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New Publications from Psaltic Notes Press

Introduction to the New Method of Byzantine Chant Notation

An English translation of Chourmouzios’ revision of Chrysanthos' Eisagoge. Authored by Chrysanthos of Madytos; Revised by Chourmouzios Chartophylax; Translated by Konstantinos Terzopoulos

Introduction to the New Method of Byzantine Chant Notation

This English translation of Chourmouzios Chartophylax’s revision of Chrysanthos’ Introduction to the New Method of Greek chant notation has been made with the intention of providing students, scholars and musicians access to an easily digestible and widely accessible explanation of the rudimentary signs and theory of the chant notation used in the Greek and other Orthodox Churches. Written by two of the Three Teachers of the New Method, established in 1814, the Eisagoge is authoritative. Notes identify and underline the theoretical adjustments made by the 1888 Constantinople Music Committee. Despite the lack of great detail, this short work offers a thorough grounding for reference and comparison to subsequent publications.

Λειτουργικὸν σὺν Θεῷ ἁγίῳ περιέχον τὰ ψαλλόμενα ἐν ταῖς ἱεραῖς Λειτουργίαις τῶν τε ἑορτῶν καὶ ἄλλων ἐπισήμων ἡμερῶν

Authored by Konstantinos Terzopoulos, Original author Chrysanthos Moschopoulos

Order here. For discounts contact the editor.

Introduction to the New Method of Byzantine Chant Notation

This revised publication of the Venice 1891 Leitourgikon collects the hymns chanted in the Divine Liturgy from the various ecclesiastical library of the Book of Hours, Menaeon, Triodion, Pentecostarion and Parakletike for the Sundays, Great Feasts and Formal Saint commemorations of the Church calendar. Specifically, it contains the Psalms from the Service of the Typika, the troparia of the Beatitudes, and Kanon troparia from the 3rd and 6th Odes, the antiphons and other troparia (apolytikia, kontakia, hypakoae, megalynaria and communion hymns) necessary to those chanting the Liturgy. It is with great spiritual pleasure that this most practical edition is presented, with the humble dedication to the pious clergy and chanters in the Church. Like in the 1891 edition, it was deemed advantageous to add a few more practical texts. In the area containing hymns from the new service booklets hymns for the commemoration of the Father of Mount Athos, the Feast of the Holy Protection and the memories of St Nektarios the Wonderworker and St Kosmas Aetolos were added. Also included are the texts of the daily antiphons, the troparia of the weekday beatitudes from the Parakletike, the May my mouth be filled with thy praise and Psalms 33 and 144.

psalticnotes [v2.0]

Volume 1, No. 1. (Fall-Winter 2008)

Introduction to psalticnotes 2.0

Title: An Introduction to psalticnotes [v2.0] →

psalticnotes is a web page originally published over seventeen years ago (Wilmington, North Carolina), yet today, over 50,000 visits and 140,000 page views later it persists as a web presence dedicated to being a resource for students and practitioners of the blessed Psaltic Art, otherwise known as Byzantine Music or Byzantine Chant. The related fields of Byzantine musicology, hymnology, liturgics and typikon are also thoroughly represented here. Readers in the Church will also enjoy the offerings. Continue reading.→

psalticnotes objective: Singing with the Angelic Choir: Anagogy
—the Prototype of Orthodox Worship and the Place of the Psaltic Art

psalticNotes objective

Author: Rev Dr Konstantinos Terzopoulos

Title: Singing with the Angelic Choir: Anagogy
—The Prototype for Orthodox Worship and the Place of the Psaltic Art →

Abstract: The first in a series of papers introducing various aspects regarding the breadth and depth, history, development, evolution and circumstance of the treasured heritage of the Psaltic Art, Byzantine and Post-Byzantine Chant and Hymnography. The present paper introduces the general ethos of Orthodox worship and the place the Psaltic Art holds within that larger whole. Early hymns used especially in the Divine Liturgy, such as the Angelic, Triumphal Hymn and Trisagion, together with the Mystagogical interpretations of the Divine Service are used to illustrate the depth of the chant heritage and tradition, while showing how the Church raises us to participate in the eternal, constant worship and glorification that takes place “at all times and at every hour” at the presence of God (Isaiah 6,1-7 and Revelation 4,5-8). This understanding of Orthodox worship as expressed in the word anagogy offers the backdrop from which to procede toward a deeper understanding of the treasures of the Psaltic Art and Sacred Orthodox Christian Hymnography.

Keywords: Anagogy, Byzantine Hymnography, Christian Hymnography, ancient worship, Trisagion, Sanctus, Tresanctus, Orthodox worship, Divine Liturgy, Mystatogy, Byzantine Chant

ISSN: 1941-7616   Copyright © 2008, Konstantinos Terzopoulos.

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