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GKM 2014 English Octoechon Anastasimatarion mode 01 Vespers part 01 RVRB
GKM 2014 English Octoechon Anastasimatarion mode 01 Vespers part 01 RVRB
In the following link,
http://www.mediafire.com/download/d...astasimatarion_mode_01_01_Vespers_part_01.zip
one can find the first part of GKM's first edition adaptation of the Anastasimatarion in English based
MAINLY on
=== Petros from Peloponnesos, by Petros from Ephesos
=== O/AURAL tradition
with comparative texts from
=== Petros from Peloponnesos, byMacarie Ieromonahul
Comparative texts in Contemporary Psaltic Notation
=== Petros from Peloponnesos, by Antonn Pann in Rumanian
=== Petros from Peloponnesos, by Angel Ivanov Sevlievetc's inSlavonic
as well from Palaeography
should eventually be added, as well.
Chanting took place under difficult conditions, and English not being GKM's "psaltic language", there are a number of interval mistakes due to vocal positioning difficulties (vowel differences)
Notice the MELISMS in the interpretation: mainly Patriarchal but also a few Athonite as well as a rare one from Popular music (δημοτικὴ μουσικὴ).
Notice how the VERSES before the Troparions (verses adapted according to the Μουσικὴ βιβλιοθὴκη 1867 edition) sound MUCH like Gregorian chant, which is nothing else than the contemporary clerical Ecphonetic repertoire.
Notice the metrophonia CONCORDANCE (parallel) with the words ("λογοσυμφωνία") as to the Greek original: this is obtained by using formulae that cannot be easily or even at all found in the classical Greek psaltic repertoire.
Lexical/Muscial correspondance is a priority for GKM, although it, too, is a STATISTICAL observation.
Notice how Rumanian (greater lexical deviations form Greek original as compared to Slavonic) and other adaptations (e.g. Slavonic) make use of the same principle.
There are, however, a number of occurrences where Rumanian "adaptationists" do NOT use this principle.
For instance, in the case of Macarie Ieromonahul, this principle is NOT used for "for He is our God" (mode 1 Dominical Vesperal Lucernary Troparion 2), where the same music down to low Di is used instead for the words "from the dead", and only once, in contrast to the Greek original, where we have the same metrophonia for BOTH occurences, of "for He is our God" ).
This work will require VOLUNTEER work, especially for
== hyphenating words using this online program
http://juiciobrennan.com/hyphenator/
== typesetting the neumes and text using MK
http://analogion.com/forum/showpost.php?p=194375&postcount=243
http://papline.gr/index.php/yliko/category/1-?download=155:mk4.13_msi
so as obtain virtual SOLFEGIO (parallagi or PaBouGaDisation)
http://bzquality.wordpress.com/
and to to later on use them for a comparative database
http://analogion.com/forum/showpost.php?p=194499&postcount=13
Translations are by the HTM. Should interest be manifested, copyright permission will be requested.
The difference of this work as opposed to that of others is that it is done by a GREEK psaltis,
== who has extensive knowledge of the Patriarchal style and the multiplicity of variations it provides, which can be used, as well, in Gregorian chant;
== who has worked with well learned composers for adaptations in French (one of which is Andrea ATLANTI, a composer "by trade"
== who believes that melodies must be recognizable not only by mode, but by metrophony as well ( metrophonia CONCORDANCE of the words ["λογοσυμφωνιία"] according to the Greek original), in such manner that ALL listeners of ALL languages can recognize as much of the LYRICS as possible by the melody alone...
GKM 2014 English Octoechon Anastasimatarion mode 01 Vespers part 01 RVRB
In the following link,
http://www.mediafire.com/download/d...astasimatarion_mode_01_01_Vespers_part_01.zip
one can find the first part of GKM's first edition adaptation of the Anastasimatarion in English based
MAINLY on
=== Petros from Peloponnesos, by Petros from Ephesos
=== O/AURAL tradition
with comparative texts from
=== Petros from Peloponnesos, byMacarie Ieromonahul
Comparative texts in Contemporary Psaltic Notation
=== Petros from Peloponnesos, by Antonn Pann in Rumanian
=== Petros from Peloponnesos, by Angel Ivanov Sevlievetc's inSlavonic
as well from Palaeography
should eventually be added, as well.
Chanting took place under difficult conditions, and English not being GKM's "psaltic language", there are a number of interval mistakes due to vocal positioning difficulties (vowel differences)
Notice the MELISMS in the interpretation: mainly Patriarchal but also a few Athonite as well as a rare one from Popular music (δημοτικὴ μουσικὴ).
Notice how the VERSES before the Troparions (verses adapted according to the Μουσικὴ βιβλιοθὴκη 1867 edition) sound MUCH like Gregorian chant, which is nothing else than the contemporary clerical Ecphonetic repertoire.
Notice the metrophonia CONCORDANCE (parallel) with the words ("λογοσυμφωνία") as to the Greek original: this is obtained by using formulae that cannot be easily or even at all found in the classical Greek psaltic repertoire.
Lexical/Muscial correspondance is a priority for GKM, although it, too, is a STATISTICAL observation.
Notice how Rumanian (greater lexical deviations form Greek original as compared to Slavonic) and other adaptations (e.g. Slavonic) make use of the same principle.
There are, however, a number of occurrences where Rumanian "adaptationists" do NOT use this principle.
For instance, in the case of Macarie Ieromonahul, this principle is NOT used for "for He is our God" (mode 1 Dominical Vesperal Lucernary Troparion 2), where the same music down to low Di is used instead for the words "from the dead", and only once, in contrast to the Greek original, where we have the same metrophonia for BOTH occurences, of "for He is our God" ).
This work will require VOLUNTEER work, especially for
== hyphenating words using this online program
http://juiciobrennan.com/hyphenator/
== typesetting the neumes and text using MK
http://analogion.com/forum/showpost.php?p=194375&postcount=243
http://papline.gr/index.php/yliko/category/1-?download=155:mk4.13_msi
so as obtain virtual SOLFEGIO (parallagi or PaBouGaDisation)
http://bzquality.wordpress.com/
and to to later on use them for a comparative database
http://analogion.com/forum/showpost.php?p=194499&postcount=13
Translations are by the HTM. Should interest be manifested, copyright permission will be requested.
The difference of this work as opposed to that of others is that it is done by a GREEK psaltis,
== who has extensive knowledge of the Patriarchal style and the multiplicity of variations it provides, which can be used, as well, in Gregorian chant;
== who has worked with well learned composers for adaptations in French (one of which is Andrea ATLANTI, a composer "by trade"
== who believes that melodies must be recognizable not only by mode, but by metrophony as well ( metrophonia CONCORDANCE of the words ["λογοσυμφωνιία"] according to the Greek original), in such manner that ALL listeners of ALL languages can recognize as much of the LYRICS as possible by the melody alone...
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