Canon (hymnography)

Source: Wikipedia, the free encyclopedia.
Not to be confused with Canon (music).

A canon (

Song of Zechariah from the New Testament.[a]

The roots of this type of hymn go as far back as the 5th century, reaching maturity in the

Theophanes the Branded
.

Over time the canon came to replace the kontakion, a vestigial form of which is still used on several occasions and which has been incorporated into the performance of the canon. Each canon develops a specific theme, such as repentance or honouring a particular saint. Sometimes more than one canon can be chanted together, as frequently happens at Matins.

Biblical canticles and origins

The nine biblical canticles are:

  1. The
    Ode of Moses in Exodus (Exodus 15:1–19
    )
  2. The Ode of
    Deuteronomy (Deuteronomy 32:1–43
    ) (Note: this is sung only on Tuesdays in Lent)
  3. The Prayer of Anna the mother of
    Samuel the Prophet (1 Samuel 2:1–10
    )
  4. The Prayer of Habakkuk the Prophet (Habakkuk 3:2–19)
  5. The Prayer of Isaiah the Prophet (Isaiah 26:9–20)
  6. The Prayer of Jonah the Prophet (Jonah 2:3–10)
  7. The
    Prayer of the Three Holy Children (Daniel
    3:26-56)*
  8. The Song of the Three Holy Children (The Benedicite, Daniel 3:57-88)*
  9. The Song of the
    Benedictus, Luke 1:68–79
    )
*These odes are found only in the Septuagint. Verse numberings according to Psalter, which differs from Brenton.

These biblical canticles are normally found in the back of the Psalter used by Orthodox churches, where they are often printed with markings to indicate where to begin inserting the irmos and troparia of the canons. Nowadays, however, the canticles are only sung in large monasteries or, in Russian practice, with the triode on the weekdays of Lent.

20th century scholarship generally agreed that the canon was invented in the late 7th century by Andrew of Crete, a view supported by prominent

musicologist Egon Wellesz.[1] Via his translation of the Jerusalem Georgian Chantbook, Stephen Shoemaker demonstrates that this form of hymn was already in place by the early 5th century, challenging the prevailing model of Byzantine musical development.[2] Frøyshov independently concurs based on the same evidence; "the Ancient Iadgari proves conclusively that the kanon genre was not invented in the 7th-8th centuries" and "in all probability appeared in the 4th-5th centuries."[3]

Performance

As with all other Orthodox church music, a canon is sung by a

major feast day
, or some other verse prescribed by the service books. (Katabasia means "coming down" and the verse is so called because as originally performed the two choirs would descend from their places on the left and right sides of the church to sing it together in the middle.)

Nearly all canons have only eight odes, the second ode generally being omitted since its canticle is quite penitential and so used only on the triode of the Tuesdays of Great Lent as well as in a few canons of an archaic style such as the aforementioned Great Canon.

Because a canon is composed of nine odes, it can be conveniently divided into three sections. Between Ode III and Ode IV, a

sedalen or "sitting hymn" is sung. Between Ode VI and Ode VII, a vestigal kontakion is sung with only its prooimion, or initial stanza, and the first oikos or strophe. If an akathist
is to be chanted in conjunction with a canon, it is inserted after Ode VI.

The typical order for a full canon, as currently, in most places, chanted at matins is as follows:

Modern arrangement

As detailed above, the Biblical canticles are now rarely used, each ode beginning with the irmos, save for the ninth ode where the Magnificat, which forms half of its canticle, is sung in its entirety before the irmos, except on certain major feasts when that ode has a special structure. Following the irmos, each troparion has a brief refrain, determined by the subject matter of the canon, replacing the verse of canticle.

The total number of troparia is determined by local usage. Theoretically, each ode has fourteen (or occasionally sixteen), with some troparia repeated if the service books do not provide enough of them and some conjoined if there are too many. This makes the canon too lengthy for typical parish use, so fewer are sung or in Russian practice, read.

Usage

Canons are used most notably at

Moleben. In Russian practice for the latter cases the canon is often vestigial, consisting of no more than a selection of katabasia with refrains and doxology. The Greek equivalent of a Moleben is the Paraklesis, during which a full canon is still chanted. Canons may also be used in private prayer either as a regular part of a rule or for special needs. One traditional prayerful preparation for reception of the Eucharist is to read three canons and an akathist
the evening prior. When used privately there is generally no attempt at an elaborated musical or metrical performance, and may be read silently.

Abbreviated canons

Sometimes abbreviated canons are used. A canon consisting of only four odes is called a tetraode; a canon consisting of only three odes is called a triode. In both of these types of canons, the last two odes are always the VIIIth and IXth. The preceding odes may vary with the day of the week. For instance, during

Forefeasts and Afterfeasts
.

Poetic and musical structure

The Biblical odes are not identical in

meter, and so although all the music is performed in the same mode each ode must comprise an individual composition. However, in the original Greek compositions, the irmos and troparia would by design be of the same meter and so could use the same melody. Acrostics
would often be present as well, read down a canon's troparia, and sometimes involving the irmos as well if it was composed at the same time. The meter and acrostic would be given along with the canon's title.

This structure is now generally lacking in more recently composed canons, especially when the canons are composed in languages other than Greek to some setting other than

Byzantine chant
, and since it is now expected that large portions of the canon will be read rather than sung. Although some newer canons also contain acrostics, they are less frequent than they once were.

Texts

The irmoi and katabasia for various occasions are found gathered together in the Irmologion, one of the standard service books of the Orthodox Church.

Complete canons (irmoi with their troparia) are found in the Menaion, Octoechos and Horologion used throughout the year, and in the seasonal service books the Triodion and the Pentecostarion.

Various collections of canons can also be found, as well as publications of individual canons in pamphlet form.

See also

Notes

  1. ^ For clarity, this article will use the term "canticle" to refer to the original biblical text, and "ode" to refer to the composed liturgical hymns.

References

  1. OCLC 913488612
    .
  2. OCLC 1047578356.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link
    )
  3. ^ Frøyshov, Stig Simeon. "[Hymnography of the] Rite of Jerusalem". Canterbury Dictionary of Hymnology.

Bibliography

External links
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