44:
186:
it resonates through the building it is recorded in. The texture of the songs are usually thin but due to the acoustics in the buildings they are sung in, the sound becomes more dense with the echoes and sound-waves bouncing off the walls and ceilings. Many of the Syrian chant videos also use scales and intervals that resemble the western diminished or diminished 7th intervals. There is some harmonization but each voice tends to follow the same melodic contour. The chants will occasionally sound like rounds. The timbre is usually dark and the range of pitch is wide. It is important though to understand that these observations are made from modern chants found on YouTube. The observations may not reflect the historical chants.
154:
27:
performances have a sparse texture and are highly ornamented. The setting within which Syriac chant takes place is, also only understood through the modern performances of Syriac chant. The chant seems to be designed to resonate throughout the building it is performed in. This suggests that the setting was always a church building or a room that reflected the sound of the walls and ceilings. There is some difficulty in studying Syrian chant due to the geopolitical conflict throughout Syrian
Christian history. Many of the conflicts have resulted in persecution of
17:
195:
the singing was sung the way it was to accommodate the acoustics, the sounds and prayers to carry throughout the buildings of the Middle East. The chants were reached by all present. These elements are no doubt intertwined in a particular way that give Syrian chant its distinctive qualities. The earliest information that
Villoteau gathered was all derived from a priest that he encountered in Syria. Although Villoteau attempted to transcribe some of the chants, they used the Arabic
319:
618:"Ian Russell and Anna Kearney Guigné (eds.). Crossing Over: Fiddle and Dance Studies from Around the North Atlantic 3. (Aberdeen: Elphinstone Institute and St. John's: Memorial University, 2010. Pp. 317, ISBN 9780954568269.) Kenneth E. Nilsen (ed.). Rannsachadh na Gaidhlig 5: Fifth Scottish Gaelic Research Conference. (Sydney: Cape Breton University Press, 2010. Pp. 366, ISBN 9781897009468.)"
239:. This proved difficult to interpret as the Syrian Christians only used oral language to pass on the chants which meant the music was not scripted or theorized. This is possibly due to the persecution Syrian Christians and how they have thus relied predominantly on oral language to pass on the chants which meant the music was either destroyed or was never transcribed from oral to notation.
56:. Syrian chants have been spread throughout regions of the world by Syrian immigration. This diaspora has brought many of the Syrian liturgical traditions to both neighboring and distant countries. The movement of a people, forced or unforced, establishes a desire to bring their culture with them. The Christian chants of Syria have remained thus far as
60:
traditions and have been passed down through the generations, who have kept loyally to their faith and culture. Ethnomusicologist
Dorchak discusses the use of culture as a means to strengthen and resist culture loss when threatened. A culture attacked and marginalized throughout its history will rely
194:
The chant seems to be designed to accommodate the acoustics of the building. This reflects an interesting feature of the chant as it was likely sung to bounce of the walls and ceiling of the church. Whether this is a technological advancement of the architecture to be designed to bounce the sound or
185:
texture filled with melodic ornamentation. The ornamentation notes draw emotion, while the content is no doubt prayer and is spiritually rooted. The catechesis of the prayer provides knowledge. These are inline with what we are to understand about Syrian chant. The other features of the songs is how
26:
is one of the oldest
Christian chants in the world. Due to the lack of information concerning early musical manuscripts, it is conjectural to what extent the modern repertoire reflects the early traditions. What we know of the sound in Syrian chant is mainly derived from modern performances. Modern
234:
throughout their existence in the Middle East which may account for the missing information. The first known source to write about Syrian chant was
Villoteau, who wrote down details about the chant. The information that Villoteau gathered was all derived from a priest that he encountered in Syria.
180:
Through modern renditions found on YouTube we can get a general understanding of how Syrian chant would have sounded. The chant usually begins with a highly ornamented and free rhythm pattern. There appear to be multiple voices singing and taking turns. Each singer sings solo for their section of
166:
she mentions that the Arabic word for Syrian chant is Hasho. "Hasho is best thought of as a construct that exists at the intersection of emotionality, spirituality, musicality and knowledge". Jarjour also explains that the earliest known source of Syrian chant is from the
Napoleonic conquest to
132:
These historical events provide sufficient context to why
Christian Syrian chant may have remained an oral culture and is lacking in historical or archeological sources. There may have been a musical notation system invented for Syrian chant but is no longer known of as it lost through the many
145:
There are historically six schools of chant, which have branched out due to the chants being passed on through oral transmission. Syrian chant is esteemed above all other types of song in the Syrian church. It is the greatest form of prayer and the most representative feature of the
157:
Sealing art that would assist in drawing an emotional and spiritual communion; while also assisting in the musicality through bouncing the chant; and further assisting the knowledge of the chants through the depictions of
51:
Historically, Syria has had a long attachment to
Christian chant. Due to geographical locations, modern day Syria was one of the first areas to be exposed to Christendom brought by the early disciples of Christianity from
171:
and made notes of the Syriac chant he encountered. Villoteau wrote down details about the chant in which he mentions that the Syrian nation chose to sing songs that expressed the identity of its people.
162:
Ethnomusicologist Tala
Jarjour explains that there are only a few sources on early Syrian chant and one must analyze its current form and reflect upon it in historical contexts. In Jarjour's book,
65:. The cause for the majority of Syrian diaspora is due to geopolitical and religious conflicts. Syria has been a place of conflict due to its rich resources and geographical placement bridging
211:
Syrian chant has been misrepresented in academics as well as misunderstood culturally due to wrongful association with other cultural chants. Although the Syriac beliefs are in union with the
150:
church. Chant is integral to the Syrian church and has been a practice that has created a distinction in the Syrian practice of worship to that of its neighboring
Christian orders.
181:
the chant. Jarjour explained earlier that Hasho, Syrian chant, is a coming together of emotionality, spirituality, musicality and knowledge. Music examples on YouTube are often a
61:
greatly on its cultural values/ principles. This oral transmission of religious chants present in Syrian culture is signet of a culture strengthened by marginalization and
259:
299:
The Christian liturgy that developed in Syriac as the Christian Aramaic came to be known in the early Christian era flourished in South India among
219:, it cannot be associated or counted synonymous with Islamic chant, which is dominant in the East. It has traits that suggest a derivative of the
1056:
784:
230:
Due to the orality of its tradition and the minimal writing on the chant, little is known about its early years. Syriac Christians have been
840:
215:
Church, Syrian chant is designed for a specific style of celebration that other forms of Catholicism do not use. Although it is from the
830:
Jonathan Dueck sand Suzel Reily, ed. (May 2016). "The Survival Story of Syriac Chants among the St. Thomas Christians in South India".
724:
43:
860:
794:
773:
742:
555:
544:
Nettl, Bruno; Turino, Thomas; Wong, Isabel; Capwell, Charles; Bolman, Philip; Dueck, Byron; Rommen, Timmothy (2015-09-25).
80:
Since the introduction of Christianity and the first Syrian chants, Syrian culture has been confronted by such empires as
124:
The main expulsion of Syrian Christians was during the Ottoman rule in the Levant and the massacres that took place in
884:
820:
137:
throughout the Middle East and the destruction of Syrian cities and villages, along with architecture and culture.
227:
used in Arabic music). It is understood as a model musical system yet it does not have any existing music theory.
911:
113:
and the religious persecution of rural regions of Syria, home to previous Islamic conquest; the conflicts of the
1077:
576:
92:
270:(306–373), some of which are still used today. Both hymns and antiphonal psalmody were brought by
1082:
674:
300:
650:
153:
804:
147:
99:
545:
200:
852:
734:
931:
134:
8:
904:
765:
337:
324:
28:
753:
807:(1990). "Christian Chant in Syria, Armenia, Egypt, and Ethiopia". In Crocker, Richard;
711:
670:
604:
35:
of Syriac chant. The history of Syriac chant is derived from diaspora and persecution.
666:
1036:
920:
856:
816:
790:
769:
738:
715:
703:
637:
608:
596:
551:
304:
267:
235:
Although Villoteau attempted to transcribe some of the chants, they used the Arabic
167:
Egypt. Villoteau was one of Napoleon's scholar's, who accompanied the conquest into
1021:
848:
761:
730:
695:
683:
662:
629:
588:
231:
699:
592:
1051:
1046:
1041:
1010:
954:
944:
651:"Syriac Chant at the Negotiation of Source and Method in the Two Music–"ologies""
282:
275:
212:
16:
1031:
1016:
986:
959:
939:
897:
57:
32:
1071:
889:
707:
641:
600:
223:
musical system but it does not have associations with any maqamat (plural of
1026:
996:
981:
976:
969:
949:
236:
196:
85:
70:
832:
The Oxford Handbook of Music and World Christianities - Joseph J. Palackal
577:"A 'nation in exile': the renewed diaspora of Syrian Armenian repatriates"
262:
of the 2nd century, a collection of Psalm texts in hymn form reflecting a
808:
271:
118:
110:
74:
617:
263:
252:
220:
839:
Jarjour, Tala (2016-05-05). Dueck, Jonathan; Reily, Suzel Ana (eds.).
633:
1001:
332:
182:
53:
307:
became part of the Christian experience in this part of the world.
255:
125:
114:
103:
73:
as well as the many different religious beliefs present within the
62:
813:
The New Oxford History of Music: v.2 The Early Middle Ages to 1300
964:
723:
Jarjour, Tala (2015c). Dueck, Jonathan; Reily, Suzel Ana (eds.).
318:
206:
829:
684:"Ḥasho: Music Modality and the Economy of Emotional Aesthetics"
216:
133:
conquests Syria has faced. The most recent diaspora has led to
66:
923:
224:
168:
281:
Modern Syrian chant is much more rhythmic and syllabic than
841:"Chant as the Articulation of Christian Aramean Spirithood"
248:
726:
Chant as the Articulation of Christian Aramean Spirithood
459:
457:
455:
38:
815:(2nd ed.). Oxford University Press. pp. 3–9.
396:
394:
392:
390:
388:
386:
384:
382:
380:
378:
543:
452:
417:
415:
413:
411:
409:
376:
374:
372:
370:
368:
366:
364:
362:
360:
358:
845:
The Oxford Handbook of Music and World Christianities
491:
489:
513:
314:
501:
476:
474:
472:
442:
440:
438:
436:
434:
432:
430:
406:
355:
525:
486:
303:. Early Christian chants by such saintly poets as
189:
1069:
469:
427:
919:
905:
207:Difficulty in studying Syrian Christian chant
247:In the early church, the music consisted of
834:. Oxford Handbook Online. pp. 440–460.
803:
574:
463:
266:. The first orthodox work are the hymns of
175:
912:
898:
274:to Milan and are apparently the basis for
164:Sense and Sadness; Syriac Chant in Allepo,
581:British Journal of Middle Eastern Studies
140:
729:. Vol. 1. Oxford University Press.
722:
681:
648:
547:Excursions in World Music, Sixth Edition
507:
421:
400:
152:
42:
15:
838:
751:
531:
519:
495:
88:prior to the conversion of Constantine;
1070:
893:
853:10.1093/oxfordhb/9780199859993.013.35
782:
735:10.1093/oxfordhb/9780199859993.013.35
615:
480:
446:
39:Historical setting of Christian chant
199:making the chant near-impossible to
13:
766:10.1093/oso/9780190635251.001.0001
575:Della Gatta, Marisa (2019-05-27).
258:. The earliest extant work is the
14:
1094:
878:
675:10.5921/yeartradmusi.47.2015.0045
667:10.5921/yeartradmusi.47.2015.0045
317:
106:prior to his death in 632, A.D.;
537:
242:
655:Yearbook for Traditional Music
294:Syriac Chants from South India
190:The Context of Christian chant
117:and the Islamic forces of the
1:
885:Encyclopedia of Syriac chants
700:10.1080/17411912.2015.1018918
593:10.1080/13530194.2017.1403308
343:
348:
7:
310:
288:
10:
1099:
568:
31:which may account for the
995:
930:
758:Oxford Scholarship Online
176:Sound of Christian chant
783:Shoup, John A. (2018).
682:Jarjour, Tala (2015b).
649:Jarjour, Tala (2015a).
301:Saint Thomas Christians
47:Ruins of an old Church.
955:Ethiopian and Eritrean
752:Jarjour, Tala (2018).
159:
141:Syrian Christian chant
48:
20:
688:Ethnomusicology Forum
305:St. Ephrem the Syrian
156:
46:
19:
921:Christian liturgical
786:The History of Syria
135:Syrian refugee camps
754:"Sense and Sadness"
616:Hayes, Ian (2013).
338:Syriac sacral music
325:Christianity portal
805:Velimirović, Miloš
160:
49:
21:
1065:
1064:
862:978-0-19-985999-3
796:978-1-4408-5835-2
775:978-0-19-063525-1
744:978-0-19-985999-3
634:10.7202/1026464ar
557:978-1-317-35029-3
268:Ephrem the Syrian
100:Islamic conquests
29:Syrian Christians
1090:
1078:Christian chants
914:
907:
900:
891:
890:
872:
870:
869:
835:
826:
800:
779:
748:
719:
678:
645:
612:
562:
561:
541:
535:
529:
523:
517:
511:
505:
499:
493:
484:
478:
467:
464:Della Gatta 2019
461:
450:
444:
425:
419:
404:
398:
327:
322:
321:
264:Gnostic theology
95:conquest in 611;
93:Persian Empire's
1098:
1097:
1093:
1092:
1091:
1089:
1088:
1087:
1068:
1067:
1066:
1061:
999:
991:
926:
918:
881:
867:
865:
863:
823:
797:
776:
745:
571:
566:
565:
558:
542:
538:
530:
526:
518:
514:
506:
502:
494:
487:
479:
470:
462:
453:
445:
428:
420:
407:
399:
356:
351:
346:
323:
316:
313:
291:
283:Gregorian chant
276:Ambrosian chant
260:Gnostic Psalter
245:
209:
192:
178:
148:Syrian Orthodox
143:
41:
12:
11:
5:
1096:
1086:
1085:
1083:Music of Syria
1080:
1063:
1062:
1060:
1059:
1054:
1049:
1044:
1039:
1034:
1029:
1024:
1019:
1014:
1007:
1005:
993:
992:
990:
989:
984:
979:
974:
973:
972:
962:
957:
952:
947:
942:
936:
934:
928:
927:
917:
916:
909:
902:
894:
888:
887:
880:
879:External links
877:
876:
875:
874:
873:
861:
827:
821:
801:
795:
780:
774:
749:
743:
720:
679:
646:
613:
587:(3): 339–357.
570:
567:
564:
563:
556:
536:
524:
512:
500:
485:
468:
451:
426:
405:
353:
352:
350:
347:
345:
342:
341:
340:
335:
329:
328:
312:
309:
290:
287:
244:
241:
208:
205:
191:
188:
177:
174:
142:
139:
130:
129:
122:
107:
96:
89:
40:
37:
33:oral tradition
9:
6:
4:
3:
2:
1095:
1084:
1081:
1079:
1076:
1075:
1073:
1058:
1055:
1053:
1050:
1048:
1045:
1043:
1040:
1038:
1035:
1033:
1030:
1028:
1025:
1023:
1020:
1018:
1015:
1012:
1009:
1008:
1006:
1003:
998:
994:
988:
985:
983:
980:
978:
975:
971:
968:
967:
966:
963:
961:
958:
956:
953:
951:
948:
946:
943:
941:
938:
937:
935:
933:
929:
925:
922:
915:
910:
908:
903:
901:
896:
895:
892:
886:
883:
882:
864:
858:
854:
850:
846:
842:
837:
836:
833:
828:
824:
822:0-19-316329-2
818:
814:
810:
806:
802:
798:
792:
788:
787:
781:
777:
771:
767:
763:
759:
755:
750:
746:
740:
736:
732:
728:
727:
721:
717:
713:
709:
705:
701:
697:
693:
689:
685:
680:
676:
672:
668:
664:
660:
656:
652:
647:
643:
639:
635:
631:
627:
623:
619:
614:
610:
606:
602:
598:
594:
590:
586:
582:
578:
573:
572:
559:
553:
550:. Routledge.
549:
548:
540:
533:
528:
522:, p. 52.
521:
516:
509:
508:Jarjour 2015b
504:
497:
492:
490:
482:
477:
475:
473:
465:
460:
458:
456:
448:
443:
441:
439:
437:
435:
433:
431:
423:
422:Jarjour 2015c
418:
416:
414:
412:
410:
402:
401:Jarjour 2015a
397:
395:
393:
391:
389:
387:
385:
383:
381:
379:
377:
375:
373:
371:
369:
367:
365:
363:
361:
359:
354:
339:
336:
334:
331:
330:
326:
320:
315:
308:
306:
302:
297:
295:
286:
284:
279:
277:
273:
269:
265:
261:
257:
254:
250:
240:
238:
237:quartertone's
233:
228:
226:
222:
218:
214:
204:
202:
198:
197:quartertone's
187:
184:
173:
170:
165:
155:
151:
149:
138:
136:
127:
123:
120:
116:
112:
108:
105:
101:
97:
94:
90:
87:
83:
82:
81:
78:
76:
72:
68:
64:
59:
55:
45:
36:
34:
30:
25:
18:
977:Prostopinije
866:. Retrieved
844:
831:
812:
809:Hiley, David
789:. ABC-CLIO.
785:
757:
725:
694:(1): 51–72.
691:
687:
658:
654:
625:
621:
584:
580:
546:
539:
532:Jarjour 2018
527:
520:Jarjour 2018
515:
503:
496:Jarjour 2016
298:
293:
292:
280:
246:
243:Early Church
232:marginalized
229:
210:
193:
179:
163:
161:
144:
131:
86:Roman Empire
79:
71:North Africa
50:
24:Syrian chant
23:
22:
622:Ethnologies
272:St. Ambrose
119:Middle East
75:Middle East
1072:Categories
1022:Beneventan
1013:(Milanese)
868:2021-11-19
628:(1): 204.
481:Hayes 2013
447:Shoup 2018
344:References
253:antiphonal
201:transcribe
183:monophonic
1052:Old Roman
1047:Mozarabic
1042:Gregorian
1011:Ambrosian
1002:Plainsong
945:Byzantine
716:143522933
708:1741-1912
661:: 45–63.
642:1481-5974
609:218603543
601:1353-0194
349:Citations
333:Beth Gazo
54:Jerusalem
1037:Gelineau
1032:Gallican
1017:Anglican
987:Znamenny
960:Galician
940:Armenian
811:(eds.).
311:See also
289:Diaspora
256:psalmody
213:Catholic
126:Damascus
115:crusades
111:Shi'ites
63:diaspora
1057:Ravenna
997:Western
965:Obikhod
932:Eastern
569:Sources
158:Heaven.
104:Mohamad
102:led by
1027:Celtic
982:Syrian
970:Kievan
950:Coptic
859:
819:
793:
772:
741:
714:
706:
673:
640:
607:
599:
554:
221:Arabic
217:Levant
67:Europe
924:chant
712:S2CID
671:JSTOR
605:S2CID
249:hymns
225:maqam
169:Egypt
857:ISBN
817:ISBN
791:ISBN
770:ISBN
739:ISBN
704:ISSN
638:ISSN
597:ISSN
552:ISBN
251:and
109:the
98:the
91:the
84:the
58:oral
849:doi
762:doi
731:doi
696:doi
663:doi
630:doi
589:doi
69:to
1074::
855:.
847:.
843:.
768:.
760:.
756:.
737:.
710:.
702:.
692:24
690:.
686:.
669:.
659:47
657:.
653:.
636:.
626:35
624:.
620:.
603:.
595:.
585:46
583:.
579:.
488:^
471:^
454:^
429:^
408:^
357:^
296:.
285:.
278:.
203:.
77:.
1004:)
1000:(
913:e
906:t
899:v
871:.
851::
825:.
799:.
778:.
764::
747:.
733::
718:.
698::
677:.
665::
644:.
632::
611:.
591::
560:.
534:.
510:.
498:.
483:.
466:.
449:.
424:.
403:.
128:.
121:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
