تاريخ الليتورجيات | Early Maronite & Byzantine Music | Fr. Geha & Johnny Kassis | Podcast #10

Please watch: "Music & Fate in the Jeita Grotto | François Bayle | الموسيقى والقدر في مغارة جعيتا | Podcast #19"
• Music & Fate in the Je... -~-
Help the Podcast on Patreon:
patreon.com/Tarab3arabPodcast...
EPISODE #10 of #Tarab3arabPodcast with two referential figures in the world of liturgical music, Mr. Johnny Kassis and Fr. Youhanna Geha, who will embark us on a journey to discover the genesis and the development of both Maronite and Byzantine liturgies.
حلقة 10# مع شخصيتين مرجعيتين في عالم الموسيقى الليتورجية ، السيد جوني قسيس والأب. يوحنا جحا ، كلاهما سيأخذنا في رحلة لاكتشاف نشأة وتطور الليتورجيات المارونية والبيزنطية
THE MARONITES:
The Maronite Church is a branch of the Syro-Antiochean Church and one of the earliest distinct eastern churches. The term “Maronite” derives from the monastery of Bayt Marün (House of Maron) built in the fifth centuryin the valley of the Orontes, near Apameus, in northern Syria. Maronites believe that this monastery was built in honor of Saint Maron (d. 410), an anchorite’ who lived on a mountain near Apameus; his austerity and miracles made him a celebrity.^ His followers took part in the doctrinal discussions ofthe period, which led to their persecution by other Christian sects. In 517, three hundred fifty monks from the monastery of Saint Maron were massacred on their way to a pilgrimage to the shrine of Saint Simeon Stylites in the Syrian desert. Later persecutions at the hands of their religious adversaries, and Persian and Arab invaders of Syria in 611 and 634 respectively, forced them to migrate for refuge to the inaccessible Lebanese mountains. The great majority settled in Lebanon and developed as an independent religious community, in which secular and clerical powers were combined; some fled to Cyprus. Their final exodus into Mount Lebanon occurred during the tenth and eleventh centuries.
BYZANTINE MUSIC:
Byzantine music (Greek: Βυζαντινή μουσική) originally consisted of the songs and hymns composed for the courtly and religious ceremonial of the Byzantine Empire and continued, after the fall of Constantinople in 1453, in the traditions of the sung Byzantine chant of Eastern Orthodox liturgy. The ecclesiastical forms of Byzantine music are the best known forms today, because different Orthodox traditions still identify with the heritage of Byzantine music, when their cantors sing monodic chant out of the traditional chant books such as the Sticherarion, which in fact consisted of five books, and the Irmologion.
Byzantine music did not disappear after the fall of Constantinople. Its traditions continued under the Patriarch of Constantinople, who after the Ottoman conquest in 1453 was granted administrative responsibilities over all Eastern Orthodox Christians in the Ottoman Empire. During the decline of the Ottoman Empire in the 19th century, burgeoning splinter nations in the Balkans declared autonomy or autocephaly from the Patriarchate of Constantinople. The new self-declared patriarchates were independent nations defined by their religion.
In this context, Christian religious chant practiced in the Ottoman Empire, in, among other nations, Bulgaria, Serbia and Greece, was based on the historical roots of the art tracing back to the Byzantine Empire, while the music of the Patriarchate created during the Ottoman period was often regarded as "post-Byzantine". This explains why Byzantine music refers to several Orthodox Christian chant traditions of the Mediterranean and of the Caucasus practiced in recent history and even today, and this article cannot be limited to the music culture of the Byzantine past.
Timecodes:
00:00 Introduction
1:20 Why didn't the maronites notate their music?
5:00 The early days of Byzantine music
9:30 What was the organic language of the time?
15:00 The greek influence
19:00 The ideological difference between Maronites and Orthodoxe
25:00 How old is Maronite music?
28:00 Byzantine music and language
36:00 Polyphony in the Byzantine church
37:30 The decline of the maronite liturgy
48:00 Standards
51:00 Byzantine music explained (the Ison)
56:00 We are not pagans
1:00:00 Comparative observation between Islamic prohibition and church prohibition
1:01:00 The place musical instruments in the liturgy
1:08:00 Hic et Nunc
1:13:00 The church is not a nationalistic entity
1:16:00 The organisational power of the Liturgy
1:20:00 The evolution of Byzantine music (psaltica)
1:27:00 The 1814 Byzantine reform
1:30:00 The 1970 Maronite reform
1:40:00 How things evolved
#maronite #byzantine #orthodox #chants #maronitechants #maroniteliturgy #interview #podcast #music #orthodoxchants #orthodoxliturgy #church #easternchurch #thechurch #podcast #musicpodcast #middleeast #christian #christianinterview #arabichymns #maronitechurch

[@chaficii]

الضيفان جناحان لنسر واحد للموسيقى الكنسية 🙌🏻🙌🏻 روعة

[@salwasamaha1891]

This episode is very educational and enriching. Nadim, you're doing great work with a high level of professionalism. 👍

[@ZiadKreidy]

Thank you for this interesting subject. Polyphonic music of the Renaissance lacked the systematic harmonic progression found in later Baroque music. The development of functional harmony and the conscious harmonization of melodies indeed emerged during the Baroque period, particularly with the advent of opera and the use of basso continuo.

[@ZagharidPod]

Thanks for listening!

[@lebanonthehostbecamethehos2904]

this is a first time since toooo long , i see a documentary in history , bringing many guests to agree or discuss different point of view and noting the references with the video editing .. Bravo Nadim 2 times mostly for your interest in shedding light on real authentic history the closest to the truth . your podcasts are very valuable . you can later on remove these podcasts from youtube and then sell them as documentaries

[@Lebanesefaction]

Do you have a PDF copy of the article الزياحات فالقداس الماروني by Michel Breydy? It is mentioned in the podcast. Great discussion by the way.

[@eliahajjeassaf1864]

There's an archive for the machrek magazine you can find or at usj or the patriarchal seminary at ghazir

[@ZagharidPod]

Hello! No i do not, one needs to have access to the USEK Library membership in order to see the article I believe. All the best!

[@lebanonthehostbecamethehos2904]

شكرا ابونا يوحنا جحا .. الجقيقة 24:00 هذا موضوع نضالي .. الا وهو انه لا يوجد " لغة " سريانية او " لغة " ارامية .. للحقيقة ان الاصل هو اللغة الكنعانية التي تبناها الاراميون ثم السريان .. اما الغرض بالتسويق لفكرة ان المسيح تكلم الارامية وهو خاطب المرأة الكنعانية بلغتها .. يهدف الى محو الحضارة الكنعانية عن الخارطة باعتبار الكنعانيين وثنيين علما ان اول اتباع المسيح هم كنعانيين بداية من تلاميذه الاوائل الذين اختارهم من الجليل الذي كان كنعانيا - لبنانيا ( وليس فلسطينيا ) .. ( للتذكير بحدث طرد اليهود من الجليل حوالي 150 سنة قبل المسيح من الكنعانيين في زمن سمعان المكابي ) ..
كما القول ان موارنة لبنان هم سريان فهذه قمة الاستخفاف بالحقيقة العلمية ولو قرأنا احداث التاريخ والمنطق لا يمكن ان يكون موارنة لبنان الا فينيقيين كنعانيين قد يكون انهم اتبعوا تعاليم بعض الكهنة اتباع مارون الذين هربوا من سوريا الى لبنان اي من بلد فيه سيطرة للسريان الى بلد ليس فيه اي وجود لهم ..
وبالمقارنة بين الابجدية السريانية والفينيقية نرى ان هذه المسماة سريانية هي نسخ طبق الاصل عن الفينيقية ( نفس عدد الحروف - نفس اللفظ - نفس الترتيب وحتى نفس المعاني التي وضعها الفينيقيون لابجديتهم ) .. السريان اضافوا التحريك وفصل الكلمات ولكن الفينيقيون استمروا بلصق الكلمات وعدم التحريك للبقاء على سرية رسائلهم ...
هناك توجخ يسعى لتحويل السريانية في لبنان الى قومية تحمل هوية وارض وتراث .. تقوم على التسويق لاسامي قرى لبنانية على انها سريانية -- وعلى التسويق لتراث لبنان فني على ان اصوله سريانية - وتسوق لفكرة ان موارنة لبنان هم سريان اتوا الى لبنان هربا من سوريا ... ولها لغة " سريانية "" يسوقون لها على انها لغة اللبنانيين الاسياسية .. بينما هي لهجة متفرعة من اللهجة الكنعانية الفينيقية التي لم يتخلى اللبنانيون عنها