The Melody Web what each genre heard, and what it passed on

heard passed on Click or tap a node to recenter. Use a connecting line, or Influence, for the story.

Heard

Nothing in the corpus yet that this genre heard.

Byzantine chant

tradition · 6th century–

Also called Byzantine music, psaltic art, Orthodox chant

Greek Christian liturgical song of the Eastern Roman church: oktoechos, sticheron, kontakion, and unaccompanied psaltic line. Romanos and the sixth-century city are the usual crystallization; Athonite and later Orthodox practice is the living face. It already gives Slavic Orthodox chant the psaltic job. Shared psalm function with synagogue practice leftover; Idelsohn–Werner tune pedigrees into Plainchant and from Synagogue psalmody refused (Jeffery). Treatise language from Greek mousikē leftover as schoolroom vocabulary, not a sounding parent. Syriac and other Eastern chant families leftover as siblings, not parents. Empty Received is historically checked. It is not the parent of Latin Plainchant (sibling late-antique Christian song) and not a bin for Ottoman court makam.

Listen

  1. Phos hilaron Greek liturgical tradition (3rd–4th century type) YouTube
  2. Cherubic Hymn Byzantine liturgical tradition (traditional) YouTube
  3. Kontakion on the Nativity Romanos the Melodist (6th century) YouTube
  4. Trisagion Byzantine liturgical tradition (traditional) YouTube · Spotify
  5. Anoixantaria (Psalm 103) Athonite psaltic tradition (traditional) YouTube
  6. Sticheron (oktoechos) Byzantine sticheraric tradition (medieval / living)
  7. Axion estin Byzantine liturgical tradition (traditional) YouTube

Passed on

Slavic Orthodox chant tradition · 9th century–

The Slavic churches take the Greek psaltic job: eight echoi, the same liturgical genres, unaccompanied sacred line, and a book culture.

Influence

Byzantine chant → Slavic Orthodox chant

melodyform and structurefunction and contextperformance practicestrength: highscholarly consensus860–1200liturgypedagogypatronageoralnotation

Mechanism

The Slavic churches take the Greek psaltic job: eight echoi, the same liturgical genres, unaccompanied sacred line, and a book culture. Slavonic is the new tongue; znamenny and later national books are local memory. Strength high. This is the hop Byzantine chant actually made.

Evidence

Ninth- and tenth-century mission and translation; Bulgarian and Kievan reception; Grove on Russian/znamenny chant as a Byzantine inheritance. The later Russian choir sound is a recoding of this job, not a second parent.

Debate

How much early Slavic melody is a copy of a Greek sticheron versus a local formula in the same system. Consensus: the system and the job travel; note-to-note survival varies. Do not draw Byzantine chant onto Latin Plainchant as a parallel “mission” hop — that Western relationship is sibling contact, not this transplant. Ottoman court makam is a different later neighborhood, not yet a node.

Mediators

institution: Bulgarian and Rus' churches; artist: Cyril and Methodius