Pravoslavno-dogmaticheskoe Bogoslovīe.

Mode of access: Internet.

Liturgy and Ritual

Mode of access: Internet.

Le double parallèle; ou, Léglise en présence de la papauté et de la réforme du XVI siècle /

Includes bibliographical references.

Episēma grammata tourkika anapheromena eis ta ekklēsiastika hēmōn dikaia /

Bound with: Hai phaseis tou par' hēmin ekklēsiastikou zētēmatos / M.I. Gedeōn, Kōnstantinoupolē, 1910; and, Archeion ekklēsiastikēs historias, Kōnstantinoupolē, 1911.

Hai themeliōdeis dogmatikai archai tēs Orthodoxou Anatolikēs Ekklēsias en antivolē pros tas tou palaiokatholikismou /

Mode of access: Internet.

Hai Vlachernai /

"Dapanais kai pros ophelos tēs Adelphotētos tōn Kyriōn tēs Panagias tōn Vlachernōn."

Puteshestvīe antīokhīĭskago patrīarkha Makarīi͡a v Rossīi͡u v polovini͡e XVII vi͡eka /

vyp.1. Ot Aleppo do zemli kazakov -- vyp.2. Ot Dni͡estra do Moskvy -- vyp. 4. Moskva, Novgorod i putʹ ot Moskvy do Dni͡estra -- vyp. 5. Obratnyĭ putʹ. Moldavīi͡ia i Valakhīi͡a. Malai͡a Azīi͡a i Sirīi͡a. Rezulʹtaty puteshestvīi͡a.

Hōrologion to mega periechon hapasan tēn anēkousan Autō Akolouthian, kata tēn taxin tēs Anatolikēs tou Christou Ekklēsias, kai exairetōs tōn hypokeimenōn autē euagōn Monastēriōn /

Mode of access: Internet.

Vitebskai︠a︡ starina.

Mode of access: Internet.

Das morgenländische Mönchtum.

Mode of access: Internet.

Rad Srpskog narodnocrkvenog sabora.

The council was held in 32 sessions from 10 (23) Dec., 1906, to 3 (16) Feb., 1907.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

The clergy-Man's vade mecum : part II : containing the canonical codes of the primitive, universal, Eastern, and Western Church, Down to the Year of our Lord, DCCLXXXVII, done from the original Greek and Latin, omitting no Canon, Decree, or any part of them that is curious or instructive ; with explanatory notes, a large index, and a preface shewing the usefulness of the work; with some reflections on moderate-non-conformity, and the rights of the church

Mode of access: Internet.

History of religious orders; a compendious and popular sketch of the rise and progress of the principle monastic, canonical, military, mendicant and clerical orders and congregations of the eastern and western churches, together with a brief history of the Catholic church in relation to religious orders.

Mode of access: Internet.

The Political and Artistic Program of Prince Petru Rares of Moldavia (1527-1538 and 1541-1546) and the Fresco Series Depicting the “Life of the Mother of God” in the Church of Humor Monastery

En 1993, l’église du monastère Humor et six autres églises du nord de la Moldavie (Roumanie) ont été classifiés comme patrimoine de l'UNESCO, en particulier en raison de leurs caractéristiques iconographiques et architecturales uniques. Construit au seizième siècle, le monastère Humor est devenu un riche centre religieux et culturel sous le patronage du prince Petru Rares de Moldavie. Ce centre a encouragé les innovations architecturales ecclésiales, ainsi qu’un programme très prolifique de fresques, extérieures et intérieures, exprimant une créativité au-delà du canon de la peinture de l'époque. La présente thèse est concentrée sur ces innovations architecturales et iconographiques, comprises à la lumière du contexte historique de ce moment unique dans l'histoire de la Moldavie, dans le siècle qui suivit la chute de Constantinople (1453). Tandis que la première partie de la thèse est concentrée sur ces circonstances historiques, et plus précisément sur l'impact du patronage du Prince Rares, la deuxième partie de la recherche est concentrée sur l'analyse des sources littéraires et de la théologie d’une série unique de fresques, placé dans la gropnita (chambre funéraire) de l’église monastique d’Humor, évoquant la vie de la Mère de Dieu. La série est un exemple extraordinaire d’interaction des textes, le Protévangile de Jacques et le Synaxarion, avec l'iconographie. Une attention particulière à l'iconographie du monastère Humor démontre le besoin de la corrélation entre texte et icône d'une part, ainsi que la nécessité d’une corrélation entre les études théologiques, l'art et l’histoire d’autre part. Un autre avantage de la recherche est de contribuer à une appréciation plus riche des trésors culturels et religieux des communautés chrétiennes de l'Europe de l'Est aux points de vue religieux et culturel, en réponse à leur reconnaissance comme patrimoine de l’UNESCO.