Undusted Texts

  Ascension Icon by Andrei Rublev (late 14th - early 15th century). The Ascension of Our Lord Jesus Christ is traditionally celebrated, following the detail of Acts 1:3, on the Thursday 40 days after Pascha (Easter), which was last Thursday, though most Latin Rite dioceses (at least in the U.S., if not in other countries as well) transfer the celebration of this feast to the next Sunday, which is today.  In Greek, this feast is called 'Η Αναληψις : analepsis means a "taking up," although the term is used in narrative analysis (of films, novels, and other works) to indicate a flashback.  The events of this feast are outlined in Mark, Luke, and Acts: "So then the Lord Jesus, after He had spoken to them, was taken up into Heaven, and sat down at the right hand of God" (Mk 16:19). "Then He led them out as far as Bethany, and lifting up His hands He blessed them.  While He blessed them, He parted from them, and was carried up into Heaven" (...

In addition to this blog, I have recently started another blog: ܫܰܦܝܽܬ ܠܶܒܒܰ (Luminous Heart).  My introductory post explains it well: while this blog is more strictly a theological and informational blog, ܫܰܦܝܽܬ ܠܶܒܒܰ will be much more personal and opinion-oriented.  I encouraged you to read both blogs.  God Bless, and thank you for reading. St. Ephraim the Syrian, pray for us!

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...

Each Wednesday during the school year, I pray a Rosary with a spiritual brotherhood I am a member of, a Rosary that is often prayed during a procession led by an icon of Our Lady of Czestochowa.  This past week, as I prayed with my rosary in my right hand and my komboskini around my left wrist, I thought of the sublime combination of traditions. On one hand, we were praying the Rosary, the traditional Marian prayer revealed to St. Dominic.  With this prayer, we fervently beseeched the intercession of Our Lady, the Mother of God, as we meditated upon the mysteries of the life of Our Lord.  On the other hand (quite literally), my komboskini wrapped around my wrist reminded me to constantly remember Jesus Christ and to pray unceasingly the Jesus Prayer: Lord Jesus Christ, Son of God, have mercy on me, a sinner.  The Rosary is a traditional devotion of the Western Church, and the Jesus Prayer prayed on a komboskini is a traditional devotion of the Eastern Church....

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 ...