The IILatrinos" Settings of the PolyeleosPsalm 135 To the Typological Problems of the Late Byzantine Psalmody EIend Tonceva It is wea known that at the beginning of the fourteenth century a new type of music manuscript was being used. in the services of Byzantine Church the musicat manusaipts of the Akolouthiai type.' They are connected with the predominance of the mixed Jerusalem Typikon on the Balkans which replaced the Typika of the Constantinople centre: the monastic Studios Typikon and the cathedral Typikon of Hagia Sophia. 2 Among the richest collections of psalmodic melodies in the Akotauthiai is the repertory of the Polyeleos, performed on spedal feast morning offices (OrthroS).3 We may recoHect that the term polyeleos arose in connection with the repeated use of the word "deos" in the refrain text after each of the 26 verses of Psalm 135: eJ :> r 'tov \ >,... r uu'tOU ' ...., ("for h"IS mercy IS . et ema. 1")4 Th e lat e Ott Et~ UUilVU to" ~'\EM:.O~ Byzantine Polyeleos repertory includes several secticns among which the melodic cycles of Psalm 134 and 135 take central position,S the cycle of WilIiams, E. John Koukouzeles' Refonn of Byzantine Chanting for (jreat Vespers in the Fourteenth Centuries. Ph. D. Thesis, Yale Vniversity, 1968, Chapter UI: AKOA.OOetUt = Order of Service. See Strunk, O. The Antiphones of the Octoechos. - Journal of American Musicological Society, XIII (1960), p. 53. 2 Williams, E. Op. ciL, Chapter I, p.11, 73-74. 3 Touliatos-BankeT, D. The Byzantine OrthTos. Byzantina, IX (1977) 323-3B3, With Bibl. 1 A 5 nOA.U€A£OS. MBY<X.A.U EA.A.llVlKl1 EYI(t)KA.07tUlO€tU, XX, 496-497. MOTgan, M. The Musical Setting of Psalm 134 - the Polyeleos. - Studies in Eastern Chant, Vol,3 (Oxford, 1973) 112-170, T 0}{1JeB8! E.'h3pO)l()leHCKaTa BepCIDI Ha "IIOJmerreli Ha 6bJlI'8pK8Ta" OT tt08H Kyxy3eJI rfhe Revival Version of the Po/ye/eos "of the Bulgarian Woman" by John Koukouzeles) MY3HKamm XOPH30HTH (= Musical Horizons), 1988, No 17/18 (Sofia) 6-27/ 38 nOJllleJIeH 1t6'hrrrapKaTa" - B1.3MO)l(JtO B38HMo)leHCTBHe Me)l()l)' U'LpKoBeH H cpOJIKJIOpeH npo41ecHoH8JD13'hM (On the Polyeleos Tes Boulgaras: A Possible Interaction Between Church and Folk Singing ProfessionalismJ - Musical Horizons, 1989, No 12/13 (Sofia) 147-165, 38 p8HH8T8 nOIDIeJIeliH8 neceffil3 Cantus Planus '9:3 - Eger, Hungary 473 psalm 136 is added to them - they are Psalms which belong to the 19th Kathisma according to the Jerusalem monastic distrtbution of the Psalter.° The chant tradition of Psalm 135 has the advantage of several available sources before the fourteenth century. The earliest of them is the Russian Blagovescensky Kondakar (of the Asmatikon Type) of the twelfth century.? 't introduces, by means of a special rubric, octoechos arranged melodic npaICTHK8 H8 namcamne (About Early Balkan's Polyeleos Practice (on Sources from Xllth and Xlllth cc.) - D'hJIr8PCKO MY3H1<03HaHHe (= Bulgarian MusicologyL 1985, N3 (Sofia) 3~291 3a CTap06'bJIrapCK8Ta nOJrneJIeifHa neceHHa np8KTHKa (HOBOOTKpHT paHeH HeBMeH 3arrnc Ha nOJrneJ1eH "BYJIrapHKOH" (About the Oldbulgarian Polyeleos Singing Practice - a Newly Discovered Neumed Copy of the Po/yeleos "Boulgarikon") - In: KHpHJIo-Mero.IlHeBCKH CTY.llIDI (= Cyrillo~Methodian Studies), No 4 (Sofia, 19B7) 340364 1HoBH <t>aKTH H H3Crre)lOB3TeJICKH acnpeKTII B MY3HJ<aJIHaTa CTapo6'bJII'apHCTHKa (New Facts and Aspects of Research in the Musical Oldbulgaristics) - Ruls.arian Musicology, 19B2, No 4 (Sofia) 3-41/ nOJDIerreihlOTo TBOpqeCTBO Ha HoaH KYKY3err B KOHTeKCT8 Ha 6aJll(8HCK8T8 l{bPKOBHOneceffila npalCTHKa (The Polyeleos Work of John Koukouzeles in the context of the Balkan Church Chant Practice). - In: Acts of the 2nd International Congress of Bulgarian Philology and History, Vol. 17. Sofia, 19B6, 224-262. About the latebyzantine Polyeleos see Ton~eva, E. TIoJrneJ1emrn MeJIOmrn, 0603HaQeHlt KaTO 6'bJIrapCKH B 6aJIKaHCK8T8 neBQecK8 npaKUlKa (ncaJIM 135 no H3BOPH OT 12/13 - 14/15 B.) Wolyeleos Settings, DeSignated as "Bulgarian" in the Balkan Chant Practice (psalm 135 Based on Sources from 12th/13th and 14th/15th cc.!). Second Ph.D. Thesis, Institute of Arts Studies (Bulgarian Academy of Sciences), 1993. 6 rn the monastic rite the entire Psalter was used in divisions known as Kathismata. The "chanted" cathedral rite {'acrJ..La'tlKl1 aKoA.ou8taJ had another important distinction: the selection and distribution of psalmody. Dliver Sfrunk was the first to use the term "distributed Psalter" . See Strunk, D. Byzantine Office at Hagia Sophia. - Dumbarton Oaks Papers IX-X (1955-1956) 177-202, Touliatos-Banker, D. The Chanted Vespers Service. - nl1poV0J.1tCX, VIIr IThessalonikL 1976J 107-126, With Bib!. 7 Der altrussische Kondakar. Blagovdcenskij Kondakar. Facsimiliausgabe. Herausgegeb. v. A. Dostal u. H. Rothe. qiesse, 1976. See RoTOs, C. die Entzifferung der Kondakarien-NotaUon. - Musik des Ostens, 3 (Kassel, 1965) 7-711 4 (Kassel, 1967) 12-44, Myers, yr. The Asmatic Troparia, Hypakoai and Katavasiai Cycles in Their Paleoslavonic Recensions. - Bulgarian Musicology 1993, No .2 (Sofia) 336, With bib!. 474 The Polyelcos Serbian Work . XV Uerusa[em 1 (65) 107-120. 1 f.repertory. C intones the refrain verse. As it can be seen from Table 1.. The Polyeleos Designated as "Bulgarian~. . E.scheme ABeD. 10 The composition type is analysed on the basis of the comparative study of the neumed versions. Petit.Dictionnaire d'Archeologie Chretienne et de la Liturgie.1v). Old -2. Wiesbaden. while the Byzantine type of modal systematization is followed (although the Slav kind of numeric designation of the echoi from 1 to 8 is used). = lJeTBepOCTHXOHOBO = ("Fourversed"). 1970 No on Mount 221 f. segment. I. Ferretti) . L L'Antiphone dans la Liturgie greque. follOwing a composition scheme of the comma type11 (the term is according to P.6v) see Table However additionally the rubric introducing the Polyeleos) 34 (verses 1a. . Beograd 1974-1 Ton~eva. . See Stefanovit. of All Manuscripts of Saint Catheri . See psalmodie dans byzantine. 2me partie 1461-248B. These are earliest record of melodies of this psalm known to us (the gradual binding of Psalm 134 with the designation "polyeleos" is testified by the Typikon of the a 'tE'tpucr-nxol. in the tetrastichos groups two melodies are noted for the odd verses. and D is the traditional finai aUeluia (see Example source of the same paleobyzantine manu~ script notation) Sinai 1 the same tetrastichos oktoechos f melismatic m . in which A intones the text line. # fragment incise. T. D.Proche Orient Chretien. 1 p. gregorienne. T. the 26 verses of psalm are groups of four group is intoned one of the eight modes. the even verses are noted in short (onLy their beginning) which means that they were being intoned after the for the previous manner of notation same connected two-choir antiphonal where the groups were the choir on the melodies while th left intoned th the same 9 modeL The Polyeleos chants in the Blagovd~ensky Kondakar10 are highly melismatic compositions. B is the section of the traditional for the psalm alleluiarefrain. Chapter o The related to the type Psalter cathedral). 12 Kamil. l J l 1 . 90-91. 11 FerrettL p. 15 But unlike earlier sources.1. Mount Athos: A late Chapter in the History of the Byzantine Rite. 115 A. Les premieres etapes. 16 (Ex. 1985) 109-134. 42 (19B8). attributed to st.1-2. The manuscript presents again an oktoechos cycle only of Psalm 135. The melodic stylistics however remains the same: greatly melismatic chants follow a comma-type composition scheme.. 1c) The study of the so described early melodic cycles of Psalm 135 in the context of the data. N. 1-2. texte critique et notes M. E. 18 Toncheva. Hamburger Beihiige zur MusikwissenschaFt.1/ 18. .1/ 17. Intr. B. Arranz. Arranz. 1 Le Typikon du monastere du Saint-Sauveur . T. Salvatore Monastery see: Le Typicon du monastere du Saint-Sauveur a Messine Codex Messinensis gr. 17 After the A1exine Typikon the first Doxa of the 19th Kathisma. Salvatore Monastery near Messina). this manner of singing is under the influence of the "akolouthia asmatike".Musica Antiqua (BydgoslCZ. Vol. .1960. Op.. Moran. New Serie. In Ms. named Polyeleos ought to have been sung in a very solemn manner. 13. M. D1. Taft. (with repertory of type A. E. TOJIKOBbm THIlHKOH. 1959. 15 Salvo. 1993.145-178.Orientalia Christiane Periodice 38 11972). the cycle here is constructed on the basis of groups of three verses. 1969. The Polyeleos Psalmos 135 Based on Sources from 12th and 13th cc. 13 476 . No 1 (Sofia) 3-31. M.13 Chronologically the next source is Ms Messina 161 of the 13th c. Sinai 1273 immediately after the Polyeleos an Octoechos Alleluianon cycle is neumed . 21.14 neumed with mediobyzantine notation). . B. 1131. presented by the typica.2/ 14. Theodore of Soudios (d. Polska. according to the Typikon of Patriarch Alexis (10251043).1. According to Skaballanovic. 12 (1975).45-50.. cit. Middle Byzantine Fragment with Melismatic Chant in the Bachkovo Monastery Musical Manuscript Collection . Cjli asmata nella musica bizantina.1 f 7. For the A1exine Typikon see Arranz. 10 Toncheva.1/ 9.127-145 / 14. Les premieres etapes . 1913 r.St. 14 Salvo. The Ordinary Chants of the Byzantine Mass.Bulgarian Musicology..2. 18 The Fragment is foliated to Sticherarion No. 11. See CK86aJlJl8HOBWI.Dumbarton Oaks Papers. 1910. The selection can by identified as the Allelourion. The Polyeleos Settings Designated as "Bulgarian" .a selection of the following Psalm verses: 1. d. Rome. 17 A particularly valuable source for Psalm 135 is the fourth early manuscript . . for each of the three-verse groups only one melody for the initial verse in the groups is neumed (see Table 1). in which Psalm 135 was perfonned as a special antiphone. R.Bolletino della Badia greca di Cjrottaferrata. Bd. D1. made possible their characterization as representatives of the liturgical practice of the Constantinople type. 4. E. For the Typikon of the Sf. 45.. p.1..the so called Bachkovo Fragment with melismatic chants of about 1281.ma.. 1959. 818 of the same Toncev3. . 826). 13. M. KHeB. The first two groups of four verses are intoned in second authentic echos.under the common designation "Polyeleos" . 61 V. 111 112 See for example Ms Athens NO 899.lleHHSI (The Musical Tradition Through the Centuries in the Rachkovo 19 Monastery. / The Polyelcos Psalm 135 . In the same group third authentic and nana echos mingle with plagal Tetartos. The latrinos-melodies complise mainly two modal areas: of the second and the third modes.H8qaJlliH Ha6mo.Musical Horizonts. . 22 The first feature of the latrinos-repertory . 477 . although the modal arranging again is mainly of the tetrastichos kind. Ea'lKOBCKa MY3HKa. . though again its medial echos nana appears immediately.is that it isn't of oktoechos type (see Table 1). that is a repertory of the latebyzantine type.) .rrno-pbKonHcHa C6HPK8 .a repertory already of the two Polyeleos Psalms 134 and 135. Third authentic echos begins in four-verse group V. As it can be seen from the Table the Bachkovo Fragment has a limited number of latrinos melodies. 1987. Table 2 presents the repertory proportion between the Bachkovo Fragment and the earliest available to us dated anthology . 1966. Toncheva.. The Bachkovo Musical Manuscript Collection ..Akolouthiai manuscript Athens 2458 of 1336 A. Byzantine Composers in Ms. even in the same group (from the odd verse in second position) is replaced by medial second echos nenano. it was built in the 11 th century as a centre of the Byzantine-Cieorgian culture).. E.in comparison with earlier sources for Psalm 135 . M.. and single melodies have double opening I" TOH'. See Vetimirovic. Oxford. and belongs to the musical manuscript coUection of the Bachkovo Monastery (the monastery is situated in South Bulgaria near the contemporary town of Assenovgrad. Its comparative study in the context of the latebyzantine Polyeleos melodies identifies the cycle after Psalms 135 as a repertory. E.year. D. f.{HSI npe3 BeKOBeTe B n8q](OBCKIDJ MaHaCTHp.Preliminary Observations.In: Essays Presented to Egon Wellesz. Middle Byzantine Fragment. Ve!imirovic is the firsC who noticed the designation "'atrinos" in relation with the latcbyzantine repertory. to which some sources of the 15th century add the attribute "tes Constantinopoleos" 21 • In the latebyzantine Akolouthiai the latrinos repertory takes central position and heads a series of chant cycles of Psalm 135. Athens . with the initial melody of group begins second pLagal echos.2406. MY3HKaJrnaTa rpa)])1l.a mysterious designation. No 6 (Sofia) 54-70. however. which. 20 ProL M.leBa. continuously designated in the latebyzantine Akolouthiai as "latTinos"20 .7-18.19 The Fragment records . The same designation also accompanies the melodies for the even verses. Wien Suppl. Sinai 13. Athens 928) 25 <X. f. Sinai 1257..gr.S!7 23 Some Doxa copies have a double modal signature for plagal Tetartos and nana modes.A. Designated. 115. As Table 3 shows. Athens 899.a process also evident from the correlation between the Bachkovo Fragment and the early Athens anthology. was not so popular in the 15th century. as weH as verses 15 and 23. the last one in group VI. (Sinai 1256. gr. And verse 24. Athens 2458. and 12 from the 15th c. See for example MsAthens No 2622. The final DoxoLogy is usually in 4th PlagaL 23 According to the data of the latebyzantine sources .. 185. Chapter IX. Sinai 1462). it seems that only after that the appearance of a fourth melody is "allowed" . Barb. evidently offering new melodic alternatives.ay~ .for the even verse in second position. 110. Usually the initial melodies (or the melodies for the two odd verses) in the four-verse groups are introduced through the term "aHagma.A.A. Sinai 1311. (Athens 2406. Sinai 12501 Sinai 1293. have consulted 24 the latrinos-cycle undergoes further repertory enrichment . La psalmodie dans le rite byzantine p. Sinai 1294. And one more observation: Table 3 shows that certain tetrastichos groups as well as some of their verses seem to be connected with an increased number of different melodies. The investigation of this process has revealed following of certain norms. 194.AacratV. But when a second mdodies for the same verses appear. Polyelcos Settings. M. they are most often accompanied by the designation "eteron" . Athens 2422.change (change in the melodic pattern)..meaning "other".26 designating most probably a second possible pattern. gr. Wien theo!. the term evidently designates the main melodic patterns with which the four verses in the groups could be intoned.26. Pal. 300. 243. 26 Idem. in the four-verse groups at least one melody is neumed (for the initial verse) or two melodies (for the two odd verses). 165v-166r. gr. alternative for the performance of the fourversed group.25 . Byzantine composers . It is difficult to interpret the described preferences but most probably they are connected with the semantics of the psalm and respectively with the actuality of its main ideas.<X. Such are tetrastichos groups IV and VI. The possible position for the appearance of a third melody in the group is the last even verse. Sinai 1463. Sinai 13291 Sinai 1552. 478 . 24 In the investigation 22 of the latebyzantine manuscripts have been consulted: 10 from the 14th c. Vat. actively intoned in the 14th century. Wien phil. gr.". E. See Mateosl J. Velimirovic. 27 Ton~va.modal signatures for 4th plagal and nana modes. Taphos 425. A summit is reached in the first half of the 15th century. the remaining authors (also of the 14th century) (jeorgl0s Kontopems. 32 Some versions of John Koukouzeles enjoy great popularity. p. John the Monk and Andrew are represented with one melody each. 24 are attributed to 8 composers. 2Q In principle the author melodies don't take initial positions in the tetrastichos groups and don't affect the first two groups in the series. Op. The most famous latebyzantine composer of the first half of the 14th century John Koukouzeles (a Bulgarian by birth}28 is presented with 8 melodies. E. along with the traditional (anonymous) melodic repertory report a number of newly-composed author chants. Op. (jeorgios Panaretos. They appear mainly in the position of "eteron" that is alternative versions. and intone mainly even verses. For example. 1.. 13. So out of the 45 melodies in the cycle (consulted in this study). that is melodies which. Because of the limited place I have no possibility to present in detail the musical stylistics of the lamnos-psalmody . Williamsf'. The latebyzantine sources reveal special dynamics in the development of the Polyeleos repertory. 11 and 17. 479 . 3D The above mentioned tetrastichos groups IV and VI are especially actively recreated by the authors. E. cit. Byzantine Composers . 14. one of them (Example 3) seems included in aH latebyzantine cycles of Psalm 135 known to me. Such is one of the anonymous melodies for verse 15 which also intones verses 16.I'll mention only some of its Williams. only some alJthor patterns are accepted mainly of the early latebyzantine composers such as John Koukouzeles and Xenos Koronis.Unlike the Bachkovo Fragment the latebyzanhne sources of the 14tn and the 15th centuries. E. Chapter VIII.. intoning verses in the zone of tetrastichos group IV.. Chapter VII. having become popular. M. 168-169. His contemporaries Koronis (Xenos) and Manuel Agatianos rank second with 5 melodies each.. cit. 28 31 Williams.with 3 melodies. special attention being paid to verse 15 again. Interesting observations can be made on the practice of the so called migrating melodies (the tenn is after E. During the second half of the 15th century a tendency appears towards reduction of the repertory and limiting it to traditional chant series. 32 Tonceva. predominantly anonymous melodies.. 2Q Velimirovic. Manuel Kourtesis follows . 30 Only some settings by the most authoritative authors like John Koukouzeles and Xenos Korones had the favour of being neumed as matn models in the tetrastichos-groups. Polyeleos Settings Designated . Table 4.. function like preferred melodic patterns for intoning different verses. Copenhagen. Ci.Acta Antiqua Academiae Scientiarum Hungaricae. ). 1958) 213-235.. E. E. Wien. 1. 89. enoxa Uohn Koukouzeles .-roS . Herausgeg. See Devai. Einige Beobachtungen. Wolfram.2 (Budapest. 124. -rex.v-rex. v.. Der Strophe-Kompositionstyp in der byzantinischen und slavischen mittelalterlichen Musik. P. Conomos. Intonation Fonnulas and Modal Signatures in Byzantine Musical Manuscripts. Polska. Ed. Chr.ex. Corpus Scriptorum De Re Musica.) as a Source for the Latcbyzantine Melodical Lexicology (Thesis). . Op.In: MoaH Kyxy3eJI )l(}{BOT.m.Monumenta Musicae Byzantinac. Tontscheva. :so .. Vo!. Wien. E. 1985.thesis classificationJ37: Bareia+eteron Parakalesma and a combination of Darta 33 Ferretti. . 1981. Ci. Subs. Vnlike the mel1smatic compositions in the earlier sources. 1955) 151-179.. E. which are 'rded through traditional melodic figures-formulae raccording to the latebyzantine melodic-lexical .. Example 2 presents a melody especially typical for the strophic composition scheme. 1960. Epocn).Acta Antiqua Academiae Scientiarum Hungaricac. neBqeCKO ynpa)l(}{eIDfe Ha fioaH KYXY3eJI (The Cheironomic Chant Study of John Koukouzeles) . On the fourth syllable from the end of the line (halfverse I/) occurs neumatic expansion which introduces the Dominant of the echos d.. Corpus Scriptorum De Re Musica.Musical Horizonts. Hannick u.life. The Treatise of Manuel Chrysaph es.mcycp~ex. TBpqecTBO. . dt. the latrinos repertory includes mainly syllabic~neumatic chants of a strophic type: 55 according to scheme ABA'B. The Musical Study of Cucuzelcs in a manuscript of Debrecen. p.36 upon the first accented syllable of the text.Monumenta Musicae Byzantinae. p.!€-rex. cit. 72. 1985. . XHpOHOMHqeCKOTO. 34 Williams. 15th c. by D. Vol. S. 8aJYtex. 7.main characteristics. No 18/19 (Sofia) 74-101. . f. j. lsaija's Anthology (Athens Ms No 928.54 Section A is a recitation of the verse text with opening pitch at Ci (theoretical second Tonic of the echos). 28-31 Oktober. that is the verse text and its allelouia refrain expose the melodic modet which intones the second tine of the refrain text and the final aUelouia. Wien. 1985. 35 Raasted. Internationale Symposion anlal3lich der 100 Wiederkehr des (jeburtstages von Egon Wellesz. 1988) 1025-1046 . The Musical Study of Koukouzeles in a Fourteenth Century manuscript.. Monumenta Musicae Byzantinae. 37 Cia bri el Hieromonachos. . Work. the lAmpadarios. In this manner emerges the basic tonical axis of the ecnos: two consecutive thirds q~b-d.Musica Antiqua (BydgOSlCZ. 480 . TOHqeBa.35 the main pitch of recitation is b natural (the first theoretical TonicL which is achieved by the ascending figure of Darta. ex. Abhandlung ober den Kirchengesang. 2. Vol. It is in second authentic echos and is designated in the sources as "old" (palaion). Toncheva. 4 (Budapest. . Op. nex. 183-185. Acta Scientifica VII (Bydgoszcz. Op. With the increase of the atleluia-episodes also appears a characteristic initial ali-anena-melisma . which also reveal basic rules of melodic extension troping 38 in the latebyzantine psalmody (I'll mention that the latebyzantine psalmodic practice presents exceptionally rich and diverse manifestations of melodic troping. With Bibl. E.39 suggesting the possibility of responsorial singing of the melody. after that the metos of the melodic model is repeated without changes. Kungl.a melodic expansion upon the second syllable IIle" of the allelouia-texC often joined to the characteristic meaningless syllables "anane . This is typical for sections AI.figures with cadential function. Special mention should be made of the realization of the melodic culmination in the composition upon the word "deos" which is the key word for the semantics of the psalm. D. alleluia " adopts a new melodic area . the next two figures (Psefiston and Piasma) build the cadence of the melodic model. sing). upon the first accented syllable of "eleos" .ismatic extension of the 4th (5th or 3rd) syllable of the end of the verse line. It appears in three more extensive (metismatic) realizations.of the subtonical third. . In section AI the recitation of the refrain verse-text uses other possible intonations typicized for the echos. The melody reported in the example is one of the basic prototypes in the repertory of 2nd authentic echos.Musica Antiqua. 40 Touliatos-Banker. p.. J. well-known in the tatebyzantine music. Konferenser 8. Vitterhets Historie och Antikvitcts Akademiens. Here it is a vocalise of the Coda type. Thus the version in line 2 of the example indudes an important melodic addition between the medial cadence at the end of the text line and the alLeluia-refrain of the psalmodic phrase-model. As evident in the example.the Culminant of the melos is achieved. Solmization in the Ancient Greek and Byzantine Traditions. which introduces a modal axis of fourth area of un stability (the fourth a . but in other copy of the melody this and similar intonations (see line 5 of Example 2) are texted with the module "lege" (say. Polska. JQ WilIiams. In section B (the aLLelouia refrain) the second Dominant of the echos is reached . ""O It is dear that while aHelufa I embellished the alleluia cadence known to us from the prototype.1981. a brief vocalise upon the second syllable "le" follow . Line 4 of the example presents another manner of melodic-compositional expansion: the introduction of a second alleluia episode. Troping Techniques in Byzantine Chant. cit.89-98. Raasted.according to the well-known rule for me1.the tone e (a fourth above the Tonic' b). 1985) 553-573.. but this is a topic worth special studies). 39 481 .d)' leading to the tonic I-b.. llH8 neceH (Rateva. Op. I."oti"-melisma. E.. 1989. 4 continuous ali-anane melismata upon the second syllable of the final alleluia. 45 In the latrinos-cyde the comma versions are single and predominate in the new composed author repertory. In this respect 'Id like to point out that the most famous composer John Koukouzeles appears to be especially strict about observing the tradition. this very section aHows considerable melodic troping. Musical HOTllonts. p.. This compositional fonn appears to be transitional between the strophic and the comma type of psalmodic composition. Chapter VI. 45 Idem.see Example 4)1 melismatic expansion appears to be possible on the initiaL word of the refrain text . Designated . 44 Idem. VII. texted by means of manipulation of the refrain verse (repetition of words. And while as a rule the comma compositions are more melismatic.introducing a second traditionaL for the melos of the mode axis . is worked out on musical materials from the Bulgarian Folklore. IIU mention only the so caned mixed strophic fonn 44 . the above-mentioned composition schemes differentiate basic stages of meLodic-compositional expansion-troping of syllable-neumatic prototypes. E. The next version (line 5 of the example) shows even more extensive alleLuia melodic development with increased embelishments. VL VII. the strophic psalmodic composition undergoes modifications. Chapter V. with scheme ABCB.lleHlum Ha na. Polyclcos Settings. 43 As a result of so-caned procedures of troping. which is used in this study. which is probably one of the reasons for his popularity (a fact pointed out in the well- The analytical system. ali-anane melismata upon the second syllabLe of the alleluia-refrainl 3 . increase of the alleluia-episodes. No 11 (Sofia) 11-41. word series). 42 Williams. H. leading towards the Tonic b. About Some Evolution Tendencies in the Modal System of the Bulgarian Folk Song). line 3).in section A': melismaticalIy treated word "eleos" (in other settings in this section it seems possible melismatic accentuation of a second key word for the refrain text: "eona" .again an area of unstabHity.} Chapter IX. 41 The versions presented in the example reveal "weak" places open to melodic expansion in the psalmodic composition: 1 . where C designates the troped part of the refrain text. see ExampLe 4. 41 482 . cit.in section B: introduction of the echemata of the "lege" type. 162-163. 2.the fourth q-c . 3a IDIKOH pa3Bomrn reH. 43 Ton&va.in section A this is the melisma upon syllable 4 (or 5. See Pa1JeB8. which acquires a number of melodic innovations.. or 3) from the end of the verse linel 42 2 .ll8 B 6'hJII'apCK8T8 Hapo. 16 47 . modal features of to single . 43. p. 4S of the double modal case designating and nana modes. For more details about the modal characteristics and about the modal evolution of the Polyeleos psalmody see in: Tonteva. Formulas .. Thus the versions in 3rd authentic echos more frequently "modulate" towards the 1 st echoi. p.which has become evident from the above analysis of the melodic versions of Example 1. And the massive modes (authentic and nana) attests to closeness to The Treatise of Manuel Chrysaphes ... Chapter VI. nana). In the same manner..known tatebyzantine 5th century Manuel Chrysaphes) Lahinos-psalmody aUows a great number of observations upon the modal system . on the basis of analysis of the melodic repertory it becomes possible to deduce analogous characteristics of the other modes comprised in the cycle . while in the nana-melodies the deviations towards the plagios Tetartos are more frequent: deviations.. Designated .. some characteristic differences can be established. 48 Raasted.a problem I am not 47 I'lt mention only modal problems it able to hasn't been solved up to now.. modal designations. which meaning in the interpretation account for the e modal designation (see Example I'll enumerated the latrinos-Polyeleos (1) the presence of echos arrangement with predominance of the 2nd and 3rd modes. The melodies of 3rd 3rd medial suggested interpretation of The melos of chants seem too similar which account for the numerous divergent readings of their interpretation (presented by the latebyzantine sources). 23. E. However. 4Q It seems European type systematisation is followed: respectively medial) appearance after the respective authentic . 49 (2) predominance of medial echoi (nenano. (3) 'modal The chant causing differences modal signatures. VII.. Polyeleos Settings. 19B9. where older Constantinople traditions are kept Thodberg.. p. a. 53 With the estabLIshment of the Jerusalem Typikon on the Balkans. 35. 1. 52 Velimirovic. CnT.V(l'tOA110 Kat 8UO£CJ)O Thessalonike. Llhistoire et la geographie de la region de Srnima entre les deux occupations turques (1 OB1-1317). 4B4 . Chapter VII. p. 1988. Paris. 111-120.. Handbuch der Kunstdenkmaler. after the Nikea period in the Byzantine Empire. Its investigation in the context of the Polydeos repertory made possible its localisation in the region of Thessaloniki 55. even preserves rdics from an older monastic psalmodic chant tradition. 5. 91.Monumenta Musicae Byzantinae. Dannstadt.A. A Partial Account.Travaux et memoires. Polska. 64. 51 The aforesaid directs us to the assumption that the latrinos-repertory contains.Su cx. Munitz.Akolouthiai present a second main Polyeleos cycle of Psalm 135. Nikephores B1emmydes. Leuven. Vol. following compositional strophic structure. p. Chr. Centre de recnerches d'histoire et dvilisation byzantines. this archaic monastery practice is updated again in Constantinople taking central position in the Byzantine capital. Byzantine Composers . S. 76. These conclusions confirm the hypothesis of Prof.in the monastic centre of the mountain Latros in Asia Minor. 152-155. Musica Antiqua (BydgoslCl. 99.OVUCl ~'tcx.a region. .In: H 8f:Oocx. caned in the sources octoedws and tetrastichos 54 similarly to earlier versions of the Polyeleos. reproduced until then in an oral way. 50 1960. ~ Tontscheva. 1982) 93-114/ Polyeleos Settings. 13.. The predominant so-called "classical" psalmodic compositional stylistics directs us to the same supposition . W. B.Jerusalem tradition for which the presence of the third echoi is characteristic (11ll remind you of the assessment of Chr. . Designated.". 22. 5J Ahrweiler. Kopenhagen. Hotz. Thodberg about the modal system of the short Psaltikon style of the AHeluarion} 50. 2. 65 Hannick. unlike the early Constantinople modal codification where the third echoi are missing. 1965. Translation and Notes by J. HBoulgarikon Melodien in der Akoloutnie des Psalms 135. 61 N 1982.Introduction. H. Der byzantinische Alleluarionzyldus. Thessalonique dans llhistoire de la musique ecdkiastique byzantine. Subs. . Milo~ Velimirovi6 conceming the localization of the latrinos repertory52 . connected with JerusaLem. Idem. 83-87. a centre whose tradition is connected with the ascetic monastic practice in the region of Palestine and Jerusalem as early as the 8th and the 9th century. M. pp. . In this respect lid like to add only the follOwing: along with the lamnos-cycle the Latebyzantine . Die Mittelmehrkiiste Anatoliens.syllabic versions. Studien im kunen Psaltikonstil. E. N. c. (Washington Christiana Periodical 54 (1988) 244-2. Transl. Symoon Thcssalonike.unlike the West with its exact musicattheoretical reflection. Orientalia 485 . as theology until the 20th century. at same time it affirms the importance of these musical sources for the study of the complicated liturgical development in the orthodox region an importance which hasn't appreciated enough until now. music remains as exegesis. Simmons. R. L. Review of D. 57 Ta ft. cultural traditions. nd especially of the II known world of the East Orthodoxy. This is especially necessary now. Massachusettes.40. 985). in our striving for European unity.. E. Treatise on Pra~r. where ...alive as the famous archbishop Simeon of Thessaloniki points out in the 15th century. 56 The aforesaid confirms the great value of the latebyzantine sources of th I\kolouthiai for the investigation of Byzantine psalmody. Liturgy and Music. 57 Finally I'll that probably the comparative investigations in the West and the East of central aspects Christian singing such as the psalm singing could contribute to understanding the relationship between these two cultural worlds. us the Europeans. 1981. by H. Th Late Byzantine and Slavonic 5lI Communion Cyclc. Conomos. .MUfIHJIOCTb IEfO D .. LOUIA .L(AHTE CR rOCrrO.aAAEva .AJIEHEnOyrIA (Halfvers I) (Halfvers 11 = Refrain) (Allelouia I) (Allelouia 11 with ALENANE Melisama) (Refrain Halfvers I) (Refrain Halfvers (Allelouia) In EXAMPLE 1 b Ms SINAI No 1273.on 'ayae{)~ I B .. Psalm 135..ALLENANE .../.on aya Os B .EXAMPLE 1 a BLAGOVE~CENSKIJ KONDAKAR... '!m KUptW ./. Psalm 135.ALENANE . I aAA.aVEva I aA. e/ .l(EBI1 IAKO EJlAID AJIEHAHEOYrIIA AJIEHAHEHAHErI AHEJIOYfIIA C .... LOUIA (Halfvers I) (Halfvers Il) (Allelouia I) (Allelouia 11) (Refrain Halfvers I) (Refrain Halfvers 11) (Allelouia) EXAMPLE 1 c Ms MESSINA No 161. LOUIA ... LOUIA C. Vers 1 A .'to'EABOs'aUTou .ALE .IAKO Bb BEKbI . 'tov I atmva ..'to 'E'AEo~'aUTOU D .Outa IV 480 (Halfvers I) (Halfvers 11) (Allelouia I) (Allelouia II) (oti-Melisma) (Refrain Ha1fvers I) (Refrain Halfvers 1I) (anena-Melisma) (Allelouia I) (anena-MeJisma) (Allelouia 11) .' ."-:> I <I<J D .on .'E~OjlOAO'Y£tcreE Tql KUptW C..sAOuta .. .. C..t(JeE Cl .. 'tl.'E~ojlOAoy..ALENANE . Vers 1 A . vers 1 A B - HCI10BE.I C .ALE . Psalm 135..E tov'atUJva .on ~r'" ..sA. . LOUIA cl C .. r- ~.i ~ 1i I.I .. D ...... ..9'~ ..I'" J J J J J J J J . I II1 011 ~ d d :~ d ..:t co• ~') ~ .\ H -I 1 ·1 I d .. t J j ~ -..1 -:r GO.: en ~-H1'" .::: J J i..+ ~- co -))\ . > ~I cl ~ ~T::J' "'"' ~ 487 ... 6 Cl " . I . >.:. .:.. ? =--~')')"'~ r.. I F i~ i. \::. -. " .. /.J.olJ~e!." - ......)5 ."" rl'.... *"i"'\#~ . '1-. . r~. :.()"V. ~ \ c. CL. G-" _ -... ~f''."q ? "I ' ~ \./ I lOP .. c. ""-' . '" r _'\_.....i -r}s.'J J i }x t t:ta.""': / r..-l~r~yVJ. - q . . r 1. .. - tl') pI ..71' I.9h ~ '(.. J. V .. TOll ~O.. / / \ "7"". J~ PlG!: . I .. . I ...VT. I .. ••l:J' &...S7 -. . } Al ~ ~ "I 15 I It >...!S10V. r ---. . ~~S TO "I I I'...'- V...~. I I I. ion ~ ! :j -..k¥ liT] ~J 1 J ... B:.I J.g ..J ~ _. ...'CfI.\L./ .Jn"1\-' / \..s·£l~t.v<rt...: .. \- .- ....-\:::. J \" " \ ". -z. Ivy ~ :p ~ 1i . r ?r Itn \' f ...U'f W ". "I'. KOuli.....n"'-"?'-"..d~~ci '~..t~ ~ CLH~b DD Q. DV J I 1'\ - 1s\... I I ... - '. ---\ .~.-~~?f')<"...." .' Cb" .. ..) ... : \.. n v ~ - \./ r c. ""\ T~ I 1 IJ} . p !..J - ~ _LJL A~ I ~ .. I.. ..)'Y!) r.' . '/" _.. \..:'~ 1 I "'/~ "ljI..o.. - . ..· ~ . r... .Lt 7 s \-sr ~ 0....I..... 1'1'1 TO .v A1.:! p. v ? ~ .?.I ../ -=-"? r--J c .::> '7 ~ '1v ' . "\. ().:.uJ-uTH.. 1--+""V TI ...J . -'1-'.. J} j)'j .-CI~~ I~ CA u.• . 0.... "-. " ~ ..-:.01 . *.. r-..L1 v * r W flJ..J . i f!". . W f) )f E.. nP.. RI"V I Ij' .-.. ~. I • . A t g<"'? -../ \.. pn...... 0'.'3 0:.." 7 tJ).4 Vi fN i <-c.t) :::. 'f ~ \ .}lPLE 4 I~ ~ 7J lfu c. !4l :.~ 00 00 EXAHPLE 3 r..J.::>. - ? ? -n ('I' CL· ) ~ ...... t.H.I: I'~ ~I .' ...4Ob .°7 /.... I 0. --...L '" "s".. o . ')' - (j.....f) c..... c-c..- ~ =-'-'\'J. : ... r 'I. 2 tU'"• II · 1> . v I . - "r # c.-'*'/ \:?~S t'":' ...9 EXA. . J? J A2'1~:nt T.. rW\lT.lt)' l . .........!L' (\. pH~. 1 ()JJ n "V X * I.'tij rrn~j ~ !.~ 7 .. i ' ' v. /.) ->-'c....::> . * ... .. . W IJ) .o~..l'cri <Tit. .J • / "...: ~7_. '\ rj « 7.) .I ~ F l L'-5 .5".v .. \c:. . OS l'jJ ? G" . j .." ..?-=-C-s __ ?~ r \...' . ~/ s ~ . ~ ~ .lJci • •. L 1t1 i": I' ) f.-.? ~ - I')~ -L" 7 J S -=~ A~ 'Vl ~ 1. Y~·--..n~ c...... . '\~"I)IJ 0S"u. ~ r c.?J :! j tr~ n.?.. ~ tu y. i .-. .c ~ ~.1 rn!yIJfj i T~ ~'J.. r1'7 r /". '... .... .·. 7 ? v ~. ..J +_ . ' <. DQ Q ': t .' op eLl 'd.. ..) <- 1/ n" . S \.. I •... ..~ r. ty7-: r... o. : ~ . I.....: .~ .""" )C) ::.. ~' .'"C :\ C 489 .-- --< .. I' \ ').... " .J .-: ~ ~'\ L \ I \\ .s' --- ..--< cl d I" ~c.. C ~.. 1'('- '~1 '" I~ I ...7 d )d - C- .d • . \ \ \ =-a ')\~ . d .. ) .0:- " . MODAL ARRANGEMENT Musica! manuscripls from the 12.4 PI nana !t"" 4 PI 22 B . 7 4 PI J7 I PI I 18 26 Doxo logia " 3 PI !( C 24 25 J I 2 8 4 PI .1 I' 16 490 I tetrastichos ..1 - 3 2 11'" 4 C 4 I PI J3 14 4 15 4 1 PI l.1 3 3 .1 PI 20 21 6 2 PI Il.cycles: Koukoumas 4 4 :2 PI 4 4 4 4 4 I PI 1 PI 1 PI I PI .1 PI 2 PI nana 4 PI nana 4 PI nenan 4 PI .1 PI 2 nana 3 -- nana nana.1 2 :2 PI 3 3 2··PI nenano 2 PI nenano 2Plnenano :2 PI nenano nenano nenano :' nana 4 PI+nana nana 3 3 .4 PI ~~~. 4 PI+nana I 4 PID PI! nana nana 4 PI 4 PI+nana 4 4 PI 4 PI .1 PI I 19 5 .TABLE CYCLES OF PSALM 135 .1 .1 :? 2 .1 PI 5 .1 3 4 w"_ I I I I :2 2 7 8 9 . C . __ .1 5 6 10 11 12 Ir latrinos Musical manuscripts from the 14th and 15th centuries .1 PI. 3 .4 PI 4 PI+nana 3.1 .th and 13th centuries Vers S 1273 161 I .4 3.nana 4 PI+nana 3 3. cycle 13 14 2 nenano "allagma" "tetrastichos")-' IV v ( ~( = 13 14 IS 2 plagal 16 2 naneno (medial) =/ 17 18 19 3 nana (medial) = V / 2 nenano "allagma" nenano "allon" nenano "eteron" Koukouzeles nenano Koukouzeles nenano Panaretos 16 4 plagal + nana "allagma" 17 18 19 oM 20 21 22 23 24 3 nana = 3 nana =" /'" / c /~ 21 22 23 24 25 25 26 3 nana "allon" 4 plaaal + nana "allagma" 4 pl~al 4 4 3 4 pl~al "allagma" + nana "allon" plagal + nana Andre nana "anon" Koukouzeles pla2al "allagma" 26 Total: 10 settings Total: 18 settings xl The same melody is neumed in the second main cycle of Psalm 135 (designated in the sources as Hoktoechos" and ''tetrastichos''). ""'" The melody is neumed only in the "oktoechos" cycle. 268v) Vers 1 2 3 4 5 Mode 2 authentic = 2 authentic = Vers 1 2 3 4 6 7 7 2 authentic 2 plagal 2 authentic" allaRmA" 1257. for vers 21.TABLEl PSALM 135 . 491 .CYCLE "LATRINOS" MS. it intones verse 7. ATHENS No 2458 (f 8Ir) BACKOVO-FRAGMENT (F. it intones verse 5. DJ The same melody is neumed in the second main cycle of Psalm 135 ("oktoechos" and ''tetrastichos"). verse 5) 2 plagal (= Sinai No 8 = 9 10 10 11 12 2 authentic "allagma"lOU 5 6 8 9 Mode 2 authenticXl II 2 plagal 12 (Athens No 2458. X. x x x xxx x . xx. x " x X. x x. X )( x x x X 1I. x x 18 19 20 21 22 23 24 25 26 00". x x. Bfr Vers [-~ 3 x- A 2458 x Sin Tllph 1257 42S x x V VIII 18S 243 x x A A x x .x x X xx ItX X xx x It" xxx x. xx x x X x x.X.x X xx X. X.x x X x "x XXXll.o logia 492 x A 899 10 ".x x x x x.X xx x x x.TABLE 3 PSALM 135 . X. x X X X x x x xx x x x xxx x X. X. ~~ 11 111 [+ [ x Q x VI " [ l( x Sin Sin V 1311 1552 x x x- x. xx x.X X xx xxx x :I(l( xx xxx xx xx xx. X X lI. 194 x x x x x x- x X x x x x x x x x x x x x x K 1I. X x. x.16 17 [ x x. x x. x x xxx xxxx X. X x x. XKX."Latrinos" cycle: distribution oflhe melodic versions Sources from the end of the XlIIth. )( XX xx x x xx X xx xxxx Xll. " " xx x xx X)( xx xx xx x x x x x x x- x. X. and from the XlVth and XVth cc.x x xx x 11 12 X 13 14 x. R IS IV v x A 2622 2406 2401 x x xXX.