web |last=Arkenberg |first=Rebecca |title=Renaissance Violins |date=October 2002 |publisher=[[Metropolitan Museum of Art]] |url=http://www.metmuseum.org/toah/hd/renv/hd_renv.htm |accessdate=2006-09-22}}</ref> The bowed "lyra" is still played in former Byzantine regions, where it is known as the [[Politiki lyra]] (lit. "lyra of the City" i.e. [[Constantinople]]) in Greece, the [[Calabrian lira]] in Southern Italy, and the [[Lijerica]] in [[Dalmatia]].
 
The second instrument, the organ, originated in the [[Hellenistic]] world (see [[Hydraulis]]) and was used in the [[Hippodrome]] in Constantinople during races.<ref>Journal of Sport History, Vol. 8, No. 3 (Winter, 1981) [http://rbedrosian.com/Byz/Byz_Sports.pdf p. 44].</ref><ref name=Bush-Kassel-327>{{cite book |editor1=Douglas Earl Bush |editor2=Richard Kassel |title=The Organ: An Encyclopedia |publisher=Routledge |year=2006 |url=https://books.google.com/books?id=cgDJaeFFUPoC&pg=PA327 |p=327 |isbn=9780415941747 }}</ref> A [[pipe organ]] with "great leaden pipes" was sent by the emperor [[Constantine V]] to [[Pepin the Short]] King of the [[Franks]] in 757. Pepin's son [[Charlemagne]] requested a similar organ for his chapel in [[Aachen]] in 812, beginning its establishment in Western church music.<ref name=Bush-Kassel-327/>
 
The final Byzantine instrument, the [[aulos]], was a double-reeded woodwind like the modern [[oboe]] or Armenian [[duduk]]. Other forms include the ''plagiaulos'' (πλαγίαυλος, from πλάγιος, ''plagios'' "sideways"), which resembled the [[flute]],<ref name="Howard">{{cite journal|last=Howard|first=Albert A.|year=1893|title=The Αὐλός or Tibia|journal=Harvard Studies in Classical Philology|volume=4|pages=1–60|doi=10.2307/310399|jstor=310399}}<!--| accessdate = 2006-08-16 --></ref> and the ''askaulos'' (ἀσκαυλός from ἀσκός ''askos'' "[[wine-skin]]"), a bagpipe.<ref name="google15">[https://books.google.com/books?id=DOfuAgAAQBAJ&pg=PA15 William Flood. ''The Story of the Bagpipe'' p. 15]</ref> These bagpipes, also known as ''[[Dankiyo]]'' (from [[ancient Greek]]: angion (Τὸ ἀγγεῖον) "the container"), had been played even in Roman times. [[Dio Chrysostom]] wrote in the 1st century of a contemporary sovereign (possibly Nero) who could play a pipe ([[Tibia (instrument)|tibia]], Roman reedpipes similar to Greek aulos) with his mouth as well as by tucking a bladder beneath his armpit.<ref>{{cite web |title=Discourses by Dio Chrysostom (Or. 71.9) |url=http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Dio_Chrysostom/Discourses/71*.html#9 |work=The Seventy-first Discourse: On the Philosopher (Volume V) |publisher=[[Loeb Classical Library]] |volume=V |page=173 |accessdate=25 June 2016}}</ref> The bagpipes continued to be played throughout the empire's former realms down to the present. (See Balkan [[Gaida]], Greek [[Tsampouna]], [[Pontic Greek|Pontic]] [[Tulum (bagpipe)|Tulum]], Cretan [[Askomandoura]], Armenian [[Parkapzuk]], and Romanian [[Cimpoi]].)
 
=== Акламације на двору и књига церемонија ===
 
Secular music existed and accompanied every aspect of life in the empire, including dramatic productions, pantomime, ballets, banquets, political and pagan festivals, Olympic games, and all ceremonies of the imperial court. It was, however, regarded with contempt, and was frequently denounced as profane and lascivious by some Church Fathers.<ref>Canon 62 of the Quinisext Synod (692) banned certain "pagan" feast of the hippodrome including ''Vota'' and ''Broumalia''. Nevertheless, both feasts were still described in [[Constantine VII]] [[De Ceremoniis|Books of ceremonies]] (I:72 & II:18).</ref>
 
Another genre that lies between liturgical chant and court ceremonial are the so-called [[Polychronion|polychronia]] (πολυχρονία) and [[acclamatio]]ns (ἀκτολογία).<ref>[[Ton Despotin|Τὸν Δεσπότην]] or Εἰς πολλἀ ἔτη, Δέσποτα. are two of the very few acclamations still in use today during the veneration of the icons by a Metropolit or the appointment of such an office.</ref> The acclamations were sung to announce the entrance of the Emperor during representative receptions at the court, the hippodrome or in the cathedral. They can be different from the polychronia, ritual prayers or ektenies for present political rulers and are usually answered by a choir with formulas such as "Lord protect" (κύριε σῶσον) or "Lord have mercy on us/them" (κύριε ἐλέησον).<ref>These formulas are documented in various regions of the Mediterranean such as the [[Gallican Rite|Gallican]] and [[Old Hispanic chant|Visigothic]] [[preces]], the terkyrie of the [[Ambrosian rite]], but also in coronation rites that were even performed at [[Montecassino|Montecassino Abbey]], when [[Pope Nicholas II]] accepted the [[Normans]] as allies.</ref> The documented polychronia in books of the cathedral rite allow a geographical and a chronological classification of the manuscript and they are still used during [[Ectenia|ektenies]] of the divine liturgies of national Orthodox ceremonies today. The [[Hippodrome of Constantinople|hippodrome]] was used for a traditional feast called [[Lupercalia]] (15 February), and on this occasion the following polychronion was celebrated:<ref>[[Constantine VII]]: [[De Ceremoniis|Ἔκθεσις τῆς Βασιλείου τάξεως]], [[Patrologia Graeca|PG]] 112, col. 664 ([https://archive.org/stream/corpusscriptorum07niebuoft#page/368/mode/2up book I, ch. 73]).</ref>
{| style="border-spacing: 3px; margin: 1em auto 1em auto;"
| style="width:90px" |Claqueurs:
|Lord, protect the Master of the Romans.
| style="width:90px" |Οἱ κράκται·
|Κύριε, σῶσον τοὺς δεσπότας τῶν Ῥωμαίων.
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|Lord, protect to whom they gave the crown.
|Οἱ κράκται·
|Κύριε, σῶσον τοὺς ἐκ σοῦ ἐστεμμένους.
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|Lord, protect the Orthodox power.
|Οἱ κράκται·
|Κύριε, σῶσον ὀρθόδοξον κράτος·
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|Lord, protect the renewal of the annual cycles.
|Οἱ κράκται·
|Κύριε, σῶσον τὴν ἀνακαίνησιν τῶν αἰτησίων.
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|Lord, protect the wealth of the subjects.
|Οἱ κράκται·
|Κύριε, σῶσον τὸν πλοῦτον τῶν ὑπηκόων·
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|May the Creator and Master of all things make long your years with the Augustae and the Porphyrogeniti.
|Οἱ κράκται·
|Ἀλλ᾽ ὁ πάντων Ποιητὴς καὶ Δεσπότης τοὺς χρόνους ὑμῶν πληθύνει σὺν ταῖς αὐγούσταις καὶ τοῖς πορφυρογεννήτοις.
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|-
|Claqueurs:
|Listen, God, to your people.
|Οἱ κράκται·
|Εἰσακούσει ὁ Θεὸς τοῦ λαοῦ ἡμῶν·
|-
|The people:
|Lord, protect (X3).
|ὁ λαός ἐκ γ'·
|Κύριε, σῶσον.
|}
[[File:Constantinople imperial district.png|thumb|right|300px|Map of the Great Palace situated between the Hippodrome and the Hagia Sophia. The structures of the Great Palace are shown in their approximate position as derived from literary sources. Surviving structures are in black.]]
The main source about court ceremonies is an incomplete compilation in a 10th-century manuscript that organised parts of a treatise [[De Ceremoniis|Περὶ τῆς Βασιλείου Τάξεως]] ("On imperial ceremonies") ascribed to Emperor [[Constantine VII]], but in fact compiled by different authors who contributed with additional ceremonies of their period.<ref>A reprint of Johann Jakob Reiske's first edition can be found in [[Patrologia Graeca|PG]] (CXII, cc. 73–1416). For an English translation of this edition see: {{Cite book
| edition = Repr. Bonn 1829
| publisher = Australian Association for Byzantine Studies
| isbn = 978-1876503420
| last = Constantine VII Porphyrogennetos
| author-link = Constantine VII
| others = Ann Moffatt (ed.)
| title = The book of ceremonies in 2 volumes
| location = Canberra
| series = Byzantina Australiensia
| date = 2012
}}</ref> In its incomplete form chapter 1–37 of book I describe processions and ceremonies on religious festivals (many lesser ones, but especially great feasts such as the [[Elevation of the Cross]], [[Christmas]], [[Epiphany (holiday)|Theophany]], [[Palm Sunday]], [[Good Friday]], [[Easter]] and [[Ascension Day]] and feasts of saints including [[St Demetrius]], [[St Basil]] etc. often extended over many days), while chapter 38–83 describe secular ceremonies or rites of passage such as coronations, weddings, births, funerals, or the celebration of war triumphs.<ref>For a discussion of the ceremonial book's composition, but also on details of certain ceremonies, see: {{Cite journal
| volume = 22
| pages = 209–227;426–448
| last = Bury
| first = John Bagnell
| title = The Ceremonial Book of Constantine Porphyrogennetos
| journal = The English Historical Review
| date = 1907
| url = https://archive.org/details/TheCeremonialBookOfConstantinePorphyrogennetos
| doi=10.1093/ehr/xxii.lxxxvi.209
}}</ref> For the celebration of Theophany the protocol begins to mention several [[Sticheron|stichera]] and their echoi (ch. 3) and who had to sing them:
{{cquote|Δοχὴ πρώτη, τῶν Βενέτων, φωνὴ ἢχ. πλαγ. δ`. « Σήμερον ὁ συντρίψας ἐν ὕδασι τὰς κεφαλὰς τῶν δρακόντων τὴν κεφαλὴν ὑποκλίνει τῷ προδρόμῳ φιλανθρώπως. » Δοχἠ β᾽, τῶν Πρασίνων, φωνὴ πλαγ. δ'· « Χριστὸς ἁγνίζει λουτρῷ ἁγίῳ τὴν ἐξ ἐθνῶν αὐτοῦ Ἐκκλησίαν. » Δοχὴ γ᾽, τῶν Βενέτων, φωνἠ ἤχ. πλαγ. α'· « Πυρὶ θεότητος ἐν Ἰορδάνῃ φλόγα σβεννύει τῆς ἁμαρτίας. »<ref>[[Patrologia Graeca|PG]] 112, col. 216f (ch. 3).</ref>}}
 
These protocols gave rules for imperial progresses to and from certain churches at Constantinople and the [[Great Palace of Constantinople|imperial palace]],<ref>See also the reconstruction of {{Cite web
|url = http://www.byzantium1200.com/
|title = Constantinople about 1200
|date = 2009
|website = Byzantium 1200
}} a three-dimensional model of the [http://www.byzantium1200.com/images/tile_01L.jpg quarter], and the [http://www.byzantium1200.com/greatpalace.html presentation of a reconstruction by Jan Kostenec]. {{Cite book
| publisher = Yayınları
| isbn = 978-9758071265
| volume = 5
| pages = 47–60
| editor = Franz Alto Bauer
| last = Featherstone
| first = Jeffrey Michael
| title = Visualisierungen von Herrschaft. Frühmittelalterliche Residenzen - Gestalt und Zeremoniell (Internationales Kolloquium 3.–4. Juni 2004 in Istanbul)
| chapter = The Great Palace as Reflected in the 'De Cerimoniis'
| location = Istanbul
| series = Byzas
| date = 2006
}}</ref> with fixed stations and rules for ritual actions and acclamations from specified participants (the text of acclamations and processional troparia or [[kontakion|kontakia]], but also [[Heirmos|heirmoi]] are mentioned), among them also ministers, senate members, leaders of the "Blues" (Venetoi) and the "Greens" (Prasinoi)—chariot teams during the hippodrome's horse races. They had an important role during court ceremonies.<ref>The hippodrome was as important for court ceremonies as the Hagia Sophia for imperial religious ceremonies and rites of passage. It was not only used during horse races, but also for receptions and its banquets and the yearly celebration of Constantinople's inauguration on 11 May. The "Golden Hippodrome" was an own ceremony to inaugurate a new season and to fix the calendar of the ceremonial located in the hippodrome. Occasionally also votive horse races were given, for example on 22 July for the feast of Saint Elias. {{Cite journal
| publisher = Durham University
| last = Woodrow
| first = Zoe Antonia
| title = Imperial Ideology in Middle Byzantine Court Culture: The Evidence of Constantine Porphyrogenitus's 'De ceremoniis'
| date = 2001
| url = http://etheses.dur.ac.uk/3969/
}}
</ref> The following chapters (84–95) are taken from a 6th-century manual by [[Peter the Patrician]]. They rather describe administrative ceremonies such as the appointment of certain functionaries (ch. 84,85), investitures of certain offices (86), the reception of ambassadors and the proclamation of the Western Emperor (87,88), the reception of Persian ambassadors (89,90), Anagorevseis of certain Emperors (91–96), the appointment of the senate's ''proedros'' (97). The "palace order" did not only prescribe the way of movements (symbolic or real) including on foot, mounted, by boat, but also the costumes of the celebrants and who has to perform certain acclamations. The emperor often plays the role of Christ and the imperial palace is chosen for religious rituals, so that the ceremonial book brings the sacred and the profane together. Book II seems to be less normative and was obviously not compiled from older sources like book I, which often mentioned outdated imperial offices and ceremonies, it rather describes particular ceremonies as they had been celebrated during particular imperial receptions during the Macedonian renaissance.
 
=== Пустињски Оци и градско монаштво ===
[[File:Chludov rivers.jpg|thumb|upright=1.2|[[Chludov Psalter]], 9th century ([[State Historical Museum|RUS-Mim]] Ms. D.129, fol. 135) River of Babylon as illustration of Ps. 137:1–3]]
 
Two concepts must be understood to appreciate fully the function of music in Byzantine worship and they were related to a new form of urban monasticism, which even formed the representative cathedral rites of the imperial ages, which had to baptise many [[catechumen]]s.
 
The first, which retained currency in Greek theological and mystical speculation until the dissolution of the empire, was the belief in the [[angel]]ic transmission of sacred chant: the assumption that the early Church united men in the prayer of the angelic choirs. It was partly based on the Hebrew fundament of Christian worship, but in the particular reception of St. [[Basil of Caesarea]]'s divine liturgy. [[John Chrysostom]], since 397 Archbishop of Constantinople, abridged the long formular of Basil's divine liturgy for the local cathedral rite.
 
The notion of angelic chant is certainly older than the [[Apocalypse]] account ([[Revelation]] 4:8–11), for the musical function of angels as conceived in the [[Old Testament]] is brought out clearly by [[Isaiah]] (6:1–4) and [[Ezekiel]] (3:12). Most significant in the fact, outlined in [[Book of Exodus|Exodus]] 25, that the pattern for the earthly worship of Israel was derived from heaven. The allusion is perpetuated in the writings of the early Fathers, such as [[Clement of Rome]], [[Justin Martyr]], [[Ignatius of Antioch]], [[Athenagoras of Athens]], John Chrysostom and [[Pseudo-Dionysius the Areopagite]]. It receives acknowledgement later in the liturgical treatises of Nicolas Kavasilas and Symeon of Thessaloniki.<ref>[[Patrologia Graeca]], CL, 368–492 and CLV, 536–699, respectively.</ref>
 
The second, less permanent, concept was that of [[koinonia]] or "[[Communion (Christian)|communion]]". This was less permanent because, after the fourth century, when it was analyzed and integrated into a theological system, the bond and "oneness" that united the clergy and the faithful in liturgical worship was less potent. It is, however, one of the key ideas for understanding a number of realities for which we now have different names. With regard to musical performance, this concept of koinonia may be applied to the primitive use of the word choros. It referred, not to a separate group within the congregation entrusted with musical responsibilities, but to the congregation as a whole. St. Ignatius wrote to the Church in Ephesus in the following way:
<blockquote>You must every man of you join in a choir so that being harmonious and in concord and taking the keynote of God in unison, you may sing with one voice through Jesus Christ to the Father, so that He may hear you and through your good deeds recognize that you are parts of His Son.</blockquote>
 
A marked feature of liturgical ceremony was the active part taken by the people in its performance, particularly in the recitation or chanting of hymns, responses and psalms. The terms choros, koinonia and ekklesia were used synonymously in the early Byzantine Church. In [[Psalms]] 149 and 150, the [[Septuagint]] translated the [[Hebrew language|Hebrew]] word ''machol'' (dance) by the Greek word ''choros'' {{lang-el|Χορος}}. As a result, the early Church borrowed this word from classical antiquity as a designation for the congregation, at worship and in song in heaven and on earth both.
 
Concerning the practice of psalm recitation, the recitation by a congregation of educated chanters is already testified by the soloistic recitation of abridged psalms by the end of the 4th century. Later it was called [[prokeimenon]]. Hence, there was an early practice of [[Papadic Octoechos#Simple psalmody|simple psalmody]], which was used for the recitation of canticles and the psalter, and usually Byzantine psalters have the 15 canticles in an appendix, but the simple psalmody itself was not notated before the 13th century, in dialogue or ''[[Papadic Octoechos#Composition of the papadike|papadikai]]'' treatises preceding the book sticheraria.<ref>{{cite encyclopedia
|last = Troelsgård|first = Christian|title = Psalm, § III Byzantine Psalmody|encyclopedia = Grove Music Online|accessdate = 20 April 2012|url = http://www.oxfordmusiconline.com/subscriber/article/grove/music/48161#S48161.3|ref = PsaNG}}</ref> Later books, like the ''akolouthiai'' and some ''psaltika'', also contain the elaborated psalmody, when a protopsaltes recited just one or two psalm verses. Between the recited psalms and canticles troparia were recited according to the same more or less elaborated psalmody. This context relates antiphonal chant genres including antiphona (kind of [[introit]]s), [[trisagion]] and its substitutes, [[prokeimenon]], [[Alleluia (chant)|allelouiarion]], the later [[cherubikon]] and its substitutes, the [[koinonikon]] cycles as they were created during the 9th century. In most of the cases they were simply [[Troparion|troparia]] and their repetitions or segments were given by the antiphonon, whether it was sung or not, its three sections of the psalmodic recitation were separated by the troparion.
 
==== Рецитовање библијских ода ====
[[File:Chludov red sea.jpg|thumb|upright=1.2|[[Chludov Psalter]], beginning of the canticles]]
 
The fashion in all cathedral rites of the Mediterranean was a new emphasis on the psalter. In older ceremonies before Christianity became the religion of empires, the recitation of the biblical odes (mainly taken from the Old Testament) was much more important. They did not disappear in certain cathedral rites such as the Milanese and the Constantinopolitan rite.
 
Before long, however, a clericalizing tendency soon began to manifest itself in linguistic usage, particularly after the [[Council of Laodicea]], whose fifteenth [[Canon law|Canon]] permitted only the [[Canon (basic principle)|canonical]] ''[[Psaltis|psaltai]]'', "chanters:", to sing at the services. The word choros came to refer to the special priestly function in the liturgy – just as, architecturally speaking, the choir became a reserved area near the sanctuary—and choros eventually became the equivalent of the word kleros (the pulpits of two or even five choirs).
 
The nine canticles or odes according to the psalter were:
 
* (1) The [[Song of the sea]] (Exodus 15:1–19);
* (2) The [[Song of Moses]] (Deuteronomy 32:1–43);
* (3) – (6) The prayers of [[Song of Hannah|Hannah]], Habakkuk, Isaiah, Jonah (1 Kings [1 Samuel] 2:1–10; Habakkuk 3:1–19; Isaiah 26:9–20; Jonah 2:3–10);
* (7) – (8) [[The Prayer of Azariah and Song of the Three Holy Children]] (Apoc. Daniel 3:26–56 and 3:57–88);
* (9) The [[Magnificat]] and the [[Benedictus (Song of Zechariah)|Benedictus]] (Luke 1:46–55 and 68–79).
 
and in Constantinople they were combined in pairs against this canonical order:<ref>{{Cite journal
|volume = 9/10|pages = 175–202|last = Strunk|first = William Oliver|title = The Byzantine Office at Hagia Sophia|journal = Dumbarton Oaks Papers|year = 1956|ref = Str1956|jstor = 1291096|doi = 10.2307/1291096}}</ref>
 
* Ps. 17 with troparia Ἀλληλούϊα and Μνήσθητί μου, κύριε.
* (1) with troparion Tῷ κυρίῳ ἄισωμεν, ἐνδόξως γὰρ δεδόξασται.
* (2) with troparion Δόξα σοι, ὁ θεός. (Deut. 1–14) Φύλαξόν με, κύριε. (Deut. 15–21) Δίκαιος εἶ, κύριε, (Deut. 22–38) Δόξα σοι, δόξα σοι. (Deut. 39–43) Εἰσάκουσόν μου, κύριε. (3)
* (4) & (6) with troparion Οἰκτείρησόν με, κύριε.
* (3) & (9a) with troparion Ἐλέησόν με, κύριε.
* (5) & Mannaseh (apokr. 2 Chr 33) with troparion Ἰλάσθητί μοι, κύριε.
* (7) which has a refrain in itself.
 
==== Тропар ====
The common term for a short hymn of one stanza, or one of a series of stanzas, is [[troparion]]. As a refrain interpolated between psalm verses it had the same function as the [[antiphon]] in Western plainchant. The simplest troparion was probably "allelouia", and similar to troparia like the [[trisagion]] or the [[cherubikon]] or the [[Koinonikon|koinonika]] a lot of troparia became a chant genre of their own.
 
[[File:Recitation psalm 85.jpg|thumb|center|750px|Recitation of psalm 85 κλῖνον, κύριε, τὸ οὖς σου καὶ ἐπάκουσόν μου during vespers (τῇ βέσπερ) in echos plagios devteros with a preceding troparion καὶ ἐπάκουσόν μου· δόξα σοι, ὁ Θεός in a liturgical manuscript around 1400 ([[National Library of Greece|GR-An]] Ms. [[#GR-An2061|2061]], fol. 4r)]]
 
A famous example, whose existence is attested as early as the 4th century, is the [[Easter]] [[Vespers]] hymn, ''[[Phos Hilaron]]'' ("O Resplendent Light"). Perhaps the earliest set of troparia of known authorship are those of the [[monk]] [[Auxentios]] (first half of the 5th century), attested in his biography but not preserved in any later Byzantine order of service. Another, ''[[O Monogenes Yios]]'' ("Only Begotten Son"), ascribed to the emperor [[Justinian I]] (527–565), followed the doxology of the second antiphonon at the beginning of the [[Divine Liturgy]].
 
=== Роман Мелодичар, контакион и Света Софија ===
[[File:1649. Пакроў.jpg|thumb|An icon depicting [[Romanos the Melodist]] (c.&nbsp;490–556) with a kontakion roll]]
[[File:Ancient Ambon outside Hagia Sophia.png|thumb|Ancient [[Ambon (liturgy)|Ambon]] outside Hagia Sophia]]
 
The development of large scale hymnographic forms begins in the fifth century with the rise of the [[kontakion]], a long and elaborate metrical sermon, reputedly of Syriac origin, which finds its acme in the work of St. [[Romanos the Melodist]] (6th century). This dramatic [[homily]] which could treat various subjects, theological and hagiographical ones as well as imperial propaganda, comprises some 20 to 30 stanzas (oikoi "houses") and was sung in a rather simple style with emphasise on the understanding of the recent texts.<ref>The exact ritual context of the kontakion is a controversial issue, since it also changed considerably during history. Its earliest place was probably a cathedral vigil (night service) celebrated at the Blachernae chapel near the North-Western wall for the instruction of the laity: {{Cite book
| volume = 1
| pages = 50–57
| editor-last = Akentiev
| editor-first = Constantin C.
| last = Lingas| first = Alexander
| title = Liturgy, Architecture and Art of the Byzantine World: Papers of the XVIII International Byzantine Congress (Moscow, 8–15 August 1991) and Other Essays Dedicated to the Memory of Fr. John Meyendorff
| chapter = The Liturgical Place of the Kontakion in Constantinople
| location = St. Petersburg
| series = Byzantino Rossica
| date = 1995
}}</ref> The earliest notated versions in Slavic ''kondakar's'' (12th century) and Greek ''kontakaria-psaltika'' (13th century), however, are in a more elaborate style (also rubrified [[Idiomelon|idiomela]]), and were probably sung since the ninth century, when ''kontakia'' were reduced to the ''prooimion'' (introductory verse) and first ''oikos'' (stanza).<ref>See the edition of the notated and usually elaborated models in the habilitation of Constantin Floros (University of Hamburg, 1961) whose publication was realised very late ([[#Flo2015|2015]]), and Neil Moran's English translation ([[#Flo2009|2009]]) of relevant parts of Floros' “Universale Neumenkunde” ([[#Flo1970|1970]]). In his comparative study of ''kontakarion'' manuscripts, Christian Thodberg made a typological distinction between the short and the long ''kontakarion.'' {{Cite book
| publisher = E. Munksgaard
| last = Thodberg
| first = Christian
| others = Holger Hamann (trans.)
| title = Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil
| location = Kopenhagen
| series = Monumenta musicae Byzantinae - Subsidia
| volume = 8
| date = 1966
| ref = Tho1966
}}</ref> Romanos' own recitation of all the numerous ''oikoi'' must have been much simpler, but the most interesting question of the genre are the different functions that ''kontakia'' once had. Romanos' original melodies were not delivered by notated sources dating back to the 6th century, the earliest notated source is the Tipografsky Ustav written about 1100. Its gestic notation was different from Middle Byzantine notation used in Italian and Athonite Kontakaria of the 13th century, where the gestic signs (cheironomiai) became integrated as “great signs”. During the period of psaltic art (14th and 15th centuries), the interest of kalophonic elaboration was focussed on one particular kontakion which was still celebrated: the [[Akathist]] hymn. An exception was [[John Kladas]] who contributed also with kalophonic settings of other kontakia of the repertoire.
 
Some of them had a clear liturgical assignation, others not, so that they can only be understood from the background of the later book of ceremonies. Some of Romanos creations can be even regarded as political propaganda in connection with the new and very fast reconstruction of the famous [[Hagia Sophia]] by [[Isidore of Miletus]] and [[Anthemius of Tralles]]. A quarter of Constantinople had been burnt down during a [[Nika riots|civil war]]. Justinian had ordered a massacre at the [[Hippodrome of Constantinople|hippodrome]], because his imperial antagonists who were affiliated to the former dynasty, had been organised as a chariot team.<ref>Justinian had finally decided to face the upriots, but he could probably foresee that it would end in massacres. The violent destruction and fire raising at buildings in the quarter, which was the administrative residence of the whole empire, had already happened during an earlier civil war, which followed the death of Archbishop [[Saint John Chrysostom|John Chrysostom]] during his last exile.</ref> Thus, he had place for the creation of a huge park with a new cathedral in it, which was larger than any church built before as Hagia Sophia. He needed a kind of mass propaganda to justify the imperial violence against the public. In the kontakion "On earthquakes and conflagration" (H. 54), Romanos interpreted the Nika riot as a divine punishment, which followed in 532 earlier ones including earthquakes (526–529) and a famine (530):<ref>{{Cite journal
|issn = 0070-7546
|volume = 62
|pages = 275–291; 281
|last = Koder|first = Johannes
|title = Imperial Propaganda in the Kontakia of Romanos the Melode
|journal = Dumbarton Oaks Papers
|date = 2008
|jstor = 20788050
|ref = Kod2008
}}</ref>
{| style="border-spacing: 3px; border: 1px solid darkgray; margin: 1em auto 1em auto;"
|- border="0"
|The city was buried beneath these horrors and cried in great sorrow.
|Ὑπὸ μὲν τούτων τῶν δεινῶν κατείχετο ἡ πόλις καὶ θρῆνον εἶχε μέγα·
|-
|Those who feared God stretched their hands out to him,
|Θεὸν οἱ δεδιότες χεῖρας ἐξέτεινον αὐτῷ
|-
|begging for compassion and an end to the terror.
|ἐλεημοσύνην ἐξαιτοῦντες παρ᾽ αὐτοῦ καὶ τῶν κακῶν κατάπαυσιν·
|-
|Reasonably, the emperor—and his empress—were in these ranks,
|σὺν τούτοις δὲ εἰκότως ἐπηύχετο καὶ ὁ βασιλεύων
|-
|their eyes lifted in hope toward the Creator:
|ἀναβλέψας πρὸς τὸν πλάστην —σὺν τούτῳ δὲ σύνευνος ἡ τούτου—
|-
|"Grant me victory", he said, "just as you made David
|Δός μοι, βοῶν, σωτήρ, ὡς καὶ τῷ Δαυίδ σου
|-
|victorious over Goliath. You are my hope.
|τοῦ νικῆσαι Γολιάθ· σοὶ γὰρ ἐλπίζω·
|-
|Rescue, in your mercy, your loyal people
|σῶσον τὸν πιστὸν λαόν σου ὡς ἐλεήμων,
|-
|and grant them eternal life."
|οἶσπερ καὶ δώσῃς ζωὴν τὴν αἰώνιον.(H. 54.18)
|}
 
According to Johannes Koder the kontakion was celebrated the first time during Lenten period in 537, about ten months before the official inauguration of the new built Hagia Sophia on 27 December.
[[File:Haga Sofia RB1.jpg|thumb|center|750px|The Constantinopolitan [[Hagia Sophia]] with elements added later to the crossing in order to stabilise the dome construction]]
 
=== Промене у архитектури и литургији, и увођење херубикона ===
[[File:SS. Forty Martyrs Church Iconostasis.JPG|thumb|upright=1.2|Icon screen in Constantinopolitan style reconstructed for [[Holy Forty Martyrs Church, Veliko Tarnovo|SS. Forty Martyrs Church]] at Veliko Tarnovo (Bulgaria)]]
{{main|Cherubikon}}
 
During the second half of the sixth century, there was a change in [[Byzantine architecture|Byzantine sacred architecture]], because the altar used for the preparation of the [[eucharist]] had been removed from the [[bema]]. It was placed in a separated room called "[[Prothesis (altar)|prothesis]]" (πρόθεσις). The separation of the prothesis where the bread was consecrated during a separated service called [[Liturgy of Preparation|proskomide]], required a procession of the gifts at the beginning of the second eucharist part of the [[divine liturgy]]. The troparion "Οἱ τὰ χερουβεὶμ", which was sung during the procession, was often ascribed to Emperor [[Justin II]], but the changes in sacred architecture were definitely traced back to his time by archaeologists.<ref>See the marble screen of Veliko Tarnovo, which is close to the reconstruction based on a marble fragment of the 6th century. {{Cite book
| first = Assen
| last = Tschilingirov
| title = Die Kunst des christlichen Mittelalters in Bulgarien
| location = Berlin
| publisher = Union
| date =1978
| pages = 18
}}</ref> Concerning the [[Hagia Sophia]], which was constructed earlier, the procession was obviously within the church.<ref>Neil Moran offers a discussion of different hypotheses concerning the exact way of the procession. He also regards a central [[Ambon (liturgy)|ambo]], positioned slightly eastwards before the choir screen, as the regular place of the chanters since the 5th century. Since [[Justinian]] two choirs have had to be limited to 12 singers each. {{Cite journal
|title = The Musical 'Gestaltung' of the Great Entrance Ceremony in the 12th century in accordance with the Rite of Hagia Sophia
|last = Moran
|first = Neil
|date = 1979
|journal = Jahrbuch der Österreichischen Byzantinistik
|volume = 28
|pages = 167–193
|ref = Mor1979
}}</ref> It seems that the [[cherubikon]] was a prototype of the Western chant genre [[offertory]].<ref>The old term of the pre-Carolingian Gallican rite was "sonus". Since Abbot Hilduin at the [[Saint Denis Cathedral|Abbey Saint Denis]], a diplomate at the Court of [[Louis the Pious]], the cherubikon was re-introduced within the so-called ''Missa greca'' in honour of the patron who became identified with the Greek father [[Pseudo-Dionysius]]. The chant books of the abbey also provide the cherubikon as the offertory chant for the [[Pentecost]] Mass.</ref>
 
With this change came also the dramaturgy of the three doors in a choir screen before the [[Bema#Christianity|bema]] (sanctuary). They were closed and opened during the ceremony.<ref>Neil Moran ([[#Mor1979|1979]]) interpreted the four antiphona that interrupted the cherubikon in the Italobyzantine psaltikon Cod. mess. 161 ([[University of Messina|I-ME]], Fondo SS. Salvatore, Ms. gr. 161 ff.71–74), as of Constantinopolitan origin. According to him the dramaturgy of the doors were not those of the choir screen, but of an elliptic [[Ambon (liturgy)|ambo]] under the dome of the [[Hagia Sophia]].</ref> Outside Constantinople these choir or icon screens of marble were later replaced by [[Iconostasis|iconostaseis]]. [[Anthony of Novgorod|Antonin]], a Russian monk and pilgrim of [[Novgorod]], described the procession of choirs during Orthros and the divine liturgy, when he visited Constantinople in December 1200:
<blockquote>When they sing Lauds at Hagia Sophia, they sing first in the narthex before the royal doors; then they enter to sing in the middle of the church; then the gates of Paradise are opened and they sing a third time before the altar. On Sundays and feastdays the Patriarch assists at Lauds and at the Liturgy; at this time he blesses the singers from gallery, and ceasing to sing, they proclaim the polychronia; then they begin to sing again as harmoniously and as sweetly as the angels, and they sing in this fashion until the Liturgy. After Lauds they put off their vestments and go out to receive the blessing of the Patriarch; then the preliminary lessons are read in the ambo; when these are over the Liturgy begins, and at the end of the service the chief priest recites the so-called prayer of the ambo within the sanctuary while the second priest recites in the church, beyond the ambo; when they have finished the prayer, both bless the people. Vespers are said in the same fashion, beginning at an early hour.<ref>Quoted according to the translation by Oliver Strunk ([[#Str1956|1956]], 177).</ref></blockquote>
 
[[File:Papyrus fragment of a tropologion.jpg|thumb|300px|Papyrus fragment of a 6th-century tropologion found in Egypt, marked in red are the modal signature and some early ekphonetic signs of the following [[theotokion]] ("another one") which is composed in a melos of echos plagios devteros ([[Berlin State Museums|D-Bk]] [[#P21319|P. 21319]])]]
 
=== Манастирске реформе у Цариграду и Јерусалиму ===
By the end of the seventh century with the [[Quinisext Council|reform of 692]], the kontakion, Romanos' genre was overshadowed by a certain monastic type of [[Homily|homiletic]] hymn, the [[Canon (hymnography)|canon]] and its prominent role it played within the cathedral rite of the Patriarchate of Jerusalem. Essentially, the kanon, as it is known since 8th century, is a hymnodic complex composed of nine odes that were originally attached to the nine Biblical [[canticle]]s and to which they were related by means of corresponding poetic allusion or textual quotation (see the [[#The_recitation_of_the_biblical_odes|section about the biblical odes]]). Out of the custom of canticle recitation, monastic reformers at Constantinople, Jerusalem and Mount Sinai developed a new homiletic genre whose verses in the complex ode meter were composed over a melodic model: the [[heirmos]].<ref>{{cite journal|last=Frøyshov|first=Stig Simeon R.|date=2007|title=The Early Development of the Liturgical Eight-Mode System in Jerusalem|url=https://www.academia.edu/2980443|journal=Saint Vladimir's Theological Quarterly|volume=51|pages=139–178|accessdate=19 March 2018|ref=Fro07}}<!-- this alternative link works now {{dead link|date=July 2017 |bot=InternetArchiveBot |fix-attempted=yes |checked=true}} --></ref>
 
During the 7th century kanons at the Patriarchate of Jerusalem still consisted of the two or three odes throughout the year cycle, and often combined different [[Echos|echoi]]. The form common today of nine or eight odes was introduced by composers within the school of [[Andrew of Crete]] at [[Mar Saba]]. The nine ''odes'' of the ''kanon'' were dissimilar by their metrum. Consequently, an entire ''heirmos'' comprises nine independent melodies (eight, because the second ''ode'' was often omitted outside Lenten period), which are united musically by the same echos and its melos, and sometimes even textually by references to the general theme of the liturgical occasion—especially in ''acrosticha'' composed over a given ''heirmos'', but dedicated to a particular day of the [[menaion]]. Until the 11th century, the common book of hymns was the tropologion and it had no other musical notation than a modal signature and combined different hymn genres like [[troparion]], [[sticheron]], and [[Canon (hymnography)|canon]].
 
The earliest tropologion was already composed by [[Severus of Antioch]], [[Paul of Edessa]] and Ioannes Psaltes at the Patriarchate of Antioch between 512 and 518. Their [[Octoechos (liturgy)|tropologion]] has only survived in Syriac translation and revised by [[Jacob of Edessa]].<ref>The Syriac tropligin was written in 675 ([[British Library|GB-Lbl]] Ms. Add. 17134).</ref> The tropologion was continued by [[Sophronius of Jerusalem|Sophronius]], Patriarch of Jerusalem, but especially by Andrew of Crete's contemporary [[Germanus I of Constantinople|Germanus I, Patriarch of Constantinople]] who represented as a gifted hymnographer not only an own school, but he became also very eager to realise the purpose of this reform since 705, although its authority was questioned by iconoclast antagonists and only established in 787. After the octoechos reform of the Quinisext Council in 692, monks at Mar Saba continued the hymn project under Andrew's instruction, especially by his most gifted followers [[John of Damascus]] and [[Cosmas of Maiuma|Cosmas of Jerusalem]]. These various layers of the Hagiopolitan tropologion since the 5th century have mainly survived in a Georgian type of tropologion called "Iadgari" whose oldest copies can be dated back to the 9th century.<ref>{{Cite book
|publisher = Peeters
|volume = 12
|pages = 227–267
|editor1=Bert Groen |editor2=Steven Hawkes-Teeples |editor3=Stefanos Alexopoulos
|last = Frøyshov|first = Stig Simeon R.
|chapter = The Georgian Witness to the Jerusalem Liturgy: New Sources and Studies|title = Inquiries into Eastern Christian Worship: Selected Papers of the Second International Congressof the Society of Oriental Liturgy (Rome, 17–21 September 2008)
|location = Leuven, Paris, Walpole
|series = Eastern Christian Studies
|date = 2012
|chapterurl = https://www.academia.edu/2449049
}}</ref>
 
Today the second ode is usually omitted (while the great kanon attributed to John of Damascus includes it), but medieval heirmologia rather testify the custom, that the extremely strict spirit of Moses' last prayer was especially recited during Lenten tide, when the number of odes was limited to three odes ([[triodion]]), especially patriarch Germanus I contributed with many own compositions of the second ode. According to Alexandra Nikiforova only two of 64 canons composed by Germanus I are present in the current print editions, but manuscripts have transmitted his hymnographic heritage.<ref>{{Cite journal
|last=Nikiforova|first=Alexandra
|date=2011
|title=Неизвестное гимнографическое наследие константинопольского патриарха Германа [Unknown Hymnographical Heritage of St. Germanus, Patriarch of Constantinople]
|url=https://www.academia.edu/1042860
|journal=Вестник ПСТГУ. Филология
|volume=4
|issue=26
|pages=29–43
}}</ref>
 
== Монашке реформе Студита и њихове нотне књиге ==
[[File:Heirmologion from Sinai.jpg|thumb|750px|center|Echos devteros part with first ode settings (OdO) of a Greek Heirmologion with Coislin notation as palimpsest over pages of a former tropologion ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#SinaiGr929|Gr. 929]], ff. 17v-18r)]]
During the 9th-century reforms of the [[Stoudios Monastery]], the reformers favoured Hagiopolitan composers and customs in their new notated chant books [[heirmologion]] and [[sticherarion]], but they also added substantial parts to the tropologion and re-organised the cycle of movable and immovable feasts (especially Lent, the triodion, and its scriptural lessons).<ref>The expression “triodion” referred to the custom of the Lent season to sing just three odes as a complete kanon, the second, eighth and ninth ode in Constantinople and the second, third and fourth within the Patriarchate of Jerusalem. They were usually followed by Old Testament readings and thus, they did replace the usual prokeimenon. [[Theodore the Studite|Theodore]] and [[Joseph the Confessor|Joseph]] also used existing idiomela to compose the texts of new stichera for the triodion cycle. {{Cite book
| doi = 10.1553/joeb53s117
| volume = 53
| pages = 117–125
| last = Wolfram
| first = Gerda
| title = Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie
| journal = Jahrbuch der Österreichischen Byzantinistik
| date = 2003
| url = http://hw.oeaw.ac.at/0xc1aa500d_0x0003b376
| ref = Wol2003
| isbn = 978-3-7001-3172-4
}}</ref> The trend is testified by a 9th-century tropologion of the [[Saint Catherine's Monastery]] which is dominated by contributions of Jerusalem.<ref>The tropologion was discovered by the later Archimandrite Sophronius in the tower of the North wall in 1975. {{Cite journal
| doi = 10.3406/rebyz.2000.1990
| issn = 0766-5598
| volume = 58
| issue = 1
| pages = 167–184
| last1 = Géhin
| first1 = Paul
| last2 = Frøyshov
| first2 = Stig
| title = Nouvelles découvertes sinaïtiques. À propos de la parution de l'inventaire des manuscrits grecs
| journal = Revue des Études Byzantines
| date = 2000
}} It comprises a cycle of 73 services. Many compositions are anonymous, except of the Sabbaite school which is just mentioned by the names Andrew, John and Cosmas, the earliest layer of twelve troparia are ascribed to [[Cyril of Jerusalem]] (4th century): {{Cite journal
| volume = 12
| pages = 157–185
| last = Nikiforova
| first = Alexandra
| title = Tropologion Sinait. Gr. ΝΕ/ΜΓ 56+5 (9th c.): A new source for Byzantine Hymnography
| journal = Scripta & E-Scripta. International Journal for Interdisciplinary Studies
| url = https://www.ceeol.com/search/article-detail?id=17991
| date = 2013}}</ref> Festal stichera, accompanying both the fixed psalms at the beginning and end of [[Vespers|Hesperinos]] and the psalmody of the [[Orthros]] (the Ainoi) in the Morning Office, exist for all special days of the year, the Sundays and weekdays of [[Lent]], and for the recurrent cycle of eight weeks in the order of the modes beginning with [[Easter]]. Their melodies were originally preserved in the ''tropologion''. During the 10th century two new notated chant books were created at the Stoudios Monastery, which were supposed to replace the tropologion:
# the ''[[sticherarion]]'', consisting of the idiomela in the ''menaion'' (the fixed cycle between September and August), the ''triodion'' and the ''pentekostarion'' (mobile cycle around the holy week), and the short version of ''[[Octoechos (liturgy)|octoechos]]'' (hymns of the Sunday cycle starting with Saturday evening) which sometimes contained a limited number of model troparia ([[Idiomelon|prosomoia]]). A rather bulky volume called "great octoechos" or "parakletike" with the weekly cycle appeared first in the middle of the tenth century as a book of its own.<ref>There was a hypothesis that the parakletike was mainly created by Joseph the Hymnographer, but it is disputed controversially. Svetlana Kujumdžieva agreed with this ascription, while others like Frøyshov argue on the basis of the early Iadgari findings, that important parts of it already existed before Joseph.{{Cite journal
| volume = 2012
| issue = 3–4
| pages = 9–22
| last = Kujumdžieva
| first = Svetlana
| title = The Тropologion: Sources and Identifications of a Hymnographic Book
| journal = Българско музикознание
| date = 2012
| url = https://www.ceeol.com/search/article-detail?id=18371
}}</ref>
# the ''heirmologion'', which was composed in eight parts for the eight echoi, and further on either according to the canons in liturgical order (KaO) or according to the nine odes of the canon as a subdivision into 9 parts (OdO).
 
These books were not only provided with musical notation, with respect to the former ''tropologia'' they were also considerably more elaborated and varied as a collection of various local traditions. In practice it meant that only a small part of the repertory was really chosen to be sung during the divine services.<ref>The menaion had in early sticheraria until the 12th century a larger repertoire, but until the 14th century the repertory of notated idiomela was reduced to a collection of 750. Only a part was performed within a local monastic tradition throughout the year. {{cite journal
|last=Troelsgård
|first=Christian
|title=What kind of chant books were the Byzantine Sticherária?
|journal=Cantus Planus: Papers Read at the 9th Meeting, Esztergom & Visegrád, 1998
|year=2001
|pages=563–574
|url=http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/CPvolumes/1998.pdf#page=563
|accessdate=4 November 2012
|editor-first=László
|editor-last=Dobszay
|ref=Tro01
}}</ref> Nevertheless, the form ''tropologion'' was used until the 12th century, and many later books which combined octoechos, sticherarion and heirmologion, rather derive from it (especially the usually unnotated Slavonic ''osmoglasnik'' which was often divided in two parts called "pettoglasnik", one for the kyrioi, another for the plagioi echoi).
[[File:Tropologion-Menaion from Sinai.jpg|thumb|750px|center|[[Menaion]] with two [[kathisma]]ta (echos tritos and tetartos) dedicated to [[Eudokia of Heliopolis|Saint Eudokia]] (1 March) and the sticheron prosomoion χαῖροις ἡ νοητῇ χελιδῶν in echos plagios protos which has to be sung with the melos of the [[Idiomelon|avtomelon]] χαῖροις ἀσκητικῶν. The scribe rubrified the book Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr607|Gr. 607]], ff. 2v-3r)]]
The old custom can be studied on the basis of the 9th-century tropologion ΜΓ 56+5 from Sinai which was still organised according to the old tropologion beginning with the Christmas and Epiphany cycle (not with 1 September) and without any separation of the movable cycle.<ref>See the list of incipits: {{Cite book
|title=About the History of the Menaion in Byzantium: Hymnographic Monuments of the 9th–12th Centuries from the St. Catherine's Monastery on the Sinai
|last=Nikiforova
|first=Alexandra
|date=2013
|location=Moscow
|pages=195–235
|chapter=The Tropologion Sin.Gr. ΝΕ/ΜΓ 56+5 (9th c.): Complete Incipitarium
|chapterurl=https://www.academia.edu/15384281
}}</ref> The new Studite or post-Studite custom established by the reformers was that each ode consists of an initial troparion, the heirmos, followed by three, four or more troparia from the menaion, which are the exact metrical reproductions of the heirmos (akrostics), thereby allowing the same music to fit all troparia equally well. The combination of Constantinopolitan and Palestine customs must be also understood on the base of the political history.<ref>{{Cite book
|title=Experiencing Byzantium: Papers from the 44th Spring Symposium of Byzantine Studies, Newcastle and Durham, April 2011
|last=Lingas
|first=Alexander
|date=2013
|publisher=Ashgate
|isbn=9781317137832
|editor1=Claire Nesbitt |editor2=Mark Jackson
|location=Farnham
|pages=311–358
|chapter=From Earth to Heaven: The Changing Musical Soundscape of Byzantine Liturgy
|ref=Lin2013
}}</ref>
[[File:Theodore Studite (Menologion of Basil II).jpg|thumb|300px|Theodore and the Stoudios Monastery in the [[Menologion of Basil II]], illumination for the [[Synaxarium|synaxarion]] about him ([[Vatican Library|I-Rvat]] Cod. [[#I-RvatVatGr1613|Vat. gr. 1613]], p. 175)]]
Especially the first generation around [[Theodore the Studite|Theodore Studites]] and [[Joseph the Confessor]], and the second around Joseph the Hymnographer suffered from the first and the second [[Byzantine Iconoclasm|crisis of iconoclasm]]. The community around Theodore could revive monastic life at the abandoned Stoudios Monastery, but he had to leave Constantinople frequently in order to escape political persecution. During this period, the Patriarchates of Jerusalem and Alexandria (especially Sinai) remained centres of the hymnographic reform. Concerning the Old Byzantine notation, Constantinople and the area between Jerusalem and Sinai can be clearly distinguished. The earliest notation used for the books ''sticherarion'' and was theta notation, but it was soon replaced by palimpsests with more detailed forms between Coislin (Palestine) and Chartres notation (Constantinople).<ref>After first studies by Tillyard ([[#Til1937|1937]], [[#Til1952|1952]]) which explored the meaning of Coislin notation by comparisons with Middle Byzantine notation, a more recent approach (Dimitrova [[#Dim2006|2006]]) distinguishes two branches of Old Byzantine notation (Coislin and Chartres) which developed around theta signs. Originally the letter had been used to indicate melismata.</ref> Although it was correct that the Studites in Constantinople established a new mixed rite, its customs remained different from those of the other Patriarchates which were located outside the Empire.
 
On the other hand, Constantinople as well as other parts of the Empire like Italy encouraged also privileged women to found female monastic communities and certain [[hegumen]]iai also contributed to the hymnographic reform.<ref>{{Cite journal
| doi = 10.2298/ZRVI1148007S
| volume = 48
| issue = 48
| pages = 7–37
| last = Simić
| first = Kosta
| title = Kassia's hymnography in the light of patristic sources and earlier hymnographical works
| journal = Zbornik Radova Vizantoloskog Instituta
| date = 2011
}} {{Cite conference
| publisher = Edipuglia
| isbn = 978-88-7228-517-6
| volume = 25
| pages = 23–44
| editor = Cosimo Damiano Fonseca
| last = Falkenhausen
| first = Vera von
| title = II monachesimo femminile italo-greco
| booktitle = Il monachesimo femminile tra Puglia e Basilicata : Atti del Convegno di studi promosso dall'Abbazia benedettina barese di Santa Scolastica (Bari , 3-5 dicembre 2005)
| location = Bari
| series = Per la storia della Chiesa di Bari
| date = 2008
}}</ref> The basic repertoire of the newly created cycles the immovable [[menaion]], the movable [[triodion]] and [[Pentecostarion|pentekostarion]] and the week cycle of [[Octoechos (liturgy)|parakletike]] and Orthros cycle of the eleven stichera heothina and their lessons are the result of a redaction of the tropologion which started with the generation of Theodore the Studite and ended during the Macedonian Renaissance under the emperors [[Leo VI the Wise|Leo VI]] (the stichera heothina are traditionally ascribed to him) and [[Constantine VII]] (the exaposteilaria anastasima are ascribed to him).
 
=== Организација уџбеника ===
Another project of the Studites' reform was the organisation of the New Testament (Epistle, Gospel) reading cycles, especially its hymns during the period of the [[triodion]] (between the pre-Lenten Meatfare Sunday called "Apokreo" and the Holy Week).<ref>Sandra Martani described the Byzantine Gospel lectionary [[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr213|Gr. 213]] (revised and notated in 967) within its context in church history: {{Cite journal
| doi = 10.1017/S0961137103003024
| volume = 12
| issue = 1
| pages = 15–42
| last = Martani
| first = Sandra
| title = The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213
| journal = Plainsong and Medieval Music
| date = 2003
}}</ref> Older lectionaries had been often completed by the addition of [[ekphonetic notation]] and of reading marks which indicate the readers where to start (ἀρχή) and to finish (τέλος) on a certain day.<ref>Have a look at Sysse Engberg's French introduction ([[#Eng2005|2005]]) into the subject of Greek lectionaries which focussed on the Constantinopolitan type as it was established between the 8th and 12th centuries and the different types of lectionaries which were related to this custom.</ref> The Studites also created a [[typikon]]—a monastic one which regulated the cœnobitic life of the [[Monastery of Stoudios|Stoudios Monastery]] and granted its autonomy in resistance against iconoclast Emperors, but they had also an ambitious liturgical programme. They imported Hagiopolitan customs (of Jerusalem) like the Great Vesper, especially for the movable cycle between Lent and Allsaints (triodion and pentekostarion), including a Sunday of Orthodoxy which celebrated the triumph over iconoclasm on the first Sunday of Lent.<ref>Unfortunately, the liturgical part has not survived in the late copies of his typikon, but it is assumed that its specific form was a synthesis of the monastic and the cathedral typikon: {{Cite book
| publisher = Dumbarton Oaks Research Library and Collection
| isbn = 978-0-88402-232-9
| editor1=John Thomas |editor2=Angela Constantinides Hero
| title = Byzantine Monastic Foundation Documents: A Complete Translation of the Surviving Founder's Typika and Testaments
| chapter = Theodore Studites: Testament of Theodore the Studite for the Monastery of St. John Stoudios in Constantinople
| location = Washington, D.C.
| series = Dumbarton Oaks Studies
| pages = 67–83
| date = 2000
| chapter-url = http://staging.doaks.org/research/publications/doaks-online-publications/byzantine-monastic-foundation-documents/typ009.pdf
}}</ref>
[[File:Prophetologion.jpg|thumb|center|750px|First of three prophetic lessons ἐλάλησεν κύριος πρὸς Μωυσῆν ἐνώπιος ἐνωπίῳ (ἑσπ “evening” with the “lesson from Exodus”: Ex. 33:11-23) on Good Friday Vespers preceded by a first prokeimenon Δίκασον, κύριε, τοὺς ἀδικοῦντάς με (Ps 34:1) in echos protos written in a 10th-century Prophetologion ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr8|Gr. 8]], f.223r). The preceding second prokeimenon Σοῦ, κύριε, φύλαξον with the double vers (stichos Ps. 11:2) Σῶσον με, κύριε in echos plagios protos concluded the Orthros. This prophetologion became very famous for its list of ekphonetic neumes on folio 303.]]
Unlike the current Orthodox custom Old Testament readings were particular important during Orthros and Hesperinos in Constantinople since the 5th century, while there was no one during the divine liturgy.<ref>About Taft's theory about three readings (prophetic, apostolic, Gospel) of the eucharist, see: {{Cite journal
| volume = 3
| series = Terza serie
| pages = 47–60
| last = Engberg
| first = Sysse Gudrun
| title = The Needle and the Haystack - Searching for Evidence of the Eucharistic Old Testament Lection in the Constantinopolitan rite
| journal = Bollettino della Badia Greca di Grottaferrata
| date = 2016
}}</ref> The Great Vespers according to Studite and post-Studite custom (reserved for just a few feasts like the Sunday of Orthodoxy) were quite ambitious. The evening psalm 140 (kekragarion) was based on simple psalmody, but followed by florid coda of a soloist (monophonaris). A melismatic [[prokeimenon]] was sung by him from the ambo, it was followed by three antiphons (Ps 114-116) sung by the choirs, the third used the [[trisagion]] or the usual anti-trisagion as a refrain, and an Old Testament reading concluded the prokeimenon.<ref>See table 17.1 in Lingas ([[#Lin2013|2013]]). {{Cite journal
| volume = 54
| pages = 39–48
| last = Engberg
| first = Sysse Gudrun
| title = The Greek Old Testament Lectionary as a Liturgical Book
| journal = Cahiers de l'Institut du Moyen-Âge Grec et Latin
| date = 1987
| url = http://cimagl.saxo.ku.dk/download/54/54Engberg39-48.pdf
| ref = Eng1987
}}</ref>
 
=== Хагиополитска расправа ===
{{main|Hagiopolitan Octoechos}}
The earliest chant manual pretends right at the beginning that John of Damascus was its author. Its first edition was based on a more or less complete version in a 14th-century manuscript,<ref>Raasted's edition ([[#Raa1983|1983]]) was based on a 12th-century manuscript ([[Bibliothèque nationale de France|F-Pn]] fonds grec, Ms. [[#F-PnGr360|360, ff.216r-237v]]) which he dated to the 14th century, because he regarded a 15th-century fragment of the mathematarion as the continuation.</ref> but the treatise was probably created centuries earlier as part of the reform redaction of the tropologia by the end of the 8th century, after [[Irene of Athens|Irene]]'s [[Second Council of Nicaea|Council of Nikaia]] had confirmed the octoechos reform of 692 in 787. It fits well to the later focus on Palestine authors in the new chant book heirmologion.
 
Concerning the octoechos, the Hagiopolitan system is characterised as a system of eight diatonic echoi with two additional phthorai ([[nenano]] and [[Nana (echos)|nana]]) which were used by [[John of Damascus]] and [[Cosmas of Maiuma|Cosmas]], but not by [[Joseph the Confessor]] who obviously preferred the diatonic mele of plagios devteros and plagios tetartos.<ref>See the quotation in the Hagiopolitan section of the article about [[Nenano#The phthora nenano as part of the Hagiopolitan octoechos|phthora nenano]].</ref>
 
It also mentions an alternative system of the Asma (the cathedral rite was called ἀκολουθία ᾀσματική) that consisted of 4 kyrioi echoi, 4 plagioi, 4 mesoi, and 4 phthorai. It seems that until the time, when the Hagiopolites was written, the octoechos reform did not work out for the cathedral rite, because singers at the court and at the Patriarchate still used a tonal system of 16 echoi, which was obviously part of the particular notation of their books: the asmatikon and the kontakarion or psaltikon.
 
But neither any 9th-century Constantinopolitan chant book nor an introducing treatise that explains the fore-mentioned system of the Asma, have survived. Only a 14th-century manuscript of Kastoria testifies cheironomic signs used in these books, which are transcribed in longer melodic phrases by the notation of the contemporary sticherarion, the middle Byzantine Round notation.
[[File:Easter Koinonikon.png|thumb|center|750px|Easter [[Communion (chant)|koinonikon]] σῶμα χριστοῦ μεταλάβετε in echos plagios protos with the old cheironomiai (hand signs) or Asmatikon notation and their transcription into Byzantine round notation in a manuscript of the 14th century ([[Kastoria|GR-KA]] Ms. 8, fol. 36v)]]
 
=== Преображај контакиона ===
The former genre and glory of Romanos' kontakion was not abandoned by the reformers, even contemporary poets in a monastic context continued to compose new liturgical kontakia (mainly for the menaion), it likely preserved a modality different from Hagiopolitan oktoechos hymnography of the sticherarion and the heirmologion.
 
But only a limited number of melodies or kontakion mele had survived. Some of them were rarely used to compose new kontakia, other kontakia which became the model for eight prosomoia called “kontakia anastasima” according the oktoechos, had been frequently used. The kontakion ὁ ὑψωθεῖς ἐν τῷ σταυρῷ for the feast of cross exaltation (14 September) was not the one chosen for the [[prosomoion]] of the kontakion anastasimon in the same echos, it was actually the kontakion ἐπεφάνης σήμερον for Theophany (6 January). But nevertheless, it represented the second important melos of the echos tetartos which was frequently chosen to compose new kontakia, either for the prooimion (introduction) or for the oikoi (the stanzas of the kontakion called “houses”). Usually these models were not rubrified as “avtomela”, but as [[Idiomelon|idiomela]] which means that the modal structure of a kontakion was more complex, similar to a sticheron idiomelon changing through different echoi.
 
This new monastic type of [[kontakarion]] can be found in the collection of Saint Catherine's Monastery on the peninsula of Sinai (ET-MSsc Ms. Gr. 925-927) and its kontakia had only a reduced number of oikoi. The earliest kontakarion ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr925|Gr. 925]]) dating to the 10th century might serve as an example. The manuscript was rubrified Κονδακάριον σῦν Θεῷ by the scribe, the rest is not easy to decipher since the first page was exposed to all kinds of abrasion, but it is obvious that this book is a collection of short kontakia organised according to the new menaion cycle like a sticherarion, beginning with 1 September and the feast of [[Simeon Stylites|Symeon the Stylite]]. It has no notation, instead the date is indicated and the genre κονδάκιον is followed by the dedicated Saint and the incipit of the model kontakion (not even with an indication of its echos by a modal signature in this case).
 
Folio 2 verso shows a kontakion ἐν ἱερεῦσιν εὐσεβῶς διαπρέψας which was composed over the prooimion used for the kontakion for cross exaltation ὁ ὑψωθεῖς ἐν τῷ σταυρῷ. The prooimion is followed by three stanzas called oikoi, but they all share with the prooimion the same refrain called “ephymnion” (ἐφύμνιον) ταὶς σαῖς πρεσβεῖαις which concludes each ''oikos''.<ref>It is an observation made by Yulia Artamanova that the refrain of both models for tetartos-echos kontakia (cross elevation and Theophany) had the identical neumes in Slavic kondakar's, so that the common melodic model of the refrain (ex. 1) also allowed the combination of the two kontakia concerning the ''prooimion'' and the ''oikos'': {{Cite journal
| volume = 16
| last = Artamonova| first = Yulia
| title = Kondakarion Chant: Trying to Restore the Modal Patterns
| journal = Musicology Today
| date = 2013
| url = http://www.musicologytoday.ro/BackIssues/Nr.16/studies2.php
| ref = Art2013
}}</ref> But the model for these oikoi was not taken from the same kontakion, but from the other kontakion for Theophany whose first oikos had the incipit τῇ γαλιλαίᾳ τῶν ἐθνῶν.
 
[[File:Kontakion prosomoion.jpg|thumb|center|750px|Kontakion ἐν ἱερεῦσιν εὐσεβῶς διαπρέψας for [[Anthimus of Nicomedia|Saint Anthimus]] (μηνὶ τῷ αὐτῷ ·Γ᾽· “in the same month 3rd”: 3 September) sung with the melody of the [[idiomelon]] ὁ ὑψωθεῖς ἐν τῷ σταυρῷ (prooimion) and with the melody of the oikos τῇ γαλιλαίᾳ τῶν ἐθνῶν (oikoi) in echos tetartos ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr925|Gr. 925]], f.2v)]]
 
== Словенска редакција ==
[[File:Balkans850.png|thumb|Italy and the Balkans during the late 9th century]]
The Slavic reception is crucial for the understanding, how the kontakion has changed under the influence of the Stoudites. During the 9th and 10th centuries new Empires established in the North which were dominated by Slavic populations (mainly the [[first Bulgarian Empire]], with two new literary centres at [[Preslav Literary School|Preslav]] and the Lake [[Ohrid Literary School|Ohrid]], after similar plans failed for [[Great Moravia]], and the [[Kievan Rus']], a federation of East Slavic tribes between the Black Sea and Scandinavia). These empires requested a state religion, legal codexes, the translation of canonic scriptures, but also the translation of an overregional liturgy as it was created by the [[Monastery of Stoudios|Stoudios Monastery]], [[Mar Saba]] and [[Saint Catherine's Monastery]]. The Slavic reception confirmed this new trend, but also showed a detailed interest for the cathedral rite of the [[Hagia Sophia]] and the pre-Stoudite organisation of the tropologion. Thus, these manuscripts are not only the earliest literary evidence of Slavonic languages which offer a transcription of the local variants of Slavonic languages, but also the earliest sources of the Constantinopolitan cathedral rite with musical notation, although transcribed into a notation of its own, just based on one tone system and on the contemporary layer of 11th-century notation, the roughly diastematic Old Byzantine notation.
 
=== Књижевне школе Првог бугарског царства ===
[[File:CodexVaticanusSlavicus3Gagoliticus.jpg|thumb|right|A page of the aprakos lectionary known as Codex Assemanius ([[Vatican Library|I-Rvat]] Cod. [[#I-RvatVatSl3|Vat. slav. 3]], f.123v)]]
Unfortunately, no Slavonic tropologion written in [[Glagolitic script]] by [[Saints Cyril and Methodius|Cyril and Methodius]] has survived. This lack of evidence does not prove that it had not existed, since certain conflicts with Benedictines and other Slavonic missionaries in [[Great Moravia]] and [[Pannonian Rusyns|Pannonia]] were obviously about an Orthodox rite translated into Old Church Slavonic and practised already by Methodius and [[Clement of Ohrid]].<ref>A detailed analysis of the later vita of Saint Methodius by Svetlana Kujumdžieva is probably based on a little bit more than just on a later imagination of his liturgical innovations. {{Cite journal
| issn = 0204-4021
| issue = 2
| pages = 83–101
| last = Kujumdžieva
| first = Svetlana
| title = Viewing the Earliest Old Slavic Corpus Cantilenarum
| journal = Palaeobulgarica / Старобългаристика
| date = 2002
| url = https://www.ceeol.com/search/article-detail?id=415927
}}</ref> Only few early Glagolitic sources have been left. The [[Kiev Missal]] proves a West Roman influence in the Old Slavonic liturgy for certain territories of Croatia. A later 11th-century New Testament lectionary known as the [[Codex Assemanius]] was created by the [[Ohrid Literary School]]. An euchologion ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[Euchologium Sinaiticum|Slav. 37]]) was in part compiled for Great Moravia by Cyril, Clement, [[Naum of Ohrid|Naum]] and [[Constantine of Preslav]]. It was probably copied at [[Preslav Literary School|Preslav]] about the same time.<ref>An overview of the dispute how the early sources can be explained (pp. 239-244): {{Cite journal
| doi = 10.2307/932170
| issn = 0001-6241
| volume = 44
| issue = 2
| pages = 235–265
| last = Velimirović| first = Miloš
| title = The Present Status of Research in Slavic Chant
| journal = Acta Musicologica
| date = 1972
| jstor = 932170
}}</ref> The [[aprakos]] lectionary proves that the Stoudites typikon was obeyed concerning the organisation of reading cycles. It explains, why Svetlana Kujumdžieva assumed that the “church order” mentioned in Methodius' vita meant the mixed Constantinopolitan Sabbaite rite established by the Stoudites. But a later finding by the same author pointed to another direction.<ref>{{Cite book
| publisher = Routledge
| isbn = 9781351581844
| last = Kujumdžieva
| first = Svetlana
| pages = 123–133
| chapter = Was there an Old Slavic Tropologion?
| title = The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory
| location = London, New York
| date = 2018
| chapter-url = https://books.google.com/books?id=9449DwAAQBAJ
}}</ref> In a recent publication she chose "Iliya's book" ([[Russian State Archive of Ancient Documents|RUS-Mda]] Fond 381, Ms. 131) as the earliest example of an Old Church Slavonic tropologion (around 1100), it has compositions by [[Cyril of Jerusalem]] and agrees about 50% with the earliest tropologion of Sinai ([[Saint Catherine's Monastery|ET-MSsc]] Ms. NE/MΓ 56+5) and it is likewise organised as a mеnaion (beginning with September like the Stoudites), but it still includes the movable cycle. Hence, its organisation is still close to the tropologion and it has compositions not only ascribed to Cosmas and John, but also [[Stephen the Sabaite]], [[Theophanes the Branded]], the Georgian scribe and hymnographer Basil at Mar Saba and [[Joseph the Hymnographer]]. Further on, musical notation has been added on some pages which reveal an exchange between Slavic literary schools and scribes of Sinai or Mar Saba:
* theta ("θ" for "thema" which indicates a melodic figure over certain syllables of the text) or ''fita'' notation was used to indicate the melodic structure of an idiomelon/samoglasen in glas 2 "Na Iordanstei rece" (Epiphany, f.109r). It was also used on other pages (kanon for [[Presentation of Jesus at the Temple|hypapante]], ff.118v-199r & 123r),
* two forms of znamennaya notation, an earlier one has dots on the right sight of certain signs (the kanon "Obraza drevle Moisi" in glas 8 for Cross elevation on 14 September, ff.8r-9r), and a more developed form which was obviously needed for a new translation of the text ("another" avtomelon/samopodoben, ино, glas 6 "Odesnuyu spasa" for [[Christina of Bolsena|Saint Christina of Tyre]], 24 July, f.143r).<ref>{{Cite journal
| issn = 0204-823X
| issue = 3–4
| pages = 23–34
| last = Artamonova
| first = Yulia
| title = On the Archaic Form of Znamennaya Notation (Neumes in the so-called "Iliya's Book")
| journal = Българско музикознание
| date = 2012
| url = https://www.ceeol.com/search/article-detail?id=18375
}}</ref>
[[File:Oktoich (11th century).jpg|thumb|center|800px|Theta and znamennaya notation within pages of an 11th-century Oktoich of the Kievan Rus ([[Russian State Archive of Ancient Documents|RUS-Mda]] Fond 381 Ms. 131)]]
[[File:Menaion 12Ru.jpg|thumb|450px|Mineya služebnaya with the page for 12 May, feast of the Holy Fathers [[Epiphanius of Salamis|Epiphanius]] and [[Germanus I of Constantinople|Germanus]] ([[State Historical Museum|RUS-Mim]] Ms. [[#RUS-Mim_Sin166|Sin. 166]], f.57r)]]
[[File:Центральный вход Софийского собора. Великий Новгород.jpg|thumb|left|[[Cathedral of St. Sophia, Novgorod|Saint Sophia Cathedral]] of [[Veliky Novgorod]] (11th century)]]
Kujumdžieva pointed later at a Southern Slavic origin (also based on linguistic arguments since 2015), although feasts of local saints, celebrated on the same day like Christina [[Boris and Gleb]], had been added. If its reception of a pre-Stoudite tropologion was of Southern Slavic origin, there is evidence that this manuscript was copied and adapted for a use in Northern Slavic territories. The adaption to the menaion of the Rus rather proves that notation was only used in a few parts, where a new translation of a certain text required a new melodic composition which was no longer included within the existing system of melodies established by the Stoudites and their followers. But there is a coincidence between the early fragment from the Berlin-collection, where the ἀλλὸ rubric is followed by a modal signature and some early neumes, while the elaborated zamennaya is used for a new sticheron (ино) dedicated to Saint Christina.
 
Recent systematic editions of the 12th-century notated miney (like [[State Historical Museum|RUS-Mim]] Ms. [[#RUS-Mim_Sin162|Sin. 162]] with just about 300 folios for the month December) which included not just samoglasni (idiomela) even podobni (prosomoia) and akrosticha with notation (while the kondaks were left without notation), have revealed that the philosophy of the literary schools in Ohrid and Preslav did only require in exceptional cases the use of notation.<ref>{{Cite book
| publisher = Westdt. Verl.
| isbn = 978-3-531-05129-1
| editor-last = Christians
| editor-first = Dagmar
| title = Die Notation von Stichera und Kanones im Gottesdienstmenäum für den Monat Dezember nach der Hs. GIM Sin. 162: Verzeichnis der Musterstrophen und ihrer Neumenstruktur
| location = Wiesbaden
| series = Patristica Slavica
| volume = 9
| date = 2001
| ref = MenDez
}} The edition verified an earlier hypothesis that there has been already an earlier Slavic reception which left the system of melodies established under the Stoudites intact. It was already mentioned by Constantin Floros in his discussion of earlier debates in 1980, see also the English re-publication realised and translated by Neil Moran ([[#Flo2009|2009]]).</ref> The reason is that their translation of Greek hymnography were not very literal, but often quite far from the content of the original texts, the main concern of this school was the recomposition or troping of the given system of melodies (with their models known as avtomela and heirmoi) which was left intact. The Novgorod project of re-translation during the 12th century tried to come closer to the meaning of the texts and the notation was needed to control the changes within the system of melodies.
 
=== Znamennaya notation in the stichirar and the irmolog ===
Concerning the Slavic rite celebrated in various parts of the Kievan Rus', there was not only an interest for the organisation of monastic chant and the ''tropologion'' and the ''oktoich'' or ''osmoglasnik'' which included chant of the ''[[heirmologion|irmolog]]'', podobni ([[prosomoion|prosomoia]]) and their models ([[avtomelon|samopodobni]]), but also the samoglasni ([[idiomelon|idiomela]]) like in case of Iliya's book.
 
Since the 12th century, there are also Slavic stichirars which did not only include the samoglasni, but also the podobni provided with ''znamennaya'' notation. A comparison of the very first samoglasen наста въходъ лѣтѹ (“Enter the entrance of the annual cycle”) in glas 1 (ἐπέστη ἡ εἴσοδος ἐνιαυτοῦ echos protos, SAV 1<ref>For the numbering of the standard abridged version (SAV) of the menaion, see the article by Troelsgård ([[#SAVstichera|2003]]) about the [[sticherarion]].</ref>) of the mineya shows, that the znamennaya version is much closer to ''fita'' (theta) notation, since the letter “θ =” corresponds to other signs in Coislin and a synthetic way to write a kratema group in Middle Byzantine notation. It was obviously an elaboration of the simpler version written in Coislin:
[[File:Sticheron ἐπέστη ἡ εἴσοδος (SAV 1).jpg|thumb|center|750px|Samoglasen наста въходъ in glas 1 (SAV 1) in three sticheraria: znamennaya notation ([[Russian State Archive of Ancient Documents|RUS-Mda]] fond 381 Ms. [[#RUS-MdaF381N152|152]], f.1v), Coislin notation ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#SinaiGr1217|Gr. 1217]], f.2r) and Middle Byzantine notation ([[Royal Library, Denmark|DK-Kk]] Ms. [[#NkS4960|NkS 4960]], f.1r)]]
The Middle Byzantine version allows to recognise the exact steps (intervals) between the neumes. They are here described according to the [[Papadic Octoechos|Papadic]] practice of solfège called "parallage" (παραλλαγή) which is based on echemata: for ascending steps always ''kyrioi echoi'' are indicated, for descending steps always echemata of the ''plagioi echoi''. If the phonic steps of the neumes were recognised according to this method, the resulting solfège was called "metrophonia". The step between the first neumes at the beginning passed through the protos pentachord between kyrios (a) and plagios phthongos (D): a—Da—a—G—a—G—FGa—a—EF—G—a—acbabcba. The Coislin version seems to end (ἐνιαυτοῦ) thus: EF—G—a—Gba (the klasma indicates that the following kolon continues immediately in the music). In znamennaya notation the combination dyo apostrophoi (dve zapĕtiye) and oxeia (strela) at the beginning (нас<u>та</u>) is called "strela gromnaya" and obviously derived from the combination "apeso exo" in Coislin notation. According to the customs of Old Byzantine notation, "apeso exo" was not yet written with "spirits" called "chamile" and "hypsile" which did later specify as pnevmata the interval of a fifth (four steps). As usual the Old Church Slavonic translation of the text deals with less syllables than the Greek verse. It should be noted that the neumes only show the basic structure which was memorised as ''metrophonia'' by the use of ''parallage'', not the ''melos'' of the performance. The ''melos'' depended on various methods to sing an idiomelon, either together with a choir or to ask a soloist to create a rather individual version (changes between soloist and choir were at least common for the period of the 14th century, when the Middle Byzantine sticherarion in this example was created). But the comparison clearly reveals the potential (δύναμις) of the rather complex genre idiomelon.
 
=== The Kievan Rus' and the earliest manuscripts of the cathedral rite ===
The background of Antonin's interest in celebrations at the Hagia Sophia of Constantinople, as they had been documented by his description of the ceremony around Christmas and Theophany in 1200<ref>See the quotation in the section about the introduction of the cherubikon.</ref>, were diplomatic exchanges between Novgorod and Constantinople.
 
==== Reception of the cathedral rite ====
In the [[Primary Chronicle]] (Повѣсть времѧньныхъ лѣтъ "tale of passed years") it is reported, how a legacy of the Rus’ was received in Constantinople and how they did talk about their experience in presence of [[Vladimir the Great]] in 987, before the Grand Prince Vladimir decided about the Christianization of the Kievan Rus' ([[Laurentian Codex]] written at [[Nizhny Novgorod]] in 1377):
[[File:Europe-1139.jpg|thumb|1139 map of the Grand Duchy of Kiev, where northeastern territories identified as the Transforrest Colonies (Zalesie) by [[Joachim Lelewel]]]]
{{Cquote
| quote = On the morrow, the Byzantine emperor sent a message to the patriarch to inform him that a Russian delegation had arrived to examine the Greek faith, and directed him to prepare the church Hagia Sophia and the clergy, and to array himself in his sacerdotal robes, so that the Russians might behold the glory of the God of the Greeks. When the patriarch received these commands, he bade the clergy assemble, and they performed the customary rites. They burned incense, and the choirs sang hymns. The emperor accompanied the Russians to the church, and placed them in a wide space, calling their attention to the beauty of the edifice, the chanting, and the offices of the archpriest and the ministry of the deacons, while he explained to them the worship of his God. The Russians were astonished, and in their wonder praised the Greek ceremonial. Then the Emperors Basil and Constantine invited the envoys to their presence, and said, "Go hence to your native country," and thus dismissed them with valuable presents and great honor.
Thus they returned to their own country, and the prince called together his vassals and the elders. Vladimir then announced the return of the envoys who had been sent out, and suggested that their report be heard. He thus commanded them to speak out before his vassals. The envoys reported: "When we journeyed among the Bulgars, we beheld how they worship in their temple, called a mosque, while they stand ungirt. The Bulgarian bows, sits down, looks hither and thither like one possessed, and there is no happiness among them, but instead only sorrow and a dreadful stench. Their religion is not good. Then we went among the Germans, and saw them performing many ceremonies in their temples; but we beheld no glory there. Then we went on to Greece, and the Greeks led us to the edifices where they worship their God, and we knew not whether we were in heaven or on earth. For on earth there is no such splendor or such beauty, and we are at a loss how to describe it. We know only that God dwells there among men, and their service is fairer than the ceremonies of other nations. For we cannot forget that beauty. Every man, after tasting something sweet, is afterward unwilling to accept that which is bitter, and therefore we cannot dwell longer here.<ref>English translation quoted according to the translation of the [http://litopys.org.ua/lavrlet/lavr05.htm#lyst37 Laurentian text] (passage on ff.37r-37v between no. 15 and 55) by Samuel Cross and Olgerd Sherbowitz-Wetzor (1953, 110-111): {{cite web
| publisher = University of Oregon
| place = Oregon
| editor-last1 = Kimball
| editor-first1 = Alan
| title = Excerpts from "Tales of Times Gone By" [Povest' vremennykh let]
| series = SAC
| url = http://pages.uoregon.edu/kimball/chronicle.htm#987
}}</ref>
}}
There was obviously also an interest in the representative aspect of those ceremonies at the Hagia Sophia of Constantinople. Today, it is still documented by seven Slavic kondakar’s:<ref>{{Cite journal
| volume = 2012
| issue = 3–4
| pages = 57–70
| last = Grinchenko| first = Olga
| title = Slavonic Kondakaria and Their Byzantine Counterparts: Discrepancies and Similarities
| journal = Българско музикознание
| date = 2012
| url = http://www.ceeol.com/search/article-detail?id=18363
| ref = Gri2012
}}</ref>
# Tipografsky Ustav: [[Moscow]], [[State Tretyakov Gallery]], Ms. K-5349 (about 1100)<ref>Facsimile edition ([[#TipografskyUstav|2006]]).</ref>
# Two fragments of a kondakar’ (one kondak with notation): Moscow, [[Russian State Library]] (RGB), Fond 205 Ms. 107 (12th century)
# Troitsky-Lavrsky Kondakar’: Moscow, Russian State Library (RGB), [[#RUS-Mrg_304-023|Fond 304 Ms. 23]] (about 1200)<ref>Edition by Gregory Myers ([[#Mye1994|1994]]).</ref>
# Blagoveščensky Kondakar’: [[Saint Petersburg]], [[National Library of Russia]] (RNB), Ms. [[#RUS-SPscQpI32|Q.п.I.32]] (about 1200)<ref>Facsimile (1976) and edition by Antonín Dostál etc. ([[#EdBlagKond|1976, 1977, 1979, 1980, 1990, 2004]]).</ref>
# Uspensky Kondakar’: Moscow, [[State Historical Museum]] (GIM), Ms. Usp. 9-п (1207)<ref>It was published by Arne Bugge as volume 6 of the main series of MMB ([[#MMB|1960]]).</ref>
# Sinodal’ny Kondakar’: Moscow, State Historical Museum (GIM), Ms. [[#RUS-Mim_Sin777|Sin. 777]] (early 13th century)
# South-Slavic kondakar’ without notation: Moscow, State Historical Museum (GIM), part of the Book of Prologue at the Chludov collection (14th century)
 
Six of them had been written in scriptoria of Kievan Rus' during the 12th and the 13th centuries, while there is one later kondakar’ without notation which was written in the Balkans during the 14th century. The aesthetic of the kalligraphy and the notation has so developed over a span of 100 years that it must be regarded as a local tradition, but also one which provided us with the earliest evidence of the cheironomic signs which had only survived in one later Greek manuscript.
 
In 1147, the chronicler Eude de Deuil described during a visit of the Frankish King [[Louis VII of France|Louis VII]] the cheironomia, but also the presence of eunuchs during the cathedral rite. With respect to the custom of the Missa greca (for the patron of the Royal Abbey of Saint Denis), he reported that the Byzantine emperor sent his clerics to celebrate the divine liturgy for the Frankish visitors:
 
{{Cquote
| quote = Novit hoc imperator; colunt etenim Graeci hoc festum, et clericorum suorum electam multitudinem, dato unicuique cereo magno, variis coloribus et auro depicto regi transmisit, et solemnitatis gloriam ampliavit. Illi quidem a nostris clericis verborum et organi genere dissidebant, sed suavi modulatione placebant. Voces enim mistae, robustior cum gracili, eunucha videlicet cum virili (erant enim eunuchi multi illorum), Francorum animos demulcebant. Gestu etiam corporis decenti et modesto, plausu manuum, et inflexione articulorum, jucunditatem visibus offerebant.<ref>[[Patrologia Latina|PL]] 185, col.1223A-B.</ref>
Since the emperor realised, that the Greeks celebrate this feast, he sent to the king a selected group of his clergy, each of whom he had equipped with a large taper [votive candle] decorated elaborately with gold and a great variety of colours; and he increased the glory of the ceremony. Those differed from our clerics concerning the words and the order of service, but they pleased us with sweet modulations. You should know that the mixed voices are more stable but with grace, the eunuchs appear with virility (for many of them were eunuchs), and softened the hearts of the Franks. Through a decent and modest gesture of the body, clapping of hands and flexions of the fingers they offered us a vision of gentleness.
}}
 
[[File:Благовещенский монастырь, общий вид (1).JPG|thumb|Blagoveščensky monastery at [[Nizhny Novgorod]]]]
 
==== Kondakarian notation of the asmatikon part ====
The Kievan Rus' obviously cared about this tradition, but especially about the practice of cheironomia and its particular notation: the so-called “Kondakarian notation”.<ref>For a catalogue of cheironomiai see Floros ([[#Flo2009|2009]]), Myers ([[#Mye1998|1998]]) or Vladyševskaya ([[#TipografskyUstav|2006]], iii:111-201).</ref> A comparison with Easter koinonikon proves two things: the Slavic kondakar’ did not correspond to the “pure” form of the Greek kontakarion which was the book of the soloist who had also to recite the larger parts of the kontakia or kondaks. It was rather a mixed form which included also the choir book (asmatikon), since there is no evidence that such an asmatikon had ever been used by clerics of the Rus', while the Kondakarian notation integrated the cheironomic signs with simple signs, a Byzantine convention which had only survived in one manuscript ([[Kastoria|GR-KA]] Ms. 8), and combined it with Old Slavic znamennaya notation, as it had been developed in the sticheraria and heirmologia of the 12th century and the so-called Tipografsky Ustav.<ref>The manuscript (Ms. K-5349, about 1100) is now preserved at the library and archive of the [[Tretyakov Gallery|State Tretyakov Gallery]] in Moscow. For a classification of the different notations used in the Blagoveščensky Kondakar’, see the list by Tania Shvets: [http://expositions.nlr.ru/ex_manus/kondakar/_Project/Description.php?n=02 Notaciya].</ref>
 
Although the common knowledge of znamennaya notation is as limited as the one of other Old Byzantine variants such as Coislin and Chartres notation, a comparison with the asmatikon Kastoria 8 is a kind of bridge between the former concept of cheironomiai as the only authentic notation of the cathedral rite and the hand signs used by the choir leaders and the later concept of great signs integrated and transcribed into Middle Byzantine notation, but it is a pure form of the choir book, so that such comparison is only possible for an asmatic chant genre such as the [[koinonikon]].
 
See for instance the comparison of the Easter koinonikon between the Slavic Blagoveščensky kondakar’ which was written about 1200 in the Northern town Novgorod of the Rus', its name derived from its preservation at the collection of the {{ill|Blagoveščensky monastery|ru|Благовещенский монастырь (Нижний Новгород)|vertical-align=sup}} at Nizhny Novgorod.
[[File:Easter koinonikon of the Kievan Rus with Kondakarian notation.jpg|thumb|center|750px|Easter koinonikon тҍло христово / σῶμα χριστοῦ (“The [[body of Christ]]”) in echos plagios protos notated with Kondakarian notation in 2 rows: great (red names) and small signs (blue names) ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.97v; [[Kastoria|GR-KA]] Ms. 8, f.36v)]]
[[File:PlagiosProtos.jpg|thumb|Enechema of plagios protos]]
The comparison should not suggest that both versions are identical, but the earlier source documents an earlier reception of the same tradition (since there is a difference about 120 years between both sources it is impossible to judge the differences). The rubric “Glas 4” is most likely an error of the notator and meant “Glas 5”, but it is also possible, that the Slavic tone system was already in such an early period organised in triphonia. Thus, it could also mean that анеане, undoubtly the plagios protos [[Echos|enechema]] ἀνεανὲ, was supposed to be on a very high pitch (about an octave higher), in that case the tetartos phthongos has not the octave species of tetartos (a tetrachord up and a pentachord down), but the one of plagios protos. The comparison also shows very much likeness between the use of asmatic syllables such as “ѹ” written as one character such as “ɤ”. Tatiana Shvets in her description of the notational style also mentions the ''kola'' (frequent interpunction within the text line) and medial intonations can appear within a word which was sometimes due to the different numbers of syllables within the translated Slavonic text. A comparison of the neumes also show many similarities to Old Byzantine (Coislin, Chartres) signs such as ison (stolpička), apostrophos (zapĕtaya), oxeia (strela), vareia (palka), dyo kentimata (točki), dipli (statĕya), klasma (čaška), the krusma (κροῦσμα) was actually an abbreviation for a sequence of signs (palka, čaška and statĕya) and omega "ω" meant a parakalesma, a great sign related to a descending step (see the echema for plagios protos: it is combined with a dyo apostrophoi called "zapĕtaya").<ref>Many researchers (Levy, Floros, Moran, Conomos, Myers, Alexandru, Doneda, Artamonova) did the same comparison, but all agree about an unexpected number of coincidences between Slavic and Byzantine books with musical notation. The newest approach was done by Annalisa Doneda as an expert of the Greek asmatikon and its proper notation (Kastoria 8). She developed a database for a comparison between those Slavic kondakar’s with an asmatikon part and later Middle Byzantine sources: Doneda ([[#Don2011|2011]]).</ref>
 
==== A melismatic polyeleos passing through 8 echoi ====
Another very modern part of the Blagoveščensky kondakar’ was a [[Polyeleos]] composition (a post-Stoudites custom, since they imported the Great Vesper from Jerusalem) about the psalm 135 which was divided into eight sections, each one in another glas:
* Glas 1: Ps. 135:1-4 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.107r).
* Glas 2: Ps. 135:5-8 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.107v).
* Glas 3: Ps. 135:9-12 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.108v).
* Glas 4: Ps. 135:13-16 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.109v).
* Glas 5: Ps. 135:17-20 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.110r).
* Glas 6: Ps. 135:21-22 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.110v).
* Glas 7: Ps. 135:23-24 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.112r).
* Glas 8: Ps. 135:25-26 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.113r).
 
The refrain алелɤгιа · алелɤгιа · <span style="color:red">ананҍанҍс</span> · ꙗко въ вҍкы милость ѥго · алелɤгιа (“Alleluia, alleluia. <span style="color:red">medial intonation</span> For His love endureth forever. Alleluia.”) was only written after a medial intonation for the conclusion of the first section. “Ananeanes” was the medial intonation of echos protos (glas 1).<ref>[[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.[http://expositions.nlr.ru/ex_manus/kondakar/_Project/ShowIzo.php?l=111 107v].</ref> This part was obviously composed without modulating to the glas of the following section. The refrain was likely sung by the right choir after the intonation of its leader: the [[domestikos]], the preceding psalm text probably by a soloist (monophonaris) from the ambo. Interesting is that only the choir sections are entirely provided with ''cheironomiai''. Slavic cantors had been obviously trained in Constantinople to learn the hand signs which corresponded to the great signs in the first row of Kondakarian notation, while the monophonaris parts had them only at the end, so that they were probably indicated by the domestikos or lampadarios in order to get the attention of the choir singers, before singing the medial intonations.
 
We do not know, whether the whole psalm was sung or each section at another day (during the Easter week, for instance, when the glas changed daily), but the following section do not have a written out refrain as a conclusion, so that the first refrain of each section was likely repeated as conclusion, often with more than one medial intonation which indicated, that there was an alternation between the two choirs. For instance within the section of glas 3 (the modal signature was obviously forgotten by the notator), where the text of the refrain is almost treated like a "nenanismaton": “але-нь-н-на-нъ-ъ-на-а-нъ-ı-ъ-лɤ-гı-а”.<ref>[[National Library of Russia|RUS-SPsc]] Ms. [[Byzantine music#RUS-SPscQpI32|Q.п.I.32]], f.[http://expositions.nlr.ru/ex_manus/kondakar/_Project/ShowIzo.php?l=112 109r].</ref> The following medial intonations “ипе” (εἴπε “Say!”) and “пал” (παλὶν “Again!”) obviously did imitate medial intonations of the ''asmatikon'' without a true understanding of their meaning, because a παλὶν did usually indicate that something will be repeated from the very beginning. Here one choir did obviously continue another one, often interrupting it within a word.
 
== The end of the cathedral rite in Constantinople ==
1207, when the Uspensky kondakar’ was written, the traditional cathedral rite had no longer survived in Constantinople, because the court and the patriarchate had gone into exile to Nikaia in 1204, after Western crusaders had made it impossible to continue the local tradition. The Greek books of the asmatikon (choir book) and the other one for the monophonaris (the psaltikon which often included the kontakarion) were written outside Constantinople, on the island of [[Patmos]], at [[Saint Catherine's Monastery|Saint Catherine's monastery]], on the Holy [[Mount Athos]] and in Italy, in a new notation which developed some decades later within the books [[Sticheron|sticherarion]] and [[Irmologion|heirmologion]]: Middle Byzantine round notation. Thus, also the book kontakarion-psaltikon dedicated to the Constantinopolitan cathedral rite must be regarded as part of its reception history outside Constantinople like the Slavic kondakar’.
 
=== The kontakaria and asmatika written in Middle Byzantine round notation ===
[[File:Alleluiarion.jpg|center|thumb|750x750px|Psalm 91:2-3 ᾿Αγαθὸν τὸ ἐξομολογεῖσθαι τῷ κυρίῳ καὶ ψάλλειν τῷ ὀνόματί σου with the alleluiaria in echos plagios tetartos (allelouia refrains written in red ink before the echos plagios section) in a kontakarion about 1300 ([[Bibliothèque nationale de France|F-Pn]] fonds grec, Ms. [[#F-PnGr397|397]], f.43r)]]
The reason, why the psaltikon was called “kontakarion”, was that most parts of a kontakion (except of the refrain) were sung by a soloist from the ambo, and that the collection of the kontakarion had a prominent and dominant place within the book. The classical repertoire, especially the [[kontakion]] cycle of the movable feasts mainly attributed to [[Romanos the Melodist|Romanos]], included usually about 60 notated kontakia which were obviously reduced to the prooimion and the first oikos and this truncated form is commonly regarded as a reason, why the notated form presented a melismatic elaboration of the kontakion as it was commonly celebrated during the cathedral rite at the Hagia Sophia. As such within the notated kontakarion-psaltikon the cycle of kontakia was combined with a [[prokeimenon]] and [[alleluiarion]] cycle as a proper chant of the [[Divine Liturgy|divine liturgy]], at least for more important feasts of the movable and immovable cycle.<ref>{{Cite book
|title=Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil
|last=Thodberg|first=Christian
|date=1966
|publisher=E. Munksgaard
|others=Holger Hamann (trans.)
|series=Monumenta musicae Byzantinae - Subsidia
|volume=8
|location=Copenhagen
}}</ref> Since the Greek kontakarion has only survived with Middle Byzantine notation which developed outside Constantinople after the decline of the cathedral rite, the notators of these books must have integrated the cheironomiai or great signs still present in the Slavic kondakar’s within the musical notation of the new book sticherarion.
 
The typical composition of a kontakarion-psaltikon (τὸ ψαλτικὸν, τὸ κοντακάριον) was:<ref>See both psaltika-kontakaria of Sinai ([[Saint Catherine's Monastery|ET-MSsc]] Ms. Gr. [[#ET-MSscGr1280|1280]] and [[#ET-MSscGr1314|1314]]), and those of Paris and Rome ([[Bibliothèque nationale de France|F-Pn]] fonds grec, Ms. [[#F-PnGr397|397]], [[Vatican Library|I-Rvat]] [[#I-RvatVatgr345|Vat. gr. 345]]). The later of the 14th century is a precise copy with a later notation style and many mistakes, but it was completed by a long appendix with the complete Akathistos hymnus in melismatic style, the missing set of 8 kontakia-prosomoia anastasima with 8 oikoi-prosomoia, the stichera heothina, although they did belong to the oktoechos section of the sticherarion, etc.</ref>
* prokeimena
* alleluiaria
* eight hypakoai anastasimai
* kontakarion with the movable cycle integrated in the menaion after hypapante
* eight kontakia anastasima
* appendix: refrains of the alleluiaria in octoechos order, rarely alleluia endings in psalmody, or usually later added kontakia
 
The choral sections had been collected in a second book for the choir which was called asmatikon (τὸ ᾀσματικὸν). It contained the refrains (dochai) of the prokeimena, [[Troparion|troparia]], sometimes the ephymnia of the kontakia and the [[Ypakoe|hypakoai]], but also ordinary chant of the divine liturgy like the eisodikon, the [[trisagion]], the choir sections of the [[Cherubikon#The cherubikon asmatikon|cherubikon asmatikon]], the weekly and annual cycle of [[Communion (chant)|koinonika]]. There were also combined forms as a kind of asmatikon-psaltikon.
 
In Southern Italy, there were also mixed forms of psaltikon-asmatikon which preceded the Constantinopolitan book "akolouthiai":<ref>For manuscripts of this type ([[University of Messina|I-ME]] Mess. gr. 120 and 129, [[Grottaferrata Abbey|I-GR]] Cod. crypt. Γ.γ.V, [[Vatican Library|I-Rvat]] [[#I-RvatVatgr1606|Vat. gr. 1606]]) have survived. {{cite journal
|last1=Bucca |first1=Donatella
|title=Quattro testimoni manoscritti della tradizione musicale bizantina nell'Italia meridionale del secolo XIII
|journal=Musica e Storia
|date=2000
|volume=8
|issue=1
|pages=145–168
|doi=10.1420/12488
|ref=Buc2000
|issn=1127-0063
}}</ref>
* annual cycle of proper chant in menaion order with integrated movable cycle (kontakion with first oikos, allelouiaria, prokeimenon, and koinonikon)
* all refrains of the asmatikon (allelouiarion, psalmodic allelouiaria for polyeleoi, dochai of prokeimena, trisagion, koinonika etc.) in oktoechos order
* appendix with additions
 
=== The kontakia collection in the Greek kontakaria-psaltika ===
Nevertheless, the Greek monastic as well as the Slavic reception within the Kievan Rus' show many coincidences within the repertoire, so that even kontakia created in the North for local customs could be easily recognised by a comparison of Slavonic kondakar’s with Greek psaltika-kontakaria. Constantin Floros’ edition of the melismatic chant proved that the total repertoire of 750 kontakia (about two thirds composed since the 10th century) was based on a very limited number of classical melodies which served as model for numerous new compositions: he counted 42 prooimia with 14 prototypes which were used as a model for other kontakia, but not rubrified as avtomela, but as [[Idiomelon|idiomela]] (28 of them remained more or less unique), and 13 oikoi which were separately used for the recitation of oikoi. The most frequently used models also generated a prosomoion-cycle of eight kontakia anastasima.<ref>See Floros ([[#Flo2015|2015]], i:137) who emphasised that the 14 models did in fact not represent independent models, but variants of the same echos-melody adapted to the text of the kontakion, Artamonova ([[#Art2013|2013]], 4-5) found 22 ''prooimia'' as models for the Slavic repertoire of kontakia given by the kondakar’s. For the whole repertoire of kontakia, see {{Cite conference
|last1=Krueger|first1=Derek
|last2=Arentzen|first2=Thomas
|title=Romanos in Manuscript: Some Observations on the Patmos Kontakarion
|url=http://www.byzinst-sasa.rs/srp/uploaded/PDF%20izdanja/round%20tables.pdf
|location=Belgrade
|volume=Round tables
|pages=648–654
|isbn=978-86-80656-10-6
|editor1=Bojana Krsmanović |editor2=Ljubomir Milanović
|booktitle=Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables
}}</ref> The repertoire of these melodies (not so much their elaborated form) was obviously older and was transcribed by [[Enechema|echemata]] in Middle Byzantine notation which were partly completely different from those used in the [[Sticheron|sticherarion]]. While the [[Hagiopolitan Octoechos#Phthorai and mesoi of the Hagia Sophia|Hagiopolites]] mentioned 16 echoi of the cathedral rite (four kyrioi, four plagioi, four mesoi and four phthorai), the kontakia-idiomela alone represent at least 14 echoi (four kyrioi in devteros and tritos represented as mesos forms, four plagioi, three additional mesoi and three phthorai).
 
The integrative role of Middle Byzantine notation becomes visible that a lot of echemata were used which were not known from the sticherarion. Also the role of the two phthorai known as the chromatic [[Nenano|νενανῶ]] and the enharmonic [[Nana (echos)|νανὰ]] was completely different from the one within the [[Hagiopolitan Octoechos]], phthora nana clearly dominated (even in devteros echoi), while phthora nenano was rarely used. Nothing is known about the exact division of the tetrachord, because no treatise concerned with the tradition the cathedral rite of Constantinople has survived, but the Coislin sign of ''xeron klasma'' (ξηρὸν κλάσμα) appeared on different [[pitch class]]es (phthongoi) than within the stichera idiomela of the sticherarion.
 
The Slavic kondakar’s did only use very few oikoi pointing at certain models, but the text of the first oikos was only written in the earliest manuscript known as Tipografsky Ustav, but never provided with notation.<ref>See the black and white reproduction of the manuscript and its text edition ([[#TipografskyUstav|2006]], i-ii).</ref> If there was an oral tradition, it probably did not survive until the 13th century, because the oikoi are simply missing in the kondakar’s of that period.
 
One example for an kondak-prosomoion whose music can be only reconstructed by a comparison with model of the kontakion as it has been notated into Middle Byzantine round notation, is Аще и убьѥна быста which was composed for the feast for [[Boris and Gleb]] (24 July) over the kondak-idiomelon Аще и въ гробъ for Easter in echos plagios tetartos:
[[File:Easterkontakion.jpg|center|thumb|750x750px|Easter kondak Аще и въ гробъ (Easter kontakion Εἰ καὶ ἐν τάφῳ) in echos plagios tetartos and its kondak-prosomoion Аще и убьѥна быста (24 July Boris and Gleb) ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], [[Saint Catherine's Monastery|ET-MSsc]] Ms. [[#ET-MSscGr1280|Sin. Gr. 1280]], [[Bibliothèque nationale de France|F-Pn]] fonds grec Ms. [[#F-PnGr397|397]])]]
The two Middle Byzantine versions in the kontakarion-psaltikon of Paris and the one of Sinai are not identical. The first kolon ends on different ''phthongoi'': either on plagios tetartos (C, if the melos starts there) or two steps lower on plagios devteros (slightly deeper A). It is definitely exaggerated to pretend that one has “deciphered” Kondakarian notation, which is hardly true for any manuscript of this period. But even considering the difference of about at least 80 years which lie between the Old Byzantine version of Slavic scribes in Novgorod (second row of the kondakar’s) and the Middle Byzantine notation used by the monastic scribes of the later Greek manuscripts, it seems obvious that all three manuscripts in comparison did mean one and the same cultural heritage associated with the cathedral rite of the Hagia Sophia: the melismatic elaboration of the truncated kontakion. Both Slavonic kondaks follow strictly the melismatic structure in the music and the frequent segmentation by kola (which does not exist in the Middle Byzantine version), interrupting the conclusion of the first text unit by an own kolon using with the asmatic syllable “ɤ”.
 
Concerning the two martyre princes of the Kievan Rus’ Boris and Gleb, there are two kondak-prosomoia dedicated to them in the Blagoveščensky Kondakar’ on the folios 52r–53v: the second is the prosomoion over the kondak-idiomelon for Easter in glas 8, the first the prosomoion Въси дьньсь made over the kondak-idiomelon for Christmas Дева дньсь (Ἡ παρθένος σήμερον) in glas 3.<ref>See the example chosen in the entry of [[Idiomelon#A kontakion as a model and its prosomoia|idiomelon]], where the Christmas kontakion is compared to the prosomoion version used for the kontakion anastasimon in echos tritos. In fact, the melismatic kondak was always rubrified as idiomelon (Sl. “samoglasen”), since the melos changes between related echoi like in a more complex sticheron idiomelon. Within the Slavic tradition, both categories (idiomelon, avtomelon) are correct for Christmas kondak, because this kondak has the melismatic melos according to the kondakar’s, but also simpler versions within a monastic context.</ref> Unlike the Christmas kontakion in glas 3, the Easter kontakion was not chosen as model for the kontakion anastasimon of glas 8 (plagios tetartos). It had two other important rivals: the kontakion-idiomelon Ὡς ἀπαρχάς τῆς φύσεως (ꙗко начатъкы родѹ) for All Saints, although an enaphonon (protos phthongos) which begins on the lower fourth (plagios devteros), and the prooimion Τῇ ὑπερμάχῳ στρατιγῷ (Възбраньнѹмѹ воѥводѣ побѣдьнаꙗ) of the [[Akathist|Akathistos hymn]] in echos plagios tetartos (which only appears in Greek kontakaria-psaltika).
 
Even among the notated sources there was a distinction between the short and the long psaltikon style which was based on the musical setting of the kontakia, established by Christian Thodberg and by Jørgen Raasted. The latter chose Romanos’ Christmas kontakion Ἡ παρθένος σήμερον to demonstrate the difference and his conclusion was that the known Slavic kondakar’s did rather belong to the long psaltikon style.<ref>{{Cite journal
| volume = 59
| pages = 233–246
| last = Raasted| first = Jørgen
| title = Zur Melodie des Kontakions Ἡ παρθένος σήμερον
| journal = Cahiers de l'Institut du Moyen-Âge Grec et Latin
| date = 1989
| url = https://cimagl.saxo.ku.dk/download/59/59Raasted233-246.pdf
| ref = Raa1989
}} On the other hand, Constantin Floros observed in his habilitation of 1961 ([[#Flo2015|2015]], i:150-159), while he compared the same Christmas kontakion with eight notated kontakia-prosomoia, that the composers of the prosomoia did not obey always the rule to follow the model-kontakion by isosyllaby and homotonia, while notated manuscripts did reveal that certain sections changed to another echos and sometimes elaborated the music. As consequence, the long psaltikon style was also more flexible concerning the adaptation to the texts of kontakia-prosomoia.</ref>
 
== The era of psaltic art and the new mixed rite of Constantinople ==
[[File:Musical manuscript.jpg|right|thumb|upright|Akolouthiai written in 1433 ([[Pantokratoros monastery|GR-AOpk]], Ms. 214)]]
There was a discussion promoted by Christian Troelsgård that Middle Byzantine notation should not be distinguished from Late Byzantine notation.<ref>See the new introduction by Troelsgård ([[#Tro2011|2011]]) which replaced the former one by Tillyard ([[#Til1935|1935]]).</ref> The argument was that the establishment of a mixed rite after the return of the court and the patriarchate from the exile in Nikaia in 1261, had nothing really innovative with respect the sign repertoire of Middle Byzantine notation. The innovation was probably already done outside Constantinople, in those monastic scriptoria whose scribes cared about the lost cathedral rite and did integrate different forms of Old Byzantine notation (those of the sticherarion and heirmologion like theta notation, Coislin and Chartres type as well as those of the Byzantine asmatikon and kontakarion which were based on cheironomies). The argument was mainly based on the astonishing continuity that a new a type of treatise revealed by its continuous presence from the 13th to the 19th centuries: the [[Papadic Octoechos#Papadike|Papadike]]. In a critical edition of this huge corpus, Troelsgård together with Maria Alexandru discovered many different functions that this treatise type could have.<ref>Edition in preparation. As part one might quote {{cite book
|last=Alexandru|first=Maria
|author2=Christian Troelsgård
|chapter=The Development of a Didactic Tradition – The Elements of the Papadike
|title=Tradition and Innovation in Late- and Postbyzantine Liturgical Chant II: Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October - 3 November 2008
|place=Leuven, Paris, Walpole
|pages=1–57
|year=2013
|publisher=Bredius Foundation, Peeters
|isbn=978-90-429-2748-3
|ref=Ale2013
}}</ref> It was originally an introduction for a revised type of [[Sticheron|sticherarion]], but it also introduced many other books like mathemataria (literally “a book of exercises” like a sticherarion kalophonikon or a book with heirmoi kalophonikoi, stichera kalophonika, anagrammatismoi and kratemata), akolouthiai (from “taxis ton akolouthion” which meant “order of services”, a book which combined the choir book “asmatikon”, the book of the soloist “kontakarion”, and with the rubrics the instructions of the typikon) and the Ottoman anthologies of the Papadike which tried to continue the tradition of the notated book akolouthiai (usually introduced by a Papadike, a kekragarion/anastasimatarion, an anthology for Orthros, and an anthology for the divine liturgies).
 
With the end of creative poetical composition, Byzantine chant entered its final period, devoted largely to the production of more elaborate musical settings of the traditional repertoire: either embellishments of the earlier simpler melodies (palaia "old"), or original music in highly ornamental style (called “kalophonic”). This was the work of the so-called ''Maïstores'', “masters”, of whom the most celebrated was St. [[John Koukouzeles]] (14th century) as a famous innovator in the development of chant. The multiplication of new settings and elaborations of the traditional repertoire continued in the centuries following the fall of Constantinople.
 
=== The revision of the chant books ===
 
One part of this process was the redaction and limitation of the present repertoire given by the notated chant books of the [[sticherarion]] (menaion, triodion, pentekostarion, and oktoechos) and the [[heirmologion]] during the 14th century. Philologists called this repertoire the “standard abridged version” and counted alone 750 stichera for the menaion-part,<ref>See the permanently updated version: {{Cite journal
| volume = 74
| pages = 3–20
| last = Troelsgård
| first = Christian
| title = A handlist of the 'Standard Abridged Version' (SAV) of the Sticherarion according to Oliver Strunk
| url = http://www.igl.ku.dk/MMB/standard.html
| journal = Cahiers de l’Institut du Moyen-Âge grec et latin
| date = 2003
| ref = SAVstichera
}}</ref> and 3300 odes of the heirmologion.<ref>{{Cite journal
| volume = 1
| pages = 3–12
| last = Raasted| first = Jørgen
| title = Observations on the Manuscript Tradition of Byzantine Music, I: A List of Heirmos Call-Numbers, based on Eustratiades’s Edition of the Heirmologion
| journal = Cahiers de l’Institut du Moyen-Âge grec et latin
| date = 1969
| url = http://cimagl.saxo.ku.dk/download/1/1Raasted1-12.pdf
| ref = SAVodai
}}</ref>
 
=== Kalophonia ===
 
=== The synthesis between harmonikai and papadikai ===
 
== Ottoman era ==
 
=== Chant between Raidestinos, Chrysaphes the Younger, Germanos of New Patras and Balasios ===
 
=== Petros Bereketes and the school of the Phanariotes ===
 
To a certain degree there may be found remnants of Byzantine or early (Greek-speaking, [[Eastern Orthodox Church|Orthodox Christian]]) near eastern music in the music of the [[Ottoman Empire|Ottoman]] Court. Examples such as that of the composer and theorist [[Dimitrie Cantemir|Prince Cantemir]] of [[Romania]] learning music from the Greek musician ''Angelos'', indicate the continuing participation of [[Greek language|Greek speaking]] people in court culture. The influences of [[Ancient Greek music|ancient Greek]] basin and the [[Greeks|Greek]] Christian chants in the Byzantine music as origin, are confirmed. Music of Turkey was influenced by Byzantine music, too (mainly in the years 1640–1712).<ref>[http://www.bazaarturkey.com/read_about-the-music.htm Influences of Byzantine music] (The music of Turkey is also, a reference to the Byzantine music. In the period of classical music, Ottoman music was influenced by Byzantine music—specifically in:1640–1712)</ref> Ottoman music is a synthesis, carrying the culture of [[Greeks|Greek]] and Armenian Christian chant. It emerged as the result of a sharing process between the many civilizations that met together in the Orient, considering the breadth and length of duration of these empires and the great number of ethnicities and major or minor cultures that they encompassed or came in touch with at each stage of their development.
 
=== The Putna school of the Bukovina ===
 
=== Phanariotes at the new music school of the patriarchate ===
 
== The Orthodox reformulation according to the New Method ==
 
[[Chrysanthos of Madytos]] (ca. 1770–1846), [[Gregory the Protopsaltes]] (c. 1778 – c. 1821), and [[Chourmouzios the Archivist]] were responsible for a reform of the notation of Greek ecclesiastical music. Essentially, this work consisted of a simplification of the [[Byzantine Musical Symbols]] that, by the early 19th century, had become so complex and technical that only highly skilled chanters were able to interpret them correctly. The work of the three reformers is a landmark in the history of Greek Church music, since it introduced the system of neo-Byzantine music upon which are based the present-day chants of the Greek Orthodox Church. Unfortunately, their work has since been misinterpreted often, and much of the oral tradition has been lost.
 
=== Konstantinos Byzantios' renunciation of the New Method ===
 
=== The old school of the patriarchate ===
 
=== The modern school of the patriarchate ===
 
=== Ison ===
 
The [[Ison (music)]] is a [[drone (music)|drone]] note, or a slow-moving lower vocal part, used in [[Byzantine chant]] and some related musical traditions to accompany the [[melody]]. It is assumed that the ison was first introduced in Byzantine practice in the 16th century.<ref name=hist>[http://www.stanthonysmonastery.org/music/History.htm History of Byzantine chant] at the Divine Music Project of St. Anthony Monastery</ref>
 
=== Teretismata and nenanismata ===
 
The practice of Terirem is vocal [[Musical improvisation|improvisation]] with [[pseudoword|nonsense syllables]]. It can contain syllables like "te ri rem" or "te ne na", sometimes enriched with some theological words. It is a custom for a choir, or an orthodox psalmist to start the chanting by finding the musical tone by singing at the very beginning a "ne-ne".
 
== The Simon Karas school at Athens ==
 
[[Simon Karas]]<ref>[http://www.simonkaras.gr Center for Research and Promotion of National Greek Music - Archives of Simon and Aggeliki Karas]</ref> (1905–1999) began an effort to assemble as much material as possible in order to restore the apparently lost tradition. His work was continued by [[Lycourgos Angelopoulos]] and other ''psaltai'' (“cantors”) of Byzantine music, until his death 18 May 2014. Two major styles of interpretation have evolved, the [[Mount Athos|Hagioritic]], which is simpler and is mainly followed in monasteries, and the [[Patriarchate|Patriarchal]], as exemplified by the style taught at the [[Patriarchate of Constantinople|Great Church of Constantinople]], which is more elaborate and is practised in parish churches. Nowadays the Orthodox churches maintain chanting schools in which new cantors are trained. Each diocese employs a ''protopsaltes'' ("first cantor"), who directs the diocesan cathedral choir and supervises musical education and performance. The ''protopsaltes'' of the Patriarchates are given the title ''Archon Protopsaltes'' ("Lord First Cantor"), a title also conferred as an honorific to distinguished cantors and scholars of Byzantine music.
 
== See also ==
* [[Byzantine Musical Symbols]]
* [[Music of ancient Rome]]
* [[Ancient Greek music]]
* [[Music of Greece|Modern Greek music]]
* [[Music of Crete|Traditional music of Crete]]
* [[Byzantine lyra|The Lyra of the Byzantine]]
* [[Museum of Ancient Greek, Byzantine and Post-Byzantine Instruments]]
* [[Znamenny chant]] – the Russian chant style that evolved from the Byzantine system
 
For more on the theory of Byzantine music and its cultural relatives in Greek-speaking peoples see:
* [[Echos]]
* [[Octoechos]]
 
For collections of Byzantine hymnography see:
{{Eastern Orthodox liturgical books}}
 
For contemporary works featuring Byzantine chant see:
* [[Prayer Bells]]
* [[Days and Nights with Christ]]
* [[John Tavener]]
 
== References ==
{{reflist|30em}}
 
== Sources in chronological order ==
=== Tropologia & octoechoi ===
*{{Cite web
|url=http://berlpap.smb.museum/record/?result=0&Alle=21319
|title=Berlin, Staatliche Museen P. 21319
|work=Papyrus fragment of a Greek tropologion written in semi-cursive book script (6th century)
|location = Egypt
|ref=P21319
}}
*{{cite web
|title=Vienna, Österreichische Nationalbibliothek, Papyrus Vindobonensis G 19.934
|url=http://www.asbmh.pitt.edu/page12/Troelsgard.pdf
|work=Fragment of a 6th-century tropologion
}}
*{{citation
| title = Sinai, Saint Catherine's Monastery, Ms. Gr. 607
| work = Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου ["With God the tropologion of the two months March and April"] (9th century)
| url = https://www.loc.gov/item/00271075224-ms/
| ref = ET-MSscGr607
}}
*{{citation
| title = Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v
| work = Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων ["The book of the Holy Polis (Jerusalem) unifying different musical methods", originally an introduction to a 12th-century tropologion] rebound in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th-15th centuries)
| url = http://gallica.bnf.fr/ark:/12148/btv1b10723253d/f222.item
| ref = F-PnGr360
}}
*{{citation
| title = Sinai, Saint Catherine's Monastery, Ms. Gr. 777
| work = Tropologion of the parakletike kanons, pentitential chant, apostolic prosomoia and of ferial days and theotokia composed according to the kanon order (11th century)
| url = https://www.loc.gov/item/00271075741-ms/
| ref = ET-MSscGr777
}}
*{{Cite web
|url=http://rgada.info/kueh/index2.php?str=381_1_80&name=%D0%9F%D0%B0%D1%80%D0%B0%D0%BA%D0%BB%D0%B8%D1%82%D0%B8%D0%BA%20%20%28%D0%B3%D0%BB%D0%B0%D1%81%D1%8B%20%201-3%29,%20%D0%BD%D0%BE%D1%82%D0%B8%D1%80%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D1%8B%D0%B9
|title=Moscow, Rossiysky Gosudarstvenny Archiv Drevnich Aktov (РГАДА), Fond 381 Ms. 80
|work=Old Church Slavonic Paraklitik (Glas 1-3) with akrosticha in canon order (KaO) with znamenny notation (about 1200)
|ref=RUS-MdaF381N80
}}
 
=== Lectionaries and psalters ===
*{{Cite web
|url=https://www.loc.gov/item/00271070081-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. gr. 7
|work=Prophetologion starting with Christmas and Epiphany and the cycle for the movable feasts and concluding with the menaion (10th century)
|ref=ET-MSscGr7
}}
*{{Cite web
|url=https://www.loc.gov/item/00271070093-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. gr. 8
|work=Prophetologion in maiuscule script with ekphonetic notation and a list of ekphonetic neumes on the last page (10th century)
|ref=ET-MSscGr8
}}
*{{Cite web
|url=https://www.loc.gov/item/00271078857-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. gr. 213
|work=Gospel Lectionary with pericopes assigned to the Divine Liturgies and other Offices of the Byzantine Church with ekphonetic notation added by presbyteros Eustathios on 30 January 967
|ref=ET-MSscGr213
}}
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.gr.351
|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 351
|work=New Testament Lectionary (Liturgy and Orthros cycle) in uncial maiuscule script written in Constantinople with ekphonetic notation (10th century)
|ref=I-RvatVatGr351
}}
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.gr.756
|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 756
|work=Commented Tetraevangelion of the Archimandritate SS. Salvatore of Messina (11th century)
|ref=I-RvatVatGr351
}}
*{{Cite web
|url=http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_19352
|title=London, British Library, Add MS 19352
|work=Psalter with Odes (ff.192v-207v) written by Protopresbyteros Theodore for Michael, Abbot of the Stoudios Monastery (1066)
|ref=GB-LblAdd19352
}}
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.slav.3
|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. slav. 3
|work=Aprakos lectionary beginning with Easter (Gospel of John) and a menologion (ff.112v-153v) in uncial Glagolitic script from Macedonia written by the end of the first Bulgarian Empire (11th century)
|ref=I-RvatVatSl3
}}
 
=== Euchologia and horologia ===
 
=== Menologia ===
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.gr.1613/
|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 1613
|work=Illuminated Menologion with synaxaries made for Emperor Basil II (979-1004)
|location=Constantinople
|ref=I-RvatVatGr1613
}}
 
=== Mineya, Triod Postnaya & Tsvetnaya služebnaya ===
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/165146
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 159
|work=Old Church Slavonic Mineya služebnaya for September with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin159
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/165147
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 160
|work=Old Church Slavonic Mineya služebnaya for October with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin160
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/165148
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 161
|work=Old Church Slavonic Mineya služebnaya for November with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin161
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178177
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 162
|work=Old Church Slavonic Mineya služebnaya for December with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin162
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178178
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 163
|work=Old Church Slavonic Mineya služebnaya for January with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin163
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178179
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 164
|work=Old Church Slavonic Mineya služebnaya for February with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin164
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178180
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 165
|work=Old Church Slavonic Mineya služebnaya for April with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin165
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178181
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 166
|work=Old Church Slavonic Mineya služebnaya for May with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin166
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178183
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 167
|work=Old Church Slavonic Mineya služebnaya for June with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin167
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178184
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 168
|work=Old Church Slavonic Mineya služebnaya for August with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin168
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/177618
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 319
|work=Old Church Slavonic Fasten Triod služebnaya with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (12th century)
|ref=RUS-Mim_Sin319
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/178600
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Voskr. Perg. 27
|work=Old Church Slavonic Flower Triod služebnaya with troparia, stichera, kondaks and akrosticha with znamennaya notation written at a scriptorium of Novgorod (about 1200)
|ref=RUS-Mim_VosP27
}}
 
=== Sticheraria ===
*{{Cite web
|url=https://www.loc.gov/item/00271076861-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1219
|work=Greek Sticherarion (only Menaion but without beginning and end) with Old Byzantine Chartres notation (11th century)
|ref=SinaiGr1219
}}
*{{Cite web
|url=https://www.loc.gov/item/00271076885-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1217
|work=Greek Sticherarion (only Menaion) with Old Byzantine Coislin notation (11th-12th century)
|ref=SinaiGr1217
}}
*{{Cite web
|url=http://rgada.info/kueh/index2.php?str=381_1_152&name=%D0%A1%D1%82%D0%B8%D1%85%D0%B0%D1%80%D1%8C%20%D0%BC%D0%B8%D0%BD%D0%B5%D0%B9%D0%BD%D1%8B%D0%B9%20%28%D1%81%D0%B5%D0%BD%D1%82%D1%8F%D0%B1%D1%80%D1%8C%20-%20%D1%84%D0%B5%D0%B2%D1%80%D0%B0%D0%BB%D1%8C%29,%20%D0%BD%D0%BE%D1%82%D0%B8%D1%80%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D1%8B%D0%B9
|title=Moscow, Rossiysky Gosudarstvenny Archiv Drevnich Aktov (РГАДА), Fond 381 Ms. 152
|work=Old Church Slavonic Sticherarion (Menaion from 1 September until 2 February) with znamennaya notation (12th century)
|ref=RUS-MdaF381N152
}}
*{{Cite web
|url=http://rgada.info/kueh/index2.php?str=381_1_147&name=%D0%A1%D1%82%D0%B8%D1%85%D0%B8%D1%80%D0%B0%D1%80%D1%8C%20%D0%BF%D0%BE%D1%81%D1%82%D0%BD%D1%8B%D0%B9%20%D0%B8%20%D1%86%D0%B2%D0%B5%D1%82%D0%BD%D0%BE%D0%B9,%20%D0%BD%D0%BE%D1%82%D0%B8%D1%80%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D1%8B%D0%B9.
|title=Moscow, Rossiysky Gosudarstvenny Archiv Drevnich Aktov (РГАДА), Fond 381 Ms. 147
|work=Old Church Slavonic Sticherarion (Fasten and Flower triod) with znamenny notation (12th century)
|ref=RUS-MdaF381N147
}}
*{{cite web
|title=Copenhagen, Det kongelige Bibliotek, Ms. NkS 4960, 4°
|url=http://www.kb.dk/erez4/fsi4/fsi.swf?pages_server=http://www.kb.dk/erez4&pages_dir=online_master_arkiv_11/non-archival/Manus/VMANUS/2010/dec/nks-4_4960/&cfg=pages_presets/catalog_links_chapters.fsi&Skin=silverbar&pages_AutoCropPages=0&pages_ratio=8:12&MouseModes_Mode2=0&pages_BendEffect=none&pages_DropShadow=0&pages_backcover=false&pages_pagenumbers=false&pages_PageNumSize=4&pages_skin=silverbar&pages_PageTurnSpeed=100&pages_pagecolor=bdbdbd&pages_pagebordercolor=bdbdbd&pages_slider=1&MenuAlign=BL&Language=danish&chapters_indexdatafile=nks-4_4960.xml&plugins=resize
|work=Complete Sticherarion with Menaion, Triodion, Pentekostarion, and Oktoechos (14th century)
|ref=NkS4960
}}
 
=== Heirmologia ===
*{{Cite web
|url=https://www.loc.gov/item/00271074694-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 929
|work=Greek Heirmologion composed in ode order (OdO) with Old Byzantine Coislin notation (12th-century palimpest over pages of a former tropologion)
|ref=SinaiGr929
}}
 
=== Kontakaria & asmatika ===
*{{Cite web
|url=https://www.loc.gov/item/00271074724-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 925
|work=Kontakarion organised as a menaion, triodion (at least in part), and pentekostarion (10th century)
|ref=ET-MSscGr925
}}
*{{Cite web
|url=http://expositions.nlr.ru/ex_manus/kondakar/_Project/Dir.php
|title=Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32
|work=Nižegorodsky Kondakar' of the Blagoveščensky [Annunciation] Monastery, introduced, described and transcribed by Tatiana Shvets (about 1200)
|ref=RUS-SPscQpI32
}}
*{{Cite web
|url=https://dlib.rsl.ru/viewer/01004637794
|title=Moscow, Russian State Library (Российская государственная библиотека), fond 304 Ms. 23
|work=Troitsky Kondakar’ of the Trinity Lavra of Saint Sergius (about 1200)
|ref=RUS-Mrg_304-023
}}
*{{Cite web
|url=http://catalog.shm.ru/entity/OBJECT/177676
|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 777
|work=Sinodal’ny Kondakar’ (13th century)
|ref=RUS-Mim_Sin777
}}
*{{Cite web
|url=http://gallica.bnf.fr/ark:/12148/btv1b10723130v
|title=Paris, Bibliothèque nationale de France, fonds. grec, Ms. 397
|work=Incomplete Kontakarion (Prokeimena, Stichologia for Christmas and Theophany, Allelouiaria, Hypakoai anastasima, kontakia) in short psaltikon style with Middle Byzantine Round notation (late 13th c.)
|ref=F-PnGr397
}}
*{{Cite web
|url=https://www.loc.gov/item/00271076083-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1280
|work=Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (about 1300)
|ref=ET-MSscGr1280
}}
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.gr.345
|title=Rome, Biblioteca apostolica vaticana, Vat. gr. 345
|work=Kontakarion-Psaltikon (prokeimena, allelouiaria, hypakoai, kontakia) with Middle Byzantine Round notation (about 1300)
|ref=I-RvatVatgr345
}}
*{{Cite web
|url=https://digi.vatlib.it/view/MSS_Vat.gr.1606
|title=Rome, Biblioteca apostolica vaticana, Vat. gr. 1606
|work=Kontakarion-Psaltikon with Asmatikon (kontakia and hypakoai, allelouiaria, prokeimena, koinonika) with Middle Byzantine Round notation (about 1300)
|ref=I-RvatVatgr1606
}}
*{{Cite web
|url=https://www.loc.gov/item/00271076204-ms/
|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1314
|work=Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, rest of the complete Akathistos hymnus, kontakia anastasima, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th century)
|ref=ET-MSscGr1314
}}
 
=== Akolouthiai & anthologies of the Papadike ===
*{{Cite web
|last1=Koukouzeles
|first1=Ioannes
|authorlink=John Koukouzelis
|last2=Korones
|first2=Xenos
|last3=Kladas
|first3=Ioannes
|url = http://data.onb.ac.at/rec/AL00237897
|title = Vienna, Österreichische Nationalbibliothek, Cod. theol. gr. 185
|work = Βιβλίον σὺν Θεῷ ἁγίῳ περιέχον τὴν ἄπασαν ἀκολουθίαν τῆς ἐκκλησιαστικῆς τάξεως συνταχθὲν παρὰ τοῦ μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη of Thessalonica (about 1400)
|ref = A-WnTheolGr185
}}
*{{Cite web
|url=https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3361
|title=Athens, Εθνική Βιβλιοθήκη της Ελλάδος [Ethnike Vivliotheke tes Hellados], Ms. 2061
|work=Akolouthiai of the Hagia Sophia of Thessalonica (early 15th century)
|ref=GR-An2061
}}
 
== Bibliography ==
=== Editions ===
*{{Cite web
|url = http://www.igl.ku.dk/MMB/pub.html
|title = Monumenta Musicae Byzantinae
|editor-last = Troelsgård
|editor-first = Christian
|publisher = University of Copenhagen, Saxo Institute, Dept. of Greek and Latin
|ref = MMB
}}
*{{Cite book
| last = Floros| first = Constantin
| title = Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition
| location = Hamburg (Habilitation 1961 at University of Hamburg)
| volume = 1-3
| date = 2015
| url = http://www.fbkultur.uni-hamburg.de/hm/forschung/publikationen/byzantinische-kontakien.html
| ref = Flo2015
}}
*{{cite book
| publisher = Paludan
| editor1-last = Raasted
| editor1-first = Jørgen
| title = The Hagiopolites: A Byzantine Treatise on Musical Theory
| location = Copenhagen
| series = Cahiers de l'Institut du Moyen-Âge Grec et Latin
| volume = 45
| date = 1983
| url = http://cimagl.saxo.ku.dk/download/45/45Raasted1-99.pdf
| ref = Raa1983
}}
*{{Cite book
| publisher = Dumbarton Oaks Research Library and Collection
| isbn = 978-0-88402-232-9
| editor1=John Thomas |editor2=Angela Constantinides Hero
| title = Byzantine Monastic Foundation Documents: A Complete Translation of the Surviving Founder's Typika and Testaments
| location = Washington, D.C.
| series = Dumbarton Oaks Studies
| date = 2000
| url = https://www.doaks.org/research/publications/books/byzantine-monastic-foundation-documents-a-complete
}}
*{{Cite book
| publisher = Языки славянских культур
| isbn = 978-5-9551-0131-6
| editor-last = Uspenskiy | editor-first = Boris Aleksandrovič
| title = Типографский Устав: Устав с кондакарем конца XI — начала XII века [Tipografsky Ustav: Ustav with Kondakar' end 11th-beginning 12th c. (vol. 1: facsimile, vol. 2: edition of the texts, vol. 3: monographic essays)]
| location = Moscow
| volume = 1-3
| series = Памятники славяно-русской письменности. Новая серия
| date = 2006
| ref = TipografskyUstav
}}
*{{Cite book
| publisher = Ivan Dujcev Centre for Slavo-Byzantine Studies (Heron Press)
| isbn = 978-954-580-006-1
| editor-last = Myers
| editor-first = Gregory
| title = The Lavrsky-Troitsky Kondakar'
| location = Sofia
| volume = 4
| series = Monumenta Slavico-Byzantina Mediaevalia Europensia
| date = 1994
| ref = Mye1994
}}
*{{Cite book
| publisher = Wilhelm Schmitz [Böhlau since 1990]
| editor1-last = Dostál
| editor1-first = Antonín
| editor2-last = Rothe
| editor2-first = Hans
| editor3-last = Trapp
| editor3-first = Erich
| title = Der altrussische Kondakar' auf der Grundlage des Blagoveščenskij Nižegorodskij Kondakar'
| location = Giessen [Köln, Weimar, Vienna]
| volume = 3:2-7
| series = Bausteine zur Geschichte der Literatur bei den Slawen, Editionen
| date = 1976–2004
| issn = 0170-3552
| ref = EdBlagKond
}}
*{{Cite book
| publisher = European Art Centre (EUARCE)
| editor-last = Voudouris| editor-first = Angelos L.
| title = Κώδικες της Ορθοδόξου Βυζαντινής Εκκλησιαστικής Ασματωδίας [Codices of Orthodox eclesiastic chant according to the school of Iakovos Nafpliotis, Archon Protopsaltes of the Ecumenical Patriarchate]
| location = Athens
| volume = 1-18
| date = 1996–1998
| url = http://search.lib.auth.gr/Search/Results?type=AllFields&sort=callnumber-sort&filter%5B%5D=callnumber-subject%3A&#x22;M+-+Music&#x22;&filter%5B%5D=authorStr%3A&#x22;Βουδούρης%2C+Άγγελος+Λ.%2C+1891-1951&#x22;
| ref = EdNafpliotis
}}
 
=== Introductions ===
*{{Cite encyclopedia
| last1 = Levy| first1 = Kenneth
| last2 = Troelsgård| first2 = Christian
| title = Byzantine chant
| volume = 1
| encyclopedia = New Grove Music Online. Oxford Music Online
| date = 2001
| doi = 10.1093/gmo/9781561592630.article.04494
}}
*{{Cite encyclopedia
| last1 = Velimirović| first1 = Miloš
| last2 = Lozovaya| first2 = Irene
| last3 = Myers| first3 = Gregory
| last4 = De Carlo| first4 = Leonora
| title = Russian and Slavonic church music
| volume = 1
| encyclopedia = New Grove Music Online. Oxford Music Online
| date = 2001
| doi = 10.1093/gmo/9781561592630.article.43458
}}
*{{Cite book
| edition = 2nd, revised and enlarged
| publisher = Clarendon Press
| last = Wellesz| first = Egon
| title = A history of Byzantine music and hymnography
| location = Oxford
| date = 1961
}}
*{{Cite encyclopedia
| editor = [[Laurenz Lütteken]]
| last = Hannick| first = Christian
| title = Byzantinische Musik
| language = de
| encyclopedia = MGG Online
| location = Kassel, Stuttgart, New York
| date = 1995
| url = https://www.mgg-online.com/mgg/stable/12367
}}
*{{Cite encyclopedia
| editor = Laurenz Lütteken
| last = Hannick| first = Christian
| title = Altslawische Musik
| language = de
| encyclopedia = MGG Online
| location = Kassel, Stuttgart, New York
| date = 1994
| url = https://www.mgg-online.com/mgg/stable/11712
}}
 
=== Greek and Slavonic music palaeography ===
*{{Cite journal
| issn = 1312-238X
| volume = 2006
| issue = 3–4
| pages = 225–237
| last = Dimitrova| first = Mariana
| title = Some Observations on the Slavic Sources for Theta Notation
| journal = Scripta & E-Scripta
| date = 2006
| url = https://www.ceeol.com/search/article-detail?id=83427
| ref = Dim2006
}}
*{{Cite book
| last = Doneda| first = Annalisa
| title = Computer Applications to Byzantine Chant: A Relational Database for the Koinonika of the Asmatikon
| url = http://www.scribeserver.com/doneda/DBDoneda.pdf
| date = 2 September 2011
| ref = Don2011
}}
*{{Cite conference
| volume = 9
| editor1=Olivier Legendre |editor2=Jean-Baptiste Lebigue
| last = Engberg
| first = Sysse G.
| title = Les lectionnaires grecs
| language = fr
| booktitle = Les manuscrits liturgiques, Cycle thématique de l'IRHT 2003-2004
| location = Paris, Orléans
| series = Ædilis, Actes. Séminaires et tables rondes
| date = 2005
| url = https://irht.hypotheses.org/612
| ref = Eng2005
}}
*{{Cite book
| publisher = Peter Lang
| isbn = 9783631595534
| last1 = Floros| first1 = Constantin
| last2 = Moran| first2 = Neil K.
| title = The Origins of Russian Music: Introduction to the Kondakarian Notation
| location = Frankfurt am Main etc.
| date = 2009
| ref = Flo2009
}}
*{{Cite book
| publisher = Bärenreiter
| last = Floros| first = Constantin
| title = Universale Neumenkunde
| language = de
| location = Kassel-Wilhelmshöhe
| date = 1970
| volume = 1, 3
| ref = Flo1970
}}
*{{Cite journal
| doi = 10.1017/S0961137100001406
| volume = 7
| issue = 1
| last = Myers| first = Gregory
| title = The medieval Russian Kondakar and the choirbook from Kastoria: a palaeographic study in Byzantine and Slavic musical relations
| journal = Plainsong and Medieval Music
| date = 1998
| ref = Mye1998
}}
*{{Cite journal
| doi = 10.1515/byzs.1952.45.1.29
| issn = 0007-7704
| volume = 45
| issue = Jahresband
| pages = 29–42
| last = Tillyard| first = Henry Julius Wetenhall
| title = The Stages of the Early Byzantine Musical Notation
| journal = Byzantinische Zeitschrift
| date = 1952
| ref = Til1952
}}
*{{Cite journal
| doi = 10.1515/byzs.1937.37.2.345
| issn = 0007-7704
| volume = 37
| issue = 2
| pages = 345–358
| last = Tillyard| first = Henry Julius Wetenhall
| title = Byzantine Neumes: The Coislin Notation| journal = Byzantinische Zeitschrift
| date = 1937
| ref = Til1937
}}
*{{Cite book
| publisher = Levin & Munksgaard
| volume = 1
| last = Tillyard| first = H. J. W.
| title = Handbook of the Middle Byzantine Musical Notation
| location = Copenhagen
| series = Monumenta Musicae Byzantinae, Subsidia
| date = 1935
| ref = Til1935
}}
*{{Cite book
| publisher = Museum Tusculanum Press
| isbn = 9788763531580
| volume = 9
| last = Troelsgård| first = Christian
| title = Byzantine Neumes : A New Introduction to the Middle Byzantine Musical Notation
| location = Copenhagen
| series = Monumenta Musicae Byzantinae, Subsidia
| date = 2011
| ref = Tro2011
}}
 
=== The New Method and Orthodox chant of the Ottoman period ===
* {{Cite book
| publisher = Michele Weis
| last = Chrysanthos of Madytos
| author-link = Chrysanthos of Madytos
| title = Θεωρητικόν μέγα της μουσικής συνταχθέν μεν παρά Χρυσάνθου αρχιεπισκόπου Διρραχίου του εκ Μαδύτων εκδοθέν δε υπό Παναγιώτου Γ. Πελοπίδου Πελοποννησίου διά φιλοτίμου συνδρομής των ομογενών
| location = Triest
| year = 1832
| url = https://archive.org/details/theoretikonmegat00chry
| ref = Chr1832
|editor-last = Pelopides
|editor-first = Panagiotes G.
}}
*{{Cite web
|location = Sofia
|publisher = St. Cyril and St. Methodius National Library
|url = http://www.wdl.org/en/item/10653/
|title = Copy of Chrysanthos' first book of the 'Mega Theoretikon' (Ms. Gr. 90)
|editor = Vasileios Nikolaidis Vyzantios
|date = 1825
}}
*{{Cite book
| publisher = Axion Estin Foundation
| isbn = 9780615342597
| translator-last = Romanou| translator-first = Katy G.
| title = Great Theory of Music by Chrysanthos of Madytos
| location = New Rochelle, New York
| date = 2010
| ref = TranslationChrysanthos
}}
 
=== Glossaries ===
*Ολυμπία Τολίκα, [https://catalogue.nlg.gr/Record/b.125727 ''Επίτομο Εγκυκλοπαιδικό Λεξικό της Βυζαντινής Μουσικής''] [Olympia Tolika: ''Encyclopaedian Dictionary of Byzantine Music'']. Έκδ. Ευρωπαϊκό Κέντρο Τέχνης (EUARCE), Αθήνα 1993.
 
== External links ==
{{wikisource|Author:John of Damascus|John of Damascus}}
{{wikisource|Author:Chrysanthos of Madytos|Chrysanthos of Madytos}}
{{Commons category|Byzantine music}}
{{commons|Chrysanthos of Madytos}}
 
=== Recordings ===
*{{Cite web
|last1=Raktivan
|first1=Panos M.
|last2=Vafeiadis
|first2=Viktor
|publisher=Ecumenical Patriarchate of Constantinople, Association of Constantinopolitan Friends of Music in Athens
|url=http://www.ec-patr.net/en/
|title=Byzantine music: Archon cantors of the Great Church of Christ
}}
*{{Cite web
|publisher=Greek Byzantine Choir
|url=https://www.youtube.com/watch?v=06l4gRzVX2A
|title=CD dedicated to compositions of John Koukouzeles
|editor=Chourmouzios the Archivist
}}
*{{Cite web
|last=Spyrakis
|first=Ioannis
|url=http://www.g-culture.org/ioannis/tag/byzantine-music-notation/
|title=Electroacoustic & Acousmatic Music, Byzantine Music
}}
 
=== Introductions into Byzantine music ===
{{Cite paper
| last = Stathes| first = Gregorios Th.
| title = Introduction into Byzantine Church Music
| location = Oxford
| date = May 1970
| url = http://www.psaltiki.org/journal/1.1/stathes_bcm/bcm.html
}}
 
=== Orthodox chant tutorials ===
*{{cite web
|title=Video introduction with modern solfège by Georgios Hatzichronoglou
|url=http://www.asbmh.pitt.edu/HHronoglou/index.html
|publisher=ASBMH
|location=Vrilissia
}}
*{{Cite web
|publisher=Saint Anthony's Monastery
|url = http://stanthonysmonastery.org/music/Intro.htm
|title = The Divine Music Project
}}
*{{Cite web
|publisher=Institute for Research on Music and Acoustics (ΙΕΜΑ)
|location=Athens
|title=Byzantine Music System
|url=http://www.musicportal.gr/byzantine_music_system/?lang=en
}}
*{{Cite web
|location = Pittsburgh
|last = Jones
|first = Nicholas
|publisher = Choir of Saint George Antiochian Orthodox Cathedral
|url = http://www.byzantinechant.org/notation.html
|title = Introduction into Chrysanthine Notation
}}
 
=== Conferences ===
* [http://www.asbmh.pitt.edu/page9/page9.html The American Society of Byzantine Music and Hymnology]
 
=== Blogs ===
*{{Cite web
|url=http://www.analogion.com
|title=Analogion and Psaltologion (Blog about Orthodox Chant and its Byzantine Heritage)
}}
 
 
== Види још ==
Преузето из „https://sr.wikipedia.org/wiki/Византијска_музика”