Патријаршијски ифос у перцепцији јелинских појаца
Patriarchial Ifos in the Perception of Greek Church Chanters
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The paper deals with the so-called patriarchal – Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the “old method” and the conservative among Constantinople’s renowned singers, who did not accept the “new method” without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox c...hurch music.
У фокусу рада је тзв. патријаршијски – константинопољски ифос у новијој
традицији јелинског појања. Представљени су различити аспекти овог
феномена у вези с којим су у различитим врстама наратива изнети бројни
стереотипни ставови. У разматрању феномена ифос у овој студији, пошло се
од чињеница је он био у сржи спора између реформатора касновизантијске
нотације, тзв. „старог метода“, и конзервативаца међу реномираним
константинопољским појцима, који „нови метод“ нису прихватили без
отпора. Констатовано је и да се патријаршијски ифос по инерцији и не увек
оправдано приписивао појцима у Цркви Светог Георгија на Фанару. Указано
је и на аргументе у прилог критичком осврту на савремене дискурсе о ифосу
у којима се понавља идеологизовано уверење да је константинопољски трон
гарант сваког облика освештаног црквеног предања, самим тим и отачке
православне црквене музике.
In 2014, Patriarch of Constantinople Bartholomeos signed a circular epistle on
the occasion of the two hundredth anniversary of the reform of music / the so-called
“new method”. In 1814, namely, three musicians from Constantinople – Chrysanthos,
Gregorios and Churmusios – reformed the late Byzantine neum notation and
introduced a new, shortened way of learning church melodies. At the beginning of
his epistle, Patriarch Bartholomeos pointed out that, thanks to the three reformers,
“the Mother Church of Constantinople remained the ark of salvation of the father's
Orthodox church music”.
The Patriarch’s panigiric text on the jubilee also states that the reform did not
introduce any novelties and that the ifos of the ancient paternal psalmody was preserved
in the pulpits of the so-called Great Church dedicated to St George. As expected,
the current Patriarch of Constantinople neither referred in the text to what
was the content of ifos in church music, nor what were the feature...s of the patriarchal
– Constantinople musical ifos. Based on the existing musicological sources, it is also
evident that there is no single platform among singers and musicologists in defining
and describing this phenomenon, nor are there pre-agreed criteria. The writings on
ifos do not mention the important fact that precisely ifos was one, if not the key controversial
issue that divided the singers in the Great Church in Constantinople at the
beginning of the 19th century: conservatives continued to sing according to the “old
method”, while progressives sang on the “new method”. This fact determined the
concept of this article, the first part of which considers what was “new” in the “new
method” that provoked the reactions of the leading figures among singers on Phanar
and convinced them against the reform.
The famous Constantinople philosopher, physician and connoisseur of church
music Basilios Stefanidis was the first scholar who tried to define the meaning of
ifos. He brought ifos primarily in connection with: 1) the creative potential of the
singer while interpreting the stenographic / synoptic late Byzantine Neum record;
and with 2) adopting a chanting manner in the process of oral interaction between
teachers and students. A follower of the three music reformers, Kyriakos Philoxenis,
initially tried to supplement Stefanidis’ definition of ifos with more metaphorical
than clear comments, but soon afterwards he gave up on any definition, stating that
ifos was simply indescribable.
An insight into the available narratives, in which patriarchal ifos is mostly reduced
to a scientifically unfounded stereotype, makes several possible meanings of this term stand out: 1) interpretation of the melody, regardless of whether the singer
sings according to neum records or on the basis of his own musical memory; 2) “accumulation
of musical memory”, as Alexander Khalil lucidly described the manner
of singing which is trasmitted by “ear and spirit” from teacher to student; and finally
3) a repertoire of “classical” melodies that, with their simple melodic elements, best
fit into worship.
At the end of the article, it was critically stated that there are certain ideologized
attitudes in the discourses on patriarchal ifos. One of them is undoubtedly that the
throne of the Patriarchate of Constantinople is the guarantee of the preservation of
every kind of holy church tradition, and thus of musical ifos. Unobjective perception,
based primarily of spiritual ethnophiletism, leads to the belief that patriarchal ifos
has been one and the same for centuries, from St John of Damascus, through Xenos
Corones, to three reformers Chrisanthos, Gregorios and Chourmouzios and the
present-day singers in the Constantinople Patriarchate.
Кључне речи:
church chanting / patriarchal ihos / musical reform / neum notation / oral tradition / interpretation / chanting manner / црквено појање / патријаршијски ифос / музичка реформа / неумска нотација / усмено предање / интерпретација / појачки манирИзвор:
Музикологија, 2021, 31, 129-144Издавач:
- Београд : Музиколошки институт Српске академије наука и уметности
Финансирање / пројекти:
DOI: 10.2298/MUZ2131129P
Cobiss ID: 54923529
ISSN: 1450-9814 (print); 2406-0976 (online)
WoS: 000751898100006
[ Google Scholar ]Колекције
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Пено, Весна Сара PY - 2021 UR - https://dais.sanu.ac.rs/123456789/12523 AB - The paper deals with the so-called patriarchal – Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the “old method” and the conservative among Constantinople’s renowned singers, who did not accept the “new method” without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music. AB - У фокусу рада је тзв. патријаршијски – константинопољски ифос у новијој традицији јелинског појања. Представљени су различити аспекти овог феномена у вези с којим су у различитим врстама наратива изнети бројни стереотипни ставови. У разматрању феномена ифос у овој студији, пошло се од чињеница је он био у сржи спора између реформатора касновизантијске нотације, тзв. „старог метода“, и конзервативаца међу реномираним константинопољским појцима, који „нови метод“ нису прихватили без отпора. Констатовано је и да се патријаршијски ифос по инерцији и не увек оправдано приписивао појцима у Цркви Светог Георгија на Фанару. Указано је и на аргументе у прилог критичком осврту на савремене дискурсе о ифосу у којима се понавља идеологизовано уверење да је константинопољски трон гарант сваког облика освештаног црквеног предања, самим тим и отачке православне црквене музике. AB - In 2014, Patriarch of Constantinople Bartholomeos signed a circular epistle on the occasion of the two hundredth anniversary of the reform of music / the so-called “new method”. In 1814, namely, three musicians from Constantinople – Chrysanthos, Gregorios and Churmusios – reformed the late Byzantine neum notation and introduced a new, shortened way of learning church melodies. At the beginning of his epistle, Patriarch Bartholomeos pointed out that, thanks to the three reformers, “the Mother Church of Constantinople remained the ark of salvation of the father's Orthodox church music”. The Patriarch’s panigiric text on the jubilee also states that the reform did not introduce any novelties and that the ifos of the ancient paternal psalmody was preserved in the pulpits of the so-called Great Church dedicated to St George. As expected, the current Patriarch of Constantinople neither referred in the text to what was the content of ifos in church music, nor what were the features of the patriarchal – Constantinople musical ifos. Based on the existing musicological sources, it is also evident that there is no single platform among singers and musicologists in defining and describing this phenomenon, nor are there pre-agreed criteria. The writings on ifos do not mention the important fact that precisely ifos was one, if not the key controversial issue that divided the singers in the Great Church in Constantinople at the beginning of the 19th century: conservatives continued to sing according to the “old method”, while progressives sang on the “new method”. This fact determined the concept of this article, the first part of which considers what was “new” in the “new method” that provoked the reactions of the leading figures among singers on Phanar and convinced them against the reform. The famous Constantinople philosopher, physician and connoisseur of church music Basilios Stefanidis was the first scholar who tried to define the meaning of ifos. He brought ifos primarily in connection with: 1) the creative potential of the singer while interpreting the stenographic / synoptic late Byzantine Neum record; and with 2) adopting a chanting manner in the process of oral interaction between teachers and students. A follower of the three music reformers, Kyriakos Philoxenis, initially tried to supplement Stefanidis’ definition of ifos with more metaphorical than clear comments, but soon afterwards he gave up on any definition, stating that ifos was simply indescribable. An insight into the available narratives, in which patriarchal ifos is mostly reduced to a scientifically unfounded stereotype, makes several possible meanings of this term stand out: 1) interpretation of the melody, regardless of whether the singer sings according to neum records or on the basis of his own musical memory; 2) “accumulation of musical memory”, as Alexander Khalil lucidly described the manner of singing which is trasmitted by “ear and spirit” from teacher to student; and finally 3) a repertoire of “classical” melodies that, with their simple melodic elements, best fit into worship. At the end of the article, it was critically stated that there are certain ideologized attitudes in the discourses on patriarchal ifos. One of them is undoubtedly that the throne of the Patriarchate of Constantinople is the guarantee of the preservation of every kind of holy church tradition, and thus of musical ifos. Unobjective perception, based primarily of spiritual ethnophiletism, leads to the belief that patriarchal ifos has been one and the same for centuries, from St John of Damascus, through Xenos Corones, to three reformers Chrisanthos, Gregorios and Chourmouzios and the present-day singers in the Constantinople Patriarchate. PB - Београд : Музиколошки институт Српске академије наука и уметности T2 - Музикологија T1 - Патријаршијски ифос у перцепцији јелинских појаца T1 - Patriarchial Ifos in the Perception of Greek Church Chanters SP - 129 EP - 144 IS - 31 DO - 10.2298/MUZ2131129P UR - https://hdl.handle.net/21.15107/rcub_dais_12523 ER -
@article{ author = "Пено, Весна Сара", year = "2021", abstract = "The paper deals with the so-called patriarchal – Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the “old method” and the conservative among Constantinople’s renowned singers, who did not accept the “new method” without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music., У фокусу рада је тзв. патријаршијски – константинопољски ифос у новијој традицији јелинског појања. Представљени су различити аспекти овог феномена у вези с којим су у различитим врстама наратива изнети бројни стереотипни ставови. У разматрању феномена ифос у овој студији, пошло се од чињеница је он био у сржи спора између реформатора касновизантијске нотације, тзв. „старог метода“, и конзервативаца међу реномираним константинопољским појцима, који „нови метод“ нису прихватили без отпора. Констатовано је и да се патријаршијски ифос по инерцији и не увек оправдано приписивао појцима у Цркви Светог Георгија на Фанару. Указано је и на аргументе у прилог критичком осврту на савремене дискурсе о ифосу у којима се понавља идеологизовано уверење да је константинопољски трон гарант сваког облика освештаног црквеног предања, самим тим и отачке православне црквене музике., In 2014, Patriarch of Constantinople Bartholomeos signed a circular epistle on the occasion of the two hundredth anniversary of the reform of music / the so-called “new method”. In 1814, namely, three musicians from Constantinople – Chrysanthos, Gregorios and Churmusios – reformed the late Byzantine neum notation and introduced a new, shortened way of learning church melodies. At the beginning of his epistle, Patriarch Bartholomeos pointed out that, thanks to the three reformers, “the Mother Church of Constantinople remained the ark of salvation of the father's Orthodox church music”. The Patriarch’s panigiric text on the jubilee also states that the reform did not introduce any novelties and that the ifos of the ancient paternal psalmody was preserved in the pulpits of the so-called Great Church dedicated to St George. As expected, the current Patriarch of Constantinople neither referred in the text to what was the content of ifos in church music, nor what were the features of the patriarchal – Constantinople musical ifos. Based on the existing musicological sources, it is also evident that there is no single platform among singers and musicologists in defining and describing this phenomenon, nor are there pre-agreed criteria. The writings on ifos do not mention the important fact that precisely ifos was one, if not the key controversial issue that divided the singers in the Great Church in Constantinople at the beginning of the 19th century: conservatives continued to sing according to the “old method”, while progressives sang on the “new method”. This fact determined the concept of this article, the first part of which considers what was “new” in the “new method” that provoked the reactions of the leading figures among singers on Phanar and convinced them against the reform. The famous Constantinople philosopher, physician and connoisseur of church music Basilios Stefanidis was the first scholar who tried to define the meaning of ifos. He brought ifos primarily in connection with: 1) the creative potential of the singer while interpreting the stenographic / synoptic late Byzantine Neum record; and with 2) adopting a chanting manner in the process of oral interaction between teachers and students. A follower of the three music reformers, Kyriakos Philoxenis, initially tried to supplement Stefanidis’ definition of ifos with more metaphorical than clear comments, but soon afterwards he gave up on any definition, stating that ifos was simply indescribable. An insight into the available narratives, in which patriarchal ifos is mostly reduced to a scientifically unfounded stereotype, makes several possible meanings of this term stand out: 1) interpretation of the melody, regardless of whether the singer sings according to neum records or on the basis of his own musical memory; 2) “accumulation of musical memory”, as Alexander Khalil lucidly described the manner of singing which is trasmitted by “ear and spirit” from teacher to student; and finally 3) a repertoire of “classical” melodies that, with their simple melodic elements, best fit into worship. At the end of the article, it was critically stated that there are certain ideologized attitudes in the discourses on patriarchal ifos. One of them is undoubtedly that the throne of the Patriarchate of Constantinople is the guarantee of the preservation of every kind of holy church tradition, and thus of musical ifos. Unobjective perception, based primarily of spiritual ethnophiletism, leads to the belief that patriarchal ifos has been one and the same for centuries, from St John of Damascus, through Xenos Corones, to three reformers Chrisanthos, Gregorios and Chourmouzios and the present-day singers in the Constantinople Patriarchate.", publisher = "Београд : Музиколошки институт Српске академије наука и уметности", journal = "Музикологија", title = "Патријаршијски ифос у перцепцији јелинских појаца, Patriarchial Ifos in the Perception of Greek Church Chanters", pages = "129-144", number = "31", doi = "10.2298/MUZ2131129P", url = "https://hdl.handle.net/21.15107/rcub_dais_12523" }
Пено, В. С.. (2021). Патријаршијски ифос у перцепцији јелинских појаца. in Музикологија Београд : Музиколошки институт Српске академије наука и уметности.(31), 129-144. https://doi.org/10.2298/MUZ2131129P https://hdl.handle.net/21.15107/rcub_dais_12523
Пено ВС. Патријаршијски ифос у перцепцији јелинских појаца. in Музикологија. 2021;(31):129-144. doi:10.2298/MUZ2131129P https://hdl.handle.net/21.15107/rcub_dais_12523 .
Пено, Весна Сара, "Патријаршијски ифос у перцепцији јелинских појаца" in Музикологија, no. 31 (2021):129-144, https://doi.org/10.2298/MUZ2131129P ., https://hdl.handle.net/21.15107/rcub_dais_12523 .