The Rhythmical and Metrical Structure of the Byzantine Heirmoi and Stichera as a Means to and as a Result of a New Rhythmical Interpretation of the Byzantine Chant

This paper is a methodical attempt at providing an interpretation of Byzantine chant based on formulating an – as yet non–existent – theory of rhythm and a new approach to matters related to the metrical structure of hymns.

The starting point in this approach is the observation that Byzantine hymnography consists of the so called "proshomoia", that is of hymns which have not their own music, but the music of another prototype hymn, to which the proshomoia bear a metrical similarity. The next step is the realization that this principle of hymn construction is present not only in different hymns, but very frequently within the frame of the same hymn, in the form of the similar cola, which are usually set to the same music. Thus the cola can be understood as "little proshomoia". Finally, the overall construction of the Byzantine chant can be seen to be governed by this principle, by means of the "theseis", i.e. the musical formulae, which are recurring in the same or in different hymns. So, to a certain formula, that is to a more or less stereotyped musical phrase, correspond many poetical texts , which can be considered as "little proshomoia", with various number of syllables and diverse positions of accents.

Hence the fundamental principle of constructing the proshomoia: the principle of isosyllaby, the principle of homotony and the keeping of the same music in the heirmos and the troparia between the automelon and its proshomoion, although from the study of the poetical texts of the hymns conclusions can be reached that these principles are not always valid.

Most scholars working in the field of hymnography have not been able to find a convincing solution to the problem of the metrical structure either because they based their investigations on the music sung nowadays, or because they have not been able either to read the old musical notations or to identify the musical rhythm of the old chants.

The author directed his investigations mainly at the standard repertory of the sticherarion and at the "standard" and older versions of the heirmologion (represented for example by E γ ΙΙ) contained in middle–Byzantine or palaeo–Byzantine sources, because they represent the older versions of the chants, possibly identical or very close to the music of the melodes. On the other hand texts set to troparia or canons, written by the melodes themselves, were used. Although based on restricted material belonging to a limited period of time, it can be shown that the results hold true for the marginal repertory of the sticherarion (as for example the stichera anastasima), the later heirmologia of the 14th century and the canons and proshomoia of the hymnographers. These results can also be used for understanding the metrical structure of the kontakia of which there are no early syllabic settings.

In as far as the interpretation of the signs is concerned, they can be applied or at least constitute a firm basis for investigations in the transcription of the chants of the psaltikon, the asmatikon and the papadike.

The details and the results of the preceding discussion can serve as an indispensable starting point to elucidate the question of the short and long melismatic exegesis of the notation, which is an integral part of the tradition and of the present practice but now seems to pertain to later elaborations.

Although present–day practice was not taken into consideration, it can be shown that modern notation makes use of quite a number of signs in much the same way as earlier notations did. Thus a comparison of older with contemporary chants reveals an identity or close relationship in the treatment of accents, the relation of text to music and notation, and in general of rhythm: a living, uninterrupted tradition creating new forms on the basis of old principles thus becomes evident.

Ioannis Arvanitis