Idiomelon - Knowledge

383: 777: 2403:) the books of the sticheraria written during the Byzantine period document the existence of 47 avtomela (most of them in the Parakletike, but also in all the other parts of the Sticherarion), but 30 of them had not been written down and notated before the 13th century. They were mainly documented in Slavonic books, because the whole system of avtomelon and prosomoia had to be adapted to the poetic prosody of the language. The adaption to Slavonic prosody caused partly the recomposition of the prosomoia. 1883:, so that the melodic accentuation pattern has to move to the next syllable. Thus, the cadence of the verse will be delayed. Otherwise the melodic recitation will be not only against the correct pronunciation of the word, but also against the meter and the characteristic that the melody of the refrain must go with the last verse. In fact, it is not only about one syllable shorter, but the last syllable has also no accent and must therefore change the melody of the refrain. A less problematic kontakion- 712: 2354:) called these formulaic models "echos-melodies", which preceded the creation of idiomela. The term was in fact inspired by the expression "na glas" used among Old Believers, when they talk about traditional melodies of a living oral tradition. The nature to adapt these models or their patterns to the hymnic verses and their accents are indeed that simple, that its simplicity could easily adapt to any meter and it was often accompanied by forms of multipart singing. 2065: 3507: 2455:) of the Greek kontakaria-psaltika with Middle Byzantine notation counted 86 kontakia for a classical repertoire used in the books of the Constantinopolitan cathedral rite, among them were 44 prosomoia made after existing idiomela (published in the third volume). But only 14 of the remaining 42 idiomela (published in the second volume) had been really used as model for kontakia-prosomoia, among them the Easter kontakion which has no 2150:

the fifth verse follows clearly the syntax of the avtomelon text. This flexibility comes closer to the earlier practice of recitation employing "echos-melodies", although the accentuation of accents are still very precise, because the diacritics were still used and the simplified model has sublimed its ancient tradition. The polyphonic or multi-part recitation of the Karelian monastery on the island Valaam, known and admired as

43: 572: 2156:, does not care very much about the text accents which once created the sophisticated idiomela between the 7th and the 10th centuries. It simply repeats melodic patterns, while the monks observe carefully the half verses and thus, the last two verses are structured as one phrase divided into three parts. This practice offers an amazing concept of singing 2823: 382: 2267:(about 798). Empress Eirene offered him the monastery, where he established soon a scriptorium. He was exiled several times and he died during his last exile in the monastery of Hagios Tryphon on Cape Akritas in Bithynia (11 November 826), but he always continued his hymnodic project and so did his successors directing the Lavra Stoudiou. 2149:

and Theodore Phokaeos who supervised the print editions of Chourmouzios' transcriptions. Each genre was defined by its own octoechos and its tempo which created a new variety, but the accentuation patterns can be used in a more flexible way with respect to the high Middle Ages. The incision within

2060:

In the Slavic kondakar' and the Constantinopolitan kontakarion of the 13th century the kontakion had developed to a representative melismatic style, but also the poetic structure did not always obey strictly the rules of syntonia and isosyllabic verses (especially not between the languages to which

762:

was only possible because these new hymns – their poetry and music – were appreciated and imitated beyond the patriarchate. In general this period is regarded as one when the concept of octoechos cycles was not new, but when these poets were translated and imitated throughout the Mediterranean. The

734:

The first notated chant books (Sticherarion and Heirmologion), created between the 9th and the 13th centuries, delivered only a small part of the monastic hymn repertoire. The beginning of the book Octoechos, the cycle 24 stichera anastasima (three stichera in each echos) or the kekragarion cycle

735:(Hesperinos Psalm 140), appeared very late in Byzantine chant books—some of them not earlier than during the late 17th century. For most of their history they did not need to be notated, since they closely followed the recitation models of psalmody using their formulaic accentuation patterns. 2280:) emphasised in his introduction the characteristic of the new chant book of the Studites as books, which created standards for monastic communities of the whole Mediterranean. Thanks to the Slavonic traditions their influence even spread far into Northern Europe (Scandinavia). See also his 2569:

and Slavic kondakar’s are its oldest sources today. 14 other prototypes whose reception is regarded as "Bulgarian indeed" by Harri, are obviously composed in the context of court music. They all are published as polyphonic recitation in print editions between the 18th and the early 20th

731:. Since only the melodies are known as they had been notated in chant books by the end of the 10th century, the question arises, what preceded the individual compositions of unique melodies, known as idiomela, when they had been composed within an oral tradition since the 7th century? 2341:) discussed the early influence of the octoechos and different local concepts between a daily and a weekly change of the echos. Hence, the early phase is characterised by various hymnographic realisations in the Mediterranean without establishing standards between the regions. 2803:

Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, rest of the complete Akathistos hymnus, kontakia anastasima, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th

962:

shared in each kontakion the same refrain, also different kontakia models could be combined within the same echos, because the melody of the refrain was usually the same, even if the text changed in different kontakia. Both, the model used for the recitation of the

2061:

the Greek hymns had been translated). The extract visible here only includes two thirds of the first melodic phrase of the model which was used to compose the first verse pair. It was obviously possible to adapt even verses of different length to the model:

1900:

and its prototype within the Greek language, a translation into Church Slavonic which reproduces exactly all these relations between idiomelos and avtomelon—whether in this or another way—, seems already impossible. Nevertheless, the schools at

1893:

With the recitation known from a living tradition, the melody reproduces the meter with melodic accentuation patterns and quantitative accents given by the rhythm of the model stanza. With respect to the differences which already appear between

1889:

is the one composed for St Nicholas (see quotation below), although it has less syllables than Romanos' kontakion (the third and fourth verses have just 12 syllables and not 13), but the final section around the refrain fits much better.

2561:) as "non-generic" (next to a generic troparion avtomelon in glas 3). There is a "complex artistic" reception in the Old Russian Kondakar known as "Tipografskiy Ustav" (12th century), even if Christmas kondak is left without notation ( 2790:

Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (about

627:

simply meant that these hymns were regarded as a melodic model of their own, exemplified by the musical realisation of its poetic hymn. As such they also served for the composition of new verses, the prosomeia. The term

2450:

did completely disappear in the Slavic kondakar’s of the 13th century. Only the earlier Tipografsky Ustav has the texts of the "iki", but none of them was ever provided with musical notation. Constantin Floros’ edition

2140:

Although they were originally an almost syllabic setting of the hymn text, it was a complex idiomelon which became more elaborated by the end of the 9th century. The recitation today follows the troparic genre of the

2297:

The earliest books had been written with theta notation, although only a few have survived today (more Slavonic than Greek manuscripts). Links to digitized manuscripts can be found in the articles about the books

2389:

in 787, during which the former one was decanonised. The second crisis of iconoclasm also caused the end of the Studites reform, so that the monastic reform was continued partly in Constantinople and partly in

2647:

which are gestic signs used within Kondakarion notation), and the result is a rather unequal number of syllables for the verses, although it is clear that и насъ (καὶ ἡμᾶς) was the translation of the second

2363:

The repertoire was different and more concentrated on Constantinopolitan hymnographers in the Georgian Iadgari, but Greek and Slavic tropologia since the 7th century confirm the later choice of the Studites

2170:

While the Bulgarians and Serbs use Byzantine music, adapted as explained above, Russians and other northern Slavs use polyphonic recitation models. They are less dependent on a monodic patterns of a certain

773:. Yahya al-Mansur who was posthumously condemned as a heretic, was not only re-established as a hymnographer and monk called John of Damascus, but also became an important Greek church father and a saint. 869:

were not notated, but they existed within an oral tradition. Even some idiomela served as models to compose new hymns according to the needs of a local liturgy—like the prosomoia for certain martyrs. When

438:('melody'). It was used to classify unique melodies composed exclusively for the text of one particular hymn. These idiomela were created in many different traditions, but one voluminous book called 2131:. In the medieval manuscripts is a more complicated model following 14 prototypes of kontakia which represented the Constantinopolitan tonal system chanted at the Hagia Sophia: Romanos' kontakion 1053:

of the resurrection kontakion for the same echos which was composed according to the meter of this stanza must have the same number of verses, each with the same number of syllables. Thus, the

1037:

According to the current practice of Orthodox chant, this resurrection kontakion could be chosen for regular Sunday services, if the week was dedicated to echos tritos. Its text was sung as a

462:(Osmoglasnik). They documented a large repertoire, but only a small part of it made up a local monastic tradition and the latter also included many hymns which were not written in the books. 1018:

kontakion for 25 December known by its incipit Ἡ παρθένος σήμερον, even if the melodic model in echos tritos is not testified by a notated source of his time. Among these 14 models for the

2315:

The incipit of a hymn with a well-known melody which was used for the text recitation, was a common practice. It was also known among Jewish and Sufi musicians who did never notate music.

2080:) for Nativity (25 December) in echos tritos and their prosomoia (podobni): the Resurrection kontakion, the kondak for Boris and Gleb (24 July) and Nicholas (6 December) kontakion ( 3096: 3046: 3019: 723:

concepts attracted the monastic communities of the Patriarchate of Jerusalem. In 692 the organisation of liturgical eight-week cycles connected with a system of eight modes called

387: 2811: 3220: 2863: 1963:

This is the resurrection kontakion composed over Romanos' kontakion to emphasise that it was a very common model used to compose most of the kontakia in echos tritos:

2519:

Note that the rhythm of medieval Byzantine notation is a very controversial matter. Two living Orthodox traditions recite the Prooimion of the Christmas Kontakion by

2324:

For the cycle of 47 avtomela which can be found in notated sticheraria with indication of their exact place within the books, see table 1 in Irina Shkolnik's study (

2721: 2485:

appeared to him and asked him to eat the written scroll, so that he became able to read a kathisma of the psalter correctly, but instead he recited this kontakion.

1871:

has two acute ones. The different positions of acute accents in the fifth verse can be explained by the different verse structure and the shorter refrain of the

926:

with simple melodies of the two fastest tempo levels, it was partly based on a living tradition of simple recitation out of text books without musical notation.

2565:

Ms. K-5349, f.46), many of its podobni (kontakia-prosomoia) had been notated. It was part of a reception of the Constantinopolitan cathedral rite and its book

905:, it was not possible to create the same complex relation between chant and text, when the prosomoia had been translated. So they created a system of simple 2622:, ff.212r-v). The scribe obviously copied from a damaged page, because he left empty spaces on a complete page, where the original was no longer readable. 2438:

Concerning the Old Church Slavonic translation of the Greek kontakia, the Slavic kondakar established a slightly modified system, where Yulia Artamonova (

562:), but sometimes the prosomoia had been also notated in the Octoechos part of certain notated Sticheraria. These notated prosomoia allow to study how the 2816:

Prosomoia collection of an Oktoechos in a complete Sticherarion with Menaion, Triodion and Pentekostarion of the Athonite Pantokrator Monastery (c. 1400)

2123:

of the Greek Orthodox tradition are less sophisticated than the Byzantine one during the 10th or 14th century. These stichera were composed within the

2114:

and the stichera idiomela). Obviously the kondaks and the podobni were regarded as less problematic, because they had not been provided with notation.

738:

The reform of the Byzantine hymnody was the result of a first florescence of Greek hymnography created by singer-poets at Jerusalem like the Patriarch

954:(used for the sequence of all following stanzas) which had been used in independent combinations as melodic models for about 750 kontakia. Since the 446:, the solution was found by the invention of a new neume notation in order to write down the whole repertory in the sticherarion. Its books were the 89: 3020:"To the Problem of the Evolution of the Byzantine Stichera in the Second Half of the V-VIIth Centuries, From the "Echos-Melodies" to the Idiomela" 3213: 2957:

Krivko, Roman Nikolaevič (2011). "Перевод, парафраз и метр в древних славянских кондаках, II : Критика, история и реконструкция текстов ".

2377:

John of Damascus, born in a privileged family close to the caliph at Damascus, became posthumously anathemised under his Syrian name during the

3010: 2894: 2846: 442:

collected and documented them all by the use of musical notation. Since there were so many traditions whose hymnographers composed within the

3074:"Problems of the Theory and Practice of Prosomoia Singing as Illustrated by Byzantine and Slavic Notated Prosomoia of the Good Friday Office" 2110:

of the Kievan Rus' written during the 12th century, office menaia which had been fully notated (especially the akrosticha composed over the

689:

in neumes without any text, while the texts of the prosomoia, as far as they belong to the fixed cycle including the sanctoral, are in the

2766:

Old Church Slavonic Mineya služebnaya for December with troparia, stichera, kondaks and akrosticha with znamennaya notation (12th century)

3114: 3064: 3037: 2579:

The Church Slavonic translation of Romanos' Christmas kontakion was reconstructed by Roman Krivko in his study of the medieval sources (

1865:) appear not always on the same syllable. In the second half of the third verse the idiomelon has just one circumflex accent, while the 3540: 3206: 896:

is 140 and together with their prosomeia it is even larger than the whole repertoire of unique idiomela created in various regions.

1043:

to the melody of the famous kontakion for 25 December, which was already mentioned in the vita of Romanos as his own creation. Its

758:. Even though the difference between "echos-melodies" and the new idiomela at that time cannot be studied, the new emphasis on the 1912:

This is a possible modern transcription of the same kondak, based on different redactions of the Old Church Slavonic translation:

1026:, eight were chosen to create an oktoechos prosomoia cycle of the so-called "resurrection kontakia", each one did consist of one 538:

of the avtomelon text, while the echos or glas (musical mode) was indicated by a modal signature. It was enough because educated

2306:. Later, unnotated manuscripts became more common. There are as well manuscripts which have only musical notation in some parts. 1877:(9 + 11 instead of 8 + 12 syllables). Within the same verse the acute accent on the seventh syllable moves to the eighth in the 2583:, 717 & 726). Since Slavonic languages have a synthetic morphology, the verses must be shorter than their Greek prototypes. 2994: 2930: 2869: 2778:

Nižegorodsky Kondakar' of the Blagoveščensky Monastery, introduced, described and transcribed by Tatiana Shvets (about 1200)

554:, while a singer had to adapt accentuation patterns if the accent in a verse was moved to the neighbouring syllable (see the 2468:

The earliest unnotated sources of Romanos’ kontakia can be dated back to the end of the 9th century (Krueger & Arentzen

1059:

can be sung with the same melody and the accentuation patterns of the idiomelon and the last verse was the refrain (called

3530: 3264: 934:

Similar to the case of the stichera idiomela used for the composition of new stichera needed for the Triodion cycle by

558:). Hence, the prosomoia had been written in textbooks (the Octoechos mega or Parakletike, or later another book called 769:

were sometimes simple and formulaic, sometimes with the complexity of idiomela, was probably not collected before the

581:(echos devteros) adapted to the verses of two Prosomoia—notated in an Octoechos of a 15th-century Sticherarion of the 3149: 3085: 874:

and his brother Joseph composed the early prosomoia for Hesperinos of Lenten tide, they used certain idiomela of the

548:

by heart. The hymnographers had already used the melody of the avtomelon to compose the stanza and its verses of the

3535: 914:

In the monodic tradition of Byzantine chant, the reform of the 18th century, which created a new definition of the

665:

of the octoechos had not been written down with notation before the 14th century or even later, since their hymns (

3167: 2703:

One can check Romanos the Melodist's Nativity kondak and all its podobni which dominate the menaion of December (

2381:

during the first iconoclastic crisis in 754, mainly because of his polemic treatises against iconoclasm (see the

360:. Already in the older book Tropologion each melody of a certain hymn was classified by a modal signature of the 697:, organised between the twelve months beginning with 1 September and concluding with 31 August, or the Slavonic 3108: 3058: 3031: 2662: 2615: 2495: 2385:

of the translation in the Medieval Sourcebook of Fordham). For the same reason he was rehabilitated during the

2089: 860: 844: 3073: 2987:

Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables

652:) another sticheron. It was usually an avtomelon, but in some cases even idiomela had been used for a kind of 3550: 367:—the eight-mode system as it had developed in Constantinople, Damascus, Jerusalem, and in many other places. 3047:"Byzantine prosomoion singing, a general survey of the repertoire of the notated stichera models (automela)" 499:) which do not have their own melodies, but they used a limited number of well-known melodies—the so-called 2979: 2890: 2601:

Orthography according to the Uspensky Kondakar' (ff.47v-48r). The double page was published by Artamonova (

2691: 2640: 2683: 2632: 2081: 586: 269:'s melody and following the poetic meter provided by the musical rhythm. The genre composed over these 178: 17: 3181:"A handlist of the 'Standard Abridged Version' (SAV) of the Sticherarion according to Oliver Strunk" 2386: 770: 473:) which could be identified by their own idiomatic melodies. The later Slavonic translators of the 68: 2754:

Kontakarion organised as a menaion, triodion (at least in part), and pentekostarion (10th century)

3545: 3229: 2704: 2299: 739: 582: 174: 2773: 2142: 2124: 1909:

and Moscow which did not know the translations made at Ohrid were quite fearless and creative.

759: 656:

and there are even cases of notated prosomoia because they had been mistaken for an avtomelon.

443: 364: 85: 3180: 2762:"Moscow, Gosudarstvenniy istoričesky muzey (Государственный исторический музей), Ms. Sin. 162" 3305: 2382: 800: 474: 411: 2643:-v). The verses are arranged according to the musical structure (the repetition of the same 2201:) are simply other melodies related to a certain recitation model as in case of the kondak. 2177:, but simply melodies in the ambitus of the echos in question. In their case, all idiomela ( 3317: 2520: 2260: 2146: 1015: 939: 935: 871: 410:

whose music was notated for the first time in the new books of the sticheraria during the

8: 3511: 3390: 3383: 3335: 2220: 459: 3004: 2941: 2884: 856: 94: 3103:. Budapest: Hungarian Academy of Sciences Institute for Musicology. pp. 563–574. 2555:, 354-360) classified a second musical setting the same text, but composed in glas 4 ( 693:

which should not be confused with the notated chant book (the immoveable cycle of the

3292: 3145: 3104: 3081: 3054: 3027: 2990: 2926: 2868:. Vol. 1–3. Hamburg (Habilitation 1961 at University of Hamburg). Archived from 2562: 2378: 2128: 728: 609:) meant as well a sticheron which defines its melody—with a melody for "itself" (Gr. 3198: 2942:"Tropologion Sinait.Gr. ΝΕ/ΜΓ 56–5 (9th c.): A new source for Byzantine Hymnography" 3135: 2966: 2532: 2104:

A very important source of the re-translation of the Greek hymns are the so-called

1862: 751: 747: 3313: 2865:

Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition

3301: 3232: 776: 743: 539: 361: 302: 248: 170: 144: 2831:

Nikiforov Miney (September–August) written in a Serbian redaction (16th century)

3446: 2679: 2225: 2145:

according to the New Method, as it was created during the 18th century between

711: 516: 455: 292: 238: 182: 122: 2538: 2526: 3524: 3309: 3101:

Cantus planus: Papers read at the 9th meeting, Esztergom & Visegrád, 1998

2922:

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

2761: 2303: 1861:

concerning the number of syllables, especially circumflex and grave accents (

987:

without or with musical notation. Even the less melismatic form with several

186: 58: 2970: 2946:

Scripta & E-Scripta. International Journal for Interdisciplinary Studies

3425: 2920: 2798: 2785: 2749: 2738: 2230: 78: 2009:

Two other kontakia-prosomoia which had been composed for other occasions:

1094: 1003:

of one kontakion had been sung as prosomoia according to one and the same

465:

It was a heterogenous collection of hymns, mainly of unique compositions (

3492: 3478: 3411: 3258: 2824:"Skopje, National and University Library "St. Kliment of Ohrid", Ms. 172" 2658: 2566: 2904:"The Early Development of the Liturgical Eight-Mode System in Jerusalem" 2162:, as it could survive within an oral transmission high up in the North. 1855:

Although the stanza was reproduced accurately by the composition of the

621:), but not in the idiomatic and exclusive sense of the unique idiomela. 3485: 3457: 3406: 3401: 3348: 3341: 3282: 3244: 3140: 3123: 2774:"Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32" 2743:Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου (9th century) 2215: 983:) by Greek as well as by Slavic scribes of the Kievan Rus', whether in 653: 2064: 3396: 3363: 3287: 2482: 2118: 1895: 1884: 1878: 1872: 1866: 1856: 1083: 1054: 1048: 1038: 978: 972: 943: 906: 891: 879: 864: 764: 684: 678: 666: 660: 635: 622: 604: 563: 549: 543: 529: 501: 487: 467: 421: 407: 400: 354: 346: 338: 285: 277: 270: 264: 231: 223: 215: 207: 199: 191: 166: 138: 132: 115: 3124:"Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie" 2980:"Romanos in Manuscript: Some Observations on the Patmos Kontakarion" 911:

melodies which could be easier adapted to the translated prosomoia.

320: 3439: 3369: 3277: 3051:

Cantus Planus: Papers read at the 7th Meeting, Sopron, Hungary 1995

2903: 2502:, ff.48v-49v) the common refrain of Romanos’ kontakion used in the 2264: 2235: 1906: 875: 784: 755: 720: 715:

Mar Saba at Palestine — an important centre of monastic hymnography

451: 31: 3024:

Cantus planus: Papers read at the 6th meeting, Eger, Hungary, 1993

3506: 3471: 3432: 3297: 3251: 2210: 2117:

The confrontation with two living traditions shows that even the

2111: 780: 690: 559: 535: 447: 3172:

PSALOM Traditional Eastern Orthodox Chant Documentation Project

2551:

With respect to the Slavic and Northern reception, Jopi Harri (

386:

Nikiforov Miney with Triodion in Serbian redaction (c. 1550) (

370: 3168:"Hymnography: The Three Classes of Melodic Forms for Stichera" 2350:

Within her first study of the avtomela system Irina Shkolnik (

3330: 3053:. Budapest: Hungarian Academy of Sciences. pp. 521–537. 3026:. Budapest: Hungarian Academy of Sciences. pp. 409–425. 2720:

See the current editions cited in the article about the book

2556: 2184: 2172: 2157: 2151: 2132: 2105: 2069: 2017: 1971: 1902: 1840: 1785: 1724: 1671: 1616: 1559: 1499: 1442: 1382: 1323: 1261: 1202: 1072: 1060: 1047:

has verses with 15, 15, 13, 13, 8, and 12 syllables, and the

900: 890:), "the book of resurrection hymns", the whole repertoire of 885: 827: 821: 815: 804: 794: 788: 698: 672: 647: 641: 629: 616: 610: 598: 576: 555: 508: 494: 479: 433: 427: 415: 312: 296: 258: 242: 154: 126: 571: 263:)—were used to create other hymns by a composition over the 2510:

started with Παιδίον νέον, the last verse of the kontakion.

929: 568:

were adapted to the verses and accents of their prosomoia.

3097:"What kind of chant books were the Byzantine Sticherária?" 719:

In the early period between the 5th and the 7th centuries

2847:"Kondakarion Chant: Trying to Restore the Modal Patterns" 1267:

Out-resurrected today from the grave O Compassionate One

534:

could be recognised because it had just a rubric with an

2812:"Cambridge, Trinity College, Ms. B.11.17, ff. 282r-294r" 840:Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου 746:(died 713). The reform was followed by compositions of 742:(634–644), Germanos Bishop of Serachuze (died 669) and 2989:. Vol. Round tables. Belgrade. pp. 648–654. 1329:

and the earth a cave to the Unapproachable One offers

1082:. The following table shows, how the syllables of the 3228: 3080:. Leuven, Paris, Walpole: Peeters. pp. 173–198. 2494:

According to a 10th-century kondakarion-tropologion (

2196: 2190: 2178: 2075: 2038: 1989: 1941: 1920: 1208:

The Virgin today to the Transcendent One gives birth

1065: 899:

With the Slavic reception in the medieval chant book

838: 306: 252: 148: 2259:

The monastery at Constantinople was abandoned, when

2029: ὁμέγας μύστης τοῦ Θεοῦ τῆς χάριτος 1953: отрочѧ младо превѣчьныи богъ 2985:. In Bojana Krsmanović; Ljubomir Milanović (eds.). 2040:Въсиꙗ дьньсь прҍславьнаꙗ съзывающи насъ памѧть ваю 1932: Отроча Младо, Превечный Бог 2799:"Sinai, Saint Catherine's Monastery, Ms. Gr. 1314" 2786:"Sinai, Saint Catherine's Monastery, Ms. Gr. 1280" 2165: 2050: ибо божьствьнаѧ врача ѥста 528:According to this simple typological definition a 2750:"Sinai, Saint Catherine's Monastery, Ms. Gr. 925" 2739:"Sinai, Saint Catherine's Monastery, Ms. Gr. 607" 2682:quoted according to the Blagoveščensky Kondakar ( 2631:Quoted according to the Blagoveščensky Kondakar ( 2042:мѹченика Христова Романе и Давыде съзывающи насъ 832: 809: 640:) means that this sticheron is "similar to" (Gr. 84:for phonetic transcriptions, with an appropriate 3522: 3188:Cahiers de l'Institut du Moyen-Âge Grec et Latin 2536: 2524: 2531:(2) Slavonic Kondak sung in Valaamskiy Rozpev ( 2661:quoted according to the kontakarion of Sinai ( 2614:Quoted according to the kontakarion of Sinai ( 2189:are sung to the same melody and an avtomelon ( 1991:Въскрьсъ дьнесь из гроба Щедрыи и насъ избави 683:or an Orthros anthology also provides certain 3214: 1973:‘Εξανέστης σήμερον, ἀπὸ τοῦ τάφου Οἰκτίρμον, 1384:καὶ ἡμᾶς ἐξήγαγες, ἐκ τῶν πυλῶν τοῦ θανάτου, 1263:‘Εξανέστης σήμερον, ἀπὸ τοῦ τάφου Οἰκτίρμον, 991:relied on a melodic system based on just 14 3128:Jahrbuch der Österreichischen Byzantinistik 2284:which can be downloaded at the homepage of 2021:τοῦ Χριστοῦ γὰρ ὅσιε τὸ εὐαγγέλιον πληρώσας 1622:together both the prophets with patriarchs 1325:καὶ ἡ γῆ τὸ Σπήλαιον, τῷ ἀπροσίτῳ προσάγει. 185:, and many other Orthodox communities like 3221: 3207: 3009:: CS1 maint: location missing publisher ( 1388:and us out-lifted from the gates of death 1204:Ἡ Παρθένος σήμερον, τὸν ὑπερούσιον τίκτει, 950:(used for the introductory stanza) and 13 671:) had to be repeated every day. Today the 344:can only be understood in comparison with 3139: 2978:Krueger, Derek; Arentzen, Thomas (2016). 2893:) CS1 maint: location missing publisher ( 2425:For more examples, see Julia Shlikhtina ( 1999: ꙗко въскрьсе Живодавьчь 1945:и землѧ вьртьпъ не прикосновено приносить 1618:ἅμα δέ, καὶ οἱ Προφῆται, σὺν Πατριάρχαις, 2481:According to the hagiographic tale, the 2063: 2019:Ἐν τοῖς μύροις ἅγιε ἰερουργὸς ἀνεδείχθης 930:A kontakion as a model and its prosomoia 878:as models. Together with the later book 775: 710: 570: 381: 3165: 2925:. Turku: University of Turku, Finland. 2044:на похвалениѥ славҍ Христа Бога нашего 1846:The divine mightiness of power ↔ your! 942:, is the even more complex case of the 754:, who continued the works of Andrew at 14: 3523: 2908:Saint Vladimir's Theological Quarterly 1980: συν ἀναστήσας χρίστε 1924:и земля вертеп Неприступному приносит, 1505:Today Adam exults, and rejoices ↔ Eve 763:heterogenous repertoire itself, whose 3202: 2046:тҍмь и притҍкающе къ рачҍ мощи и ваю 1501:σήμερον Ἀδὰμ χορεύει, καὶ χαίρει Εὔα, 1088:come together with those of Romanos' 999:, which means that all the different 524:as categories of an oral transmission 27:Type of hymn in Orthodox Christianity 2592:Current Old Church Slavonic version. 2137:was the model for the mesos tritos. 2096:, ff.131r-132v & 117v-119r; Ms. 1949:вълсви же съ звѣздою пѹть шьствѹють· 1922:Дева днесь Пресущественнаго раждает, 727:was established and progressed to a 36: 2760: 2708: 2023:ἔθηκας τὴν ψυχὴν σου ὑπερ λαοῦ σου 1791:An Infant young, the pre-ages God! 659:Certain more regular and formulaic 24: 3265:List of New Testament lectionaries 2838: 2797: 2784: 2772: 2687: 2666: 2636: 2619: 2097: 2093: 2085: 2025:ἔσωσας τοὺς ἀθώους ἐκ τοῦ θανάτου 1995:Адамъ ликѹѥть и веселитьсѧ и Еѵга 1947:ангели съ пастырил словословестѧть 1928:волсви же со звездою путешествуют: 1561:Μάγοι δὲ μετὰ ἀστέρος ὁδοιποροῦσι· 1444:Ἄγγελοι μετὰ Ποιμένων δοξολογοῦσι. 485:. There are other stichera called 74:for transliterated languages, and 54:of its non-English content, using 25: 3562: 3541:Eastern Orthodox liturgical music 3159: 2902:Frøyshov, Stig Simeon R. (2007). 2822: 2748: 2737: 2541:. Valaam: Valaam Monastery Choir. 2499: 2442:, 4-5) counted 22 models for the 1997:Авраамъ же и пророци съ патриархы 1842:Τὸ θεῖον κράτος τῆς ἐξουσίας σου. 848: 391: 30:For the genus of gastropods, see 3505: 1943:Дѣва дьньсь преволгатаго ражаѥть 1787:Παιδίον νέον, ὁ πρὸ αἰώνων Θεός. 967:as well as the one used for the 837:. The scribe rubrified the book 477:(since 893) called the idiomela 41: 2714: 2697: 2672: 2651: 2625: 2608: 2595: 2586: 2573: 2545: 2513: 2488: 2475: 2462: 2432: 2419: 2406: 2393: 2166:Caveat about north Slavic music 1975:καὶ ἡμᾶς ἐξήγαες, ἐκ τῶν πυαου, 1926:ангели с пастырьми славословят, 1092:and with its metric structure: 197:are unique compositions, while 3179:Troelsgård, Christian (2003). 3095:Troelsgård, Christian (2001). 2940:Nikiforova, Alexandra (2013). 2527:"Idiomelon Ἡ Παρθένος σήμερον" 2371: 2357: 2344: 2331: 2318: 2309: 2291: 2270: 2253: 1993:отъ вратъ съмьртьныихъ дьньсь 1448:Angels with shepherds glorify 820:which has to be sung with the 90:multilingual support templates 13: 1: 3453:Idiomela, Avtomela, Prosomoia 2399:According to Irina Shkolnik ( 2263:came with his community from 2241: 2011: 1965: 1914: 3121: 3094: 3071: 3044: 3017: 2977: 2956: 2939: 2918: 2901: 2861: 2844: 2810: 2602: 2580: 2557: 2552: 2469: 2452: 2439: 2426: 2413: 2400: 2365: 2351: 2338: 2325: 2286:Monumenta Musicae Byzantinae 2277: 2119: 2077:Дѣва дньсь пребогата ражаѥть 1896: 1885: 1879: 1873: 1867: 1857: 1084: 1073: 1061: 1055: 1049: 1039: 979: 973: 946:genre which was based on 14 907: 892: 880: 865: 828: 822: 816: 805: 795: 789: 765: 685: 679: 667: 661: 636: 623: 605: 590: 564: 550: 544: 530: 502: 488: 468: 422: 401: 355: 347: 339: 286: 278: 271: 265: 232: 224: 216: 208: 200: 192: 139: 133: 116: 7: 3099:. In László Dobszay (ed.). 3078:Palaeobyzantine Notations 3 3049:. In László Dobszay (ed.). 3022:. In László Dobszay (ed.). 2862:Floros, Constantin (2015). 2204: 2185: 2173: 2158: 2152: 2106: 2048:ицҍлѥниꙗ дары приѥмлемъ вы 1010:As example might serve the 901: 886: 699: 673: 648: 617: 509: 495: 480: 458:(Tsvetnaya Triod), and the 313: 259: 155: 10: 3567: 3076:. In Gerda Wolfram (ed.). 3072:Shlikhtina, Julia (2004). 2845:Artamonova, Yulia (2013). 2731: 2133: 2070: 2018: 1972: 1905:in Macedonia and later at 1841: 1786: 1725: 1672: 1617: 1560: 1500: 1443: 1383: 1324: 1262: 1203: 1066: 839: 833: 810: 706: 642: 630: 611: 599: 577: 434: 428: 416: 297: 243: 127: 29: 3531:Genres of Byzantine music 3502: 3466: 3420: 3378: 3358: 3326: 3273: 3239: 2446:, while the texts of the 2221:Oktoechos and Parakletike 2197: 2191: 2179: 2076: 2039: 1990: 1942: 1921: 1737: 1629: 1565:Magi with a star journey 1512: 1395: 1274: 1153: 855:During the reform of the 307: 253: 179:Eastern Catholic Churches 149: 3178: 3166:Simmons, Nikita (2002). 3045:Shkolnik, Irina (1998). 3018:Shkolnik, Irina (1995). 2889:: CS1 maint: location ( 2529:. Greek-Byzantine Choir. 2387:Second Council of Nicaea 2281: 2246: 1726:ἀνυμνοῦσιν ἀκαταπαύστως, 971:, had been rubrified as 771:Second Council of Nicaea 3536:Eastern Christian hymns 3512:Christianity portal 3122:Wolfram, Gerda (2003). 2971:10.3406/slave.2011.8134 2959:Revue des études slaves 811:χαῖροις ἡ νοητῇ χελιδῶν 583:Pantokratorou monastery 175:Eastern Orthodox Church 2537:Romanos the Melodist. 2525:Romanos the Melodist. 2276:Christian Troelsgård ( 2143:Neobyzantine octoechos 2125:Hagiopolitan octoechos 2101: 1673:δι' ἡμᾶς γὰρ ἐγεννήθη, 924:fast sticheraric melos 852: 760:Hagiopolitan octoechos 716: 594: 395: 2195:) and its prosomoia ( 2067: 779: 750:and his half-brother 714: 668:apolytikia anastasima 574: 432:('own, special') and 406:is a melodic type of 385: 275:was characterised as 3551:Liturgy of the Hours 3117:on 22 December 2021. 3067:on 22 December 2021. 3040:on 22 December 2021. 2919:Harri, Jopi (2012). 2261:Theodore the Studite 2147:Petros Peloponnesios 872:Theodore the Studite 817:ēchos plagios prōtos 806:sticheron prosomoion 700:Psaltikiyna Mineynik 637:stichēron prosomoion 52:specify the language 50:This article should 2539:"Kondak Дева днесь" 2127:and adapted to the 1951:насъ бо ради родисѧ 1022:and the 13 for the 631:στιχηρὸν προσόμοιον 423:stichēron idiomelon 375:as a collection of 3141:10.1553/joeb53s117 2134:Ἡ παρθένος σήμερον 2102: 2088:, ff.52 & 76; 2071:Ἡ παρθένος σήμερον 2027:διὰ τοῦτο ἡγιάσθης 1930:нас бо ради родися 1730:sing unceasingly, 1677:For to us is born 853: 803:(1 March) and the 717: 597:The definition of 595: 454:(Postnaya Triod), 417:στιχηρὸν ἰδιόμελον 396: 336:The hymn category 3518: 3517: 3336:Canon of the Odes 2996:978-86-80656-10-6 2932:978-951-29-4864-2 2379:Council of Hieria 2153:Valaamskiy rozpev 2107:mineya služebnaya 2058: 2057: 2007: 2006: 1961: 1960: 1853: 1852: 834:χαῖροις ἀσκητικῶν 729:liturgical reform 578:παντὰς ὑπερβάλλων 556:kontakion example 469:stichera idiomela 414:. The Greek term 181:which follow the 112: 111: 92:may also be used. 16:(Redirected from 3558: 3510: 3509: 3233:liturgical books 3230:Eastern Orthodox 3223: 3216: 3209: 3200: 3199: 3195: 3185: 3175: 3155: 3143: 3118: 3113:. Archived from 3091: 3068: 3063:. Archived from 3041: 3036:. Archived from 3014: 3008: 3000: 2984: 2974: 2953: 2936: 2915: 2898: 2888: 2880: 2878: 2877: 2858: 2851:Musicology Today 2834: 2828: 2819: 2807: 2794: 2781: 2769: 2757: 2745: 2725: 2718: 2712: 2701: 2695: 2676: 2670: 2669:, ff.117v-119r). 2655: 2649: 2629: 2623: 2612: 2606: 2599: 2593: 2590: 2584: 2577: 2571: 2560: 2549: 2543: 2542: 2533:Valaam Monastery 2530: 2523:as follows: (1) 2517: 2511: 2492: 2486: 2479: 2473: 2466: 2460: 2436: 2430: 2423: 2417: 2410: 2404: 2397: 2391: 2375: 2369: 2361: 2355: 2348: 2342: 2335: 2329: 2322: 2316: 2313: 2307: 2295: 2289: 2274: 2268: 2257: 2200: 2199: 2194: 2193: 2188: 2182: 2181: 2176: 2161: 2155: 2136: 2135: 2122: 2109: 2079: 2078: 2073: 2072: 2052: 2051: 2031: 2030: 2012: 2001: 2000: 1982: 1981: 1966: 1955: 1954: 1934: 1933: 1915: 1899: 1888: 1882: 1876: 1870: 1863:Greek diacritics 1860: 1844: 1843: 1789: 1788: 1728: 1727: 1675: 1674: 1620: 1619: 1563: 1562: 1503: 1502: 1446: 1445: 1386: 1385: 1327: 1326: 1265: 1264: 1206: 1205: 1095: 1087: 1078:shared with the 1076: 1069: 1068: 1064: 1058: 1052: 1042: 982: 976: 938:and his brother 910: 904: 895: 889: 883: 881:Anastasimatarion 868: 842: 841: 836: 835: 831: 825: 819: 813: 812: 808: 798: 792: 768: 748:John of Damascus 702: 688: 682: 680:Anastasimatarion 676: 670: 664: 651: 645: 644: 639: 633: 632: 626: 620: 614: 613: 608: 602: 601: 580: 579: 567: 553: 547: 533: 512: 505: 498: 491: 483: 471: 437: 436: 431: 430: 425: 419: 418: 404: 358: 350: 342: 316: 310: 309: 300: 299: 289: 281: 274: 268: 262: 256: 255: 246: 245: 235: 227: 219: 211: 203: 195: 171:liturgical books 158: 152: 151: 142: 136: 130: 129: 119: 107: 104: 98: 83: 77: 73: 67: 63: 57: 45: 44: 37: 21: 3566: 3565: 3561: 3560: 3559: 3557: 3556: 3555: 3521: 3520: 3519: 3514: 3504: 3498: 3462: 3416: 3374: 3354: 3322: 3269: 3235: 3227: 3183: 3162: 3152: 3111: 3088: 3061: 3034: 3002: 3001: 2997: 2982: 2933: 2882: 2881: 2875: 2873: 2841: 2839:Further reading 2826: 2734: 2729: 2728: 2719: 2715: 2702: 2698: 2677: 2673: 2656: 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2226:Pentekostarion 2223: 2218: 2213: 2206: 2203: 2183:) for a given 2167: 2164: 2056: 2055: 2036: 2034: 2015: 2005: 2004: 1987: 1985: 1969: 1959: 1958: 1939: 1937: 1918: 1851: 1850: 1847: 1838: 1836: 1834: 1832: 1830: 1827: 1824: 1821: 1818: 1815: 1812: 1809: 1806: 1803: 1800: 1796: 1795: 1792: 1783: 1781: 1779: 1777: 1774: 1771: 1768: 1765: 1762: 1759: 1756: 1753: 1750: 1747: 1744: 1741: 1735: 1734: 1731: 1722: 1720: 1718: 1716: 1714: 1712: 1710: 1707: 1704: 1701: 1698: 1695: 1692: 1689: 1686: 1682: 1681: 1678: 1669: 1667: 1665: 1663: 1661: 1659: 1657: 1655: 1652: 1649: 1646: 1643: 1640: 1637: 1634: 1631: 1627: 1626: 1623: 1614: 1612: 1610: 1607: 1604: 1601: 1598: 1595: 1592: 1589: 1586: 1583: 1580: 1577: 1574: 1570: 1569: 1566: 1557: 1555: 1553: 1550: 1547: 1544: 1541: 1538: 1535: 1532: 1529: 1526: 1523: 1520: 1517: 1514: 1510: 1509: 1506: 1497: 1495: 1493: 1490: 1487: 1484: 1481: 1478: 1475: 1472: 1469: 1466: 1463: 1460: 1457: 1453: 1452: 1449: 1440: 1438: 1436: 1433: 1430: 1427: 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Knowledge's 49: 47: 40: 26: 9: 6: 4: 3: 2: 3563: 3552: 3549: 3547: 3544: 3542: 3539: 3537: 3534: 3532: 3529: 3528: 3526: 3513: 3508: 3501: 3495: 3494: 3490: 3488: 3487: 3483: 3481: 3480: 3476: 3474: 3473: 3469: 3468: 3465: 3459: 3456: 3454: 3451: 3449: 3448: 3444: 3442: 3441: 3437: 3435: 3434: 3430: 3428: 3427: 3423: 3422: 3419: 3413: 3410: 3408: 3405: 3403: 3400: 3398: 3395: 3393: 3392: 3388: 3386: 3385: 3381: 3380: 3377: 3371: 3368: 3366: 3365: 3361: 3360: 3357: 3351: 3350: 3346: 3344: 3343: 3339: 3337: 3334: 3332: 3329: 3328: 3325: 3319: 3315: 3311: 3307: 3303: 3299: 3296: 3294: 3293:Biblical Odes 3291: 3289: 3286: 3284: 3281: 3279: 3276: 3275: 3272: 3266: 3263: 3261: 3260: 3256: 3254: 3253: 3249: 3247: 3246: 3242: 3241: 3238: 3234: 3231: 3224: 3219: 3217: 3212: 3210: 3205: 3204: 3201: 3193: 3189: 3182: 3177: 3173: 3169: 3164: 3163: 3153: 3151:3-7001-3172-0 3147: 3142: 3137: 3133: 3129: 3125: 3120: 3116: 3112: 3106: 3102: 3098: 3093: 3089: 3087:9789042914346 3083: 3079: 3075: 3070: 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code 82:}} 76:{{ 72:}} 66:{{ 62:}} 56:{{ 51: 3493:Euchologion 3479:Anthologion 3412:Apolytikion 3391:Paraklētikē 3364:Kontakarion 3259:Gospel Book 3134:: 117–125. 2678:Kondak for 2659:St Nicholas 2567:kontakarion 2429:, 184-196). 2328:, 526-529). 1849:Prosomoion 1733:Prosomoion 1625:Prosomoion 1508:Prosomoion 1391:Prosomoion 1270:Prosomoion 920:heirmologic 695:Doxastarion 618:samopodoben 481:samoglasniy 460:Parakletike 260:samopodoben 150:самогласенъ 3525:Categories 3486:Hōrologion 3458:Doxastikon 3407:Theotokion 3402:Dogmatikon 3349:Menologion 3306:Sinaiticum 3283:Anabathmoi 3245:Lectionary 3110:9637074775 3060:9637074678 3033:9637074546 2952:: 157–185. 2914:: 139–178. 2876:2019-01-29 2242:References 2216:Menologion 2180:самогласны 2068:Kontakion 1897:prosomoion 1886:prosomoion 1880:prosomoion 1874:prosomoion 1868:prosomoion 1858:prosomoion 1794:Idiomelon 1680:Idiomelon 1568:Idiomelon 1451:Idiomelon 1332:Idiomelon 1211:Idiomelon 1146:Whole line 1085:prosomoion 1056:prosomoion 1050:prosomoion 1040:prosomoion 985:kontakaria 902:Voskresnik 887:Voskresnik 785:kathismata 740:Sophronius 674:Voskresnik 654:contrafact 593:, f. 283r) 575:Avtomelon 551:prosomoion 531:prosomoion 331:prosomoion 298:προσόμοιον 287:prosomeion 279:prosomoion 156:samoglasen 3397:Troparion 3288:Polyeleos 3005:cite book 2885:cite book 2722:Octoechos 2570:centuries 2504:prooimion 2483:Theotokos 2300:octoechos 1090:prooimion 1074:prooimion 1062:ephymnion 1045:prooimion 1028:prooimion 1020:prooimion 1012:prooimion 969:prooimion 960:prooimion 944:kontakion 829:avtomelon 783:with two 725:octoechos 643:προσόμιον 624:Avtomelon 606:avtomelon 600:αὐτόμελον 542:knew the 522:prosomoia 489:prosomoia 450:(Miney), 444:octoechos 408:sticheron 402:idiomelon 365:octoechos 362:Byzantine 356:prosomoia 348:avtomelon 340:idiomelon 327:avtomelon 323:idiomelon 266:avtomelon 244:αὐτόμελον 233:aftomelon 225:avtomelon 217:automelon 167:sticheron 128:ἰδιόμελον 117:Idiomelon 18:Automelon 3440:Triōdion 3370:Akathist 3298:Psalters 3278:Kathisma 2804:century) 2709:Sin. 162 2688:Q.п.I.32 2684:RUS-SPsc 2667:Gr. 1280 2637:Q.п.I.32 2633:RUS-SPsc 2620:Gr. 1314 2605:, ex.2). 2506:and six 2444:prooimia 2265:Bithynia 2236:Triodion 2205:See also 2129:Papadike 2120:avtomela 2100:, f.212) 2098:Gr. 1314 2094:Gr. 1280 2086:Q.п.I.32 2082:RUS-SPsc 1907:Novgorod 1067:ἐφύμνιον 1030:and one 1016:Romanos' 993:prooimia 980:avtomela 977:(not as 974:idiomela 958:and the 948:prooimia 936:Theodore 916:troparic 908:avtomela 893:avtomela 876:Triodion 866:avtomela 857:Studites 796:tetartos 766:avtomela 756:Mar Saba 686:avtomela 662:avtomela 565:avtomela 545:avtomela 540:chanters 518:Avtomela 503:avtomela 496:podobniy 452:Triodion 377:idiomela 308:подобенъ 272:avtomela 209:aftomela 201:avtomela 193:Idiomela 162:idiomela 32:Idiomela 3472:Typikon 3433:Mēnaion 3331:Heirmos 3302:Chludov 3194:: 3–20. 2732:Sources 2705:RUS-Mim 2663:ET-MSsc 2616:ET-MSsc 2563:RUS-Mgt 2521:Romanos 2500:Gr. 925 2496:ET-MSsc 2416:, 120). 2383:extract 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2891:link 2707:Ms. 2694:-v). 2686:Ms. 2665:Ms. 2635:Ms. 2618:Ms. 2603:2013 2581:2011 2553:2012 2498:Ms. 2470:2016 2453:2015 2440:2013 2427:2004 2414:2003 2401:1998 2352:1995 2339:2007 2326:1998 2302:and 2278:2001 2186:glas 2174:glas 2092:Ms. 2084:Ms. 1829:σου. 1808:κρά- 1802:θεῖ- 1776:ός. 1773:Θε- 1743:Παι- 1703:τα- 1651:νή- 1603:τρι- 1588:Προ- 1579:δέ, 1549:ροῦ- 1543:δοι- 1489:Εὔ- 1486:ρει 1480:καὶ 1474:ρεύ- 1429:λο- 1414:Ποι- 1402:γελ- 1379:του, 1355:γες, 1320:γει, 1314:προ- 1305:προ- 1293:λαι- 1290:Σπή- 1258:μον, 1255:τίρ- 1252:Οἰκ- 1234:ρον, 1222:νέσ- 1216:‘Εξ- 1199:τει, 1196:τίκ- 1187:ρού- 1175:ρον, 1160:Παρ- 863:the 847:Ms. 793:and 589:Ms. 520:and 390:Ms. 371:The 352:and 329:and 59:lang 3136:doi 2967:doi 2692:52r 2641:76r 2535:): 1823:σί- 1820:ου- 1817:ἐξ- 1814:τῆς 1811:τος 1770:νων 1764:αἰ- 1761:πρὸ 1755:ον, 1752:νέ- 1746:δί- 1700:κα- 1694:σιν 1688:νυ- 1654:θη, 1642:γὰρ 1639:μᾶς 1633:δι' 1606:άρ- 1600:Πα- 1597:σὺν 1594:ται 1591:φῆ- 1582:καὶ 1576:μα 1552:σι· 1546:πο- 1537:ρος 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