Μελέτες και Άρθρα • Studies and Articles
Monday, March 9, 2026
Στάθης Γρηγόριος, Οχτώμελο Λάλημα και ομιλίες κι όνειρο και θούρια λαλήματα
Περιεχόμενα
Η των ήχων τερπνότης
ΟΙ Μαΐστορες της Ψαλτικής Τέχνης
Εψές είδα ένα όνειρο
Αναβάσεις εν ταις καρδίαις
Αλφαβητάρι βυζατνινής τελετουργίας και ψαλτικών όρων
Και ήκουσα ως φωνήν υδάτων πολλών
Ο Θούριος του Ρήγα
Ο δικός μου Θούριος στο Συλλαλητήριο του 1962
Στάθης Γρηγόριος, Tο γεγονός — η “ευεργεσία του έθνους”— η έκδοση
Summary
In 1814, the Patriarchiate in the Fanari of Constantinople transformed the notation for religious chanting, from which came the so-called “new method”. In January
1815 there was founded a “new school” for teaching and disseminating this method. The new method of Greek music of Byzantine and neo-Byzantine melody, and the opening of the new school is the event which signifies an epoch in which there was a turning point in chanting in the Greek Orthodox Church. For the development and dissemination of the New Method and for the creation of the new school of music, around 1815, there circulated a Patriarchal Decree, in one page, sent as a Patriarchal Universal Message by the Ecumenical Patriarch Cyril the 6th, in the month of April or May of 1815. At the same time, an effort was made to translate all the Byzantine and Meta-Byzantine melodies into the system of the new method in a work which contains 62 “Exegitical Manuscripts”. This article, first, discusses the background history of notation and its use up till the transformation, and later discusses the exegetical work in the manuscripts.
Στάθης Γρηγόριος, Η εξέλιξη της εκκλησιαστικής μουσικής στη μεταβυζαντινή περίοδο
Summary
Stathis Gregorios, The developement of the byzantine music in the post-byzantine period
By way prefacing this synopsis of my report to the four day symposium, ''Orthodox Ecclesiastical Music - Past, Present, Future", organized and hosted by Holy Cross Greek Orthodox School of Theology in Boston on the 5-8 June 1985, 1 would like to clarify a few points. First a note that the report's topic was not my own, but assigned. The next objective was to use the restricted scope defined as "the historical verification of the ecclesiastical music's evolution in the post-Byzantine period" as the backdrop for the formulation of a few thoughts on the music and its application to some contemporary realities. Lastly, the report's structure is rooted in and flows out of the Orthodox tradition of
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