On the orthodox church melos: A contribution to the typology of church chant

Abstract

Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb. napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church singing. The terminology related to "melos" in Greek and Serbian church chanting practice is critically examined. Attention is also drawn to elements common to new Greek (neumatic) and Serbian (staff notation) "melos". This article is an introduction to more detailed research whose aim will be to establish similarities and distinctions between the two church singing traditions that have the same origins in Byzantine church music.

Melodije srodne po svojim ritmičkim i melodijskim karakteristikama, u okviru svakog glasa osmoglasja, grupišu se u napeve. Razmatranje pre svega terminoloških određenja napeva i kriterijuma po kojima se melodije svrstavaju u različite napeve u novijoj grčkoj i srpskoj pojačkoj tradiciji predstavlja temu ove studije.