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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. -
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. -
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…”). -
(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. -
TYPIKON (Arranged by Rev
TYPIKON (Arranged by Rev. Taras Chaparin) March 2016 Sunday, March 26 4th Sunday of Great Lent Commemoration of Saint John of the Ladder (Climacus). Synaxis of the Holy Archangel Gabriel. Tone 4. Matins Gospel I. Liturgy of St. Basil the Great. Bright vestments. Resurrection Tropar (Tone 4); Tropar of the Annunciation; Tropar of St. John (4th Sunday); Glory/Now: Kondak of the Annunciation; Prokimen, Alleluia Verses of Resurrection (Tone 4) and of the Annunciation. Irmos, “In You, O Full of Grace…” Communion Hymn of Resurrection and of the Annunciation. Scripture readings for the 4th Sunday of Lent: Epistle: Hebrew §314 [6:13-20]. Gospel: Mark §40 [9:17-31]. In the evening: Lenten Vespers. Monday, March 27 Our Holy Mother Matrona of Thessalonica. Tuesday, March 28 Our Venerable Father Hilarion the New; the Holy Stephen, the Wonderworker (464). Wednesday, March 29 Our Venerable Father Mark, Bishop of Arethusa; the Deacon Cyril and Others Martyred during the Reign of Julian the Apostate (360-63). Dark vestments. Liturgy of the Presanctified Gifts. Scripture readings for the 5th Wednesday of Lent: Genesis 17:1-9; Proverbs 15:20-16:9. Thursday, March 30 Our Venerable Father John Climacus, Author of The Ladder of Divine Ascent (c. 649). Great Canon of St. Andrew of Crete. Friday, March 31 Our Venerable Father Hypatius, Bishop of Gangra (312-37). Dark vestments. Liturgy of the Presanctified Gifts. Scripture readings for the 5th Friday of Lent: Genesis 22:1-18; Proverbs 17:17-18:5. April 2016 Saturday, April 1 5th Saturday of Lent – Saturday of the Akathist Hymn Our Venerable Mother Mary of Egypt (527-65). -
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). -
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. -
C:\Wp8data\KB Outline
KB- KBZ Religious legal systems KB Religious law in general. Comparative religious law. Jurisprudence Including religious law periodicals Final draft stage; can be accessed in Classification Web. Publication expected by end 2002 (KBL) Hindu jurisprudence, see KNS (Law of India) KBM Jewish law Implemented at LC in May 2002;can be accessed in Classification Web. LC collection currently being reclassed. Publication expected by end 2002 KBP Islamic law Final draft stage; can be accessed in Classification Web. Currently under review by Islamic law experts. Publication expected early in 2003 KBQ Buddhist law KBR-KBX Law of Christian denominations KBR History of canon law Published in 2002 KBS Canon law of Eastern churches Tables currently under development. Publication expected in 2003 Class here works on Eastern canon law, i.e. the law governing Orthodox Eastern, Oriental Orthodox and Nestorian churches For canon law of Catholic Churches of the oriental rites, see KBV General Sources. History of Sources Pre-schismatic sources (to ca. 1054), see KBR (History of canon law) Canonical collections. Codifications Greek Slavic Romanian Canonists or jurists, A-Z Oriental Orthodox Churches General Armenian Church Coptic Church Egypt Ethiopia (Abyssinia) Nestorian, Chaldean or East Syrian Church Nestorian Church of Malabar (Malabar Christians) Syrian or Jacobite Church Maronite Church KB- KBZ Religious legal systems KBR-KBX Law of Christian denominations KBS Canon law of Eastern churches - Continued Orthodox Eastern Canon Law. Nomocanon Tables currently under development. Publication expected in 2003 Class here works on the canon law of the Orthodox Eastern (schismatic) denominations Syrian (Melkite) Churches Constantinople Alexandria Antioch Jerusalem Church of Cyprus Russian Church By region or country Church of Greece.