July 9Th, 2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
December 2016 Issue Of
Eastern Catholic Life Official Publication of the Byzantine Catholic Eparchy of Passaic VOL. LII, NO. 12 DECEMBER 2016 Christmas Bells Bishop Kurt’s Reflection on the Feast of the Nativity of Our Lord his book for me. When I returned to my parish in Portland, my Ukrai- nian parishioners wanted to see the autograph and touched the book like a holy relic. Here is the begin- ning of Yevtushenko’s poem “New York Taxis”: or there is one Lord, New York is all mankind in the one Faith, one Bap- same casserole. tism, one God and Don’t ask New York for mercy, Father“F of us all who is above all you’ll get cooked anyway. and through all and in all.” We read Crawling like yellow turtles, these words a few weeks ago from flying like golden bullets, the Epistle to the Ephesians—Saint New York taxis, taxis, taxis.” Paul tells us boldly that there is only (translated by Albert Todd) One Christ, and therefore all Chris- tians must be united. Nevertheless, In the English language, we have there is beauty in diversity, and that three famous poems about bells, is never more on display than at and one of them has a surprising Christmas. As all the different kinds connection with the greatest art of of Christians show off their Christ- Eastern Europe. mas traditions, it’s like a house full of exotic birds spreading out their In 1850, Alfred Lord Tennyson many-colored feathers. The differ- was made poet laureate of England, ent churches compete in a dizzying and in the same year he published a kaleidoscope of images and music. -
Download Download
Journal of the International Society for Orthodox Church Music Vol. 4 (1), Section II: Conference papers, pp. 83-97 ISSN 2342-1258 https://journal.fi/jisocm Stifling Creativity: Problems Born out of the Promulgation of the 1906 Tserkovnoje Prostopinije Fr Silouan Sloan Rolando [email protected] At the beginning of the twentieth century, the Greek Catholic Bishop of the city of Mukačevo in what is now Ukraine promulgated an anthology of Carpatho- Rusyn chant known as the Церковноє Простопѣніє (hereafter, the Prostopinije) or Ecclesiastical Plainchant. While this book follows in the tradition of printed Heirmologia found throughout the Orthodox and Greek Catholic churches of Belarus, Ukraine, and Russia starting in the sixteenth century, this book presents us with a number of issues that affect the quality and usability of this chant in both its homeland and abroad as well as in the original language, Old Church Slavonic, and in modern languages such as Ukrainian, Hungarian and English. Assuming that creativity is more than just producing new music out of thin air, the problems revealed in the Prostopinije can be a starting point the better to understand how creativity can be unintentionally stifled and what can be done to overcome these particular obstacles. A Brief History Heirmologia in this tradition are anthologies of traditional chant that developed in the emergence of the Kievan five-line notation in place of the older Znamenny neums. With the emergence of patterned chant systems variously called Kievan, Galician, Greek and Bulharski, each touting unique melodies for each tone and each element of liturgy, the Heirmologia would be augmented with these chants often replacing the older Znamenny, especially for the troparia, stichera and prokeimena of the Octoechos. -
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). -
Singing the Prostopinije Samohlasen Tones in English: a Tutorial
Singing the Prostopinije Samohlasen Tones in English: A Tutorial Metropolitan Cantor Institute Byzantine Catholic Metropolia of Pittsburgh 2006 The Prostopinije Samohlasen Melodies in English For many years, congregational singing at Vespers, Matins and the Divine Liturgy has been an important element in the Eastern Catholic and Orthodox churches of Southwestern Ukraine and the Carpathian mountain region. These notes describes one of the sets of melodies used in this singing, and how it is adapted for use in English- language parishes of the Byzantine Catholic Church in the United States. I. Responsorial Psalmody In the liturgy of the Byzantine Rite, certain psalms are sung “straight through” – that is, the verses of the psalm(s) are sung in sequence, with each psalm or group of psalms followed by a doxology (“Glory to the Father, and to the Son…”). For these psalms, the prostopinije chant uses simple recitative melodies called psalm tones. These melodies are easily applied to any text, allowing the congregation to sing the psalms from books containing only the psalm texts themselves. At certain points in the services, psalms or parts of psalms are sung with a response after each verse. These responses add variety to the service, provide a Christian “pointing” to the psalms, and allow those parts of the service to be adapted to the particular hour, day or feast being celebrated. The responses can be either fixed (one refrain used for all verses) or variable (changing from one verse to the next). Psalms with Fixed Responses An example of a psalm with a fixed response is the singing of Psalm 134 at Matins (a portion of the hymn called the Polyeleos): V. -
Sunday, January 12, 2020 – 30 Th Sunday After Pentecost, Afterfeast of the Theopany
SAINT NICHOLAS RUSSIAN ORTHODOX CHURCH 980 Bridle Path Road | Bethlehem, PA 18017-3120 | T: 610-867-0402 stnicholasoca.org Reverend Matthew Joyner, Rector Cell: 570-468-2261 Email: [email protected] Very Reverend James Mason, Attached Deacon Geoffrey LoBalbo Ms. Patty Felix, Council Chair Reader Nicholas Lezinsky, Choir Director Jennifer Bzik, Administrative Assistant Email: [email protected] Note to our Guests and Friends Visiting St. Nicholas: We offer a most sincere and heart-felt welcome to St. Nicholas Church! Please be advised that according to the ancient traditions of the Orthodox Church, the Sacrament of Holy Communion is to be administered only to Orthodox Christians who have prepared themselves to receive the Holy Sacrament. (Please note – Information to be included in next week’s bulletin must be submitted by noon on Thursday. Thank you! ~ Jennifer N. Bzik) Schedule for the Week of January 12, 2020 30th SUNDAY AFTER PENTECOST — Tone 5. Afterfeast of the Theophany. Sunday after Theophany. Martyr Tatiana of Rome and those who suffered with her (226-235). Ven. Martinian, Abbot of Belozersk (1483). Martyr Mertius of Mauretania (284-305). Martyr Peter Apselamus of Palestine (309-310). Ven. Eupraxia of Tabenna, in Egypt (393). The “AKATHIST” and “THE MILKGIVER” Icons of the Most-holy Theotokos. Icon of the Mother of God, the “Priestly”. Coffee Hour Hosted By: The Lungu Family In Honor of Mom & Dad Father Matthew’s Office Hours This Week Office Hours during house blessing season will be irregular. Please call if -
The Plainchant of the Byzantine Catholic Church
The Plainchant of the Byzantine Catholic Church Week 1: Liturgical background for this course Byzantine Catholic Seminary, Pittsburgh, Pennsylvania Instructor: Deacon Jeffrey Mierzejewski Spring 2017 What is the Byzantine Rite? • Liturgy: the organized, public liturgy of the Christian Church • Rite – a particular arrangement of the divine services, consisting of the texts and actions used in worship, and the chant that accompanies them – Roman Rite: the liturgical order of the city of Rome, used in much of the Catholic Church – Byzantine Rite: the liturgical order of the city of Constantinople, used in the Orthodox churches and most (not all) Eastern Catholic churches – Antiochene (Syrian) Rite: the liturgical order of the city of Antioch, used by Maronite, Syriac, Malabar, Malankar, and Chaldean Catholics, and well as some Oriental Orthodox churches – Alexandrian (Coptic) Rite: the liturgical order of the city of Alexandria, used by Coptic and Ethiopian Catholics and Orthodox – Jerusalem Rite: the liturgical order of the city of Jerusalem, now largely absorbed into the other Eastern Rites • Each of these rites has changed over time, and has been adapted locally by the various churches that use them. The Byzantine Catholic Church follows the Byzantine Rite, and this lecture will focus on this tradition. The Divine Praises In the Byzantine Rite, the day begins at sundown. “Thus evening came, and morning followed - the first day.” (Genesis 1:5) – At sunset: Vespers - praise for creation, and intercession for the world –Before sleep: Compline -
Program a Anotácie Referátov V
CYRILSKÁ A LATINSKÁ PÍSOMNÁ KULTÚRA BYZANTSKO-SLOVANSKEJ TRADÍCIE NA SLOVENSKU DO KONCA 18. STOROČIA Zborník anotácií Svetlana Vašíčková – Ľubomíra Wilšinská (zost.) Bratislava – Košice 2018 © Slavistický ústav Jána Stanislava Slovenskej akadémie vied © Centrum spirituality Východ-Západ Michala Lacka v Košiciach, Teologická fakulta Trnavskej univerzity tlačená brožúra ISBN 978-80-89489-36-7 EAN 9788089489367 e-dokument ISBN 978-80-89489-37-4 EAN 9788089489374 Slavistický ústav Jána Stanislava SAV Teologická fakulta Trnavskej univerzity Centrum spirituality Východ-Západ Michala Lacka v Košiciach Program konferencie Cyrilská a latinská písomná kultúra byzantsko-slovanskej tradície na Slovensku do konca 18. storočia Konferencia sa realizuje v rámci riešenia projektu podporeného Agentúrou pre výskum a vývoj s názvom Cyrilské písomníctvo na Slovensku do konca 18. storočia (číslo projektu: APVV-14-0029) Internetová stránka projektu: www.cyrslav.sav.sk Košice 23. – 27. októbra 2018 Konferencia sa uskutoční v priestoroch hotela Teledom na adrese: Timonova 27, Košice (pozri mapu na zadnej strane). Odporúčaný spôsob dopravy z Bratislavy do Košíc vlakom InterCity štyrikrát denne: IC 521: 05:43 – 10:37; cena cca 16 eur IC 523: 11:43 – 16:37; cena cca 22 eur IC 513: 15:46 – 20:21; cena cca 22 eur IC 525: 17:43 – 22:29; cena cca 22 eur Lístky sa dajú kúpiť na bratislavskej železničnej stanici alebo online na http://www.slovakrail.sk/sk/internetovy-obchod.html. Iný spôsob do- pravy do Košíc nájdete na portáli https://cp.hnonline.sk/, kde je mož- né spresniť aj rozvrh mestskej hromadnej dopravy, vnútroštátnych a medzinárodných vlakov a autobusov. Organizátori konferencie zabezpečujú ubytovanie pre účastníkov konferencie v hoteli Teledom. -
Holy Ascension of Christ Orthodox Church Holy Fathers of the First
Православная Церковь Вознесения Христова Holy Ascension of Christ Orthodox Church Ὀρθόδοξος Ἐκκλησία Ἀναλήψεως τοῦ Χριστοῦ Pentecostarion Holy Fathers of the First Ecumenical Council Tone 6 Great Vespers Blessed is the Man At Lord I have cried: Octoechos 3; Ascension 3; Fathers 4; Glory: Fathers; Both now: Dogmatic Theotokion in the tone of the week Readings: 3 for the Holy Fathers Aposticha: Octoechos; Glory: Fathers; Both now: Ascension Troparia: Fathers twice; Ascension, once Matins After God is the Lord: Octoechos, twice; Glory: Fathers; Both now: Ascension After each Kathisma: Sessional Hymns of the Octoechos Evlogitaria Hypakoï, Hymns of Ascent, Prokeimenon in the tone of the week Matins Gospel 10 Having beheld the Resurrection; Psalm 50; Glory: Through the prayers of the Apostles; Both now: Through the prayers of the Theotokos; Have mercy on me, O God; Jesus having risen from the grave Canon Octoechos 2 Glory to Thy Holy Resurrection, O Lord Ascension 2 Glory to Thee, our God, glory to Thee Fathers 4 Holy God‐bearing Fathers, pray to God for us Katavasia Covered by the divine cloud… After Ode 3: Kontakion and Ikos of Ascension; Sessional Hymns of the Fathers; Glory; Fathers; Both now: Ascension After Ode 6: Kontakion and Ikos of the Fathers After Ode 8: My soul doth magnify... Holy is the Lord, our God Exapostilaria: Gospel 10; Glory: Fathers; Both now: Ascension Praises: Octoechos 4; Fathers 4; Glory: Fathers; Both now: Most blessed art thou… After the dismissal: Glory, Both now: Gospel 10 Sticheron At the Hours Troparion: Octoechos; Glory: Ascension / Fathers alternating Kontakion: Ascension / Fathers, alternating . -
Dictionary of Byzantine Catholic Terms
~.~~~~- '! 11 GREEK CATHOLIC -reek DICTIONARY atholic • • By 'Ictionary Rev. Basil Shereghy, S.T.D. and f Rev. Vladimir Vancik, S.T.D. ~. J " Pittsburgh Byzantine Diocesan Press by Rev. Basil Pittsburgh, Pennsylvania Shereghy, S.T.D. 1951 • Nihil obstat: To Very Rev. John K. Powell Censor. The Most Reverend Daniel Ivancho, D.D. Imprimatur: t Daniel Ivancho, D.D. Titular Bishop of Europus, Apostolic Exarch. Ordinary of the Pittsburgh Exarchate Pittsburgh, Pennsylvania of the Byzantine.•"Slavonic" Rite October 18, 1951 on the occasion of the solemn blessing of the first Byzantine Catholic Seminary in America this DoaRIer is resf1'eCtfUflY .diditateit Copyright 1952 First Printing, March, 1952 Printed by J. S. Paluch Co•• Inc .• Chicago Greek Catholic Dictionary ~ A Ablution-The cleansing of the Because of abuses, the Agape chalice and the fin,ers of the was suppressed in the Fifth cen• PREFACE celebrant at the DiVIne Liturgy tury. after communion in order to re• As an initial attempt to assemble in dictionary form the more move any particles of the Bless• Akathistnik-A Church book con• common words, usages and expressions of the Byzantine Catholic ed Sacrament that may be ad• taining a collection of akathists. Church, this booklet sets forth to explain in a graphic way the termin• hering thereto. The Ablution Akathistos (i.e., hymns)-A Greek ology of Eastern rite and worship. of the Deacon is performed by term designating a service dur• washmg the palm of the right ing which no one is seated. This Across the seas in the natural home setting of the Byzantine• hand, into .••••.hich the Body of service was originally perform• Slavonic Rite, there was no apparent need to explain the whats, whys Jesus Christ was placed by the ed exclusively in honor of and wherefores of rite and custom. -
Christ Is Born
Tónlistardeild Bachelornám í tónsmíðum Χριστὸς γεννᾶται – Christ is born An analysis of the relationship between word and music in the Katabasiai from the Christmas Kanon by Saint Kosmas the Melodist Ritgerð til BA -prófs í tónsmiðum Sofie Meyer Vorönn 2019 Tónlistardeild Bachelornám í tónsmíðum Χριστὸς γεννᾶται – Christ is born An analysis of the relationship between word and music in the Katabasiai from the Christmas Kanon by Saint Kosmas the Melodist Ritgerð til BA -prófs í tónsmiðum Kt.: 2608914809 Sofie Meyer Leiðbeinandi: Associate Prof. Maria Alexandru Vorönn 2019 Abstract The Byzantine chant is a tradition of ecclesiastical vocal music mainly sung in the Greek Orthodox church. The chants are based on pre-existing melodic formulas composed in different variations and combinations. This demanded from the composer great skills in order to be able to unite text and music. Through fine-drawn composition techniques the words were set to music seeking unity and the present thesis is a study of the craftmanship behind it. It is a study of the relationship between word and music in Katabasiai from the Christmas Kanon with text written by St Kosmas the melodist and music composed by Petros Peloponnesios. It contains the following: 1) Basic theoretical and historical knowledge about the Byzantine chant, 2) a transcription of the Katabasiai from the Christ- mas Kanon, transcribed from the Chrysanthine notation into the Western staff notation, 3) a polyprismatic analysis table depicting a structural, metrical, textural and music-syn- tactical analysis followed by musicological comments. 2 Contents Introduction ....................................................................................................................... 3 First Part ............................................................................................................................ 5 Historical and theoretical elements of Byzantine Chant ...........................................