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Frontmatter
ABBREVIATIONS
INTRODUCTION. A SURVEY OF STUDIES IN BYZANTINE MUSIC AND HYMNOGRAPHY
I. BYZANTINE MUSIC
II. EARLY WORK ON BYZANTINE MUSIC AND HYMNOGRAPHY
III. J.-B. PITRA AND W. CHRIST
IV. LATER STUDIES IN BYZANTINE HYMNOGRAPHY
V. LATER STUDIES IN BYZANTINE MUSIC
VI. THE DECIPHERING OF THE MUSIC
VII. THE PRESENT STATE OF STUDIES IN BYZANTINE CHANT
I. THE ORIGINS OF BYZANTINE MUSIC
I. THE ORIENTAL HYPOTHESIS
II. THE COMPOSITE CHARACTER OF BYZANTINE CIVILIZATION
III. THE VOCAL CHARACTER OF BYZANTINE MUSIC
IV. THE LEGACY OF THE SYNAGOGUE
V. CONCLUSION
II. THE SURVIVAL OF GREEK MUSICAL THEORY
I. THE PRINCIPLES OF GREEK MUSICAL THEORY
II. THE DOCTRINE OF 'ETHOS' IN GREEK MUSICAL THEORY
III. NEOPLATONIC INFLUENCES ON MUSICAL THEORY
IV. THE BYZANTINE CONCEPTION OF MUSIC
V. MUSIC IN TREATISES OF GREEK GNOSTICS AND ALCHEMISTS
III. THE PAGAN BACKGROUND
I. ABSENCE OF MUSICAL DOCUMENTS
II. THE ATTITUDE OF THE CHURCH TO MUSIC IN PUBLIC LIFE
III. ECCLESIASTICAL EDICTS AGAINST PAGAN MUSIC
IV. THE THEATRE
V. THE PANTOMIME
VI. PAGAN FEASTS
VII. INSTRUMENTAL MUSIC
VIII. MUSICA PERNICIOSA AND THE CHRISTIAN IDEAL
IV. MUSIC IN CEREMONIES
I. ORIGIN AND DEVELOPMENT OF THE ACCLAMATIONS
II. THE PERFORMANCE OF MUSIC IN THE CEREMONIES
III. THE ORGAN
IV. USE OF THE ACCLAMATIONS
V. FUNCTION OF THE ACCLAMATIONS
VI. THE MUSIC OF THE ACCLAMATIONS
V. BYZANTINE LITURGY
I. THE LITURGIES OF ST. BASIL AND OF ST. CHRYSOSTOM AND THE LITURGY OF THE PRESANCTIFIED
II. THE COMMUNITY AND THE SERVICE
III. THE OFFICE
IV. THE LITURGICAL BOOKS
VI. EARLY CHRISTIAN HYMNS
I. THE PAGAN AND JEWISH BACKGROUND
II. SYNESIUS
III. THE CHRISTIAN HYMN WITH MUSIC
VII. ORTHODOX THEOLOGY AND BYZANTINE HYMNOGRAPHY
I. THE CHARACTER OF BYZANTINE HYMNS
II. THE ORTHODOX CHURCH
VIII. THE POETICAL FORMS: (I) TROPARION AND KONTAKION
I. TROPARION
II. KONTAKION
IX. THE POETICAL FORMS: (II) KANON
I. ORIGIN AND DEVELOPMENT
II. THE STRUCTURE OF THE KANON
III. THE LATER DEVELOPMENT OF HYMN-WRITING
IV. MINOR BYZANTINE HYMNOGRAPHY
X. BYZANTINE MUSICAL NOTATION I
I. THE TWO SYSTEMS: ECPHONETIC SIGNS AND NEUMES
II. ECPHONETIC NOTATION
XI. BYZANTINE MUSICAL NOTATION II: THE NEUMES
I. THE THREE PHASES OF NEUMATIC NOTATION
II. EARLY BYZANTINE NOTATION
III. THE SYSTEM OF MIDDLE AND LATE BYZANTINE NEUMATIC NOTATION
IV. THE INTERVAL SIGNS
V. THE 'GREAT HYPOSTASES'
VI. THE MODES
VII. THE INTONATION FORMULAE
VIII. THE MODULATION SIGNS
XII. THE TRANSCRIPTION OF BYZANTINE MELODIES
XIII. THE STRUCTURE OF BYZANTINE MELODIES
I. HIRMI AND STICHERA
II. MELISMATIC CHANT
III. PSALMODY
XIV. WORDS AND MUSIC
EXCURSES
APPENDIX I. HYMNS FROM THE HIRMOLOGION
APPENDIX II. HYMNS FROM THE STICHERARION
APPENDIX III. MELISMATIC CHANT
APPENDIX IV. TABLE OF INTONATION FORMULAE AND INCIPITS OF APPENDED STICHERA
APPENDIX V. TABLES OF FORMULAE OF HIRMI IN THE FIRST MODE
BIBLIOGRAPHY
LIST OF HYMNOGRAPHERS FROM THE FIFTH TO THE FIFTEENTH CENTURIES
LIST OF HYMNS. TROPARIA, HIRMI, KONTAKIA
CHRONOLOGICAL SURVEY
INDEX
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