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"The Transmission of Coptic Orthodox Liturgical Music: Historical and Contemporary Forms of Theorization, Translation, and Identity Construction" A PhD dissertation exploring the history and current practice and theory of Coptic music. "Coptic youth blog" Contains digital music and videos of Coptic liturgies, hymns, songs, and Coptic hymn lessons.
Znamenny Chant (Russian: знаменное пение, знаменный распев) is a singing tradition used by some in the Russian Eastern Orthodox Church. Znamenny Chant is a unison , melismatic liturgical singing that has its own specific notation, called the stolp notation.
The Byzantine chant was added by UNESCO in 2019 to its list of Intangible Cultural Heritage "as a living art that has existed for almost 2,000 years, the Byzantine chant is a significant cultural tradition and comprehensive music system forming part of the common musical traditions that developed in the Byzantine Empire."
Kievan chant, or chant in Kyivan style (Russian: Киевский распев, romanized: Kievskiy raspev; Ukrainian: Київський розспів, romanized: Kyïvs'kyy rozspiv), is one of the liturgical chants common to the Russian Orthodox Church, the Ukrainian Orthodox Church and those churches that have their roots in the Moscow Patriarchate, such as the Orthodox Church in America.
Ethiopian liturgical chant, or Zema, is a form of Christian liturgical chant practiced by the Ethiopian Orthodox Tewahedo Church. [1] [2] The related musical notation is known as melekket. [3] The tradition began after the sixth century and is traditionally identified with Saint Yared. Through history, the Ethiopian liturgical chants have ...
Nothing in Orthodox worship is simply said; it is always sung or chanted. Chanting in the Orthodox tradition can be described as being halfway between talking and singing; it is musical but not music. Only a few notes are used in chanting, and the chanter reads the words to these notes at a steady rhythm.
Eventually, during the Polish Renaissance, the Kievan Orthodox Church fully adopted the polyphonic styles popular at the time. They retained the Znamenny chant, 8 echoi (glassy, melodically based Orthodox modes based upon the Byzantine idea), and scale, but adopted the descant style of their Catholic counterparts.
Notation of melody and chords for the hymn. [1]Agni Parthene (Greek: Ἁγνὴ Παρθένε), rendered "O Virgin Pure" or "O Pure Virgin", is a Greek Marian hymn composed by St. Nectarios of Aegina in the late 19th century, first published in print in his Theotokarion (Θεοτοκάριον, ἤτοι προσευχητάριον μικρόν) in 1905.