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==Medieval Period==
Two concepts must be understood if we are to appreciate fully the function of music in Byzantine worship. The first, which retained currency in Greek theological and mystical speculation until the dissolution of the empire, was the belief in the [[angel]]ic transmission of sacred chant: the assumption that the early Church united men in the prayer of the angelic choirs. This notion is certainly older than the [[Apocalypse]] account ([[Revelation]] 4:8-11), for the musical function of angels as conceived in the [[Old Testament]] is brought out dearly by [[Isaiah]] (6:1-4) and [[Ezekiel]] (3:12). Most significant in the fact, outlined in [[Exodus]] 25, that the pattern for the earthly worship of [[Israel]] was derived from Heaven. The allusion is perpetuated in the writings of the early Fathers, such as [[Clement of Rome]], [[Justin Martyr|Justin]], [[Ignatius of Antioch]], [[Athenagoras of Athens]] , and [[Pseudo-Dionysius the Areopagite]]. It receives acknowledgement later in the liturgical treatises of [[Nicolas Kavasilas]] and [[Symeon the New Theologian|Symeon of Thessaloniki]] (Patrologia Graeca, CL, 368-492 and CLV, 536-699, respectively).
The effect that this concept had on church music was threefold: first, it bred a highly conservative attitude to musical composition; secondly, it stabilized the melodic tradition of certain hymns; and thirdly, it continued, for a time, the anonymity of the composer. For if a chant is of heavenly origin, then the acknowledgement received by man in transmitting it to posterity ought to be minimal. This is especially true when he deals with hymns which were known to have been first sung by angelic choirs - such as the [[Amen]], [[Alleluia]], [[Trisagion]], [[Sanctus]] and [[Doxology]]. Consequently, until [[Palaeologan]] times, was inconceivable for a composer to place his name beside a notated text in the manuscripts.
* (1)-(2) The two songs of [[Moses]] ([[Exodus]] 15:1-19 and [[Deuteronomy]] 32:1-43);
* (3)-(7) The prayers of [[Hannah]], [[Habbakuk]], [[Isaiah]], [[Jonah]] and the [[Three Holy ChildreChildren|Three Children]] ([[I_Kingdoms|1 Kings]Samuel] [1 Samuel] 2:1-10; [[Book of Habbakuk|Habbakuk]] 3:1-19; [[Book of Isaiah|Isaiah]] 26:9-20; [[Book of Jonah|Jonah]] 2:3-10; Apoc. [[Book of Daniel|Daniel]] 3:26-56);* (8) The song of the [[Three Holy Children|Three Children]] (Apoc. [[Book of Daniel|Daniel]] 3:57-88);* (9) The [[Magnificat]] and the Benedictus ([[Book of Luke|Luke]] 1:46-55 and 68-79).
Each ode consists of an initial troparion, the [[irmos|heirmos]], followed by three, four or more [[troparion|troparia]] which are the exact metrical reproductions of the [[irmos|heirmos]], thereby allowing the same music to fit all troparia equally well.
The nine heirmoi, however, are metrically dissimilar; consequently, an entire kanon comprises nine independent melodies (eight, when the second ode is omitted), which are united musically by the same mode and textually by references to the general theme of the liturgical occasion, and sometimes by an acrostic. Heirmoi in syllabic style are gathered in the Heirmologion, a bulky volume which first appeared in the middle of the tenth century and contains over a thousand model troparia arranged into an [[oktoechos]] (the eight-mode musical system).
== Sources ==
Snagged originally from [[Wikipedia:Byzantine music]].
Original text (pre-Wikification) reproduced with permission from Dr. D. Conomos's text at the website of the [[Greek Orthodox Archdiocese of America]]: http://www.goarch.org/en/ourfaith/articles/article7069.asptext] at the website of the [[Greek Orthodox Archdiocese of America]].
[[Category:Arts]]
