Synonyms for ephesios or Related words with ephesios
Examples of "ephesios"
From an unprinted manuscript in John Williams's library he edited ‘Annotationes in Vetus Testamentum et in Epistolam ad
,’ Cambridge, 1653 (new edit. Frankfort, 1704). The authorship is uncertain.
It is surprising that he did not mention Petros' "Doxastarion syntomon", but only his "Anastasimatarion", which should not be mistaken with the "Anastasimatarion neon", published by Petros
in 1820. It is not less surprising, that the psalmodic composition of the vesper psalm 140.1 Κύριε ἐκέκραξα ("kekragarion") in the "Anastasimatarion" was listed by Chrysanthos as example of the "papadic melos".
Concerning the sticheraric melos as the realisation of the repertory of the old book sticherarion, the strict rhythmic form of the melos, as it had been created by Petros Peloponnesios, had been criticised and refused by Iakovos the Protopsaltes, a teacher of the following generation. It seems that his opinion had a great influence on the fourth generation of teachers, who were responsible for the reform notation and the preparation of the printed edition—especially, because Iakovos' "Doxastarion argon" was called by Chrysanthos the "old sticheraric method." Nevertheless, the first printed "Doxastarion syntomon" by Petros Peloponnesios and his composition of the "Kekragaria", as they had been published in the "Anastasimatarion neon" by Petros
, suggested the style which became soon the widely accepted example of the "sticheraric melos". Iakovos' "Doxastarion argon" had rather been transcribed according to the "papadic" Octoechos. For two reasons. First, it was indeed the closest realisation with respect to the models given by the revised 14th-century sticheraria. Second, the different chant genres had not been so strictly separated in those sticheraria, due to the synthesis of all great signs in the "Papadike", but also due to a synthesis of the phonic neumes which used the same combinations for the cadences as they were used in the contemporary manuscripts of the heirmologion.
Probably Chrysanthos had an earlier plan, before Petros
realised the first printed editions. There are copied manuscripts of a rather unknown "Anastasimatarion syntomon" ascribed to Petros Peloponnesios and it was assumed that Gregorios the Protopsaltes transcribed it according to the New Method. This manuscript had a second part as well, which was a "Sticherarion" including the fixed (μηναῖον) and the moveable cycle (τριῴδιον, πεντηκοστάριον) which did not only contain the "stichera prosomeia" and the "troparia", but also the "theotokia", "kontakia", and "eisodika" of the "sticherarion". In fact this "Anastasimatarion syntomon" was created during Petros' lifetime, but not by him, it is usually identified with the name of its publisher Ioannes the Protopsaltes, but it was created by him and Daniel the Protopsaltes, although the latter is not mentioned in a very particular print edition of the Anastasimataria, because it included not only the Petros' "Anastasimatarion neon" and the stichera heothina, but also the pasapnoaria, the anabathmoi, the heirmologia (katavasion and syntomon), and a certain "Anastasimatarion syntomon" composed in a melos, which is today called "troparic". The "fast sticheraric melos" represented by "Petros Peloponnesios'" "Anastasimatarion syntomon" was probably meant as an early name for the "troparic melos". There is another manuscript (Ms. 716 of the National Library of Athens) which contains the transcription of Petros' sticheraric compositions, as they are today part of the printed editions called "Anastasimatarion neon" which is not mentioned here, since the "old sticheraric melos" was rather represented by the traditionalist Iakovos who opposed to the rhythmic style of Petros' "Doxastarion syntomon". The names of the chant genres as a category of the melos and its identification with a certain tempo (once the method of the thesis) were obviously taken from the traditional chant books, but its redefinition was based on a universal concept of psalmody, which was not the reception of Panagiotes the New Chrysaphes' "Anthology" who once tried to follow the tradition into the footsteps of Manuel Chrysaphes, but the oral hyphos style developed by Ioannes of Trapezountios. The "troparic melos" was the simpler psalmody with respect to the traditional simple psalmody. The New Method created four octoechos cycles—one for each genre, but there was no longer a strong connection between the traditional method to do the thesis of the melos according to the convention of a certain book, and the four octoechos cycles had been as well used to integrate several melodies, which had not been so far regarded as a part of the Octoechos tradition.
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