Which Country Has The Most Beautiful Orthodox Chant

Most Beautiful Russian Orthodox Church Music –

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Track Listing

Sample Title/Composer Performer Time Stream
1 Sye Nynye Blagoslovitye Gospoda (Behold, Bless the Lord)Mikhail Ippolitov-Ivanov 03:30 Amazon
2 Psalm 1: Blazen muz (Blessed is the man)Fateyev 05:21 Amazon
3 Slava v vysnikh bogu (Glory in the highest)Strokin 04:13 Amazon
4 Praise Ye the Name of the Lord (Chawlitje Imja Gospodnje), communion hymn for chorus, Op. 10/5Pavel Chesnokov 03:05 Amazon
5 Svjatyjboze trisagion (Holy is God, holy is the Strong, holy is the Immortal)Ukrainian Traditional 03:18 Amazon
6 Vecnaja pamjat (Everlasting memory), cantide in the memory of the deadRussian Traditional 00:49 Amazon
7 Svete tikhij (Oh thee, Quiet light), hymn to Jesus ChristNikolai Kedrov Jr. 02:01 Amazon
8 Pod Tvoju MilostDimitry Bortnyansky 02:33 Amazon
9 Lord now lettest Thou Thy Servant, for chorus, Op. 34/1Alexander Grechaninov 02:08 Amazon
10 To Thy Heavenly BanquetAlexey Fydorovich Lvov 01:40 Amazon
11 Having Fallen Asleep in the Flesh, hymn for chorus (harmonization of Easter Exaposteilarion)Alexander Glazunov 01:39 Amazon
12 Tebe Poem, for chorusDimitry Bortnyansky 03:33 Amazon
13 Milost’ mira-tebe poem (Charity of peace, We sing to Thee), Eucharistic liturgyRussian Orthodox Chant 06:31 Amazon
14 Tele Khristovo priimite (Take ye the body of Christ)E. Azeer 02:27 Amazon
15 Oh mother of God (Mati Bozija), prayer to the holy virginPavel Chesnokov 03:15 Amazon

The music selection is shown with a blue accent.

The Divine Music Project

Download a PDF of The Introduction to the Divine Music Project in Greek (E) on your computer or mobile device. There are almost 6000 pages of Byzantine music on this website, written in both Western and Byzantine notation, and performed in the manner of chanting employed on the Holy Mountain. The scope of this project includes the liturgies of St. John Chrysostom, St. Basil the Great, St. James, and the Liturgy of the Presanctified Gifts, as well as different doxologies and hymns for Vespers, Orthros, the Mysteries, and the Menaion, among other liturgical celebrations.

  1. “This is a wonderful service to the church musicians of our Archdiocese, thanks to St.
  2. In addition to being a beautiful and thorough resource, the Divine Liturgies Music Project is also a must-have for any chanter and choir director’s collection!
  3. The music, the translations, and the reference materials are all easily accessible because to the book’s creative layout.” Dr.
  4. The living, unbroken, 1000-year legacy of Athonite psalmody is preserved in this beautiful book, which serves as a constant guide to understanding and performing Byzantine chant.
  5. Gregorios Stathis, Professor of Byzantine Musicology and the Art of Chant at the University of Athens, is a leading authority on the subject.
  6. This book will be entirely understandable to the layman, while also providing a wealth of hymnography for the more experienced cantor and choir.
  7. Stephen Butler, Professor of Music at Westmont College in Southern California “The splendor of Byzantine hymnology has been brought to the English-speaking world thanks to the efforts of St.
  8. In order for Byzantine chant treasures to become the valuable currency of English-speaking Orthodox churches, they have been methodically translated and transcribed, allowing worshipers to participate of their spiritual force that had previously been unreachable.
  9. Constantine KokenesChanter of Atlanta, Georgia, provided the following statement: “It’s a wonderful blessing for the Eastern Orthodox Church to get this!

of Byzantine Music at Holy Cross Greek Orthodox School of Theology in Boston, Father Nicholas Kastanas “In response to the rising need for English in Church services, there has been a deep yearning to hear and comprehend the beautiful and profound hymnography of the Holy Orthodox Church, while still retaining the Byzantine musical magnificence of the tradition.

  • This has changed.
  • In providing for both of these needs, St.
  • It has also spanned the gap between Western notation and the Byzantine Tradition of hymnal composition in its most refined expressions, musically integrating the American Church and the Holy Liturgical Tradition of the Great Church of Christ.
  • Rev.
  • Rev.
  • In his previous position as Chancellor of the Greek Orthodox Archdiocese of America, “I’d want to express my gratitude to you for coming up with the brilliant idea of writing this really significant scientific book in Western notation.
  • As a result, it will be a valuable resource for anybody who is unfamiliar with Byzantine music but is interested in reciting its sacred songs.” Professor Photios Ketsetzis is a Greek philosopher who lives in Athens.

“St.

Every page demonstrates a deep understanding and enthusiasm for the subject matter.

In order to better understand real Orthodox liturgical arts, including as iconography and ancient Byzantine chant, we must expose our faithful—particularly our youth—to them.

That is something I totally support.

During Byzantine liturgies, the faithful are invited to come together as a community and to honor God via speech, gesture, and song.

The hymns presented here, which have been adapted to English, are a priceless resource from the most authentic heritage of Orthodox music.

Other, more recent creations cannot compare to the significance and beauty of these ancient chants, which have been particularly well preserved on Mount Athos.” Doctor Dimitri E.

“The Divine Liturgies Music Project is an extraordinary effort to make it easier for people to use Byzantine music in an English-language environment, and it deserves to be recognized.

Nick GiannoukakisProtopsaltis of the Metropolis of Pittsburgh, Pennsylvania, and a member of the American Medical Association “When it comes to the early life of the Orthodox Church in America, this collection of Byzantine liturgical music marks a significant accomplishment.

This undertaking, which represents an amazing effort on the part of St.

Gregory EsperChanter of Boston, Massachusetts, provided the following statement: “This book is a welcome addition to our ‘in sound’ liturgical environment, and we are grateful for it.

People from various backgrounds, whether they are unison ‘Byzantine’ or harmonized “Russian,” will find the publication valuable in their quest to get a deeper understanding of the treasures of ancient Orthodox church melos.” Nicholas Schidlovsky is a professor of music at Westminster Choir College in Princeton, New Jersey.

Because Byzantine music has been hidden away in obscure tiny volumes filled with incomprehensible symbols for so long, it has been particularly frustrating for converts to Orthodoxy who are so eager to embrace the entirety of the Christian religion in all of its sublimeness and irresistible beauty.

  • Anthony’s Monastery for opening the doors of Byzantine chant to the Western mind, and we owe it to them in particular.” —Rachel Van Camp, Director of the Richmond Symphony Orchestra “In Western notation, this is a genuinely amazing and extremely helpful collection of Post-Byzantine chant.
  • Tikey ZesProfessor Emeritus at San Jose State University; author ofLiturgy, Unison Liturgy, and other works.
  • Anthony’s Monastery for transcribing this great, liturgical gold mine of Byzantine hymnology for the benefit of the English-speaking world, and we express our gratitude to them.
  • In collaboration with our website, EIKONA has created a Divine Liturgy CD that includes music from our site.
  • Phoenix, Arizona-based Dr.
  • ‘This Divine Liturgy Hymnal is a superb resource for church musicians who want to learn about and include Byzantine Chant into their worship services,’ says the author.
  • Additionally, I enjoy this effort since having the hymns written out analytically in Western notation is allowing me to have a better understanding of the implicit nuances of Byzantine notation.
  • His book review of this effort, published in PHRONEMA, has the following quote: The Rev.

Gerasimos Koutsouras, former Protopsaltis of St. Andrew’s Greek Orthodox Theological College in Australia, says: The website was last updated on July 20, 2021. If you have any difficulties when using the Divine Music Project pages, please notify us using this form.

Russian Orthodox Chants

101 Bells of the Novodevichy Convent The Choir of the Dormition Church of the Novodevichy Convent 1:13
102 My soul doth magnify the Lord The Choir of the Dormition Church of the Novodevichy Convent 6:46
103 The King of Heaven The Choir of the Dormition Church of the Novodevichy Convent 2:25
104 Who is so great a God as our God The Choir of the Dormition Church of the Novodevichy Convent 2:46
105 The Magnificat The Choir of the Dormition Church of the Novodevichy Convent 2:23
106 Hymn to the Birth-giver of God from the service to all the saints who glorified in the land of Russia The Choir of the Dormition Church of the Novodevichy Convent 1:51
107 It is meet The Choir of the Dormition Church of the Novodevichy Convent 2:45
108 Gradual The Choir of the Dormition Church of the Novodevichy Convent 3:45
109 O now bless the Lord The Choir of the Dormition Church of the Novodevichy Convent 4:55
110 I will open my mouth The Choir of the Dormition Church of the Novodevichy Convent 4:14
111 Establish, O Lord The Choir of the Dormition Church of the Novodevichy Convent 2:01
112 The Hymn for St. Daniel, Prince of Moscow The Choir of the Dormition Church of the Novodevichy Convent 1:43
113 Queen of the Heavenly Host The Choir of the Dormition Church of the Novodevichy Convent 1:29
114 The hymn for the Hodegetria The Choir of the Dormition Church of the Novodevichy Convent 1:13
115 Thou dost intercede for all, O good one The Choir of the Dormition Church of the Novodevichy Convent 1:34
116 Thou, the guide of those who stray The Choir of the Dormition Church of the Novodevichy Convent 1:47
117 The hymn for the Day The Choir of the Dormition Church of the Novodevichy Convent 1:08
118 O marvel wonderful! The Choir of the Dormition Church of the Novodevichy Convent 1:21
119 At the sovereign command of God The Choir of the Dormition Church of the Novodevichy Convent 3:47
120 The Birth-giver of God constant in supplication The Choir of the Dormition Church of the Novodevichy Convent 2:17
121 Adorned with the divine Glory The Choir of the Dormition Church of the Novodevichy Convent 0:51
122 Megalynarion for the Dormition The Choir of the Dormition Church of the Novodevichy Convent 2:23
123 O, ye apostles The Choir of the Dormition Church of the Novodevichy Convent 2:26
124 Litany of fervent supplication The Choir of the Dormition Church of the Novodevichy Convent 5:45
125 The Beatitudes with the hymns for the Hodegetria The Choir of the Dormition Church of the Novodevichy Convent 2:48
126 A mercy of peace, Op. 10 no 4 The Choir of the Dormition Church of the Novodevichy Convent 4:36
127 The Angel cried The Choir of the Dormition Church of the Novodevichy Convent 3:02
128 Bells of the Novodevichy Convent The Choir of the Dormition Church of the Novodevichy Convent 1:39
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Russian chant

Monophonic or unison chant of the Russian Orthodox church’s liturgy, performed in monophonic or unison Early Russian chanting was probably definitely based on Byzantine melodies, which were then tailored to the accentual patterns of the Old Church Slavonic language, according to musical texts dating from the 11th to the 13th centuries in the Russian Orthodox Church. During this time period, Russian manuscripts include the sole surviving sources of a very ornate style of Byzantine chant known as the kontakion, as well as a complex Byzantine musical notation that had by that time departed from Byzantium.

  1. The meaning and form of musical notation in Russian manuscripts began to alter in the 14th century as a result of the spread of the printing press.
  2. The first lists of kryuki (Russian for “hooks”), or signs, that were employed as musical notation in Russia were produced in the late 15th century, according to historical records.
  3. By the 16th century, it appears that Russian chant had broken its ties with its Byzantine forebears, and the melodies had begun to diverge in their underlying structures.
  4. It was made of a traditional chant in the middle voice, which was supported by a descant and bass that had been freshly created.
  5. Russian musicians began to imitate Western music in the 17th century, initially through interaction with Ukrainian and Polish models, and then through direct imitation of Western music.
  6. This tendency prompted early academics researching the history of Russian church music to begin looking into the virtually forgotten traditional melodies that were still being employed in certain monasteries that were opposing the introduction of polyphonic music as a reaction to it.

Let’s Talk Live with Eikona: What are you doing with your talents?

Register now to be included into a drawing for an Eikona prize package. On Thursday, August 12th, at 7 p.m. EST, join the myOCN Interactive Virtual Community. Fr. Christopher Metropulos and others are in attendance. “What are you doing with your talents?” their husbands asked them when they started their ministry, and Eikona; Presvytera Stacey Dorrance, Presvytera Marika Brown, and Chrysanthy Therianos will discuss how three sisters who love to sing started their ministry in response to the question, “What are you doing with your talents?” They have been providing the English-speaking world with songs of our faith for almost 30 years, and they continue to encourage church musicians to respond the same call…

develop their religious beliefs and use their musical abilities to benefit the Holy OrthodoxChurch We pray that every Orthodox Christian church in America may be blessed with lovely music!

Visitors should come to our parishes and, as a result of the magnificence of the music (such as that witnessed by the emissaries of Prince Vladimir at Hagia Sophia), “…will not be able to tell whether they are in heaven or on earth!”

  • Fr. Christopher has been shaped by a life of service to Christ’s Church and has devoted himself to using all of the resources God has provided him to spread the light of Orthodoxy throughout the United States. As the Founder and Host of the Orthodox Christian Network (OCN) and the national Orthodox Christian radio program “Come Receive The Light,” he shepherds a dynamic and rapidly expanding ministry that brings joy, hope, and salvation in Jesus Christ to millions of listeners around the world through the Internet and land-based radio stations in more than 130 countries. Fr. Christopher is the former President of Hellenic College Holy Cross Greek Orthodox School of Theology in Fort Lauderdale, Florida, as well as the parish priest of Saint Demetrios Greek Orthodox Church in the same city. View all of the postings
  • Eikona is a group of three sisters who like chanting. They began their ministry more than 28 years ago, at the urging of their husbands and in response to the question, “What are you doing to use your talents for the Church?” Presvytera Stacey Dorrance, Presvytera Marika Brown, and Chrysanthy Therianos began their ministry more than 28 years ago, at the urging of their husbands and in response to the question, “What are you doing to use your talents for the Church?” They were reared in the Greek Orthodox community of the Assumption Greek Orthodox Cathedral in Denver, Colorado, where they were born and raised. It was in a loving, musical household where church attendance was not voluntary, but rather an expression of their parents’ passion for music and the church that they were raised. In total, each sister has four children, many of whom are married and starting their own families. Their objective is to make beautiful English Byzantine Chant available to as many people as possible. Their passion for liturgical worship as well as their desire to grow in their personal faith motivates them to continue their work in the field of music ministry. Presvytera Stacey is a co-chanter and assistant choir director at St. Catherine’s Catholic Church in Greenwood Village, Colorado, where she lives with her family. The National Forum’s Byzantine Music Education Committee Chair, she is also a Chant instructor who works with parishes across the country (and even in Australia) to assist them build their own Byzantine Choirs through the use of Zoom. At her parish of Sts. Peter and Paul in Boulder, Colorado, Presvytera Marika is not only the lead chanter, but she also serves as a host to many of the church’s programs. The Cathedral of the Assumption of the Theotokos in Denver, Colorado, is where Chrysanthy serves as the choir director and is also an active chanter. As the President of the Metropolis Music Ministry, she is also a composer of music as well as a competitive bowler! View all of the postings

What Gives Russian Music Its Distinctive Sound? : Professor Carol

Russian Waterways – a Smithsonian Journey Through Time Resources for Additional Research The most excellent source of Russian Orthodox music (both on CDs and in the form of the music itself) is right here in the United States. A researcher by the name of Dr. Vladimir Morosan, who was even as a doctoral student dedicated to preserve this (then endangered) heritage of Russian church singing, came up with the idea for the song. He worked hard for many years to establish this company: www.musicarusica.com.

  1. He began reproducing scores (musical editions) of the old music in fresh, modern, and elegantly edited publications, which he called “reprinting the past.” He also supplied some useful information for church choirs.
  2. So take pleasure in the products of his effort.
  3. Besides listening to the recordings, you may also read useful commentary on them, acquire the genuine “sheet music” (scores) for a large number of Russian holy songs, purchase CDs, and download them.
  4. Check out this video to learn about the history of Russian church bells, the repair of church bells, and the amazing skills of Russian change ringing.
  5. Chant
See also:  What Should I Chant At Women's March
Знак znak Sign (for notation of music)
Знаммены Znamenny Type of chant singing using these signs

In Russian music, bells are a crucial feature. Check out this video to learn about the history of Russian church bells, how to restore church bells, and the incredible skills of Russian change ringing. I can’t think of a better way to begin, and it gives you a genuine sense of the devout, reverent mindset that goes along with the training and the ringing of the bells, which is a great beginning. Chant

  • Singing in the Orthodox Church
  • Style derived from Byzantium
  • The entire service is sung/chanted, including prayers and readings
  • Originally, it was a single-line melody. Until the seventeenth century, it was free-flowing and independent of Western harmonization and Western-style notation techniques. a cappella (without accompaniment)

Hymns of Kassianí

Singing in the Orthodox Church; style derived from Byzantium; the entire service is sung/chanted, including prayers and readings This was initially only a single line of music. Until the 17th century, the music was free-flowing and independent of Western harmonization and Western-style notation procedures. Solo (a cappella) performance;

Read More

Kassian was a trailblazer for women about a thousand years ago, during a time when “firsts” by women are still remarkable, which is regrettable in our day and age. Hers is the oldest known piece of music composed by a female composer. Her narrative is a contemporary one that takes place in the 9th century. The beautiful and brilliant Kassian was born into an affluent and important family, yet she was repressed despite her intelligence and beauty. Some of her songs and poetry were reattributed to men or were substituted in liturgical books with hymns and poetry written by males.

  1. As a contestant in a brideshow, she turned down the approaches of the emperor Theophilos, who had been captivated to her by her appearance.
  2. She said, “And from woman came the absolute finest,” alluding to the Virgin Mary in her response.
  3. The emperor did not accept her and instead picked another woman to be his wife.
  4. She went on to produce well-known secular and spiritual poems as well as hymns that gained widespread acclaim.

In addition to her famous hymn from Holy Week, she is well-known in popular culture for her character in the television series “Viking” and for the album (No Man’s Land) by English punk singer/songwriter Frank Turner, who used lyrics from the same hymn from Holy Week as inspiration for his own song “No Man’s Land.”

Kassianí

Originally from Constantinople (now Istanbul), the capital of the Byzantine Empire, Kassian was born about 810 into a wealthy and important family. He was attractive and well-educated, and he authored both secular poetry and holy hymns during his lifetime. She is still a well-known character among Greek Orthodox, who are mostly familiar with her colorful biography and a single well-known song that is sung throughout Holy Week. But modern study has demonstrated that the historical Kassian made a significant contribution to Orthodox services that went much beyond a single “hit.” Women writers and composers for Byzantine public worship are few and few between, but Kassa, as she was most likely addressed, has emerged as the most significant figure among the tiny number of women known to have written texts and composed music for Byzantine public worship.

  • It has been suggested that she was inspired by the later German abbess Hildegard of Bingen (1098–1179), whose fame has also lately been resurrected, because of her freedom of thought and achievements as a musician, and her dedication to Christian religious life.
  • Some of her hymnography, on the other hand, was either deliberately or quietly repressed.
  • Her hymns are also known by variations of her name, such as Eikasa, Ikasa, Kasa, and Kassiana, among others.
  • During this ceremony, Byzantine emperors and royalty would select a wife from among the most suitable ladies in the empire, a tradition that continues today.
  • “It is through woman that evil comes,” Theophilos declared upon approaching Kassa to put her to the test, alluding to Eve’s sin.
  • In the face of Kassa’s sharp criticism, Theophilos chose to ignore her and instead choose Theodora as his wife instead.
  • She was the first woman to do so.
  • Kassia’s desire to be closer to the books and study centers that were an integral part of Byzantine religious life was paired with her wish to be closer to the cloister in her migration to the cloister.

She died in this location sometime around the year 865. In the years after her death, Kassia was canonized by the Orthodox Church and is known as Kassian the Hymnographer, or Saint Kassian for short.

Reviews

Featured in The New Yorker’s The Rest Is Noiseblog, written by reviewer Alex Ross! It is the genuinely transportive effect of thea cappellasinging, which is captured on surround-sound SACD and can be heard on the 15-voice ensemble’s album, which makes this album so remarkable, in addition to the fact that it focuses on the first extant music known to have been composed by a female composer. Kassian’s time-defying flow of melodies, sung with such focus, balance, and clarity, provides calm glances into eternity.” —Thomas May, Editor-in-Chief, Gramophone Magazine Cappella Romana’s performances are professional, as has come to be expected, and the booklet includes entire lyrics and translations of all of the songs.

In the hopes of introducing both ears and brains to Kassia’s wonderfully inventive musical voice,” says the composer.

It is with heavenly intensity that this SACD, which was recorded in gravely massive acoustics, conveys both soul and music.” The Choir and the Organ, Rebecca Tavener This music glides between firm chant and more florid, flowing parts, and the effect is innovative and highly attractive to me….

  • This is the first volume of what is intended to be a series of recordings of all of Kassiani’s surviving works, which will include all of his compositions.
  • However, while this music is extremely present and needs active attention, the effects transport you to a sound-world from another age,” says the composer.
  • ⭐️⭐️⭐️⭐️ “Cappella Romana continues to produce amazing records with cutting-edge audio quality.
  • A performance of clarity and technical wizardry is directed by Alexander Lingas, who provides excellent, in-depth remarks on many elements of Kassia’s life and music.
  • This is a seminal recording that will continue to be significant for many years to come,” says the artist.
  • ⭐️⭐️⭐️⭐️⭐️ “The chants are delivered in a measured, metrical form that is alien to Western chant but is characteristic of the Byzantine heritage.” Other sections, such as the psalm of lamp-lighting, take on a sense of urgency in both male and female voices.
  • The recording is an SACD hybrid multichannel recording with a 5.1 surround sound track.
  • The release is available in both 2-channel and 5.0 surround formats, with a resolution of 192k/24bit.
  • My anticipation for the next installment is heightened.” —Ralph Graves, Western Tennessee Junior University (full review) Kassian’s songs will be introduced to a broader audience through the superb and passionate vocals of Cappella Romana…

This brilliantly balanced set of performances emotes with the elegance, beauty, and aesthetic clarity of these pieces in a very uplifting manner.” —InfoDad “It has a very dramatic impact when the men and women sing together, with the flowing melodies accompanied by a droning single note, which is particularly effective.” The volume may be increased to the point that it feels like you’re in a large church or cathedral, in the presence of something bigger than a collection of individual human voices all around you…

Cappella Romana’s magnificent vocalists can transport you back to the Byzantine Empire if only you will sit back and listen.” In the words of Jon Sobel, of BlogCritics (full review) “Hymns of Kassianire is another another recording achievement for the Cappella Records label,” says the press release.

  1. “I give my highest recommendation.” TheaterByte’s Lawrence Devoe explains what he means.
  2. Listeners who are more familiar with Gregorian Chant will also detect a distinct difference in the modal nature of the music, with the distinctive lines twisting in unusual patterns that are more closely paralleled in Middle Eastern chant traditions.
  3. The notes and supplementary material contained in the accompanying booklet assist the premiere group playing these ancient Byzantine works in bringing Kassiani’s music to life even more fully.
  4. “Extremely Recommended!” —Steven A.
  5. I believe it is the spiritual power that exudes from these chants that gives them their remarkably strong and ominous quality….
  6. Is there any evidence of the Cappella Romana’s authenticity?
  7. The fact that these and other Byzantine memories from the mists of time have been brought to life and preserved for all time is because to Alexander Lingas.
See also:  Who Sang The Gregorian Chant

A live musical poetry with broad international appeal is being created by the Cappella Romana from the dry, brittle pages of ancient Byzantine compositions.

In addition to providing a fresh tool for self-examination, this record gives an opportunity to bask in the rich sensory tradition of Byzantine singing.

This performance by Cappella Romana is great, with chants from both male and mixed choirs.

The directing of Alexander Lingas results in a stunning realization of these ideas.

It is always delicious, and if you are not familiar with it, it may be rather refreshing.

A drone pitch is frequently used in conjunction with the unison melody, resulting in a sound that is structurally similar to organum but sounds completely different due to the distinct Eastern modalities that are employed.

The CD HotList’s Rick Anderson says: Do you own or operate a small parish bookshop or information kiosk? Please contact us if you would like additional information about trade discounts.

Certificate in Byzantine Music

Students who complete the Certificate in Byzantine Music program will have a thorough understanding of the abilities necessary for reciting the sacred songs of the Orthodox faith. In addition to providing comprehensive knowledge of the psaltic notational system, the theoretical framework of the modal system, the ability to sight-read musical scores of varying complexity, and extensive familiarity with the contents and usage of liturgical books and the rubrics of the Orthodox Church, the program also provides an in-depth understanding of the modal system.

Program Learning Outcomes

Graduates will be able to exhibit the following skills: 1. Knowledge of the Psaltic Art notational system. 2. Understanding of the principle of the eight modes of operation Third, proficiency in reading musical scores in psaltic notation of varying degrees of difficulty. 4. 4. A thorough understanding of the contents and application of music books is required. 5. Thorough knowledge with and understanding of the contents and usage of liturgical literature. 5. Thorough acquaintance with the rubrics of liturgical services in the Byzantine Rite6.

ability to execute all the musical components of all of the sacraments of the Greek Orthodox Church

ENROLLMENT

The program is accessible to applicants pursuing the Master of Divinity degree as well as those students who are interested in learning more about theology. In order to successfully complete the program, students must complete the following courses as part of their core curriculum: Byzantine Music I-X, History of Byzantine Music and Hymnography, Ecclesiastical Chant in English, and Ecclesiastical Chant in Greek. According to the requirements set by conservatories and schools of Byzantine music in Greece, the curriculum is designed to meet those standards.

In order to be eligible to enroll in the Certificate program, MDiv applicants must complete Byzantine Music VII-X, History of Byzantine Music and Hymnography, and Byzantine Music VII-X in addition to the elective courses necessary for the MDiv program.

Other interested parties who are not currently enrolled at Holy Cross may submit an application package that includes documentation of their psaltic knowledge and skills in order to be considered for the certification examination.

PROGRAM DESCRIPTION

The Psaltic Art program requires students who are not enrolled in one of the theological programs (henceforth referred to as Psaltic Art students) to complete a specialized and difficult two-year course of study consisting of 19.5 credits. Theological electives such as New Testament Greek and Modern Greek, service rubrics and liturgical studies are also encouraged but not obligatory. Students in the Psaltic Art program are also obliged to engage in the Holy Cross Byzantine choral ensembles and are expected to join the cantors’ choirs during liturgical services as part of their education.

They may also be invited to conduct chant laboratories in their second year and may be considered for a job as the head of a chant group during their third year. DESCRIPTIONS OF THE COURSES

Fall Semester Spring Semester
Year 1 Year 1
History of Byzantine Music 3 cr. Byzantine Music II 1.5 cr.
Byzantine Music I 1.5 cr. Byzantine Music IV 1.5 cr.
Byzantine Music V 1.5 cr. Byzantine Music VI 1.5 cr.
(Directed Study in Rubrics)* 3 cr. Eccl. Chant in English 1.5 cr.
Holy Week Seminar 0 cr.
Fall Semester Spring Semester
Year 2 Year 2
Byzantine Music III 1.5 cr. Byzantine Music VIII 1.5 cr.
Byzantine Music VII 1.5 cr. Byzantine Music X 1.5 cr.
Byzantine Music IX 1.5 cr.
(Directed Study in Rubrics)* 3 cr.

*This course is given on an as-needed basis. While participation in this course is not compulsory for successful completion of the Psaltic Art program, students are highly encouraged to do so if the opportunity arises.

EXAMINATION PROCESS

MDiv candidates and Psaltic Art students who meet the requirements for a Holy Cross Certificate in Byzantine Music must pass a rigorous oral examination before a committee appointed by the Holy Cross. Take a look at the examination procedure.

PROGRAM COST

tuition: 19.5 credits multiplied by $950 per credit is $18,525 1.500 dollars for the final test (individual examination by an expert panel). Qualification fee: $300 payable to chanters who have received training outside of HCHC and who plan to simply sit for the final test. Students enrolled in the certificate program will be assessed the following fees, if applicable:

  • Student fees are the same as those charged to HCHC students, with the exception of the absence of a graduation fee. Accommodations – the same cost for the same units as HCHC students, but they are given a lesser priority in the selection process. College discounts are available, although they are given a lesser priority than HCHC patients.

In order to enroll in this program, HCHC students will not be charged any additional tuition until they go into overload (18 credits each semester), in which case they will be charged $950/credit for any courses taken in excess of 18 credits per semester.

APPLICATION PROCESS

All interested individuals are required to submit an application for the Certificate in Byzantine Music. In addition, applicants must provide the following materials:

  • Include a cover letter that includes a brief autobiographical statement that explains why you are interested in the program. A résumé that has been updated
  • The most recent copy of your academic transcript
  • A copy of any diplomas or degrees received
  • Two letters of recommendation (at least one of which should come from a previous instructor)
  • The payment of a $50 non-refundable application fee

Please return the application and all corresponding documents to Nick Moutsioulis, Associate Director of Admissions, [email protected], or mail them to: Hellenic College Holy Cross, Office of Admissions, 50 Goddard Avenue, Brookline, MA 02445 or facsimile them to: 50 Goddard Avenue, Brookline, MA 02445

  • Please return the application and all corresponding documents to Nick Moutsioulis, Associate Director of Admissions, atnmou[email protected], or mail them to: Hellenic College Holy Cross, Office of Admissions, 50 Goddard Avenue, Brookline, MA 02445 or facsimile them to: Hellenic College Holy Cross, Office of Admissions

Andreas G. Houpos, ‘14

Please send the application and any associated documentation to Nick Moutsioulis, Associate Director of Admissions, [email protected], or mail to:Hellenic College Holy Cross, Office of Admissions50 Goddard Avenue, Brookline, MA 02445

Fr. Constantine Trumpower, ‘15

Please submit the application and any supporting documentation to Nick Moutsioulis, Associate Director of Admissions, [email protected], or mail to: Hellenic College Holy Cross, Office of Admissions50 Goddard Avenue, Brookline, MA 02445

Evangelia (Palis) Koutroubas, ‘15

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