Compiled by Nikita Simmons
While most theorists usually think of traditional Byzantine Chant as
divided into three genres of melodies (heirmologic, sticheraric and papadic),
this categorization does not account for every aspect of Orthodox worship. Based
on my own research (particularly in the traditional Russian neumatic or "Znamenny"
repertoire), I propose that traditional Orthodox chant may be broken down into
the following nine genres. It should be kept in mind that some regional
traditions tend to blur the lines between such distinctions, and sometimes even
cross such lines, not understanding the importance of maintaining seperate repertoires
for individual types of hymns, readings, vocal performance, etc. Most regional
systems have fully developed into a nine-fold classification system, but the
manner and degree of their development is sometimes quite different, making it difficult to apply this system of categorization uniformly to all singing traditions. Furthermore,
the introduction of choral polyphony in recent centuries has done much to erode
the understanding of the various hymnographic principles and vocal genres which older traditional chanting
systems embodied.
EDITORIAL DISCLAIMER: Although I am a musicologist specializing in traditional
Russian Znamenny Chant, I will endeavour to represent Orthodox hymnography in
more general terms. Howevever, it is nearly impossible to be all-inclusive of
the various ethnic and regional styles of church singing, each with their own
music theory, traditions and interpretations. It is also unrealistic for the
reader to expect me to be completely uninfluenced by my field of specialty,
and for this human failing I must apologize.
In brief, the system of nine melodic genres is a follows (see the links above for in-depth information):
| 1) Psalmodic or Stichologic
Genre |
a) Vespers: the opening Psalm 142
b) Vespers: the
First Kathisma
c) Vespers: the 4 Psalms "Lord, I have cried" (Psalms 140, 141, 129 and 116)
d) Matins: the sung Kathismata at Festal Matins (only in the Russian Old Rite)
e) Matins: the Polieleos Psalms (134 and 135, including Ps. 136 on the pre-Lenten Sundays)
f) Matins: the Praises (Psalms 148, 149 and 150)
|
| 2) Sticheraric
Genre |
The 3 Classes
of Melodic Forms for Stichera: Idiomela (Samoglasny) - Automela (Samopodobny) - Prosomoia (Podobny)
a) The melodies for "Lord, I have cried"
b) The Refrains between the stichera
c) Idiomela Stichera: Full Melodies
d) Idiomela Stichera: Formula Melodies (commonly called "Samoglasen")
e) Automela/Samopodobny and Prosomia/Podobny melodies for Stichera
|
| 3) Heirmologic
Genre |
a) Heirmoi (Idiomela)
b) Festal Katavasii composed in the Sticheraric genre (Byzantine Chant)
c) Festal Refrains on the 9th Ode
d) Simplified Heirmoi and Katavasia melodies ("na raspev", Russian
Old Rite)
e) Festal "Zadostoiniki" composed in the Sticheraric genre, etc.
(Russian Old Rite)
f) Generic formula melodies (Russian New Rite)
|
| 4) Canonarchal
(or Responsorial) Genre |
A) Responsorial Refrains:
a) Prokeimena,
b) "Alleluia" (instead of "God is the Lord", and before
the Epistle reading),
c) "Let every breath parise the Lord" (at Matins),
d) [in the Znamenny Chant system:] the final phrases of Troparia, Sessional
Hymns (Kathisma), Kontakia and Oikoi,
e) "Holy is the Lord our God" on Sundays,
f) various other short phrases that use the "prokeimena" melodies
B) Complete Melodies:
g) "God is the Lord",
h) [in the Southwestern and modern Muscovite systems:] a number of complete
melodic repertoirs (generic formulas for each Tone) for Troparia, Kathisma
(Sedalny) and Kontakia,
j) [in the Southwestern Russian systems:] Automela/Samopodobny and Prosomia/Podobny
melodies for Troparia, Sessional Hymns and Kontakia,
k) [in the Byzantine and Znamenny Chant systems:] Hypakoe,
l) Exaposteilaria (Idiomela, Automela and Prosomoia melodies)
|
| 5) Papadic Genre |
[information coming]
|
| 6) Common Chants (Non-Byzantine chant traditions) |
a) Liturgical Dialogue (litanies, the dialogues during the Divine Liturgy,
and whenever the priest gives blessings or wishes peace to the people),
b) settings of hymns for the Doxology at Matins,
c) "O only-begotten Son" and the Creed at the Divine Liturgy,
d) etc.
|
| 7) Anomalistic
Chants (Non-Byzantine chant traditions) |
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).
|
| 8) Ecphonesis |
a) the basic declamatory reading of the prayers and psalms,
b) reading the Old Testament lessons and liturgical homilies,
c) reading the Epistles and Gospels, and
d) the style of reciting litanies and liturgical dialogue (in both simple
and ornate styles)
|
| 9) Paraliturgical Singing |
a. Greek Kalenda
b. Romanian Kolinde/Colinde
c. Southwestern Russian Pisni
d. Carpatho-Rusyn and Ukrainian Koljadki
e. Russian (Old Believer) Spiritual Verses (Духовные стихи)
|
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