Contents Sigla and Abbreviations..........................................................................13 List of Tables ........................................................................................... 15 Prefatory Remarks and Acknowledgements.........................................17 Part I Chapter 1: Introduction ......................................................... 21 Chapter II: Slavia Orthodoxa in the 13th Century - at a Liturgical Crossroads: Cathedral vs. Monastery - Jerusalem or Constantinople............................................................25 The Typikon: Identifying the Liturgical Authority Determining the Musical Praxis...............................................26 A. The Copies of the Typikon of the Great Church:............. 29 (a) Holy Cross No. 40 and Patmos No. 266.....................29 (b) Dresden Ms A104........................................................ 30 B. The Studite Fusion..............................................................31 (a) TAS-OCS - The Typikon of Alexius Studite, Church Slavonic.......................................................... 32 (b) The Typikon of the Monastery of the Theotokos Evergetis.................................................... 34 (c) The Athonite-Studite Redaction ................................. 35 (d) The Typikon of San Salvatore of Messina..................36 (e) The Neo-Sabbaitic or Jerusalem Typikon..................37 Menaia and Triodia.................................................................................38 1. Definition and Development ............................................... 38 2. Triodion and Pentecostarion ............................................... 42 Reconciling Non-Constantinopolitan Elements in Medieval Slavic Service Books............................................43 Chapter III: Manuscript Profiles...........................................................47 (a) The Enina Apostol, NBKMNo. 1144 ........................ 47 (b) The Bitola or Kicevo Triodion, Sofia BAN No. 38..... 48 (c) The Orbelski Triodion (OrbTr) - South Slavic Archetype of the Studite Synthesis............................ 49 (d) Apostol No. NBKM 882.............................................. 51 (e) The Zografski Trifologion or Draganov Menaion..... 51 (f) Other Slavonic Liturgical Sources: 15th and 16th Centuries................................................. 53 East Slavic Witnesses................................................................ 54 RGADA Nos. 131 and 137 - The II ’ina Kniga and the Triodion of Moisei Kianin.........................................................54 The Corollary Musical Sources................................................ 55 First Generation Musical Sources............................................. 57 Tipografsky Ustav (TU) and Blagoveshchensky Kondakar (BK)...........................................57 Second Generation Musical Sources........................................59 The Lavrsky (LK), Uspensky (UK) and Sinodalny (SK) Kondakaria.................................................................................. 59 Psaltikon and Asmatikon...........................................................60 Kastoria 8 ................................................................................... 62 The Sticheraric Repertory.........................................................64 Chapter IV: The Chant Types: Troparion, Katavasie, and Hypakoe.....67 Working Definitions................................................................... 67 Stational or Sessional................................................................. 68 The Sessional Hymn: Poetic Kathisma, Hypakoe, orSedelen ....68 Processional Genres: Music for theLitiya .............................. 71 (a) The Katavasie or Hymn of Descent........................... 72 (b) The Kontakion as Processional Hymn Type..............73 (c) The Exapostilarion and Photagogikon, as Processional Chants................................................74 (d) The Trisagion as a Processional Chant...................... 75 On the Multi-Functionality of Hymn-Types: Relabeling, Recasting and Redefining Function......................76 Chapter V: Performance Style and Practice.........................................81 (1) Antiphonal vs. Responsorial.......................................81 (2) Perisse and Akroteleuteon...........................................84 (3) Who was Singing? - Congregational participation.................................................................88 Part II Chapter VI: The Feast of the Exaltation of the Honorable Cross - September 14 .......................................................... 93 Liturgical Context: A. The Order of Service...........................93 B. The Place of the Hymnody in the Liturgical Sources..... 94 C. The Oldest South Slavic Witness:......................................99 a. The Enina Apostol ....................................................... 99 D. Later South Slavic Witnesses of the Exaltation Rite within the Studite Orbit: Three Sources from Zografou Monastery..........................................................102 a. Raikov Ms. No. 54 - theDraganov Menaion..........102 c. Raikov Ms. No. 53- A Service Menaion for September, October and November, Serbian Redaction.......................................................104 d. Raikov 63: Resurrection Oktoechos, 15th-century, Serbian Redaction.................................104 e. NBKM Ms. No. 522, TheSkopski Menaion.............105 f. Apostol Ms. No. NBKM 882....................................105 g. Apostol Ms. No. NBKM 880...................................105 h. From the Lenten Triodion: The Bitolski Triodion.....106 i. OrhTr..........................................................................106 E. East Slavic Transmissions and Other Sources................107 The Prefatory Rituals: The Bringing Out of the Holy Cross from the Skeuophylakion, the Washing, and the Veneration.....109 The Identification of an Unidentified Antiphon .................... 117 The Singing of the Troparia for the Exaltation of the Holy Cross on Other Occasions...............................................117 A. The Third Sunday of Great Lent and the Week of the Holy: The Lesser Elevation of the Holy Cross.............................................................. 118 The Prescription for the Singing of the Antiphons for the Royal Hours on Tuesday in Holy Week According to the Tipografsky Ustav....................................... 125 B. Good Friday: The Chanted Royal Hours........................ 128 Music for the Antiphons and their Performance ................... 131 The Chanting of the Good Friday Royal Hours According to OrbTr..................................................................135 PartHI Chapter VII: The Music - Introduction............................................. 141 The Oral-Written Binary and the Template for Performance Manuscript - Repertory - Notation........................................ 141 The Musical Settings: The Reconstruction of the Antiphons and Stichoi for Performance.................................143 The Music, Division of Labor and the Elements of Style.......144 The Troparia of the Holy Cross...............................................146 Techniques and Devices for Musical Cohesion in Performance; Formulaic Correspondence and Melodic Construction.............................................................. 148 I. Antiphon 1 (Hypakoe): £i)pepov to npotpr^TiKov TreTrXppwxai ~A^HhCk npopOYKCKoe ........................... 149 II. Antiphon 2 (Hypakoe): Mövov E7idyr| to ^uXov Xpioretoo oraupou aou ~ ThK/Ho BK^pysH ca Ap-fcao.........................................152 III. Antiphon 3 (Hypakoe): 'H ’EKKA.r)aia ßo<jc aoi ~IIpKKBH BTillHrrh TH Xt fie....................................153 IV The Kontakion of the Feast: O ü\]/a>0ei^ evtw Sraupco EKouaico<; ~ Erh3N(ccrh.H ca Nd Kp KpcTK bmea, Mode IV .........................................154 V The Troparion of the Veneration/Festal Trisagion: Tov (Txaupov aou TtpoaKuvoupevSectttotoc ~ KpecToy TBoemoy, Mode II Plagal/Mode VI..............155 The Musical Settings of the Stichera The Stichera for the Exaltation of the Holy Cross, September 14 and Select Stichera-Idiomela for the Good Friday Royal Hours............158 The Accompanying Sticheron-Idiomelon in OrbTr...............161 Chapter VIII: Summation and Concluding Remarks....................... 163 Texts and Translations...........................................................................165 Unpublished Sources.............................................................................171 Secondary Literature.............................................................................179 Musical Examples................................................................................ 205 First Troparion for the Exaltation of the Holy Cross............205 Second Troparion for the Exaltation of the Holy Cross....... 211 Third Troparion for the Exaltation of the Holy Cross.......... 214 Kontakion for the Exaltation of the Holy Cross, from the Tipografsky Ustav.................................................... 210 Festal Trisagion for the Exaltation of the Holy Cross........... 218 Transcription of the Kontakion for the Exaltation of the Holy Cross, from Codex Ashbumhamensis 6 4.....................219 Stichera-Idiomela for the Good Friday Royal Honrs..............220 Name Index........................................................................................... 223 Subject Index........................................................................................ 227.