Byzantine music
Byzantine music it is common term that is used so that it characterizes the medieval holy member of christian churches that followed orthodoxe functional formal.
It is likely in her initial stages existed a further growth of arhaj'as Greek music even if henceforth the Byzantine music is considered as independent musical type, with blending of elements that emanates from syrjake's, evraj!ke's as well as Greek sources. Her beginnings are dated by certain students in 4th century m.H, little afterwards the transport of her capital Rwmaj!ki's of Empire in Istamboul from Big Konstantinos.
The Byzantine music that is rescued is in the total of ecclesiastical, with the exception of somebodies aytokratorjkoy's anthems, that also these have religious elements. The Byzantine chant was monwdjko', in free rythm, and tried often it portrays melodically the significance of words. The language that was used was Greek. The Byzantine anthem, that existed three types of, it was the biggest expression of this musical type.
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Historical course
Origin and precocious christian period
The delivery of Eastern functional chant, that covers the Greek-speaking space, it was developed in Byzantine Empire from the establishment as capital of Istamboul, 330 up to her fall 1453. It is unobjectionabley complex origin, approaching in the artistic and technical productions of classic antiquity, in evraj!ki' musical and inspired from the monofwnjki' melody that bloomed in her precocious christian communities Alexandria, her Antjo'hejas and her Efe'soy.
We see that exists a basic connection between her music Synagogue and the precocious christian music. Relation between the two deliveries exists under form of resemblances of Psalmody and Anthems. En brevity, Psalmody is the melodic output Psalms his David from evraj!ki' community, who was transported in the christian musical delivery and shaped the way that various forms of Byzantine musical pieces was attributed (christian doxologj'es it is the better example of maintainance of evraj!ki's psalmody). The anthems on the other hand, they are paraphrases of biblical text, what are written in such a way that they can be adapted in a traditional type of chant. This practice was based regularly on the evraj!ki' delivery and is met in the evraj!ke's ceremonies. The precocious christian efforts ymnografj'as were condemned immediately because they were not based exclusively on the words of Writing.
Thus we can see that the transport of evraj!ki's delivery of was mainly practical nature. This means that the origin of what is today called Byzantine music was based on the established practices of proselytes of Jews which imitated the adoration of Synagogues from which they emanated: they simply kept the practices that learned at the years that they had dedicated in the psalmody and the adoration in their Synagogues and applied these practices in their new adoration, that was for them, one continuity of their religion.
Traditionally, Pythagoras it is reported as cemeljwti's the musical type that later developed in the Byzantine music. This is in effect up to a point. There that the Jews contributed with the delivery and the practice the Pythagoras contributed with the theory. He was first that connected the music with the mathematics and kajnoto'mise with the study of acoustics. He was also first that created the musicians "sounds" and attributed their proportions with no'tes. This created the scales that are the base of Oktwi'hoy of centre of that is to say Byzantine musical theory.
The arhajoellinjkoj' musical sounds are simply different classifications of fco'ggwn enallasso'menwn phonetic tones. These classifications create the scales that are connected the one with the other but are characterized by different disposals, as a more major scale sygkrjno'meni with a ela'ssona in western music. Accordingly, the sounds were categorized with the attribution of names according to the disposal where omoj'azan. The eight sounds that are contained in the Byzantine music are separated in three genders of disposals. This of is direct apo'tokos arhaj'as Greek practice, because also in the systems, the number and the names of genders are the himself.
The Byzantines asmatjka' in manuscript are dated by the 9th century, while the books Ekfwnitjki's simejografj'as (a unsophisticated graphic system with a view to shows the way of reading of Writings) begin one century earlier and continue finding itself in use until the 12th or 13th century. Our knowledge for the older period emanates from "Typjka'"(djata'xejs of ecclesiastical mysteries and ceremonies), the work of ecclesiastical Fathers and the medieval narrations. Propagated samples of current anthems from the first centuries of Greek Christianity are maintained up to today. Certain of them adopt metric forms of classic Greek poetry but the change of accent had rendered those metres at big part without significance, and, apart from the reception as model classic formw'n, the Byzantine anthems of next centuries are pedestrian poetry, verses dj'hws rj'ma and accentual model.
The common term on a short anthem of turn, or a line of turns, is Chant (this it can it brings the further synecdoche of anthem that it is interfered between verses of psalter). A known example, that the existence of is certified by the 4th century, it is the esperjno's anthem, "Light Jlaro'n", or still, attributed in the Emperor Joystjnjano' A (527 - 565),anthem "the Monogeni's Son and Reason of God", that is heard today in her import Divine Operation. Perhaps the gnwsto'teri collection of chants with artistic fatherhood is that of alone Ayxentj'oy of (first half the 5th century), that jstorej'taj in his biography but it was maintained in no later formal latreytjki' provision.
Acne of Byzantine period
It was, actually, the monastic population that produced the first and exajretjko'teroys ymnogra'foys and musicians - Romanos the Melwdo's, Ioannis Damaskino's, Andreas the Kris, and Theodoros Stoydj'tis. And he was the monastic population that produced also the inventors of complex music simejografj'as that allowed in the clerks to maintain in handwritten codes, the musical practices of medieval East. It existed, naturally, certain precocious monastic opposition in the music. But this does not mean that the monks rejected the member. The reject e'ggyto in the secular music, in the musical demonstration and the exwekklisjastjka' asmatjka' members and refrains.
Speaking generally, nevertheless, exists a distinct indifference for the ecclesiastical music in the Byzantine literature before the 10th century. They existed minimal that observed and recorded this subject. That period no one did not go to the church with thoughtful it hears a good chorus or the recent musical adaptations of anthems and psalms. Faithful knew that the himself would be included in some type of musical activity - a type relatively simple and as for the learning, easy it is followed and it is directed. Did not exist no effort contracts the music with certain particular atmosphere or ceatrjko'tita.
Two significances should become comprehensible in order to we completely appreciate the operation of music in the Byzantine adoration. First, that maintained the base in the Greek theological and secret thought up to the fall of empire, it was the faith in the angelic transmission of holy chant: the affair that the church linked the persons in common prayer with the angelic battalions. This perception is of course older than her narration Revelation (Apok. 4.8-11), for the ymnitjko' vocation agge'lwn as it is arrested in Old Will and were stressed intensely from Isaias (6.14) and Jezekji'l (3.12). More important is the make, that is described in Expense 25, that the model for his land adoration Israel it emanated from the sky. The allusion is perpetuated in the writings of first Fathers, as Kli'mis Rome, Joystj'nos, Jgna'tjos Antjohej'as, Acinago'ras and Beydo-Djony'sjos. It is later recognized in his functional treatises Nikolaos Kava'sjla and his Simeon Arhjepjsko'poy Cessalonj'kis (Patrologia Graeca, CL, 368-492 and CLV, 536-699, respectively).
The effect that this significance had in the ecclesiastical music was triple: firstly, it opposite repeated a particularly conservative attitude in the musical composition afete'roy, stabilised the melodic delivery of certain anthems and third person, it continued, for some interval, the anonymity of composer. Because if a chant of is divine origin, then the recognition that receives the "carrier" in future owes to be minimal. This is in effect particularly when we examine the anthems that were brought ba'lisan for first time from angelic choruses - as Ami'n, Alliloy'ja, Trjsa'gjon and Doxologj'a. Consequently, up to the years Palajolo'gwn, he was inconceivable for composer it places his name under a handwritten musical text.
The ideas of originality and free composition similar with those that were probably presented in the most recent music did not exist never in the precocious Byzantine years. Himself the significance of utilisation of traditional methods (or melodic types) as synthetic technique presents arhaj'!zoysa perception in the functional chant, and be partially opposite free, authentic creation. It resembles unmistakable that the chants of Byzantine repertory that are found in the musical manuscripts by the tenth of century up to the season of fourth crusade (1204 - 1261), they only represent the final and epjzo'n stage of development, the beginnings of that return at least in the sixth century and potentially even in the chant of Synagogue. Who precisely changes were realised in the music at the duration of formative stage it is difficult are said but certain chants used even today possibly throw light in the subject. These include types of recitation, melodic types, and the standardised phrases that are obvious in the popular music and the traditional music of various cultures of east, included the music of Jews.
Second, more powerful, perception was that of "society". The reason that appearred more corruptible was that, afterwards the fourth century, when it was analyzed and imported in a theological system, the bond and the "unit" jeratej'oy and the dance floors in the divine adoration became more powerful. It is, nevertheless, one of the basic ideas of comprehension of various data for which we have established today different names. With regard to the musical output, the significance of "society" can be applied in the initial use of word "dance". They were reported, no in a separate team in in the community that was charged with the responsibility of music, but in the community globally.
Characteristic trait of ceremony of Divine Operation was the active action of dance floors in the output, particularly in the recitation of anthems, the apokrj'sewn and the psalms. The terms dance, society, Church they was used as identical in the precocious Byzantine Church. In the psalms 149 and 150, the Evdomi'konta translated the evraj!ki' word machol in the Greek as dance. Accordingly, the precocious church was lented this word from the classic antiquity as determination for the community, the adoration and the aj'no in the sky and the ground. In little, nevertheless, a klirjkaljstjki' tendency began to reveal itself in the linguistic practice, particularly afterwards the Session of Laodjkej'as, that the fifteenth rule of allowed only in the regular chanters to participate in choruses of churches. The word "dance" they were henceforth reported in the special order of more inferior lot that e'balle in the temples - precisely as, speaking architectural, the chorus became a particular region near in Holy - and the dance became finally corresponding with the word lot.
The growth of ymnografjkw'n forms of big scale begins the fifth century with his rise Kontakj'oy, a extensive and elaborate metric preaching, emanating at all probability from her region Syria, that it finds his climax in the work of Saint Romanos of Melwdoy'(e'ktos century). This poetic preaching, that paraphrases usually certain biblical narration, it includes roughly 20 until 30 turns and ba'letaj at his duration Mattins in simple and direct syllavjko' style (a no'ta per syllable). The previous musical versions, nevertheless, they are "meljsmatjke's" (that is to say many no'tes per syllable of text), and belong in the period of ninth century and later when they were decreased konta'kja in the preamble and the first house. In second half the seventh century, konta'kjo it was replaced by a new type of anthem, Rule, that was inaugurated by the Saint Andrea Kri'tis(660 - 740 perj'poy) and it was developed by the Saints Ioannis Damaskino' and Kosma' Jerosolymj'ti(and the two eighth century).
Substantially, the Rule is a complex anthem that includes nine wde's, what corresponded in the nine biblical wde's and were initially connected with them via means of parallel poetic report or Graphic section.
The nine wde's are:
- 1-2 the two anthems of Mwyse'ws (Exit 15.1-19 and Deyterono'mjo 32.1-43)?
- 3-7 the prayers of Anna, the Avakoy'm of Isaj'!oy, Jonas and Three Paj'dwn (A Vassjlejw'n 2.1-10, Avakoy'm 3.1-19, Isaias 26.9-20, Jonas 2.3-10, Daniel 3.26-56)
- 8. The anthem of Three Paj'dwn (Daniel 3.57-88)
- 9. The anthem of Virgin Mary and the wdi' of Zaharj'oy (Loukas 1.46-55 and 68-79).
The Rules have ejrmo', a turn model for each wdi', followed from three, four or more chants that are precise metric reproductions ejrmoy', in this way is applied the same member in all the chants equally good. The nine ejrmoj', however, they are metric dissimilar, consequently, a entire Rule includes nine independent melodies (eight, when is omitted the second wdi'), what are linked musically with the same way and noimatjka' from the reports in the general subject of functional case, and sometimes from akrostjhj'da. The ejrmoj' with syllavjko' style they were assembled in the Ejrmolo'gjo, a bulky volume that was presented initially in the means of tenth of century and contains pe'ran the thousand model chants categorized at the Oktw'iho.
A other type of anthem, important and for his total and for the variety of his functional use, it is Stjhiro'. Festive stjhira', that accompany also the constant psalms in the beginning and in the end of Esperjnoy' and Aj'nwn of Mattins, they exist for all the eorta'sjmes days of year, Sundays and daily, categorized so that they cover a repeated circle of eight weeks with base the Sounds beginning from his day Easter. Their melodies that are found in the Stjhira'rjon, they are enough more taken care of and various from that in his delivery Ejrmologj'oy.
Later Byzantine and post byzantine period
With the end of creative poetic composition, the Byzantine chant entered in his final period, that was dedicated at a big part in the production of the most taken care of musical adaptations of traditional texts: or smartenings up of previous simpler melodies, or maintenance of initial music with his change styles in more refined and djakosmime'no. This was the work called Maj!sto'rwn, from that most famous existed the Saint Ioannis the Koykoyze'lis, sygkrjno'menos in the Byzantine literature with Saint Ioannis the Plum, as innovator in the growth of chant. With the proliferation of new provisions and the treatment of old that was continued in the centuries afterwards the fall of Istamboul, until the end of tenth of eighth century the initial repertory of medieval musics of manuscripts had been substituted in big part by more recent compositions, and even the basic model system had been submitted in deep modification.
Hry'sancos Mady'toy, Grigórios Leyj'tis and Hoyrmoy'zjos Briefcase they were responsible for the necessary reform of simejografj'as Greek ecclesiastical music. Substantially, this work attributed the simplification of Byzantine musical symbols, that, from the beginning of 19th century, they had become so much complex and technical what very well worked out chanters they only were in place him they interpret rightly. Despite his many disadvantages, the work of three reformers constitutes landmark in the musical history of Greek orthodoxe church, since they imported the system new-Byzantine musical above on which is based the current Greek orthodoxe ecclesiastical member.
Musical art
Fco'ggoj and scales
The fco'ggoj or tones in the Byzantine music are distinguished in seven and are named Pa, Voy, Ga, Di, Ke, I live, Ni. These tones are pronounced possessing each one one rung. Going up from the first rung until e'vdomi(a'nodos or intensification or oxy'tis) and going down from seventh up to prw'ti(ka'codos or comfort or vary'tis) we shape a scale. The B.M. it handles three such scales by which first as most minimum it is named Supreme or Heavy via all, the second Middle via all and third as maximum Ni'ti or Acute via all. Does their use follow three ways? a) in continuous ascent or kata'vasi, v) in ypervati' ascent or kata'vasi and c) in enallasso'meni continuous and ypervati' ascent or kata'vasi. When one ton is separated in two a'njssa parts and is used the one of these intervals, this interval is named imjto'njo.
Musical characters
So that it is registered and is transmitted the quantity of melody in the Byzantine music was created a particular system of ten characters. From them the six are anjo'ntes and te'sserejs katjo'ntes. Their names he is Equal, A little, Petasti', Embroideries, Embroidery, High, Apostrophe, Light, Yporroi', Low. The ten characters of quantity are divided in three orders, in the Bodies, the Spirits and Neutral. Other names of characters are musical letters and fcoggo'sima. Even if they express the ascent and the kata'vasi of tones it has e'kasto separate tone but them they fix when precedes some tone as base. If it does not exist base they cannot express some musical meaning. When they engage between them they express all the musical tones of all scales.
Ypostatjka' points
The ypostatjka' points, that are divided in e'ghrona and a'hrona, it is eleven. Fraction, Simple, Gorgo'n, Argon, Heavy, Smooth, Antjke'nwma, Bifjsto'n, Other or Contact, Endo'fwnon and Cross. The e'ghrona or e'ghrones substances were named thus because they reveal time quantity while a'hrona or a'hrones substances do not spend time.
Musical genders
Gender in the Byzantine music is named the division of tetra'hordis order fco'ggwn at the Djatessa'rwn system. Exist three genders: Diatonic, Chromatic and Enarmo'njon.
Diatonic gender
The scale of Diatonic gender sy'gkejtaj from two tetra'horda separated similarly. Their resemblance exists from the proportionally equal intervals of tones that they contain.
Chromatic gender
Colour is said in the music what can dye the quality that is produced from fco'ggoys the diatonic scale and provide quality that has different style. This they can him make the recessions and dje'sejs. Chromatic gender is therefore that stoy what the scale finds itself sines or in recession or in dj'esi or even in recession and in dj'esi.
Enarmo'njo gender
Enarmo'njo is named the gender which has in his scale quadrant of more major tone. This interval is said recession or dj'esi enarmo'njos.
Sounds
The B.M. it follows parallagme'ni in certain points Pycagorjki' Okta'hordo. The eight sounds or her ways are: First, Second, Third person, Fourth, Pla'gjos First, Pla'gjos Second, Heavy and Pla'gjos Fourth. The sounds First, Fourth, Pla'gjos First and Pla'gjos Fourth they belong in the Diatonic gender. The sounds Second and Pla'gjos Second belong in the Chromatic gender and the sounds Third and Heavy in the Enarmo'njo.
Sources
- The historical side of article you have as base the corresponding article of English Wikipedia, that has been granted from Holily Archdiocese America and his author is the Dr. Dimitrios Kono'mos.
- Pavlos Papadakis, "Byzantine music history", Article
- Encyclopaedia Britannica, 1981.
- Agacagge'loy Kyrjazj'doy, "Aj two Bees", Publications Rigopoy'loy, Thessalonica, 1994
- Tsjkno'poyloy A., "Theory and practical teaching of par' imj'n of Music, i.e. Grammar of Byzantine Music ", Athens, 1897
- Mjsailj'doy Mjsai'l, "New Theorist her Syntomw'taton i.e. perj' at ima's ecclesiastical and arhaj'as Greek music", Athens, 1902
- Kosma' Madytjnoy', "Pojmenjko's Pipe", Publications Rigopoy'loy, Thessalonica, 1993
Bibliography
- Devre'li of Star, "Joystick, Method of Byzantine Music ", Thessalonica, 1984
- "Syllejtoyrgjko'n - i.e. the Order of Reader and Chanter", Publication of Holy Abbey Sj'mwnos of Stone, Saint Term, 1997
- Kiltzanj'doy P., "Methodical teaching theoretical te and practice to learning and distribution of genuine exterior member", publications Rigopoy'loy, Thessalonica
- Panagiotis Agacokle'oys, "Theorist of Ecclesiastical Music", 1855
- Avraa'm H. Eycymja'di, "Courses of Byzantine Ecclesiastical Music", ekd. D', Thessalonica, 1997
- Sj'mwnos Kara', The Byzantine music simejografj'a, Athens, 1933
- Musical Committee of Ojk. Patr. (1881), "Elementary teaching of Ecclesiastical Music - worked out on the basis the psalter", Istamboul, 1888
- Hrysa'ncoy of Archbishop Djrrahj'oy from Mady'twn, "Theoretical Big the Music", Trieste, 1832
- Petros Prwtoba'ltoy of Byzantium, "Ejrmolo'gjon", 1825
- Margazjw'toy Ioannis, "Theoretical Byzantine Ecclesiastical Music", Athens, 1974
- Panagiotis N. Trempe'la, "Election of Greek Orthodoxe Ymnografj'as", Athens, 1949
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- G. Reese, "Music in the Middle Ages", 1940
- Wellesz, Egon, "A history of Byzantine music and hymnography" 2d ed.Oxford : Clarendon Press, 1961
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- Conomos, Dimitri E., "Byzantine Hymnography and Byzantine Chant", Brookline MA : Holy Cross Orthodox Press, 1984
- McGuickin, John A., "At the Lighting of the Lamps: Hymns of the Ancient Church ", Harrisburg PA : Morehouse, 1997
- Tardo, Lorenzos, "L'Antica melurgia bizantina nell'interpretazione della Scuola Monastica di Grottaferrata", Grottaferrata, 1938
- Tillyard, Henry Julius Wetenhall, "Byzantine Music and Hymnography", London : The Faith Press, 1923. (repr. AMS Press, 1976)
Exterior contacts
- Historical review of Byzantine ecclesiastical music from the apostolic years up to at ima's (1-1900 m.H) - Gew'rgjos Papado'poylos
- Web page of multimedias of Church of Greece
- The en Aci'najs Association Moysjko'fjlwn Istamboul
- Web page on the Byzantine Music of student of Byzantine music Pavlos Papada'ki
- Association To Distribution of National Music of "Simos Kara's"
- Byzantine music and musicology
- Byzantine music and Scales
