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HO ME BYZ ANT INE CHANT BYZ ANT INE MO DES BYZ ANT INE L ESSONS ART ICLES DOWNL OAD MULT I MEDI A

Byzantine Music Through the Ages

It is the medieval sacred chant of Christian churches following the

Orthodox rite. This tradition developed in Byzantium since the
establishment of its capital, Constantinople, in 330 AD until its fall in
1453. The intrinsic and strong relation binding the Byzantine music to
the Orthodox worship, protected it from western influences. It thus
preserved its fundamental elements and purposes.

The Conservative aspect of the Byzantine Ecclesiastic Music

The idea of a “sacred music” is inexistent in the Orthodox church.

However, the church preserved the Byzantine musical tradition, for it
stems from patristic heritage and the praying church throughout the
ages. On the other hand, this conservatism did not prohibit the
development in general. The sound development based on academic
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research and the respect of principles and goals of Byzantine music,
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enriches it and enriches the church at the same time.

Pivotal role of the word in the Ecclesiastic Byzantine music

The role of Byzantine music, say the aim of its existence, is to convey
the word it holds, and to give its meaning a greater intensity. This
music cannot be understood unless considered from this perspective.
We note specifically, for instance, that with the rapid rhythm, the music
follows the rhythms of the words, and not the opposite, even if - in
most cases -, the musical rhythm is broken to accommodate the lyrics;
words are the only basic element that should reach the listener.

The Absence of Musical Instruments

Byzantine music is not a romantic/sentimental music. Its aim is not to

gain the empathy of the listener regarding Christ’s passion and
crucifixion by the Jews. The Orthodox spirituality emphasizes the clear
understanding of liturgical words, and the sound terminological
expressions. Musical instruments create a theatrical ambiance around
the liturgy. Thus, the apprehension of the church from the sympathy of
the believer with the story of the salvation in appearance only, and the
deviation of the liturgy from its main purpose, that is the salvation of
the believer himself. What is intended is that the listener remains
inside the story, and that he/she realizes that he/she is the aim of each
word chanted, so that he/she repents and proclaims the risen Jesus,
the Lord of his/her life.

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The Reform of the Music Notations

• Chrysanthos of Madytos (ca. 1770-1846), Gregory the

Protopsaltis, and Chourmouzios the Archivist were responsible
for a much needed reform of the notation of Greek ecclesiastical
music.

• Their work consisted of simplifying the complex musical

symbols.

• Their work is a landmark in the history of the Greek church

music, since it introduced the system of neo-Byzantine music
notation, upon which are based the present-day chants of the
Greek Orthodox Church.

• The simplification attracted many believers to study the new

Byzantine notation.

The Origin of Byzantine Music

Sub-Deacon, Karim El-Far - 2004

"Speaking to one another in psalms and hymns and spiritual songs,

singing and making melody in your heart to the Lord." Ephesians
(5:19).

Christianity began in Syria, and Palestine. We know from the Acts of

the Apostles that after the Descent of the Holy Spirit (Pentecost), the
Christians continued to pray with the other members of the Jewish
community. This is confirmed by another passage from the Acts of the
Apostles: "Now Peter and John went up together into the temple at the
hour of prayer, the ninth hour." Acts (3:1) The Christian communities
inherited the tradition of reciting, chanting, and singing from the Jewish
synagogue.

It's obvious that the oldest Byzantine melodies go back to a common

source, which is the music of the churches of Antioch and Jerusalem.
These melodies are derived from the music of the Jews, not the
Greeks. Later on, Saint John of Damascus organized the Byzantine
system of the eight modes or tones. Today, it is the responsibility of
church musicians, singers, and clergy to learn this type of music, which
is part of our Eastern Orthodox Church theology, in order to preserve
and spread it throughout the world.

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