Journal of the International Society for Orthodox Music
type: channel
description: The Journal features papers dealing with aspects of Orthodox or Eastern church music, both monophonic and polyphonic, including history, theory, performance practice, source studies, and cultural and theological aspects.
publisher: The International Society for Orthodox Church Music
language: en
publication name: Journal of the International Society for Orthodox Music
issn: 2342-1258
items: Connections Between Eastern Rite and Catholic Church Music Traditions in Vilnius
items: Библейские образы в древнерусской гимнографии:
items: In Memoriam: Evgeny Vladimirovich Gertsman (1937–2025)
items: The Sung Performance of Psalms with Refrains and the Stichera Series of the All-Night Vigil in Pre-Reform Russian Polyphonic Practice
items: The Greek Repertory in Ruthenian Irmologia as a Key to Some Questions of Byzantine Musicology
items: Editorial Note
items: Old Russia and Nauplio?
items: Compositional Style and New Testament Theology
items: "A Taste of What Desire seeks": Sensing the Holy in Liturgical Life
items: Little-Known Indications of Musical Performance from the Fifteenth Century and Their Historical Context
items: Orthodox Liturgical Chant Traditions and Their Development in Lithuania Today
items: Visible and Invisible, Audible and Inaudible Chant Performance in Byzantine Monastic Foundation Documents
items: A Movie with the Structure of Byzantine Liturgy: Megalexandros by Theo Angelopoulos
items: Make Ready, O Bethlehem: Orthodox Hymns of Christmas
items: Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia
items: A Common Book of Church Hymns: Divine Liturgy
items: Byzantine Chant for congregational singing
items: Children's choirs in Church
items: The gift of tears: Some perspectives on "joyful sorrow" in Orthodox art and music
items: Finding beauty in choral relationships
items: Minimalism, mysticism, and monasticism
items: Music, beauty and prayer
items: The Kiev Theological Academy Choir
items: The origins of bell-ringing in Kievan Rus
items: Editors' Note
items: Byzantine musical tradition in Cyprus and Crete after the Fall of Constantinople
items: Звук у етос. Вариации върху тема от Боеций
items: The post-Byzantine psaltic origin of the recent Serbian church chant
items: Four typological images of Mary in the hymnography for the Feast of the Entrance
items: From out of the drawer: Faith, ritual and Russian Orthodoxy

Connections Between Eastern Rite and Catholic Church Music Traditions in Vilnius
type: item
description: This paper explores the connections between the Orthodox, Uniate (Greek Catholic), and Roman Catholic communities in Vilnius in the historical and contemporary contexts of church music. Christian church music was heard in Vilnius even before the official baptism of Lithuania in 1387. The first Catholic and Orthodox communities settled in Vilnius in the thirteenth century. Over time, these and other religious communities grew, and the proximity of their neighbourhoods in the city may have enhanced the interaction between their musical traditions. Until now, this interaction has never been studied in the context of so-called “wandering melodies” which travelled through different places and religious communities, visited Vilnius, and received local attributions. While having a clearly transnational background, these melodies also indicate the locally significant shared musical heritage, used in local churches in different times. This article discusses this phenomenon in the context of the Orthodox Church that reflect its interactions with Uniate and Roman Catholic music repertoires. Through comparative analysis and drawing from historiographical and musicological methods, the article examines specific examples of such “wandering melodies.”
subject: Peer-reviewed Articles
  topic: section
subject: Vilnius
  topic: keywords
subject: liturgical music
  topic: keywords
subject: wandering melodies
  topic: keywords
subject: Orthodox
  topic: keywords
subject: Roman Catholic
  topic: keywords
subject: Uniate
  topic: keywords
subject: Greek Catholic
  topic: keywords
creator: Margarita Moisejeva
rights: Copyright (c) 2026 Margarita Moisejeva https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 44
ending page: 65
doi: 10.57050/jisocm.142317

Библейские образы в древнерусской гимнографии:
type: item
description: The author investigates principles of the historical, thematic parallels and semantic connections between the Bible and Early Russian hymnography concentrating on the two basics: similarity and correlation.
subject: Non-refereed Articles
  topic: section
subject: Bible
  topic: keywords
subject: Early Russian hymnography
  topic: keywords
subject: Parallelism
  topic: keywords
creator: Elena Kolyada
rights: Copyright (c) 2026 Elena Kolyada https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 66
ending page: 77
doi: 10.57050/jisocm.163039

In Memoriam: Evgeny Vladimirovich Gertsman (1937–2025)
type: item
subject: Obituaries
  topic: section
creator: Irina Starikova
rights: Copyright (c) 2026 Irina Starikova https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 96
ending page: 100
doi: 10.57050/jisocm.177843

The Sung Performance of Psalms with Refrains and the Stichera Series of the All-Night Vigil in Pre-Reform Russian Polyphonic Practice
type: item
description: The neumatic manuscripts containing early Russian polyphony associated with the office of the All-Night Vigil prior to the mid-seventeenth century reforms suggest that most of the elements constituting this office that by the end of the century were intended only for reading had previously been sung. This applies not only to the unchanging hymns of the All-Night Vigil, most of which were performed polyphonically, but also to the extensive series of changeable elements of the office—entirely sung kathismata, as well as sequences of psalms and stichera. In this article we will try to trace how the pre-reform practice of singing psalm series with integrated stichera was reflected in early Russian neumatic polyphony.
subject: Peer-reviewed Articles
  topic: section
subject: Early Russian Polyphony
  topic: keywords
subject: Psalm with Refrain
  topic: keywords
subject: Stichera
  topic: keywords
subject: Pre-reform Russian singing practice
  topic: keywords
subject: Lord I have cried
  topic: keywords
subject: Psalms of Praise
  topic: keywords
creator: Elena Chernova
rights: Copyright (c) 2026 Elena Chernova https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 23
ending page: 43
doi: 10.57050/jisocm.161320

The Greek Repertory in Ruthenian Irmologia as a Key to Some Questions of Byzantine Musicology
type: item
description: From the very moment they emerged, the staff-notated Irmologia of the Western Rus’ featured Greek hymns. These hymns are unique because, while Byzantine music was being recorded using highly conditional, “symbolic” notation, the Irmologia recorded these hymns using a convenient and, most importantly, rhythmically comprehensible musical language. Although in eastern Slavic musicology, this repertoire is considered supplementary and has been largely ignored for many years, it can serve as both a key to understanding many issues primarily related to the melodic structure of Byzantine chant and a secondary source of information about the nature of Byzantine music. The comparison of these compositions yields valuable information about the melody, rhythmic structure, the modal system, the “encrypted” signs of the great hypostases, and the overall character of Byzantine melos in the Byzantine and post-Byzantine periods.
subject: Conference Papers
  topic: section
subject: Irmologion
  topic: keywords
subject: Heirmologion
  topic: keywords
subject: Western Rus'
  topic: keywords
subject: notation
  topic: keywords
subject: Byzantine Chant
  topic: keywords
creator: Marcin Abijski
rights: Copyright (c) 2026 Marcin Abijski https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 88
ending page: 95
doi: 10.57050/jisocm.163102

Editorial Note
type: item
subject: Editorial Note
  topic: section
creator: Alexander Lingas
rights: Copyright (c) 2026 Alexander Lingas https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: iii
ending page: iv

Old Russia and Nauplio?
type: item
description: This article considers the oldest generation of Russian Sticheraria of the movable cycle as evidence of the intersection of regional traditions of the Byzantine rite. These manuscripts were written in the twelfth to thirteenth centuries, when the Byzantine chant and manuscript traditions were transitioning from a diversity of local practices to a standardized system. The Old Russian Sticheraria reflect a complex picture of this transitional period. They are notated with a variety of Paleo-Byzantine adiastematic notations, even though in the thirteenth century diastematic notation was already widely used in Byzantium. In Old Russian notation, a common archaic layer emerges, on which later layers are visible, containing elements directed towards diastematics that vary from one Old Russian manuscript to another. While the composition of the codices is comparatively more consistent than that found in Greek Paleo-Byzantine Sticheraria, there are many differences between them. This article argues that the similarities and differences came about through an exchange of experience in the field of liturgical practice as reflected in the manuscript tradition of a number of Greek and Slavic monastic, cathedral, and parish centers. In the process of reviewing the composition of dozens of Greek, Slavic, and Old Russian manuscripts while searching for evidence to support this hypothesis, the Greek Triodion Paris, BNF Grec 337 + 353 with Middle Byzantine notation was singled out, as it has a number of characteristics that coincide with the corresponding characteristics of the Old Russian Sticheraria. This article offers a comparative analysis of the characteristics as found in this Triodion, the Old Russian Sticheraria, and the related notated set of Triodia and Pentecostaria in comparison with Greek and Slavic sources.
subject: Peer-reviewed Articles
  topic: section
subject: Byzantine
  topic: keywords
subject: Old Russian
  topic: keywords
subject: neumatic
  topic: keywords
subject: Sticherarion
  topic: keywords
subject: local practices
  topic: keywords
creator: Svetlana Yurievna Poliakova
rights: Copyright (c) 2026 Svetlana Yurievna Poliakova https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 1
ending page: 22
doi: 10.57050/jisocm.155451

Compositional Style and New Testament Theology
type: item
description: My paper addresses how the compositional style of a Communion verse setting affects its efficiency and accuracy in the Divine Liturgy within the borders of Greek Orthodox worship today. Issues that arise include the following: What is the desired aesthetical aim of a Communion verse setting, and how do the composers achieve that? What do churchgoers feel when a Communion verse is heard during the Liturgy, and how should they feel? Can we even mention feelings in this context? A central point of this discussion includes analyzing two contemporary works usually performed during the Holy Communion and focusing on their functionality and meaning. More specifically, Tikey Zes' (b. 1929) Receive the Body of Christ and Steven Cardiasmenos’ (b. 1958) Communion Verse for Sundays will be thoroughly examined, exploring how these composers approach the Holy Communion as a physical manifestation of the nourishment of the spirit. My analysis will examine each work's stylistic particularities in the context of their performance practice and, ultimately, raise questions about their formal musical properties under a theological prism.
subject: Conference Papers
  topic: section
subject: Holy Communion, Communion Verse
  topic: keywords
subject: Cardiasmenos
  topic: keywords
subject: Zes
  topic: keywords
subject: Koinonikon
  topic: keywords
creator: Pavlos Kordis
rights: Copyright (c) 2026 Pavlos Kordis https://creativecommons.org/licenses/by/4.0
date: 2026-05-19
publication date: 2026-05-19
starting page: 78
ending page: 87
doi: 10.57050/jisocm.148130

"A Taste of What Desire seeks": Sensing the Holy in Liturgical Life
type: item
description: The spiritual symbology of liturgical phenomena have been the subject of several classic commentaries in the Byzantine patristic tradition, as well as of several modern scholarly studies. However, research on the senses, materiality and their effects on the liturgical experience is still in its early stages. Beyond the aesthetic wonder these phenomena aroused, they could also engender a mystical synaesthesia that invited the faithful to glimpse invisible beauty, sense the intelligible and experience immaterial illumination. This paper explores whether there is a theological framework that underpins and illuminates the process of sense perception in liturgical life that emerges in the early patristic period. The theological construct, “the senses of the soul” (τὰ τῆς ψυχῆς αἰσθητήρια) will be used as a point of departure for exploring this process. After alluding to the senses of sight, smell, touch and taste, the paper will give particular emphasis to the sense of hearing.
subject: Conference Papers: Sounds of the Holy, Joensuu 2019
  topic: section
creator: Andrew Mellas
creator: Andrew Psarommatis
rights: Copyright (c) 2020 Andrew Mellas, Andrew Psarommatis https://creativecommons.org/licenses/by/4.0
date: 2020-06-05
publication date: 2020-06-05
starting page: 140
ending page: 151

Little-Known Indications of Musical Performance from the Fifteenth Century and Their Historical Context
type: item
description: The period of the fourteenth and fifteenth centuries is extremely rich in the compilation of different traditions in the field of Balkan Orthodox music. One of the reasons for that might be attributed to the spread of the revised liturgical ordo of Jerusalem. Along with this ordo came the revival of hesychasm, a movement for spiritual renewal. The aim was the unity of Orthodoxy, to be fostered at a time when the common fear of Islamic invasion in the Balkans increased. There was a search for both the accommodation of sacred texts to the revised liturgical ordo and the reestablishment of the authenticity of sacred texts that had been lost in the preceding century during the Latin occupation. The hesychasts believed that God could be reached through pure devotion. They paid special attention to the word. The word became a means of expression to reach God. Its “divine beauty” was sought. The style of “плетение словес”(“weaving of words”) was developed, and work focused on “исправление книг” (“the correction of books”). The performance of the musical pieces in the church became very important. Respectively, the role of church singers increased greatly. It is not by chance that their pictures appear just at that time in both frescos in churches and on the pages of manuscripts. Of great interest are the unique musical indications on the margin of an old Glagolitic fragment from the eleventh century, which was found in the inside cover of a manuscript from the 15th century. The performance term “тресене” (“quiver in the throat”) predominates in them: “quiver slowly in the throat”, “quiver faster in the throat”, “with quiver”, etc. Who the writer of these indications was and where they were written are questions for discussion.
subject: Conference Papers: Sounds of the Holy, Joensuu 2019
  topic: section
subject: musical performance
  topic: keywords
subject: Byzantine-Slavic music
  topic: keywords
subject: musical theory
  topic: keywords
subject: 15th-century Balkan Orthodox music
  topic: keywords
subject: New-Sabaitic Typikon
  topic: keywords
subject: hesychasm
  topic: keywords
creator: Svetlana Kujumdzieva
rights: Copyright (c) 2020 Svetlana Kujumdzieva https://creativecommons.org/licenses/by/4.0
date: 2020-06-05
publication date: 2020-06-05
starting page: 128
ending page: 139

Orthodox Liturgical Chant Traditions and Their Development in Lithuania Today
type: item
description: Research on contemporary Orthodox church music has shown that there is a number of specific Orthodox chant traditions in Lithuania, which differ from the general model of Orthodox chanting in the country. Musical tradition is a quite rare term in ecclesiastical music research, and thus the author presents her perception of the term of Orthodox liturgical chant tradition in the context of her particular study. There are several specific liturgical chant traditions existing in Lithuania. The first is the chanting tradition of the first Lithuanian parish (established in 2005). In this case, we witness the development process of Orthodox chanting particularly within European Catholic culture, and we can see the development of a specific Lithuanian chanting tradition. The second specific tradition is noticeable in the Monastery of The Holy Spirit in Vilnius as a model of the chanting of an Orthodox cultural administrative centre. The monastery’s chanting is mainly inseparable from the chant of the Diocesan choir. This kind of tradition must have appeared in the 19th century, and continues to this day. The tendency to revive old chant appears infrequently in different parishes in Lithuania. However, with a lack of knowledge and education there is no possibility for development in this area across the country, but there is notable exception in the Parish of Sts Constantine and Michael in Vilnius. This choir’s is the typical chanting model across Lithuania: old Russian chant melodies and music by the Lithuanian Orthodox composer Deacon Victor Miniotas. The author has been conducting fieldwork related to Orthodox chanting in Lithuania for the past ten years; the topic of interest is also, therefore, the processes of changes in tradition and their causes.
subject: Conference Papers: Sounds of the Holy, Joensuu 2019
  topic: section
subject: orthodox liturgical chanting
  topic: keywords
subject: orthodox chanting
  topic: keywords
subject: Lithuania
  topic: keywords
subject: Lithuanian language
  topic: keywords
subject: contemporary chanting
  topic: keywords
creator: Margarita Moisejeva
rights: Copyright (c) 2020 Margarita Moisejeva https://creativecommons.org/licenses/by/4.0
date: 2020-06-05
publication date: 2020-06-05
starting page: 152
ending page: 159

Visible and Invisible, Audible and Inaudible Chant Performance in Byzantine Monastic Foundation Documents
type: item
description: The present contribution discusses Byzantine monastic foundation documents, dating from the ninth to the fifteenth century, through the lens of performance theory. As the author argues, the way these documents arrange liturgical performance is not egalitarian, but instead introduces different categories of performers and audiences among the monastic community, justifying this arrangement theologically with the analogies of angelic hierarchies and the community as the body of Christ. The performance is intended to be heard not only by the community, but naturally the most important audience is God Himself; in the cases of an “elitistic” performance, in which the more educated monastics perform to God, the task of the rest of the community is to observe and overhear this dialogue. Most importantly, the success of liturgical performance is primarily dependent on the spiritual state of the performer, regardless of the fact how important their role in the performance is.
subject: Peer-reviewed Articles
  topic: section
subject: monasticism
  topic: keywords
subject: performance theory
  topic: keywords
subject: chanting practice
  topic: keywords
creator: Fr Damaskinos (Olkinuora) of Xenophontos
rights: Copyright (c) 2020 Damaskinos Olkinuora https://creativecommons.org/licenses/by/4.0
date: 2020-06-05
publication date: 2020-06-05
starting page: 1
ending page: 13

A Movie with the Structure of Byzantine Liturgy: Megalexandros by Theo Angelopoulos
type: item
description: The most important Greek film director of all times, Theo Angelopoulos is known for his leftist and humanist themes, but he was also influenced and inspired by the aesthetics of the Orthodox Church. In particular, Megalexandros (1980) is full of Orthodox and Byzantine ingredients. A three and half hour epic full of obscure symbolism from different layers of time, the film has proven to be a difficult case for interpreters and analysts. According to Angelopoulos himself, Megalexandros was “structured like a Byzantine liturgy”. In spite of the plentiful academic research on his work, the idea has not been properly analysed, even though it provides a suitable key to the many oddities of the film. The structure of Byzantine liturgy functions in the film on three levels. Firstly, the visual settings of scenes contain explicit and obvious iconic settings of baptism, Eucharist and Saint George, in addition to more obscure ones such as entry to Jerusalem and some iconic posing in other scenes. Moreover, the visual sceneries contain cases of symbolic movement that appears ritualistic and creates a sense of sacredness. Secondly, the usage of soundscape has parallels with the Byzantine liturgical singing, albeit it consists mainly of religious folk songs rather than actual liturgical hymns. The effects and impressions created by music resemble those of liturgical singing, however, and in that sense, the movie constitutes a wider secular application of liturgical principles. The arrangement aptly shows how the ecclesiastical spirit was at the heart of traditional Greek village culture. Moreover, there is one liturgical hymn, Troparion of the Cross, which seems to function as a symbol of the collective will to power. Thirdly, and most importantly, the structural elements of the narrative function “liturgically” in a phenomenological sense: they create turns, shifts and moods that are parallel with the contents of mind when one is present in Byzantine liturgical settings. In part…
subject: Peer-reviewed Articles
  topic: section
subject: Angelopoulos
  topic: keywords
subject: Megalexandros
  topic: keywords
subject: Alexander the Great
  topic: keywords
subject: Byzantine liturgy
  topic: keywords
subject: Byzantine aesthetics
  topic: keywords
subject: Greek cinema
  topic: keywords
subject: collective cinematography
  topic: keywords
creator: Serafim Seppälä
rights: Copyright (c) 2020 Serafim Seppälä https://creativecommons.org/licenses/by/4.0
date: 2020-06-02
publication date: 2020-06-02
starting page: 14
ending page: 29

Make Ready, O Bethlehem: Orthodox Hymns of Christmas
type: item
subject: Book / CD Reviews
  topic: section
creator: Richard Barrett
rights: Copyright (c) 2016 Richard Barrett https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 110
ending page: 111

Singing the Right Way: Orthodox Christians and Secular Enchantment in Estonia
type: item
subject: Book / CD Reviews
  topic: section
creator: Jooa Sotejeff-Wilson
rights: Copyright (c) 2016 Maria Takala-Roszczenko https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 105
ending page: 106

A Common Book of Church Hymns: Divine Liturgy
type: item
subject: Book / CD Reviews
  topic: section
creator: Ivan Moody
rights: Copyright (c) 2016 Ivan Moody https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 103
ending page: 104

Byzantine Chant for congregational singing
type: item
description: A paper presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: John Michael Boyer
rights: Copyright (c) 2016 John Michael Boyer https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 72
ending page: 82

Children's choirs in Church
type: item
description: A paper presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: Juliana Woodill
rights: Copyright (c) 2016 Juliana Woodill https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 97
ending page: 102

The gift of tears: Some perspectives on "joyful sorrow" in Orthodox art and music
type: item
description: A paper presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: Kurt Sander
rights: Copyright (c) 2016 Kurt Sander https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 90
ending page: 96

Finding beauty in choral relationships
type: item
description: A paper presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: John M. Black
rights: Copyright (c) 2016 John M. Black https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 67
ending page: 71

Minimalism, mysticism, and monasticism
type: item
description: A paper presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: Paul Barnes
rights: Copyright (c) 2016 Paul Barnes https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 57
ending page: 66

Music, beauty and prayer
type: item
description: A keynote address presented at the Pan-Orthodox Music Symposium in Minneapolis (USA) on 22-26 June, 2016.
subject: Conference Papers
  topic: section
creator: Ivan Moody
rights: Copyright (c) 2016 Ivan Moody https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 51
ending page: 56

The Kiev Theological Academy Choir
type: item
description: The choir of the Kiev Theological Academy played, from the beginning of the 19th century, a very important role in the history of Ukrainian church music, in terms of both raising the level of choral singing within Ukraine and expanding the available repertoire. This article discusses the history of this institution and the historical difficulties with which it had to contend during the period of its existence until it was shut down in 1915.
subject: Peer-reviewed Articles
  topic: section
subject: Kiev Theological Academy Choir
  topic: keywords
subject: choral music
  topic: keywords
subject: Orthodox church music
  topic: keywords
creator: Nataliya Kostyuk
rights: Copyright (c) 2016 Nataliya Kostyuk https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 44
ending page: 50

The origins of bell-ringing in Kievan Rus
type: item
description: The use of an extensive number of sources opens a new view on the history of the beginning and practice of bell-ringing in Kievan Rus. With the Christianization of Eastern Europe, bell-ringing was introduced into various spheres of ecclesiastical and secular life, and the rapid spread of bells replaced the earlier widespread use of idiophones. The article discusses evidence of bells and their fragments from archaeological finds in Ukrainian lands.
subject: Peer-reviewed Articles
  topic: section
subject: bell
  topic: keywords
subject: bell-ringing
  topic: keywords
subject: Kievan Rus
  topic: keywords
subject: campanology
  topic: keywords
creator: Bohdan Kindratyuk
rights: Copyright (c) 2016 Bohdan Kindratiuk https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 37
ending page: 43

Editors' Note
type: item
subject: Editorial Note
  topic: section
creator: Ivan Moody
creator: Maria Takala-Roszczenko
rights: Copyright (c) 2016 Maria Takala-Roszczenko; Ivan Moody https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: i
ending page: i

Byzantine musical tradition in Cyprus and Crete after the Fall of Constantinople
type: item
description: This article discusses the survival of Byzantine musical culture in the Hellenic world after the Fall of Constantinople in 1453, specifically by examining the work of composers living and working in Crete and Cyprus, and providing an overview of the legacy of sacred music of these two islands as both a genuine continuation of Byzantine tradition and a manifestation of remarkable creative originality.
subject: Peer-reviewed Articles
  topic: section
subject: Byzantine music
  topic: keywords
subject: Cyprus
  topic: keywords
subject: Crete
  topic: keywords
subject: 15th century
  topic: keywords
subject: 16th century
  topic: keywords
subject: psaltic art
  topic: keywords
creator: Dimitrios K. Balageorgos
rights: Copyright (c) 2016 Dimitrios K. Balageorgos https://creativecommons.org/licenses/by/4.0
date: 2016-12-29
publication date: 2016-12-29
starting page: 1
ending page: 11

Звук у етос. Вариации върху тема от Боеций
type: item
subject: Book / CD Reviews
  topic: section
creator: Ivan Moody
rights: Copyright (c) 2014 Ivan Moody https://creativecommons.org/licenses/by/4.0
date: 2014-02-12
publication date: 2014-02-12
starting page: 58
ending page: 58

The post-Byzantine psaltic origin of the recent Serbian church chant
type: item
description: During the difficult years in an enslaved Serbia under Turkish rule, there were no favourable circumstances for the development of the psaltic art, and neither can one talk about any centre of psaltic art, something that might have been for the Serbs what the Great Church of Constantinople was for the Greeks. Church music was learnt only orally, and one can speak hardly at all about musical training during this period. On account of the lack of musical MSS, we cannot be sure which genre of ecclesiastical melody the Serbians brought with them to the cities of Sremski Karlovci, Szentendre, Komoran etc., or to the newly founded monasteries of Fruška Gora, which under the new circumstances would become centres for a renaissance of Serbian spirituality. The opinions of the first scholars of Serbian church music disagree when it comes to the origins of ecclesiastical melody before and just after the period of the great migrations. The majority of them, correctly, supported the idea that church music before the 18th century derived from the Byzantine tradition, with certain special characteristics deriving from the use of the Church Slavonic language. There existed also, nevertheless, the baseless opinion that before the uprooting there was a special Serbian melodic tradition, which one might have heard in Serbian churches and monasteries, since the so called Srbulje – liturgical books written in an older Serbian form of the Church Slavonic language – were used. However, later, and rather more analytical, studies of later Serbian church music proved its close relationship with the melodic tradition that was recorded using the New Method, something that confirms precisely the present author’s opinion that we are dealing with a unified Orthodox psaltic tradition. The indisputable contribution of Greek teachers to the formation of Serbian psaltic music is confirmed by the surviving information concerning the first organized schools of Byzantine music, as well as from the Gree…
subject: Peer-reviewed Articles
  topic: section
subject: Serbia
  topic: keywords
subject: post-Byzantine chant
  topic: keywords
subject: manuscript
  topic: keywords
subject: church chant
  topic: keywords
creator: Vesna Sara Peno
rights: Copyright (c) 2014 Vesna Sara Peno https://creativecommons.org/licenses/by/4.0
date: 2014-02-12
publication date: 2014-02-12
starting page: 43
ending page: 57

Four typological images of Mary in the hymnography for the Feast of the Entrance
type: item
description: Hymnographical texts often include references to biblical persons, places and events – references that are sometimes rather vague, at other times very clear. In the case of the feast of the Entrance of the Theotokos into the temple, the Εἰσόδια, these references are numerous since Mary is often seen as the fulfillment of the ancient prophesies presented in the Old Testament. This article consists of two parts: a more general overview of typology as an exegetical method applied in hymnography, and a more detailed description of some of the typological images of Mary in the hymns of the feast of the Entrance.
subject: Peer-reviewed Articles
  topic: section
subject: Hymnography
  topic: keywords
subject: Byzantine
  topic: keywords
subject: Typology
  topic: keywords
subject: Feast of the Entrance
  topic: keywords
creator: Jaakko Olkinuora
rights: Copyright (c) 2014 Damaskinos Olkinuora https://creativecommons.org/licenses/by/4.0
date: 2014-02-12
publication date: 2014-02-12
starting page: 33
ending page: 42

From out of the drawer: Faith, ritual and Russian Orthodoxy
type: item
description: The centerpiece of this study is a remarkable exemplar of sacred music composition literally extracted from the drawer: a complete setting of the Russian Orthodox Divine Liturgy by the late-twentieth-century Russian-Canadian composer, Nikolai Sergeevich Korndorf dated 1978.2 It has a two-fold purpose: (1) to explore some of the circumstances of its creation (how, why and when?) and, (2) to use it to frame a commentary on the impact of the Russian Orthodox Church on Russian music composition in general, looking to nineteenth-century precedents for lingering/prevailing attitudes towards it, posing the questions: Why has the Russian Orthodox Church been largely overlooked in Russian music production and why has it assumed a role in recent years?
subject: Peer-reviewed Articles
  topic: section
subject: Russian Orthodoxy
  topic: keywords
subject: Divine Liturgy
  topic: keywords
subject: sacred music
  topic: keywords
subject: Nikolai Korndorf
  topic: keywords
creator: Gregory Myers
rights: Copyright (c) 2014 Gregory Myers https://creativecommons.org/licenses/by/4.0
date: 2014-02-12
publication date: 2014-02-12
starting page: 20
ending page: 32