The Theophany of Our Lord and Saviour Jesus Christ
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THO 3347 (H 2015) – Glossary of Terms
THO 3347 (H 2015) – Glossary of Terms Akathist Literally, “not standing.” A hymn dedicated to our Lord, the Theotokos, a saint, or a holy event. Aposticha The stichera sung with psalm verses at the end of Vespers and Matins. These differ from the stichera at Psalm 140 (Vespers) and at the Praise Psalms (Matins), which are sung with fixed psalms, in that the psalm verses used (pripivs) vary with the day or feast, and do not end the singing of the whole psalm. See also stichery na stichovnych. Archieratikon Тhе book containing texts and rubrics for the solemn Hierarchical (a.k.a. Pontifical) Divine Liturgy. The Archieratikon also contains the sacrament of Ноlу Orders and special blessings and consecrations. Canon A system of nine odes (the Second Ode is sung only during Great Lent) sung at Matins after Psalm 50 and before the Praises. Each ode is connected traditionally with a scriptural canticle (see below for the nine scriptural canticles) and consists of an Irmos, a variable number of troparia and, on feasts, a katavasia. After the Third Ode a sidalen is usually sung, and after the Sixth Ode a kontakion and ikos, and after the Ninth Ode, the Svitelen is sung. The Canon has its own system of eight tones. Domatikon A theotokion sung after “Now…” (or “Glory… Now…”) at the end of Psalms 140, 141, 129, and 116 at Vespers on Friday and Saturday evenings, and on the eve of a Polyeleos saint or saints with a vigil in the same tone as the last sticheron of the saint (at “Glory…”). -
Little Compline for Akathist Saturday
The Office of Little Compline with the Akathist Canon and Hymn **As served on the fifth Friday of Great Lent** **Instructions** An icon of the Theotokos (preferably the one described in the Synaxarion below) is placed on a stand in the middle of the solea. The candles are lit and the church is semi-illumined. The censer is used only for the stases of the Akathist Hymn. The curtain and Holy Doors are closed until the priest begins the first stasis of the Akathist Hymn. The priest wears a blue epitrachelion over his exorasson and starts Little Compline in front of the icon. Priest: Blessed is our God always, now and ever, and unto ages of ages. Choir: Amen. Priest: Glory to Thee, O God, glory to Thee. O heavenly King, the Comforter, Spirit of Truth, Who art in all places, and fillest all things, Treasury of good things, and Giver of life, come, and dwell in us, and cleanse us from every stain; and save our souls, O good One. People: Holy God, Holy Mighty, Holy Immortal: have mercy on us. (THRICE) Glory to the Father, and to the Son, and to the Holy Spirit; both now and ever, and unto ages of ages. Amen. All-holy Trinity, have mercy on us. Lord, cleanse us from our sins. Master, pardon our iniquities. Holy God, visit and heal our infirmities for Thy Name’s sake. Lord, have mercy. (THRICE) Glory to the Father, and to the Son, and to the Holy Spirit; both now and ever, and unto ages of ages. -
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University
Sacred Song in the Late Antique and Byzantine East: Comparative Explorations 3-6 May, 2015 Brown University Spyridon Antonopoulos City University, London “ 'We shall clearly hear him say 'Rejoice!' as we sing': Hearing, Intelligibility, and Performance in Byzantine Chant" The complex strophic poems known as the Kanons were first composed during a flourishing of literary creativity that took place in and around the Palestinian monastery of St Sabas in the seventh and eighth centuries. Kanons typically consisted of eight or nine textually and melodically unique heirmoi, to which multiple thematically linked troparia (contrafacta) were adapted. The heirmoi formed the basis for the notated musical collection of the Heirmologion, which can be found in its most archaic form as early as the tenth century. The heirmoi found in medieval Heirmologia were unascribed, brief, and mostly syllabic. By the fourteenth century, while traditional styles of psalmody continued to be sung and written, a new style of singing and composition – kalophonia – had begun to touch nearly every genre of liturgical poetry, including the Kanon’s heirmoi. Thus, elaborate kalophonic heirmoi, composed by named musicians, appear at least by the fourteenth century, characterized by long, melismatic phrases, text troping, insertion of non-textual elements, modal variety, and an expanded melodic range. This paper shall provide an analysis of select kalophonic heirmoi in contrast to their syllabic forebears in order to confront questions of aural reception, intelligibility, and performance. Thomas Arentzen University of Oslo “Voices Interwoven: Refrains and Vocal Participation in Late Ancient Kontakia” The refrain constitutes an indispensable element of the kontakion. It ties the stanzas together, but it also contributes to a sort of repetitive concentration in these songs; whichever spirals and ellipses the narratives move in, the refrain remains a gravity center. -
Manifestations of God: Theophanies in the Hebrew Prophets and the Revelation of John Kyle Ronchetto Macalester College, [email protected]
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department 2017 Manifestations of God: Theophanies in the Hebrew Prophets and the Revelation of John Kyle Ronchetto Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Biblical Studies Commons, and the Classics Commons Recommended Citation Ronchetto, Kyle, "Manifestations of God: Theophanies in the Hebrew Prophets and the Revelation of John" (2017). Classics Honors Projects. 24. http://digitalcommons.macalester.edu/classics_honors/24 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. MANIFESTATIONS OF GOD: THEOPHANIES IN THE HEBREW PROPHETS AND THE REVELATION OF JOHN Kyle Ronchetto Advisor: Nanette Goldman Department: Classics March 30, 2017 Table of Contents Introduction........................................................................................................................1 Chapter I – God in the Hebrew Bible..............................................................................4 Introduction to Hebrew Biblical Literature...............................................................4 Ideas and Images of God..........................................................................................4 -
A Byzantine Christmas
VOCAL ENSEMBLE 26th Annual Season October 2017 Tchaikovsky: All-Night Vigil October 2017 CR Presents: The Byrd Ensemble November 2017 Arctic Light II: Northern Exposure December 2017 A Byzantine Christmas January 2018 The 12 Days of Christmas in the East February 2018 Machaut Mass with Marcel Pérès March 2018 CR Presents: The Tudor Choir March 2018 Ivan Moody: The Akáthistos Hymn April 2018 Venice in the East A Byzantine Christmas: Sun of Justice 1 What a city! Here are just some of the classical music performances you can find around Portland, coming up soon! JAN 11 | 12 FEB 10 | 11 A FAMILY AFFAIR SOLO: LUKÁŠ VONDRÁCˇEK, pianist Spotlight on cellist Marilyn de Oliveira Chopin, Smetana, Brahms, Scriabin, Liszt with special family guests! PORTLANDPIANO.ORG | 503-228-1388 THIRDANGLE.ORG | 503-331-0301 FEB 16 | 17 | 18 JAN 13 | 14 IL FAVORITO SOLO: SUNWOOK KIM, pianist Violinist Ricardo Minasi directs a We Love Our Volunteers! Bach, Beethoven, Schumann, Schubert program of Italy’s finest composers. n tns to our lol volunteers o serve s users ste re o oe ersonnel osts PORTLANDPIANO.ORG | 503-228-1388 PBO.ORG | 503-222-6000 or our usns or n ottee eers n oe ssstnts Weter ou re ne to JAN 15 | 16 FEB 21 us or ou ve een nvolve sne te ennn tn ou or our otent n nness TAKÁCS QUARTET MIRÓ QUARTET WITH JEFFREY KAHANE “The consummate artistry of the Takács is Co-presented by Chamber Music Northwest ou re vlue rt o te O l n e re rteul simply breathtaking” The Guardian and Portland’5 Centers for the Arts FOCM.ORG | 503-224-9842 CMNW.ORG | 503-294-6400 JAN 26-29 FEB 21 WINTER FESTIVAL: CONCERTOS MOZART WITH MONICA Celebrating Mozart’s 262nd birthday, Baroque Mozart and Michael Haydn string quartets DEC 20 concertos, and modern concertos performed by Monica Huggett and other PDX VIVALDI’S MAGNIFICAT AND GLORIA CMNW.ORG | 503-294-6400 favorites. -
Schleiermacher and Otto
Jacqueline Mariña 1 Friedrich Schleiermacher and Rudolf Otto Two names often grouped together in the study of religion are Friedrich Schleiermacher (1768-1884) and Rudolf Otto (1869-1937). Central to their understanding of religion is the idea that religious experience, characterized in terms of feeling, lies at the heart of all genuine religion. In his book On Religion Schleiermacher speaks of religion as a “sense and taste for the Infinite.”1 It is “the immediate consciousness of the universal existence of all finite things, in and through the infinite” and is “to know and to have life in immediate feeling” (OR, p. 36). In The Christian Faith Schleiermacher grounds religion in the immediate self-consciousness and the “feeling of absolute dependence.”2 Influenced by Schleiermacher, Otto too grounds religion in an original experience of what he calls “the numinous,” which “completely eludes apprehension in terms of concepts” and is as such “ineffable;” it can only be grasped through states of feeling. (The Idea of the Holy, p. 5). In this paper I will critically examine their views on religion as feeling. The first part of the paper will be devoted to understanding how both men conceived of feeling and the reasons why they believed that religion had to be understood in its terms. In the second and third parts of the paper I will develop the views of each thinker individually, contrast them with one another, and discuss the peculiar problems that arise in relation to the thought of each. Common Elements in Schleiermacher and Otto Both Schleiermacher and Otto insist that religion cannot be reduced to ethics, aesthetics or metaphysics. -
Hamline University Religious and Spiritual Life Office Hamline
Hamline University Hamline University Religious and Spiritual Life Office Religious and Spiritual Life Office Religious Holy Days and Holidays 2012-2013 Religious Holy Days and Holidays 2012-2013 ◊ Denotes work restriction ◊ Denotes work restriction ○ Denotes dietary restriction or other requirement ○ Denotes dietary restriction or other requirement ☼ Begins at sundown ☼ Begins at sundown ◘ Based on the sighting of the moon ◘ Based on the sighting of the moon August August 18– Eid al Fitr ◘ Muslim 18– Eid al Fitr ◘ Muslim September September 1~First Prakash Sikh 1~First Prakash Sikh 8~Nativity of Theotokos ○ Orthodox Christian 8~Nativity of Theotokos ○ Orthodox Christian ~Birth of Mary ○ Christian ~Birth of Mary ○ Christian 14~Holy Cross Day Christian 14~Holy Cross Day Christian 16~Rosh Hashanah begins ☼ ◊ Jewish 16~Rosh Hashanah begins ☼ ◊ Jewish (Conservative and Orthodox observe for two days) (Conservative and Orthodox observe for two days) 18~Rosh Hashanah ends at sundown ◊ Jewish 18~Rosh Hashanah ends at sundown ◊ Jewish ~Eid al Fitr (Ramadan ends)◘ ◊ ○ Muslim ~Eid al Fitr (Ramadan ends)◘ ◊ ○ Muslim 19~Ganesh Chaturthi Hindu 19~Ganesh Chaturthi Hindu 22~Fall Equinox 22~Fall Equinox ~Ohigon Buddhist ~Ohigon Buddhist ~Shuki-sorei-sai Shinto ~Shuki-sorei-sai Shinto ~Mabon Wiccan/Pagan ~Mabon Wiccan/Pagan 25~Yom Kippur begins ☼ ◊ ○ Jewish 25~Yom Kippur begins ☼ ◊ ○ Jewish 26~Yom Kippur ends at sundown ◊ ○ Jewish 26~Yom Kippur ends at sundown ◊ ○ Jewish 30~Sukkot begins ☼ ◊ ○ Jewish 30~Sukkot begins ☼ ◊ ○ Jewish (no work for first two -
A Concise Glossary of the Genres of Eastern Orthodox Hymnography
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section III: Miscellanea, pp. 198–207 ISSN 2342-1258 https://journal.fi/jisocm A Concise Glossary of the Genres of Eastern Orthodox Hymnography Elena Kolyada [email protected] The Glossary contains concise entries on most genres of Eastern Orthodox hymnography that are mentioned in the article by E. Kolyada “The Genre System of Early Russian Hymnography: the Main Stages and Principles of Its Formation”.1 On the one hand the Glossary is an integral part of the article, therefore revealing and corroborating its principal conceptual propositions. However, on the other hand it can be used as an independent reference resource for hymnographical terminology, useful for the majority of Orthodox Churches worldwide that follow the Eastern Rite: Byzantine, Russian, Bulgarian, Serbian et al., as well as those Western Orthodox dioceses and parishes, where worship is conducted in English. The Glossary includes the main corpus of chants that represents the five great branches of the genealogical tree of the genre system of early Christian hymnography, together with their many offshoots. These branches are 1) psalms and derivative genres; 2) sticheron-troparion genres; 3) akathistos; 4) canon; 5) prayer genres (see the relevant tables, p. 298-299).2 Each entry includes information about the etymology of the term, a short definition, typological features and a basic statement about the place of a particular chant in the daily and yearly cycles of services in the Byzantine rite.3 All this may help anyone who is involved in the worship or is simply interested in Orthodox liturgiology to understand more fully specific chanting material, as well as the general hymnographic repertoire of each service. -
Vespers of Theophany
Vespers of Theophany Lord I Call Tone 2 When the Forerunner saw Him Who is our Enlight enment, Who enlightens every man, Co ming to be bap tized, His heart rejoiced and his hand trem bled. He pointed Him out to the peo ple and said: “This is the Saviour of Israel, Who delivered us from corrup tion!” /// O Christ God, the Sinless One, glo ry to You! O our Sa viour, The armies of angels trembled when they saw You baptized by Your ser vant, And the Holy Spirit bearing witness by co ming down, And when they heard the Father’s voice speaking from hea ven: “This One upon Whom the Forerunner lays his hands Is My beloved Son in Whom I am well -pleased.” /// O Christ our God, glo ry to You! When the Jordan River received You, O Foun tainhead, The Comforter came down in the form of a dove. Behold , the marvel: The One Who drew the curve of hea ven Bows His head to the Fore runner, To one made of clay who cries out to his Ma ker: “Why do You order me to do things beyond my worth? It is I who need to be bap tized by You!” /// O Christ God, the Sinless One, glo ry to You! O God and Lord, When You resolved to save man , who was lost, You deigned to take the form of a ser vant. For it was needful for You to assume for our sake what was pro per to us. And when You were baptized in the flesh, O our Redee mer, It made us worthy of Your forgive ness. -
Service Instructions for Theophany (Epiphany) 2019 from His Eminence, Metropolitan JOSEPH
Service Instructions for Theophany (Epiphany) 2019 From His Eminence, Metropolitan JOSEPH The Royal Hours & Typika are served on the morning of Friday, January 04, which is the day BEFORE the Paramon (Eve). Therefore, we sing the Apolytikion of the Forefeast: Be thou ready, Zebulon… (HTM Horologion 369, Nassar 433). The Royal Hours may each be offered in either of the following orders: Consecutively, starting at 9:00 AM in the following manner: start the First Royal Hour with “Blessed is our God,” and OMIT the Dismissal at the end of each Hour (except the last), and OMIT the section between “Blessed is our God” to right before “Come let us worship” in the Third, Sixth and Ninth Hours. SIMPLY PUT, OMIT THE BOXED PORTIONS OF THE TEXT. At their usual times (6:00 AM, 9:00 AM, Noon and 3:00 PM), with the Ninth Royal Hour and Typika being served at 3:00 PM, followed immediately by Daily Vespers of Paramon (Eve) of Theophany. Alternatively, Vespers may be celebrated in the early evening hours. The Priest performs the Great Censing of the entire church at the start of the First and Ninth Royal Hours, and the Small Censing from the Beautiful Gate (Holy Doors) – like he would before the Great Entrance in Divine Liturgy – at the start of the Third and Sixth Royal Hours. NOTE: We do NOT celebrate Divine Liturgy on Friday, January 04. Our Patriarchate of Antioch reminds us that we follow this same pattern at Pascha, when Royal Hours are served on Holy Friday, and Divine Liturgies are celebrated only on the weekend. -
The Storm-Theophany
THE STORM-THEOPHANY: A THEOLOGY OF THE STORM John Roskoski, PhD St. Peter’s College, Middlesex County College INTRODUCTION The thunderstorm, with dramatic claps of thunder and bolts of lightning, is a display of the awesome power of nature. It also holds a unique place in the spectrum of Biblical theology. To the people of the Old Testament the storm was connected to the presence of YHWH. While thunderstorms have always been, and still are, used as a metaphor for life’s struggles, to the people of ancient Israel the thunderstorm was the visible appearance of YHWH. The thunderstorm was a vital element in the “Theophany”. The Theophany Derived from the Greek term, theophania , the word “theophany” means the “appearance of God”. Hebrew does not have a corresponding word. The concrete imaged construction of Hebrew simply describes clusters of natural occurrences, from which we have to derive the Greek-based word. According to J.L. McKenzie, “The theophany is an appearance or manifestation of YHWH in character and attributes which reveal His divinity and power, and is thereby distinguished from other appearances in which He is known as the revealer.” 1 McKenzie points out that the violent thunderstorms, sometimes accompanied by earthquakes, are a common trait in the Biblical descriptions of theophanies. Thunderstorms, with their displays of lightning, were of longer duration than earthquakes and, perhaps, were more palpable to all the senses. However, the people of Israel do not identify or personify YHWH with the storm, but see the storms as a sign of the presence and power of YHWH McKenzie, following most scholars, argues that the theophany is distinctively Israelite and cannot be seen as being derived from ancient near eastern storm mythologies. -
The Baptism of the Lord, a Feast That Reminds Us of Our Mission by MARECELLINO D’AMBROSIO
The Baptism of the Lord, A Feast That Reminds Us of Our Mission BY MARECELLINO D’AMBROSIO he Jews were absolute- “The an epiphany. In fact, in Eastern ly unique in the ancient Catholic churches, the feast of Tworld. Not only did their Jews were the Baptism of the Lord and the religion forbid them to worship Epiphany (called “Theophany”) any gods other than the Lord, absolutely are the same. but their prophets actually taught that the gods of other nations unique in It is no accident that this reve- were mere figments of the imag- lation of the Trinity happened at ination. They did not exist at all. the ancient the moment of Christ’s baptism. Christian baptism, here instituted For devout Jews in the time of world.” by Christ, is essentially different Jesus, monotheism–the belief or than the baptism of John. doctrine that there is only one To this day, people from Da Vinci God–was their distinctive hall- Code fans to Jehovah’s Witness- John the Baptist preached cleans- mark and was ingrained in them es ridicule the doctrine of the ing from past sins and a change from cradle to grave. They recited Trinity, the belief of three divine of lifestyle. Christian baptism several times a day the verses persons in God, alleging it was certainly involves this but ac- of Deuteronomy 6:4 “Hear, O invented by Constantine. complishes much more. It joins Israel! The Lord is our God, the us to Jesus, as savior and Lord, Lord alone!” But a close reading of the Scrip- and connects us with the power tures shows that the Trinity was of his death and resurrection.