Unicode Technical Note: Byzantine Musical Notation
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December 1, 2019
St. Nicholas of Tolentine Church 2345 University Avenue Bronx, NY 10468 Tel. (718) 295-6800 Fax (718) 367-7411 www.stnicholasoftolentinebronx.org Mass Schedule Saturday Vigil 7:00 p.m. Spanish (piano & cantor) Sunday 8:00 a.m. English (organ & cantor) 9:30 a.m. Spanish (piano & choir/cantor) 11:30 a.m. English (organ & choir/cantor) 1:30 p.m. Vietnamese (keyboard & choir) Augustinian Weekdays 8:30 a.m. Spanish (Mon-Fri.) 12:10 p.m. English (Mon-Fri) 7:45 a.m. Vietnamese (Thu & Sat) Friars Pastoral Staff CATHOLIC FAITH FORMATION All those who are called to follow Jesus in the Catholic faith along with Catholics already Fr. Luis A Vera, O.S.A. baptized (adults, youth & children) who desire to celebrate the sacraments of First Confession, Pastor First Communion and Confirmation can make contact with the coordinator of this area for [email protected] information about the various programs available. Registration for these programs are Fr. Joseph Tran- Associate announced in the bulletin during various times of the year. Also appointments can be made in the parish office at anytime. Fr. Frank Barr, O.S.A Parents wishing to baptize their children (ages 1-5) are invited to make an appointment in the In Residence parish office to speak with a staff member in order to make arrangements for participating in Fr. William Wallace, O.S.A. the Baptismal Program. In Residence Br. Bienvenido Rodriguez, O.S.A SACRAMENT OF RECONCILIATION (CONFESSIONS) In Residence Saturday 4:00-5:00 p.m. and at the parish office by appointment. -
GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-Mail: [email protected], [email protected]
REV. DR. GRAMMENOS KARANOS 83 Sherman Road, Brookline, MA 02467 Telephone: 617-850-1236 E-mail: [email protected], [email protected] Curriculum Vitae Last updated August 22, 2018 Education National and Kapodistrian University of Athens, Athens, Greece School of Philosophy, Department of Musical Studies • Ph.D. in Byzantine Musicology and Psaltic Art (2011) • Dissertation: Τὸ Καλοφωνικὸν Εἱρμολόγιον [The Kalophonic Heirmologion] • Advisors: Gregorios Stathis, Achilleus Chaldaeakes, Demetrios Balageorgos Boston University, Boston, MA Graduate School of Management • Master of Business Administration (2004) Harvard University, Cambridge, MA Harvard-Radcliffe Colleges • Bachelor of Arts cum laude in Government (1997) • Senior Thesis: The Concept of Moderation in the Theories of Plato and Aristotle • Advisor: Petr Lom Greek Orthodox Metropolis of Boston, Boston, MA School of Byzantine Music • Certificate of Byzantine Music with highest distinction (2002) • Studied under Professor Photios Ketsetzis, Archon Protopsaltis of the Greek Orthodox Archdiocese of America. Teaching Experience / Appointments Hellenic College/Holy Cross Greek Orthodox School of Theology, Brookline, MA Assistant Professor of Byzantine Liturgical Music (September 2011 – present) Mathimata, Kratimata, and Deinai Theseis The Kalophonic Heirmologion History of Western Music History of Byzantine Music Directed Study in Byzantine Music Instruction for Beginners Directed Study in Advanced Ecclesiastical Composition in English Service Rubrics Byzantine Music for Clergy Byzantine Music X – Papadike, Old Sticherarion, and Kalophonic Heirmoi Byzantine Music IX – Papadike and Old Sticherarion CV of Grammenos Karanos Byzantine Music VIII – Divine Liturgy Byzantine Music VII – Doxastarion & Slow Heirmologion Byzantine Music VI – Holy Week Byzantine Music V – Prosomoia and Music for Sacraments Byzantine Music IV – Anastasimatarion: Modes II, Pl. II & Varys Byzantine Music III – Anastasimatarion: Modes III, IV & Pl. -
Cantor, God, and Inconsistent Multiplicities*
STUDIES IN LOGIC, GRAMMAR AND RHETORIC 44 (57) 2016 DOI: 10.1515/slgr-2016-0008 Aaron R. Thomas-Bolduc University of Calgary CANTOR, GOD, AND INCONSISTENT MULTIPLICITIES* Abstract. The importance of Georg Cantor’s religious convictions is often ne- glected in discussions of his mathematics and metaphysics. Herein I argue, pace Jan´e(1995), that due to the importance of Christianity to Cantor, he would have never thought of absolutely infinite collections/inconsistent multiplicities, as being merely potential, or as being purely mathematical entities. I begin by considering and rejecting two arguments due to Ignacio Jan´e based on letters to Hilbert and the generating principles for ordinals, respectively, showing that my reading of Cantor is consistent with that evidence. I then argue that evidence from Cantor’s later writings shows that he was still very religious later in his career, and thus would not have given up on the reality of the absolute, as that would imply an imperfection on the part of God. The theological acceptance of his set theory was very important to Can- tor. Despite this, the influence of theology on his conception of absolutely infinite collections, or inconsistent multiplicities, is often ignored in contem- porary literature.1 I will be arguing that due in part to his religious convic- tions, and despite an apparent tension between his earlier and later writings, Cantor would never have considered inconsistent multiplicities (similar to what we now call proper classes) as completed in a mathematical sense, though they are completed in Intellectus Divino. Before delving into the issue of the actuality or otherwise of certain infinite collections, it will be informative to give an explanation of Cantor’s terminology, as well a sketch of Cantor’s relationship with religion and reli- gious figures. -
Byzantine Music Theory for Western
Moderato a 4 J k kk 64 j k k dkk k 4 j j j j jk k k k j J Ôáéò ðñåó- âåß - áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. a k k 64 jj k dk k kk kjk j k k 4 jj k k jizk j j Ôáéò ðñåó- âåß- áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. Understanding the Byzantine Musical System Using Western Notation and Theory or Name That Tone! by Stanley Takis Most Greek Orthodox church musicians have seen references to “tones” and “modes” in liturgical texts and choir music. But many ask the question, “What are they?” How do you recognize one tone from another? What exactly is a mode? Are modes and tones the same thing? Why do chanters use those squiggly lines while choirs use “real” music? This article provides some observations and information to help “tone-deaf” or “non-mode- ivated” persons understand more of the Byzantine musical system which has been part of Orthodox hymnology from the earliest days. During the first centuries of the Church, our music was greatly influenced by the religious music of the synagogue and the secular music of the Syrians and the Greeks. This ancient music contained a multitude of scales and styles. It was St. John of Damascus who codified a system of eight musical styles, selected because they were not too theatrical or worldly and they helped create a prayerful attitude in the faithful. This system is called the octoechos (eight tones). -
Median Modes in the Light of the Greek Manuscript No. 9 from the National Archives in Drobeta Turnu Severin
122 International Journal of Orthodox Theology 6:3 (2015) urn:nbn:de:0276-2015-3081 Adrian-Cristian Maziliţa Median Modes in the Light of the Greek Manuscript No. 9 from the National Archives in Drobeta Turnu Severin Abstract The Greek manuscript no. 9 from 1751 – a unique manuscript in Romania tells us more about the musical tradition of the Eastern Church, tradition which provided the unmodified safekeeping until today of the music and repertory that is an integral part of the cult of the Ortho- dox Church. Taking into account the importance of this manuscript for the musicological research of the ecclesi- astical chant before the hrisantic Rev. PhD Associate reform, this study deals with different Lecturer Adrian-Cristian aspects from the old theory of Maziliţa, Faculty of Byzantine music, as: metrophony, Orthodox Theology at the solfeggio, median modes and trohos University from Craiova, system. Romania Median Modes in the Light of the Greek Manuscript No. 9 from the 123 National Archives in Drobeta Turnu Severin Keywords Greek manuscript, Byzantine chant, old notation, median modes, trohos system, Saint Ioannes Koukouzeles, Ioannes Plousiadinos 1 Median Modes A particularly important element presented in the Greek manuscript no. 9 at the National Archives in Drobeta Turnu - Severin1, is the median modes about which, until now, we have few accounts. 1 The Greek manuscript no. 9 at the National Archives in Drobeta Turnu- Severin, includes excerpts from the theoretical work of Saint Ioannes Koukouzeles, hermeneia of St. Ioan Damaschin, hermeneia of Manuel Chrysaphes about requirements of psaltic music and about phtorals, of the monk Pahomie and hermeneia about trills, together with musical- theological explanation written by Nikolaos Malaxos. -
National Inventory of Intangible Cultural Heritage of Greece
NATIONAL INVENTORY OF INTANGIBLE CULTURAL HERITAGE OF GREECE I. BRIEF PRESENTATION OF THE ELEMENT OF INTANGIBLE CULTURAL HERITAGE (ICH) 1. Name : Chant. Other names : Byzantine Music, Eastern Orthodox Church Music, Art of Chanting, Chant of Constantinople, Psaltic Art, Psalmody, Hymnody 2. Identification : The mnemotechnics of the rendering of chants in Church services (practitioners, Liturgical Typikon, planning of concerts, resources, manuals, training and its characteristic cultural constitutive elements and idioms). 3. Domain represented by the element • Oral traditions and expressions. The fundamental subject of chanting is bound by specific techniques and theoretical knowledge on many levels provided exclusively in church staged rites. These components require long studies and systematic exercise in church choirs, where trainees specialize in specific levels and areas of expertise (rising from the lower roles of Anagnostis [Reader], Canonarch [who intones the verses of the hymns], Isokratis [who holds the fundamental note of a given melodic section] or Melodist, to the higher offices of Domestikos B and Domestikos A [Assistants to the Leaders of the Left and Right Choirs, respectively], Lampadarios [Leader of the Left Choir] or Protopsaltis [First Cantor, Leader of the Right Choir]). In this manner, the knowledge of chanting is transmitted orally from the older masters to the younger. Moreover, mnemonic, practical methods and insignificant phrases or words or even mnemonic verses capture and summarize the basic practical knowledge (interpretations, “ananes” for an intonation, or “neanes”, “nana”, “agia” etc.). • Liturgical arts as cultural means of self-determination. In conjunction with church poetry (psalms, hymns), chant is the liturgical art par excellence within the framework of Holy Services in Orthodox churches. -
An Overview of Russia's Late Mediaeval Musical
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 183–197 ISSN 2342-1258 https://journal.fi/jisocm An Overview of Russia’s Late Mediaeval Musical Culture, and the “New Repertoires”: Demestvenny, Put and Strochnóe Singing and Notations Nikita Simmons [email protected] Part I. Znamenny Chant and Stolp Notation1 In the primary tradition of Znamenny singing, almost all chant books of the Russian liturgical tradition used Stolp (Znamenny) notation. The Slavonic word stolp (pillar) describes the eight-week cycle of the Octoechos, while the Slavonic term znamya means “mark”, “note”, or “neume”. Slavic Stolp notation (along with early chant repertoire) has been in use since the tenth century (having been derived from Coislin B Palaeobyzantine notation), and in its latest stage of development it is still used by Russian Old Ritualists up to the present time. Beyond the basic level of neume-by-neume notation, Stolp chanting includes three methods of presenting complex melodic features: popévki, litsá and fíty, each of which were traditionally memorized by singers. (Popévki, also called kokízy2, are established sequences of neumes which are the essential “building blocks” of Znamenny chants, while litsa and fity are more lengthy and complex melodic patterns.) These contextual groups of symbols are usually referred to as “múdrye stróki” (“wise lines” or short- hand), indicating the use of “tainozamknénnost” (“secret-closure” or encryption). Stolp chanting, like its Byzantine parent, is organized according to the system of eight Tones, and each Tone (Slavonic: glas) contains a repertoire of popevki, fity and 1 Among the ranks of musicologists who have contributed significantly to the recovery of Russia’s late medieval musical traditions, we are most indebted to М.В. -
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Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos. -
3 Cappella Romana Presents VENICE in the EAST: Renaissance Crete
Cappella Romana presents VENICE IN THE EAST: Renaissance Crete & Cyprus Wednesday, 8 May 2019, 7:30 p.m. Touhill Performing Arts Center, University of Missouri, Saint Louis Friday, 10 May 2019 at 7:30 p.m. Alexander Lingas Christ Church Cathedral, Vancouver, British Columbia Founder & Music Director Presented by Early Music Vancouver Saturday, 11 May 2019 at 8:00 p.m. St. Ignatius Parish, San Francisco Spyridon Antonopoulos John Michael Boyer Kristen Buhler PROGRAM Aaron Cain Photini Downie Robinson PART I David Krueger Emily Lau From the Byzantine and Venetian Commemorations of the Paschal Triduum Kerry McCarthy The Crucifixion and Deposition Mark Powell Catherine van der Salm Venite et ploremus Johannes de Quadris David Stutz soloists: Aaron Cain, Mark Powell Liber sacerdotalis (1523) of Alberto Castellani Popule meus Liber sacerdotalis soloist: Kerry McCarthy Sticherón for the Holy Passion: Ἤδη βάπτεται (“Already the pen”) 2-voice setting (melos and “ison”) Manuel Gazēs the Lampadarios (15th c.) soloists: Spyridon Antonopoulos, MS Duke, K. W. Clark 45 John Michael Boyer Traditional Melody of the Sticherarion Mode Plagal 4 Cum autem venissent ad locum de Quadris Liber sacerdotalis soloists: Aaron Cain, Mark Powell O dulcissime de Quadris Liber sacerdotalis soloists: Photini Downie Robinson, Kerry McCarthy Verses of Lamentation for the Holy Passion “Corrected by” Angelos Gregoriou MS Duke 45, Mode Plagal 2 Sepulto Domino de Quadris Liber sacerdotalis The Resurrection Attollite portas (“Lift up your gates”) Liber sacerdotalis celebrant: Mark Powell Ἄρατε πύλας (“Lift up your gates”) Anon. Cypriot (late 15th c.?), MS Sinai Gr. 1313 Attollite portas … Quem queritis … Liber sacerdotalis Χριστὸς ἀνέστη (“Christ has risen”) Cretan Melody as transcribed by Ioannis Plousiadenós (ca. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
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. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................