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The Acclamation of Emperors in Byzantine Ritual
The Acclamation of Emperors in Byzantine Ritual
The Acclamation of Emperors in Byzantine Ritual
Author(s): H. J. W. Tillyard
Source: The Annual of the British School at Athens , 1911/1912, Vol. 18 (1911/1912), pp.
239-260
Published by: British School at Athens
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The Annual of the British School at Athens
'May God prolong thy mighty and holy reign for many years!' and
'May God prolong thy reign, divinely ordered, crowned, and guarded,
mighty and holy, for many years !'
In the Liturgy, after the Troparia, all the singers and readers again
wished the Emperor long life, as he entered to worship in the Church and
to receive the Antidoron (Consecrated Bread). Later on, the Emperor
mounted his throne, and received similar acclamations, this time with
instrumental accompaniments and interludes. 'After the Polychronism
the singers are silent, but the instruments play for a considerable time.
Then, when the Emperor gently waves his kerchief, they too cease; and
the singers begin again, singing verses appropriate to the feast, and then
"Christ, who crowned thee King, is born !" then more verses, with repeti-
tion, for a considerable time. Then the names of the royal house are
blessed, after which the singers again sing the Polychronism.'
At the Imperial table, various detachments of the body-guard gave
and received similar greetings: these were conveyed from the Emperor by
the Protovestiarius or other official, in the terms, 'Our Lord the King
wishes you long life.'3 Finally the singers again entered and sang the
Polychronism, followed by the hymn of Romanus,' This day the Virgin,'4
and then the Polychronism once more. After dinner similar greetings
were given to the Emperor by members of the Royal house and by the
Royal pages. On Christmas Day acclamations of the same kind were used.5
Not only have the actual words used in saluting the Emperors come
down to us, but also the music, to which they were sung, has survived in
a few manuscripts, and will be exemplified in the present article.
IDe Offic. c. vii (p. 89, Bonn). els roXX AA &' pTbp(eI (lit. 'determines') 0 a68WOnt .As 6
BaotAcvs.
4'H wapOe'vos 0'/epov rbT 'Trepoo'tov rtCTre. The text of this famous hymn is given in Pitra,
Analecta Sacra, i. In the service of the Church only the first verse is used, as a Kontakion.
5De Ofic. p. 91 B.
1 Such appear in the Liturgy as given by C. Cracau, Lilurgie d. heil. Jok. Chrys
p. 46, and G. V. Shann, Euchology, p. 2, etc. Nothing like the Euphemesis given
however, is found in the regular Liturgy.
2 Examples: Rebours, (P) Traitd de Psaltique, p. 234; Sigalas, vxvAo- Ovc-OLv 'Aa
pp. 15-19; Sakellarides, (I. Th.) op. cit. p. 466, for the Sultan. A mediaeval example is g
Sakellarides, 7)yrtaeus.
3 I visited the Monastery of Pantocrator in September 1912, in the course of a journey
taken for the study of mediaeval Greek music. I was enabled to carry this out by the pro
a grant from the Carnegie Trust for the Universities of Scotland: for which generous aid I
thank the Trustees. I am also much indebted to the Abbot and Brethren of Pantocrator for their
most kind and hospitable treatment, and for the facilities, readily granted, for studying the MSS.
in the Monastery library.
4 Called John II by Gibbon, VI by Finlay, VIII by Krumbacher. For his reign, marriage,
and mission to Italy v. Finlay, Bvz. and Gk. Empires, vol. ii, pp. 613 seqq.; Gibbon, c. lxvi.
R
conveniently known as the Round System, and its rules are as follow
Each note in the melody is represented by an interval-sign indicatin
its distance from the previous note. The starting-note of the tune depend
on the mode, which is shewn at the beginning of the piece by a Martyria
or signature. Such signs sometimes recur during the course of a
melody, most commonly at pauses or middle cadences, and thus enab
the singer to be sure that he has sung right and regained the prope
note. The interval-signs themselves are divided into Somata ('step
and Pneumata ('skips'). A remarkable feature of the Round System
is that in certain combinations the signs lose their interval-value an
become aphone or voiceless. The cases are these :
(i) When a Pneuma stands below or to the right of a Soma of simila
direction, the Soma becomes aphone, and only the Pneuma is hear
If on the other hand the Pneuma stands above a Soma of similar
direction, the interval-values of both are taken together, and a single
large interval is formed.
(2) The Ison or equality-sign annuls the value of an ascending sign
placed below it. The annulled sign is probably heard as a grace-note.
Descending signs are not affected by the Ison.
(3) If a descending sign stands above an ascending sign, the latter
loses its value, and is probably heard merely as a grace-note. (But
a descending sign is not affected by an ascending.)
(4) Two Somata superposed over one syllable form a single interval
except two Apostrophi, and an ascending Soma in any combination wit
Duo Kentemata, when the notes are given as successive steps.
The origin of these seemingly strange and arbitrary rules is not
1 V. Gedeon, IwTPrapXIrol lbvaICEs, pp. 464-5; portrait and life of Joseph II,
known; but the rules themselves are given in the well known sin
handbook, found in countless MSS., and usually called the Papadike.1
Besides the interval-signs and Martyriae there are also a num
of symbols called Hypostases, which are mainly execution-marks
various kinds.2 Some relate to time and rhythm, others again are slurs
and marks of emphasis, while a third class consists of summary signs
for whole phrases, of which the actual notes are indicated by the interval-
signs: these form a kind of parallel notation and may have been
meant to help singers whose power of reading the interval-signs was
unequal to the task. Such signs were usually added in red, and they
are rare except in certain late MSS. In this article I shall confine
my attention to such Hypostases as actually occur in the music before us.
The Modes.-The tonality of Byzantine music is a matter of great
uncertainty. Most western scholars have assumed that the eastern modes
are the same as the Gregorian.3 This view, however, goes against the
modern Greek classification of the modes, itself full of confusion and
inconsistency.4 I have preferred to follow the theory of Gaisser, which
attempts to reconcile to some extent the modern view of the modes with
their description in the Papadike. By this method the names of the modes
in the Papadike are taken in the ancient Greek sense, and their pitch is
made to agree with modern tradition. The Papadike names the modes
as follows: I Dorian, II Lydian, III Phrygian, IV Mixolydian. The
plagal modes have the same names as the authentic with the syllable
hypo- prefixed.
The four authentic modes are therefore the scales of d, e, f g,
respectively. Of these, Mode I from d requires two flats in the signature,
and the others, three flats. Of the plagal modes, No. I takes one flat in its
signature, the others, two flats.
1 Published in extenso with explanations by Fleischer (0.) Neumenstudien, T. 3. Cf. my
articles in the Musical Antiquary, Jan. 1911 (and books there mentioned) and April, 1911i. Also
in Byz. Zeitschr. 1911, 437 sqq.
2 For a fuller account cf. Fleischer op. cit. ; Riemann (H.) d. Byz. Notenschrift, 31; Gaisser
(U.) Les Heirmnoi de Pdques, 9; Thibaut (J.), Origine Byzantine de la Notation Neumatique de
l'Aglise Latine, chapter iii. Thibaut's term ' Hagiopolitan' for the Round Notation is cumbrous
and probably unwarranted historically. The other designation of ' Damascenian,' after St. John of
Damascus, is absurd.
3 Cf. J. M. Neale and S. G. Hatherly, Hymtns of the Eastern Church, xxxi.
4 V. Burgault-Ducoudray, .tudes sur la musique eccl. grecque, and, less in detail, W. Christ
and Paranikas, Anthologia, Introd. lib. iv. Modern theory dates from Chrysanthus (fl. 1820)
whose treatise, OEWpLTo u Vuya Tis 'EEKCx. Movaucis, has lately been reprinted (Athens, 1911).
R2
even triple Cola not otherwise divided, perhaps because the mus
meant to run on without any break. In spite of this irregulari
practice of separating single Cola is constant enough to leave no
that these were the metrical divisions actually in the composer's mi
which he based the structure of his melody.
A Colon, as far as can be judged, never contains more than
principal accents (the accents on prepositions, conjunctions, and
pronouns do not count for this purpose). But, for the sake of em
or other special effect, fewer accents may suffice. The number of s
and the position of the accents in the Colon seem to vary at th
of the author. Attempts to prove either a fixed number of sylla
the occurrence of regular feet within the Colon have completely
We are left with a kind of rhythmical prose, resembling the Psa
which probably the methods of Greek hymnography were based. Fu
more, it is generally found that the number of lines in a hymn is a m
of 4; and this indication usually enables us to note where double or t
Cola occur, and so to make out the full metrical scheme of the hym
Greek hymns are divided into three classes: Hirmological, Sticher
cal, and Papadical.1 The first class consists mainly of the canons, in
the typical verse of each ode was called the Hirmus. Now a me
which many verses or sets of verses were to be adapted, would have
fairly regular and decided in its character, and hence we find
hirmological hymns there is little florid writing, and it can be reas
conjectured that each Colon had a fixed musical value (reckoned f
venience as two bars of common time). The sticherarical hymns are
Idiomela. That is to say, they have music of their own and do not se
models for other hymns. In these therefore, while the normal C
appear to have the same value of two bars of our music, expanded p
and ad libitum passages are admitted.
A sticherarical hymn is rather more like an anthem than a regula
though the general effect of the rhythm is kept up, and the repeti
words or syllables very seldom allowed.
Papadical compositions are intended for the use of the Papas or p
and are therefore a kind of intoning. They include, in the first inst
all prayers and versicles, and next such slow music as Kratemata
1 For a full list of the kinds of hymns in each class v. Chrysanthus, op. cit. ss 401 ff.
P. Rebours, Traitl de Psaltique, pp. 78 ft.
0V0
3- .
1 I I
C. C.
Ta g-t
over ica, stands Kentema (= two notes upwards) to the right of Oligon.
The former being a Pneuma absorbs the Oligon, and a single interval of
a third results. Over -1cpd- we have Little Ison; Big Ison above Oxeia
(= one tone upwards). The Big Ison annuls the ascending sign which is
heard as a grace-note; so also, probably, is the Little Ison; the Gorgon
merely expresses the rapidity of the grouping. In line 4 over the second
syllable of Maptlc the Oxeia is similarly treated, and over the second
syllable of A'7oio-Trnq the Kentema absorbs the Oxeia. At the beginning
of line 5, I have corrected the MS. A cadence on a is impossible in
Mode IV, and, as the various readings in the somewhat similar final
passage shew, there is a certain amount of confusion. Another Apoderma
marks the cadential note. The bow-shaped Hypostasis under the notes
belonging to the second syllable of'lo-woq is called Epergema: it may
denote an accent. The other Hypostases, Bareia and Klasma, are familiar.
In the next passage I have made one simple correction in the MS., which
I The reading followed is found in the repetition of this passage in the MS. The first time an
Elaphron is added (evidently in error) to the Apostrophus.
Resuming our musical analysis, we find over TWv in line I Petaste and
Psephiston, another accent-mark. The next sign, Bareia, here separates
the Elaphron and Apostrophus over /a-, which would otherwise be taken
together. Over -X&-stand Oligon and Kratemohyprrho6n. The latter is
a compound of Kratema (probably a length-mark) and Hyporrhoe (= two
descending seconds in succession). The result is the group shewn. At
(C) we have a somewhat mysterious Martyria. First comes the signature
of Mode IV plagal, then Kentema above Oligon (= a fourth upwards) and
below this the Martyria of Mode III: then Ison twice. All this seems to
shew that, while we must use the scale of Mode IV plagal, we start on the
initial note of Mode III, i.e. f. As this procedure finally leads us to the
proper cadence of Mode IV plagal, I have no hesitation in adopting it.
In line 2 over -XJe we have the Ison, and Choriston (accent), and also
Parakletice, a mute Hypostasis of unknown value, perhaps an expression-
mark. The Psephiston recurs over the next syllable, and, after six notes,
comes the Heteron tou Psaltikou, another Hyporrhoe compound, indicat-
ing a group, but devoid of interval-value. The Hyporrhoe itself occurs
last of all in this line, and three times before. At (D) we again have the
Martyria of Mode IV plagal, this time surmounted by an Ison, to shew
that we go on from the regular initial note c. In the same line we again
have the Heteron tou Psaltikou: five notes later the Pelaston, which seems
to be a compound of Petaste and Psephiston. It has the value of one
note upwards. At the end of the line the Hypostasis is the Kylisma, a
slur.
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CONCLUSION.
H. J. W. TILLYARD.