The Twelfth Meeting of the IMS Study Group: CANTUS PLANUS Lillaf ür ed, Hungary, 23-28 August 2004

The Twelfth Meeting of the IMS Study Group:CANTUS PLANUSLillafred, Hungary, 23-28 August 2004Konstantinos TerzopoulosOBSERVATIONS ON THE EXEGEMATIC NOTATION THROUGH THE PRISM OF THE MS EXEGESIS OF THE PROTOPSALTES OF THE GREAT CHURCH, KONSTANTINOS BYZANTIOS: AN EXAMPLE

I. Konstantinos Byzantios:a very, very short biographyBorn: Constantinople, 1777Died: Princess Isle of Halke, 30 June 1863

Konstantinos Byzantios1790s: Kanonarchos, 1st and 2nd chanter of the Metochion of Mount Sinai1800: 2nd Domestikos of the Great Church1808: 1st Domestikos of the Great Church1819: Lampadarios of the Great Church1821: Protopsaltes of the Great Church

Psaltic activityRejected the New Method (1814-1821)Codex writerKallopismos, melopa (=melic composition), and syntmesisExgsis

Music PublicationEditor and official patriarchal approval of ecclesiastical music publicationsThree music publications:Anthologia Sticherariou, 2 Vols.(Constantinople 1840 and 1841)Tameion Anthologias, 2 Vols. (Constantinople 1845 and 1846)Anastasimatarion argon kai syntomon (Constantinople 1865)

Compilation of liturgical typikon of the Great ChurchNotebook 1808Published 1st ed. of Typikon Ekklesiastikon (Constantinople 1838)Published 2nd ed. (Constantinople 1851)Unpublished 3rd ed. (Constantinople 1852)

HeritageNeofit Rilski translation into Slavo-Bulgarian, (Typik" tserkovnyi (Constantinople 1853), published by Konstantinos son, GeorgiosInfluence on Romanian church also via Anton Pann publication, Tipic bisericesc (Bucarest 1851)

Exoteric or secular musicKiari of the pezad Giagkou Karatzas and Giagkou Theologos in P. Kiltzanidou, Methodike Didaskalia (Constantinople 1881)

Other music notationsGeorgios Lesbios systemAlphabetical system of the Bucharest SchoolAlphabetical system of Pasios XeropotamenosEuropean staff notation of Ioannes Chabiaras and hierodeacon Anthimos NikoladesImportant contribution to Patriarchal and Synodal responses to these systems

portraita mere glance from him was enough to bring correctionPatriarchal chanter for over 55 years

II. POINT OF REFERENCENotational Classifications

Most general classificationsEkphonetic Notation (beginning in 9th c) Melic Notations Palo or early Byzantine notationMiddle Byzantine or so-called Round notation, 12th cThe New Method of Ecclesiastical Music Chrysanthine notation or Method of the Three Teachers 1814-1821Oliver Strunk, Specimina notationum antiquirum (Hauniae 1965)

Exegematic () notationEarly Byzantine notation (950-1175)Middle, fully developed Byzantine notation (1177-1670)Transitional, exgmatic Byzantine notation (1670-1814)New analytical notation, New Method (1814 to present)Gr. Th. Stathis, Hoi anagrammatismoi kai ta mathemata tes byzantines melopoiias (Athens 1979)

III. Notational ObservationsOne example

Notational signs used by Konstantinos Byzantios33 notational signs

Exegesis by KonstantinosAthos, Hag. Pantel. 977, fol. 202v-203v (circa 1800-1805)

Baptismal Trisagion , , .Used instead of the Trisagion on days when baptisms traditionally occurred, Pascha, Nativity of Christ, Epiphany and Pentecost: based on Gal. 3. 27

Comparative methodAthos, Iveron MS 1120, year 1458, written by Manuel Chrysaphes Doukas the lampadarios of the royal clergy and mastorAthens, EBE 947, 17th c., written by Panagiotes Chrysaphes the new, protopsaltes of the Great ChurchAthens, EBE 2301, year 1809, PapadikeAthens, EBE 2175, mid 18th c., Papadike with mele of Balasios the priestAthos, Hag. Pantel. 977, exegeses of Konstantinos, 2nd Domestikos of the Great Church, exegematic notationNew MethodAthens, 704, exegesis by Chourmouzios, year 1818Pandekte (Constantinople 1851)

Iveron 1120

EBE 947 EBE 2175

EBE 947 EBE 2175

EBE 947 Iveron 1120

Iveron 1120 and EBE 947

Iveron 1120, EBE 947 and 2301

EBE 947 and Hag. Pantel. 977[d] e d d c d c d[d] e d e f e f f e e d c e d

Hag. Pantel. 977 and NM 704

PostscriptNotational comparison of MSS:Understanding on notational stages of developmentUnderstanding of stages of melic compositionObservations:Continuity of exegesesFreedom of kallopismos on foundation of earlier melodic shapes

Comparative notational methodand the exegematic Byzantine chant notation