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An early influence on Orthodox pop was the 1971 album Or Chodosh, the debut of an eponymous group created by Sh'or Yoshuv roommates Rabbi Shmuel Brazil, who would later create the group Regesh, and Yossi Toiv, later known as Country Yossi; the group performed at Brooklyn College with David Werdyger's son, the young Mordechai Ben David, opening for them.
A canon (Greek: κανών, romanized: kanōn) is a structured hymn used in a number of Eastern Orthodox services. It consists of nine odes , based on the Biblical canticles . Most of these are found in the Old Testament , but the final ode is taken from the Magnificat and Song of Zechariah from the New Testament .
The Obikhod (Обиход церковного пения) is a collection of polyphonic Russian Orthodox liturgical chants forming a major tradition of Russian liturgical music; it includes both liturgical texts and psalm settings. The original Obikhod, the book of rites of the monastery of Volokolamsk, was composed about 1575. Among its ...
Orthodox Tewahedo music refers to sacred music of the Ethiopian and Eritrean Orthodox Tewahedo Church. The music was long associated with Zema (chant), developed by the six century composer Yared . It is essential part of liturgical service in the Church and classified into fourteen anaphoras, with the normal use being the Twelve Apostles .
Byzantine music (Greek: Βυζαντινή μουσική, romanized: Vyzantiné mousiké) 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.
Tchaikovsky's setting of the Divine Liturgy, along with his All-Night Vigil and his nine sacred songs, were of seminal importance in the later interest in Orthodox music. [8] [22] [23] Other composers, encouraged by the freedom created by the new lack of restriction on sacred music, soon followed Tchaikovsky's example. [9]
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A hand-drawn lubok featuring 'hook and banner notation'. The stolp notation was developed in Kievan Rus' as an East Slavic refinement of the Byzantine neumatic musical notation. . After 13th century, the Znamenny Chant and stolp notation continued to develop to the North (particularly in Novgorod), where it flourished and was adopted throughout the Grand Duchy of Mosc