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The Kalophonic Settings of the Second Psalm in the Byzantine Chant Tradition of the Fourteenth and Fifteenth Centuries

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The Kalophonic Settings of the Second Psalm in the Byzantine Chant Tradition of the Fourteenth and Fifteenth Centuries City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 The Kalophonic Settings Of The Second Psalm In The Byzantine Chant Tradition Of The Fourteenth And Fifteenth Centuries Arsinoi Ioannidou Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/433 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE KALOPHONIC SETTINGS OF THE SECOND PSALM IN THE BYZANTINE CHANT TRADITION OF THE FOURTEENTH AND FIFTEENTH CENTURIES By ARSINOI IOANNIDOU A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirement for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 Arsinoi Ioannidou All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Allan W. Atlas ------------------------------------------------------------------------ ---------------------------------- ----------------------------------------------------------------------- Date Chair of Examining Committee Norman Carey ------------------------------------------------------------------------ ---------------------------------- ----------------------------------------------------------------------- Date Executive Officer Anne Stone --------------------------------------------------------------------- Diane Touliatos-Miles --------------------------------------------------------------------- Stephen Blum --------------------------------------------------------------------- Warren Woodfin --------------------------------------------------------------------- Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT THE KALOPHONIC SETTINGS OF THE SECOND PSALM IN THE BYZANTINE CHANT TRADITION OF THE FOURTEENTH AND FIFTEENTH CENTURIES by Arsinoi Ioannidou Advisor: Professor Anne Stone The kalophonic settings of the second Psalm emerged in music manuscripts of the Byzantine Empire during the early fourteenth century and were long considered the exemplary specimens of their kind, yet no scholarly study has ever examined the reasons behind their significant production, purposeful usage and abrupt vanishing, two centuries later, from the church repertory. In this dissertation, I explore the historical and political circumstances of the Palaiologan period (1261-1453) that determined the creation and usage of these settings as an artistic propagandistic vehicle that glorified the image of the emperor. The politics of imitation of Christ by the imperial figure was supported by the messianic message embedded in the psalmic text. In addition, the prolific compositional production of the greatest composers of the period, often commissioned by the emperors and the church authorities, is testified to by the abundant creation of kalophonic settings for every verse of the psalmic poem. The direct association of this music with the imperial office is such that the vanishing of the latter in 1453 compromised the survival of the former in the performing repertory of the Office of Great Vespers. The musicological part of my study focuses on all three types of musical settings - simple, florid and prologue with kratema -which are illustrated with eighteen examples of music, v in complete pieces or in excerpts, chosen from twenty music codices. Where needed, I have cited and provided quotes from performance practice commentaries and contemporary music treatises to enhance my analytical approach. Similarly, I have analyzed compositions of the same psalmic verse(s) by different composers for comparative purposes, and I have identified two hundred fifty-seven concordances of all types of musical settings. I have transcribed all the melodies into Western staff notation and have provided the original Byzantine notation as it appears in the manuscripts with the Psalmic text written in Greek language below the staves. The results of this musicological study finally confirm the variety of the settings and the claims that the musical settings of the second Psalm are indeed the quintessential specimens of the kalophonic style. vi Στον αγαπημένο μου δάσκαλο βυζαντινής μουσικής κ. Ιωάννη Τσελεπιδάκη για την σημαντικότατη συμβολή του στο έργο μου. Και στον μονάκριβο γιό μου Ορέστη για όλες εκείνες τις ώρες που αφιέρωσα στην ολοκλήρωση αυτού του έργου και όχι σ’ εκείνον. vii ACKNOWLEDGMENTS I was extremely fortunate to meet and work with a number of professionals who facilitate the conception and creation of my dissertation. First I would like to thank from the bottom of my heart my professor of Byzantine chant Mr. Ioannis Tselepidakis, who initiated me and guided me with zeal through the amazing world of the Byzantine ecclesiastic chant. I am deeply indebted to my subject specialist Dr. Diane Touliatos who believed in me, supported and assisted me unconditionally all those years during the writing of the manuscript. I cannot thank enough my advisor Dr. Anne Stone who embraced the topic with enthusiasm and whose steady support and supervision on the format and content of the paper were simply invaluable. I would also like to thank the remaining members of my Dissertation Committee – Dr. Stephen Blum, Dr. Warren Woodfin and Dr. Allan Atlas - whose insightful suggestions, comments and feedback enhance the manuscript considerably. The dissertation could not have been completed without the stimulating conversations I had with Dr. Achileus Chaldeakes, Dr. Alexander Lingas, and Dr. Gregorios Anastasiou who provided me also with access to important bibliography. I also extend my thanks to Dr. Carmen Hendershott for her generosity to read and edit the first drafts of the manuscript and to the staff of The National library of Greece in Athens and the Monastery of Vlatadon in Thessalonike for providing me with access to the primary sources. viii TABLE OF CONTENTS Abstract ..............................................................................................................................iv Table of Contents .............................................................................................................viii List of Tables .....................................................................................................................x Music Examples ................................................................................................................xii Appendices ......................................................................................................................xiii Introduction .........................................................................................................................1 Chapter 1: The Kalophonic Style 1.1. Introduction .............................................................................................................13 1.2. Features of Kalophonic Style ..................................................................................14 1.3. Historical Background to the Development of Kalophonia....................................20 1.4. Kalophonia in the Manuscript Tradition .................................................................28 1.5 Kalophonia and Music Notation ..............................................................................36 1.6. Decline of the Kalophonic Style .............................................................................41 Chapter 2: The Second Psalm in the Byzantine Tradition 2.1. Introduction .............................................................................................................44 2.2. The Secular and Monastic Rites Before 1204 .........................................................50 2.3. The Second Psalm Settings in the Cathedral and Monastic Rites Until 1204...............................................................................................................55 2.4 The Office of Great Vespers and the Second Psalm Settings ..................................59 2.5. The Second Psalm: Its History, Interpretation and Usage in the Byzantine Tradition ..................................................................................................................65 2.6. Historical Background 1261-1453 ..........................................................................71 Chapter 3: The Kalophonic Settings of the Second Psalm 3.1. Introduction .............................................................................................................76 3.2 The Musical Settings of the Second Psalm ..............................................................88 ix 3.3. The Simple Settings ................................................................................................91 3.4. The Florid Settings ................................................................................................111 3.5. The Prologues with Kratemata .............................................................................146 3.6. Summary ...............................................................................................................152 Conclusions .....................................................................................................................158 Music Examples ..............................................................................................................160
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