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Russian Liturgical Music is the musical tradition of the Russian Orthodox Church. This tradition began with the importation of the Byzantine Empire's religious music when the Kievan Rus' converted to Orthodoxy in 988.
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
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 ...
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.
Tchaikovsky, known primarily for his symphonies, concertos and ballets, was deeply interested in the music and liturgy of the Russian Orthodox Church. In 1875, he compiled A Concise Textbook of Harmony Intended to Facilitate the Reading of Sacred Musical Works in Russia. [3] In an 1877 letter to his friend and patroness Nadezhda von Meck, he wrote:
Liturgy of St John Chrysostom, Op. 31 (Russian: Литургия Иоанна Златоуста), is a 1910 musical work by Sergei Rachmaninoff, one of his two major unaccompanied choral works (the other being his All-Night Vigil). The Divine Liturgy of St. John Chrysostom is the primary worship service of the Eastern Orthodox Church. [1]
The irmos (or heirmos from Koinē Greek: εἱρμός) in the Byzantine liturgical tradition is the initial troparion of an ode of a canon. [1] [2] The meter and melody of an irmos is followed by the remaining troparia of the ode; when more than one canon is used (as is typical at matins), only the first canon's irmos is sung, but the irmoi of the subsequent canons must be known in order to ...
It is almost invariably chanted in the Fourth liturgical mode, as is "Let every breath praise the Lord". On feast days, the Gospel is not read at the Holy Table, but is brought into the center to the nave by the deacon, who holds the Gospel Book while the priest chants the Matins Gospel in front of the icon of the feast being celebrated. [ 1 ]