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Nenano
Phthora nenano (Medieval Greek: , also ) is the name of one of the two "extra" modes in the Byzantine music, Byzantine Hagiopolitan Octoechos, Octoechos—an eight-mode system, which was proclaimed by a synod of . The phthorai nenano and Nana (echos), nana were favoured by composers at the Mar Saba, Monastery Agios Sabas, near Jerusalem, while hymnographers at the Monastery of Stoudios, 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 music, Byzantine chant, and during the eighth century it became also model for the Latin ''Tonary, tonaries''—introductions into a proper diatonic eight mode system and its psalmody, created by Frankish cantores during the Carolinigian reform. While was often called "chromatic", the second ' was named "nana (echos), nana" (gr. ) and called "enharmonic", the names ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Papadic Octoechos
Oktōēchos (here transcribed "Octoechos"; Greek language, Greek: , pronounced in Byzantine Greek, Constantinopolitan: ; from wikt:ὀκτώ, ὀκτώ "eight" and wikt:ἦχος, ἦχος "sound, mode" called echos; Church Slavonic, Slavonic: Осмогласие, ''Osmoglasie'' from wikt:осмь, о́смь "eight" and wikt:гласъ, гласъ "voice, sound") is the name of the eight musical mode, mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today. Until 1204 neither the Hagia Sophia nor any other cathedral of the Byzantine Empire did abandon its habits, and the Hagiopolitan Octoechos, Hagiopolitan eight mode system came into use not earlier than in the mixed rite of Constantinople, after the patriarchate and the court had returned from their exile in Nikaia in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Echos
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 ... [...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 Echos, echoi and two additional Phthora (music), phthorai. It is used in different traditions of Byzantine music, Orthodox chant until today (→ Neobyzantine Octoechos#Enharmonic Genos and Triphonia of Phthora Nana, 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 Tetrachord, 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. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Byzantine Music
Byzantine music () originally consisted of the songs and hymns composed for the courtly and religious ceremonial of the Byzantine Empire and continued, after the fall of Constantinople in 1453, in the traditions of the sung Byzantine chant of Eastern Orthodox liturgy. 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 o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hagiopolitan Octoechos
Oktōēchos (here transcribed ""; Greek language, Greek: pronounced in Koine Greek, koine: ; from wikt:ὀκτώ, ὀκτώ "eight" and wikt:ἦχος, ἦχος "sound, mode" called ; Church Slavonic, Slavonic: , from wikt:осмь, о́смь "eight" and wikt:гласъ, гласъ "voice, sound") is the name of the eight musical mode, 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, at the Patriarchates of Antiochia and of Constantinople. It was officially announced as the modal system of hymnography at the Quinisext Council in 692. A similar eight-mode system was established in Western Europe du ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octoechos (liturgy)
The book Octoechos (from the Greek language, Greek: ; from wikt:οκτώ, ὀκτώ 'eight' and wikt:ἦχος, ἦχος 'sound, mode' called echos; , from wikt:осмь, о́смь 'eight' and wikt:гласъ, гласъ 'voice, sound') is a liturgical book containing a repertoire of hymns ordered in eight parts according to eight echoi (Musical mode, tones or modes). Originally created in the Monastery of Stoudios during the 9th century as a hymnal complete with musical notation, it is still used in many Christian liturgy, rites of Eastern Christianity. The book with similar function in the Western Christianity, Western Church is the tonary, and both contain the melodic models of an Hagiopolitan Octoechos, octoechos system; however, while the tonary serves simply for a modal classification, the octoechos is organized as a cycle of eight weeks of services. The word itself can also refer to the repertoire of hymns sung during the celebrations of the Liturgy of the Hours, Sunda ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Of Damascus
John of Damascus or John Damascene, born Yūḥana ibn Manṣūr ibn Sarjūn, was an Arab Christian monk, priest, hymnographer, and apologist. He was born and raised in Damascus or AD 676; the precise date and place of his death is not known, though tradition places it at his monastery, Mar Saba, near Jerusalem, on 4 December AD 749. A polymath whose fields of interest and contribution included law, theology, philosophy, and music, he was given the by-name of Chrysorroas (Χρυσορρόας, literally "streaming with gold", i.e. "the golden speaker"). He wrote works expounding the Christian faith, and composed hymns which are still used both liturgically in Eastern Christian practice throughout the world as well as in western Lutheranism at Easter.''Lutheran Service Book'' (Concordia Publishing House, St. Louis, 2006), pp. 478, 487. He is one of the Fathers of the Eastern Orthodox Church and is best known for his strong defence of icons. The Catholic Church regards him as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cosmas Of Maiuma
Cosmas of Maiuma, also called Cosmas Hagiopolites ("of the Holy City"), Cosmas of Jerusalem, Cosmas the Melodist, or Cosmas the Poet (d. 773 or 794), was a bishop and an important hymnographer in the East. He is venerated as a saint by the Eastern Orthodox Church and the Catholic Church. Life Cosmas () was born in Damascus, modern-day Syria, but he was orphaned at a young age. He was adopted by Sergius, the father of John of Damascus (ca.676 - 749), and became John's foster-brother. The teacher of the two boys was an elderly Calabrian monk, also named Cosmas (known as "Cosmas the Monk" to distinguish him), who had been freed from slavery to the Saracens by John's father. John and Cosmas went from Damascus to Jerusalem, where both became monks in the lavra-type monastery of Sabbas the Sanctified near that city.''Byzantine Music and Liturgy'', E. Wellesz, ''The Cambridge Medieval History: The Byzantine Empire, Part II'', Vol. IV, ed. J.M. Hussey, D.M. Nicol and G. Cowan, (Ca ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Medieval Greek
Medieval Greek (also known as Middle Greek, Byzantine Greek, or Romaic; Greek: ) is the stage of the Greek language between the end of classical antiquity in the 5th–6th centuries and the end of the Middle Ages, conventionally dated to the Ottoman conquest of Constantinople in 1453. From the 7th century onwards, Greek was the only language of administration and government in the Byzantine Empire. This stage of language is thus described as Byzantine Greek. The study of the Medieval Greek language and literature is a branch of Byzantine studies, the study of the history and culture of the Byzantine Empire. The conquests of Alexander the Great, and the ensuing Hellenistic period, had caused Greek to spread throughout Anatolia and the Eastern Mediterranean. The beginning of Medieval Greek is occasionally dated back to as early as the 4th century, either to 330 AD, when the political centre of the Roman Empire was moved to Constantinople, or to 395 AD, the division o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
