Alexander Lingas | Cambridge Theological Federation (original) (raw)

Papers by Alexander Lingas

June Boyce-Tillman and Anne-Marie Forbes, ed., Heart's Ease: Spirituality in the Music of John Tavener (Peter Lang), pp. 185–224 , 2020

Peter Bouteneff and Jeffers Engelhardt, eds, Arvo Pärt: Sounding the Sacred (Fordham University Press), 220–31, 2020

Roderick Beaton, Katerina Levidou, Polina Tambakaki and Panos Vlagopoulos, eds., Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries, Centre for Hellenic Studies, Kings College London Publications 21 (London and New York: Routledge), 31–53., 2019

Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music , 2017

in Ann Bezzerides, ed., Orthodox Christianity, Higher Education, and the University: Theological, Historical, and Contemporary Reflection (South Bend: University of Notre Dame Press), 2017

Over the last few decades there has been an international revival of interest in what Vladimir Mo... more Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called the "New Russian Choral School": a movement of churchmen, composers, and conductors of the late nineteenth and early Op. 13 Based on Early Russian Chants far mixed choir a cappella Максимилиан Штейнберг СТРАСТНАЯ СЕДМИЦА Опус 13 По старинным русским распевам для смешанного хора без сопровождения MUSICA RUSSICA

Claire Nesbitt and Mark Jackson, eds, Experiencing Byzantium: Papers from the 44th Spring Symposium of the Society for the Promotion of Byzantine Studies, Newcastle and Durham, April 2011 (Farnham: Ashgate), pp. 311–58., 2013

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 2006

C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1e... more C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1ese greco-cattoliche", "melchite" o "uniati" il cui rito segue quello bizantino, ma che in vari momenti della storia entrarono in comunione con la Sede di Roma. Una speciale attenzione sarà comunque accordata a qu~lle che, per prestigio ecclesiastico e diffusione geografica, si P?ssono .cons~derare le due tradizioni musicali piu rappresentative, vale a dire la .b1zantu~o-gr~ca ~la bizanti~o-slava. Non tratteremo in questa sede l~ mus1ca e la hturg1a di quelle Ch1ese che nel dialogo ecumenico sono de-

In Gerda Wolfram (ed.), Paleobyzantine Notations III: Acta of the Congress Held at Hernen Castle, The Netherlands, in March 2001 (Eastern Christian Studies 4; Leuven, Paris and Dudley, MA: Peeters), 147-55., 2004

Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical m... more Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical music, to say nothing of its ubiquity in the received tradition of Byzantine chanting, it is only in recent times that significant progress has been made toward understanding its historical place within the services of the Byzantine rite. In the case of Byzantine chant, it would be fair to say that florid repertories were not addressed in any significant way until the latter half of the twentieth century, during which discussions of melismatic chants from the Asmatikon and Psaltikon led to increasingly thorough treatments of kalophonic works from the Paleologan and Post-Byzantine periods. The need to consolidate these recent gains, as well as the desire to correlate them with similar advances in the study of Slavonic repertories inspired the formation of a team of researchers (of which this writer is one) led by Christian Troelsgard and supported by INTAS to study melismatic chant in Russia and Byzantium from the eleventh to the seventeenth centuries. It is envisioned that this project will eventually produce a monograph of detailed case studies and comparative surveys of Greek and Slavonic repertories, providing thereby a more complete picture of how, where, when and by whom florid chants were sung. This will, in turn, provide new opportunities to heighten our understanding of the meaning and function of these chants within the context of Orthodox worship.

Psalms in community: Jewish and Christian textual, …, Jan 1, 2004

Acta Musicae Byzantinae, 6, 56-76., Jan 1, 2003

Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been g... more Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been generating controversy ever since the first Western European attempts to apprehend the intervallic and rhythmic information conveyed by medieval Byzantine neumes. These early efforts not only sparked debates among Western academics as to whose interpretation was more correct, but also provoked a strongly negative reaction from certain Greek scholars and cantors who saw all of the transcriptions as musically alien to the received tradition of Byzantine chanting. By the mid-1920s, Western musicologists and Greek traditionalists had each achieved a modicum of internal consensus, leaving the two sides arrayed against each other over issues of tuning, rhythm, chromaticism, and ornamentation. These positions hardened in the next decade as the debates became focused on the transcriptions issued by the Monumenta Musicae Byzantinae (MMB) of Copenhagen, the organisation founded in 1931 by Carsten H...

This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byza... more This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byzantine cathedral Rite of the Great Church from its origins in the popular psalmodic assemblies of the fourth century to its comprehensive reform by Archbishop Symeon of Thessalonica ...

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 1996

In ed. Constantin C. Akentiev, Liturgy, Architecture and Art of the Byzantine World: Papers of the XVIII International Byzantine Congress (Moscow, 8–15 August 1991) and Other Essays Dedicated to the Memory of Fr. John Meyendorff, Byzantinorossica 1 (St. Petersburg: 1995), 50–57., 1995

Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos... more Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos and other early hymnographers were once the dominant form of hymnography in Byzantine matins, but were curtailed to their first two stanzas after the advent of the kanon 2 • This traditional view of the kontakion's liturgical place was rejected by Jose Grosdidier de Matons, who, arguing from a careful examination of the style and content of the kontakia themselves, asserted that kontakia had never occupied tl~e present place of the kanon in monastic orthros 3 • He believed that the kontakia of Romanos, in keeping with their origins as poetic sermons, were originally written for the instruction of the laity at cathedral vigils4, and only after at least two centuries were they adapted to the monastic office 5 • While Grosdidier de Matons' identification of the cathedral vigil as the original home of the kontakion is generally consistent with his literary evidence, he unfortunately has very little to say about the nature and structure of these nocturnal rites. Curiously, he also seems unaware of even the existence of a distinctly Constantinopolitan cathedral rite (the asmatike akolouthia or "sung office") that differed from the Palestinian monastic rite 6 • In an attempt to remedy this situation, the present study will briefly examine the question of the kontakion's relationship to the asmatike akolouthia.

June Boyce-Tillman and Anne-Marie Forbes, ed., Heart's Ease: Spirituality in the Music of John Tavener (Peter Lang), pp. 185–224 , 2020

Peter Bouteneff and Jeffers Engelhardt, eds, Arvo Pärt: Sounding the Sacred (Fordham University Press), 220–31, 2020

Roderick Beaton, Katerina Levidou, Polina Tambakaki and Panos Vlagopoulos, eds., Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries, Centre for Hellenic Studies, Kings College London Publications 21 (London and New York: Routledge), 31–53., 2019

Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music , 2017

in Ann Bezzerides, ed., Orthodox Christianity, Higher Education, and the University: Theological, Historical, and Contemporary Reflection (South Bend: University of Notre Dame Press), 2017

Over the last few decades there has been an international revival of interest in what Vladimir Mo... more Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called the "New Russian Choral School": a movement of churchmen, composers, and conductors of the late nineteenth and early Op. 13 Based on Early Russian Chants far mixed choir a cappella Максимилиан Штейнберг СТРАСТНАЯ СЕДМИЦА Опус 13 По старинным русским распевам для смешанного хора без сопровождения MUSICA RUSSICA

Claire Nesbitt and Mark Jackson, eds, Experiencing Byzantium: Papers from the 44th Spring Symposium of the Society for the Promotion of Byzantine Studies, Newcastle and Durham, April 2011 (Farnham: Ashgate), pp. 311–58., 2013

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 2006

C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1e... more C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1ese greco-cattoliche", "melchite" o "uniati" il cui rito segue quello bizantino, ma che in vari momenti della storia entrarono in comunione con la Sede di Roma. Una speciale attenzione sarà comunque accordata a qu~lle che, per prestigio ecclesiastico e diffusione geografica, si P?ssono .cons~derare le due tradizioni musicali piu rappresentative, vale a dire la .b1zantu~o-gr~ca ~la bizanti~o-slava. Non tratteremo in questa sede l~ mus1ca e la hturg1a di quelle Ch1ese che nel dialogo ecumenico sono de-

In Gerda Wolfram (ed.), Paleobyzantine Notations III: Acta of the Congress Held at Hernen Castle, The Netherlands, in March 2001 (Eastern Christian Studies 4; Leuven, Paris and Dudley, MA: Peeters), 147-55., 2004

Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical m... more Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical music, to say nothing of its ubiquity in the received tradition of Byzantine chanting, it is only in recent times that significant progress has been made toward understanding its historical place within the services of the Byzantine rite. In the case of Byzantine chant, it would be fair to say that florid repertories were not addressed in any significant way until the latter half of the twentieth century, during which discussions of melismatic chants from the Asmatikon and Psaltikon led to increasingly thorough treatments of kalophonic works from the Paleologan and Post-Byzantine periods. The need to consolidate these recent gains, as well as the desire to correlate them with similar advances in the study of Slavonic repertories inspired the formation of a team of researchers (of which this writer is one) led by Christian Troelsgard and supported by INTAS to study melismatic chant in Russia and Byzantium from the eleventh to the seventeenth centuries. It is envisioned that this project will eventually produce a monograph of detailed case studies and comparative surveys of Greek and Slavonic repertories, providing thereby a more complete picture of how, where, when and by whom florid chants were sung. This will, in turn, provide new opportunities to heighten our understanding of the meaning and function of these chants within the context of Orthodox worship.

Psalms in community: Jewish and Christian textual, …, Jan 1, 2004

Acta Musicae Byzantinae, 6, 56-76., Jan 1, 2003

Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been g... more Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been generating controversy ever since the first Western European attempts to apprehend the intervallic and rhythmic information conveyed by medieval Byzantine neumes. These early efforts not only sparked debates among Western academics as to whose interpretation was more correct, but also provoked a strongly negative reaction from certain Greek scholars and cantors who saw all of the transcriptions as musically alien to the received tradition of Byzantine chanting. By the mid-1920s, Western musicologists and Greek traditionalists had each achieved a modicum of internal consensus, leaving the two sides arrayed against each other over issues of tuning, rhythm, chromaticism, and ornamentation. These positions hardened in the next decade as the debates became focused on the transcriptions issued by the Monumenta Musicae Byzantinae (MMB) of Copenhagen, the organisation founded in 1931 by Carsten H...

This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byza... more This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byzantine cathedral Rite of the Great Church from its origins in the popular psalmodic assemblies of the fourth century to its comprehensive reform by Archbishop Symeon of Thessalonica ...

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 1996

In ed. Constantin C. Akentiev, Liturgy, Architecture and Art of the Byzantine World: Papers of the XVIII International Byzantine Congress (Moscow, 8–15 August 1991) and Other Essays Dedicated to the Memory of Fr. John Meyendorff, Byzantinorossica 1 (St. Petersburg: 1995), 50–57., 1995

Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos... more Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos and other early hymnographers were once the dominant form of hymnography in Byzantine matins, but were curtailed to their first two stanzas after the advent of the kanon 2 • This traditional view of the kontakion's liturgical place was rejected by Jose Grosdidier de Matons, who, arguing from a careful examination of the style and content of the kontakia themselves, asserted that kontakia had never occupied tl~e present place of the kanon in monastic orthros 3 • He believed that the kontakia of Romanos, in keeping with their origins as poetic sermons, were originally written for the instruction of the laity at cathedral vigils4, and only after at least two centuries were they adapted to the monastic office 5 • While Grosdidier de Matons' identification of the cathedral vigil as the original home of the kontakion is generally consistent with his literary evidence, he unfortunately has very little to say about the nature and structure of these nocturnal rites. Curiously, he also seems unaware of even the existence of a distinctly Constantinopolitan cathedral rite (the asmatike akolouthia or "sung office") that differed from the Palestinian monastic rite 6 • In an attempt to remedy this situation, the present study will briefly examine the question of the kontakion's relationship to the asmatike akolouthia.

Cat # CR427 SACD Hybrid Multichannel Artists: Cappella Romana, Alexander Lingas, conductor Pr... more Cat # CR427 SACD Hybrid Multichannel Artists: Cappella Romana, Alexander Lingas, conductor
Producer: Blanton Alspaugh; Engineering: Soundmirror
Editions of Byzantine Chant by Ioannis Arvanitis

Cappella Romana, Hymns of Kassiani (CR 422SACD), 2021

Booklet to the recording Hymns of Kassiani: The Earliest Music by a Female Composer, Kassianí (Ka... more Booklet to the recording Hymns of Kassiani: The Earliest Music by a Female Composer, Kassianí (Kassía) ca. 810– ca. 865, Cappella Romana (CR 422SACD). Sung by Cappella Romana (dir. Alexander Lingas) from performing editions of medieval Byzantine chants made by Ioannis Arvanitis.

Cappella Romana (CR420-CDBR, 2019). Booklet essays by Bissera V. Pentcheva, Jonathan S. Abel and ... more Cappella Romana (CR420-CDBR, 2019). Booklet essays by Bissera V. Pentcheva, Jonathan S. Abel and Elliot K. Canfield Dafilou, and Alexander Lingas. Includes CD and Blu-ray discs.

The Blu-ray includes the documentary film 'The Voice of Hagia Sophia', directed, edited and co-produced by Duygu Eruçman; Produced by Bissera V. Pentcheva. Cinematography by Meryem Yavuz, Michael Seely, and Ben Wu.

Part of the Icons of Sound project: https://ccrma.stanford.edu/groups/iconsofsound/

This music bears witness to how ancient Greek and Latin liturgical traditions were richly embelli... more This music bears witness to how ancient Greek and Latin liturgical traditions were richly embellished during the Renaissance on the islands of Crete and Cyprus, all within the shared cultural space of Venetian rule. First performed by Cappella Romana at the Early Music Festival in Utrecht (Netherlands).

Performing editions used for this recording by Dr Ioannis Arvanitis. English translations in the ... more Performing editions used for this recording by Dr Ioannis Arvanitis. English translations in the CD booklet by Archimandrite Ephrem Lash.

Medieval and Renaissance Cretan Chant and Polyphony, together with modern Choral works by Adamis,... more Medieval and Renaissance Cretan Chant and Polyphony, together with modern Choral works by Adamis, Bogdanos, Cardiasmenos, Desby, Michaelides and Zes.

Compiled from previous recordings of medieval Byzantine chant, this is the official companion dis... more Compiled from previous recordings of medieval Byzantine chant, this is the official companion disc to the Royal Academy of Arts 2008–09 exhibition.

Reviews in Early Music America, Early Music Review and Gramophone (‘G’ pick with sidebar interview).

Ethnomusicology Forum, 2018

Ethnomusicology Forum 22/1 (2013): 121–24., 2013

The Journal of Ecclesiastical History 63/1 (2012): 133–34, 2012

Speculum: A Journal of Medieval Studies 87/4 (2012): 1258–29, 2012

St Vladimir’s Theological Quarterly 56/1 (2012): 113–16., 2012

) Early Music (May 2009): 300–302., 2009

Journal of the Royal Musical Association, 129 no. 2 (2004): 298–304., 2004

Music and Letters 86 (2005): 328–32, 2005

The Journal of Ecclesiastical History 54 (2003): 333–35, 2003

The Journal of Ecclesiastical History 52 (2001): 541–42., 2001

This international conference brings together scholars from across a spectrum of specializations,... more This international conference brings together scholars from across a spectrum of specializations, affiliations, and academic traditions to look at Byzantine liturgy and hymnography across a considerable time span. Through talks and exchange of various kinds of academic expertise , we aim to seek new insights into the historical development of Christian liturgical ritual, hymn-writing and singing from the earliest times into late Byzantine epoch.

Oxford Handbooks Online, 2008

The Encyclopedia of Ancient History, 2012

The Encyclopedia of Ancient History, 2012

The Encyclopedia of Ancient History, 2012