Undusted Texts

 St. John of Damascus (676-749), also known as St. John Damascene or Chrysorrhoas ("streaming with gold"), served as Chief Councilor ( Protosymbullus ) of Damascus under Muslim rule before later retiring to live the monastic life in the Monastery of St. Sabbas near Jerusalem.  He was a prolific writer whose work was incredibly influential, even to this day.  A particularly important note about his work was his exposition of the theology underlying icons: his work was thus key to the Seventh Ecumenical Council, Nicea II (787).  The Eastern Church often refers to him as "the last of the Fathers," and he is a Doctor of the Church often referred to as the Doctor of the Assumption.  His feast day in both the Western and Eastern Churches is December 4, though from 1890-1969 it was celebrated on March 27 in the Western Church. St. John was brought up under Muslim rule in Damascus, where his strong Christian family held high hereditary public office under the cali...

In Western musical notation, the length and relative timing of notes are shown on a staff, where the vertical position of a note (in notation) on the staff represents which note (on the scale) is to be sung or played.  The mentality of Byzantine psalmody notation is vastly different.  In Byzantine psalmody notation, there is no staff, only a single row of markings.  Each note (in notation) shows which note (on the scale) is to be sung relative to the note that was just sung.  Byzantine psalmody notation thus shows the intervals between notes, rather than which note (on the scale) each note (in notation) represents.  In addition, there are markings in Byzantine psalmody notation for representing the length of notes and other characteristics (such as tying notes together, changing the force of a sung note, increasing volume, etc.) In Byzantine psalmody, the notes in notation which represent these intervals are called neumes .  There are ten basic neumes f...

Χριστος ανεστι!  Byzantine psalmody has its oldest roots in ancient Greek music, the music of modes such as Dorian, Ionian, Lydian, Phrygian, Mixolydian, etc.  (Not being versed in ancient Greek music, I cannot say any more than that.)  The main Christian roots are traditionally linked with St. Ephraim the Syrian (306-373), Doctor of the Church: some claim that he originally created Christian chant and that even Gregorian chant had its roots in his work.  No real method of Byzantine psalmody begins to be expounded in writing until St. John of Damascus (676-749), the great defender of icons.  Byzantine notation , the unique style of writing music used by Byzantine psalmody (very different from Western styles, both modern "European" notation and Gregorian chant notation), began to be written (from what we know) with the work of this great saint.  Though his system was complex, it was usable.  Over time, though, Byzantine notation became so convoluted th...

This is the base page for my series/project on Byzantine psalmody .  Below are links to posts in the series, other posts on sacred music, a list of abbreviations for works I use throughout the series, and links to other Church documents on sacred music. Posts: Why Should I Care About Byzantine Psalmody? (4/12/12) A Quick History and the Notes (4/12/12)  The Ten Basic Neumes (Part 1) (4/22/12) Abbreviations: BM = Byzantine Music in Theory and in Practice by Prof. Savas I. Savas, trans. Nicholas Dufault, Boston: Hercules Press, 1965. BP = Byzantine Prosomia: The Chanter's Companion by Holy Transfiguration Monastery (2005). DMS = De musica sacra et sacra liturgia , Instruction by the Sacred Congregation for Rites (9/3/1958) GMEOC = A Guide to the Music of the Eastern Orthodox Church by N. Lungu, G. Costea, and I. Croitoru, trans. Nicholas K. Apostola, Brookline: Holy Cross Orthodox Press, 1984. GTM = Great Theory of Music by Chrysanthos of Madytos, trans. Katy...

Χριστος ανεστι!  It is well-known that the Second Vatican Council declared that Gregorian chant is "specially suited to the Roman liturgy: therefore, other things being equal, it should be given pride of place in liturgical services" (SC 116).  This does not mean that other types of music are completely banned from the liturgy (as some, including myself at times, try to claim), but it does mean that there is no place for completely doing away with Gregorian chant. Why is Gregorian chant so suited to the liturgy?  For one, it was specifically created for the liturgy.  Its original purpose is for the glorification of God through the divine rites.  It is a music set apart.  Second, it keeps the liturgical texts prominent.  The chant involves simple music which serves to highlight the text rather than hiding it in auditory flourishes.  This is keeping with Pope St. Pius X's description of sacred music: "Since its principal office is to clothe with ...