Julkaisuseuranta

In the present essay, I review and evaluate the three main hypotheses about the historical background and emergence of the nonsense syllables in the chant tradition of teretismata and kratēmata in Byzantine music. The different historical hypotheses as to the historical roots and development of this singing practice are examined and analyzed thoroughly, namely those…

The term hagiosophitikon is quite well-known in Byzantine chant, where it occurs in manuscripts from the 14th century onwards: Most often one encounters the designation hagiosophitikon in rubrics of settings of Psalm 1 (Μακάριος ἀνήρ) and Psalm 3 (Κύριε, τί ἐπληθύνθησαν οἱ θλίβοντές με). Nevertheless, neither the exact meaning of hagiosophitikon has ever been clearly…

Cyril of Jerusalem’s notion of ecclesiastical music and praise has received very little attention in academic research. When mapping this territory, I found that the Cyrilline gradation between each stage of the ecclesial initiatory process was reflected in the author’s view of the ability of the catechetical audience to participate in psalmody. First, the early-stage…

Paper presented at the ISOCM Conference in Joensuu in 2021.

During the Easter Week of 1999, the composer John Tavener (1944-2013) visited the Holy Trinity Archdiocesan Greek Orthodox Cathedral in New York City, to attend a unique concert, that occured under the auspicies of His Eminence Archbishop Spyridon, featuring Tavener's sacred para- liturgical music, conducted by the late maestro Dino Anagnost (1944-2011). Using this event…