Oliver Gerlach
The title “Im Labyrinth des Oktōīchos (Inside the Oktōēchos Maze)” refers to the spatialisation of a two-dimensional, hand-drawn image known as the “Koukouzelian Wheel” (trochos tou Koukouzelē). This image is the key to a musical art of memory which developed in the context of the kalophonic art of chant (psaltikē technē) in the school of Iōannēs Glykys at the end of the thirteenth century. Arabic representations of the tonal connections between melodic models (naġme) in the form of wheels and trees also exist from this time. The form of the wheel represents a tonal system in which every tone can be the centre of every mode – a network of tonal relationships beyond the imaginary capabilities of musicians, who therefore can use the wheel to help guide them along even the most complex of paths through the labyrinth without losing their sense of orientation. Previous research regarded the trochos as an unsolved puzzle. This first attempt to solve the puzzle throws up several questions, of which many will only be answered after further research work.
Content:
[0] Einführung in die drei Stufen der Gesangskunst (xix)
[1] Das Himmel-und-Hölle-Spiel im Kopf Ritual, Musik, Gedächtnis und Schrift (1)
[1.1] Der Sänger als Theurg in der jüdisch-chasidischen Tradition (4)
[1.2] Die Abbildung des Gottesthrones im byzantinischen Kirchenraum (13)
[1.3] Die unglückliche Liebe zu Laila oder die Häresie des Sufismus (55)
[1.4] Orthodoxe und orthopraktische Formen der Gedächtniskunst (101)
[2] Das Labyrinth des Oktōīchos
Der Oktōīchos zwischen Mittelalter und heutiger Tradition (109)
[2.1] Das antike Tonsystem und die Tropenlehre in der praktischen Rezeption des Mittelalters (110)
[2.1.1] Phthongos — φθόγγος (114)
[2.1.2] Tonsysteme — συστήματα (117)
[2.1.3] Intervalle — διαστήματα (120)
[2.1.4] Phthora und Tongeschlecht — φθορά καί γένος (125)
[2.1.5] Metavolī — μεταβολή (135)
[2.1.6] Das Trochos-System im Doxastikon oktaīchon Θεαρχίῳ νεύματι (147)
[2.2] Die Intonationsformeln und ihre 3 Funktionen im Oktōīchos (155)
[2.2.1] Die Kadenzen einer Tonart und die Gattungen der Gesänge (155)
[2.2.2] Die frühesten Zeugnisse der Ansingformeln (165)
[2.2.3] Die Tonarten des Prōtos (171)
[2.2.4] Die Tonarten des Devteros (202)
[2.2.5] Die Tonarten des Tritos (233)
[2.2.6] Die Tonarten des Tetartos (268)
[2.2.7] Die Phthorai der exotischen Tonarten im heutigen Oktōīchos (296)
[2.2.8] Die Beziehungen zwischen den Tonarten (302)
[2.3] Die Funktionen der Ansingformeln zwischen Intonation und Notation (311)
[3] Das Labyrinth im einstimmigen Gesang –
Die kreative Funktion der modalen Formeln im melismatischen und hochmelismatischen Stil der orthodoxen Kirchenmusik (319)
[3.1] Die Klangbarriere zwischen Metrophōnia und Melos —
Zur Thesis der großen Zeichen im Oktōīchos-Zyklus des Cherouvikon (325)
[3.2] Zu Bereketīs’ kalophoner Bearbeitung der ersten Ode Εν βυθώ κατέστρωσε ποτέ
aus dem Omōymos-Kanōn des Eirmologion im ἦχος δεύτερος (343)
[3.3] Zur kalophonen Bearbeitung des Stichīron τῷ τριττῷ τῆς ἐρωτήσεως (351)
[3.4] Das Cherouvikon in den italogriechischen Asmatika (368)
[4] Das Labyrinth im mehrstimmigen Gesang
Die kreative Funktion der Ornamente principium ante principium und paenultima im Haltetonorganum in Aquitanien und Paris (381)
[4.1] Die kreative Funktion der Ansingformel in den aquitanischen Sequentiaren (385)
[4.2] Haltetonorgana in der aquitanischen „Mehrstimmigkeit“ (388)
[4.3] Das Haltetonorganum in Paris und Léonins Magnus liber organi (407)
[5] Zur Rekonstruktion der Missa greca für Saint-Denis (427)
[5.1] Zur Entstehung der Missa greca (427)
[5.2] Die Missa greca als Patronatsfest der Abtei St. Denis (429)
[5.3] Andere Anlässe der Missa greca und des Cherouvikon (431)
[5.4] Die Rekonstruktion des lateinischen Cherouvikon (432)
[5.5] Die Vorbereitung einer improvisationsreichen Missa greca (434)
[5.6] Liturgie der Missa Greca für St. Denis (446)
[6] Das wirkliche Labyrinth: Über Improvisationserfahrungen im Ensemble Ison (447)
[6.1] Über das Projekttutorium Organum an der Humboldt-Universität (447)
[6.2] Die erste Frankreichreise im Rahmen meiner Magisterarbeit (450)
[6.3] Eine Feldforschungsreise nach Bulgarien im August 2002 (460)
[6.4] Die zweite Frankreichreise im Frühjahr 2004 (473)
[6.5] Ison-Singen als Jagd — ein Filmprojekt und eine kleine Studie über Neo-Exorzismus (487)
[6.6] Epilog (489)
[7] Über den Umgang mit Labyrinthen des Wissens (491)
[7.1] Kommunikation im Labyrinth (498)
[7.2] Aspekte der Kognition oder warum es keine globale Musiktheorie gibt (526)
[7.3] Das Labyrinth als Brücke zwischen den Traditionen (547)
Supervisors: Gerda Wolfram, Michel Huglo, Eckhard Neubauer, Wolfgang Auhagen, and Christian Kaden
Content:
[0] Einführung in die drei Stufen der Gesangskunst (xix)
[1] Das Himmel-und-Hölle-Spiel im Kopf Ritual, Musik, Gedächtnis und Schrift (1)
[1.1] Der Sänger als Theurg in der jüdisch-chasidischen Tradition (4)
[1.2] Die Abbildung des Gottesthrones im byzantinischen Kirchenraum (13)
[1.3] Die unglückliche Liebe zu Laila oder die Häresie des Sufismus (55)
[1.4] Orthodoxe und orthopraktische Formen der Gedächtniskunst (101)
[2] Das Labyrinth des Oktōīchos
Der Oktōīchos zwischen Mittelalter und heutiger Tradition (109)
[2.1] Das antike Tonsystem und die Tropenlehre in der praktischen Rezeption des Mittelalters (110)
[2.1.1] Phthongos — φθόγγος (114)
[2.1.2] Tonsysteme — συστήματα (117)
[2.1.3] Intervalle — διαστήματα (120)
[2.1.4] Phthora und Tongeschlecht — φθορά καί γένος (125)
[2.1.5] Metavolī — μεταβολή (135)
[2.1.6] Das Trochos-System im Doxastikon oktaīchon Θεαρχίῳ νεύματι (147)
[2.2] Die Intonationsformeln und ihre 3 Funktionen im Oktōīchos (155)
[2.2.1] Die Kadenzen einer Tonart und die Gattungen der Gesänge (155)
[2.2.2] Die frühesten Zeugnisse der Ansingformeln (165)
[2.2.3] Die Tonarten des Prōtos (171)
[2.2.4] Die Tonarten des Devteros (202)
[2.2.5] Die Tonarten des Tritos (233)
[2.2.6] Die Tonarten des Tetartos (268)
[2.2.7] Die Phthorai der exotischen Tonarten im heutigen Oktōīchos (296)
[2.2.8] Die Beziehungen zwischen den Tonarten (302)
[2.3] Die Funktionen der Ansingformeln zwischen Intonation und Notation (311)
[3] Das Labyrinth im einstimmigen Gesang –
Die kreative Funktion der modalen Formeln im melismatischen und hochmelismatischen Stil der orthodoxen Kirchenmusik (319)
[3.1] Die Klangbarriere zwischen Metrophōnia und Melos —
Zur Thesis der großen Zeichen im Oktōīchos-Zyklus des Cherouvikon (325)
[3.2] Zu Bereketīs’ kalophoner Bearbeitung der ersten Ode Εν βυθώ κατέστρωσε ποτέ
aus dem Omōymos-Kanōn des Eirmologion im ἦχος δεύτερος (343)
[3.3] Zur kalophonen Bearbeitung des Stichīron τῷ τριττῷ τῆς ἐρωτήσεως (351)
[3.4] Das Cherouvikon in den italogriechischen Asmatika (368)
[4] Das Labyrinth im mehrstimmigen Gesang
Die kreative Funktion der Ornamente principium ante principium und paenultima im Haltetonorganum in Aquitanien und Paris (381)
[4.1] Die kreative Funktion der Ansingformel in den aquitanischen Sequentiaren (385)
[4.2] Haltetonorgana in der aquitanischen „Mehrstimmigkeit“ (388)
[4.3] Das Haltetonorganum in Paris und Léonins Magnus liber organi (407)
[5] Zur Rekonstruktion der Missa greca für Saint-Denis (427)
[5.1] Zur Entstehung der Missa greca (427)
[5.2] Die Missa greca als Patronatsfest der Abtei St. Denis (429)
[5.3] Andere Anlässe der Missa greca und des Cherouvikon (431)
[5.4] Die Rekonstruktion des lateinischen Cherouvikon (432)
[5.5] Die Vorbereitung einer improvisationsreichen Missa greca (434)
[5.6] Liturgie der Missa Greca für St. Denis (446)
[6] Das wirkliche Labyrinth: Über Improvisationserfahrungen im Ensemble Ison (447)
[6.1] Über das Projekttutorium Organum an der Humboldt-Universität (447)
[6.2] Die erste Frankreichreise im Rahmen meiner Magisterarbeit (450)
[6.3] Eine Feldforschungsreise nach Bulgarien im August 2002 (460)
[6.4] Die zweite Frankreichreise im Frühjahr 2004 (473)
[6.5] Ison-Singen als Jagd — ein Filmprojekt und eine kleine Studie über Neo-Exorzismus (487)
[6.6] Epilog (489)
[7] Über den Umgang mit Labyrinthen des Wissens (491)
[7.1] Kommunikation im Labyrinth (498)
[7.2] Aspekte der Kognition oder warum es keine globale Musiktheorie gibt (526)
[7.3] Das Labyrinth als Brücke zwischen den Traditionen (547)
Supervisors: Gerda Wolfram, Michel Huglo, Eckhard Neubauer, Wolfgang Auhagen, and Christian Kaden
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Videos by Oliver Gerlach
Today, the women of the village San Giorgio Albanese, Variboba's birthplace, sing the kalimeret not far from the tradition documented at Vaccarizzo Albanese (Arb. Vakarici), but the text not in linguistic variants according to a local oral tradition, but according to the critical edition by Italo Fortino (emeritus professor of Albanologia in Rome and in Naples). It is typical for the Arbëresh tradition that kalimeret are a female genre and closely connected with the real lament (vajtim).
Books by Oliver Gerlach
Unlike the Italo-Greek kalimera the kalimeret in Arbëresh are usually sung by women (with a few exceptions)!
The corpus of texts is based on Jul Variboba as the author of a literary prototype dating back to the 18th century. Due to the local oral tradition the texts had been adapted to the local dialect of Arbëresh as it exists in each village until the present day. But each village uses an own melody, sometimes tonal in regular meter, sometimes modal with assymetric rhythm as monodic chant close to liturgical monody and its ornaments (since the para-liturgical custom had become liturgised during the Holy Week), sometimes multipart according to polyphonic traditions of the Balkans.
The books tries to describe each local tradition and its history starting from own fieldwork made during the last years (2012-2020) and integrating historical fieldwork.
A second part is dedicated to two living chant traditions: The fourth essay describes the integration of makamlar among Greek church singers of Istanbul, and the final essay is a portrait of two important singers of the Bulgarian Orthodox tradition.
Book parts and chapters by Oliver Gerlach
For a better understanding of the different issues, specialists from various disciplines engage in a constructive dialogue to investigate the peculiarities of the Breviary-Missal, explore its complexities, and retrace the multiple routes that connected Salerno to Rome, the Mediterranean basin, and the heart of medieval Europe.
La straordinaria scoperta presso il Museo Leone di Vercelli di un Breviario-Messale proveniente da Salerno ha portato alla luce il più antico testimone noto della liturgia cittadina, databile agli anni dell’arcivescovo Romualdo II Guarna (1153-1181). Il manoscritto si aggiunge al gruppo dei codici conservati presso il Museo Diocesano “San Matteo” della città costiera e trasmette numerose e inedite informazioni codicologiche, musicologiche e storico-artistiche. Dalle pagine del manoscritto emergono gli innesti della tradizione beneventana, ambrosiana e normanna sulle consuetudini della Chiesa salernitana, così come nuove domande sul poliedrico contesto culturale medievale, in cui la parola scritta, pronunciata e cantata si associava alle immagini e agli arredi sacri della cattedrale. Per una migliore comprensione delle diverse questioni sono stati coinvolti in un dialogo costruttivo specialisti di varie discipline che, in questo volume, indagano le peculiarità del Breviario-Messale, scandagliandone la complessità e ripercorrendo le molteplici vie che connettono Salerno a Roma, alle sponde del Mediterraneo e al cuore dell’Europa.
Content:
His Holiness Neophit, Patriarch of Bulgaria and Metropolitan of Sofia. The
Orthodox Liturgical Singing Tradition / 13
Svetlana Kujumdzieva. Introduction / 19
PERSONALITY / 25
Svetlana Kujumdzieva. St. John Koukouzeles – Musical-liturgical Innovations / 43
Lyubomir Ignatov. St. John Koukouzeles – a Measure of Singing Mastery in Eastern
Orthodox Church Music / 77
Stefka Venkova. St. John Koukouzeles in the Editions of the Bulgarian Musical Union:
Data and Interpretations / 91
Tatyana Ilieva. St. John Koukouzeles’ Character According to Dobri Nemirov’s
Historical Novel “The Angel-Voiced” / 122
WORK / 123
Maria Alexandru. Towards a Corpus of the Kalophonic Mathemata by St. John
Koukouzeles / 164
Klara Mechkova. Koukouzeles’ Wheel in the Light of Hesychast Theology / 176
Emmanouil Giannopoulos. Koukouzeles’ Heritage according to the Cretan Psaltic
Tradition of the Sixteenth and Seventeenth Centuries / 183
Stefan Harkov. Koukouzelian Heritage among the Bulgarians in the Middle of the 19th
Century: Reconsideration of Some Lesser-Known Sources / 206
Nikola Antonov. The New Method Version of “Mega ison” by St. John Kukuzeleles or
about the Continuity of Tradition under the Aspect of the Tone System / 223
Andrey Kasabov. Musical Creativity of Saint John Koukouzeles in the Bulgarian
Printed Church-Singing Collections from the Middle of 19th and the beginning of the 20th centuries. Ἄνωθεν ο ἱ προφῆται in ἦχος βαρύς / 237
EPOCH / 239
Iskra Hristova-Shomova. The Ochrid Menaion Between the Old Recension and the
Norms of the Jerusalem Typikon / 263
Oliver Gerlach. The Generation around John Koukouzeles and the Re-Definition of the
Constantinopolitan Tradition by the “Koukouzelian” Reform / 294
Since John Koukouzeles’ Mega Ison as a method to teach all notational signs did not change the notation system, but rather exploited a former synthesis to transcribe the chant books of the cathedral rite (Asmatikon and Kontakarion-Psaltikon) with the notation of the Sticherarion, the synthesis of all chant books within one universal notation system was well prepared and this preparation motivated Christian Troelsgård to abandon the distinction of Middle from Late Byzantine notation. It was also the basis of the integrative role of Papadic teaching which was continued until the 19th century and the integration of the practice of cheironomia in Koukouzeles’ theory of the great signs. According to the new theory of Papadike, the Hagiopolitan oktoechos was the universal tonal system which had to integrate also the Constantinopolitan tradition of the cathedral rite. This synthesis is also the basic understanding of the Byzantine tonal system since its description by Oliver Strunk in 1942. The current understanding of the heritage of Byzantine chant is so deeply rooted on the Papadic synthesis of the 14th century that it lacks a proper understanding of the preceding tradition which was unified by the synthesis.
This essay is focussed on the kalophonic melos concerned with the repertoire of the kontakia and its modal transformation.
During recent years linguistic diversity in the whole of Italy faced a serious decline. It has been neglected and dismissed as a certain minority culture, although the term was once used to protect minorities. The reception of traditional dance in Southern Italy is quite different, especially tarantella, after Ernesto De Martino’s study about the end of the Salentine pizzica taranta (La terra del rimorso, 1961), caused an urban folk fashion which celebrates itself as “Neo-Tarantismo” in mass media events without showing any serious curiosity in the still existing rich diversity of rural dance traditions. The unknown fact is that Balkan minorities have created the local traditions between Abruzzo and Sicily which are perceived today as something which belongs to everyone (a majority or mainstream culture).
One of the first things, I had to learn about my field in Calabria and Lucania was that certain religious processions are accompanied by dance and as a para-liturgical tradition it was untouchable for church authorities and ecclesiastical reforms. It also forms the backbone of other rituals such as Carnival or the Vallje, a kind of processional dance of Italo-Albanian communities which celebrate, in combination with multipart singing, legendary Albanian heroes such as Skanderbeg or Constantine (a fictional protagonist who stands for patriotic loyalty, even if the home-country is far away). Although these rituals are often perceived as non-religious, they are integrated in the annual cycle before the beginning and after the end of Lent.
This contribution has just the modest aim to attract public curiosity and to point at the fragility of rural traditions which urgently need an effective protection against current processes of globalisation. Instead of nationalist concepts which do exist, one must not forget that “national heritage” is always based on local diversity.
Articles by Oliver Gerlach
The paper is about the performance practice of Greek-Orthodox singers and is focused on the various forms of the diatonic (papadic) ēchos barys, as they can be found in the living tradition today. It is also an attempt to trace back the theoretical concept of this mode and to answer the question, to what extent the reformers were inspired by traditional musicians of the Levant.
Everybody who visited Bačkovo between 1961 and 2012, was instantly touched by his exceptional voice. He stood modestly at the pulpit, discrete, but affecting, to serve God and men. Under his musical custody the divine services had been celebrated for more than 50 years. Thus, he had an experience comparable to a monk of an Athonite skete specialized in liturgical chant. With his experience and his individual part which he shared within the tradition of Bulgarian Orthodox Chant, Otec Stiliyan had been one of the most excellent psaltes of Bulgaria, despite that he never had a representative office within the hierarchies of the Patriarchate (like the one of a protopsaltes). His country and his church have lost an important chanter and teacher.
Book Reviews by Oliver Gerlach
McKinnon, James W. 1996. “Preface to the Study of the Alleluia.” Early Music History 15: 213–249.
McKinnon, James. 2000. The Advent Project the Later-seventh-century Creation of the Roman .... Berkeley: University of California Press.
Levy, Kenneth. 2000. “A New Look at Old Roman Chant.” Early Music History 19: 81–104.
———. 2001. “A New Look at Old Roman Chant - II.” Early Music History 20: 173–197.
Pfisterer, Andreas. 2008. “Italian and Gallican Alleluia Psalmody.” Plainsong and Medieval Music 17: 55-68.
Keynote lecture by Oliver Gerlach
The discussion of the relationship between written and oral transmission is still up-to date, as far as it is concerned with court music as a secularised form of a dervish ceremony, while the brotherhoods (tekkes) had become important institutions to preserve the musical heritage, or as far as it is concerned with the revival of the heritage of synagogal music associated to the Maftirim brotherhoods, or as far as it is concerned with Armenian or Greek church music. In case of the Armenians the history genocide is the explanation for a lack of research concerned with the oral tradition (parallel to the violent suppression that Georgian church music had to endure under Russian hegemony and during the period of communism), while in other cases, the tradition is represented by the diversity of local schools which do not agree among each other. The encouraging experience is, that the occupation with the own tradition is in no way a reduction, but on the contrary the discovery of an unknown creative liberty which had once been the state of the art.
Papers by Oliver Gerlach
The paper is dedicated to two Nativity alleluia verses according to the breviary missal of Salerno on folio 106 recto which is currently preserved as Cod. Lit. 24 at the Museo Leone of Vercelli in Piedmont. It has one in common with the gradual of Santa Cecilia of Trastevere in Rome (CH-CObodmer Cod. 74, f.11), although its melody is set differently to the non-scriptural text.
In comparison to the Constantinopolitan rite, there are two psalm stichoi of the Nativity allelouïarion with another melody of the same mode (echos plagios protos) which serve here as an example of the context between the Latin and the Greek rite at the archimandritate Santissimo Salvatore of Messina in Southern Italy.
The so-called Byzantine chant has been recently registered as intangible world heritage. Although the living tradition of monodic Orthodox chant still exists in great diversity in many countries of the Balkans, Central, and Northeastern Europe (within and without the Patriarchate of Moscow) and the Orient which is worth to be honoured and protected by such a title, there are some ideological problems provided by its ahistorical definition as "Byzantine chant", because such a definition raises many open questions about the exact relationship between each of the local traditions in question and the role of Byzantine music during the past until 1453, and afterwards (whether defined as post-Byzantine or otherwise). In order to illustrate these problems, I chose the example high melismatic chant of the Byzantine cathedral rite which is particularly well documented in Italy, although within the medium of the "wrong" notation. The Easter koinonikon has not only survived in various notation systems like in GR-KA Ms. 8, ff.36v-37v (Slavic and Greek kondakarian notation, Old and Middle Byzantine notation etc.), it was also written several times in the kontakarion-asmatikon of Messina, a particular book form only known from the scriptorium of the Archimandritate SS. Salvatore which organised the whole proper cycle of psaltic and choir chant together. I would like to introduce into this almost unknown variety of Italo-Byzantine and local variants of the well-known koinonikon asmatikon (I-ME Cod. mess. gr. 129, f.114v) of southern Italy, and then return to the difficult question, inasmuch it has become part of the living tradition of Orthodox chant.
Today, the women of the village San Giorgio Albanese, Variboba's birthplace, sing the kalimeret not far from the tradition documented at Vaccarizzo Albanese (Arb. Vakarici), but the text not in linguistic variants according to a local oral tradition, but according to the critical edition by Italo Fortino (emeritus professor of Albanologia in Rome and in Naples). It is typical for the Arbëresh tradition that kalimeret are a female genre and closely connected with the real lament (vajtim).
Unlike the Italo-Greek kalimera the kalimeret in Arbëresh are usually sung by women (with a few exceptions)!
The corpus of texts is based on Jul Variboba as the author of a literary prototype dating back to the 18th century. Due to the local oral tradition the texts had been adapted to the local dialect of Arbëresh as it exists in each village until the present day. But each village uses an own melody, sometimes tonal in regular meter, sometimes modal with assymetric rhythm as monodic chant close to liturgical monody and its ornaments (since the para-liturgical custom had become liturgised during the Holy Week), sometimes multipart according to polyphonic traditions of the Balkans.
The books tries to describe each local tradition and its history starting from own fieldwork made during the last years (2012-2020) and integrating historical fieldwork.
A second part is dedicated to two living chant traditions: The fourth essay describes the integration of makamlar among Greek church singers of Istanbul, and the final essay is a portrait of two important singers of the Bulgarian Orthodox tradition.
For a better understanding of the different issues, specialists from various disciplines engage in a constructive dialogue to investigate the peculiarities of the Breviary-Missal, explore its complexities, and retrace the multiple routes that connected Salerno to Rome, the Mediterranean basin, and the heart of medieval Europe.
La straordinaria scoperta presso il Museo Leone di Vercelli di un Breviario-Messale proveniente da Salerno ha portato alla luce il più antico testimone noto della liturgia cittadina, databile agli anni dell’arcivescovo Romualdo II Guarna (1153-1181). Il manoscritto si aggiunge al gruppo dei codici conservati presso il Museo Diocesano “San Matteo” della città costiera e trasmette numerose e inedite informazioni codicologiche, musicologiche e storico-artistiche. Dalle pagine del manoscritto emergono gli innesti della tradizione beneventana, ambrosiana e normanna sulle consuetudini della Chiesa salernitana, così come nuove domande sul poliedrico contesto culturale medievale, in cui la parola scritta, pronunciata e cantata si associava alle immagini e agli arredi sacri della cattedrale. Per una migliore comprensione delle diverse questioni sono stati coinvolti in un dialogo costruttivo specialisti di varie discipline che, in questo volume, indagano le peculiarità del Breviario-Messale, scandagliandone la complessità e ripercorrendo le molteplici vie che connettono Salerno a Roma, alle sponde del Mediterraneo e al cuore dell’Europa.
Content:
His Holiness Neophit, Patriarch of Bulgaria and Metropolitan of Sofia. The
Orthodox Liturgical Singing Tradition / 13
Svetlana Kujumdzieva. Introduction / 19
PERSONALITY / 25
Svetlana Kujumdzieva. St. John Koukouzeles – Musical-liturgical Innovations / 43
Lyubomir Ignatov. St. John Koukouzeles – a Measure of Singing Mastery in Eastern
Orthodox Church Music / 77
Stefka Venkova. St. John Koukouzeles in the Editions of the Bulgarian Musical Union:
Data and Interpretations / 91
Tatyana Ilieva. St. John Koukouzeles’ Character According to Dobri Nemirov’s
Historical Novel “The Angel-Voiced” / 122
WORK / 123
Maria Alexandru. Towards a Corpus of the Kalophonic Mathemata by St. John
Koukouzeles / 164
Klara Mechkova. Koukouzeles’ Wheel in the Light of Hesychast Theology / 176
Emmanouil Giannopoulos. Koukouzeles’ Heritage according to the Cretan Psaltic
Tradition of the Sixteenth and Seventeenth Centuries / 183
Stefan Harkov. Koukouzelian Heritage among the Bulgarians in the Middle of the 19th
Century: Reconsideration of Some Lesser-Known Sources / 206
Nikola Antonov. The New Method Version of “Mega ison” by St. John Kukuzeleles or
about the Continuity of Tradition under the Aspect of the Tone System / 223
Andrey Kasabov. Musical Creativity of Saint John Koukouzeles in the Bulgarian
Printed Church-Singing Collections from the Middle of 19th and the beginning of the 20th centuries. Ἄνωθεν ο ἱ προφῆται in ἦχος βαρύς / 237
EPOCH / 239
Iskra Hristova-Shomova. The Ochrid Menaion Between the Old Recension and the
Norms of the Jerusalem Typikon / 263
Oliver Gerlach. The Generation around John Koukouzeles and the Re-Definition of the
Constantinopolitan Tradition by the “Koukouzelian” Reform / 294
Since John Koukouzeles’ Mega Ison as a method to teach all notational signs did not change the notation system, but rather exploited a former synthesis to transcribe the chant books of the cathedral rite (Asmatikon and Kontakarion-Psaltikon) with the notation of the Sticherarion, the synthesis of all chant books within one universal notation system was well prepared and this preparation motivated Christian Troelsgård to abandon the distinction of Middle from Late Byzantine notation. It was also the basis of the integrative role of Papadic teaching which was continued until the 19th century and the integration of the practice of cheironomia in Koukouzeles’ theory of the great signs. According to the new theory of Papadike, the Hagiopolitan oktoechos was the universal tonal system which had to integrate also the Constantinopolitan tradition of the cathedral rite. This synthesis is also the basic understanding of the Byzantine tonal system since its description by Oliver Strunk in 1942. The current understanding of the heritage of Byzantine chant is so deeply rooted on the Papadic synthesis of the 14th century that it lacks a proper understanding of the preceding tradition which was unified by the synthesis.
This essay is focussed on the kalophonic melos concerned with the repertoire of the kontakia and its modal transformation.
During recent years linguistic diversity in the whole of Italy faced a serious decline. It has been neglected and dismissed as a certain minority culture, although the term was once used to protect minorities. The reception of traditional dance in Southern Italy is quite different, especially tarantella, after Ernesto De Martino’s study about the end of the Salentine pizzica taranta (La terra del rimorso, 1961), caused an urban folk fashion which celebrates itself as “Neo-Tarantismo” in mass media events without showing any serious curiosity in the still existing rich diversity of rural dance traditions. The unknown fact is that Balkan minorities have created the local traditions between Abruzzo and Sicily which are perceived today as something which belongs to everyone (a majority or mainstream culture).
One of the first things, I had to learn about my field in Calabria and Lucania was that certain religious processions are accompanied by dance and as a para-liturgical tradition it was untouchable for church authorities and ecclesiastical reforms. It also forms the backbone of other rituals such as Carnival or the Vallje, a kind of processional dance of Italo-Albanian communities which celebrate, in combination with multipart singing, legendary Albanian heroes such as Skanderbeg or Constantine (a fictional protagonist who stands for patriotic loyalty, even if the home-country is far away). Although these rituals are often perceived as non-religious, they are integrated in the annual cycle before the beginning and after the end of Lent.
This contribution has just the modest aim to attract public curiosity and to point at the fragility of rural traditions which urgently need an effective protection against current processes of globalisation. Instead of nationalist concepts which do exist, one must not forget that “national heritage” is always based on local diversity.
The paper is about the performance practice of Greek-Orthodox singers and is focused on the various forms of the diatonic (papadic) ēchos barys, as they can be found in the living tradition today. It is also an attempt to trace back the theoretical concept of this mode and to answer the question, to what extent the reformers were inspired by traditional musicians of the Levant.
Everybody who visited Bačkovo between 1961 and 2012, was instantly touched by his exceptional voice. He stood modestly at the pulpit, discrete, but affecting, to serve God and men. Under his musical custody the divine services had been celebrated for more than 50 years. Thus, he had an experience comparable to a monk of an Athonite skete specialized in liturgical chant. With his experience and his individual part which he shared within the tradition of Bulgarian Orthodox Chant, Otec Stiliyan had been one of the most excellent psaltes of Bulgaria, despite that he never had a representative office within the hierarchies of the Patriarchate (like the one of a protopsaltes). His country and his church have lost an important chanter and teacher.
McKinnon, James W. 1996. “Preface to the Study of the Alleluia.” Early Music History 15: 213–249.
McKinnon, James. 2000. The Advent Project the Later-seventh-century Creation of the Roman .... Berkeley: University of California Press.
Levy, Kenneth. 2000. “A New Look at Old Roman Chant.” Early Music History 19: 81–104.
———. 2001. “A New Look at Old Roman Chant - II.” Early Music History 20: 173–197.
Pfisterer, Andreas. 2008. “Italian and Gallican Alleluia Psalmody.” Plainsong and Medieval Music 17: 55-68.
The discussion of the relationship between written and oral transmission is still up-to date, as far as it is concerned with court music as a secularised form of a dervish ceremony, while the brotherhoods (tekkes) had become important institutions to preserve the musical heritage, or as far as it is concerned with the revival of the heritage of synagogal music associated to the Maftirim brotherhoods, or as far as it is concerned with Armenian or Greek church music. In case of the Armenians the history genocide is the explanation for a lack of research concerned with the oral tradition (parallel to the violent suppression that Georgian church music had to endure under Russian hegemony and during the period of communism), while in other cases, the tradition is represented by the diversity of local schools which do not agree among each other. The encouraging experience is, that the occupation with the own tradition is in no way a reduction, but on the contrary the discovery of an unknown creative liberty which had once been the state of the art.
The paper is dedicated to two Nativity alleluia verses according to the breviary missal of Salerno on folio 106 recto which is currently preserved as Cod. Lit. 24 at the Museo Leone of Vercelli in Piedmont. It has one in common with the gradual of Santa Cecilia of Trastevere in Rome (CH-CObodmer Cod. 74, f.11), although its melody is set differently to the non-scriptural text.
In comparison to the Constantinopolitan rite, there are two psalm stichoi of the Nativity allelouïarion with another melody of the same mode (echos plagios protos) which serve here as an example of the context between the Latin and the Greek rite at the archimandritate Santissimo Salvatore of Messina in Southern Italy.
The so-called Byzantine chant has been recently registered as intangible world heritage. Although the living tradition of monodic Orthodox chant still exists in great diversity in many countries of the Balkans, Central, and Northeastern Europe (within and without the Patriarchate of Moscow) and the Orient which is worth to be honoured and protected by such a title, there are some ideological problems provided by its ahistorical definition as "Byzantine chant", because such a definition raises many open questions about the exact relationship between each of the local traditions in question and the role of Byzantine music during the past until 1453, and afterwards (whether defined as post-Byzantine or otherwise). In order to illustrate these problems, I chose the example high melismatic chant of the Byzantine cathedral rite which is particularly well documented in Italy, although within the medium of the "wrong" notation. The Easter koinonikon has not only survived in various notation systems like in GR-KA Ms. 8, ff.36v-37v (Slavic and Greek kondakarian notation, Old and Middle Byzantine notation etc.), it was also written several times in the kontakarion-asmatikon of Messina, a particular book form only known from the scriptorium of the Archimandritate SS. Salvatore which organised the whole proper cycle of psaltic and choir chant together. I would like to introduce into this almost unknown variety of Italo-Byzantine and local variants of the well-known koinonikon asmatikon (I-ME Cod. mess. gr. 129, f.114v) of southern Italy, and then return to the difficult question, inasmuch it has become part of the living tradition of Orthodox chant.
It seems hardly by coincidence that in all graduals preserved at the Biblioteca capitolare of Benevent the beginning with the feast for Nativity is usually missing (except for the missal I-BV Ms. 33).
The pages in question had been torn out, probably also because they might have included an alternative version with respect to the Neo-Gregorian repertoire concerning the mass for Nativity which preceded the one for Saint Stephen. According to it the last chant of the proper cycle was the offertorium Tui sunt caeli.
The only evidence we have for such an alternative version is folio 202 of Ms. 35 (I-BV 35) which belongs to two bifolios as a fragment of an Old-Beneventan Gradual which had been bound together with a later Gradual.
This essay tries a comparison of the very particular melos of the alternative offertorium as it can be defined according to the tonary of Montecassino, with the Old-Roman redaction of proper mass chant (together with other local traditions of Western plainchant) and with other Byzantine Nativity chant using the word «σήμερον» or «hodie» (“today”) like in Romanos’ kontakion or during the Alleluia verse of the Roman redaction.
Resoconto:
Non sembra una coincidenza che la parte iniziale con la festa di Natale non aveva sopravvissuto in nessun graduale conservato alla Biblioteca Capitolare (con eccezione del messale I-BV 33).
Le pagine in questione sono tolte, probabilmente anche perché erano differenti dal repertorio neo-gregoriano secondo quale la messa di Natale prevedeva l’offertorio Tui sunt caeli che precedeva quella per Santo Stefano.
La sola evidenza è folio 202 di un graduale beneventano antico su uno di due bifogli che erano inseriti alla fine di un graduale più tardo conosciuto sotto la collocazione codice beneventano 35.
Questo saggio fa un confronto del melos particolare alla base del tonario di Montecassino con il proprio del canto romano (e di altre tradizioni locali) e del canto bizantino creato sulla parole «σήμερον» o «hodie» (oggi) come il kontakion di Romanos o il verso alleluiatico in redazione romana.
Except Thodberg’s description of the book kontakarion-psaltikon, Floros’ transcription and edition and the well-known text editions of Romanos’ kontakia, there has never been a systematic study of the different shapes of kontakaria which preserved the kontakion repertoire with more or less musical notation and which have transformed and changed this genre, not only its musical architecture.
About the long history of exchange between oktoechos and makam music and about a certain ideological discourse to talk about it
German version: Gerlach, O., 2018. ‘Osmanische Verfälschungen im nachbyzantinischen Gesang!’ Über die lange Geschichte eines Austauschs zwischen Oktoichos- und Makammusik und den ideologischen Diskurs darüber. In M. Pischlöger, hrsg. Bericht der Internationalen Tagung Wien 2016. Theorie und Geschichte der Monodie, 9.2. Brno: Tribun EU, S. 651–679.
English version: Gerlach, O., 2020. ‘Ottoman Corruptions of Post-Byzantine Chant!’ About the Long History of Exchange Between Oktoechos and Makam Music and About a Certain Ideological Discourse to Talk About It. In M. Pischlöger, ed. Bericht der Internationalen Tagung Wien 2018. Theorie und Geschichte der Monodie, 10. Brno: Tribun EU, pp. 117–144.
Summary:
In confrontation with the differences between Byzantine music transmission and the innovations of the New Music School of the Patriarchate since the 18th century, H.J.W. Tillyard reproached the living tradition of Orthodox monodic chant (called hyphos, the "patriarchal style") that it corrupted the Byzantine heritage. Gregorios Stathis reacted by a lecture at Oxford, in which he stressed, that a Western philologist like Tillyard does not understand the difference of music composed according to the makamlar from the one composed according to the oktoechos. He referred to the distinction between external (exoteric) and internal (esoteric) music which was common in Greek music theory of the 19th century, after makam music became transcribed as well into Byzantine neumes since the school of the Archon Protopsaltis Panagiotes Halacoğlu.
Only recently handwritten Greek Anthologies or "Mismagia" had been rediscovered as important sources of Ottoman music. This discovery raises the question how to deal with common prejudices and misunderstandings, which became an obstacle to approach the current tradition of psaltic art and its creative potential.
Within the catholic church they were allowed to celebrate the Greek rite, but this became possible due to a new law in church administration which existed since the 18th century. The question if there did really exist a continuous oral transmission since the arrival of Albanian emigrants during the last decades of the 15th century, and in as far they adapted to local customs of the Italo-Byzantine tradition which had survived around the Archimandritates in Italy, has not been an issue of historical research yet. Concerning ethnomusicological fieldwork, ethnomusicologists succeeded only in rare cases to trace a living tradition back to the 18th or even 17th centuries (concerning Orthodox chant usually by traditionalist protopsaltes who do not follow the Chrysanthine reform of 1814).
During my fieldwork about liturgical ceremonies in various Arbëresh communities of Northern Calabria and at the Seminary Shën Sotir of Cosenza, I could document monodic oktoechos chant and various forms of multipart singing sometimes within the oktoechos system, sometimes closer to other forms of canto popolare which do neither use equally tempered intervals.
During the last decades within a complex process of oral transmission, often modulated by interactions of written transmission which was usually reduced to the text, a rather spontaneous way of improvisation became frozen, also under influence of field recordings which the singers either did themselves or by listening to officially published recordings, like the republication of Diego Carpitella’s recordings made of multipart songs of the Parco nazionale Pollino between Lucania and Calabria in 1954. The study is concerned about changing multipart competences as they have been documented between the 1950s and today.
Unfortunately, the Italoalbanian dialect called Arbëresh, registered as world heritage at the UN, is since 2007 on the red list of seriously endangered languages (like Italo-Greek dialects before), despite the fact that the number of active speakers is still is considerably higher. We do not know, if these traditions will be continued during the next decades, so we hope that our recordings might help for a later revival of a lost tradition. Concerning the texts, it seems that all of them are taken from Variboba, although some of them are Calabrian and Italian texts, but we would like to point out how the literary poems have been transformed and adapted to the local tradition. Concerning the melodic models, we would like to describe, what they have in common and what is unique for the tradition of one community.
В няколко региона на Южна Италия намираме традиция на епична рецитация на Пасиони (Страстите), изпълнявана на местни диалекти. Обикновено това са балкански диалекти, които се смесват с локалния италиански, но нейната ритуална рецитация обикновено се нарича калимера (kalimera), защото тя се пее през нощта или рано сутрин между Лазаровден и Цветница и включва официално приветствие към присъстващите. Има дори калимера на италиански диалекти, там където вече са загубени езиковите знания на така наречените малцинствени езици. Ние бихме искали да представим сравнително изследване на пет общини, които изпълняват калимера в повече или по-малко литургичен контекст по време на Страстната седмица: Акуаформоза (Фирмоза), Лунгро (Унгра), Фирмо (Ферма), Сан Базиле (Шън Васили), и Фрашинето (Фраснита). Петте общности използват повече или по-малко същите текстове, които са създадени от един свещеник на име Джул Варибоба през XVIII век, но всяко село използва различни мелодии или строфични модели. Рецитацията в Сан Базиле дори се осъществява като многогласно пеене между мъжки и женски певци, докато едногласната рецитация на другите села се извършва в различна степен неофициално от певици.
За съжаление, италианско-албанският диалект наречен "Arbëresh", регистриран като световно наследство в рамките на ООН, от 2007 е в червения списък на сериозно застрашените езици (като италианско-гръцките диалекти), въпреки факта, че броят на активните говорещите този диалект все още е значително висок. Ние не знаем, дали тези традиции ще бъдат продължени през следващите десетилетия, така че се надяваме нашите записи да могат да помогнат при по-късно възраждане на изгубена традиция. По отношение на текстовете, изглежда, че всичките са взети от Варибоба, въпреки че някои от тях са калабрийски и италиански текстове, но бихме искали да посочим как литературните стихове са трансформирани и адаптирани към местната традиция. Що се отнася до мелодичните модели, бихме искали да опишем това, което е общото между тях и това, което е уникално за традицията на една общност.
Remark: Unfortunately, the published version available under the link:
https://www.ceeol.com/search/article-detail?id=542930
has graphics in deficient quality. Therefore we cannot authorise the published version!
During my field research in rural Arbëreshë communities in Calabria and Basilicata my focus was on paraliturgical rituals. I experienced rather by chance dance rituals and got a complete different impression of local tarantella traditions. Unlike the Italo-Greek communities in Salento and Aspromonte the Italo-Albanian communities could still preserve an Orthodox background within the catholic church (nevertheless, there are still paraliturgical tarantelle also in former villages, where the Greek dialect has already disappeared), and the magic and supernatural seems far to be domestified within the paraliturgical context, because it was traditionally an area untouched by any church reform. It rather seems that tarantella as a magic ritual could survive, its occurence during seasonal rituals (e.g. by the end of the winter) and during the feasts of certain local saints made it evident, that it was deeply involved in the life cycle and in human pathology. Often it appears close to a big fire as an improvised form of gesting, but the ritual context is too manifold and complex for one simple description. It varies according to its local rite.
The first audio recordings of this field have been done by anthropologists like Diego Carpitella. Other recordings had been made during the 1950s by Giuseppe Gangale and Eric Hamp. In the following decades, the material has been enriched by more recent fieldwork until today, not only by priests, but also by anthropologists and ethnomusicologists, who have grown up in these communities and who decided to correct and improve the earlier and current fieldwork of interested strangers.
The more or less improvised forms of polyphony have not been analysed according to the methodology, as Ignazio Macchiarella has developed it for this study group. I would like to use these occasion for 2 purposes:
(1) to discuss two local traditions which have not been studied thoroughly so far;
(2) to improve and to refine our understanding of the subject "multipart music," which brought us here together, also in a vocal sense which includes not only a multipart way of singing, but also a multipart way of singing several songs "together," which is not based on the concept of singing together, but apart.
As genre of canto popolare, both processions, Maundy Thursday at San Basile and Good Friday at San Benedetto Ullano, are more or less derived from the "Kalimera," the Passion told in the local Arbëresh or Griko dialect, which had been done during the night from Lazarus Saturday and Palm Sunday in Italian "Orthodox" communities, usually by singers reciting a popular version on the street.
Though the relationship between Greek and Latin Christians was ambiguous and complex, the richness of local traditions in southern Italy is the result of a long period of exchange. In a comparative study I would like to give some examples of chant and sacral architecture, which may illustrate, how the different traditions could flourish by an exchange in craftship, in science, and in the art of chant.
The main subject of this essay is the conversion of Bari from a Greek into a Latin centre of Christianity. This town located in central Apulia, played a central role in the medieval history of southern Italy, because it was the capital of the Byzantine catepanate which ruled over the three Byzantine provinces (themata) including Calabria, Basilicata and Campania. After the Norman conquest of the catepanate Bari could still hold a key position, the reliquaries of S. Nicola were transferred from Myra in Lycia and turned the capital of Byzantine Italy into a centre of Eastern and Western pilgrimage.
The notation of the New Method, which eliminated the signs of the Great Hypostases, could be read more easily, but its definite form abandons the freedom of the traditional notation and tends to be very normative. Otherwise a lot of ornaments were not indicated by the new Chrysanthine notation and the singer must have in mind the traditional way of singing in recognizing some passages of the new notation – a knowledge which seems to pass over.
A second step of this study is the analysis of field recordings made by Greek Orthodox singers in the last three decades – 150 years after the reform. Its focus is on the individual creativity that a singer spends on singing out of the modern notation, which is quite in use since Chrysanthos – partially improved by the reintroduction of some Great Hypostases.
The paper is based on philological studies of manuscripts, ethno musicological research and systematic analysis of field recordings (historical field recordings of the phonogram archive Berlin, of the Greek publication series μνημεια εκκλησιαστικης μουσικις edited by Manolis K. Chatzēgiakoumēs and own field recordings).
Table of Contents:
(1) The Frankish reception
- Form and liturgical function
- Notation systems of the Cluniac reforms
+ Modality and microtonal attractions
+ The composition of the last verse
- Aquitaine and the reforms of Cluny and Italy
(2) The Old-Beneventan and Ambrosian canticum
(3) Mozarabic cantillation models
- The long form
- The short form
- Conclusions about the canticle recitation of the Mozarabic and Milanese cathedral rite
(4) Conclusion
Der Titel „Im Labyrinth des Oktōīchos“ bezieht sich auf eine räumliche Umsetzung einer zweidimensionalen handschriftlichen Darstellung, die „das Rad des Koukouzelīs“ (trochos tou Koukouzelī) genannt wird. Sie ist der Schlüssel zu einer musikalischen Gedächtniskunst, die Teil der kalophonen Gesangskunst war, die sich Ende des 13. Jahrhunderts in der Schule von Iōannīs Glykys entwickelt hat. Aus dieser Zeit sind auch arabische Darstellungen der Tonbeziehungen zwischen den Melodiemodellen (naġme) in Form von Rädern und Bäumen erhalten. In seiner Form repräsentiert das Rad ein Tonsystem, in dem jeder Ton das Zentrum jeder Tonart sein kann, ein Netz von Tonbeziehungen, das außerhalb des Vorstellungsvermögens von Musikern liegt, die dafür mit Hilfe des Rades jeden noch so verwickelten Pfad durch das Labyrinth nehmen konnten, ohne die Orientierung zu verlieren. In der bisherigen Forschung galt der Trochos als ein ungelöstes Rätsel. Dieser erste Schritt, es zu lösen, wirft sicher viele Fragen auf, von denen viele erst in der weiteren Forschung beantwortet werden können.
Tra queste due manifestazioni all’inizio e alla fine c’è una seconda mascherata dei giovani che passa alle case per chiedere le elemosine.
Una mascherata consiste del Carnevale vorace che piace a rubare la salsiccia che secondo l'uso locale pende sopra il camino, e della sua moglie Quaremma. Questi due appartengono tradizionalmente a qualsiasi Carnevale meridionale, ma il particolare di quello teanese è sicuramente che il Carnevale non è semplicemente un pupazzo di paglia, ma rappresentato da un uomo nel costume di questo pupazzo.
Non dare niente alle maschere porta la sfortuna. Si lascia entrarle e si guarda le loro azioni diaboliche che sono accompagnate in continuazione dai musicisti, che suonano una tarantella che non vuole finire mai.
Playlist:
1. Angelo Le Rose: Tarantella a Karamunxa
2. Totarella: Tarantella a Ciaramella e Zampogna
3. Canzone a cupa cupa
4. Canzone a zampogna
5. Canzone di sdegno
6. Tarantella sulla piazza principale di Teana
7. Tarantella a piedi
8. Tarantella a zampogna
9. Domini di Lavello: Tarantella a organetto e cupa cupa
10. Tribunale alla Piazza Chianura
11. Pino Salamone: Tarantella a zampogna
3 & 10 Feldaufnahmen von Giuseppe Cosenza (2000 & 2009)
2 & 4 Feldaufnahmen von Mariko Kanemitsu (2010)
Playlist:
1. Şivan Perwer - Ka Kurdistana min ka (Where is my Kurdistan)
2. Rençber Aziz - Way way ninna (lament)
3. Kawis Axa - Genç Xelil (Young Xelil)
4. Hesen Cizrawî - Le Le Dine (Absolutely crazy)
5. Şivan Perwer - Kirîvê (Godfather at circumcision)
6. Mihemed Şêxo - Yadê rebenê (My unfortuned mother)
7. Dengbêj Şakiro - Emro (name of a man)
8. Dengbêj Şakiro - Derwêşê Evdî (Poor drifter)
9. Heci Şeyhmus - Zembilfroş (basketry; protagonist of an epic love poem)
10. Zemara Li Ser Gund (Lament recorded in a village)
11. Metin & Kemal Kahraman - Verva Are
12. Qewlê Raviye Adaviya (Prayer of the holy Ezidi)
13. Semaya Kanûnî
14. Kurdish poem by Molla Mahmud Bikhod, 19th century
Labels
Tr. 1, Şivan Perwer – Govenda Azadixwazan (Pel Records, B00BBJJZMS)
Tr. 2, Rençber Aziz – Hasreta Azadî (Medya Müzik, 06/2013)
Tr. 3, Kawis Axa – Lawik (Kom Müzik, B00DJCIJOK)
Tr. 4, Hesen Cizrawî – Ez Nexweşim (Aydın Müzik, B00D40AXQE)
Tr. 5, Şivan Perwer – Dotmam (Ses Plak, B005JOKRC8)
Tr. 6, Mihemed Şêxo – Ay Lê Gulê (Kom Müzik, B004P1JLMI)
Tr. 7 & 8, Dengbêj Şakiro (Recording from casette)
Tr. 9, Heci Şeyhmus (Field recording in Mardin, 26.06.2004)
Tr. 10, Kurdish Alevi Laments (Kalan Müzik, B005EE2AU0)
Tr. 11, Yaşlılar Dersim Türküleri Söylüyor (Lizge Müzik, B00JMRWCYY)
Tr. 12 & 13, Yezidiler (Kalan Müzik, B0071336GE)
Tr. 14, Kurdistan - Zikr et chants soufis (Ocora, B000003IF9)
As communities of the "Greek rite" they were administrated by the Catholic Church, like the Byzantine Greeks since the Norman conquest of Byzantine Italy. But even the liturgical reform of 1968 could not change the Arbëresh custom to celebrate the Orthodox services in Greek language.
Playlist:
Liturgical chant in Greek
01. Doxa en ypsistois (San Cosmo Albanese, 2008)
02. Trisagion
03. Cherouvikon (Cosenza, Parocchia Shën Sotir 2009)
04. Sanctus
In Arbërisht by Emanuele Giordano (Eianina, 4 October 2001)
05. Apolytikion anastasimon, Echos Protos
06. Troparion for Epiphany
Paraliturgical Chant of the Holy Week
1) Palmsunday
07. Kalimera "Mirë mbrëma dhe mirë menatë" (Adelina Jocca, Maria Marra, Teresa Torchia; Pallagorio, 15 April 1954)
08. Kalimera "Mirë mbrëma ju e mirë menatë" (Castroregio, 22 April 1954)
2) Maundy Thursday
09. Pasjuna Zotit Krisht "Një t' ënjtëzin e mbrëma (e)" (San Basile, 1977)
10. Pasjuna met Bonifacio Faxhi (San Basile, 28 March 2013)
3) Good Friday
11. Ton stavron sou (Edera Capparelli, San Benedetto Ullano, 24 May 2012)
12. Otementi "E tu, Madre, che immota vedesti" (Manzoni) e Vajtim (Variboba) "E keqe penë" (San Benedetto Ullano, 6 Aprill 2012)
13. Ojë bir ("Ohi figlio come farò?") (Spezzano Albanese, Cosmina & Adelina Singola, 18 March 1992)
14. "Zoti Krishti im" (Frascineto, 20 April 1954)
Lamento (Vajtim)
15. "Bijë Vitoria jonë" (Carfizzi, 16 April 1954)
16. "Menzu stu pettu c'è n uliv'amare" (Carfizzi, 16 April 1954)
17. "E stanotte te sunnasti che era morta" (Pallagorio, 17 April 1954)
18. "Bir lalë Sëndi im" (Giuseppina Fitipaldi; Castroregio, 22 April 1954)
Procession songs of Lungro
19. Hymn for Skanderbeg (Anna Stratigò, Giampiero Vaccarò; Cosenza, 18 April 2012)
20. Hymn for San Elia di Lungro (Anna Stratigò, Giampiero Vaccarò; Cosenza, 18 April 2012)
Epilogue
21. Pasjuna Zotit Krisht (San Basile, 28 March 2013)
Documented cantori and their communities:
01, 02, 04: Corale Santi Anargiri S. Cosma e Damiano
Vincenzo La Vena (ed.), Amministrazione comunale di San Cosmo Albanese (2008)
03: Comunità Parrochia Shën Sotir, Cosenza
own field recording: 20 September 2009
05-06: Emanuele Giordano
field recording: Vincenzo La Vena; Eianina, 4 October 2001. Il Cerchio AB 002 (2001)
07-08: Squilibri SQLCD 10 (2006)
09: Fondo Gianni Belluscio
field recording: San Basile 1977
10: Bonifacio Faxhi
own field recording: San Basile, 28 March 2013
11: Edera Capparelli
own field recording: San Benedetto Ullano, 24 May 2012
12: San Benedetto Ullano
own field recording: 6 April 2012
13: Cosmina & Adelina Spingola
field recording: Vincenzo La Vena, Spezzano Albanese, 18 March 1992. Il Cerchio AB 002 (2001)
14: Frascineto
Diego Carpitella, 20 April 1954. Squilibri SQLCD 10 (2006)
15-16: Elena Amoroso, Maria Ausilio, Adelina Costantino, Domenica Macrì, Carmina Maio, Concetta Scalise
Carfizzi, 16 April 1954
17: Rosina Gallo, Maria Jocca, Giuseppina & Maria Marra, Teresa Torchia
Pallagorio, 17 April 1954
18: Giuseppina Fitipaldi
Castroregio, 22 April 1954
19-20: Anna Stratigò, Giampiero Vaccarò
own field recording: Cosenza, 18 April 2012
21: own field recording: San Basile, 28 March 2013
Playlist:
1. Große Ektenie, Glas 8 (Plagios tetartos)
2. Antiphon 1 "Mit Fürbitten der Gottesmutter", Glas 2 (Devteros)
3. Antiphon 2 "Rette uns, Sohn Gottes", Glas 2 (Devteros)
4. Antiphon 3 "In deinem Reich", Glas 2 (Devteros)
5. Kleiner Einzug "Laßt uns beten und vor Christus", Glas 2 (Devteros)
6. Tagestropare, Glas 1 (Protos)
7. Trisvjatoe (Trisagion) "Heiliger Gott", folk tune Glas 1 (Protos)
8. Epistel (Petrus II 1:10-19)
9. Evangelium (Matth. 17:1-9)
10. Ektenie
11. Chourmouzios Chartophylakos. Cherubim Hymnus, Glas 4 (Tetartos)
12. Ektenie mit Gebet, Glas 5 (Plagios Protos)
13. Otca i syna "Dem Vater, Sohn", Glas 5 (Plagios Protos)
14. Glaubenssymbol
15. Anaphora "Ich werde dich lieben", Glas 5 (Plagios Protos)
16. Heirmos "Nijne ne uslijshanaja", Glas 8 (Plagios Tetartos)
17. Ekphonesis, Glas 5 (Plagios Protos)
18. Otče naš "Vater unser", Glas 5 (Plagios Protos)
19 Inklination, Glas 5 (Plagios Protos)
20. Petros Peloponnesios. Koinonikon "Im glorreichen Licht" (Ps. 88:16b–17a), Glas 8 (Plagios Tetartos)
21. Kommunion & Entlassungshymnen "Wir haben das wahre Licht gesehen", Glas 2 (Devteros)
During the 19th century, Edirne had become the most important center of this Maftirim tradition. The famous anthology “Shirei Israel be-Eretz ha-Qedem”, printed at Istanbul in 1921, was mainly a printed edition of the Divan used by the Maftirim of Edirne. The Ottoman Divan sorts all songs according to the tunes of the makamlar, but there were not only Turkish divans, but also those in Greek, Armenian, and Hebrew language.
Makam sabâ:
1. Moshe
- Semai Aǧir "Meleḵ Mêšarîm"
2. Abraham Bar Shlomo Hayyun
- Semai Aksak "Ezkôr Ḥasdê El Ne'eman"
3. Israel Najara (ca.1555 – ca.1625)
- Semai Yürük "Yôm El Qeren `ammo Nasā"
Makam beyâti:
4. Anonym
- "Yishlach Mishamayim"
İzak Algazı Efendi, chant
5. Bekhor Papa (Poetry), Moshe Cordova (1881-1967) (Music)
- Beste "`Ûri `ûri"
Samuel Benaroya, chant
6. Hammamizade İsmail Dede Efendi (1778-1846)
- Merhabâ "Bir gonca femin yâresi vardır ciğerimde"
7. Samuel Benaroya over zijn weigering ghazzan te worden
Interview met Dr. David Raphael.
Makam hicaz:
8. Israel Najara (ca. 1555 – ca.1625)
- Peşrev Semai "Yaẓa Ẓîẓ Va-Yimmal"
9. Hayyim Bejerano
- Yürük Semai "Ḥaddeš Ke-Qedem Yamênû"
Makam sehnaz:
10. Yaacov Amron
- Peşrev "Ye`erav Leḵa Adônay Elohênû"
11. Israel
- Semai Aǧir "Yafah, Ḥišqeḵ Yiv`ar"
Aharon Alidi
12. Peşrev Aksak Semai "Avî Ram Big-Gevûrah"
13. Şarki "Adônay Hû Elohênû"
Makam segah:
14. Israel Najara, music by Yusuf Paşa (1821-1884)
- Peşrev "Yehemeh Levavî"
15. Israel Najara, music by Moshe Cordova
- Beste "Yah Qadôš Yôšev Tehillôt"
16. Eliyah
- Semai "Et Ḥoškî Ha'er"
17. Yehuda
- Yürük Semai "Yismaḥ Har Ẓiyyôn"
Makam hüzzam en nikriz:
18. Abraham
- Semai Aǧir "Elî Maher Haẓẓilenû"
19. Israel Najara
- "Yavô' Dôdî Le-Gan `ednô"
Samuel Benaroya, chant
Anthology of Music Traditions in Israel
(AMTI 9803, 1998)
nr 04:
İzak Algazı Efendi (1889-1950), chant
(Odeon Records LA 202784, 1929)
In this episode of "Bonum est" we listen to the dance ceremony sema of the whirling dervishes, which has been composed by Dede Efendi in makam sabâ.
1. Buhurizade Mustafa Itrî (1640-1712)
- Nâ't-ı Mevlânâ makam rast
Hafız Kâni Karaca, zang
2. Nay taksim sabâ
Ömer Nasuhi Coşkun, ney
3. Tamburi Büyük Osman Bey (1816–1885)
- Sabâ Peşrev
Ömer Nasuhi Coşkun, ney
4. Hammamizade İsmail Dede Efendi (1778-1846)
- Sabâ ayin-i şerif
Hafız Kâni Karaca en Sadettin Heper, küdüm. Ulvi Erguner, Niyazi Sayın, Akagündüz Kutbay, ney. Cüneyt Orhon, kemençe. Mesut Cemil, violoncello
Playlist:
1. Doxastikon Ἱεραρχῶν τὴν καλλονὴν (Nikolaos, 6 December), Εchos Plagios Devteros (Ioannes Stavrou)
2. G. B. Bononcini: Oratorio "San Nicola di Bari"; Aria [San Nicola]: Io non vuò (Allegro) (Gabriella Martelacci, Les Muffati)
3. Trommelmarsch der Timpanisti Nicolaus Barium (Bari, 8.5.2012)
4. Prozession der Pilger (Basilica San Nicola di Bari, 8./9.5.2011)
5. Marcia funebra (Cattedrale Molfetta, 10.4.2009)
6. Miserere (Conversano, 10.4.2009)
7. Stava maria dolente (Canosa, 11.4.2009)
8. Miserere & Stava maria dolente (Canosa, 11.4.2009)
Playlist:
1. En Ìsala Na Su Po' (Martano, 15.8.1968)
2. En Ìsala as Cantu de lu trainieri (Martano, 17.8.1968)
3. Rendinèddha mu (Martano, 17.8.1968)
4. Pizzica taranta (Martano, 15.8.1968)
5. I Passiùna tu Cristù (Salento, 1953)
6. I Passiùna tu Cristù (Martano, 15.8.1968)
7. Savina Yannatou, Primavera en Salonico: Passiuna (1999)
8. Imma Gianuzzi, Arakne Mediterranea: I passiuna (2006)
9. Carla Maniglio, Anna Cinzia Villani: Passiuna di Cristu (27.3.2010: Festival Arrah nenè, Alezio)
10. Margherita, Luce & Giuseppina Musio, Anna Cinzia Villani: Aria a tre
Among many diversity, Bektashi order differs itself especially in its egalitarian aspect of the equality of women and men and their co-existence during the religious ritual which is called "Djem" (tr. gathering, reunion):
'Yo-lu-muz on i-ki i-ma-ma çı-kar
Reh-ber-im Mu-ham-med Ah-med-i muh-tar
Mür-şüd-üm A-li-dir sa-hib Zül-fü-kar
Vi-rân-i kul-un-dur di-va-na gel-dim'
(Our path is leading to the twelve Imams,
My guide is Muhammed, Ahmed Muhtar,
My master is Ali, the owner of Zülfükar,
Virâni is servant, joined the assembly.)
(Virâni, nummer 5, transl. by John Kingsley Birge)
Playlist:
1. The twelve Imâms and Invocation to Allâh
2. Semah - içeri semahı
3. Ali Ekber Çiçek – Meydan Saz
4. Invocation to the masters of the Order and blessing of the chapel
5. Hymns (Nefes by Kul Himmet and Virâni), evocation of the initiation
6. Celestial Ascension and the Banquet of the Forty
7. Ali Ekber Çiçek – Ilahi Dostum Bağına
8. Musa Eroğlu – Alamut Semahı
9. Kâni Karaca – Derdim Çoktur (Pençgâh Bektaşi Nefes)
10. Ali Ekber Çiçek – Derdim Çoktur
1, 4, 5 & 6: Ali Dede / Hasan Dede / Djafer Doghan
CD: Turquie – Cérémonie du Djem Alevi
(Ocora, C 560125, 1998)
2: Field recording from Kahramanmaraş, Elif Ana Cem House. (bron: www.piryolu.com)
3, 7 & 10: Ali Ekber Çiçek.
CD: Turkey – Bektashi Music. Ashik Songs
(Auvidis/Unesco, D 8069, 1996)
8. Musa Eroğlu.
CD: Bin Yıllık Yürüyüş – Semahlar 2
(Milhan Müzik, B003LNTO28, 1994)
9. Kâni Karaca.
CD: The Dergah of Musics
(Anadolu Müzik, B002DPT8OO, 2009)
Playlist:
1) Divine Liturgy
1. Ton despotin, Echos Varys (IN)
2. Kyrie eleison, Echos Devteros (IN)
3. Georgios of Crete: DynamisTrisagion, "Holy God, Holy Strong, Holy Immortal" Echos Devteros (IN)
4. Gospel, Echos Tetartos (phthora nisabur) (IN)
5. Cherouvikon Οἱ τὰ χερουβὶμ μυστικῶς εἰκονίζοντες ("We who represent mystically the cherubim"), Echos Protos (KP)
6. Σε ὑμνούμεν ("With hymns"), Echos Plagios Tetartos (KP)
7. Ἄξιον ἐστίν ("Truly, it is right"), Echos Devteros (IN)
2) Stichera
8. Iakovos the Protopsaltes (transcr. by Georgios of Crete, Late Byzantine Notation & Chourmouzios the Archivist, Neobyzantine Notation): Long Doxastikon (Sticheron with Doxa) Ἀτενίσαι τὸ ὄμμα ("Looking in the eyes of heaven") (3rd Lenten Sunday, Triodion), Echos Plagios Tetartos (IN)
9. Doxastikon Ἀναστάσεως ἡμέρα ("On the day of resurrection") (Easter), Echos Plagios Protos (IN)
10. Doxastikon Σήμερον προέρχεται ("Today comes") (14 September, Exaltation of the Cross), Echos Plagios Devteros (KP)
3) Heirmoi
11. Χριστός γεννάται ("Christ is born") Slow Heirmos for the 1st Ode (Christmas Canon), Echos Protos (IN)
12. Konstantinos Pringos: Ἄξιον ἐστίν, Echos Plagios Protos (phthora atzem kiourdi) (Kostas Charalampopoulos)
15. Πάσαν τὴν ἐλπίδα μοῦ ("All my hope"), Slow Heirmos, 1st Ode (Akrostichon Theotokos), Echos Devteros (IN)
16. Petros Bereketes: Heirmos kalophonikos about the same ode, Echos Varys (KP)
[15. Troparion of Kassia (Doxastikon, Maundy Thursday), Echos Plagios Tetartos (KP)]
The other concern is the development of a monastic hymn repertoire composed as oktoechos melodies. Today it is simply regarded as the creation by Ioannes of Damascus and his step brother Kosmas during the 8th century. Recent papyrus studies gave evidence, that the oldest Greek tropologia which preceded the notated chant books of the 10th century (sticheraria, heirmologia, great oktoechos, oktoich) are related with other redactions which were older than the Christian Byzantine empire, such as the Syriac tropligin, the Georgian iadgari, and the Armenian šaraknoc’. The first Greek tropologion was created by Syrian hymnographers in Jerusalem, but it has only survived in Syriac translation since the 6th century. When Ioannes and Kosmas entered Mar Saba, a monastery of this Patriarchate whose territory was outside the Byzantine empire, a synodal reform had already established an oktoechos reform which was opposed against the Constantinopolitan rite.
Today their particular role is regarded as their contribution to the heirmoi and to more complex unique melodies of the sticheraric repertoire known as idiomela which we do only know by the “unnotated” tropologia. The whole repertoire as it is known today was completed by many hymnographers (also female hymnographers in Constantinople) until the 11th century. They were either mainly based in Mar Saba at Jerusalem and St Catherine’s at Sinai (Coislin types of Old Byzantine notation), or in many metochia associated with the Mone Stoudiou in Constantinople (Chartres types of Old Byzantine notation). The Slavonic translation at Ohrid conservated the complex system of hymn melodies organised between idiomela, avtomela, and prosomoia, or kanones composed according to the heirmoi, they did not care so much about the literal meaning of the Greek hymns. Later new literal re-translations in Kiev and Novgorod provoked an entire recomposition of its melodies, in peripheral regions it was mastered by an oral tradition based on simple oktoechos recitations (sometimes in multipart forms of recitation).
Manuscrits de l'Abbaye de Saint Denis (Paris)
Manuscrits carolingiens
Manuscrits sangalliens
Manuscrits lotharingiens
Manuscrits ottons
Manuscrits clunisiens (sans ceux de l'Abbaye de Saint Denis)
Manuscrits aquitains
Manuscrits anglais
Bibliographie