TURNING OUR BACK on GOD Eleni Giakoumopoulos
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SAINT MARY ORTHODOX CHURCH October 1St 2017
SAINT MARY ORTHODOX CHURCH The Self-Ruled Antiochian Orthodox Christian Archdiocese of North America “The disciples were first called Christians in Antioch.” (Acts 11:26) 6330 W. 127th St., Palos Heights, IL 60463 Phone : (708) 239-0004, Fax : (708) 221-6449 www.stmaryoc.org ([email protected]) Church Office Hours : Monday - Friday 10:00am-3:00pm St. Mary Parish Clergy st V. Rev. Fr. Mousa Haddad, Pastor October 1 2017 V. Rev. Fr. Malek Rihani Rev. Fr. Danial Doss (OCA) Seventeenth Sunday after Pentecost & Second Sunday of Luke Rev. Archdeacon Saed Rihani Subdn. John Andoun, Youth Director Apostle Ananias of the Seventy, First Bishop of Damascus Parish Council Luai Sweiss - Chairman & Righteous Father Romanos the Melodist Isa Riadi - Vice Chairman Fadi Abu Manneh - Treasurer Scott Abdo - Financial Secretary John Eannace - Secretary Magida Abudayyeh Nidal Al-Farah Jason Haddad Natalie Salman Rashid Sweis Parish Ministries Sunday School - Philip Riske SOYO - Jehan Tadros YAM - Marram Salman Antiochian Women - Nihad Sweis Fundraising - Rashid Sweis Humanitarian - Shireen Salman OCLife - Nancy Cannon Fishers of Men - John Eannace Athletics - Nidal Haddad Choir - Michael Rascia Chanters - Khaled Salman, Faris Samawi and Danny Haddad Webmaster - Sana Sweis Ushers - Jamal Swais, Louis Sweiss Office May Sweis [email protected] Church Hall Rental Call the church office or email our Office Administrator Weekly Schedule of Services: Saturday Great Vespers 5:00pm (Confessions heard after Great Vespers) Sunday Orthros 8:45am followed by Divine Liturgy 10:00am Wednesday Morning Prayers followed by Arabic Bible Study 10:00am Check our website for feast day services and all other services Welcome to St. -
(Pokróv) of Our All-Holy Lady, Theotokos, and Ever-Virgin Mary
The 1st Day of October The Protection (Pokróv) of our All-holy Lady, Theotokos, and Ever-Virgin Mary Note: If the Temple is dedicated to the Mother of God, or the Rector so desires, the All-Night Vigil is served. Note: The Commemoration of St. Romanos the Melodist is also on this date. His service immediately follows this.— incomplete as of 7/2016 Small Evening Service At “Lord, I have called...,” 4 stikhera, in Tone 1: To the regular melody. God, who alone rests upon the thrones on-High / Was pleased that a man who had found favor with Him, / Should behold thee, O Lady, standing above the earth / Stretching out thy divine hands in supplication / Praying for the city and the people. / Protect us now, O Lady /// Under the veil of thy mercy. (Twice) Thou, O most-pure Lady / Ever protects with thy precious veil / The city [and people] that honor and worthily praise thee, / Keeping them safe from the assaults of the enemy, / From famine, and earthquake, and civil war, /// O Virgin, Bride unwedded, thou protectress and defender of mankind. O living abode of Christ, / Thou art a wall, a haven, and a stronghold for the faithful. / Through thee, O Mother of God, [are they and] thy city saved; / Through thy help the kings of the true Faith are crowned; / In thee do they rejoice as they gain victories over the heathens, /// For thou ever protects us under the veil of thy mercy. Glory..., now and ever…, in the Tone 5: Come, ye assemblies of those who love the feasts of the Church, / And let us sing the praises of the most-holy Virgin! / For today -
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. -
The Orthodox Post Page 3
The Orthodox Post Page 3 THE ORTHODOX October 2014 Volume X, Issue 9 POST 2009 St. Nicholas Albanian Orthodox Church, 181-14 Midland Parkway, Jamaica Estates, New York, NY 11432 Volume V, Issue 6 Web site: www.stnicholasalbanian.org E-mail: [email protected] Tel: (718) 380-5684 Pastor’s Message INSIDE THIS ISSUE by Fr. Nathan Preston Pastor’s Message & President’s Message 1 There were, when I worked at the shelter, certain Daughters’ Corner & Flea Mkt/Bake Sale 2 maxims—ideas needing to be remembered—to help one throughout Golf Outing 3 the day and throughout the job. And the longer I worked there, after Community News & General Meeting 4 the sheen of novelty had long worn from my tasks, and as more 2015 Pledge Program 5 responsibility was handed over to me, particularly that responsibility to help and direct and inspire others in our jobs, the return to these September Feast Days 6 fundamental ideas, these maxims, became a necessity. One of these Merchant Ads 7-9 of which I needed routinely to be reminded and to remind was quite Major Events & Ushers’ Sunday Schedule 10 simple: “To walk through those doors is an act of bravery,” those My life now as your priest is differently frenzied than it was doors being the front doors of our building off a side street in before. The fights I have to break up are not physical; the food and downtown Newark. And though the bravery referred to might be welfare to be expended not always so immediate; the case planning, thought to be that of the staff, who so often endured thankless though, is sometimes quite similar. -
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. -
Pna 35/2020 109 Artiklar
“THE GREAT INITIATE OF GOD’S GRACE”: A KONTAKION ON ST NICHOLAS BY PSEUDO-ROMANOS Uffe Holmsgaard Eriksen ([email protected]) University of Southern Denmark Abstract: During the ninth and tenth centuries, St Nicholas of Myra became increasingly popular as a saint, eventually rising to rank of the apostles in veneration. This article presents an investigation into the monastic piety which brought St Nich- olas onto the stage of the Byzantine liturgical storyworld as one of the most im- portant saints. Through a closer examination of how he was presented from the ninth century onwards in hagiography in general, the main focus of the article is a kontakion on the saint attributed to the great poet Romanos the Melodist (ca. 485–560) in particular. The question of authorship, time and place of origin of the kontakion is discussed. The article finally brings a new translation of the kontakion into English. Key words: Keywords: pseudo-Romanos, Romanos the Melodist, kontakion, kanon, Byzan- tine hymnography, St Nicholas of Myra, St Nicholas of Sion, hagiography PNA 35/2020 109 ARTIKLAR Hagiographical Hymns in General Scholarly work on Byzantine hymns devoted to saints is still a desider- atum. This goes not only for a large amount of unedited hagiographical kanons,1 but also for the kontakia2 on saints’ lives. Most of these hagio- graphical kontakia, several hundred,3 remain unedited, but because of the high esteem and popularity of Romanos the Melodist among Byz- antinists we have 20 kontakia devoted to apostles or saints attributed to him in a critical edition. The edition was originally prepared by Paul Maas but it was his collaborator, Constantine Trypanis, who finished the volume after Maas’ death based on his notes and personal commu- nication.4 Maas and Trypanis regarded all the kontakia in this edition spurious, and Trypanis’ verdict on the quality of the hymns could easily scare away interested scholars (see below). -
HYMNS of KASSIANÍ on April 16Th Cappella Records Is Proud to Present the Release of Hymns of Kassianí Performed by Cappella Romana, Alexander Lingas, Music Director
New release by Cappella Romana The earliest music by a female composer HYMNS OF KASSIANÍ On April 16th Cappella Records is proud to present the release of Hymns of Kassianí performed by Cappella Romana, Alexander Lingas, music director. Discover the world’s earliest music by a female composer: 9th-century nun, poet, and hymnographer Kassianí (Kassía). The same men and women of Cappella Romana who brought you the Naxos of America -‐ New Release Submission Handbook V1.0 9 Lost Voices of Hagia Sophia bestseller (43 weeks on Billboard), now sing the earliest music we have by a female composer, including long- suppressed hymns recorded here for the first time. They close with two medieval versions of her beloved hymn for Orthodox Holy Week (Orthodox Easter in 2021 is May 2nd). Cappella Romana is the world’s leading ensemble in the field of medieval Byzantine chant. Building on its extensive catalogue of this repertoire, Hymns of Kassianí is its 25th release. This is the first of a planned series to record all of Kassianí’s surviving works. SALES POINTS • The earliest music by a female composer, three centuries before THIS IS AN EXAMPLE OF A TYPICAL ONE SHEET. Hildegard von Bingen. Label You do not need to follow this exact layout, but please include as much of Logo this information as possible in your sales sheet and submit it to • Ecstatic, never-before recorded works for Christmas and Lent Naxos of America. • Illuminated by the latest research on historically informed RELEASE DATE: 4/16/2021 performance of medieval Byzantine chant. • In high-res for downloads, multi-channel surround sound, produced by multi-GRAMMY® Award winner Blanton Alspaugh and the team at Soundmirror (100+ GRAMMY® nominations and awards). -
Γένος Μέν Ἐξ Ἑβραίων Or the Jewish Origin of Romanos the Melodist: from Overestimations to Underestimations and Finding Bridges Between the West and the East
Γένος μέν ἐξ ἑβραίων or the Jewish Origin of Romanos the Melodist: From Overestimations to Underestimations and Finding Bridges between the West and the East Alexandru Prelipcean* This study focuses on ananalysis of a Jewish genus expression, found in a kontakion with a still doubtful paternity. This expression gave rise to an entire academic discussion, often with contradictory opinions, on the Jewish origin of Romanos. This study contributes to this debate by bringing forth new evidence from both West and East, which can make up a new tool for evaluating the expression itself. Keywords: Saint Romanos the Melodist, kontakia, Jewish, hymnography, Ori- ent, West, origin, γένος μέν ἐξ ἑβραίων It is not known whether Romanos, the Byzantine hymnographer of the sixth century, enchanted the scholarly world starting already with the 19th cen- tury, when his writings first began to be edited1. Their reading gave rise, certainly, to the first scholarly observations regarding the Byzantine hym- nographer. Questions emerged on various historical-philological-theological themes such as the time of his birth, the time of his arrival in the city of Constantinople, the historical context in relation to his work, the theological content of his kontakia, whether the hymnographer was an original author or a “second-hand” poet, etc. One of these subjects, which is still embraced today by the scholarly world and which has not received a consensus, is Ro- manos’ Jewish origin, originating from the expression γένος μέν ἐξ ἑβραίων (β3; “one of the Hebrew race”)2, contained in an encomiastic hymn, con- * Alexandru Prelipcean, Associate assistant at the Dumitru Stăniloae Faculty of Orthodox Theology, Iaşi. -
Melos of the Undivided Church. Notes on the Interchurch Researches of Early Music
84 Релігієзнавство.Соціальна філософія Теологія DOI: 10.21847/1728-9343.2019.5(163).180794 DARIA MOROZOVA, National Dragomanov Pedagogical University (Kyiv, Ukraine) e-mail: [email protected], ORCID 0000-0001-5646-2851 MELOS OF THE UNDIVIDED CHURCH. NOTES ON THE INTERCHURCH RESEARCHES OF EARLY MUSIC New attention towards the ancient Church chant is especially on time in today's Ukraine, where the renewed autocephalous Church is entering the global Christian community, looking back at its own historical and liturgical roots and trying to overcome the stereotypes about its tradition. The present article deals with the myths of different Christian musical traditions concerning themselves and their neighbors. Such myths implicitly express the yearning for the lost unity of the Church and condemn the Other for this loss. Hence they continue the dogmatic polemics in the domain of aesthetics. As we have demonstrated, such myths were constructed by the 19th-20th centuries historiographies of Church chant as an ideological impetus for the renewal of the relevant traditions. However "positive" mythologization of one's own chanting tradition, firstly, retouched those dimensions of its image that were underestimated at that time, and secondly, often denigrated the neighbor traditions. So, the one-sidedness of such mythologization has provoked some modern cantors to engage into the joint reconstruction of authentic history of music together with their foreign colleagues. In this paper such collegial reconstructions - theoretical as well as practical - were for the first time assessed as an important dimension of interconfessional and interchurch dialogue. As we tried to show, they are not less necessary than the discussions in dogmatic field and their fruits are much more powerful than any "musical Esperanto" of popular Christian hymns. -
Annual Meeting of the Society for Christian Scholarship in Music
Annual Meeting of the Society for Christian Scholarship in Music February 14-16, 2019 Saint Michael’s College University of Toronto The Society for Christian Scholarship in Music promotes the exploration of connections between Christian faith and the academic study of music. We are a cross-disciplinary society including ethnomusicologists, music theorists, musicologists, scholars of liturgy and of church music, theologians, and practicing church musicians. The Society understands itself as having an ecumenical Christian identity, reflecting the worldwide diversity of Christian traditions. The Society also sees it as vitally important to learn from scholars outside those traditions, and scholars who do not identify as Christian are welcome to join as full members. Officers M. Jennifer Bloxam (Williams College), president Mark Peters (Trinity Christian College), vice president Timothy Steele (Calvin College), secretary Siegwart Reichwald (Converse College), treasurer Executive Committee, Members at Large Megan Francisco (University of Washington), student representative Deborah Justice (Cornell University) John Paul Ito (Carnegie Mellon University) Michael O’Connor (St. Michael’s College, University of Toronto) Eftychia Papanikolaou (Bowling Green State University) Joanna Smolko (University of Georgia and Athens Technical College) Joshua Waggener (Southeastern Baptist Theological Seminary) Program Committee David Heetderks (Oberlin College & Conservatory), chair Richard Strauch (Whitworth University) Emily Thelen (independent scholar) Joshua -
Bulletin January 26 2014
St. George Antiochian Orthodox Church The Reverend Father Michael Corbin, Pastor Saturday Vespers: 5:00 PM Sunday: Matins 9:00 AM Divine Liturgy 10:00 AM Great Feast Days: 6:30 PM (on eve of Feast) 1118-1122 Cherry Ave. N.E. Canton, Ohio 44704 - 1036 Church Office Phone: (330) 455-8482 Fax: (330) 455-8489 Email: [email protected] Website: stgeorgecanton.com Office Hours: Monday through Friday - 9 AM to 1 PM Fr. Michael Corbin - Home: 330-494-2261 Cell: 724-234-7562 Email: [email protected] Welcome Visitors Thank you for coming and praying with us today. In the Orthodox Church, Holy Communion is reserved for Orthodox Christians who have prepared themselves through prayer, fasting and regular confession. We invite you to introduce yourself to Fr. Michael at the end of the Liturgy and receive a piece of the blessed bread (Antidoron). We look forward to seeing you again and encourage you to learn more about the Orthodox Faith. January 26, 2014 Thirty-Second Sunday of Pentecost & Fifteenth Sunday of Luke (“Zacchaeus”) Venerable Xenophon, his wife, Mary, and their two sons, Arkadios and John, of Constantinople; Translation of the relics of Venerable Theodore the Studite Holy Bread is offered by: Sadie Gazil and Samira Abood for the health of Sadie M. Gazil, Samira, Fahid and Kelly Abood, Darleen, Pete, Mila and Luke Schiavo, Abood Family and Rizkallah Family. In memory of: George, Asaff, Rashidie, Dr. Samuel Abood, Joseph Gazil, George and Rasmie Rizkallah and John Hoaud. Prayers at the table of oblation are offered by: Shafeeka Shaheen for the health of the children of the late Naseeb and Jenna Shaheen and their family.