Византијска музика — разлика између измена

'''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]].

 

Према приручнику "Хагиополити" (Јерусалим), најранији који је сачуван до данас, певачи Аја Софије користили су систем 16 црквених тонова (гласова), док аутор ове расправе уводи тонски систем од 10 гласова. Ипак, обе школе имају заједнички сет од 4 октаве (протос, деутерос, тритос и тетартос), свака од њих је имала kyrios echos (аутентични начин) са последњим тоном на 5. степену, и plagios echos (коси начин) са последњом нотом на 1. степену. Према латинској теорији, добијених осам тонова (октоих) идентификовано је са седам модова (октавских врста) и тропа (тропои што је значило транспозицију ових начина). Имена тропа као што су "Дорски" итд. су такође коришћена у грчким упутствима за певање, али су имена Лидијска и Фригијска за октаве деутероса и тритоса понекад била размењена. Древни грчки хармоникаи био је хеленистичка верзија питагорејског образовног програма дефинисаног као математа ("вјежбе"). Хармоникаи је био један од њих. Данас се певачи хришћанских православних цркава поистовећују са наслеђем византијске музике чији се најстарији композитори памте по имену још од 5. века. Композиције су биле повезане са њима, али оне морају бити реконструисане нотираним изворима који датирају стољећима касније. Мелодијска нотација византијске музике развила се касно још од 10. века, са изузетком ранијег екфонетског записа, интерпункцијских знакова који се користе у лекционарима, али модални потписи за осам ецхои већ се могу наћи у фрагментима (папирима) монашких химни ( тропологиа) датира из 6. века.<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>

 

{{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>}}

 

| коришћење дијеза (привучени су E, a, и b природно у оквиру полу-тона), од Боеција до концепта ''ми'', Гвида од Ареца

|}

 

=== Музички инструменти у Византијском царству ===

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/>

 

 

=== Акламације на двору и књига церемонија ===

|Κύριε, σῶσον.

|}

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

 

=== Пустињски Оци и градско монаштво ===

 

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.

 

==== Рецитовање библијских ода ====

 

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.

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.

 

 

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 ===

 

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

 

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.

 

=== Промене у архитектури и литургији, и увођење херубикона ===

{{main|Cherubikon}}

 

<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>

 

 

=== Манастирске реформе у Цариграду и Јерусалиму ===

 

== Монашке реформе Студита и њихове нотне књиге ==

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

}}

</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).

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

|ref=Lin2013

}}</ref>

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.

 

| chapter-url = http://staging.doaks.org/research/publications/doaks-online-publications/byzantine-monastic-foundation-documents/typ009.pdf

}}</ref>

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

| journal = Bollettino della Badia Greca di Grottaferrata

| date = 2016

| volume = 54

| pages = 39–48

 

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.

 

=== Преображај контакиона ===

}}</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.

 

 

== Словенска редакција ==

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 ===

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

}}</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),

| issn = 0204-823X

| issue = 3–4

| url = https://www.ceeol.com/search/article-detail?id=18375

}}</ref>

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.

 

 

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:

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.

 

==== Примање литургије ====

У '''Примарној хроници''' (Повѣсть времѧньныхъ лѣтъ "Прича о минулим летима") објављено је како је у Цариграду примљено изасланство Кијевске Русије и како су говорили о свом искуству у присуству Владимира Великог 987. године, пре него што се велики кнез Владимир одлучио за христјанизацију Кијевске Русије. (Лаврентијев кодекс написан у нижњем Новгороду 1377):

{{Cquote

| quote = Сутрадан је византијски цар послао поруку патријарху да га обавести да је руска делегација стигла да испита грчку веру и упутила га да припреми цркву Аја Софију и свештенство, и да се намести у своје свете одоре, да би Руси могли да виде славу Бога Грка. Када је патријарх примио ове команде, он је позвао свештенике да се окупе и они су извели уобичајене обреде. Они су палили тамјан, а хорови су пјевали химне. Цар је пратио Русе у цркву и стављао их у широк простор, позивајући њихову пажњу на лепоту грађевине, пјевање, канцеларије архијереја и службу ђакона, док им је објашњавао обожавање. његовог Бога. Руси су били запањени, иу свом чуду похвалили грчки церемонијал. Тада су цареви Басил и Константин позвали изасланике на њихово присуство и рекли: "Идите одавде у своју родну земљу" и тако их одбаците са вриједним поклонима и великом чашћу.

}}

 

 

==== Kondakarian notation of the asmatikon part ====

 

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.

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 ====

* 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 8: Ps. 135:25-26 ([[National Library of Russia|RUS-SPsc]] Ms. [[#RUS-SPscQpI32|Q.п.I.32]], f.113r).

 

 

 

== Крај катедралне службе у Цариграду ==

 

=== The kontakaria and asmatika written in Middle Byzantine round notation ===

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

 

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:

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”.

 

 

== The era of psaltic art and the new mixed rite of Constantinople ==

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

 

== Извори (хронолошким редом) ==

|url=http://berlpap.smb.museum/record/?result=0&Alle=21319

|title=Berlin, Staatliche Museen P. 21319

|ref=P21319

}}

|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

}}

| 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)

| ref = ET-MSscGr607

}}

| 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)

| ref = F-PnGr360

}}

| 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)

| ref = ET-MSscGr777

}}

|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

 

=== Расправе и псалтири ===

|url=https://www.loc.gov/item/00271070081-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. gr. 7

|ref=ET-MSscGr7

}}

|url=https://www.loc.gov/item/00271070093-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. gr. 8

|ref=ET-MSscGr8

}}

|url=https://www.loc.gov/item/00271078857-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. gr. 213

|ref=ET-MSscGr213

}}

|url=https://digi.vatlib.it/view/MSS_Vat.gr.351

|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 351

|ref=I-RvatVatGr351

}}

|url=https://digi.vatlib.it/view/MSS_Vat.gr.756

|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 756

|ref=I-RvatVatGr351

}}

|url=http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_19352

|title=London, British Library, Add MS 19352

|ref=GB-LblAdd19352

}}

|url=https://digi.vatlib.it/view/MSS_Vat.slav.3

|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. slav. 3

 

=== Menologia ===

|url=https://digi.vatlib.it/view/MSS_Vat.gr.1613/

|title=Rome, Biblioteca apostolica vaticana, Cod. Vat. gr. 1613

}}

 

|url=http://catalog.shm.ru/entity/OBJECT/165146

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 159

|ref=RUS-Mim_Sin159

}}

|url=http://catalog.shm.ru/entity/OBJECT/165147

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 160

|ref=RUS-Mim_Sin160

}}

|url=http://catalog.shm.ru/entity/OBJECT/165148

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 161

|ref=RUS-Mim_Sin161

}}

|url=http://catalog.shm.ru/entity/OBJECT/178177

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 162

|ref=RUS-Mim_Sin162

}}

|url=http://catalog.shm.ru/entity/OBJECT/178178

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 163

|ref=RUS-Mim_Sin163

}}

|url=http://catalog.shm.ru/entity/OBJECT/178179

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 164

|ref=RUS-Mim_Sin164

}}

|url=http://catalog.shm.ru/entity/OBJECT/178180

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 165

|ref=RUS-Mim_Sin165

}}

|url=http://catalog.shm.ru/entity/OBJECT/178181

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 166

|ref=RUS-Mim_Sin166

}}

|url=http://catalog.shm.ru/entity/OBJECT/178183

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 167

|ref=RUS-Mim_Sin167

}}

|url=http://catalog.shm.ru/entity/OBJECT/178184

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 168

|ref=RUS-Mim_Sin168

}}

|url=http://catalog.shm.ru/entity/OBJECT/177618

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 319

|ref=RUS-Mim_Sin319

}}

|url=http://catalog.shm.ru/entity/OBJECT/178600

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Voskr. Perg. 27

 

=== Sticheraria ===

|url=https://www.loc.gov/item/00271076861-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1219

|ref=SinaiGr1219

}}

|url=https://www.loc.gov/item/00271076885-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1217

|ref=SinaiGr1217

}}

|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

|ref=RUS-MdaF381N152

}}

|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

|ref=RUS-MdaF381N147

}}

|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

 

=== Heirmologia ===

|url=https://www.loc.gov/item/00271074694-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 929

 

=== Kontakaria & asmatika ===

|url=https://www.loc.gov/item/00271074724-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 925

|ref=ET-MSscGr925

}}

|url=http://expositions.nlr.ru/ex_manus/kondakar/_Project/Dir.php

|title=Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32

|ref=RUS-SPscQpI32

}}

|url=https://dlib.rsl.ru/viewer/01004637794

|title=Moscow, Russian State Library (Российская государственная библиотека), fond 304 Ms. 23

|ref=RUS-Mrg_304-023

}}

|url=http://catalog.shm.ru/entity/OBJECT/177676

|title=Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 777

|ref=RUS-Mim_Sin777

}}

|url=http://gallica.bnf.fr/ark:/12148/btv1b10723130v

|title=Paris, Bibliothèque nationale de France, fonds. grec, Ms. 397

|ref=F-PnGr397

}}

|url=https://www.loc.gov/item/00271076083-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1280

|ref=ET-MSscGr1280

}}

|url=https://digi.vatlib.it/view/MSS_Vat.gr.345

|title=Rome, Biblioteca apostolica vaticana, Vat. gr. 345

|ref=I-RvatVatgr345

}}

|url=https://digi.vatlib.it/view/MSS_Vat.gr.1606

|title=Rome, Biblioteca apostolica vaticana, Vat. gr. 1606

|ref=I-RvatVatgr1606

}}

|url=https://www.loc.gov/item/00271076204-ms/

|title=Sinai, Saint Catherine's Monastery, Ms. Gr. 1314

 

=== Akolouthiai & anthologies of the Papadike ===

|last1=Koukouzeles

|first1=Ioannes

|ref = A-WnTheolGr185

}}

|url=https://digitalcollections.nlg.gr/nlg-repo/dl/en/browse/3361

|title=Athens, Εθνική Βιβλιοθήκη της Ελλάδος [Ethnike Vivliotheke tes Hellados], Ms. 2061

== Извори ==

=== Литература ===

|url = http://www.igl.ku.dk/MMB/pub.html

|title = Monumenta Musicae Byzantinae

|ref = MMB

}}

| last = Floros| first = Constantin

| title = Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition

| ref = Flo2015

}}

| publisher = Paludan

| editor1-last = Raasted

| ref = Raa1983

}}

| publisher = Dumbarton Oaks Research Library and Collection

| isbn = 978-0-88402-232-9

| url = https://www.doaks.org/research/publications/books/byzantine-monastic-foundation-documents-a-complete

}}

| publisher = Языки славянских культур

| isbn = 978-5-9551-0131-6

| ref = TipografskyUstav

}}

| publisher = Ivan Dujcev Centre for Slavo-Byzantine Studies (Heron Press)

| isbn = 978-954-580-006-1

| ref = Mye1994

}}

| publisher = Wilhelm Schmitz [Böhlau since 1990]

| editor1-last = Dostál

| ref = EdBlagKond

}}

| publisher = European Art Centre (EUARCE)

| editor-last = Voudouris| editor-first = Angelos L.

 

=== Уводи ===

| last1 = Levy| first1 = Kenneth

| last2 = Troelsgård| first2 = Christian

| doi = 10.1093/gmo/9781561592630.article.04494

}}

| last1 = Velimirović| first1 = Miloš

| last2 = Lozovaya| first2 = Irene

| doi = 10.1093/gmo/9781561592630.article.43458

}}

| edition = 2nd, revised and enlarged

| publisher = Clarendon Press

| date = 1961

}}

| editor = [[Laurenz Lütteken]]

| last = Hannick| first = Christian

| url = https://www.mgg-online.com/mgg/stable/12367

}}

| editor = Laurenz Lütteken

| last = Hannick| first = Christian

 

=== Палеографија грчке и старословенске музике ===

| issn = 1312-238X

| volume = 2006

| ref = Dim2006

}}

| last = Doneda| first = Annalisa

| title = Computer Applications to Byzantine Chant: A Relational Database for the Koinonika of the Asmatikon

| ref = Don2011

}}

| volume = 9

| editor1=Olivier Legendre |editor2=Jean-Baptiste Lebigue

| ref = Eng2005

}}

| publisher = Peter Lang

| isbn = 9783631595534

| ref = Flo2009

}}

| publisher = Bärenreiter

| last = Floros| first = Constantin

| ref = Flo1970

}}

| doi = 10.1017/S0961137100001406

| volume = 7

| ref = Mye1998

}}

| doi = 10.1515/byzs.1952.45.1.29

| issn = 0007-7704

| ref = Til1952

}}

| doi = 10.1515/byzs.1937.37.2.345

| issn = 0007-7704

| ref = Til1937

}}

| publisher = Levin & Munksgaard

| volume = 1

| ref = Til1935

}}

| publisher = Museum Tusculanum Press

| isbn = 9788763531580

|editor-first = Panagiotes G.

}}

|location = Sofia

|publisher = St. Cyril and St. Methodius National Library

|date = 1825

}}

| publisher = Axion Estin Foundation

| isbn = 9780615342597

 

=== Речници ===

 

== Спољашње везе ==

 

=== Снимци ===

|last1=Raktivan

|first1=Panos M.

|title=Byzantine music: Archon cantors of the Great Church of Christ

}}

|publisher=Greek Byzantine Choir

|url=https://www.youtube.com/watch?v=06l4gRzVX2A

|editor=Chourmouzios the Archivist

}}

|last=Spyrakis

|first=Ioannis

 

=== Увод у византијску музику ===

| last = Stathes| first = Gregorios Th.

| title = Introduction into Byzantine Church Music

 

=== Упутства за православно појање ===

|title=Video introduction with modern solfège by Georgios Hatzichronoglou

|url=http://www.asbmh.pitt.edu/HHronoglou/index.html

|location=Vrilissia

}}

|publisher=Saint Anthony's Monastery

|url = http://stanthonysmonastery.org/music/Intro.htm

|title = The Divine Music Project

}}

|publisher=Institute for Research on Music and Acoustics (ΙΕΜΑ)

|location=Athens

|url=http://www.musicportal.gr/byzantine_music_system/?lang=en

}}

|location = Pittsburgh

|last = Jones

 

=== Блогови ===

|url=http://www.analogion.com

|title=Analogion and Psaltologion (Blog about Orthodox Chant and its Byzantine Heritage)