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ARTES. JOURNAL of MUSICOLOGY Vol
“GEORGE ENESCU” NATIONAL UNIVERSITY OF ARTS IAŞI FACULTY OF PERFORMANCE, COMPOSITION AND MUSIC THEORY STUDIES RESEARCH CENTER “THE SCIENCE OF MUSIC” DOCTORAL SCHOOL – MUSIC FIELD ARTES. JOURNAL OF MUSICOLOGY vol. 23-24 ARTES 2021 RESEARCH CENTER “THE SCIENCE OF MUSIC” ARTES. JOURNAL OF MUSICOLOGY Editor-in-chief – Prof. PhD Laura Vasiliu, “George Enescu” National University of Arts, Iași, Romania Senior editor – Prof. PhD Liliana Gherman, “George Enescu” National University of Arts, Iași, Romania SCIENTIFIC COMMITTEE Prof. PhD Gheorghe Duțică, “George Enescu” National University of Arts, Iași, Romania Prof. PhD Maria Alexandru, “Aristotle” University of Thessaloniki, Greece Prof. PhD Valentina Sandu-Dediu, National University of Music Bucharest, Romania Prof. PhD Pavel Pușcaș, “Gheorghe Dima” National Music Academy, Cluj-Napoca, Romania Prof. PhD Mirjana Veselinović-Hofman, University of Arts in Belgrade, Serbia Prof. PhD Victoria Melnic, Academy of Music, Theatre and Fine Arts, Chișinău, Republic of Moldova Prof. PhD Violeta Dinescu, “Carl von Ossietzky” Universität Oldenburg, Germany Prof. PhD Nikos Maliaras, National and Kapodistrian University of Athens, Greece Lect. PhD Emmanouil Giannopoulos, “Aristotle” University of Thessaloniki, Greece EDITORS Assoc. Prof. PhD Irina Zamfira Dănilă, “George Enescu” National University of Arts, Iași, Romania Assoc. Prof. PhD Diana-Beatrice Andron, “George Enescu” National University of Arts, Iași, Romania Lect. PhD Rosina Caterina Filimon, “George Enescu” National University of Arts, Iași, Romania Assoc. Prof. PhD Gabriela Vlahopol, “George Enescu” National University of Arts, Iași, Romania Assist. Prof. PhD Mihaela-Georgiana Balan, “George Enescu” National University of Arts, Iași, Romania ISSN 2344-3871 ISSN-L 2344-3871 Translators: PhD Emanuel Vasiliu Assist. Prof. Maria Cristina Misievici DTP Ing. -
THE TIPIC for JANUARY 1 SUNDAY Circumcision of Our Lord. Sunday Before Theophany. St. Basil the Great. Tone 3. Mat. Gos. 6. Combine Octoechos and Menaion
2 0 1 7 THE TIPIC FOR JANUARY 1 SUNDAY Circumcision of Our Lord. Sunday before Theophany. St. Basil the Great. Tone 3. Mat. Gos. 6. Combine Octoechos and Menaion. Great Vespers: Old Testament readings. Litia. Matins: Polyeleos. Megalinaria of the Feast and the Saint. Gos. John 10:9 –16. Katavasia of Theophany. In place of “More Honorable” sing Ode 9 from Menaion. Great Doxology. Tropar of Saint (Tone 1), “Glory... Now and Ever...” Tropar of Feast. Liturgy of St. Basil: Regular Antiphons. “Holy God.” Epis. Colossians 2:8–12; Hebrews 13:17-21; 2 Timothy 4:5-8. Gos. Luke 2:20–21; 40 –52; Mark 1:1-8. Axion: “In you o woman full of grace”. After the Divine Liturgy, Thanksgiving Service for the New Year. 5 THURSDAY Eve of Theophany. Royal Hours. Vesperal Liturgy of St. Basil. After the final Old Testament reading, Little Litany with exclamation: “For holy is our God...” and enter the Liturgy with “Holy God.” Axion: “In you o woman full of grace.” Great Blessing of Waters. Thursday evening: Great Compline with Litia. 6 FRIDAY Holy Theophany. Follow Menaion. Matins: Gos. Mark 1:9–11. Katavasia of Theophany. In place of “More honorable,” sing Irmos of Ode 9. Praises. Great Doxology. Liturgy of St. John: Festal Antiphons. Special Entrance hymn. In place of “Holy God,” sing “All baptized in Christ”. Epis. Titus 2:11–14; 3:4–7. Gos. Matthew 3:13–17. Axion: Irmos of Ode 9 of Theophany Canon. Great Blessing of Waters. 7 SATURDAY St. John the Forerunner and Baptizer. -
UNIVERSITY of CALIFORNIA Los Angeles Byzantine Liturgy and The
UNIVERSITY OF CALIFORNIA Los Angeles Byzantine Liturgy and the Primary Chronicle A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Slavic Languages and Literatures by Sean Delaine Griffin 2014 ABSTRACT OF THE DISSERTATION Byzantine Liturgy and the Primary Chronicle by Sean Delaine Griffin Doctor of Philosophy in Slavic Languages and Literatures University of California, Los Angeles, 2014 Professor Gail Lenhoff, Chair The monastic chroniclers of medieval Rus’ lived in a liturgical world. Morning, evening and night they prayed the “divine services” of the Byzantine Church, and this study is the first to examine how these rituals shaped the way they wrote and compiled the Povest’ vremennykh let (Primary Chronicle, ca. 12th century), the earliest surviving East Slavic historical record. My principal argument is that several foundational accounts of East Slavic history—including the tales of the baptism of Princess Ol’ga and her burial, Prince Vladimir’s conversion, the mass baptism of Rus’, and the martyrdom of Princes Boris and Gleb—have their source in the feasts of the liturgical year. The liturgy of the Eastern Church proclaimed a distinctively Byzantine myth of Christian origins: a sacred narrative about the conversion of the Roman Empire, the glorification of the emperor Constantine and empress Helen, and the victory of Christianity over paganism. In the decades following the conversion of Rus’, the chroniclers in Kiev learned these narratives from the church services and patterned their own tales of Christianization after them. The ii result was a myth of Christian origins for Rus’—a myth promulgated even today by the Russian Orthodox Church—that reproduced the myth of Christian origins for the Eastern Roman Empire articulated in the Byzantine rite. -
7Th Sunday After Pentecost Sunday of the Holy Fathers of the First Six Ecumenical Councils
1 7th Sunday after Pentecost Sunday of the Holy Fathers of the First Six Ecumenical Councils VESPERS: Tone 6 P. Regular Beginning C. Lord I have cried... 1. O Christ, triumphant over hell,/ Thou hast ascended upon the Cross,/ to raise up with Thyself those dwelling in the darkness of death./ Free among the dead,/ Thou pourest forth life from Thine own light:// O almighty Saviour, have mercy upon us. 2. Christ, having trampled upon death today,/ according to His word, rose up bestowing joy upon the world,/ that all of us shouting this hymn might say:/ O Fount of life, O Light that no man can approach,// O almighty Saviour, have mercy upon us. 3. Whither shall we sinners fly from Thee, O Lord,/ Who art everywhere in the creation?/ Into heaven? Thy abode is there./ Into hell? Thou hast trampled upon death./ Into the uttermost parts of the sea?/ Thy hand reaches thither, O Master./ We run to Thee and falling before Thee we pray:// O Thou, risen from the dead, have mercy upon us. Stichera for the Holy Fathers (Tone 6) 5/6 Before the ages Thou wast begotten of the womb of the Father without mother/ before the morning star;/ yet Arius calleth Thee a creature, refusing to glorify Thee as God,/ with audacity mindlessly confusing Thee, the Creator, with a creature,/ laying up for himself fuel for the everlasting fire./ But the Council in Nicaea proclaimed Thee to be the Son of God,// Who art equally enthroned with the Father and the Spirit. 7/8 Wisely did ye mend the robe of Christ/ which had been rent and torn by the jaws of dogs, O honoured fathers,/ unable to endure the sight of His nakedness,/ as of old Shem and Japheth could not bear to see their father’s nakedness./ And ye put to shame the mindlessness of those of like mind with Arius,// the namesake of wrath. -
Matins of Great and Holy Saturday (Friday Night)
Matins of Great and Holy Saturday (Friday Night) The priest, vested in a dark epitrachelion, opens the curtain, takes the censer, and begins: Priest: Blessed is our God always, now and ever and unto ages of ages. Reader: Amen. Glory to Thee, O God; glory to Thee! While the following prayers are being read, the priest censes the altar, the sanctuary, and the people. Reader: O Heavenly King, the Comforter, the Spirit of Truth, Who art everywhere and fillest all things, Treasury of blessings, and Giver of Life, come and abide in us, and cleanse us from every impurity, and save our souls, O Good One. Holy God, Holy Mighty, Holy Immortal, have mercy on us! (3) Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen. O most-holy Trinity, have mercy on us. O Lord, cleanse us from our sins. O Master, pardon our transgressions. O Holy One, visit and heal our infirmities for Thy name’s sake. Lord, have mercy. (3) Glory to the Father, and to the Son, and to the Holy Spirit, now and ever and unto ages of ages. Amen. Our Father, Who art in heaven, hallowed be Thy name. Thy Kingdom come. Thy will be done, on earth as it is in heaven. Give us this day our daily bread, and forgive us our debts as we forgive our debtors, and lead us not into temptation, but deliver us from the evil one. Priest: For Thine is the Kingdom, and the power, and the glory of the Father, and of the Son, and of the Holy Spirit, now and ever and unto ages of ages. -
November 1: Registration and Welcome Reception at the Hilton Hotel Boston Downtown Financial District
November 1: Registration and Welcome Reception at the Hilton Hotel Boston Downtown Financial District November 2 - 4: Panels, Registration and Book Exhibits will take place at Hellenic College Holy Cross campus November 2 - 3: Coaches to Hellenic College Holy Cross campus depart each morning at 8:00 a.m. from the Hilton Downtown Financial District only. Coaches for the return trip to the Hilton Downtown Financial District will depart in front of the Archbishop Iakovos Library Building after the end of the receptions. On Saturday, coaches to take participants to the Cathedral Center will depart at 1:00 p.m., also from the Archbishop Iakovos Library Building. November 2 - 4: A small exhibition of Greek, Roman and Byzantine objects from the Archbishop Iakovos Collection, curated by the Very Reverend Dr. Joachim (John) Cotsonis and Dr. Maria Kouroumali, will be on display in the Archbishop Iakovos Museum, Third Floor, Archbishop Iakovos Library Building. Opening hours of exhibition: 10:00 a.m. - 6:00 p.m. (Fri - Sat.); 10:00 a.m. - 4:00 p.m. (Sun) Thursday, November 1, 2012 Hilton Hotel Boston Downtown Financial District 5:00 p.m. - 8.00 p.m. Registration Hilton Lobby 6:30 p.m. - 7:30 p.m. The Mary Jaharis Center for Byzantine Art and Culture Informal Welcome Reception Kellogg Ballroom 8:00 - 10:00 p.m. BSANA Governing Board Meeting William Fly Room Friday, November 2, 2012 Hellenic College Holy Cross campus Continental Breakfast: 8:00 a.m. - 9.00 a.m. Maliotis Cultural Center Lobby Registration and Book Exhibits (all day) Maliotis Cultural Center Upper Wing 9:00 a.m. -
OCTOECHOS – DAY of the WEEK Tone 1 – 1St Canon – Ode 3
OCTOECHOS – DAY OF THE WEEK Tone 1 – 1st Canon – Ode 3 – Hymn to the Theotokos You conceived God in your womb through the Holy Spirit, and yet remained unconsumed, O Virgin. The bush unconsumed by the fire clearly foretold you to the lawgiver Moses for you received the Fire that cannot be endured. Monday – Vespers / Tuesday - Matins: Aposticha – Tone 1 O VIRGIN, WORTHY OF ALL PRAISE: MOSES, WITH PROPHETIC EYES, BEHELD THE MYSTERY THAT WAS TO TAKE PLACE IN YOU, AS HE SAW THE BUSH THAT BURNED, YET WAS NOT CONSUMED; FOR, THE FIRE OF DIVINITY DID NOT CONSUME YOUR WOMB, O PURE ONE. THEREFORE, WE PRAY TO YOU AS THE MOTHER OF GOD, // TO ASK PEACE, AND GREAT MERCY FOR THE WORLD. Tone 2 – Saturday Vespers & Friday Vespers (repeated) – Dogmaticon Dogmatic THE SHADOW OF THE LAW PASSED WHEN GRACE CAME. AS THE BUSH BURNED, YET WAS NOT CONSUMED, SO THE VIRGIN GAVE BIRTH, YET REMAINED A VIRGIN. THE RIGHTEOUS SUN HAS RISEN INSTEAD OF A PILLAR OF FLAME.// INSTEAD OF MOSES, CHRIST, THE SALVATION OF OUR SOULS. Tone 3 – Wed Matins – 2nd Aposticha ON THE MOUNTAIN IN THE FORM OF A CROSS, MOSES STRETCHED OUT HIS HANDS TO THE HEIGHTS AND DEFEATED AMALEK. BUT WHEN YOU SPREAD OUT YOUR PALMS ON THE PRECIOUS CROSS, O SAVIOUR, YOU TOOK ME IN YOUR EMBRACE, SAVING ME FROM ENSLAVEMENT TO THE FOE. YOU GAVE ME THE SIGN OF LIFE, TO FLEE FROM THE BOW OF MY ENEMIES. THEREFORE, O WORD, // I BOW DOWN IN WORSHIP TO YOUR PRECIOUS CROSS. Tone 4 – Irmos of the First Canon – for the Resurrection (Sat Night/Sun Morn) ODE ONE: FIRST CANON IRMOS: IN ANCIENT TIMES ISRAEL WALKED DRY-SHOD ACROSS THE RED SEA, AND MOSES, LIFTING HIS HAND IN THE FORM OF THE CROSS, PUT THE POWER OF AMALEK TO FLIGHT IN THE DESERT. -
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…”). -
Liturgy As Ethicizer: Cultivating Ecological Consciousness Through a Coptic Orthodox Liturgical Ethos
Sacred Heart University DigitalCommons@SHU Catholic Studies Faculty Publications Catholic Studies 2020 Liturgy as Ethicizer: Cultivating Ecological Consciousness through a Coptic Orthodox Liturgical Ethos Stephen M. Meawad Follow this and additional works at: https://digitalcommons.sacredheart.edu/cath_fac Part of the Christian Denominations and Sects Commons, Environmental Studies Commons, and the Ethics in Religion Commons 1 Stephen M. Meawad Liturgy as Ethicizer: Cultivating Ecological Consciousness through a Coptic Orthodox Liturgical Ethos 1 – Introduction Eastern Orthodox Christianity’s recent expression of its ecological concern has been vast and strong, evidenced by its designation of September 1st as a day of prayer for the “protection of the environment” and also through the scholarly contributions of more than a dozen theologians and religious figures, including Patriarch Bartholomew, Elizabeth Theokritoff, and John Chryssavgis.1 Much of this witness can and does extend to Oriental Orthodoxy in numerous respects.2 Among others, some examples include similarities in the doctrine of creation, proper relation to non-human animals, spiritual degradation as a precursor to ecological degradation, and extending love of neighbor to include all of creation. Yet, analyzing ways that other families of Orthodoxy conceive of the relationship between ecology and theology—a promising endeavor—has remained largely untapped contemporarily. This project will examine the liturgical ethos of the Coptic Orthodox Church and how this ethos is effective in creating self-sustaining, ecologically aware communities. A more comprehensive version of this project would develop what might be called a politeia (behavior or ethos of a given community) of the Coptic Orthodox Church that would include monasticism and asceticism; fasting; agriculture and co-stewardship; and self-sustenance. -
Constructing the Underground Community: the Letters of Theodore the Studite and the Letter of Emperors Michael Ii and Theophilos to Louis the Pious
Vladimir Baranov Novosibirsk, Russia [email protected] CONSTRUCTING THE UNDERGROUND COMMUNITY: THE LETTERS OF THEODORE THE STUDITE AND THE LETTER OF EMPERORS MICHAEL II AND THEOPHILOS TO LOUIS THE PIOUS The Le er of the Iconoclastic Emperors Michael II and Theophilos to Louis the Pious1 (dated to 824) contains a list of off ences that were allegedly commi ed by the Iconodules against what they considered the right practices of the Church. Their list includes the substitution of images in churches for crosses, taking images as godparents, using images to perform the cu ing of children’s hair and monastic habit, scraping paint of images to be added to the Eucharist or distributing the Eucharistic bread from the hands of images, as well as using panel images as altars for serving the Liturgy in ordinary houses and church- es.2 Of course, these might have been easily treated as fi ction and pro- (1) Emperor Theophilus (b. 812/813) was crowned co-Emperor in 821 by his Father Michael II (820–829), and this is why his name appears on the Let- ter. However, since in 824 he was only a 12-year old boy, for the Le er I will use the short title “Le er of Michael II.” (2) The Le er is preserved in the MGH, Leg. Sect. III, Concilia, tomus II, pars 2, Concilia aevi Karolini I (Hannover—Leipzig, 1908, repr. 1979) 475–480; Mansi, XIV, 417–422; the pertinent passage is translated in C. Mango, The Art of the Byzantine Empire 312–1453: Sources and Documents (Toronto: University of Toronto Press, 1986) 157–158. -
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. -
Glossary of Liturgical Terms
Glossary of Liturgical Terms Alleluia. (See Prokeimenon.) Antiphons. The first three hymns sung at the Divine Liturgy (Ps. 103; Ps. 146 and Only-begotten Son... the Beatitudes) are called Antiphons (steps) because they are sung in steps or stages by two Choirs singing opposite each other. Hence this type of singing in steps is called antiphonal. Apostikha. These are Stikhera accompanied by verses usually taken from the Psalms. The Apostikha is found at the end of Vespers and also at the end of Matins on ordinary weekdays. Canon. The Canon is a series of nine Canticles (or Odes) containing a number of Troparia in each, as well as a Theme Song (Irmos). The Canons are found at Matins, Compline, and certain other services in the Liturgical Cycle. Originally the nine Biblical Canticles were sung and short refrains inserted between each verse of the Canticle, but in time the Canticles themselves dropped out of general usage (except during Great Lent) and only the Theme Song (or Irmos), based on the theme of the original Canticle, and the refrains (now expanded) remained. The Second Ode is sung only as part of the Lenten Cycle and a tenth Biblical Canticle, the Magnificat is almost always sung after the Eighth Ode of the Canon. Dogmatic. This is a musical composition sung at Vespers and are so named because they speak of the dogma of the Two Natures of Christ. Ikos. This is a short composition that follows the Kontakion, between the Sixth and Seventh Odes of the Canon. Irmos. This is the Theme Song of each Ode of the Canon.