The Origins of Byzantine Music

Murariu Marius Constantin

Ovidius University of Constanta, Faculty of Theology
marius_padrinio@yahoo.com
Abstract
The concept of Byzantine Music was
identified in various ways by being given
several definitions, according to the sense of
musicologists that had taken charge of
describing the phenomenon. A more
conclusive definition points out the fact that
byzantine music is the art of song in the
Orthodox Church, which maintains a
significant popular composition, resulting
from the interaction of several ancient
musical cultures and which appeared,
developed and was disseminated under
various forms of manifestation, in areas and
with civilizations that were part of the
Eastern Roman Empire, as well as with
nations sharing the same religious
affiliations, until present date. The
crystallization of Byzantine music at its core
was achieved in the shadow of controversy,
which spread out until the 19th century,
between the theophanic religious movement
represented by the ecclesiastic centers of
grand citadels and the ascetical movement
monasteries located in the wilderness of
Egypt, Palestine and Syria.
Key words: Byzantine music, ecclesiastic
chant, psaltic chants.
J.E.L. Classification: I290.
1. Introduction
The advent and evolution of byzantine
music implies the existence of certain origins
pertaining to this phenomenon, which has left
its mark on eastern spirituality, from an
artistic creation perspective. In order to reach
its origins and the sources which have
ensured its emergence and existence, it is
necessary that we first define the concept of
Byzantine music.
Of all the definitions which have tried to
explain the identity of Byzantine music, we

have settled of several choices, which, we

consider, include scientific accuracy and a
correct evaluation of the phenomenon we
have set out to study. Ergo, we will attempt to
analyze these accounts, in order to establish
which of them encompasses Byzantine music
in its entirety.
2. Definitions of Byzantine music
The first definition subject to analysis
belongs to scholar Egon Wellesz, who
claimed that byzantine music represented all
ecclesiastic and secular music in the Eastern
Roman Empire. 1. Of course, the
researchers statement is mostly accurate,
however, it does not specify that Byzantine
music is not an exclusive creation of the
Eastern Empire, Constantinople, but rather a
Christian synthesis of ancient music cultures
pertaining to various Asian (Palestine, Syria),
African (Egypt) and European (Greece,
Thrace, Italy) civilizations.
Another definition, that of Amde
Gastou, highlights the idea that byzantine
music is closely related to the environment
where it developed, namely the Oriental
civilization, a mix of Shemite, Persian,
Indian, Greek-Oriental civilizations, with an
overlay of Roman civilization. The synthesis
emerged, hence, on a Greek background set
by Alexander the Greats Macedonia and was
immortalized through the dynasties born out
this civilization (Seleucids, Ptolemies etc.),
which were in turn brought to heel by the
Romans. The Christian element was added to
this cultural mix, representing the most
important synthesizing factor. 2.
Although this definition can be registered
as having an exhaustive trend, it neglects the
Greek-European and Thracian input, on the
Oriental as well as the European sides of the
Black Sea. In regards to the input of the
Thracian element in defining Byzantine
music within its natural setting, musicology

researchers claim that the Phrygian mode is

in all reality the Thracian mode 3.
In the same lines as the two abovementioned scholars, Archdeacon Prof. Dr.
Sebastian Barbu-Bucur claims that the
influences already mentioned also register
the popular element of various christened
peoples: As Christians have various
origins, their initial hymns could have
suffered several changes and influences.
From Antiochia, for example, where the fist
hubs of Christianity arose, the Antiphonal
and Responsorial chants and the melismatic
practice of the word Hallelujah were
absorbed, all these having, in essence,
Byzantine origins. The Syrian hymn was
also taken over by the Western and Eastern
Christian Church music.
Seeing as how Christianity has spread
considerably more in the lower walks of life,
we cannot deny the sensitive influence of the
popular chant, in various regions where
Christianity was disseminated. As such, here
is the three-sided source of the main
ecclesiastic chant: Hebrew, Greek and
popular, from the mergence of which, and by
taking on spiritual garb, purified by the new
doctrine, the new distinct configuration was
born: the Christian ecclesiastic chant.
Moreover, by Byzantine music we pertain to
the musical art developed throughout the
Byzantine Empire and which has acquired
inherent patterns and features4.
By adding a defining element in the
elaboration of an exhaustive definition, the
Romanian scholar contributes to a better
understanding of the ecclesiastic music and
Byzantine music phenomena. However, he
also makes a parenthesis concerning the
comprehension of the Byzantine music
concept, namely that of religious chant of the
Eastern Church: Byzantine music
religious (ecclesiastic) music of the Orthodox
Eastern Church; Byzantine music is based on
the theory and practice exercised, throughout
the centuries, by kings and vicar chorals,
schooled in some of the most famous psaltery
schools (Neamt, Putna, Iasi, Bucharest,
Campulung, Craiova, Ramnic, Brasov,
Targoviste etc.). the main characteristic of
this music is in its monodical, homophone
vocal structure, accompanied by the socalled unison continuous stop on the base
sounds of the respective voice. For these
reasons, the ethos of Byzantine music is

unmistakable and the main attribute of this

ethos are the voices or vocal organs.
Byzantine music is written (in manuscripts
and print-outs) with the help of signs
(neumes), indicating intervals and not fixed
sounds such as linear music. Notation-wise,
Byzantine music (or psalter music) has
known several stages of evolution:
ecphonetic notation (8th 12th century);
Paleobyzantine (9th 12th century); Middle
Byzantine (12th 14th century); Neobyzantine (15th century and early 16th
century) and Chrysantic of modern (the new
sistim),
institutionalized
by
the
Constantinople Patriarchate in 1814 due to
its three greatest reformers: Hrysant de
Madytos, Hurmuz Hartofilax and Gregory
the Levite 5.
Last but not least, Pr. Prof. PhD. Nicu
Moldoveanu sees Byzantine music as the
oriental ecclesiastic chant practiced in
Byzantium and the Byzantine Empire,
generally, to which we add the ceremonial
poem melodies, executed by a large group of
people in honor of the emperor, the imperial
family or the high dignitaries of the
Orthodox Church, as well as theatrical
chant. 6.
Even if all the listed definitions are
accurate, as they are issued by individuals
with a certain authority in the field of
musicology and Byzantinology, none of these
definitions manage to give an allencompassing form to the byzantine music
term, each offering a certain particular
brilliance.
We may notice that, by merging, into one,
the definitions of the ecclesiastic and secular
music of the Byzantium, we reach an
unjustifiable limit of the Byzantine music (in
the sense of religious Orthodox music) in
time and space. In other words, by offering
byzantine ecclesiastic music a temporal and
spatial diffusion, in parallel with the period
of survival (momentum, peak, downfall) of
the Byzantine Empire and by unnaturally
merging it with the secular music of
Byzantium (although they do not share
common origins and evolution, but only a
parallel cohabitation 7), we might reach the,
most likely false, conclusion that Byzantine
music is, at most, a remembrance of the long
lost glory of Greek emperors, as well as of
their secular music. Basically, byzantine

ecclesiastic music is the original Christian

Church chant 8, to which several cultures
subsequently
contributed,
the
most
significant contribution being that of the
Eastern Roman Empire, itself being a
conglomerate of cultures and civilizations
keeping contact, which is why it was
generally known as "Byzantine music9.
For this reason alone, we might try on a
definition using a new, specialized approach,
of the Byzantine/Orthodox Ecclesiastic
music, which will comprise all others into
one formula.
Thus, ecclesiastic music (psalm music) or
byzantine music is the art or chanting in the
Orthodox Church, keeper of a significant
popular characteristic, resulting from the
interaction of several ancient musical
cultures, emerged and disseminated under
various forms of manifestation, in areas and
peoples that were part of the Eastern Roman
Empire, as well as nations having had the
same religious affiliation, up to date.
3. The controversy between wilderness
and citadels
After this axiological journey, having the
goal of accurately defining the phenomenon
subjected to study, we must mention that, in
the Church of the 3rd and 4th centuries, there
existed a controversy, relating to the
existence of music in the Christian rituals,
which would spread out until the 9 th century,
between the theophanic religious movement
represented by the ecclesiastic centers of
grand citadels and the ascetical movement
monasteries located in the wilderness of
Egypt, Palestine and Syria.
The words of the fathers of wilderness
and Abba Siluan come to explain a solitaire
lifestyle, and not a general practice of the
main Church:: ...To recite psalms out loud
is firstly pride, second it hardens the heart
and will not allow for humility. Thus, if you
seek humility, leave the chant, for otherwise,
humility and tears will evade you 10.
The theological polemic between
wilderness and citadels was to attract many
more pro and cons to ecclesiastic chats, both
parties offering logical arguments, but also
their own cult orderliness, which served as
foundation for developing the Christian
ritual.

The Greek researcher Dimitri Conomos

states that the first ecclesiastic orders were
established
between
wilderness
and
citadels11. However, the discussions
regarding ecclesiastic order and music have
not occurred only between the great urban
centers and wilderness parishes, but also
within the two branches, as both practiced
chanting, but did not use the same style, the
citadels preferring the embellished song
while in the wilderness they used the simple
psalmody, leaning towards recitative: In the
monasteries of Egypt, Sinai and Palestine,
singing was banished, in order to make
way for the study of the Scripture, reciting
psalms, the Our Father prayer and the
Creed. The first to bring up this aspect was
Father Petre Vintilescu12. Remembering
the words of Abba Siluan, Abba Paul, Abba
Pamvo or Abba Apollo not with song,
measure and voices, but with crushed
hearted prayer and fasting father
Vintilescu briefly explains the cause for
which these fathers reject singing during
prayer: this was the period in which a
crossing over occurred, from the old simple
psalmody to the embellished singing,
wishing to preserve the first, as well as the
fact that they had a strict perception on what
should have been monastic devoutness and
humility 13.
If we can state that we have more proof of
the ecclesiastic music style of the Eastern
Roman Empire citadels, as in metropolises,
namely Constantinople, the so-called
Asmatikos cathedral office (sung) was
developed, offering wide spaces for song and
grandeur of grand ceremonies 14, we only
have a few references to song in the
wilderness. By tackling the subject of music
norms and those of pre-Athonite liturgy,
Dimitri Conomos quotes St. John Cassian,
who in turn recalls an ancient Palestinian an
Egyptian order of psalms, giving its
established name: "The Angels Order ".
4.The Angels Order
The explanation given by St. John
Cassian, in the early 5th century, for the way
of chanting practiced in the renown monastic
centers in the Egyptian and Palestinian
wilderness is described by the researcher as
follows:"in 4th century and 5th century Egypt,

there were two moments for joint prayer in

the morning and in the evening which were
simply part of the monks regular life of
meditation. There is a story recorded in
Cassians writings (early 5th century), which
explains the way in which the monks
managed to agree on a number of 12 psalms
as appropriate for morning and evening
psalms. It would seem that one day, when the
monks were discussing this issue, night fell
without having found a solution. The evening
service upon them, all gathered in church to
celebrate. From their midst one monk rose
up and sang 11 psalms and at the end he
sang the 12th with Hallelujahs in between the
versicles. Thereafter, he was nowhere to be
seen. All the fathers agreed that it was a
divine intervention sent upon them to end the
all controversy. As of that night, the duration
of joint prayer was set at 12 psalms at night
and 12 psalms before first light. This is how
Cassian tried to explain Egyptian order. This
norm was thence name the Angels Rule
"15. Thus, by interpreting the Angels
Order, we may claim, alongside Dimitri
Conomos, that the song was interpreted by a
lead vicar choral, who sand psalm verses in a
slow loud voice, while the other monks
would sit on their knees or on low stools,
carefully meditating on the preached words.
16.
The end of the conflicting dialogue
between the two groups would occur in the
9th century, through their mergence, namely,
by assimilating the theophanic pole by the
monastic pole. 1. Thus we will see that
Christian ecclesiastic music in the first
centuries was the creation of the Holy
Fathers of the Christian Church, established
subsequent to extensive discussions and
hesitations. Many, generally, saw musical
inspiration as something evil. However,
winners were the ones who considered it to
be of divine origin, striving to create music
that was strictly appropriate for Christian
doctrines and the religious atmosphere
promoted by the Church. Proof that
ecclesiastic music, as well as the other
religious arts, has its characteristic nature, is
the divine that can be felt at its core. The
merits in setting the paradigm of a sacred art
in the highest sense of the word fall on
Byzantium, for this is where all the oriental

productions merged with the artistic values

of the Greco-Roman world. 18.
5. Conclusions
During its period of crystallization,
Byzantine music evolved, not only on the
basis of its primordial origins (ancient Greek
music, Jewish cult Synagogue music,
together with an array of Oriental musical
influences), but also as follow-up of certain
disquietudes and upheavals intimate to this
phenomenon, or even conflicts and
antinomical opinions.
One thing is certain, and that is the fact
that throughout the centuries, Byzantine
music has shaped its esthetic and stylistic
content in a precise manner, currently
affirming its irrefutably valuable patrimonial
valences.
6. Bibliography
1 Wellesz, Egon, A History of Byzantine Music
and Hymnography, ed.II, Oxford, 1961, p.1.
2Gastou, Amde, LAncienne Musique
Byzantine et sa Notation, Paris, 1907, p.1.
3Breazul, M., Istoria muzicii romanesti,
Bucharest,
1956,
pp.7-9;
Deac.Assist.univ.Nicu Moldoveanu, Izvoare
ale cantarii psaltice in Biserica Ortodoxa
Romana, in BOR, Bucharest, 1974, no.1-2,
p.155.
4Barbu-Bucur, Arch-deac. Prof. PhD. Sebastian,
Muzica bizantina in vesmant romanesc,
interview by Boris Buzila, in
Romania
Libera, Bucharest, no.14322, December 2nd
1990, p.4; no.14327, December 8th 1990, p.6.
5Idem, Indice de termeni cu caracter
imnografic, in volumul omagial Sebastian
Barbu-Bucur: 75 de ani, Archiepiscopate of
Tomis, Semne Publishing House, Bucharest,
2005, p.215.
6 Moldoveanu, Deac. Assist. Univ. Nicu,
Izvoare ale cantarii psaltice in Biserica
Ortodoxa Romana, in BOR, Bucharest, 1974,
no.1-2, p.140.
7In this context, the position of the Church
throughout time, expressed by the Holy
Fathers, was that of clear delimitation from
secular music. A strongly argumented study,
on the subject of the Holy Fathers; attitude
towards profane music, is conducted by
Pr.Lect.PhD.Zaharia Matei, in Dimensiunea
teologica si duhovniceasca a cantarii liturgice
(bizantine) in Biserica Ortodoxa, in ST, year
IV, no.1, January-March, 2008, pp.109-114.

8Moldoveanu, Deac. Assist. Univ. Nicu, Works

Cited, pp.85-87.
9Ibidem,p.86.
10Abba Siluan, Din Everghetinos, 13, in
Izvoare duhovnicesti, 1.Patericul, Alba Iulia,
1994, pp.217-218.
11Conomos, Dimitri, The Musical Tradition of
Mount Athos, in Acta Musicae Byzantinae,
Vol.IV, May 2002, The Center of Byzantine
Studies Iasi, p.71.
12Vintilescu, Pr. Prof. PhD. Petre, Poezia
imnografica in carile de ritual si cantare
bisericeasca, pp.232 - 233.
13 Ionascu, Pr. Lect. PhD. Stelian, Teme majore
din Istoria muzicii bisericesti aflate in
dezbaterea marilor personalitti ale sec.XIXXX (controverse, opinii separate, polemici),
part II, in ST, year IV, no. 2, April - June,
Bucharest, 2008, pp.7-8; Ibidem, part I, in ST,
no.3, Bucharest, 2007, pp.105-133.
14Simonopetritul, Makarios, Triodul explicat
Mistagogia timpului liturgic, Deisis Publishing
House, Sibiu, 2000, p.18.
15Conomos, Dimitri, Works Cited, pp.71-72.
16Ibidem.

17Ionascu, Pr. Lect. PhD. Stelian, Works Cited,

p.8.
18Moldoveanu, Deac.Assist.Univ.Nicu, Works
Cited, p.141.