Show Less
Restricted access

Introduction to Kalophony, the Byzantine «Ars Nova»

The «Anagrammatismoi» and «Mathēmata» of Byzantine Chant

Series:

Gregorios Th. Stathis and Konstantinos Terzopoulos

The anagrams, or more generally, the mathēmata and morphologically related kalophonic forms of Byzantine melopoeïa, constitute the artistic creations by which Psaltic Art is known in all its splendour and becomes an object of admiration. Kalophony as ars nova was born following the recovery of the city of Constantinople after the Latin occupation of Byzantium (AD 1204–1261) during the long reign of Andronicus II (1282–1328) and reached its final form in the first half of the fourteenth century. During the years 1300–1350, four key composers and teachers of the Psaltic Art imposed a new attitude of melic composition on the preexisting forms and designated new compositional techniques dominated by the beautifying kallopistic element. They created new compositions in the new spirit of kallōpismos and musical verbosity. This new musical creation was christened with the term kalophony and this period is the golden age of Byzantine Chant.
Originally published under the title Hoi anagrammatismoi kai ta mathemata tes byzantines melopoiïas (1979 plus seven reprints), this publication thoroughly investigates and reveals for the first time the entire magnitude of Byzantine kalophony with its individual forms, serving as a systematic introduction to the Greek Byzantine music culture and that of the Byzantine Psaltic Art at the height of its expression.
Show Summary Details
Restricted access

Author’s preface to the English edition

Extract



The anagrams [anagrammatismoi], or more generally, the mathēmata and morphologically related kalophonic forms [eidē] of Byzantine melopœïa — anapodismoi, podes, anaphonēmata, allagma, epibolē, parekbolē, prologos, kratēma, etc. — constitute the artistic creations by which Psaltic Art [psaltikē technē] is known in all its splendour and becomes an object of admiration. Kalophony as ars nova was born following the recovery of the city of Constantinople after the Latin occupation of Byzantium (AD 1204–1261) during the long reign of Andronicus II (1282–1328) and reached its final form in the first half of the fourteenth century. During the years 1300–1350, four composers and teachers of the Psaltic Art, Nikēphoros Ēthikos the domestikos, Iohannēs prōtopsaltēs Glykys, Iohannēs maïstor Koukouzelēs and Xenos Korōnēs, imposed a new attitude of melic composition on the pre-existing forms and designated new compositional techniques dominated by the beautifying kallopistic element, which resulted in the lengthening of those works. Together with their contemporary composers, they created new compositions in the new spirit of kallōpismos and musical verbosity. This new musical creation was christened with the term kalophōnia, kalophony, and this period is the golden age of Byzantine Music, that is, of the Hellenic Psaltic Art of Orthodox Christian worship.

Kalophony has three basic elements: (i) the elaborate and long melos; (ii) the reworking of the poetic text, the anagrams, through the repetition of words and phrases or insertion of new text;...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.