Programme Syllabus

Theoretical part:

The musical notes and their characters. Continuous transgressive ascent and descent. – Composition of characters. – Martērēa (Sign) of the notes. – Tone meizon (major), elasson (minor), and elachistos (minimum). – Natural diatonic scale of Νη. – Parallagē (Solmization). – Tempo and its characters. – Rhythm; meter of two beats (dēsēmos), of three beats (trēsēmos), and of four beats (tetrasēmos). – Division of the time into two parts (gorgon), three parts (dēgorgon), and four parts (trēgorgon). – The argon, the hymiolion, and the dēargon. – Continuous ascent and descent according to the rules of orthography. – On the characters of expression and their duties. – Olēgon and petastē as characters of expression.

The apostrophos as a character of time (continuous elaphron).– Siopai (rests) of one beat, of two beats, of three beats, and of four beats. – On the modulations (fthores) of the diatonic notes. – Slow and fast tempo change (hronēkē agogē). On the syncopation and breathing. – Rhythmic reading. – Division of the scale into two tetrachords. – On the semitones. – On the signs of alteration of the tones: flat (hyphesis), sharp (diesis). – Permanent flat (hyphesis), sharp (diesis).

Practical Part:

Vocal exercises on the application of the above mentioned theoretical lessons, performed through: A) a simple counting of the characters, B) through rhythmic reading, and C) through parallagē. – Vocal Exercises on the short heirmologic (Brief Praises) melos (melody) of the Plagal of the Fourth and First Mode. – Exercises on the slow heirmologic melos of the Fourth Mode. – Exercises on the short sticheraric (Slow Praises) melos of the First Mode, of the Fourth Mode and of the Plagal of the First Mode. –  Exercises on the slow melos of the Fourth Mode and of the Diatonic Varys Mode. Additional exercises on all the taught theoretical lessons and correspondence between all the schemes of the Byzantine Ecclesiastical Music and the respective schemes of the European music. 

Theoretical part:

Division of the musical scale into acoustic parts. – The 3 natural tones and their sharpness. – Exposition of rhythm. – The 3 genres and their Martērēas. – Analysis of the 8 Modes. – Division of the tetrachords of the 3 genres. – Fthoré of the genres. – Types and systems of melos (similarities and differences). – Symphonies. – Attractions and their signs. – Slow and short heirmologic melos (melody) of the Plagal of the First Mode. – Comparison of the Third and Heavy Sound, heirmologic and sticheraric. – Peculiarities of the Third and Varys Modes. – Tempo conductions. – Differences of the Apolytikia and Kathismata of the Second, Fourth and Plagal of the Second Mode, which are sung with the fthora of the Second Mode.

Practical part:

Vocal exercises to apply what was taught in the theoretical part, performed on all modes in the following order: Plagal of the Fourth, First, Plagal of the First, Fourth, Third, Varys, Second and Plagal of the Second and with the following lessons: Hymns of Ascent (Anabathmoi). – Heirmoi of the Canons. – Resurrection (Anastasima) Apolytikia. – More Honorable (Timiotera). – Resurrection Verse (Anastasima Stichera). – Aposticha & Stichera of the Praises (ainoi). – Kekragaria and Pasapnoaria. – Stichologia “Thou Kyrie”. – Resurrectional (Anastasima) Kathismata. – Short Dogmatic Praises (Theotokia) (short hymns to the Virgin Mary). – 4 first Resurrectional (Anastasima) Vespers (Esperia) of short sticheraric (Slow Praises) melos. – Dogmatic Praises (Theotokia). – 11 Eothina (Byzantine Hymns & Gospels of Orthros, in the Byzantine Rite). – Doxastika of Kypseli (hive) by choice (2 in each lesson). – Odes of Katavasiae of Fourth Mode. – “Kateplagi Iosif” (“Κατεπλάγη Ιωσήφ”) and its Prosomoia. – Short Praises by Manuel the Protopsalter (First Cantor). Additional exercises in reading at first sight chants of all 8 modes, memorization of Apolytikia, Kathismata and Heirmoi of the Canons.

Books taught:

1) Anastastimatarion and Heirmologion by Petros Peloponnesios (Lampadarios), edition by Ioannis Lampadarios. 2) Musical Kypseli (hive) by Stefanos Lampadarios.

Theoretical part:

Further analysis of the modes. – Varys Diatonic mode. – Epeisakta (Overlapping) meli. – Branches of modes. – Consonant (symphones) and dissonant (diaphones) Symphonies. [- The 4 consonant Symphonies from vary (grave) to oxy (acute). – The 2 consonant Symphonies from vary (grave) to oxy (acute). – The 2 consonant Symphonies from oxy (acute) to vary (grave). – The 2 dissonant Symphonies from vary (grave) to oxy (acute). – The 2 dissonant Symphonies from oxy (acute) to vary (grave). – The numerical and harmonic ratio of the 5 consonants and the 2 dissonant Symphonies of the first diapason from vary (grave) to oxy (acute) and their variation; – The numerical and harmonic ratio of the 5 consonants and the 2 consonant Symphonies of the first diapason from oxy (acute) to vary (grave) and vice versa and their parallagē;] – Parallagē of the first diapason from vary (grave) to oxy (acute) and vice versa. [- The numerical ratio of the diatonic scale of the first diapason from vary (grave) to oxy (acute) and vice versa] – Division of the diatonic scale of the first diapason into 2 identical tetrachords of first scheme, attached to a major (meizon) tone; – The three natural tones as produced by diafores and symphonies. – Chromatic and enharmonic tetrachords. – Distinction between Hroē and Fthoré; – Variation of tones.

Practical part:

Slow and short prosomoia of all Modes. – The Odes of the Katavasiae. -The Ninth Ode of the Katavasiae of the Annunciation and the Embassies of Theotokos and the Sundays of Thomas and the Blind Man. – Slow Kathismata of Holy Week. – Slow and short Heirmoi of Holy Week. – The following 12 slow Doxologies per melodist: First and Second Tetrafonos, Varys (Grave) Tetrafonos and Plagal of Fourth by Iakovos Protopsalter, Third, Fourth, Legetos Tetrafonos and Plagal of Second by Petros Lampadarios, Plagal First by Petros Byzantios, Varys (Grave) Eptafonos by Daniel  Protopsalter, Varys Encharmonic by Chourmouzios the Archivist [Chartophylax], Plagal of the Fourth chromatic by Gregorios Protopsalter. – “Makarios Anir” by Manuel Protopsalter. – The verses of the Polyeleos in Varys Mode “Logon Agathon” by Georgios of Crete (Kres). – The verses of the Polyeleos in Third Mode “On the river of Babylon” by Chourmouzios Chartophylax. – The two Great Prokeimena of the Great Lent. Memorization: short Prosomoia and some slow, Katanyktika, Exaposteilaria, and Heirmoi of the Canons. Application of them to Prosomoia.

 Books taught:

1) Heirmologion by Petros Peloponnesios (Lampadarios), edition of Ioannis Lampadarios. 2) Four-volumes Musical Anthology “Pandektis”, edition of Ioannis Lampadarios and Stefanos First Domestikos.

Theoretical part:

Further analysis of the division of time; – More detailed development of all theoretical chapters already taught; – More detailed development of musical diastimata.  [- The four consonant Symphonies and the three dissonant Symphonies of the fourth diapason with their numerical and harmonic logoi].

Practical part:

The Cherubic Hymns of the Week by melodist: First, Fourth, Plagal of First, Varys and Plagal of Fourht of Petros Lampadarios, and Second, Third and Plagal of the Second of Gregorios Protopsalter. – The 6 Koinonika of the Week by Petros Lampadarios. – The 7 Idiomela of Great Lent by Iakovos Protopsalter.  [- The 11 slow Eothina of Iakovos Protopsalter.] – The slow “Ti Ypermaho” (“Tη Υπερμάχω), “Tο prostachthen” (“Το προσταχθέν”), “Idou o Nymphios” (“Ιδού ο Νυμφίος)” and “Ote oi endoxoi mathites” (Ότε οι ένδοξοι μαθηταί”). – A series of slow and short Cherubic hymns by choice, from the series by Petros Lampadarios, Petros Byzantios, Gregorios Protopsalter and Constantinos Protopsalter. – A series of koinonika ‘Aineite’ (“Aινείτε”) by choice, from the series by Petros Lampadarios, Petros Byzantios, and Daniel Protopsalter. – Koinonika from despotic feasts  and from feasts dedicated to the Mother of God and feasts of the Saints by election, from the series by Petros Lampadarios, Daniel Protopsalter, Gregorios Protopsalter, Chourmouzios Chartophylax and Constantinos Protopsalter. – The slow and short “Katefthinthito” (“Κατευθυνθήτω”) of the Liturgy of Presanctified Gifts. – The Cherubic Hymn of the Liturgy of Presanctified Gifts “Nyn ai Dynameis” (“Νυν αι Δυνάμεις”) in Plagal Mode of the Second by Ioannis Protopsalter. – The Koinonikon of the Liturgy of Presanctified Gifts “Gefsasthe” (“Γεύσασθε”) by Ioannis Kladas – The Cherubic Hymn of the Liturgy of Presanctified Gifts “Gefsasthe” (“Γεύσασθε”) by Ioannis Kladas. The Holy Thursday Cherubic “Tou deipnou sou” (“Του δείπνου σου”) in Plagal Mode of the Second and the Holy Saturday “Sigisato pasa sarx” (“Σιγησάτω πάσα σαρξ”) in Plagal Mode of the Fisrt by Iakovos Protopsalter. – The Koinonikon of Holy Saturday “Exigerthi os o ypnon” (“Εξηγέρθη ως ο υπνών”) in First Mode by Petros Lampadarios. Additional exercises in reading prima facie meli, which have not been taught, from the short and slow Doxastarion and from the four-volumes Musical Anthology “Pandektis”, edited by Ioannis Lampadarios and Stefanos First Domestikos.

Books taught:

1) Four-volumes Music Anthology “Pandektis”, edition of Ioannis Lampadarios and Stefanos First Domestikos. [2) Slow Doxastarion of Iakovos Protopsalter.]

Theoretical part:

Musical orthography. – Topics of musical style in all kinds of meli of all Modes. – Auxiliary lines, ison, isokratima and isokrates – Training and conducting of musical choroi.

Practical part:

“Idi vaptetai kalamos” (“Ήδη βάπτεται κάλαμος”) by Iakovos Protopsalter. – “Kyrie i en pollais amarties” (“Κύριε, η εν πολλαίς αμαρτίαις”) by Petros Lampadarios. – “Anastaseos imera” (“Αναστάσεως ημέρα”) by Iakovos Protopsalter. – The ancient melos “Ton Despotin kai Arcierea imon” (“Τον Δεσπότην και Αρχιερέα ημών”) in Varys Mode. – The ancient melos “Anothen oi Profitai” (“Άνωθεν οι Προφήται”) by Ioannis Koukouzelis in Varys Mode. – The “Agios, agios” (“Άγιος, άγιος”), “Se ymnoumen” (“Σε υμνούμεν”) and “Tin gar sin mitran” (“Την γαρ σην μήτραν”) of the Divine Liturgy of Saint Basil the Great. – The slow Octoechos  “Theotoke Parthene” (“Θεοτόκε Παρθένε”) by Petros Bereketis. [- The Perissi (Περρισή) of the Polyeleos “Douloi Kyrion” (“Δούλοι Κύριον”) in a Plagal Mode of the First by Petros Lampadarios. – The Perissi (Περρισή) of the Polyeleos “Douloi Kyrion” in Third Mode “Epi ton potamon Vavylonos” (“Επί τον ποταμόν Βαβυλώνος “) by Chourmouzios Chartophylax. – The Funeral Chant “Agios o Theos” (“Άγιος ο Θεός”) in the Plagal Mode of the Second] – 8 Calophonic Heirmoi by choice with their kratimata, one from each Mode, from the Khalophonic Heirmologion. [- Selected verses from the greatest Anoixantaria by Ioannis Koukouzelis.] Additional exercises in reading prima facie slow and short meli, which have not been taught. – Practice on the lectern. [- Exemplary teaching of the preliminary class.]

Books taught:

1) Four-volumes “Pandektis” Musical Anthology, edited by Ioannis Lampadarios and Stefanos First Domestikos. 2) Khalophonikon Heirmologion.

Typikon

Teaching the use of Typikon. Pre-Theory (“Προθεωρία”). Typikon of Sunday services. Typikon of the services for the other days of the week. Typikon of the despototheomitorikes feasts and the feasts of the Saints. Practical applications of the Typical Order (Τυπική Διάταξη).

History of Church Music

Greek music in the ancient Christian church. Sources for the musical history of the early Christian centuries. Music in the church from the apostolic age. Cantors (psaltes) and iskorates in the ancient church. The use of monophony in chant (psalmodia). Vocal music in the Christian church. The asmata (songs) of the ancient church. The melodists and hymn writers of the first 3 Christian centuries. Systematic formation of church music in the 4th century. The 2 modes of chant (psalmodias) in the 4th century. Monastic chant (psalmodia) after the 4th century. The accusations of the Church Fathers against Thymelic (Θυμελική) music. The Church Fathers necessarily innovate in church music. Orthodox hymns against sects (αιρέσεις). The composers of ecclesiastic music (μελοποιοί) and hymn writers of the 4th, 5th, 6th and 7th Christian centuries. Ioannis Damaskinos, the arranger of church music. Genres, systems and sounds in the Octoechos Hymnody of Ioannis Damaskinos. Notation in the Octoechos Hymnody of Ioannis Damaskinos. The rhythm in the Octoechos Hymnody of Ioannis Damaskinos. The asmatic Canons in the Octoechos Hymnody of Ioannis Damaskinos. Troparia and Stichera in the Octoechos Hymnody of Ioannis Damaskinos. The Octoechos Hymnody of Ioannis Damaskinos. The Ecclesiastical Typikon in the Octoechos Hymnody of Ioannis Damaskinos. The musical gesture and on Ioannis Damaskinos. Slow meli of Ioannis Damaskinos.  The composers of ecclesiastic music (μελοποιοί) and hymn writers from the time of Ioannis Damaskinos to the time of the Fall. Church music in the centuries after the Fall (Άλωση) of Constantinople. Composers of ecclesiastic music (μελοποιοί), hymn writers and musicologists from the time of the Fall (Άλωση) of Constantinople to the present day.

Hymnology

Historical overview and interpretation of church hymns, psalms and prayers.

Metrics

Examination of the meters found in church hymns. Elements of Greek metrics in general.

Liturgical

1. Concepts such as: Prοoimiakos (Προοιμικακός), Exaxalmos, Pater imon (Πάτερ ημών), Doxology, Fos ilaron (Φως ιλαρόν), Liturgy, etc.

2. Concepts such as: Canon, Obedience, Oikos (Οίκος), Anavathmoi, Kontakion, Apolytikion, Stichera, Antifona,  Typika, Katavasiae, Heirmoi, Troparia, Ainoi (Αίνοι), Fotagogika (Φωταγωγικά), Exaposteilaria, Cherubic, Trisagion, Polyeleos and also Amphia (Άμφια), Calymafhi (Kαλυμαύχι), Diptychs, Hours, Prokeimena, Catechumens (Κατηχούμενοι), Choroi, Bells, etc.

3. Division: I. Division of Liturgy (topos, chromos, praxis). II. Division of Temple (contents, rhythm). III. Division of Liturgy sequence: A.) Parts of the Liturgy of Catechumens: 1. Preface (Doxology, Eirinika, Antiphons, Typika), 2. Gospel Reading (Small Entrance, Trisagion, Apostle’s Reading), 3. Deiseis (Δεήσεις). B) Parts of the Faithful Liturgy: Great Entrance, Confession of Faith, Consecration of Holy Gifts, Communion, Dismissal of the Divine Liturgy

4. Answers to questions such as: Why the temple faces East, the light, the incense, how many Liturgies exist, when is the “Osoi eis Xriston” (“Όσοι εις Χριστόν”) said, etc. 

5. Definition of the Liturgics. – The 3 degrees of the Holy Orders. – Further degrees of the clergy. – Difference between ordination and exclusive of ordination. – Temple and sacred vessels. – Internal division of the Temple. – Holy Place. – Holy Temple and does it include. – Ρulpit. – Soleas. – Narthex. – Symbolic representations of the Divine Liturgy. – Liturgical books. – Hymn writers and ecclesiastical hymns. – Analysis of the principal liturgical books. – Feasts. – Fixed and movable Despotic feasts. – Feasts of the Mother of God. – Great Lent. – Holy Week. – The various ecclesiastical services. – Vespers. – Orthros. – The Divine Liturgy in general. – The Divine Liturgy of the Catechumens. – Secondary ecclesiastical rites. – The Divine Liturgy of Ioannis Chrysostomos. – The Divine Liturgy of the Saint Basil the Great. – The Divine Liturgy of Mark the Evangelist. – The Divine Liturgy of Iakovos Adelphotheos.

General lessons

Elementary theory of European Music and 3 classes of solfege.