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Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America Rachel Nicole Brashier Southern Illinois University Carbondale, [email protected]

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Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America Rachel Nicole Brashier Southern Illinois University Carbondale, Rachelbrashier@Siu.Edu Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-1-2012 Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America Rachel Nicole Brashier Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Brashier, Rachel Nicole, "Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America" (2012). Theses. Paper 834. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. VOICE OF WOMEN IN BYZANTINE MUSIC WITHIN THE GREEK ORTHODOX CHURCHES IN AMERICA by Rachel Nicole Brashier B.M., Eastern Illinois University, 1999 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree in Music History. Department of Music in the Graduate School Southern Illinois University Carbondale May 2012 THESIS APPROVAL VOICE OF WOMEN IN BYZANTINE MUSIC WITHIN THE GREEK ORTHODOX CHURCHES IN AMERICA By Rachel Nicole Brashier A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History Approved by: Dr. Maria V. Johnson, Chair Dr. Melissa Mackey Dr. John C. McCall Dr. Diane Coloton Graduate School Southern Illinois University Carbondale April 9, 2012 AN ABSTRACT OF THE THESIS OF RACHEL NICOLE BRASHIER, for the Master of Music degree in MUSIC HISTORY, present- ed on April 9, 2012, at Southern Illinois University Carbondale. TITLE: VOICE OF WOMEN IN BYZANTINE MUSIC WITHIN THE GREEK ORTHODOX CHURCHES IN AMERICA MAJOR PROFESSOR: Dr. Maria V. Johnson Byzantine chant, the music of the Greek Orthodox Churches in America, embeds meanings and functions as a methodological tool which constructs and teaches about the role of women within church communities. This thesis explores how as cultural group identity, belongingness, and gender identity are semiotically iconized, purified, and recursively transmitted through the liturgical music of the church, specifically hymns about women saints and The Akathist Hymn to the Mother of God. This work is a culmination of twelve years of ethnomusicological fieldwork conducted by the author in Midwestern Greek Orthodox churches and monasteries, using participant-observation techniques. The work outlines the basic musicological theory of Byzantine chant, describes how the portrayal of women in liturgical music provides templates for the desired behavior of females within the community, and examines how Byzantine music works as a memory aid, teaching tool, and constructor of social ideas in relationship to the roles of women. i DEDICATION This thesis is dedicated to George Athanasopoulos, who first introduced me to the beauty of written Byzantine neumes, and tirelessly translated from Greek, explained, re-explained, and patiently corrected my attempts as I learned this music and the theology it holds. I hear him in the “echos of my ears” when I chant. May his memory be eternal. ii ACKNOWLEDGMENTS I wish to warmly thank the members of my committee at Southern Illinois University, Carbondale, especially my chair and advisor, ethnomusicologist Dr. Maria V. Johnson, along with my music history professor, bassoonist Dr. Melissa Mackey, my voice teacher, mezzo- soprano Dr. Diane Coloton, and my ethnography teacher, ethnomusicologist and anthropologist Dr. John C. McCall whose time spent discussing ideas over the last two years, and well as academic guidance have made this thesis possible. I would also like to particularlly thank my wonderful parents, Rod and Annette Brashier, for their moral and financial support of my return to school and the completion of my master’s degree. Warm thanks also to my sister, Heather, my brother Anthony, and their families for their encouragement. In addition, this thesis has greatly benefitted from the suggestions, academic conversations, and peer editing given tirelessly by Carlos Batres. I am also grateful to Laura Neal for proofreading musical transcriptions, and chanting with me on countless recordings. And, I would be remiss not to thank my colleagues in the music department who chanted musical examples for recordings and lectures during my study at SIUC: Adrienne Stockley, Morgan Isaiah, Renée Rybolt, and Rebecca Carmack. I also wish to acknowledge the musical advice and knowledge of with Dr. Susan Davenport, Dr. Douglas Worthen, Dr. Eric Mandat, moral support and advice from Mrs. JoDelle Williams, and my fellow music students, including especially helpful exchanges of thoughts with Robert Graham and Ji-in Lee. I am deeply and profoundly indebted to the members of the Orthodox Church communities who so freely opened to me their hearts and doors, most especially the priests, parishioners, chanters and choir at St. John’s, and finally all to all of those who are quietly behind these words. iii TABLE OF CONTENTS CHAPTER PAGE ABSTRACT .................................................................................................................................... i DEDICATION ............................................................................................................................... ii ACKNOWLEDGMENTS ............................................................................................................iii LIST OF TABLES ......................................................................................................................xiii LIST OF FIGURES .................................................................................................................... xiv CHAPTERS INTRODUCTION ............................................................................................................ 1 Women in Greek Orthodox Churches in the United States .................................. 1 Methodology ......................................................................................................... 3 Fieldwork Procedures ............................................................................... 4 Analytical Procedure................................................................................. 4 Outline of Chapters ............................................................................................... 5 CHAPTER I – HISTORY OF BYZANTINE MUSIC AND WOMEN ........................... 8 Byzantine Music Theory ....................................................................................... 8 The Ochtoechos ......................................................................................... 9 Authentic Tones ....................................................................................... 11 Plagal Tones ............................................................................................ 11 Hymnographers ................................................................................................... 13 Women Hymnographers .......................................................................... 13 Women’s Voices in Orthodox Church Music ........................................... 15 Summary ............................................................................................................. 22 CHAPTER II – THEMES IN HYMNS PORTRAYING WOMEN SAINTS ................ 24 Themes ................................................................................................................ 28 Allegories to Nature ................................................................................ 28 Theological Implications ........................................................................ 30 iv Power Embodiment ................................................................................. 31 Virtues, Voices, and Values ...................................................................... 32 Summary ............................................................................................................. 33 CHAPTER III – THE AKATHIST HYMN TO THE MOTHER OF GOD .................... 35 History of the Akathist ........................................................................................ 36 Order of the Akathist ........................................................................................... 37 Akathist as a Pedagogical Tool ........................................................................... 41 Protector ................................................................................................. 46 Prototype ................................................................................................. 47 Attendance at The Akathist ................................................................................. 50 Women Who Chant The Akathist ........................................................................ 51 Summary ............................................................................................................. 52 CHAPTER IV – ANALYSIS AND DISCUSSION ........................................................ 54 Semiotic Model ................................................................................................... 55 Iconicity ................................................................................................... 55 Recursivity ............................................................................................... 56 Erasure or Purification ..........................................................................
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