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Traditional Eastern Orthodox Chant Documentation Project
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• Introduction
• Overview
I) Byzantine Chants
II) South-Slavic Chants
III) East-Slavic Chants
IV) Georgian Chant
V) Other Traditions

INTRODUCTION

In the process of analyzing Orthodox hymnography, it is necessary to identify all the separate regional repertoires. In order to make this system logical, we first need to have an organizational structure as a framework for our classification of repertoires. As a model, I have chosen the biological system, in which the organization of living things can be seen like a pyramid or tree with seven major levels or categories: Kingdom, Phylum, Class, Order, Family, Genus, Species. However, for our purposes we begin by identifying five separate Families, each of which possess their own [somewhat] distinct systems of notation, music theory and melodic repertoires:

Within each of these five Families (presented below) we can then isolate various regional or local chant systems. The East-Slavic Family of chants is by far the most complex, and we must further divide the system into three sub-families, each of which have separate regional groups of local repertoires.

I) Byzantine Chants (including ethnic varieties)
II) Byzantine-Derived South Slavic Chants
  • INFORMATION BIBLIOGRAPHYONLINE RESOURCESMUSIC ARCHIVES
    1a. Serbian "Pojanje" (Byzantine) Chant
    1b. Serbian Chant - arranged by Stefan Mokranjac
    2. Croatian "Zhumberak" Chant
    3. Transylvanian Banat (Romanian) Chant
    4. Macedonian Chant
    5. Putna Monastery Chant
    6. Manjava Skete Chant
III) The East-Slavic Chants
  • EARLY RUSSIAN CHANTSINFORMATION BIBLIOGRAPHYONLINE RESOURCESMUSIC ARCHIVES
    • GROUP 1: Old Znamenny Chant – Neumatic Sources
         1a. Znamenny chants from the older "bezpometnye" manuscripts
         1b. Znamenny chants from the "naonnye" manuscripts
         1c. Znamenny chants from the newer "narechnye" manuscripts
    • GROUP 2: New Znamenny Chant – Notated Sources
         2a. Square-note chant books
         2b. Round notes (later and contemporary settings)
         2c. Neumatic chant manuscripts modified to accommodate the reformed texts
    • GROUP 3: Non-Znamenny Chant Systems
         3a. Kievan Chant
         3b. Russian Bulgarian Chant
         3c. Russian Greek Chant
         3d. Demestvenny Chant
         3e. Put' Chant
  • SOUTHWESTERN RUSSIAN CHANTS INFORMATION BIBLIOGRAPHYONLINE RESOURCESMUSIC ARCHIVES
    • GROUP 4: Southwestern Russian Chant Sources
         4a. Carpatho-Rusyn "Prostopinije" Chant
         4b. Galician "Samoilka/Samolivka" Chant
         4c. Bukovina Chant
         4d. Local Kievan/Central-Ukrainian Chants
  • MODERN RUSSIAN CHANTS INFORMATION BIBLIOGRAPHYONLINE RESOURCESMUSIC ARCHIVES
    • GROUP 5: Regional Monastery & Cathedral Chants
      5A. Northern Sub-Group
         5A-a. Valaam Monastery melodies
         5A-b. Solovetskii Monastery melodies
         5A-c. Moscow Uspenskii Sobor melodies
         5A-d. Krasnogorsk Monastery melodies
         5A-e. Prophet Elias Skete (Mt. Athos) melodies
      5B. Southwestern Sub-Group
         5B-a. Kiev Caves Lavra melodies (separate from the Kievan Chant)
         5B-b. Pochaev Lavra melodies
         5B-c. Glinsk Hermitage melodies
      5C. Central Russian Sub-Group
         5C-a. Optina Hermitage melodies
         5C-b. Seven-Lakes Hermitage melodies
      5D. Urban Sub-Group
         5D-a. St. Petersburg Court Chant
         5D-b. Common ("Obikhod") Chant
IV) Georgian Chant
V) Other Traditions of Related Interest
  • INFORMATION BIBLIOGRAPHYONLINE RESOURCESMUSIC ARCHIVES
    1. Oriental (Pre-Chalcedonian) Churches

       1a. Armenian Chant
       1b. Coptic Chant
    2. Western European Chant Systems

       2a. Gregorian Roman) Chant
       2b. Mozarabic Chant
       2c. Ambrosian Chant
       2d. Sarum Chant
       2e. Anglican Chant
       2f. Lutheran Chant

    3. Non-Christian Chant Systems
       3a. Jewish Cantillation of the Hebrew Scriptures
       3b. Arabic Maqam Music and Dervish Chant