Cathedral Rituals and Chanting Practices among the Medieval Orthodox Slavs – Kondakarnoie Pienie

Gregory Myers

Cathedral Rituals and Chanting Practices among the Medieval Orthodox Slavs – Kondakarnoie Pienie

The Forefeast, Christmas and Epiphany Cycles

by Gregory Myers (Author)
©2024, Monographs, 260 Pages
The Arts

This study explores Kondakarnoie Pienie, a musical phenomenon that flourished in Kievan Rus’ from the 11th-13th centuries and is preserved in only five manuscripts. Stimulated by the global digitization initiatives undertaken by the major holdings East and West, previously inaccessible primary source material has come available. As a result the current investigation is a reassessment of earlier work accomplished. It addresses aspects of musical palaeography, liturgical context and function, and performance practice. The music examined is the chant cycles for the Forefeast, Christmas and Epiphany celebrations, a substantial body of comparable musical material that furnishes explicit evidence of the appropriation of Byzantine cathedral chanting practices by the medieval Slavs.

Cover
Title
Copyright
Dedication
About the author
About the book
This eBook can be cited
Contents
Sigla
Introduction
1. The Repertory
Chapter 1 Brief Historical Overview: Slavia Orthodoxa – Kievan Rus’
Chapter 2 Music The State of Byzantine Music at the End of the 10th Century; Its Slavic Reception
1. The Development of a Musical Culture in Rus’
2. Balkan Precursors
3. Possible Balkan Origins of the Kondakarian Antigraph: Two Theories
4. A Second Alternate Theory
5. The Zografski Trifolog or Draganov Menaion
Chapter 3 The Mechanics of Kondakarnoie Pienie: The Fostering of a Local Tradition
1. Kondakarnoie Pienie’s Great Hyperstases: Possible Origins in Cheironomic Practices
Chapter 4 Liturgical Excurses and Context: The Byzantine Cathedral Ritual among the Slavs Liturgical Sources: Menaion and Typikon – A Brief Survey
1. Menaion
2. Typikon
3. The Typikon of Constantinople’s Great Church
4. Chant Development under Studite Liturgical Authority: The Studite Family of Ordinals and Slavic Liturgical Praxis
  1. The Sources
  2. a. The Southern Italian Family of Typika
  3. b. The Typikon of Evergetis Theotokos
  4. c. The Typikon of Alexis Studite – Old Church Slavonic (TAS-OCS)
5. Traces of the Byzantine Cathedral Office on Slavic Soil
Chapter 5 Hymnography Troparion, Hypakoe and Katavasie
1. Asmatikon, Psaltikon and Kondakar: Mutual Chanting Traditions and Common Origins of a Musical Style
2. Asmatikon and Kondakar Compared
3. The Manuscripts
  1. The Greek Chant Books
  2. Brief Descriptions
  3. Grottaferrata Γγ1
  4. Athos Lγ3
  5. Vaticanus graecus 1606 (VG), Messina 129 (M129), Grottaferrata Γγ5
  6. Kastoria 8 (K8)
  7. The Slavic Kondakarian Manuscripts
  8. 1. The Tipografskii Ustav (TU)
  9. 2. The Blagoveshchensky Kondakar (BK)
  10. 3. The Lavrsky (LK), Uspensky (UK), and Sinodal’ny Kondakaria (SK)
  11. OIDR 107
Chapter 6 On the Continuing Role of Oral Tradition in Chant Transmission: An Enduring Impediment to the Practical Reconstruction of the Repertory
1. Performance Practice
  1. Antiphonal or Responsorial; The Refrain, Congregational Participation and Cheironomy; Stational or Session; Performance Style: Perissé; Paraliturgical Usage Rubrical Evidence – Kolyadki
Chapter 7 Liturgical Discourse on the Sung Numbers
1. Performance, Liturgical Placement and Historical Context of the Sung Numbers
  1. The Forefeast of Christmas
2. The Great Troparia for Christmas and Epiphany
3. The Hypakoë for the Archangel Michael: A Contrafactum of the First Troparion for the Christmas Vigil
4. The ‘Second’ Mystery Chant
5. The Verse Repertory: Christmas
6. Epiphany
7. Making the Case for a Dramatic Performance: Assembling the Oblique References
8. Commentary
Chapter 8 Palaeography, Reconstruction and Transcription: An Introduction Methodology; Notational Correlative or Melodic Equivalent? Modality
1. Kondakarian and Chartres Notation
2. Byzantine Echemata: BK, Γγ1 and K8
3. The Ananejki and Chabuviy: Later Manifestation of the Ongoing Principles of Melodic Expansion through Insertion
4. The Kondakarian Martyriae – Mysterious “Signposts”
5. Modality
6. On the Transformation of Signs by the Medieval Slavic Scribes
7. Kastoria 8 as “Rosetta Stone”
8. The Theta Neume (and Relate Theta Complexes): A Cornerstone of Paleobyzantine Scripts
9. The Koukouzelean Didactic Poem as Aid
  1. Transcription vs Reconstruction
10. The Identification of Long Melismatic Formulae
  1. The Palaeographical Tables
  2. Table 1
  3. Table 2
  4. Table 3
  5. Table 4
Chapter 9 Musical Excurses and Analyses
1. The BK’s “Cycle within a Cycle,” Folios 86r to 90v
2. The Second Mystery Hymn to the Archangel Michael
3. Table III: Expansion through Insertion of Non-Textual Syllables
4. Model - Contrafactum
  1. Notes to the Transcription
  2. Notes to the Transcription
5. The Great Troparia: Christmas
  1. Notes to the Transcription
  2. Notes to the Transcription
6. Epiphany
  1. Notes to the Transcription
  2. Notes to the Transcription
7. The Verse Repertory: Christmas
8. Epiphany
9. Summary of the Analysis
Chapter 10 The Effectiveness of the Counterpart Transcription Method
1. Irreconcilable Problems
2. Postscript: Concerning Constantin Floros’ “Die Entzifferung”
Chapter 11 Conclusions
1. Disappearance or Continuation?
Appendix I: Texts and Translations
1. Archangel Michael and Forefeast Hypakoai/Katavasiai
2. Forefeast – Holy Forefathers
3. Verse
4. Forefeast – The Three Children in the Fiery Furnace
5. Verse
6. The Christmas Troparia
7. The Stichoi for Christmas, Troparion I
8. The Stichoi for Christmas, Troparion II
9. The Epiphany Troparia
10. The Stichoi for Epiphany, Troparion I
Appendix II: Concordance of Chants and Their Incipits
1. Christmas
2. Epiphany
Bibliography
Index of Proper Names
Subject Index
Series index

Pages:

260

Year:

2024

ISBN (PAPERBACK):

9783034346825 (Active)

ISBN (EPUB):

9783034346849 (Active)

ISBN (PDF):

9783034346832 (Active)

DOI:

10.3726/b21327

Language:

English

Keywords:

Music, chant, Liturgy, Palaeography, Byzantine History, Rus‘

Published:

Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien, 2024. 260 pp., 6 tables.

Gregory Myers holds a MLIS degree and a PhD. in historical musicology from the University of British Columbia. An independent scholar, publisher, translator and bibliographer, Myers specializes in the music of Eastern Europe, specifically Russia and the Balkans, and researches, publishes and lectures on issues of medieval music (Byzantium and the Slavs) and the post-World War II musical developments of these countries. Myers has held research fellowships at the Moscow State Conservatory, Dumbarton Oaks Research Library in Washington DC, Ohio State University, the University of Illinois, Champaign-Urbana and recently, the Center for Advanced Study in Sofia, Bulgaria.

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Cathedral Rituals and Chanting Practices among the Medieval Orthodox Slavs – Kondakarnoie Pienie

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