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Enechema
Echos (Greek: "sound", pl. echoi ; Old Church Slavonic: "voice, sound") is the name in Byzantine music theory for a mode within the eight-mode system (oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant ("thesis of the melos"), differentiated according to the chant genre and according to the performance style ("method of the thesis"). It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam (since 1400 "maqam"), or a Persian parde (since 18th-century dastgah). Overview and semantics The noun ''echos'' in Greek means "sound" in general. It acquired the specialized meaning of ''mode'' early on in the development of Byzantine music theory since the Octoechos reform in 692. In general, the concept of echos denotes a certain octave species, its intervallic structure as well as a set of more or less explicitly formulated melodic rules and formulae that represent a certain category of me ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hagiopolitan Octoechos
Oktōēchos (here transcribed ""; Greek: pronounced in koine: ; from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмогласие, ''Osmoglasie'' from о́смь "eight" and гласъ "voice, sound") is the name of the eight mode system used for the composition of religious chant in most Christian churches during the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today (Neobyzantine Octoechos). The Octoechos as a liturgical concept which established an organization of the calendar into eight-week cycles, was the invention of monastic hymnographers at Mar Saba in Palestine and in Constantinople. It was formally accepted in the Quinisext Council of 692, which also aimed to replace the exegetic poetry of the kontakion and other homiletic poetry, as it was sung during the morning service (Orthros) of the cathedrals. A similar eight-mode system was established in Western ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Byzantine Music
Byzantine music (Greek: Βυζαντινή μουσική) is the music of the Byzantine Empire. Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during festivals, or as paraliturgical and liturgical music. The ecclesiastical forms of Byzantine music are the best known forms today, because different Orthodox traditions still identify with the heritage of Byzantine music, when their cantors sing monodic chant out of the traditional chant books such as the Sticherarion, which in fact consisted of five books, and the Irmologion. Byzantine music did not disappear after the fall of Constantinople. Its traditions continued under the Patriarch of Constantinople, who after the Ottoman conquest in 1453 was granted administrative responsibilities over all Eastern Orthodox Christians in the Ottoman Empire. During the decline of the Ottoman Empire in the 19th century, burgeoning splinter nations in the Balkans declared autonomy or autocephaly fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nana (echos)
Phthora nana (Medieval Greek ) is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic echoi and two additional phthorai. It is used in different traditions of Orthodox chant until today (→ Neobyzantine Octoechos). The name "nana" is taken from the syllables (written in ligatures "ʅʅ") sung during the intonation which precedes a melody composed in this mode. The name "phthora" derived from the verb and means "destroy" or "corrupt". It was usually referred to the diatonic genus of the eight mode system and as a sign used in Byzantine chant notation it indicated a "change to another genus" (), in the particular case of phthora nana a change to the enharmonic genus. Today the "nana" intonation has become the standard name of the third authentic mode which is called "echos tritos" () in Greek and "third glas" () in Old Church Slavonic. The different functions of phthora nana In the theory and notation of Byzantine and Orthodox chant nana is the name of a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melody Type
Melody type or type-melody is a set of melodic formulas, figures, and patterns. Term and typical meanings "Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' seminal article "Mode" in the first edition of the ''New Grove Dictionary of Music and Musicians'' . Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern. "Melody type" as used by the ethnomusicologist Mark is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns". Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonary
A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (''tonus'') of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers, and prosers, and are often included in collections of musical treatises. Function and form Tonaries were particularly important as part of the written transmission of plainchant, although they already changed the oral chant transmission of Frankish cantors entirely before musical no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Greek Language
Greek ( el, label=Modern Greek, Ελληνικά, Elliniká, ; grc, Ἑλληνική, Hellēnikḗ) is an independent branch of the Indo-European family of languages, native to Greece, Cyprus, southern Italy (Calabria and Salento), southern Albania, and other regions of the Balkans, the Black Sea coast, Asia Minor, and the Eastern Mediterranean. It has the longest documented history of any Indo-European language, spanning at least 3,400 years of written records. Its writing system is the Greek alphabet, which has been used for approximately 2,800 years; previously, Greek was recorded in writing systems such as Linear B and the Cypriot syllabary. The alphabet arose from the Phoenician script and was in turn the basis of the Latin, Cyrillic, Armenian, Coptic, Gothic, and many other writing systems. The Greek language holds a very important place in the history of the Western world. Beginning with the epics of Homer, ancient Greek literature includes many works of lasting impo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nenano
Phthora nenano (Medieval Greek: , also νενανώ) is the name of one of the two "extra" modes in the Byzantine Octoechos—an eight mode system, which was proclaimed by a synod of . The phthorai nenano and nana were favoured by composers at the Monastery Agios Sabas, near Jerusalem, while hymnographers at the Stoudiou-Monastery obviously preferred the diatonic mele. The ''phthora nenano'' as part of the Hagiopolitan ''octoechos'' Today the system of eight diatonic modes and two ' ("destroyers") is regarded as the modal system of Byzantine chant, and during the eighth century it became also model for the Latin '' tonaries''—introductions into a proper diatonic eight mode system and its psalmody, created by Frankish cantores during the Carolinigian reform. While φθορά νενανῶ was often called "chromatic", the second ' was named "nana" (gr. φθορά νανὰ) and called "enharmonic", the names were simply taken from the syllables used for the intonation (enechem ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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