(Ebook) Introduction to Kalophony the Byzantine Ars Nova: The Anagrammatismoi and Mathēmata of Byzantine Chant 1st edition by Gregorios Stathis, Konstantinos Terzopoulos 3034309120 9783034309127

(Ebook) Introduction to Kalophony the Byzantine Ars Nova: The Anagrammatismoi and Mathēmata of Byzantine Chant 1st edition by Gregorios Stathis, Konstantinos Terzopoulos 3034309120 9783034309127

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ISBN-10 :  3034309120 

ISBN-13 :  9783034309127

Author:  Gregorios Th. Stathis, Konstantinos Terzopoulos 

The anagrams, or more generally, the mathēmata and morphologically related kalophonic forms of Byzantine melopoeïa, constitute the artistic creations by which Psaltic Art is known in all its splendour and becomes an object of admiration. Kalophony as ars nova was born following the recovery of the city of Constantinople after the Latin occupation of Byzantium (AD 1204–1261) during the long reign of Andronicus II (1282–1328) and reached its final form in the first half of the fourteenth century. During the years 1300–1350, four key composers and teachers of the Psaltic Art imposed a new attitude of melic composition on the preexisting forms and designated new compositional techniques dominated by the beautifying kallopistic element. They created new compositions in the new spirit of kallōpismos and musical verbosity. This new musical creation was christened with the term kalophony and this period is the golden age of Byzantine Chant.
Originally published under the title Hoi anagrammatismoi kai ta mathemata tes byzantines melopoiïas (1979 plus seven reprints), this publication thoroughly investigates and reveals for the first time the entire magnitude of Byzantine kalophony with its individual forms, serving as a systematic introduction to the Greek Byzantine music culture and that of the Byzantine Psaltic Art at the height of its expression.

Introduction to Kalophony, the Byzantine «Ars Nova»: The «Anagrammatismoi» and «Mathēmata» of Byzantine Chant 1st Table of contents:

Part One
Chapter 1: A synoptic review of Byzantine ecclesiastical melopϕa
Introductory: terminology
The genera and forms of Byzantine melopϕa
First genus: stichērarikon, with the following necessary distinctions
Second genus: heirmologikon, with the following necessary distinctions
Third genus: papadikon, with the following necessary distinctions
Periods of Byzantine melopϕa and parallel development of Byzantine notation
Chapter 2: The form of the Mathēmatarion
The genesis
The fully developed appearance of the Mathēmatarion eidos and its codification: AD 1336 as milieu
Kalophony [kalophōnia or kalliphōnia] as ‘ars nova’ in the fourteenth century and its defining elements
The first appearances of the kalophonic melos and the favourable historic circumstances surrounding its development
The terms: anagrammatismos, anapodismos, mathēma and others related to them, epiphōnēma, anaphōnēma, allagma, epibolē, parekbolē, prologos, katabasia, homonoia
Chapter 3: The tradition of the kalophonic melos
The formation and tradition of the related codices beginning from the fourteenth century
The Papadikē
The Kratēmatarion
The Kalophōnon Stichērarion or Mathēmatarion
Kontakarion or Oikēmatarion and the Akathistos
The principal composers of the kalophonic melos of the mathēmatarion
The brilliant ensemble of composers: Nikēphoros Ēthikos, Iohannes Glykys, Iohannes Koukouzelēs, and Xenos Korōnēs (first half of the fourteenth century)
Melourgoi contemporary to Iohannes Kladas the lampadarios (c. 1400)
Melourgoi contemporary to Manuel Chrysaphēs the lampadarios (c. 1453)
The sixteenth- and seventeenth-century transmitters and renewers of the tradition
Last appearance of the form of the mathēmata in the eighteenth and nineteenth centuries
Chapter 4: The analysis of the mathēmata
The text of the mathēmata
First Category: psalmic verses
Second Category: the mathēmata, proper
The forms based on content
Triadika (triadic – trinitarian)
Anastasima (resurrectional)
Dogmatika (dogmatic)
Doxastika
Theotokia
The morphological types of composition of the mathēmata proper
Part Two
Chapter 5: Incipits of the anagrams and mathēmata in the Mathēmatarion transcribed by Chourmouzios
Introductory note
ΜΠΤ 727: Mathēmatarion (volume I)
ΜΠΤ 728: Mathēmatarion (volume II)
ΜΠΤ 729: Mathēmatarion (volume III)
ΜΠΤ 730: Mathēmatarion (volume IV)
ΜΠΤ 731: Mathēmatarion (volume V)
ΜΠΤ 732: Mathēmatarion (volume VI)
ΜΠΤ 733: Mathēmatarion (volume VII — triōdion)
ΜΠΤ 734: Mathēmatarion (volume VIII — pentēcostarion)
ΜΠΤ 706: Papadikē (theotokiōn)
ΜΠΤ 706: Papadikē (volume V)
ΜΠΤ 712: Hapanta of Petros Bereketēs
Chapter 6: Reproduction of the kalophonic stichēron Προτυπων την αναστασιν from the feast of the

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Tags: Introduction, Kalophony, the Byzantine, Anagrammatismoi, Mathēmata, Byzantine Chant, Gregorios Stathis, Konstantinos Terzopoulos