787:
1313:
133:
4214:
1176:
251:, the echos and opening words of the model (a sticheron avtomelon or in this particular case the prooimion of the Nativity kontakion) were usually indicated. For example, the Octoechos' kontakion for Sunday Orthros in echos tritos has the indication, that it should be sung to the melody of the above Christmas kontakion. Both kontakia have nearly the same number of syllables and accents within its verses, so the exact melody of the former is slightly adapted to the latter, its accents have to be sung with the given accentuation patterns.
272:
2959:Αναστασιματάριον νέον μεταφρασθέντα εις το νέον της μουσικής σύστημα παρά του διδασκάλου Χουρμουζίου Χαρτοφύλακος, και του κυρίου Θεοδώρου Φωκέως. Περιέχον τα Αναστάσιμα του Εσπερινού, Όρθρου, και Λειτουργίας, μετά των αναστασίμων Κανόνων, Μαρτυρικών, και Νεκρωσίμων της Μεγάλης Τεσσαρακοστής, των τε Εωθινών, και των συντόνων Τιμιωτέρων. Τα πάντα καθώς την σήμερον ψάλλονται εις το Πατριαρχείον μεταφρασθέντα εις το νέον της μουσικής σύστημα παρά του διδασκάλου Χουρμουζίου Χαρτοφύλακος, και του κυρίου Θεοδώρου Φωκέως
405:
4572:
952:
2802:
4033:
1268:). The 1st mode is sung on this day. The following Sunday makes use of the 2nd mode, and so on, repeating the cycle until it starts again the next year. The cycle is interrupted only by feasts which have their own tones assigned to them. Similar to the Byzantine usage, each day of Easter Week has its own mode, except the Syriacs do not skip the 7th mode. Thus, the Sunday after Easter, called New Sunday (
2859:
2844:
2829:
935:(in combination from the previous year's Paschal cycle). The texts from these volumes displace some of those from the Octoechos. The less hymns are sung from the Octoechos the more have to be sung from the other books. On major feast days, hymns from the Menaion entirely displace those from the Octoechos except on Sundays, when only a few Great Feasts of the Lord eclipse the Octoechos.
211:. The prooimion which precedes the kontakion for Christmas is recited today with a simple melody in a rather sophisticated heirmologoc melos of echos tritos; its most important part is the conclusion called "ephymnion" (in italic characters) which uses one and the same melody for all kontakia of the same echos (at the end of the prooimion as well as at the end of each following oikos):
987:), the Slavic book did rather correspond to the unnotated Tropologion, and often it included the hymns of the Irmolog as well. The Slavic reception, although it can be regarded as faithful translation of the Byzantine books, is mainly based on early Theta notation, which was used by Slavic reformers in order to develop own forms of notation in Moscow and Novgorod (
1249:, the 1st and 5th modes are paired together, so are the 2nd and 6th, the 3rd and 7th, and the 4th and 8th. If a particular Sunday makes use of the 1st mode, the following Monday is sung with the 5th mode, Tuesday with the 1st mode, etc., with the pair alternating every day of the week (see the table provided in
400:
John of
Damascus started a new, third period in the history of Church singing. He introduced what is known as the osmoglasie — a system of singing in eight tones, or melodies —, and compiled a liturgical singing book bearing the title "Ochtoechos," which literally signifies "the book of the eight tones."
1183:
Although the
Georgian Iadgari is not the oldest manuscript among the complete tropologia which could be preserved until the present day, the Iadgari offers the most complete insight into the development of hymnography and the cathedral rite of Jerusalem. Other hymn books developed between the 7th and
1197:
were more oriented to the
Patriarchates of Antioch and Jerusalem. This section describes Oriental and Caucasian hymnals as they have been used by Armenians until the genocide by the end of the Ottoman Empire, and as they are still used among Orthodox Christians in Syria, Persia, Armenia and Georgia.
399:
Choral singing saw its most brilliant development in the temple of Holy Wisdom in
Constantinople during the reign of Emperor Justinian the Great. National Greek musical harmonies, or modes — the Dorian, Phrygian, Lydian, and Mixolydian modes — were adapted to the needs of Christian hymnography. Then
995:
had been realised without the help of South Slavic translators. The earliest known
Slavonic manuscripts with neumes date from the late 11th or 12th century (mainly Stichirar, Kondakar and Irmolog). Concerning the earlier translations of the hymns and later translations in Russia, we can observe two
496:
which had to be sung during
Hesperinos on Saturday and during Orthros on Sunday, were emphasised and ordered according to the eight echoi, each of the eight parts structured according to the order, as they had to be sung during the evening and morning service. They became a well structured book for
1013:, the indicated melos and echos. On the other hand, the later translations during the missions in Russia had their emphasis on a literal translation of the texts, but this resulted in altering the metrical structure given by the avtomela and the heirmoi so much that the music had to be recomposed.
1008:
endeavoured to match the Greek text in the number of syllables in the hymns and to preserve the verse structure indicated by the corresponding neumes, but the resulting meaning of the hymns could change so considerably that, in certain cases, the only aspect the original and the translation had in
258:
and the determination of a hymn's melody is indicated by the echos or glas according to the section within the book and its avtomelon, a melodic model defined by the melos of its mode. Since this book collects the repertoire of melodies sung every week, educated chanters knew all these melodies by
1196:
without being necessarily dependent on the tradition of
Byzantine chant and later developments of the Stoudios Monastery since the 9th century. The reason of this independence is, that the church history of Armenia and Georgia preceded the Byzantine imperial age about 50 years and both traditions
1659:
The Greek way definitely represents a monodic tradition of kontakion as it had developed since the 7th century since many centuries (going through periods of melismatic during the 12th and 13th centuries and even kalophonic elaboration of the music during the 14th century), while the polyphonic
1073:
Often the
Parakletike was divided in two volumes as Pettoglasniks. Another popular book, also characteristic for the Obihod reception, was the so-called Sbornik ("Anthologion" or better "Synekdemos")—a chant book which contained all the chant of the divine liturgy, including proper chant of the
938:
Note that the
Octoechos contains sufficient texts, so that none of these other books needs to be used—a holdover from before the invention of printing and the completion and wide distribution of the rather large 12-volume Menaion—, but portions of the Octoechos (e.g., the last three
871:
Nevertheless, a temporal eight-week-order was always the essential part of the
Octoechos, at least as a liturgical concept. The temporal organisation of the mobile feast cycle and its lessons was result of the Studite reform since Theodore the Studite; their books had already been translated by
1419:
This order is important, because it is the order in which the modes are used liturgically and different from the order of the Greek traditions. Instead of using one tone per week, the Armenians use one tone per day. Easter Sunday is always the First Voice, the next day is First Side, and so on
1108:
of all the canons of all eight tones as well as a few sundry other pieces of music. Abridged versions of the Octoechos printed with musical notation were frequently published. As simple Octoechos they provided the hymns for the evening (večernaja molitva) and morning service (utrenna) between
963:
Even before a direct exchange between Slavic monks and monks of the Stoudios Monastery, papyrus fragments offer evidence of earlier translations of Greek hymns. The early fragments show that hymns and their melodies developed independently in an early phase until the 9th century.
2577:
1668:
itself might be regarded as an echos-melody, because the same melody has to be adapted to the length of its verse which can be very different between various kontakia of the same mode. Similar differences can also result from translations of the same ephymnion into different
880:. The first usually changes the echos each day, while the third week started the eight-week cycle with the second echos, each week in just one echos. The same cycle started in the triodion with the Lenten period until Easter, with the Lenten Friday preceding the subsequent
2899:
Petros Peloponnesios' Anastasimatarion with the Hesperinos cycle (including Pasapnoaria), the Kekragaria (syntoma cycle) and Petros Byzantios' version of the whole psalm 140 at the end, and 11 stichera heothina transcribed by Gregorios the Protopsaltes (early 19th
1209:. A Syriac translation of the "Octoechos of Antioch", tropologion created by Severus of Antioch, Paul of Edessa and John Psaltes (early sixth century), was copied in 675, but still during the 9th century Tropligins were organised in a similar way like the Georgian
1065:
1–4, but their final notes were a fifth lower on the bottom of the pentachord with respect to the finales of the kyrioi on the top of each pentachord, the melodic range composed in the plagioi was usually smaller. There was an alternative tonal system based on the
1903:). It was taught by Iakovos the Protopsaltes as "Kekragarion palaion". A second volume published the "Anastasimatarion neon" by Petros Peloponnesios, each book with a set of two kekragaria, a sticheraric and an abridged sticheraric version.
239:
A hymn may more or less imitate an automelon melodically and metrically—depending, if the text has exactly the same number of syllables with the same accents as those of verses in the corresponding automelon. Such a hymn was usually called
172:—a fixed number of syllables with particular stress patterns, consistent throughout multiple verses. Complex poems are written with syllabic patterns matching the meter of a familiar hymn written prior. One example of such a hymn is "
1420:
throughout the year. However, the cycle does not actually begin on Easter day, but counts backwards from Easter Sunday to the First Sunday in Lent, which is always Forth Side, regardless of what mode the previous day was. Each mode of the
2982:. Μουσική Βιβλιοθήκη : Διηρημένη εἰς τόμους καὶ περιέχουσα ἀπάσης τῆς ἐνιαυσίου ἀκολουθίας τὰ μαθήματα τῶν ἀρχαίων επὶ τῆς Βυζαντινῆς ἐποχῆς μετ᾽ αυτὴν μουσικοδιδασκάλων. Vol. 1. Constantinople: Publisher of the Patriarchate.
972:-School were famous for the translation of Greek hymnody between 863 and 893, but it is also a period of a reformative synthesis of liturgical forms, the creation of new hymnographical genres and their organisation in annual cycles.
1332:(eight voices). Although there is no structural relation between the Greek and Armenian modes, the division into "authentic" and "plagal" modes is parallel. In Armenian terminology, the "Authentic" modes are referred to as "Voice" (
321:, contains proper office hymns for each weekday. The earliest state of a Great Octoechos collection are Mss. gr. 1593 and 776 of the Library at Saint Catherine's Monastery which had been identified as belonging to one manuscript (
120:; however, while the tonary serves simply for a modal classification, the octoechos is organized as a cycle of eight weeks of services. The word itself can also refer to the repertoire of hymns sung during the celebrations of the
2041:, 5;80-127) observed that most of Slavonic Triods have the prosomoia collection of Theodore the Studite, less the one composed by "Joseph" which were created by Theodore's brother, but more often by the later Sicilian composer
2988:
888:
for which hymns in each tone are found in the texts of the Octoechos. During this period, the Octoechos is not sung on weekdays and it is furthermore not sung on Sundays from Palm Sunday through the Sunday of All Saints.
2092:
The evidence is given by the many differences between Russian and South-Slavic translations of Typika and liturgical manuscripts, their different interpretations in the rubrics, but also according to the philosophy of
736:. Created during the Macedonian renaissance, they are a later part of the repertoire which cannot be found in manuscripts before the 11th century. The cycle was sung since the Sunday following Pentecost, followed by a
3022:
2874:
2778:
2723:
2932:
2428:
Ancient Iadgari with canons of the odes, including short canons of just two or three odes such ode 7-9, 7 & 9 and 8-9 and only in the four authentic modes related to the lessons the Tetravangelo (10th
786:
2203:
In medieval manuscripts it was enough to write the incipit of the text which identified the heirmos. As a melodic model it was known by heart. Often the Slavic book Oktoich is confused with the Irmolog
4540:
379:
and the Hagiopolites treatise itself claims his authorship right at the beginning. It has only survived completely in a 14th-century copy, but its origin likely dates back to the time between the
2912:"Αναστασιματάριον σύντομον κατά το ύφος της μεγάλης εκκλησίας μελοποιηθέν παρά κυρ Πέτρου Λαμπαδαρίου του Πελοποννησίου· εξηγηθέν κατά τον νέον της μουσικής τρόπον παρά Γρηγορίου Πρωτοψάλτου"
2194:). Mainly these two books composed in the last quarter of the 18th and transcribed in the early 19th century, are adapted to the Old Slavonic and the Romanian translation of the heirmologion.
1972:, 523) observed, that mainly automela were not written, because they were part of an oral tradition, while most of the prosomoia can only be found in later manuscripts since the 13th century.
1070:
which was used in the Northern Slavic reception in Novgorod. It was based on a hexaechos, since it used a tone system based on triphonia with three modes organised in fourth equivalence.
850:
composed by Theodore the Studite for the evening service during Lenten period which belong to the Triodion book. Since the 14th century, sticheraria also had notated collections of the
2517:Šaraknoc' (Շարակնոց) with ekphonetic khaz notation written by the priest Yakob Pēligratc‘i (commissioned by Člav, son of Nawasard, as a dedication to his sons) at Constantinople (1678)
2663:
1854:: stichera anastasima (f. 254r), alphabetika (f. 254v), anavathmoi and stichera anatolika (f. 255v), stichera heothina (f. 277v), dogmatika (f. 281v) and staurotheotikia (f. 289r).
996:
different approaches to translation, one which favours the musical and metrical structure and another which favours the literal translation of the hymns. The school represented by
1899:). An exception is the series "Music Library" which published as a first volume Panagiotes the New Chrysaphes' Kekragarion under the title "Anastasimatarion of John of Damascus" (
1553:
Octoechos is often used to describe a smaller volume that contains only the hymns for the Sunday services. In order to distinguish the longer version from the short one, the term
3457:
Smelova, Natalia (2011). "Melkite Syriac Hymns to the Mother of God (9th to 11th centuries): Manuscripts, Language and Imagery". In Leslie Brubaker; Mary B. Cunningham (eds.).
1090:
have their own octoechos mele and their tempo, which employ a slightly modified scale for each tone; in canons, each troparion in an ode uses the meter and melody of the ode's
1100:
for sticheraric modes of a tone) and, therefore, even when a canon's irmos is never sung, its irmos is nonetheless specified so as to indicate the melody. A volume called an "
3154:
Frøyshov, Stig Simeon R. (2012). "The Georgian Witness to the Jerusalem Liturgy: New Sources and Studies". In Bert Groen; Stefanos Alexopoulos; Steven Hawkes-Teeples (eds.).
2934:Νέον Αναστασιματάριον μεταφρασθέν κατά την καινοφανή μέθοδον της μουσικής υπό των εν Κωνσταντινουπόλει μουσικολογιωτάτων Διδασκάλων και εφευρετών του νέου μουσικού συστήματος
19:
This article is about the book of liturgical texts set to the ancient Byzantine musical system of eight modes, and their use liturgically. For the musical system itself, see
2150:
194:
which was also translated into Old Church Slavonic. In the particular genre kontakion this model is still regarded as an idiomelon due to the complexity of the poetic form.
3746:
2817:
2106:, VIII-IX) focused her edition on the early Slavic reception which is represented by Palaeo Byzantine manuscripts of the Synodal collection of the Historical Museum (
892:
After Pentecost, the singing of the Great Octoechos on weekdays continued until Saturday of Meatfare Week, on Sundays there was another cycle organised by the eleven
753:
are dedicated to the Mother of God (Theotokos) and they are called "dogmatika," because the hymns are about the dogmas concerned with the virgin Mary. The section of
3064:
Die Notation von Stichera und Kanones im Gottesdienstmenäum für den Monat Dezember nach der Hs. GIM Sin. 162: Verzeichnis der Musterstrophen und ihrer Neumenstruktur
2464:
Tropologion of the parakletike canons, pentitential chant, apostolic prosomoia and of ferial days and theotokia composed according to the canon order (11th century)
783:
dedicated to particular saints according to the provenance of a certain monastery, which also allows conclusions concerning place, where the chant book was used.
2570:
Triodion, Pentekostarion and Oktoechos with Coislin (standard repertoire of the moveable cycle) and Chartres notation (Oktoechos and apokryphs) (11th century)
1245:
The modal cycle consists of eight weeks. Each Sunday or Feast day is assigned one of the eight modes. During the weekday offices, known in Syriac by the name
3156:
Inquiries into Eastern Christian Worship: Selected Papers of the Second International Congressof the Society of Oriental Liturgy (Rome, 17–21 September 2008)
3673:
2132:
See for example the very voluminous Parakletike written by Daniel Etropolski during the 17th century which also includes the canons, but only for Glas 5-8 (
757:
24 with three for each echos, was usually completed with other Marianic hymns called "theotokia". Books with hymns about the Theotokos are sometimes called
190:. This hymn has served as the metrical basis for many other Kontakia. In the current tradition the kontakion exists as well as a model to recite many other
4160:
943:
following "Lord, I have cried," the Hesperinos psalm 140) are seldom used nowadays and they are often completely omitted in the currently printed volumes.
2529:Šaraknoc' (Շարակնոց) with ekphonetic khaz notation written by Awēt, probably at the Monastery of Surb Amenap'rkič in New Julfa, Isfahan, Iran (about 1700)
2538:Šaraknoc' eražštakan ergec'mownk' hogeworakank' A[stowa]caynoc' ew erǰankac' s[r]b[o]c' vard[a]petac' hayoc' t'argmanč'ac
1660:
Russian way (18th century) to perform the kontakion uses simpler forms of "echos-melodies" (the expression "na glas" is still used among Old Believers) (
2136:) or the Pettoglasnik for the same modes, which was written about 1450 (ff. 31-56, 60-110, 117-143, 147-175) and rebound with additional parts in 1574 (
4165:
275:
Papyrus fragment of a 6th-century tropologion found in Egypt, marked in red are the modal signature and some early ekphonetic signs of the following
3120:
4180:
1167:—rather singing all hymns in the same scale but with different melodies for each tone for each of several types of classifications of hymns.
3739:
3146:
2453:
Tropologion with a collection of kondakia and exaposteilaria each organised in three parts as menaion, triodion and pentekostarion (11th century)
1143:
Monastery published a set of Slavonic chant books whose first volume is the Voskresnik with the repertoire of the simple Osmoglasnik. Within the
3397:
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
3228:
Krivko, Roman Nikolaevič (2011). "Перевод, парафраз и метр в древних славянских кондаках, II : Критика, история и реконструкция текстов ".
3096:
259:
heart, and they learnt how to adapt the accentuation patterns to the printed texts of the hymns while singing out of other text books like the
4520:
3123:. Holy Trinity Orthodox School, Russian Orthodox Church Abroad, 466 Foothill Blvd, Box 397, La Canada, California 91011, USA. Archived from
2632:
Oktoechos with stichera prosomoia and kekregaria (later palimpsests around the stichera heothina) in a Sticherarion of Cyprus (14th century)
1016:
Another difference between the two Slavic receptions was the tonal system. Since the Southern Slavic reception did not change the system of
4302:
3416:
3395:
1935:). On the other hand, there is an alternative organisation in a manuscript according to the transcription of Gregorios the Protopsaltes (
856:
sung within Paschal tide (tesserakostes). They were made over idiomela of the menaion and notated with the new verses, while most of the
1735:) of a tropologion at the St Catherine at Sinai could reconstruct the earlier form of the Tropologion which preceded the book Octoechos.
4611:
4606:
3732:
1578:
All of Great Lent, the periods of Cheesefare Week and Holy Week which are joined, respectively, to the beginning and end of Great Lent
1447:), hymns which constitute the substance of the musical system of Armenian liturgical chant in the eight modes. Originally, these were
4068:
1981:
These prosomoia are not composed over stichera avtomela, but over stichera idiomela, especially compositions dedicated to martyres (
3421:. Cantus Planus: Papers read at the 7th Meeting, Sopron, Hungary 1995. Budapest: Hungarian Academy of Sciences. pp. 521–537.
3400:. Cantus planus: Papers read at the 6th meeting, Eger, Hungary, 1993. Budapest: Hungarian Academy of Sciences. pp. 409–425.
2308:
1591:(Easter Week) uses propers in a different tone, Sunday: Tone One, Monday: Tone Two, skipping the least festive of the tones, the
3163:
Husmann, Heinrich (1972). "Strophenbau und Kontrafakturtechnik der Stichera und die Entwicklung des byzantinischen Oktoechos".
2684:
Anthologia with Byzantine composers (Kekragarion, Ainoi, Pasapnoarion, Prokeimena, Sticherarion and Leitourgika) (17th century)
2286:
A Sticherarion with Byzantine notation written over Syriac hymns at Sinai proves that different branches of Orthodoxy existed (
1531:
See the article about the three melody types of stichera, where the texts of the two kontakia are compared as an illustration (
2620:
Oktoechos in an incomplete Sticherarion (prosomoia within the triodion), parts had been replaced or added later (13th century)
2260:. "The Church Obihod of Notational Singing" contains, among other hymns, the repertoire of the Octoechos. Archbishop Averky: "
2123:) offered an introduction into the tonal system of the obihodniy scale within their comparisons of the heirmologic repertoire.
3002:
1923:), but there is also a manuscript with composition of Petros Peloponnesios and his student Petros Byzantios organised as an
2257:
3207:
Jeffery, Peter (2001). "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering".
1463:
replaced the biblical text entirely. In addition, the eight modes are applied to the psalms of the Night office, called
1132:. Only seven copies of this first publication are known to remain and the only complete one is in the collection of the
3790:
2708:
Papadike and the Kekragarion of Chrysaphes the New, and an incomplete Anthology for the Divine Liturgies (17th century)
1163:
Northern Slavs in modern times often do not use the eight-tone music system—although they always do use the book
980:
Though the name of the book "Oktoich" derived from the Greek name Octoechos (Old Slavonic "Osmoglasnik," because "glas"
3597:
2524:
2512:
3519:
3466:
3277:
3218:
3071:
595:: Antiphons structured in eight parts according to the octoechos, each one consisting of three or four sets of three
3601:
3540:
2311:
in Istanbul, it could be re-established after its exile in Jerusalem already in 1922 within its former residence at
1532:
2879:
Slavonic Oktoich with canons for Glas 5-8 (plagioi echoi) written by Hieromonachos Daniel Etropolski (17th century)
1837:
Ms. Add. 26113. Syro-Melkite translation activity reached its climax not earlier than during the 13th century like
205:, because they can easily be adapted to other texts, even if the number of syllables of verse varies—the so-called
3437:
4525:
3677:
3653:
3004:Αναστασιματάριον νέον άργον και σύντομον μετά προσθηκής των στίχων, κανώνων, καταβασίων και τινών αλλών αναγκαίων
3165:
2679:
1147:
a chant book Octoechos with notated with kryuki developed during the late 15th century. The first print edition
3426:
3405:
2703:
2287:
1830:
1829:, 119 & 123) also mentions two contemporary compilations which were later translated into Syriac language:
412:
352:
322:
2822:
Oktoich, part 2 with Glasov 5-8 (Pettoglasnik) in the local redaction of Veliki Tarnovo by Monk Evgeniy (1492)
2639:
2536:
2441:
New Iadgari known as "Sinaitic Iadgari" with modal signatures and ekphonetic notation in Nuskhuri script (980)
4061:
2795:
Parakletike or Great Oktoechos composed in eight parts without musical notation (Greek monastery near Venice)
2699:
2675:
1312:
2852:
Strušky Sbornik with hymns by St. Kliment of Ohrid, Macedonian redaction of the Resavska School (about 1550)
1912:
The separation of this books can usually be found in anthologies ascribed to Panagiotes the New Chrysaphes (
4552:
3487:. 1st International Conference of the ASBMH, 2007: Byzantine Musical Culture. Pittsburgh. pp. 668–679.
2497:Šaraknoc' (Շարակնոց) with ekphonetic khaz notation written by Simon the Priest at Brnakot (Province Siunik)
1943:) which includes the whole Hesperinos cycles and postponed the Kekragaria in a rare fast sticheraric melos.
1569:(παρακαλεῖν), meaning, "to pray, implore, comfort, encourage" (the ordinary prayer texts for the weekdays).
3418:
Byzantine prosomoion singing, a general survey of the repertoire of the notated stichera models (automela)
3306:"Sin 319 and Voskr 27 and the Triodion Cycle in the Liturgical Praxis in Russia during the Studite Period"
3194:
Husmann, Heinrich (1975). "Ein syrisches Sticherarion mit paläobyzantinischer Notation (Sinai syr. 261)".
4086:
3124:
3014:Воскресникъ сирѣчъ Оцмогласенъ Учебникъ съдържашъ воскресната служба и всизкитѣ подобин на осъмтѣхъ гласа
2256:
A later edition called the "Sputnik Psalomshcika" ("The Chanter's Companion") was republished in 1959 by
1485:
965:
564:
563:: Composed about the longest stichoi concerning the resurrection motive. The name probably derived from
1999:
2759:
2083:) forthcoming edition of the stichera avtomela and irmosi of the menaion is based on Synod. slav. 162.
1592:
1242:) similar to the "special melodies" mentioned above. Only skilled chanters can master these variants.
1058:
4601:
4350:
1325:
197:
Usually the arrangement of the syllables with their metric accentuation are composed as a well-known
3337:
2565:
2553:
132:
4596:
4575:
4190:
4054:
3478:"A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications"
2990:
Teoria principiilor elementare de muzica bisericeasca şi Anastasimatarul teoretic şi foarte practic
1133:
380:
67:
2977:
2957:
2062:) which included the pasapnoaria and the Heirmologia syntoma and argon within the octoechos order.
4140:
3755:
3305:
2739:
2358:
It corresponds the Georgian Iadgari which is one of the earliest testimonies of the tropologion (
2107:
2076:
2042:
1995:
1144:
384:
351:, before it became a main genre of the centers of an Octoechos hymn reform in the monasteries of
3024:
Anastasimatarul cuviodului Macarie Ieromonahul su Adăuciri din cel Paharnicului Dimitrie Suceanu
2174:
For the current tradition see the print editions in use nowadays. The troparic mele used in the
1544:
The Three Classes of Melodic Forms for Stichera, I. Idiomela (Samoglasny, Independent Melodies).
1279:(Vigils), each of the modes is dedicated to a theme: The 1st and 2nd modes are dedicated to the
4504:
4463:
4377:
4372:
4130:
2594:
Syriac Sticherarion written in Coislin Notation from Saint Catherine's Monastery (13th century)
1953:
1786:, 14) the composition of the book has many similarities with the contemporary Georgian Iadgari.
1716:
1217:
1023:
1005:
440:
376:
187:
117:
85:
3208:
2810:
Porečky Oktoich Glas 5-8 (Pettoglasnik), written about 1450, with later additions made in 1574
1646:
Concerning the history of its translation in Old Church Slavonic Kondakars, see Roman Krivko (
1459:
was composed of verses which were interspersed between the scriptural verses. Eventually, the
885:
877:
423:
The earliest version of a Tropologion dedicated to the repertoire of Octoechos was created by
201:
or sticheron avtomelon within the melos of a certain echos. These melodic stichera are called
4535:
4484:
3831:
3324:
3158:. Eastern Christian Studies. Vol. 12. Leuven, Paris, Walpole: Peeters. pp. 227–267.
2627:
2476:Šaraknoc' (Շարակնոց) with ekphonetic khaz notation written by Awetis in Khizan (Province Van)
1300:
492:, was ordered according to hymn genre of the repertoire. Later the thematic structure of the
475:(10th century) as well as numerous anonymous authors. This reduced version was simply called
460:
97:
2615:
2385:
1522:
The Three Classes of Melodic Forms for Stichera, III. Prosomoia (Podobny, Special Melodies).
1513:
The Three Classes of Melodic Forms for Stichera, II. Automela (Samopodobny, Model Melodies).
868:
were part of the Pentecostarion, this cycle was often written within the Octoechos section.
100:
during the 9th century as a hymnal complete with musical notation, it is still used in many
4499:
4345:
4213:
4145:
4125:
4100:
3843:
3250:
2953:
2907:
2735:
1679:
436:
292:
179:
121:
109:
105:
59:
3375:
2893:
Petros Peloponnesios; Petros Byzantios. Gregorios the Protopsaltes (transcription) (ed.).
2790:
836:
which rather belonged to an oral tradition, because they were later composed by using the
8:
4280:
4120:
4037:
3861:
2886:
2390:
Papyrus fragment of a Greek tropologion written in semi-cursive book script (6th century)
1495:
1444:
1292:
1087:
992:
3621:
2054:
This form of Oktoich was less common within Greek Orthodox traditions, but there was an
81:
55:
4494:
4489:
4448:
4203:
3210:
The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy
3182:
3090:
2558:
Incomplete triodion, pentekostarion and Oktoechos with Chartres notation (11th century)
1936:
771:: (devoted to the Holy Cross and to the Mother of God), sung on Wednesdays and Fridays.
424:
360:
348:
3634:
3547:
3288:
3036:
4546:
4382:
4254:
4233:
4196:
3818:
3608:
3515:
3462:
3422:
3401:
3362:
3289:"Tropologion Sinait. Gr. ΝΕ/ΜΓ 56–5 (9th c.): A new source for Byzantine Hymnography"
3273:
3214:
3140:
3067:
1155:
as well as the melodic models (avtomela) for different types of hymns for each Glas.
101:
3724:
3376:"Echos in the Byzantine-Russian Heirmologion. An Experience of Comparative Research"
2969:Воскресникъ новъ – Който содержава воскресныте вечерны, ѹтренни, и ѹтренните стїхиры
2668:
Oktoechos in a complete Sticherarion of the Athonite Pantokrator Monastery (c. 1400)
271:
4238:
4170:
4115:
4110:
3505:
3354:
3237:
3174:
2771:
Incomplete Parakletike or Great Oktoechos written in majuscule script (9th century)
2760:
Oktoechoi, Parakletikai and Sborniki without musical notation (11th-19th centuries)
2500:
2479:
1696:
1604:
Although many of the Sunday resurrection hymns are replicated in the Pentecostarion
1184:
the 11th centuries starting from the Hagiopolitan hymn reform of 692. They contain
1175:
1140:
997:
550:
432:
368:
364:
255:
3839:
3477:
2493:"Switzerland, Anonymous private collection (Armarium codicum bibliophorum Cod. 3)"
2472:"Switzerland, Anonymous private collection (Armarium codicum bibliophorum Cod. 4)"
2397:
2208:), but in fact the border between both was rather fluent within Slavic traditions.
2079:
Synodal Collection, Synod. slav. 319, Synod. slav. 27), while Dagmar Christian's (
1795:
Theodore created the Triodion, the Pentecostarion, and the three antiphons of the
92:
containing a repertoire of hymns ordered in eight parts according to eight echoi (
4530:
4443:
4228:
4155:
4150:
4105:
4077:
3827:
3758:
3267:
2578:"Moscow, Rossiysky Gosudarstvenny Archiv Drevnich Aktov (РГАДА), Fond 381 Ms. 80"
2294:), but not all forms relied on Constantinopolitan reforms. See Heinrich Husmann (
1913:
1834:
1779:
1775:
1317:
1227:
1125:
956:
932:
733:
472:
468:
137:
89:
3656:. Skopje: National and University Library "St. Kliment of Ohrid". Archived from
2916:
Naoussa, Pontian's National Library of Argyroupolis 'Kyriakides', Ms. Sigalas 52
2783:
Serbian Irmolog with troparia sorted according to the Osmoglasnik (13th century)
2492:
2471:
876:(moveable cycle) of the church year, the so-called Pentecostarion starting with
404:
4410:
4290:
3972:
3709:
2582:
Old Church Slavonic Paraklitik (Glas 1-3) with znamennaya notation (about 1200)
2504:
2483:
2191:
1480:
1467:(Canon head). the Armenian Church also makes use of other modes outside of the
1260:(The Consecration of the Church), a feast observed on the eighth Sunday before
1152:
1043:
1027:
988:
826:
663:
508:
had been separated as their own books about certain Hesperinos psalms like the
428:
50:
37:
2979:Ἀναστασιματάριον μελοποιηθὲν παρὰ τοῦ Ὁσίου Πατρός ἡμῶν Ἰωάννου τοῦ Δαμασκηνοῦ
1731:
From this early period there were only few Greek sources, but a recent study (
1702:
1684:
4590:
4458:
4453:
4427:
4175:
3835:
3366:
3358:
1222:
873:
667:
3293:
Scripta & E-Scripta. International Journal for Interdisciplinary Studies
3241:
2651:
2398:"Vienna, Österreichische Nationalbibliothek, Papyrus Vindobonensis G 19.934"
585:
They are usually ordered according to the alphabet concerning their incipit.
4468:
4394:
4387:
3951:
2911:
2766:
2589:
2459:
2448:
2436:
2423:
2412:
1490:
681:
488:
480:
431:
and John Psaltes between 512 and 518. The Tropologion was expanded upon by
375:. Probably for this reason John of Damascus is regarded as the creator the
335:
169:
93:
3269:
The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory
2652:"Rome, Biblioteca apostolica vaticana, Cod. Ottob. gr. 380, ff. 299v–345v"
1342:
553:, three of them in each echos. Most of them do not appear within the book
4541:
Museum of Ancient Greek, Byzantine and Post-Byzantine Musical Instruments
4415:
4185:
4018:
4004:
3937:
3784:
3694:"Ostromir Gospel and the Manuscript Tradition of the New Testament Texts"
3444:. PSALOM – Traditional Eastern Orthodox Chant Documentation Project
2860:"Skopje, National and University Library "St. Kliment of Ohrid", Ms. 111"
2845:"Skopje, National and University Library "St. Kliment of Ohrid", Ms. 142"
2803:"Skopje, National and University Library "St. Kliment of Ohrid", Ms. 168"
2724:"Sofia, St. Cyril and St. Methodius National Library, Ms. НБКМ Гр. 62-61"
2554:"Holy Mount Athos, Monastery of the Great Lavra, Ms. γ 67, ff. 107r-158v"
2378:
1588:
1280:
1113:
1035:
881:
872:
Slavic monks during the 9th century. The eight tones can be found as the
416:
161:
3701:
3646:
3345:
Renoux, Charles (1993). "Le Iadgari géorgien et le Šaraknoc' arménien".
1220:
today still makes use of a system of eight modes (usually classified as
486:
Until the 14th century the book Octoechos, as far as it belonged to the
4285:
4011:
3983:
3932:
3927:
3874:
3867:
3808:
3770:
3573:"ΕΛΛΗΝΙΚΑ ΛΕΙΤΟΥΡΓΙΚΑ ΚΕΙΜΕΝΑ ΤΗΣ ΟΡΘΟΔΟΞΗΣ ΕΚΚΛΗΣΙΑΣ — ΟΚΤΩΗΧΟΣ"
3510:
3493:
2943:
2895:"University of Birmingham, Cadbury Research Library, Ms. Mingana Gr. 8"
2830:"Skopje, National and University Library "St. Kliment of Ohrid", Ms. 9"
2656:
Oktoechos with prosomoia in a complete Sticherarion (late 14th century)
2417:Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου (9th century)
1796:
1151:
was published with Kievan staff notation in 1772. It included hymns in
1101:
1083:
1001:
951:
946:
606:
276:
254:
The printed book Octoechos with the Sunday cycles is often without any
243:
3657:
3186:
2887:
Anastasimataria and Voskresnik with Chrysanthine notation (since 1814)
2640:"Copenhagen, Det kongelige Bibliotek, Ms. NkS 4960, 4°, ff. 254r-294v"
2312:
4360:
4324:
4319:
4307:
4275:
3978:
3922:
3889:
3813:
3693:
3251:"The Тropologion: Sources and Identifications of a Hymnographic Book"
1715:
A Parakletike written during the 14th century can be studied online (
1288:
1261:
1238:) is composed in one of these eight modes. Some modes have variants (
1129:
1095:
1017:
940:
914:
905:
899:
893:
863:
857:
851:
845:
832:
796:
670:
during Orthros. The first eight follow the octoechos order, with the
597:
535:
411:
Heirmologion, written in Syriac language, using Sertâ book script at
206:
202:
198:
165:
24:
20:
3555:
3494:"Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie"
1121:
628:
of each antiphon usually begins with the words "ἁγιῷ πνεύματι." The
4422:
4312:
4295:
3965:
3895:
3803:
3564:
3178:
2875:"Sofia, St. Cyril and St. Methodius National Library, Ms. НБКМ 187"
2837:
Liturgisky Sbornik of the Resavska School (first half 16th century)
2779:"Sofia, St. Cyril and St. Methodius National Library, Ms. НБКМ 989"
2628:"Paris, Bibliothèque nationale, fonds grec, Ms. 261, ff. 218r-258r"
2616:"Paris, Bibliothèque nationale, fonds grec, Ms. 265, ff. 249r-274v"
1452:
1117:
820:
568:
387:(~816-886), when the treatise could still have introduced the book
356:
23:. For the days of volunteer work after the October Revolution, see
4046:
2608:
1812:
Theophanes created the Trinity Canon for the Sunday night service
1678:
Modern avtomelon over the Prooimion of the Christmas Kontakion by
991:). The translation activities between 1062 and 1074 at the Kievan
4340:
4032:
3997:
3958:
3823:
3777:
2728:
Two Kekragaria with Papadike and stichera heothina (18th century)
2075:) studied mainly the Triod and the Pentekostarion Voskresensky (
2028:
Ps 140:1 Gr. Κύριε ἐκέκραξα πρὸς σέ, Sl. Господн воззвахъ к'тебҍ.
1689:
1205:
The Tropologion developed also in Syria and was called in Syriac
1105:
1091:
928:
814:
464:
444:
408:
260:
2976:
Panagiotes the New Chrysaphes; Iakovos the Protopsaltes (1868).
2956:; Chourmouzios Chartophylakos (1832). Theodoros Phokaeos (ed.).
2894:
2541:. Constantinople: Universitäts- und Landesbibliothek Bonn. 1790.
4365:
4135:
2546:
1448:
1284:
700:
505:. Since the 17th century different collections of the Octoechos
448:
113:
3572:
2945:
Anastasimatariu Bisericesc după aşăzămîntul Sistimii Ceii noao
624:(plagal modes) usually begin by imitating Psalm 119. The last
4355:
3856:
3676:. Sofia: Cyril and Methodius National Library. Archived from
2910:(c. 1818). Gregorios the Protopsaltes (transcription) (ed.).
2566:"Holy Mount Athos, Mone Vatopaidiou, Ms. 1488, ff. 178r-217v"
1744:
See the Georgian and Greek papyrus studies by Stig Frøyshov (
1632:
1625:
1039:
1031:
984:
969:
716:
704:
692:
672:
656:
648:
630:
618:
611:
589:
312:
286:
280:
228:
216:
183:
173:
147:
141:
75:
63:
41:
3548:
Byzantine Octoechos Chart for those trained in Western Music
3485:
Proceedings of the 1st International Conference of the ASBMH
3459:
The Cult of the Mother of God in Byzantium: Texts and Images
3066:. Patristica Slavica. Vol. 9. Wiesbaden: Westdt. Verl.
2767:"Sinai, Saint Catherine's Monastery, Ms. Gr. 776 & 1593"
975:
2644:
Oktoechos as part of a complete Sticherarion (14th century)
2337:
See the illuminated manuscripts at The Walters Art Museum (
1994:
See the collection of prosomoia in the Sticherarion of the
1863:
See the various printed editions in current use in Greece (
2182:(see Chourmouzios' transcription of Petros Peloponnesios'
1298:
The primary collection of hymns in the eight modes is the
1074:
Sticherarion books (Miney, the Triods, and the Oktoich).
605:(authentic modes) are composed to parallel verses of the
3213:. Woodbridge, Suffolk: Boydell Press. pp. 147–209.
2664:"Cambridge, Trinity College, Ms. B.11.17, ff. 282r-297r"
1774:
It has only survived in a Syriac translation revised by
1561:) can be used as well for the Great Octoechos. The word
439:(† 826) and his brother Joseph of Thessalonica († 832),
178:", the prooimion of the Christmas kontakion composed by
3001:
Petros Peloponnesios; Ioannes the Protopsaltes (1905).
1841:, a few manuscripts were also copied directly at Sinai.
1413:
Fourth Side, Last Voice (tchorrord koghm, verdj tzayn)
1112:
In Russia the Oktoich was the very first book printed (
1077:
3119:
Archbishop Averky († 1976); Archbishop Laurus (2000).
2590:"Mount Sinai, St. Catherine's Monastery, Ms. syr. 261"
2379:
Tropologia, Šaraknoc' & Iadgari (6th-18th century)
862:
relied entirely on an oral tradition. Although these
136:
The Hesperinos psalm (Ps. 140) in Romanian printed in
3754:
3647:
Old Slavonic texts of the octoechos and their sources
1664:). Due to the particular form of kontakion, also the
549:("resurrection hymns") which are usually ascribed to
3038:Источно Црковно Пѣнiе – Литургия и Воскресникъ
2243:
See also the recent edition by Kalistrat Zografski (
1782:
Ms. Add. 17134). According to Svetlana Kujumdzieva (
1179:
Illumination in an Armenian Hymnal (Šaraknoc', 1651)
947:
Old Church Slavonic reception of the Greek octoechos
3712:. Moscow: Editions of the Moscow Patriarchate. 1981
3702:"Department of Manuscripts and Early Printed Books"
3085:. MMB Transcripta. Vol. 3 & 5. Copenhagen.
2424:"Sinai, Saint Catherine's Monastery, Ms. Georg. 41"
1275:In one type of hymn used by the Syriac Church, the
931:and on the movable cycle, according to season, the
347:. It already existed during the 6th century in the
3030:. Bucharest: Editura Bizantina & Stavropoleos.
2791:"Munich, Bayerische Staatsbibliothek, Ms. cgm 205"
2437:"Sinai, Saint Catherine's Monastery, Ms. Georg. 1"
636:were often a separated collection within the book
266:
3438:"The Three Classes of Melodic Forms for Stichera"
2460:"Sinai, Saint Catherine's Monastery, Ms. Gr. 777"
2449:"Sinai, Saint Catherine's Monastery, Ms. Gr. 926"
2413:"Sinai, Saint Catherine's Monastery, Ms. Gr. 607"
1397:Third Side, low voice (yerrord koghm, vaṙ tzayn)
419:(11th century) Oslo, Schøyen Collection, Ms. 577.
127:
4588:
3383:Cahiers de l'Institut du Moyen-Âge grec et latin
3007:. Constantinople: Publisher of the Patriarchate.
1700:
1682:
1410:Plagal of the Fourth (ἦχος πλάγιος τοῦ τετάρτου)
1378:Plagal of the Second (ἦχος πλάγιος τοῦ δευτέρου)
794:
2918:. Naoussa: Aristotle University of Thessaloniki
2609:Middle Byzantine notation (13th–19th centuries)
878:the second Sunday of (the eighth day of) Easter
483:, the new notated chant book of the reformers.
3415:Školnik, Irina (1998). Dobszay, László (ed.).
3394:Školnik, Irina (1995). Dobszay, László (ed.).
2525:"Baltimore, The Walters Art Museum, Ms. W.545"
2513:"Baltimore, The Walters Art Museum, Ms. W.547"
2258:Holy Trinity Monastery in Jordanville, NY, USA
1381:Second, Principal Side (yerkrord, awag koghm)
1328:, the system of eight modes is referred to as
497:the daily use of chanters like the later book
4062:
3740:
2818:"Veliko Tarnovo, State Archive, Ms. 805K-1-1"
2744:Anastasimatarion and Doxastarion (about 1800)
1362:Plagal of the First (ἦχος πλάγιος τοῦ πρώτου)
3696:. St Petersburg: National Library of Russia.
3654:"Medieval Slavonic Manuscripts in Macedonia"
2547:Old Byzantine notation (10th–13th centuries)
1931:which preceded the printed editions (GB-Lbl
1340:), and are utilized in the following order:
1336:) and the "Plagal" modes are called "Side" (
790:Georgian Iadgari (tropologion, 10th century)
640:which was no longer included in later books.
339:had been collected earlier in a book called
116:, and both contain the melodic models of an
3498:Jahrbuch der Österreichischen Byzantinistik
3265:
3145:: CS1 maint: numeric names: authors list (
3021:Coman, Cornel; Duca, Gabriel, eds. (2002).
2232:Treasures of the National Library of Russia
1850:See for instance the Octoechos part of the
1695:Slavonic Kondak sung in Valaamskiy Rozpev (
1149:Oktoikh notnago peniya, sirech' Osmoglasnik
512:an octoechos collection for Psalm 103, the
302:
4069:
4055:
3747:
3733:
3095:: CS1 maint: location missing publisher (
2704:"London, British Library, Harley Ms. 5544"
2680:"London, British Library, Harley Ms. 1613"
1272:) is in the 8th mode rather than the 1st.
923:from the other books: On the fixed cycle,
220:καὶ ἡ γῆ τὸ σπήλαιον τῷ ἀπροσίτῳ προσάγει,
3509:
2740:"London, British Library, Ms. Add. 17718"
2237:
2178:is usually close to the mele used in the
1455:that were chanted during the services. A
1120:typeface, which was published in Poland (
1053:, "side"). Unlike the Western octoechos,
976:Slavic Oktoich or Osmoglasnik and Sbornik
886:Each day of the week has a distinct theme
3710:"Texts from Oktoikh, sirech Osmoglasnik"
3534:
3461:. Aldershot: Ashgate. pp. 117–131.
3374:Školnik, Irina; Školnik, Marina (1994).
3196:Hamburger Jahrbuch für Musikwissenschaft
3107:. Moscow: Сvнодальная тvпографiя . 1907.
3050:. Skopje: Centar za vizantološki studii.
3041:. Skopje: Centar za vizantološki studii.
2288:Mount Sinai, Saint Catherine's Monastery
1311:
1174:
950:
785:
403:
270:
218:Ἡ Παρθένος σήμερον τὸν ὑπερούσιον τίκτει
131:
108:. The book with similar function in the
3635:"Kassiane the Nun and the Sinful Woman"
3311:. Lissabon: Universidade Nova de Lisboa
2867:Serbian Liturgisky Sbornik (about 1660)
2149:See the Sbornik manuscripts of Skopje (
1685:"Nativity kontakion Ἡ Παρθένος σήμερον"
830:. Certain stichera of the other books,
279:("another one") which is composed in a
4589:
479:and it was often the last part of the
391:. The earliest papyrus sources of the
4050:
3728:
3562:
3553:
3046:Bojadziev, Vasil Ivanov, ed. (2011).
2931:Ephesios, Petros Manuel, ed. (1820).
2405:Fragment of a 6th-century tropologion
1307:
160:Many hymns in the Octoechos, such as
49:
3609:"Thekla the Nun: In Praise of Woman"
3016:. Sofia: Carska Pridvorna Pečatnica.
2954:Petros Peloponnesios the Lampadarios
2386:"Berlin, Staatliche Museen P. 21319"
1256:The ecclesiastical year starts with
1078:Print editions with musical notation
1061:) used the same octave species like
666:and are sung in connection with the
523:
4076:
3435:
3081:Tillyard, H.J.W., ed. (1940–1949).
2967:Triandafilov, Nikolaj, ed. (1847).
2576:
2552:
2422:
1200:
1170:
919:of the Octoechos are combined with
581:composed in a style similar to the
463:(† after 880), Paul, Metropolit of
329:about 800). The hymns of the books
230:δι’ ἡμάς γὰρ ἐγεννήθη παιδίον νέον,
224:Μάγοι δὲ μετά ἀστέρος ὁδοιπορούσιν,
13:
3791:List of New Testament lectionaries
3704:. Moscow: State Historical Museum.
3035:Zografski, Kalistrat, ed. (2005).
3012:Todorov, Manasij Pop, ed. (1914).
2996:. Bucharest: Cărților Bisericescĭ.
2962:. Constantinople: Isaac De Castro.
2816:
2765:
2650:
2435:
1042:, the latter term coming from the
927:, dates of the calendar year, the
326:
222:Ἄγγελοι μετά ποιμένων δοξολογούσι,
14:
4623:
4612:Eastern Orthodox liturgical books
4607:Eastern Orthodox liturgical music
3692:
3633:Catafygiotu Topping, Eva (1987).
3620:Catafygiotu Topping, Eva (1987).
3607:Catafygiotu Topping, Eva (1987).
3529:
3304:Poliakova, Svetlana (June 2009).
2942:Macarie Ieromonahul, ed. (1823).
2564:
2458:
2447:
2411:
2231:
2138:Skopje, National Library, Ms. 168
1705:. Valaam: Valaam Monastery Choir.
1009:common was the prescribed music,
395:can be dated to the 6th century:
4571:
4570:
4212:
4031:
3587:
3062:Christians, Dagmar, ed. (2001).
2948:. Vienna: Mekhitarist Armenians.
2777:
2205:
1533:idiomelon, avtomelon, prosomoion
1034:, and the remaining 5–8 are the
16:Eastern Orthodox liturgical work
3272:. London, New York: Routledge.
3080:
2698:
2674:
2352:
2331:
2318:
2301:
2280:
2267:
2250:
2224:
2211:
2197:
2168:
2143:
2126:
2113:
2096:
2086:
2065:
2048:
2031:
2022:
2009:
1988:
1975:
1962:
1946:
1920:
1916:
1906:
1857:
1844:
1819:
1806:
1789:
1768:
1755:
1738:
1725:
1598:
1581:
1572:
1547:
1435:is the book which contains the
1405:Fourth Voice (tchorrord tzayn)
968:and their followers within the
267:Greek octoechos and parakletike
182:, set to a melody in the third
3708:
3619:
3476:Troelsgård, Christian (2009).
3287:Nikiforova, Alexandra (2013).
3266:Kujumdžieva, Svetlana (2018).
3249:Kujumdžieva, Svetlana (2012).
3048:Опсирен Псалтикиски Воскресник
2626:
2614:
2307:Concerning the history of the
1709:
1672:
1653:
1640:
1617:
1538:
1525:
1516:
1507:
1373:Second Voice (yerkrord tzayn)
1253:in the External Links below).
808:did not only include the book
452:
353:Saint Catherine on Mount Sinai
128:Role of meter in the Octoechos
1:
3979:Idiomela, Avtomela, Prosomoia
3227:
2892:
2789:
2734:
2722:
2700:Panagiotes the New Chrysaphes
2676:Panagiotes the New Chrysaphes
1940:
1932:
1873:Ioannes the Protopsaltes 1905
1719:
1647:
1637:) "octoechos" or "octaechos".
1610:
1291:, and the 7th and 8th to the
1026:. Glas ("voice") 1–4 are the
955:The first printed Octoechos (
247:or in the case of kontakion,
96:). Originally created in the
4553:School of Ecclesiastic Music
3593:Archimandrite Ephrem (2008):
3491:
3475:
3456:
3414:
3393:
3373:
3347:Revue des Études Arméniennes
3344:
3303:
3286:
3248:
3206:
3193:
3166:Archiv für Musikwissenschaft
3162:
3153:
3045:
3034:
3020:
3011:
3000:
2986:
2971:. Bucharest: Iosif Kopainig.
2966:
2952:
2941:
2930:
2906:
2873:
2662:
2638:
2535:
2523:
2511:
2490:
2469:
2363:
2359:
2346:
2342:
2338:
2325:
2295:
2274:
2244:
2133:
2120:
2102:Dagmar Christians' edition (
2072:
2059:
2038:
2003:
1982:
1969:
1956:
1896:
1892:
1888:
1884:
1880:
1876:
1872:
1868:
1864:
1851:
1826:
1800:
1783:
1749:
1748:) and Christian Troelsgård (
1745:
1732:
1661:
1389:Third Voice (yerrord tzayn)
1357:First Voice (aradjin tzayn)
1316:Armenian Hymnal (1679) with
1096:
1018:
915:
906:
900:
894:
864:
858:
852:
846:
797:
717:
705:
693:
673:
657:
649:
631:
619:
612:
590:
536:
287:
281:
207:
153:
148:
142:
7:
3632:
3606:
3118:
3061:
3055:
2975:
2858:
2843:
2801:
2384:
2345:) and the printed edition (
2261:
2218:
2162:
2158:
2137:
2103:
2080:
1900:
1762:
1486:Iadgari of Mikael Modrekili
1474:
1365:First Side (aradjin koghm)
1304:, or "Treasury of Chants."
520:for the Psalm verse 150:6.
456:
413:Saint Catherine's Monastery
295:
76:
10:
4628:
3112:
3083:The Hymns of the Octoechus
2987:Stefanescu, Lazar (1897).
2588:
2505:10.5076/e-codices-utp-0003
2484:10.5076/e-codices-utp-0004
2373:
2291:
2262:Liturgics — On Music Books
2219:Liturgics — The Irmologion
2119:Irina and Marina Školnik (
2016:
1952:See the old sticherarion (
1852:Sticherarion of Copenhagen
1838:
1633:
1626:
913:In the daily practice the
730:exaposteilaria anastasima
711:, and the eleventh in the
313:
217:
174:
152:(glas a') (Anastasimatar,
42:
18:
4561:
4513:
4477:
4436:
4403:
4351:Byzantine Musical Symbols
4333:
4268:
4247:
4221:
4210:
4093:
4084:
4028:
3992:
3946:
3904:
3884:
3852:
3799:
3765:
3672:
3639:Holy Mothers of Orthodoxy
3626:Holy Mothers of Orthodoxy
3613:Holy Mothers of Orthodoxy
3105:Тvпико́нъ сіесть уста́въ
2828:
2154:
1778:which dates back to 675 (
1348:
1345:
1326:Armenian Apostolic Church
1283:, the 3rd and 4th to the
1158:
1022:, it corresponded to the
983:is the Slavonic term for
726:Exaposteilaria anastasima
349:Patriarchate of Antiochia
71:
3700:
3652:
3556:"The Armenian Octoechos"
3543:by St. Kosmas of Maiouma
3359:10.2143/REA.24.0.2017113
1501:
1251:Guide to the Eight Modes
1134:Russian National Library
732:are ascribed to Emperor
557:before the 15th century.
303:Types of octoechos books
4141:Joseph the Hymnographer
4038:Christianity portal
3602:Joseph the Hymnographer
3550:," Retrieved 2012-01-16
3492:Wolfram, Gerda (2003).
3242:10.3406/slave.2011.8134
3230:Revue des études slaves
3173:(3): 151–161, 213–234.
2043:Joseph the Hymnographer
1996:Pantokratoros monastery
1145:Russian Orthodox church
516:for Psalm 140, and the
385:Joseph the Hymnographer
229:
4505:Thrasyvoulos Stanitsas
4378:Hagiopolitan Octoechos
4373:Neobyzantine Octoechos
4131:Theophanes the Branded
3598:Theophanes the Branded
3541:Use of the Eight Tones
3332:Cite journal requires
3255:Българско музикознание
2572:. Library of Congress.
2324:Svetlana Kujumdzieva (
2186:and Petros Byzantios'
1701:Romanos the Melodist.
1683:Romanos the Melodist.
1402:Fourth (ἦχος τέταρτος)
1370:Second (ἦχος δεύτερος)
1321:
1218:Syriac Orthodox Church
1180:
1084:heirmological melodies
1024:Hagiopolitan Octoechos
1006:Constantine of Preslav
960:
791:
467:, and by the emperors
441:Theophanes the Branded
420:
402:
377:Hagiopolitan Octoechos
299:
237:
157:
4536:Monastery of Stoudios
4485:Greek Byzantine Choir
3535:General introductions
2309:Armenian Patriarchate
2188:Heirmologion syntomon
2056:Anastasimatarion neon
1765:by Archbishop Averky.
1565:comes from the Greek
1315:
1287:, the 5th and 6th to
1178:
1128:, a German native of
1109:Saturday and Sunday.
954:
812:, but also the books
789:
461:Metrophanes of Smyrna
407:
397:
274:
213:
135:
98:Monastery of Stoudios
88:'voice, sound') is a
62:'sound, mode' called
4565:*also music theorist
4500:Konstantinos Pringos
4346:72 equal temperament
4146:Joseph the Confessor
4126:Theodore the Studite
4101:Romanos the Melodist
2908:Petros Peloponnesios
2738:; Petros Byzantios.
2736:Petros Peloponnesios
2217:Archbishop Averky: "
2190:printed together in
2071:Svetlana Poliakova (
2037:Svetlana Poliakova (
2015:Svetlana Poliakova (
1301:Beth Gazo d-ne`motho
840:written in the book
795:Temporal cycles and
779:also included other
694:echos plagios protos
662:are ascribed to the
575:Stichera alphabetika
437:Theodore the Studite
433:St. Cosmas of Maiuma
249:kontakion prosomoion
180:Romanos the Melodist
168:are set in a strict
106:Eastern Christianity
47:Greek pronunciation:
4121:Stephen the Sabaite
3660:on January 18, 2015
3622:"Theodosia Melodos"
2347:Constantinople 1790
2206:Sofia, Ms. НБКМ 989
2134:Sofia, Ms. НБКМ 187
1703:"Kondak Дева днесь"
1496:Syriac sacral music
1428:(auxiliary) modes.
1386:Third (ἦχος τρίτος)
1354:First (ἦχος πρῶτος)
1086:used primarily for
1068:obihodniy zvukoryad
966:Cyril and Methodius
765:Stichera staurosima
698:, the tenth in the
644:Heothina anastasima
547:stichera anastasima
530:Stichera anastasima
494:stichera anastasima
373:stichera anastasima
371:created a cycle of
143:sticheron avtomelon
140:is often used as a
51:[okˈtoixos]
4495:Iakovos Nafpliotis
4490:Nikodimos Kabarnos
4449:Solon Hadjisolomos
4204:Janus Plousiadenos
4161:Nikephoros Ethikos
3511:10.1553/joeb53s117
1891:), and Macedonia (
1799:of the Octoechos (
1593:grave (heavy) tone
1394:Grave (ἦχος βαρύς)
1322:
1308:Armenian Šaraknoc'
1186:stichera, kontakia
1181:
1049:, "oblique" (from
961:
833:stichera prosomoia
792:
747:Stichera dogmatika
565:a certain composer
561:Stichera anatolika
447:and hymnographers
443:(c. 775–845), the
425:Severus of Antioch
421:
365:St. John Damascene
327:Gr. 776 & 1593
300:
232:ὁ πρὸ αἰώνων Θεός.
192:kontakia prosomoia
175:Ἡ Παρθένος σήμερον
158:
4584:
4583:
4547:Only-begotten Son
4464:Miloš Velimirović
4383:Papadic Octoechos
4255:Paschal troparion
4234:George Pachymeres
4197:Manuel Chrysaphes
4087:List of composers
4044:
4043:
3862:Canon of the Odes
3680:on March 14, 2014
3674:"Digital Library"
3563:Kerovpyan, Aram.
3554:Kerovpyan, Aram.
3436:Simmons, Nikita.
2746:. British Library
2710:. British Library
2686:. British Library
1959:, ff. 277v-281v).
1877:Triandafilov 1847
1825:Natalia Smelova (
1417:
1416:
532:: In the new book
524:Types of stichera
381:Council of Nicaea
367:(c. 676–749) and
314:ὀκτώηχος ἡ μεγάλη
4619:
4602:Music of Armenia
4574:
4573:
4239:Manuel Bryennios
4216:
4200:
4171:John Koukouzelis
4166:Gregorios Glykys
4116:Cosmas of Maiuma
4111:John of Damascus
4071:
4064:
4057:
4048:
4047:
4036:
4035:
3759:liturgical books
3756:Eastern Orthodox
3749:
3742:
3735:
3726:
3725:
3721:
3719:
3717:
3705:
3697:
3689:
3687:
3685:
3669:
3667:
3665:
3642:
3629:
3616:
3583:
3581:
3579:
3568:
3559:
3525:
3513:
3488:
3482:
3472:
3453:
3451:
3449:
3432:
3411:
3390:
3380:
3370:
3341:
3335:
3330:
3328:
3320:
3318:
3316:
3310:
3300:
3283:
3262:
3245:
3224:
3203:
3190:
3159:
3150:
3144:
3136:
3134:
3132:
3127:on July 26, 2011
3108:
3100:
3094:
3086:
3077:
3051:
3042:
3031:
3029:
3017:
3008:
2997:
2995:
2983:
2972:
2963:
2949:
2938:
2927:
2925:
2923:
2903:
2882:
2870:
2864:
2855:
2849:
2840:
2834:
2825:
2813:
2807:
2798:
2786:
2774:
2755:
2753:
2751:
2731:
2719:
2717:
2715:
2695:
2693:
2691:
2671:
2659:
2647:
2635:
2623:
2604:
2602:
2600:
2585:
2573:
2561:
2542:
2532:
2520:
2508:
2491:(:unav) (1662).
2487:
2470:(:unav) (1647).
2466:
2455:
2444:
2432:
2419:
2408:
2402:
2393:
2367:
2356:
2350:
2335:
2329:
2322:
2316:
2305:
2299:
2284:
2278:
2271:
2265:
2254:
2248:
2241:
2235:
2228:
2222:
2215:
2209:
2201:
2195:
2176:Anastasimataria
2172:
2166:
2147:
2141:
2130:
2124:
2117:
2111:
2100:
2094:
2090:
2084:
2069:
2063:
2052:
2046:
2035:
2029:
2026:
2020:
2013:
2007:
1992:
1986:
1979:
1973:
1966:
1960:
1950:
1944:
1925:Anastasimatarion
1910:
1904:
1861:
1855:
1848:
1842:
1823:
1817:
1810:
1804:
1793:
1787:
1772:
1766:
1759:
1753:
1742:
1736:
1729:
1723:
1713:
1707:
1706:
1697:Valaam Monastery
1694:
1676:
1670:
1657:
1651:
1644:
1638:
1636:
1635:
1631:means the book (
1629:
1628:
1623:The female form
1621:
1605:
1602:
1596:
1585:
1579:
1576:
1570:
1551:
1545:
1542:
1536:
1529:
1523:
1520:
1514:
1511:
1424:has one or more
1343:
1201:Syrian Tropligin
1171:Oriental hymnals
1099:
1021:
998:Kliment of Ohrid
918:
909:
903:
897:
867:
861:
855:
849:
800:
720:
718:plagios tetartos
708:
706:plagios devteros
696:
690:was composed in
676:
674:plagios tetartos
660:
652:
634:
622:
615:
593:
551:John of Damascus
539:
537:anastasimatarion
499:Anastasimatarion
383:and the time of
369:Cosmas of Maiuma
316:
315:
290:
288:plagios devteros
284:
256:musical notation
234:
226:
225:
210:
177:
176:
151:
145:
118:octoechos system
79:
73:
53:
48:
45:
44:
4627:
4626:
4622:
4621:
4620:
4618:
4617:
4616:
4597:Byzantine music
4587:
4586:
4585:
4580:
4557:
4531:Cappella Romana
4509:
4473:
4444:Enrica Follieri
4432:
4399:
4329:
4264:
4243:
4229:Michael Psellos
4217:
4208:
4195:
4156:Constantine VII
4151:Leo VI the Wise
4106:Andrew of Crete
4089:
4080:
4078:Byzantine music
4075:
4045:
4040:
4030:
4024:
3988:
3942:
3900:
3880:
3848:
3795:
3761:
3753:
3715:
3713:
3683:
3681:
3663:
3661:
3649:
3595:
3590:
3577:
3575:
3571:
3567:. Ensemble Akn.
3558:. Ensemble Akn.
3537:
3532:
3522:
3480:
3469:
3447:
3445:
3429:
3408:
3378:
3333:
3331:
3322:
3321:
3314:
3312:
3308:
3280:
3221:
3138:
3137:
3130:
3128:
3115:
3103:
3088:
3087:
3074:
3058:
3027:
2993:
2921:
2919:
2889:
2869:. May 16, 2013.
2862:
2854:. May 16, 2013.
2847:
2839:. May 16, 2013.
2832:
2812:. May 16, 2013.
2805:
2762:
2749:
2747:
2713:
2711:
2689:
2687:
2611:
2598:
2596:
2549:
2400:
2396:
2381:
2376:
2371:
2370:
2357:
2353:
2336:
2332:
2323:
2319:
2306:
2302:
2285:
2281:
2273:Stig Frøyshov (
2272:
2268:
2255:
2251:
2242:
2238:
2229:
2225:
2216:
2212:
2202:
2198:
2173:
2169:
2148:
2144:
2131:
2127:
2118:
2114:
2101:
2097:
2091:
2087:
2070:
2066:
2053:
2049:
2036:
2032:
2027:
2023:
2014:
2010:
2006:, ff. 282–294).
1993:
1989:
1980:
1976:
1968:Irina Školnik (
1967:
1963:
1951:
1947:
1911:
1907:
1889:Stefanescu 1897
1862:
1858:
1849:
1845:
1839:Sinait. gr. 261
1824:
1820:
1811:
1807:
1794:
1790:
1776:Jacob of Edessa
1773:
1769:
1760:
1756:
1743:
1739:
1733:Nikiforova 2013
1730:
1726:
1714:
1710:
1677:
1673:
1658:
1654:
1645:
1641:
1622:
1618:
1613:
1608:
1603:
1599:
1586:
1582:
1577:
1573:
1552:
1548:
1543:
1539:
1530:
1526:
1521:
1517:
1512:
1508:
1504:
1477:
1310:
1203:
1173:
1161:
1126:Schweipolt Fiol
1104:" contains the
1080:
1028:authentic modes
978:
957:Schweipolt Fiol
949:
933:Lenten Triodion
802:
769:staurotheotokia
734:Constantine VII
526:
501:or in Slavonic
473:Constantine VII
309:Great Octoechos
305:
269:
236:
231:
227:
223:
221:
219:
130:
90:liturgical book
68:Church Slavonic
46:
28:
17:
12:
11:
5:
4625:
4615:
4614:
4609:
4604:
4599:
4582:
4581:
4579:
4578:
4567:
4566:
4562:
4559:
4558:
4556:
4555:
4550:
4543:
4538:
4533:
4528:
4523:
4517:
4515:
4511:
4510:
4508:
4507:
4502:
4497:
4492:
4487:
4481:
4479:
4475:
4474:
4472:
4471:
4466:
4461:
4456:
4451:
4446:
4440:
4438:
4434:
4433:
4431:
4430:
4425:
4420:
4419:
4418:
4411:Byzantine lyra
4407:
4405:
4401:
4400:
4398:
4397:
4392:
4391:
4390:
4380:
4375:
4370:
4369:
4368:
4358:
4353:
4348:
4343:
4337:
4335:
4331:
4330:
4328:
4327:
4322:
4317:
4316:
4315:
4305:
4300:
4299:
4298:
4291:Byzantine Rite
4288:
4283:
4278:
4272:
4270:
4266:
4265:
4263:
4262:
4257:
4251:
4249:
4245:
4244:
4242:
4241:
4236:
4231:
4225:
4223:
4219:
4218:
4211:
4209:
4207:
4206:
4201:
4193:
4188:
4183:
4181:Joannes Glykys
4178:
4173:
4168:
4163:
4158:
4153:
4148:
4143:
4138:
4133:
4128:
4123:
4118:
4113:
4108:
4103:
4097:
4095:
4091:
4090:
4085:
4082:
4081:
4074:
4073:
4066:
4059:
4051:
4042:
4041:
4029:
4026:
4025:
4023:
4022:
4015:
4008:
4001:
3993:
3990:
3989:
3987:
3986:
3981:
3976:
3973:Pentēkostarion
3969:
3962:
3955:
3947:
3944:
3943:
3941:
3940:
3935:
3930:
3925:
3920:
3913:
3910:Oktoechos mega
3905:
3902:
3901:
3899:
3898:
3893:
3885:
3882:
3881:
3879:
3878:
3871:
3864:
3859:
3853:
3850:
3849:
3847:
3846:
3821:
3816:
3811:
3806:
3800:
3797:
3796:
3794:
3793:
3788:
3781:
3774:
3766:
3763:
3762:
3752:
3751:
3744:
3737:
3729:
3723:
3722:
3706:
3698:
3690:
3670:
3648:
3645:
3644:
3643:
3630:
3617:
3604:
3594:
3589:
3586:
3585:
3584:
3569:
3565:"The Sharagan"
3560:
3551:
3544:
3536:
3533:
3531:
3530:External links
3528:
3527:
3526:
3520:
3489:
3473:
3467:
3454:
3433:
3427:
3412:
3406:
3391:
3371:
3342:
3334:|journal=
3301:
3284:
3278:
3263:
3246:
3236:(4): 715–743.
3225:
3219:
3204:
3191:
3179:10.2307/930068
3160:
3151:
3114:
3111:
3110:
3109:
3101:
3078:
3072:
3057:
3054:
3053:
3052:
3043:
3032:
3018:
3009:
2998:
2984:
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2885:
2884:
2883:
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2720:
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2672:
2660:
2648:
2636:
2624:
2610:
2607:
2606:
2605:
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2574:
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2545:
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2533:
2521:
2509:
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2456:
2445:
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2420:
2409:
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2380:
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2375:
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2369:
2368:
2351:
2330:
2317:
2300:
2279:
2266:
2249:
2236:
2223:
2210:
2196:
2167:
2142:
2125:
2112:
2095:
2085:
2064:
2047:
2030:
2021:
2008:
1987:
1974:
1961:
1945:
1905:
1897:Bojadziev 2011
1893:Zografski 2005
1856:
1843:
1818:
1814:(mesonyktikon)
1805:
1788:
1767:
1754:
1737:
1724:
1708:
1671:
1652:
1639:
1615:
1614:
1612:
1609:
1607:
1606:
1597:
1580:
1571:
1546:
1537:
1524:
1515:
1505:
1503:
1500:
1499:
1498:
1493:
1488:
1483:
1481:Armenian chant
1476:
1473:
1415:
1414:
1411:
1407:
1406:
1403:
1399:
1398:
1395:
1391:
1390:
1387:
1383:
1382:
1379:
1375:
1374:
1371:
1367:
1366:
1363:
1359:
1358:
1355:
1351:
1350:
1347:
1309:
1306:
1226:). Each hymn (
1202:
1199:
1172:
1169:
1160:
1157:
1153:Znamenny Chant
1094:(analogous to
1079:
1076:
1044:Medieval Greek
993:Pechersk Lavra
989:znamenny chant
977:
974:
959:, Kraków 1491)
948:
945:
901:exaposteilaria
827:Pentecostarion
801:
793:
773:
772:
762:
744:
723:
701:phthora nenano
664:Emperor Leo VI
641:
607:Gradual Psalms
586:
572:
567:or from their
558:
525:
522:
510:Anoixantarion
457:Thekla the Nun
451:(810-865) and
429:Paul of Edessa
304:
301:
268:
265:
214:
138:Cyrillic types
129:
126:
110:Western Church
94:tones or modes
34:book Octoechos
15:
9:
6:
4:
3:
2:
4624:
4613:
4610:
4608:
4605:
4603:
4600:
4598:
4595:
4594:
4592:
4577:
4569:
4568:
4564:
4563:
4560:
4554:
4551:
4549:
4548:
4544:
4542:
4539:
4537:
4534:
4532:
4529:
4527:
4524:
4522:
4519:
4518:
4516:
4512:
4506:
4503:
4501:
4498:
4496:
4493:
4491:
4488:
4486:
4483:
4482:
4480:
4476:
4470:
4467:
4465:
4462:
4460:
4459:Oliver Strunk
4457:
4455:
4454:Peter Jeffery
4452:
4450:
4447:
4445:
4442:
4441:
4439:
4435:
4429:
4426:
4424:
4421:
4417:
4414:
4413:
4412:
4409:
4408:
4406:
4402:
4396:
4393:
4389:
4386:
4385:
4384:
4381:
4379:
4376:
4374:
4371:
4367:
4364:
4363:
4362:
4359:
4357:
4354:
4352:
4349:
4347:
4344:
4342:
4339:
4338:
4336:
4332:
4326:
4323:
4321:
4318:
4314:
4311:
4310:
4309:
4306:
4304:
4301:
4297:
4294:
4293:
4292:
4289:
4287:
4284:
4282:
4279:
4277:
4274:
4273:
4271:
4267:
4261:
4258:
4256:
4253:
4252:
4250:
4246:
4240:
4237:
4235:
4232:
4230:
4227:
4226:
4224:
4220:
4215:
4205:
4202:
4198:
4194:
4192:
4191:John Laskaris
4189:
4187:
4184:
4182:
4179:
4177:
4176:Xenos Korones
4174:
4172:
4169:
4167:
4164:
4162:
4159:
4157:
4154:
4152:
4149:
4147:
4144:
4142:
4139:
4137:
4134:
4132:
4129:
4127:
4124:
4122:
4119:
4117:
4114:
4112:
4109:
4107:
4104:
4102:
4099:
4098:
4096:
4092:
4088:
4083:
4079:
4072:
4067:
4065:
4060:
4058:
4053:
4052:
4049:
4039:
4034:
4027:
4021:
4020:
4016:
4014:
4013:
4009:
4007:
4006:
4002:
4000:
3999:
3995:
3994:
3991:
3985:
3982:
3980:
3977:
3975:
3974:
3970:
3968:
3967:
3963:
3961:
3960:
3956:
3954:
3953:
3949:
3948:
3945:
3939:
3936:
3934:
3931:
3929:
3926:
3924:
3921:
3919:
3918:
3914:
3912:
3911:
3907:
3906:
3903:
3897:
3894:
3892:
3891:
3887:
3886:
3883:
3877:
3876:
3872:
3870:
3869:
3865:
3863:
3860:
3858:
3855:
3854:
3851:
3845:
3841:
3837:
3833:
3829:
3825:
3822:
3820:
3819:Biblical Odes
3817:
3815:
3812:
3810:
3807:
3805:
3802:
3801:
3798:
3792:
3789:
3787:
3786:
3782:
3780:
3779:
3775:
3773:
3772:
3768:
3767:
3764:
3760:
3757:
3750:
3745:
3743:
3738:
3736:
3731:
3730:
3727:
3711:
3707:
3703:
3699:
3695:
3691:
3679:
3675:
3671:
3659:
3655:
3651:
3650:
3640:
3636:
3631:
3627:
3623:
3618:
3614:
3610:
3605:
3603:
3599:
3592:
3591:
3588:Hymnographers
3578:September 28,
3574:
3570:
3566:
3561:
3557:
3552:
3549:
3545:
3542:
3539:
3538:
3523:
3521:3-7001-3172-0
3517:
3512:
3507:
3503:
3499:
3495:
3490:
3486:
3479:
3474:
3470:
3468:9780754662662
3464:
3460:
3455:
3443:
3439:
3434:
3430:
3424:
3420:
3419:
3413:
3409:
3403:
3399:
3398:
3392:
3388:
3384:
3377:
3372:
3368:
3364:
3360:
3356:
3352:
3348:
3343:
3339:
3326:
3307:
3302:
3298:
3294:
3290:
3285:
3281:
3279:9781351581844
3275:
3271:
3270:
3264:
3260:
3256:
3252:
3247:
3243:
3239:
3235:
3231:
3226:
3222:
3220:0-85115-800-5
3216:
3212:
3211:
3205:
3201:
3197:
3192:
3188:
3184:
3180:
3176:
3172:
3168:
3167:
3161:
3157:
3152:
3148:
3142:
3126:
3122:
3117:
3116:
3106:
3102:
3098:
3092:
3084:
3079:
3075:
3073:3-531-05129-6
3069:
3065:
3060:
3059:
3049:
3044:
3040:
3039:
3033:
3026:
3025:
3019:
3015:
3010:
3006:
3005:
2999:
2992:
2991:
2985:
2981:
2980:
2974:
2970:
2965:
2961:
2960:
2955:
2951:
2947:
2946:
2940:
2936:
2935:
2929:
2917:
2913:
2909:
2905:
2901:
2896:
2891:
2890:
2880:
2876:
2872:
2868:
2861:
2857:
2853:
2846:
2842:
2838:
2831:
2827:
2823:
2819:
2815:
2811:
2804:
2800:
2796:
2792:
2788:
2784:
2780:
2776:
2772:
2768:
2764:
2763:
2745:
2741:
2737:
2733:
2729:
2725:
2721:
2709:
2705:
2701:
2697:
2685:
2681:
2677:
2673:
2669:
2665:
2661:
2657:
2653:
2649:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2617:
2613:
2612:
2595:
2591:
2587:
2583:
2579:
2575:
2571:
2567:
2563:
2559:
2555:
2551:
2550:
2540:
2539:
2534:
2530:
2526:
2522:
2518:
2514:
2510:
2506:
2502:
2498:
2494:
2489:
2485:
2481:
2477:
2473:
2468:
2465:
2461:
2457:
2454:
2450:
2446:
2442:
2438:
2434:
2430:
2425:
2421:
2418:
2414:
2410:
2406:
2399:
2395:
2391:
2387:
2383:
2382:
2365:
2364:Frøyshov 2012
2361:
2355:
2348:
2344:
2340:
2334:
2327:
2321:
2314:
2310:
2304:
2297:
2293:
2289:
2283:
2276:
2270:
2263:
2259:
2253:
2246:
2240:
2234:, Petersburg.
2233:
2227:
2220:
2214:
2207:
2200:
2193:
2189:
2185:
2181:
2177:
2171:
2164:
2160:
2156:
2152:
2146:
2139:
2135:
2129:
2122:
2116:
2109:
2105:
2099:
2089:
2082:
2078:
2074:
2068:
2061:
2057:
2051:
2044:
2040:
2034:
2025:
2018:
2012:
2005:
2001:
1997:
1991:
1984:
1978:
1971:
1965:
1958:
1955:
1949:
1942:
1938:
1934:
1930:
1926:
1922:
1918:
1915:
1909:
1902:
1898:
1894:
1890:
1886:
1882:
1878:
1875:), Bulgaria (
1874:
1870:
1869:Phokaeos 1832
1866:
1865:Ephesios 1820
1860:
1853:
1847:
1840:
1836:
1833:Ms. gr. 776,
1832:
1828:
1822:
1815:
1809:
1802:
1798:
1792:
1785:
1781:
1777:
1771:
1764:
1758:
1751:
1747:
1741:
1734:
1728:
1721:
1718:
1712:
1704:
1698:
1692:
1691:
1686:
1681:
1675:
1667:
1663:
1656:
1649:
1643:
1630:
1620:
1616:
1601:
1594:
1590:
1584:
1575:
1568:
1564:
1560:
1556:
1550:
1541:
1534:
1528:
1519:
1510:
1506:
1497:
1494:
1492:
1489:
1487:
1484:
1482:
1479:
1478:
1472:
1470:
1466:
1462:
1458:
1454:
1451:and Biblical
1450:
1446:
1442:
1438:
1434:
1429:
1427:
1423:
1412:
1409:
1408:
1404:
1401:
1400:
1396:
1393:
1392:
1388:
1385:
1384:
1380:
1377:
1376:
1372:
1369:
1368:
1364:
1361:
1360:
1356:
1353:
1352:
1344:
1341:
1339:
1335:
1331:
1327:
1319:
1314:
1305:
1303:
1302:
1296:
1294:
1290:
1286:
1282:
1278:
1277:Qole Shahroye
1273:
1271:
1267:
1263:
1259:
1254:
1252:
1248:
1243:
1241:
1237:
1233:
1229:
1225:
1224:
1219:
1214:
1212:
1208:
1198:
1195:
1191:
1188:all kinds of
1187:
1177:
1168:
1166:
1156:
1154:
1150:
1146:
1142:
1137:
1135:
1131:
1127:
1124:) in 1491—by
1123:
1119:
1115:
1110:
1107:
1103:
1098:
1093:
1089:
1085:
1075:
1071:
1069:
1064:
1060:
1059:plagioi echoi
1056:
1052:
1048:
1045:
1041:
1040:plagioi echoi
1037:
1033:
1029:
1025:
1020:
1014:
1012:
1007:
1003:
999:
994:
990:
986:
982:
973:
971:
967:
958:
953:
944:
942:
936:
934:
930:
926:
922:
917:
911:
908:
902:
896:
890:
887:
883:
879:
875:
874:Paschal cycle
869:
866:
860:
854:
848:
843:
839:
835:
834:
829:
828:
823:
822:
817:
816:
811:
807:
799:
788:
784:
782:
778:
770:
766:
763:
760:
756:
752:
748:
745:
743:
739:
735:
731:
728:: The eleven
727:
724:
722:
719:
714:
710:
707:
702:
697:
695:
689:
685:
683:
677:
675:
669:
668:Matins Gospel
665:
661:
659:
653:
651:
646:: The eleven
645:
642:
639:
635:
633:
627:
623:
621:
616:
614:
608:
604:
600:
599:
594:
592:
587:
584:
580:
576:
573:
570:
566:
562:
559:
556:
552:
548:
545:there are 24
544:
542:
538:
534:
531:
528:
527:
521:
519:
515:
511:
507:
504:
500:
495:
491:
490:
484:
482:
478:
474:
470:
466:
462:
458:
454:
450:
446:
442:
438:
434:
430:
426:
418:
414:
410:
406:
401:
396:
394:
390:
386:
382:
378:
374:
370:
366:
362:
358:
354:
350:
346:
342:
341:Troparologion
338:
337:
332:
328:
324:
320:
310:
297:
294:
289:
283:
278:
273:
264:
262:
257:
252:
250:
246:
245:
235:
233:
212:
209:
204:
200:
195:
193:
189:
185:
181:
171:
167:
163:
155:
150:
144:
139:
134:
125:
123:
122:Sunday Office
119:
115:
111:
107:
103:
99:
95:
91:
87:
83:
78:
69:
65:
61:
57:
52:
39:
35:
30:
26:
22:
4545:
4526:Protopsaltes
4469:Egon Wellesz
4388:Nana (echos)
4259:
4017:
4010:
4003:
3996:
3971:
3964:
3957:
3952:Sticherarion
3950:
3916:
3915:
3909:
3908:
3888:
3873:
3868:Heirmologion
3866:
3783:
3778:Epistle Book
3776:
3769:
3714:. Retrieved
3682:. Retrieved
3678:the original
3662:. Retrieved
3658:the original
3638:
3625:
3612:
3576:. Retrieved
3501:
3497:
3484:
3458:
3446:. Retrieved
3441:
3417:
3396:
3386:
3382:
3350:
3346:
3325:cite journal
3313:. Retrieved
3296:
3292:
3268:
3261:(3–4): 9–22.
3258:
3254:
3233:
3229:
3209:
3199:
3195:
3170:
3164:
3155:
3129:. Retrieved
3125:the original
3104:
3082:
3063:
3047:
3037:
3023:
3013:
3003:
2989:
2978:
2968:
2958:
2944:
2937:. Bucharest.
2933:
2920:. Retrieved
2915:
2898:
2878:
2866:
2851:
2836:
2821:
2809:
2797:. 1355–1365.
2794:
2782:
2770:
2748:. Retrieved
2743:
2727:
2712:. Retrieved
2707:
2688:. Retrieved
2683:
2667:
2655:
2643:
2631:
2619:
2597:. Retrieved
2593:
2581:
2569:
2557:
2537:
2528:
2516:
2496:
2475:
2463:
2452:
2440:
2427:
2416:
2404:
2389:
2354:
2333:
2320:
2303:
2292:Ms. syr. 261
2282:
2269:
2252:
2239:
2226:
2213:
2199:
2187:
2183:
2180:Heirmologion
2179:
2175:
2170:
2145:
2128:
2115:
2110:) in Moscow.
2098:
2093:translation.
2088:
2067:
2055:
2050:
2033:
2024:
2011:
1990:
1983:Husmann 1972
1977:
1964:
1948:
1939:Ms. Mingana
1928:
1924:
1908:
1885:Suceanu 1823
1883:), Romania (
1881:Todorov 1914
1859:
1846:
1821:
1813:
1808:
1801:Wolfram 2003
1791:
1770:
1757:
1740:
1727:
1711:
1688:
1674:
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1662:Školnik 1995
1655:
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1600:
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1583:
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1562:
1558:
1554:
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1527:
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1491:Sticherarion
1468:
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1032:kyrioi echoi
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560:
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4019:Euchologion
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3938:Apolytikion
3917:Paraklētikē
3890:Kontakarion
3785:Gospel Book
3504:: 117–125.
3448:January 16,
3442:HYMNOGRAPHY
3131:January 15,
3121:"Liturgics"
2360:Renoux 1993
2184:Katavasies
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1929:Doxastarion
1921:Harley 5544
1917:Harley 1613
1720:Ms. cgm 205
1589:Bright Week
1563:Paraklētikē
1559:Παρακλητική
1555:Paraklētikē
1426:tartzwadzk‘
1281:Virgin Mary
1114:incunabulum
898:with their
882:Palm Sunday
842:Parakletike
680:enharmonic
514:Kekragarion
417:Mount Sinai
393:Tropologion
389:Tropologion
345:Tropologion
319:Parakletike
154:Vienna 1823
77:Osmoglasnik
43:ἡ Ὀκτώηχος
4591:Categories
4478:Performers
4303:Koinonikon
4286:Cherubikon
4012:Hōrologion
3984:Doxastikon
3933:Theotokion
3928:Dogmatikon
3875:Menologion
3832:Sinaiticum
3809:Anabathmoi
3771:Lectionary
3716:August 24,
3428:9637074678
3407:9637074546
3353:: 89–112.
3299:: 157–185.
2599:August 15,
1933:Add. 17718
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1669:languages.
1627:ἡ Ὀκτώηχος
1611:References
1567:parakalein
1234:, plural:
904:and their
755:dogmatika,
742:heothinon.
738:theotokion
688:sticheron
686:The ninth
638:Octoechos,
632:anavathmoi
626:sticheron
591:Anabathmoi
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503:Voskresnik
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244:prosomoion
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4325:Sticheron
4320:Troparion
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4094:Composers
3923:Troparion
3814:Polyeleos
3684:April 20,
3664:April 23,
3367:0080-2549
3315:April 19,
3091:cite book
2922:August 9,
2315:district.
1763:Liturgics
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1330:oot tzayn
1289:penitence
1262:Christmas
1240:shuhlophe
1207:Tropligin
1165:Octoechos
1130:Franconia
1097:prosomoia
1057:5–8 (the
1019:prosomoia
916:prosomeia
907:theotokia
865:prosomoia
859:prosomoia
853:prosomoia
847:prosomoia
810:Octoechos
798:prosomoia
781:stichera
777:Octoechos
579:stichera
555:Octoechos
477:Octoechos
453:Theodosia
435:(† 773),
361:Palestine
331:Octoechos
285:of echos
208:prosomoia
199:hymn tune
188:Octoechos
25:Subbotnik
21:Octoechos
4576:Category
4437:Scholars
4423:Thaboura
4313:Akathist
4296:Kathisma
3966:Triōdion
3896:Akathist
3824:Psalters
3804:Kathisma
3596:Vita of
3141:cite web
3056:Editions
2900:century)
2429:century)
2392:. Egypt.
1957:NkS 4960
1634:ἡ βίβλος
1557:(Greek:
1475:See also
1457:Sharagan
1320:notation
1293:departed
1190:troparia
1118:Cyrillic
941:stichera
921:idiomela
895:heothina
838:avtomela
821:Triodion
751:stichera
749:: These
713:diatonic
658:heothina
650:stichera
598:troparia
363:, where
357:Mar Saba
296:P. 21319
203:automela
166:Kontakia
4514:Related
4428:Organon
4341:Petasti
4248:Liturgy
3998:Typikon
3959:Mēnaion
3857:Heirmos
3828:Chludov
3600:and of
3389:: 3–17.
3202:: 9–57.
3113:Studies
2374:Sources
2313:Kumkapı
2077:RUS-Mim
2004:B.11.17
1831:ET-MSsc
1690:YouTube
1680:Romanos
1650:, 726).
1461:Šarakan
1441:Šaragan
1437:Šarakan
1324:In the
1211:Iadgari
1102:Irmolog
1047:plagios
929:Menaion
815:Menaion
678:in the
654:of the
613:plagioi
465:Amorium
409:Melkite
323:ET-MSsc
261:menaion
186:of the
112:is the
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4366:Nenano
4334:Theory
4136:Kassia
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3465:
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3187:930421
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2714:May 3,
2690:May 3,
2328:, 10).
2161:, and
2151:MK-SKu
2000:GB-Ctc
1914:GB-Lbl
1835:GB-Lbl
1780:GB-Lbl
1449:Psalms
1445:Canons
1346:Greek
1285:saints
1247:Shhimo
1228:Syriac
1194:canons
1159:Caveat
1141:Zograf
1122:Kraków
1106:irmosi
1088:canons
1082:Today
1051:plagos
740:and a
601:. The
469:Leo VI
449:Kassia
317:), or
114:tonary
4356:Echos
4281:Canon
4269:Forms
3840:Tomić
3836:Sofia
3481:(PDF)
3379:(PDF)
3309:(PDF)
3183:JSTOR
3028:(PDF)
2994:(PDF)
2863:(PDF)
2848:(PDF)
2833:(PDF)
2806:(PDF)
2401:(PDF)
2343:W.545
2339:W.547
1954:DK-Kk
1941:Gr. 8
1937:GB-Bm
1717:D-Mbs
1502:Notes
1439:, or
1338:Koghm
1334:Tzayn
1270:Hadto
1266:Yaldo
1223:makam
1116:) in
1092:irmos
1004:, or
985:echos
970:Ohrid
620:echoi
577:: 24
282:melos
170:meter
102:rites
86:гласъ
82:о́смь
80:from
64:echos
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4395:Ison
3844:Kiev
3718:2012
3686:2015
3666:2015
3580:2013
3516:ISBN
3463:ISBN
3450:2012
3423:ISBN
3402:ISBN
3363:ISSN
3338:help
3317:2012
3274:ISBN
3259:2012
3215:ISBN
3147:link
3133:2012
3097:link
3068:ISBN
2924:2012
2752:2012
2716:2012
2692:2012
2601:2012
2326:2012
2296:1975
2275:2012
2245:2005
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2073:2009
2060:1905
2039:2009
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2002:Ms.
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1827:2011
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1431:The
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1232:qolo
1216:The
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1063:glas
1055:glas
1011:i.e.
1002:Naum
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