średniowiecze: Hagiopolitan Octoechos

Evidence: 72 • authority: 72

Oktōēchos or Octoechos (Greek: ὁ Ὀκτώηχος pronounced in koine: okˈtóixos; from ὀκτώ 'eight' and ἦχος 'sound, mode' called echos; Slavonic: Осмогласие, Osmoglasie from о́смь 'eight' and гласъ 'voice, sound') is the name of the eight mode system used for the composition of religious chant in most Christian churches during the Middle Ages. In a modified form, the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today (Neobyzantine Octoechos). The octoechos as a liturgical concept which established an organization of the calendar into eight-week cycles, was the invention of monastic hymnographers at Mar Saba in Palestine, at the Patriarchates of Antiochia…

Evidence: 48 • authority: 72

The Octoechos book (from the Greek: ἡ [βίβλος] Ὀκτώηχος Ancient Greek pronunciation: [okˈtoixos]; from ὀκτώ 'eight' and ἦχος 'sound, mode' called echos; Church Slavonic: Осмѡгласникъ, Osmoglasnik from о́смь 'eight' and гласъ 'voice, sound') is a liturgical book containing a repertoire of hymns ordered in eight parts according to eight echoi (tones or modes). Originally created in the Monastery of Stoudios during the 9th century as a hymnal complete with musical notation, it is still used in many rites of Eastern Christianity. The book with similar function in the Western Church is the tonary, and both contain the melodic models of an octoechos system; however, while the tonary serves simply…

Evidence: 20 • authority: 72

A tonary is a liturgical book in the Western Christian Church which lists by incipit various items of Gregorian chant according to the Gregorian mode (tonus) of their melodies within the eight-mode system. Tonaries often include Office antiphons, the mode of which determines the recitation formula for the accompanying text (the psalm tone if the antiphon is sung with a psalm, or canticle tone if the antiphon is sung with a canticle), but a tonary may also or instead list responsories or Mass chants not associated with formulaic recitation. Although some tonaries are stand-alone works, they were frequently used as an appendix to other liturgical books such as antiphonaries, graduals, tropers…

Evidence: 20 • authority: 72

Idiomelon (Medieval Greek: ἰδιόμελον from idio-, 'unique' and -melon, 'melody'; Church Slavonic: самогласенъ, samoglasen)—pl. idiomela—is a type of sticheron found in the liturgical books used in the Eastern Orthodox Church, the Eastern Catholic Churches which follow the Byzantine Rite, and many other Orthodox communities like Old Believers. Idiomela are unique compositions, while avtomela or aftomela—sing. automelon, avtomelon or aftomelon (Medieval Greek: αὐτόμελον, Church Slavonic: самоподобенъ, samopodoben)—were used to create other hymns by a composition over the avtomelon's melody and following the poetic meter provided by the musical rhythm. The genre composed over these avtomela was…

Evidence: 20 • authority: 72

Byzantine music (Greek: Βυζαντινή μουσική, romanized: Vyzantini mousiki) originally consisted of the songs and hymns composed for the courtly and religious ceremonial of the Byzantine Empire and continued, after the fall of Constantinople in 1453, in the traditions of the sung Byzantine chant of Eastern Orthodox liturgy. The ecclesiastical forms of Byzantine music are the best known forms today, because different Orthodox traditions still identify with the heritage of Byzantine music, when their cantors sing monodic chant out of the traditional chant books such as the Sticherarion and the Irmologion. Byzantine music did not disappear after the fall of Constantinople. Its traditions continue…

Evidence: — • authority: 72

Oktōēchos (here transcribed "Octoechos"; Greek: ὁ Ὀκτώηχος Ancient Greek pronunciation: [okˈtóixos]; from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмогласиеcode: chu promoted to code: cu , Osmoglasie from о́смь "eight" and гласъ "voice, sound") is the name of the eight mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today. From a Phanariot point of view, the re-formulation of the Octoechos and its melodic models according to the New Method was neither a simplifica…

Evidence: — • authority: 80

The Royal Book by Haly Abbas From the 10th Century: One of the Earliest Illustrations of the Surgical Approach to Skull Fractures

Evidence: — • authority: 80

THE STAGES OF THE EARLY BYZANTINE MUSICAL NOTATION

Evidence: — • authority: 80

Byzantine Musical Notation. — A Reply.

Evidence: — • authority: 80

Byzantine Neumes: A New Introduction to the Middle Byzantine Musical Notation (review)