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The Paschal troparion or Christos anesti (Greek: Χριστός ἀνέστη) is the characteristic troparion for the celebration of Pascha (Easter) in the Byzantine Rite. Like most troparia, it is a brief stanza often used as a refrain between the verses of a psalm, but is also used on its own. It is sung in the first plagal (or fifth) tone ...
The influences of ancient Greek basin and the 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). [97] Ottoman music is a synthesis, carrying the culture of Greek and Armenian Christian chant. It emerged as the result of a sharing ...
In the cathedral rite of Constantinople the koinonikon as a troparion became so elaborated, that it was sung without psalm recitation.. Easter koinonikon σῶμα χριστοῦ μεταλάβετε in echos plagios protos with the old cheironomies (hand signs) or Asmatikon notation and their transcription into Byzantine round notation in a manuscript of the 14th century (GR-KA Ms. 8, fol. 36v)
The chant flourished and spread to the north (Novgorod principally) and southwest. From the sack of Kiev in 1240 and subsequent occupation of the Rus’ by the Mongols until their expulsion in 1480, few resources regarding Russian music date, [4] but what little records exist show little change to the Znamenny chant other than small notational ...
The names ascribed to the eight tones differ in translations into Church Slavonic.The Slavonic system counted the plagioi echoi as glasa 5, 6, 7, and 8. For reference, these differences are shown here together with the Ancient Greek names of the octave species according to the Hagiopolites [2] (see Hagiopolitan Octoechos) and to the chant treatises and tonaries of Carolingian theorists.
A sticheron (Greek: στιχηρόν "set in verses"; plural: stichera; Greek: στιχηρά) is a hymn of a particular genre sung during the daily evening (Hesperinos/Vespers) and morning offices, and some other services, of the Eastern Orthodox and Byzantine Catholic churches.
Kassia, Cassia or Kassiani (Greek: Κασσιανή, romanized: Kassianí, pronounced; c. 810 – before 865) was a Byzantine-Greek composer, hymnographer and poet. [1] She holds a unique place in Byzantine music as the only known woman whose music appears in the Byzantine liturgy. [2]
Students of Orthodox chant today often study the history of Byzantine chant in three periods, identified by the names John of Damascus (675/676-749) as the "beginning", John Koukouzeles (c. 1280–1360) as the "flower" (Papadic Octoechos), and Chrysanthos of Madytos (c. 1770-c. 1840) as the master of the living tradition today (Neobyzantine Octoechos).