Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

Analogies in Melodies of Early Christian Liturgical Chant Originating From Different Cultural Domains

EUGENE KINDLER Department of Informatics and Computers University of Ostrava CZ-701 03 Ostrava, street 30. dubna, no. 22, CZECH REPUBLIC [email protected]

Abstract: The paper is oriented to a description of analogies existing in melodies of early liturgical chants originated in different geographical and language arrays, namely in Latin, Greek, Armenian and Old Church Slavonic. Under the term early liturgical chant, homophonic chant in free rhythm is considered, i.e. chant originated in the first millennium.

Key-Words: Gregorian chant, Byzantine, Armenian, Slavonic chant, Early Christian liturgical melodies

1 Introduction man in the research of Byzantine chant, E. Wellesz, in Czech country exists in a special historical situation. Its his book “Eastern Elements in Western Chant“ [1]. capital Prague was the capital of the First Czechoslovak Nevertheless, when one really sings music of this sort, republic (existing during 1918-1939) that covered Czech other aspects crop forth (and among them analogies in country (Bohemia), Moravia, Southern Silesia, Slovakia melody) but the most efficient is leading a choir that and Ruthenia. 1100 years ago, at the beginning of the performs such music and possibly singing with it. Since historic epoch of this region, the division line between 1963, the author of the present paper has been a director West (Latin) Europe and East (Byzantine) Europe led of a small choir oriented especially for the chant to that there and left there a cultural legacy that has existed until the paper is oriented. The choir begun with Latin compo- nowadays. Despite of the movement of that division line sitions (namely Gregorian chant), in 1967 added Byzant- during the following centuries, it remained in the ine chant, in 1981 Armenian chant and a bit Chaldaean mentioned region and during the existence of the First (Nestorian) compositions, and in 1988 chants of palaeo- Czechoslovak Republic it even was almost identical with Russian kondakaria. As the choir existed in Prague, it the division line that separated Ruthenia from the other was natural that it was familiar with early Czech and countries of this Republic. Thus one could speak on Polish chants (note that their number was rather small “Latin part” and “Byzantine part” of this Republic. because the real Slavic musical culture begun not earlier Especially during the existence of this Republic, migrat- than in the X. century). ion and many cultural and religious contacts of both the Note that all the mentioned form of the chant are parts took place. That mirrored in many aspects, which homophonic and in free rhythm. Free rhythm is not an outlasted even nowadays, when the division line and absence of rhythm but a certain “ordering in time”. The Ruthenia are far away to the east. One of the aspects is a system of that rhythm (and a skeleton for the next deve- certain comprehension for the true culture that rooted in lopment of its further studies) was presented by the so the Byzantine World, comprehension that takes that called School of Solesmes in [2] and in a rather popular culture much higher as the mere folklore, contrary to that way in [3]-[5]. This system is very similar to the system the comprehension exists at the domain that traditionally of forming phrases in English or mathematical formulas belongs to the Latin Europe. It concerns the comprehen- and/or statements of programming languages and can be sion for music, especially for music that – in the far exactly described with use of context-free grammars [6], history – rooted in the common sources for both the [7]. It was based on hierarchical and recursive forming “Europes”, i.e. in the Greek-Roman civilization and in of components of phrases, beginning from “atoms” cal- Christian world viewing. led primary times (tempora prima in Latin, protoi chro- One of the fruits of that comprehension is discovering noi in Greek), i.e. tones that are indivisible and all take similar movements of melodies in compositions arisen in the same duration value, excepting some of them that different geographic regions and consequently based on should be take about 50 percent of primary time more. texts in different languages. One can discover some of The School of Solesmes method was essentially en- them when studying music sheets and manuscripts with riched in the second half of the XX. century by a so cal- musical signs. That was well illustrated by the grand old- led semiology attempt [8]. Especially in rhythm, the idea of the equality of the primary times was abandoned, sup-

ISSN: 1790-5095 45 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

posing that the real duration if any primary time is deter- The second composition is also of Byzantine origine and mined by complex rules following special graphical pro- also used at imperial court; it is a part of an acclamation perties of the corresponding early neumes. While the in honor of emperor Manuel II. The acclamation begins attempts of the Solesmes School and of the semiology with word Πολυχρόνιον (Polychronion) after that the were discovered for Latin chant, almost contemporarily following part follows: similar attempts were applied to the Byzantine chant (a certain analogy to the Solesmes School can be seen e.g. in [9], that to the semiology was expressed in [10]). Both the Latin chant and the Byzantine one allowed ποι-ή-σαι ‘ο Θε -ος την ‘α-γι-αν only small deviations from the standard (i.e. mean) dura- The third object is a part of Kyrie eleison used in Roman tion of the primary time. Early Armenian and Chaldaean Eucharist liturgy (XIV. Kyrie, called Jesu Redemptor, (Nestorian, East-Syrian) chants offer tones of great diffe- see [12], page 54): rences in their duration, existing one beside the other (e.g. a half note followed or preceded by a semiquaver, e.g. [11]) . If one tried to understand the half note as a … ligature of 8 semiquavers considered as primary times, Kýri-e ------e ------lé - i-son. the flow of the given melody always ran illogically, The next illustration was presented in [13] and [14] and constrainedly and embarrassedly. But in case one con- shows similar melodies of the identical Greek texts used sidered the half note as a primary time with great ritar- in Byzantine liturgy almost every day while in Roman li- dando, the produced melody got a good form and flow. turgy only on Good Friday:

: 2 Results from Abroad In some books, one can notice information on some ‘Ά -γι -ος ‘ο Θε - ός. analogies between chants on Latin and Greek-Byzantine ‘Ά -γι -ος ’Ισ-χυ -ρός. texts. Paradoxically, only one concrete example is : presented in [1], contrary to the title of the book, the contents of which is oriented mainly to the Eastern chant Há-gi - os o The-ós. influence to the Western chant (the book is oriented Há-gi - os Is-chy-rós. mainly to the general formal aspects than to the parti- Note that the Byzantine melody presented here was not cular examples). The mentioned example is the analogy used generally; its record comes only from XIV. century, between the beginning parts of the Byzantine 40th Idio- while the melody common in the Middle Ages, present- melion of rite and the Gregorian Antiphon to Magnificat, ed in [14], is quite different from that Roman. both for the Christmas Day ([12], page 413):

… 3 Other Latin-Greek Analogies Hó-di - e Chrí - stus ná - tus est … Similarly as the preceding section, the present one is dedicated to melodic analogies between Latin and Greek … medieval chant. The last term must be put more precise- ly, namely in the sense that it covers medieval Greek- Σήμερον ‘ο Χρισ-τόσ ’εν Βηϑ-λε - έμ … Byzantine chant and so called Syro-Byzantine chant, i.e. Note that the texts are similar, too: Today Christ is born the chant arisen in Islamic Syria in Christian minorities (Latin) and Today Christ in Bethlehem (Greek). using Byzantine liturgy, Greek language and Byzantine The same author, E. Wellesz, but in a different publi- musical aesthetics. Note that after the collapse of icono- cation [9], presents another group of compositions with clasm the authors of the Syro-Byzantine chant (John of similar motifs (marked with sign ). The first com- Damascus, Cosmas of Mayuma and Cosmas of Magna position is a Polychronion (honor) of emperor John VII; Graecia) were accepted as big names of Greek-Byzan- note that though the Byzantine imperial ritual was not a tine theology and culture. The present section is not ori- part of universal Christian liturgy it had a certain litur- ented to Melchite chant (that of the Byzantine rite in Sy- gical vein and its musical forms followed the formal riac and partially in Arabic) and to the chant of Byzan- properties of the chant applied for the Christian liturgy: tine-Slavic liturgy (on it, see section 4). The term Latin chant can be red as Gregorian chant (small exceptions are in 2.2), because no particular analogies existing in Πολ-λά τα` ‘έ -τη τˆω ν βα - σι - λέ-ον Ambrosian rite or Mozarabic one have been found.

ISSN: 1790-5095 46 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

3.1 Greek Acclamations in Latin Wholes The motif is that used in the Byzantine Canons but trans- Examples presented in section 2 show that the great- posed to the “ordinary” level of the authentic Dorian est anticipation of melodic analogies Latin/Greek is in mode, i.e. ending by re. Note that the same rhythms of Greek texts accepted into Latin liturgy. It is legitimate, both the versions were recorded in quite different notat- because their air used by Greeks offered to be transferred ion systems: the Latin one is analog while the Byzantine together with the words. So one can notice other analo- one is digital. gies in Gregorian versions of Kyrie eleison. The most Another example concerned Kyrie XVI of Kyriale striking ones concern two of them, namely Cuntipotens Romanum ([12], page 59). This chant is in the authentic Genitor Deus ([12], page 25) and Summe Deus ([12], Phrygian mode and its form is a rather simple recitation page 80). Both of them are in the authentic Dorian mode, around the dominant si: three times Kyrie eleison, three i.e. mode with tonic (final tone) re and with dominant times Christe eleison and twice Kyrie eleison sung at the (“tenor”) la and satisfy a lot of custom practices existing same air as the beginning one: at the other chant in that mode, excepting one of the most important: their end tone is la and not re! Ký-ri - e e-lé-i-son. Chrí-ste e-lé-i-son.

Ký - ri - e e ------lé-i-son As a rule, the whole composition should end by further part sung on text Kyrie eleison, the melody of which would be equal or similar to the forgoing ones. Contrary to that expectation, air of word eleison of the last part is Ký-ri - e e ------lé-i-son very different and surprisingly descends to the tonic re: The answer why such an irregularity exists (among hundreds of Dorian authentic Gregorian chants that end correctly, i.e. by re) consists in the fact that there is a lot of Byzantine compositions (namely) so called canons in Ký-ri - e e -lé - i - son. Dorian authentic mode, which end also by la. As an A very clear understanding of such a reverse give many example the so called Golden Kanon [9] written by St. Byzantine chants in Phrygian mode; their end motif is John of Damascus can serve, seven parts (odes) of eights ones of which ends so, while only one ends by re. See the end motifs of the first, second and last odes: For example, the book [15] contains 60 chants in Phrygian mode and 20 of them are concluded just by the mentioned motif. ‘ε -πι -νί -κι -ον ’ά - δον-τας. There is another Gregorian melody of chant Kyrie for ’εν ‘ω~ στε-ρε-ού - με - ϑα. the Roman liturgy having a significant analogy to a ’ε -γέρσει του~ τό-κου σου. Byzantine composition. That composition is one of the Eothina (Morning hymns) composed by Emperor Leo And – as an illustration of the proximity – let us the Wise (+917). Its concluding phrase is present the beginning phrase of the last ode of the same composition:

δι’ ‘˜η ------ς ’ε - λέ - ησον‛η-μâς

Φωτίζου, φωτίζου, ‘η νέ -α ‘Ι - ε -ρουσα-λήμ. while the Gregorian composition denominated Kyrie Rex splendens ([12], page 34) begins as follows: The similarity with the conclusion phrase of Kyrie Cunctipotens Genitor Deus is striking. In the treasure of Gregorian chant, there is another melody of Kyrie, namely Clemens Rector ([12], page Ký-ri - e 79), which is also in the authentic Dorian mode and which ends “legally” by re. Interesting is that the melody of the word eleison of five of its nine invocations Kyrie eleison and Christe eleison is 3.2 Latin Words with Byzantine Melody Beside Greek words like Agios o Theos (section 2) or Kyrie eleison (section 2 and 3.1), there are purely Latin texts that carry a Byzantine melody in Gregorian chat. e - - - - le - i-son. Beside Hodie (see section 2), one can notice important

ISSN: 1790-5095 47 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

analogy in the musicalization of laments, or – more Some other analogies between Byzantine chant and realistically – of sobs. In Gregorian chant as well as in Latin one are presented in the next sections, because Byzantine chant, the sobs are modeled by ascending through Byzantine chant they end in Slavic chant and/or half-tone. A typical example offers the Latin communion in Armenian one. sung on the memory of Bethlehem boys killed by Herod, at word ululatus, i.e. lamentation: at the same chant there are other 4 Analogies in Slavic Chants instances of that model (see [12], u - lu - lá - tus It is evident that the early chant used in Byzantine rite page 439), but let us present other Latin chants with it. A with the old-Slavic language was almost identical with lot of those motifs occur in Gregorian Communion for its pattern in Greek. Beside some rather general essays the Tuesday after the Palm Sunday ([12], page 614), the like [16] and [17], there are certain particular transcript- first phrase of which is as follows (the syllables carrying ions, among which there is a comprehensive edition of the characteristic half-tones are underlined): hypakoes from Palaeo-Russian kondakars [18]. One of the hypakoes there published is not only very similar to its Greek analogy but both of them begin with a certain Advérsum me ex - er - ce - bán-tur, qui se- motif initiating psalmodic verses joined to Gregorian Introits in the authentic mixolydian mode ([12] contains 18 Introits in that mode, [19] even 21, but only 19 of them are of early medieval origin, and according [20], -dé-bant in por - ta: et in me psal-lé -bant page 297, the traditional Roman Graduel contains 27 Introits in that mode). In the next picture, one can see the beginning of the Palaeo-Russian version, then the corre- qui bi-bé-bant vi - num… sponding part of its Greek-Byzantine pattern and the beginning of a psalmody to the introit for the third For to complete an impression, let us present English Christmas mass ([12], page 408): translation of the presented text: Those who sat in the city portal connived against me, and those who drank wine sang on me. Another example of Gregorian chant treasure is the Offertory ([12], page 602) composed for Τα` τ ηˆˆ σ σ η σ πα-ρά-δο - ξου the Palm Sunday. Its second phrase is as follows:

Tvo-ye - - mu pre-sla-vye - no - mu et su-stí - - - nu - - - i qui si - - - -mul

Can - tá - te Dó-mi-no cánticum no-vum con - tri -sta-ré - - tur … Beside the Slavic nations and regions that developed In English the words would be And I looked for someone under Byzantine tradition, there are those existed and who would mourn with me. developed under Latin one (though at the beginning of The same ascending half-tone motif of sobbing occurs their history, Byzantine influence can be watched there). in Byzantine chant. For example, St. Mary Magdalene’s For seeing the melodic analogies, let us turn attention to Elegy [9] is a chant for the Wednesday after the Palm the ascending quart that exists in the beginning of many Sunday and its words express Magdalene’s remorse just Latin and Byzantine chants (it was a suitable expression after her conversion. The whole chant contains 36 in- of lifting the mind up). Thus the 4th ode of the Golden stances of the mentioned motif. An illustration of it: Canon (see section 3.1) begins as follows:

δέξαι μου τα` ς πηγα` ς των δακρύων, ’Ε -π`ι τηˆ ς ϑεί - ας φυ-λα-κηˆ ς The conspicuous quart process is marked by underlining its text. And an example of Gregorian chant, namely ‘ο νε -φέ-λαις στημω-νίζον τηˆ σ ϑαλάσσης Agnus XII ([12], page 53):

The text is a part of a phrase that sounds in English: Accept from me flows of tears, you, who divide the clouds by sea water! Ag - nus De-i

ISSN: 1790-5095 48 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

The second oldest Czech musical monument, hymn to candle), the melody of which is adapted from the ekpho- St. Wenceslas, begins as follows: netic chant: The Czech text should be read Svahtee Vahtslavea. Note that the hymn contains 5 strophes and Svatý Vác-la - ve Ex-súltet jam angélica túrba caelórum; excepting the first one, in each of it this motif is re- peated, sung always at two different texts. The oldest Polish musical monument, Bogurodzitsa (Mother of the God, read Bogoorogeetsah) begins also exsúl-tent di-ví-na mysté -ri -a;… by the mentioned quart: Also these motifs repeat in the continuation of the chant. For a better intelligibility And now let us present the oldest Czech musical the Latin example and the Bo-gu-ro-dzi - - ca monument Hospodine pomiluj ny: Polish one are presented so that they are transposed on a quint up. Each of the men- tioned four chants is in Dorian mode. For to understand the analogies between the oldest Hospodi-ne, pomi - luj ny, Je-su Kri-ste, Czech musical monument known at the present time, let us turn to so called ekphonetic chant; it is an ornamented recitative applied in Byzantine rite namely for presentat- po-mi - luj ny. Ty Spase vše-ho mi- ra, ion of sacred texts. It subjected to special system of mu- sical signs. The following example is the announcing of gospel presentation: spasiž ny i u - slyš, Hospo-di-ne, hla- sy

’Εκ τουˆ κα-τα` Μαρκον` ‘α -γί-ου ’ευ-αν- našě, daj nam všěm Hospodine žizň a

γέ -λι - - - - oυ το ’α-νά -γνοσ - μα. mir v ze -mi. Kr-leš, Kr-leš, Kr-leš. With such formulas, the presentation of the gospel goes on. The extension and influence of recitative using the The analogy with ekphonetic chant is evident. just presented formulas led even the author St. John of Damascus to use it in his most famous composition Golden Kanon (see 3.1), namely in its first ode; although 5 Analogies in Early Armenian Chant the Kanon is in the authentic Dorian mode for that the In the early Armenian liturgical chant there are intere- characteristic tones are dominant la and tonic re, the sting analogies with melodies practiced at Latin and/or central phrase of the first ode follows the mentioned Byzantine texts (note that some of those Armenian ekphonetic chant and – in the academic sense of words – chants – namely Taghs – were originally not composed illogically oscillates around upper do. In the beginning for liturgical purposes and only some time after were part of the first strophe of that ode, the text of the ekpho- accepted for the Armenian liturgy). One example gives netic passage is underlined: tagh composed by St. Gregory of Narek (Narekaci, +1003); it begins as follows:

’Αναστάσεως ‛ημέρα λαμπρυνϑωμεν λαοί, Ha-voon, ha ------The similarity with the first illustration presented in sub- section 3.1 (Kyrie Cunctipotens Genitor Deus) and with Πάσχα Κυ-ρί-ου, Πάσχα; ’εκ γαρ ϑανάτου προσ the second Byzantine illustration of the same section (Φωτίζου, φωτίζου) is evident. But there are striking melodic analogies that cover the ζω - ήν και  ’εκ γησ προσ Ουρα -νόν, Χρι … early Armenian chant together with the Latin, Byzantine and even Slavic melodic patterns. One of them is another The next example is of Roman liturgy for Easter Eve, Tagh composed by Aristakes Kharpertsi (of Kharpert): (the beginning of the chant to hallowing the Easter

ISSN: 1790-5095 49 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

hymns (idiomela) for Christmas, composed by famous composer Romanos Melodos who lived in the VI. cen- Ha -vik mi ------tury (born in Lebanon, during his most productive phase It evokes all three components presented as the first ex- of life he dwelt in Constantinople): ample in section 4. And a bit similar recognition can be caused by the formula frequently used in the Armenian rite, among other in the Creed presentation during the ’εν ’αν-ϑρώ-ποις ’ευ - δο - κί-α Patarag (Armenian Eucharist liturgy). Here it is applied Note that there are other Byzantine compositions with a as it is sung during the Morning office: similar ending, among other Σήμερον presented as the first Byzantine example in section 2; among the tones of its termination, the last but two one (fa) is missing. Hasyalks i zham yeregoyees amenekyan hamparnalov The same pagan composer Mesomedes composed another hymn, that on Nemesis. It consists of 20 verses of the same rhythmical structure as those of the Hymn on Helios, which are grouped into three sections. The tsers mer haravoremk əs khez Der Astvac mer last section begins as follows: The melody has analogies in the Byzantine ekphonetic chant, in the Latin chant Exsultet and in the first Czech musical monument (see section 4). ‛ Υ-λα-ϑι μάκαιρα δι-κα-σπòλε

6 Appendix – Analogies in Pre-Christian Music Νέ-με-σι πτερό-εσσα βί-ου ‛ροπα  The analogies existing among melodies of Christian Already the author of [20] brings forward (page 419) rites of different linguistic and geographic bases may that the Gregorian Kyrie Rex Genitor ([12], page 31) originate in common patterns occurring in pre-Christian begins with the melody that originated from the just music. Concerning the Jewish roots, book [22] is often referred one by ornamenting the recitatives at do: quoted and recommended as a rich source of information on the Semitic kernels of Christian liturgical chant, but though it contains much information on some aspects Ký-ri - e relating to what is commonly understood as musical forms, no essential melodic analogies between the Jewish and Christian ritual chants are presented. The other branch that could be considered as stimulus e ------lé - i - son. for development of early Christian chant is that of pre- There is another composition written by Mesomedes, Christian culture of Greeks and Romans. Unfortunately namely a hymn to Calliope and Apollo. Its final passage very small number of compositions of that culture was preserved in so good state that they can testify on their melodies. Nevertheless, it is interesting that each of six compositions that are surely of the mentioned origin and ευ-με-νεις πά-ρεστέ μοι that can be deciphered in satisfactory way, have melodic resembles many motifs used in Gregorian chant. The analogies in Christian chant. So Hymn on Helios com- most famous, reminded also by some composers of the posed by Mesomedes of Crete in the first half of the II. baroque epoch and later, is the Hallelujah, vocalized by century A. D. in Rome consists of 19 verses of the same the celebrant trice (in ascending steps) at the Easter mid- rhythmical structure, of which the last one and the 17th night as the announcement of Christ’s resurrection: one have the following melody:

Al-le ------lú - - - - - ia - - - - - … λευ - κων ‘υ-πο σύρ-μα - σι μόσ -χον πο-λυ-εί-μο-να κόσ-μον ‘ε - λίσ - σων The same motif, but in a rather simplified context, occurs at the beginning of another Gregorian chant relat- The last seven tones of the presented termination are the ed to the Easter feast, too (a morning office antiphon): same ones as those applied in chant one of the Byzantine

ISSN: 1790-5095 50 ISBN: 978-960-474-061-1 Proceedings of the 10th WSEAS International Conference on ACOUSTICS & MUSIC: THEORY & APPLICATIONS

systematic research – in future. The importance of the results should overpass the domain of musicology, as it could help to better experience and understanding among Al-le-lú -ia, al - le-lú -ia, al - le - lú-i - a. the nations, regions and countries, which is a priori not

limited for economic relations. Moreover, the same motif is applied to conclude some of certain internal phrase in many Gradualia, which are chants differing one from the others according to the References: calendar in texts and in melody. Some examples of [1] E. Wellesz, Eastern Elements in Western Chant, phrases concluding with a disyllabic word: Monumenta Musicae Byzantinae, Subsidia, Oxford – Boston, 1946 [2] Dom. A. Mocquereau, Le nombre Musical grégo- no - - - - - men rien ou Rhytmique grégorienne. Desclée, Tournai – tu - - - - - am Rome, 1908 (Tome I) and 1927 (Tome II) mi - - - - - hi [3] Dom G. Suñol, Metodo Completo di Canto Grego- riano, Desclée, Rome, 1905 The following two analogies are known almost for a [4] Dom G. Suñol, Text Book of Gregorian Chant Ac- century (see e.g. [23]). There are two hymns composed cording to the Solesmes Method. Desclée, Tournai, in honor of Apollo and sculptured with musical sign at 1930 the treasury of Athenians in Delphi around 130 B.C. [5] Dom G. Suñol, Método completo de Canto Grego- Both of them contain the same motif as the common one riano según la escuela de Solesmes, Monasterio de repeated many times in the sung “Prefaces” occurring in Monserrat, 1943 very Eucharist liturgy of Roman rite. Let us look at a [6] E. Kindler, Mathematical theory of free rhythm. typical beginning of such a Preface and of the analogous Kybernetika, Vol. 11, No. 3, 1975, pp. 223-233 motif of the second Delphic hymn: [7] E. Kindler, Grammar of free rhythm. In: Acta Uni- .... versitatis Carolinae Philosophica – Linguistica Ge- neralia IV. Charles University, Prague, 1985, pp. Vere dignum .... aequum et sa - lu - tá - re 171-179 [8] E. Cardine, Semiologia Gregoriana. Roma 1968 [9] E. Wellesz, History of Byzantine Music and Hymno- graphy. Oxford University Press, 1949 (1st edition), ιτ’ ’επι  τηλεσκοπον ταα νδε παρ(νασσιαν) 1961 (2nd revised and enlarged edition), 1962 (re- The other analogy exists between the beginning of a print of the 2nd edition) Greek song sculpted at the tombstone of a certain [10] B. di Salvo, Oral communication to the author. Ba- Seikilos in Asia Minor (near Ephesus) and a Gregorian dia di Grottaferrata, 1970 antiphon Hosánna Fílio David. The pair is striking not [11] R. Athajan (editor), Hay Midzhnadaryan Tagher (in only because of the melodic flow but also by pronounced Armenian – Armenian Medieval Taghs). Hayastan, syllables Hoson – Hosánna: Yerevan, 1971 [12] Liber usualis missae et officii. Desclée, 1964 [13] K. Levi, The Trisagion in Byzantium and the West. In: Report of the Eleventh Congress of the Internat- ‛Ο-σον ζησ φαι - νου ional Musicological Society, Copenhagen, 1972, p. 765 [14] D. Conomos, Byzantine Hymnography and Byzan- Ho-sán-na Fí -li -o Da-vid tine Chant. Hellenic College Press, Brooklin, 1984 [15] L. Tardo, L’ottoeco dei MSS. melurgici. S. Nilo, Grottaferrata, 1955 4 Conclusion [16] R. Palikarova Verdeuil, La musique Byzantine chez les Bulgares et les Russes (du IX au XII siècle). The treasure of the liturgical chant of the first Munksgaard, Copenhagen, 1953 millennium A. D. is much larger than to be explored by [17] M. M. Velimirovič, Byzantine Elements in Early one generation. Thus it is evident that the list of the Slavic chant: The Hirmologion. Munksgaard, analogies presented in this paper is far from being Copenhagen, 1960 complete and that it is fair to suppose that many other [18] C. Floros, Die Entzifferung der Kondakarien-Notat- analogies will be discovered – either occasionally or in a ion. Musik des Ostens. Bärenreiter, Kassel, Vol. 3

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1965, pp. 7-71 (Part I) and Vol. 4, 1967, pp. 12-44 ments on St. Wenceslas – in Czech). Prague, 1937 (Part II) [22] E. Werner, The Sacred Bridge. Columbia Univer- [19] Graduale Romanum Pauli PP. VI. Desclée, 1974 sity Press, 1959 (1st edition), Da Capo Press, 1979 [20] D. Johner, Word und Ton im Choral. Breitkopf und (2nd edition) Härtel, 1940 (1st edition), 1953 (2nd edition) [23] A. Gastoué, L’église et la musique. Grasset, Paris, [21] D. Orel, Hudební prvky svatováclavské (Music ele- 1936 (3th edition)

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