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This English translation of Chourmouzios Chartophylax's revision of
Chrysanthos' Introduction to the New Method of Greek chant notation
has been made with the intention of providing students, scholars
and musicians access to an easily digestible and widely accessible
explanation of the rudimentary signs and theory of the chant
notation used in the Greek and other Orthodox Churches. Written by
two of the Three Teachers of the New Method, established in 1814,
the Eisagoge is authoritative. Notes identify and underline the
theoretical adjustments made by the 1888 Constantinople Music
Committee. Despite the lack of great detail, this short work offers
a thorough grounding for reference and comparison to subsequent
publications.
This revised publication of the Venice 1891 Leitourgikon collects
the hymns chanted in the Divine Liturgy from the ecclesiastical
library of the Book of Hours, Menaeon, Triodion, Pentecostarion and
Parakletike for the Sundays, Great Feasts and Formal Saint
commemorations of the Church calendar. Specifically, it contains
the Psalms from the Service of the Typika, the troparia of the
Beatitudes, and Kanon troparia from the 3rd and 6th Odes, the
antiphons and other troparia (apolytikia, kontakia, hypakoae,
megalynaria and communion hymns) necessary to those chanting the
Liturgy. It is with great spiritual pleasure that this most
practical edition is presented, with the humble dedication to the
pious clergy and chanters in the Church. Like in the 1891 edition,
it was deemed advantageous to add a few more practical texts. In
the area containing hymns from the new service booklets hymns for
the commemoration of the Father of Mount Athos, the Feast of the
Holy Protection and the memories of St Nektarios the Wonderworker
and St Kosmas Aetolos were added. Also included are the texts of
the daily antiphons, the troparia of the weekday beatitudes from
the Parakletike, the May my mouth be filled with thy praise and
Psalms 33 and 144.
The anagrams, or more generally, the mathemata and morphologically
related kalophonic forms of Byzantine melopoeia, constitute the
artistic creations by which Psaltic Art is known in all its
splendour and becomes an object of admiration. Kalophony as ars
nova was born following the recovery of the city of Constantinople
after the Latin occupation of Byzantium (AD 1204-1261) during the
long reign of Andronicus II (1282-1328) and reached its final form
in the first half of the fourteenth century. During the years
1300-1350, four key composers and teachers of the Psaltic Art
imposed a new attitude of melic composition on the preexisting
forms and designated new compositional techniques dominated by the
beautifying kallopistic element. They created new compositions in
the new spirit of kallopismos and musical verbosity. This new
musical creation was christened with the term kalophony and this
period is the golden age of Byzantine Chant. Originally published
under the title Hoi anagrammatismoi kai ta mathemata tes byzantines
melopoiias (1979 plus seven reprints), this publication thoroughly
investigates and reveals for the first time the entire magnitude of
Byzantine kalophony with its individual forms, serving as a
systematic introduction to the Greek Byzantine music culture and
that of the Byzantine Psaltic Art at the height of its expression.
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