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University Microfilms International INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University M icrofilm s international 300 N. ZEEB ROAD, ANN ARBOR, Ml 48106 18 BEDFORD ROW, LONDON WC1 R 4EJ, ENGLAND 8001686 BANKER, DIANE HELEN TQULIATQS THE BYZANTINE AHOMOS CHANT OF THE FOURTEENTH AND FIFTEENTH CENTURIES- THE OHIO STATE UNIVERSITY, PH.D., 1979 CQPR. 1979 BANKER, DIANE HELEN TQULIATQS Universit/ Microfilms International 3o o n . z e e b r o a d , a n n a r b o r , mi 48to 6 0 Copyright by Diane Helen Touliatos Banker 1979 THE BYZANTINE AMOMOS CHANT OF THE FOURTEENTH AND FIFTEENTH CENTURIES . DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Diane Helen Touliatos Banker, B.M., M.A. ***** The Ohio State University 1979 Reading Committee; Approved By Richard H. Hoppin Milos Velimirovid Herbert Livingston Advisc^^ Keith E. Mixter School of Music Coadvisors: To my husband Bill IX ACKNOWLEDGEMENTS My gratitude for the completion of this research project is ex­ tended to many persons and institutions in the United States and abroad. I am indebted to the United States Educational Foundation in Greece for its award of a Fulbright-Hays grant for 1975-76 without which this project would never have come to fruition. This grant allowed me to work at the Patriarchal Institute for Patristic Studies at the mona­ stery of Vlatadon in Thessaloniki and to examine other sources in Greek libraries and monasteries. I thank Mr. David Larsen, the direc­ tor of the foundation, and his staff for their introductions and sup­ port during my year in Greece. At t]ia..patriarchal Institute for Patristic Studies I wish to thank Professor Evangelos Chrysos, presiding director during the year of my stay, and Professor Panagiotes Christou, director, who was on leave. They allowed me to examine and work with the microfilm collection of manuscripts from Mount Athos and gave me full access to the Institute's library facilities. To Professor Chrysos I am especially grateful for his letters of introduction and for his support throughout my stay and after my return to the United States. At the University of Thessaloniki I acknowledge the help of Pro­ fessors loannes Foundoules, Christos Patrinelis, and Linos Politis for their information and introductions, and I am indebted to the univer­ sity for permission to use sources at the Library of the School of Theology. iii In Athens I wish to express my thanks to the National Library for permission to examine sources in the manuscript division and to the Gennadius Library for access to secondary literature. Also in Athens, I wish to thank Mr. Markos Dragoumis for his interest, information, and support of my project and for his introductions to other Byzantine musicologists. I am grateful to the following Byzantine musicologists who granted me interviews, literature, information, and favo'*s in con­ nection with my work: Bishop Dionysios Psarianos, Manolis Chatzigia- koumis, Grigorios Stathis, Simon Karras, Michael Adamis, and Panagiotes Trempelas, especially the latter, who at his age took the time to meet with me on several occasions. At Meteora near Kalambaka I am grateful to the librarians of the monasteries of the Great Metamorphoseos and Varlam for their assistance and for allowing me to examine manuscripts. A special thanks is directed to the monks of the Great Metamorphoseos for their generosity and hospitality to my husband and myself during our stay there. In Canada I am grateful to Professor Dimitri Conomos of the Uni­ versity of British Columbia for his guidance, for providing call num­ bers of various manuscripts, and for information on literature which might otherwise have not come to my attention. In the United States I am indebted to The Ohio State University for the financial support of a University Fellowship. A special thanks is also extended to my professors of the Department of Music History in the School of Music who sent letters of support for this project to several foundations. Acknowledgement is also due to The Ohio State University libraries and to the interlibrary loan services. iv I am grateful for the use of library facilities at the Dumbarton Oaks Center for Byzantine Studies in Washington, D.C. during my short stay there. I am appreciative to the librarian Ms. Irene Vaslef for forwarding materials to me from Dumbarton Oaks. I would like to express my deepest appreciation to Professor Richard Hoppin of The Ohio State University and Professor Milo^ Velimirovid of the University of Virginia. I thank Professor Velimiro­ vid especially for introducing me to Byzantine music and for his con­ stant support and guidance of my work in that area. I am greatly indebted to him for being one of my advisors on this project, even though he is in no way associated with The Ohio State University. To Professor Hoppin I wish to express my gratitude for his continued advice, support, and assistance throughout the first year of his re­ tirement. I owe much to both men for their counsel and encouragement. Finally, I would like to express my warmest thanks to my mother and to my husband for their sacrifices and for their support and confi­ dence in me which brought this project to completion. VITA September 10, 1949 . Born - Memphis, Tennessee 1971 .................... B.M., Memphis State University, Memphis, Tennessee 1972 .................... Teaching Associateship, Texas Christian University, Fort Worth, Texas 1972-1977................ University Fellowship, The Ohio State Uni­ versity, Columbus, Ohio 1972-1973] _ ^ 1976-1977] " Fellowship Years 1973-1975]■ - Teaching Associateship Years 1973 .................... Committee on Institutional Cooperation Grant, University of Wisconsin, Madison, Wisconsin 1975 . ................ M.A., The Ohio State University, Columbus, Ohio 1975-1976................ Fulbright-Hays Student Research Grant, Greece PUBLICATIONS "State of the Discipline of Byzantine Music." Acta Musicologica 50, (1978), 181-192. "The Byzantine Orthros." Byzantina 9 (1977), 323-383. "The Byzantine 'Chanted* Vespers." Kleironomia 8 (Thessaloniki, Greece, 1976), 45-58. "The Three Types of Amomos Chant." Actes du XV^ Congrès International d* Etudes Byzantines, Athens, 1976 (forthcoming). "The Office of Matins in the Byzantine Cathedral Rite." Studies in Eastern Chant (forthcoming). vi FIELDS OF STUDY Major Field: Music History Studies in Music History. Professors Richard H. Hoppin, Milo% Velimirovid, Keith E. Mixter, Herbert Livingston, Alexander Main, and Peter Gano Studies in Music Theory. Professor Norman Phelps Studies in Applied Piano. Professor Richard Tetley-Kardos vii TABLE OF CONTENTS Page DEDICATION ............................... •....................... ii ACKNOWLEDGEMENTS...................... ill VITA ............................................................... Vi LIST OF TABLES ................................................. X Chapter I. INTRODUCTION: THE PSALMS ................................ 1 II. THE AMOMOS.................. 9 Subject Matter and Transmission........................ 9 Transmission of Psalm 118 in the Byzantine Rite . 20 III. D O C U M E N T A T I O N ............................... 26 The Byzantine Musical Manuscripts .................... 26 The Amomos in the Akolouthia Manuscripts.............. 36 IV. ASMATIKOS ORTHROS ......................................... 48 The Music of Psalm 118 in the "Chanted" Orthros . 65 Relationships Within Families ......................... 93 V. THE AMOMOS IN OTHER LITURGICAL SERVICES ................ 103 Mesonyktikon............................... 104 Taking of the Schemata.................................. 108 O r t h r o s ................................................
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