A Sacrifice of Praise

Automela, or model melodies, have historically been an important part of Byzantine chant. Their use in English is becoming more prevalent as we have more and more metered text. Richard and Amy explain how model melodies make chanting services easier as well as discuss the complications that arise due to the circulation of multiple English translations.

Automela, or model melodies, have historically been an important part of Byzantine chant. Their use in English is becoming more prevalent as we have more and more metered text. Richard and Amy explain how model melodies make chanting services easier as well as discuss the complications that arise due to the circulation of multiple English translations.

Papa Ephraim continues his story, telling us how his composition process changed when he began composing hymns for Vespers and how he began codifying the melodies Byzantine chant into a systematic book of formulae in order to aid his work. He also shares how he was able to convert his font for Byzantine notation into Braille.

Papa Ephraim continues his story, telling us how his composition process changed when he began composing hymns for Vespers and how he began codifying the melodies Byzantine chant into a systematic book of formulae in order to aid his work. He also shares how he was able to convert his font for Byzantine notation into Braille.

Papa Ephraim has composed a huge body of hymns for Vespers, Matins, and the Divine Liturgy and made them freely available online through St. Anthony’s Monastery. Join Amy and Richard as Papa Ephraim tells us about his journey into Orthodoxy, his time on Mt. Athos where he became a monk, and his time back in America where he started to compose.

Papa Ephraim has composed a huge body of hymns for Vespers, Matins, and the Divine Liturgy and made them freely available online through St. Anthony’s Monastery. Join Amy and Richard as Papa Ephraim tells us about his journey into Orthodoxy, his time on Mt. Athos where he became a monk, and his time back in America where he started to compose.

Beginning in the early 2000s, a shift in Byzantine chant in English began to be noticeable. Join Amy and Richard as they describe the change in the composition process that spurred lots of new composition projects and lots of new recordings.

Beginning in the early 2000s, a shift in Byzantine chant in English began to be noticeable. Join Amy and Richard as they describe the change in the composition process that spurred lots of new composition projects and lots of new recordings.

Richard and Amy discuss early Byzantine chant projects in English beginning in the 70’s with Basil Kazan’s Divine Music Project, moving into the 80’s with Vassilis Hadjinicolaou’s CDs, the 90’s with the formation of the Boston Byzantine Choir and Eikona, and ending in the early 2000’s with Fr. Apostolos Hill’s CDs.

Richard and Amy discuss early Byzantine chant projects in English beginning in the 70’s with Basil Kazan’s Divine Music Project, moving into the 80’s with Vassilis Hadjinicolaou’s CDs, the 90’s with the formation of the Boston Byzantine Choir and Eikona, and ending in the early 2000’s with Fr. Apostolos Hill’s CDs.

Richard and Amy discuss the modal system, the way that the liturgical function of hymns contributes to their melodic makeup, the notation system used in Byzantine chant, as well as oral tradition and vocal style.

Richard and Amy discuss the modal system, the way that the liturgical function of hymns contributes to their melodic makeup, the notation system used in Byzantine chant, as well as oral tradition and vocal style.

Richard Barrett and Amy Hogg introduce themselves and describe what this podcast will entail.

Richard Barrett and Amy Hogg introduce themselves and describe what this podcast will entail.