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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 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."
Apart from Byzantine chant, ison is also used in some Russian traditions, such as Valaam chant. Recently, under the influence of Byzantine chant, Znamenny chant also tends to be performed with the ison. This innovation is rather controversial however, as Znamenny chant follows different musical logic than the Byzantine chant, is less ornamental ...
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.
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 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.
[2] [3] However, despite its popularity, secular Byzantine music was harshly criticized by the Church Fathers. [3] [n 2] Like their medieval Western contemporaries, little is known about the lives of Byzantine composers. [5] Composers of sacred music, especially hymns and chants, are generally well documented throughout the history of Byzantine ...
Petasti (or Petaste; Greek: πεταστή) is a neume of Byzantine chant notation, which is usually called a flutter in English.In the most general form it means "Go one note up, and stress this note", [1] where the "stress" is usually interpreted either as a mordent of Western music (in a high tempo), as a triplet (in a medium tempo), or as a sequence of two eighth notes and a quarter note ...