Introduction to Kalophony, the Byzantine «Ars Nova»: The «Anagrammatismoi» and «Mathēmata» of Byzantine Chant (Studies in Eastern Orthodoxy)

The anagrams, or more generally, the __mathēmata__ and morphologically related kalophonic forms of Byzantine melopoeïa, 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 __kallōpismos__ 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 melopoiïas__ (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. Cover Contents Author’s preface to the english edition Translator’s note Part One Chapter 1. A synoptic review of Byzantine ecclesiastical melopœïa Introductory: terminology The genera and forms of Byzantine melopœïa First genus: stichērarikon, with the following necessary distinctions Second genus: heirmologikon, with the following necessary distinctions Third genus: papadikon, with the following necessary distinctions Periods of Byzantine melopœïa and parallel development of Byzantine notation Chapter 2. The form of the Mathēmatarion The genesis The fully developed appearance of the Mathēmatarion eidos and its codification: AD 1336 as milieu Kalophony [kalophōnia or kalliphōnia] as ‘ars nova’ in the fourteenth century and its defining elements The first appearances of the kalophonic melos and the favourable historic circumstances surrounding its development The terms: anagrammatismos, anapodismos, mathēma and others related to them, epiphōnēma, anaphōnēma, allagma, epibolē, parekbolē, prologos, katabasia, homonoia Chapter 3. The tradition of the kalophonic melos The formation and tradition of the related codices beginning from the fourteenth century The Papadikē The Kratēmatarion The Kalophōnon Stichērarion or Mathēmatarion Kontakarion or Oikēmatarion and the Akathistos The principal composers of the kalophonic melos of the mathēmatarion The brilliant ensemble of composers: Nikēphoros Ēthikos, Iohannes Glykys, Iohannes Koukouzelēs, and Xenos Korōnēs (first half of the fourteenth century) Melourgoi contemporary to Iohannes Kladas the lampadarios (c. 1400) Melourgoi contemporary to Manuel Chrysaphēs the lampadarios (c. 1453) The sixteenth- and seventeenth-century transmitters and renewers of the tradition Last appearance of the form of the mathēmata in the eighteenth and nineteenth centuries Chapter 4. The analysis of the mathēmata The text of the mathēmata First Category: psalmic verses Second Category: the mathēmata, proper The forms based on content Triadika (triadic – trinitarian) Anastasima (resurrectional) Dogmatika (dogmatic) Doxastika Theotokia The morphological types of composition of the mathēmata proper Part Two. Incipits and texts Chapter 5. "Incipits" of the anagrams and mathēmata in the Mathēmatarion transcribed by Chourmouzios Introductory note μπτ 727: Mathēmatarion (volume I) μπτ 728: Mathēmatarion (volume II) μπτ 729: Mathēmatarion (volume III) μπτ 730: Mathēmatarion (volume IV) μπτ 731: Mathēmatarion (volume V) μπτ 732: Mathēmatarion (volume VI) μπτ 733: Mathēmatarion (volume VII — triōdion) μπτ 734: Mathēmatarion (volume VIII — pentēcostarion) μπτ 706: Papadikē (theotokiōn) μπτ 706: Papadikē (volume v) μπτ 712: Hapanta of Petros Bereketēs Chapter 6. Reproduction of the kalophonic stichēron προτυπων την αναστασιν from the feast of the transfiguration Preliminary remarks Transcriptions of the kalophonic stichēron προτυπων την αναστασιν Text of the Doxastikon of the vespers for the feast of the Transfiguration The text of the kalophonic stichēron from the chourmouzios mathēmatarion (μπτ 732) Images of μπτ 732 Epilogue Bibliography Manuscripts used Athos Chilandariou Dionysiou Docheiariou Gregoriou Hagiou Pavlou Iberon Koutloumousiou Konstamonitou M. Lavra Panteleimon Philotheou Vatopedi Xenophontos Athens Hidryma Byzantines Mousikologias (IBM) Historikes kai Ethnologikes Hetaireias (IEE) National Library of Greece (EBE) Constantinople Metochion Panagiou Taphou (μπτ) Meteora Holy Transfiguration Monastery Messina Bibl. Regionale Universitaria Paris Bibliotèque nationale de France Patmos Monastery of Saint John the Theologian Rome Grottaferrata Badia Graeca Sinai Saint Catherine’s Monastery St. Petersburg – Leningrad National Library of Russia Vienna Österreichische Nationalbibliothek Works cited Index of manuscripts Index of topics and names The Anagrams, Or More Generally, The Mathēmata And Morphologically Related Kalophonic Forms Of Byzantine Melopoeïa, 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 Kallōpismos 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 Melopoiïas (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.-- A Synoptic Review Of Byzantine Ecclesiastical Melopoeϊa -- The Form Of The Mathēmatarion -– The Tradition Of The Kalophonic Melos – The Analysis Of The Mathēmatarion –- Incipits Of The Anagrams And Mathēmata In The Mathēmatarion Transcribed By Chourmouzios -– Reproduction Of The Kalophonic Stichēron ΠΡΟΤΥΠΩΝ ΤΗΝ ΑΝΑΣΤΑΣΙΝ From The Feast Of The Transfiguration. Gregorios Stathis ; Translated And Revised By Konstantinos Terzopoulos. This Publication Has Been Translated, Revised And Updated By Konstantinos Terzopoulos From The Original Edition: Hoi Anagrammatismoi Kai Ta Mathēmata Tēs Vyzantinēs Melopoiias, Kai Panomoiotypos Ekdosis Tou Kalophōnikou Stichērou Tēs Metamorphōseōs Protypōn Tēn Anastasin, Meth' Holōn Tōn Podōn Kai Anagrammatismōn Autou, Ek Tou Mathēmatariou Tou Chourmouziou Chartophylakos, Athens, Institute Of Byzantine Musicology : [in The Series] Meletai 3, 1979.--title Page Verso. Series Numbering From Publisher's Website. Includes Facsimiles Of Athens, Nat. Libr. Miit 732 (the Kalphonic Stichēron From Chourmouzios Sixth Tome Of The Mathēmatarion). Includes Bibliographical References (pages 301-312) And Indexes. English, With Some Passages In Greek. The anagrams, or more generally, the mathemata and morphologically related kalophonic forms of Byzantine melopoeïa, 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 melopoiïas (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. 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 attitud