7. Anomalistic Chants
For the Russian Znamenny tradition:
In addition to some of the Common Chants, this genre includes:
a) all the rest of the music for the Divine Liturgy (such as the Anaphora),
b) the entire body of Put' Chant melodies (used for Magnifications
and various solemn liturgical moments during the vigil),
c) and the entire body of Demestvenny Chant (used for heirarchical
liturgies and other festal occasions).
This genre of hymns consists of all other selections of melodic repertoir
which cannot be classified in the other categories. These anomalous hymns
are the "exceptions that break the rules", including hybrid genres,
formal chants outside the 8-Tone system, and everything else that defies
classification.
1) Byzantine Chant Tradition (etc.):
[information coming soon]
2) Russian Znamenny Tradition (etc.):
In addition to some of the
Common Chants, this genre includes all the rest of the music for the Divine
Liturgy (such as the Anaphora), the
entire body of Put' Chant melodies (used for Magnifications and various
solemn liturgical moments during the vigil), and the entire body of Demestvenny
Chant (used for heirarchical liturgies and other festal occasions).
None of the hymn melodies of this genre seem to be directly derived from
Byzantine Chant, and the Put' and Demestvenny repertoires each have their
own unique neumatic notations (which are known by only a small percentage
of Old Believers and musicologists today).
[Are Akathists best placed in this genre?] |