Amy and Richard welcome back John Michael Boyer to talk about his new textbook for Byzantine music aimed specifically at English language readers. They have a conversation about the book's beginnings, John's nearly two decades long writing process, what it offers cantors, and how the chant landscape has changed in North America since he first had the idea for the book.Show notes:John Michael Boyer, Saint John Koukouzelis Institute of Liturgical ArtsByzantine Chant: The Received Tradition - A Lesson BookBook launch at Maliotis Cultural CenterCappella Romana PublishingHoly Trinity Greek Orthodox Cathedral, New Orleans, LA

Amy and Richard welcome back John Michael Boyer to talk about his new textbook for Byzantine music aimed specifically at English language readers. They have a conversation about the book's beginnings, John's nearly two decades long writing process, what it offers cantors, and how the chant landscape has changed in North America since he first had the idea for the book. Show notes: John Michael Boyer, Saint John Koukouzelis Institute of Liturgical Arts Byzantine Chant: The Received Tradition - A Lesson Book Book launch at Maliotis Cultural Center Cappella Romana Publishing Holy Trinity Greek Orthodox Cathedral, New Orleans, LA

Book Preview - Byzantine Chant, The Received Tradition: A Conversation with John Michael Boyer

Demetrios Katsiklis

Demetrios Katsiklis is the newly-appointed Master Chanter of the newly-reopened St. Nicholas Greek Orthodox Church and National Shrine at Ground Zero. In this episode he talks to Amy and Richard about his upbringing in Greece, his chanting education, the challenges and opportunities of daily worship at one of the most visible Orthodox churches in the United States, and the intentionality of establishing St. Nicholas as a bilingual (Greek/English) worshipping community.

A Conversation with Demetrios Katsiklis of St. Nicholas Shrine, Ground Zero

Amy and Richard chat with the composers of Heaven and Earth, Cappella Romana's latest CD release, about the influence of Byzantine chant on this unique collaborative work.Heaven and Earth by Cappella Romana, recording release, October 14 2022Heaven and Earth, concerts in Seattle and Portland, October 14-16 2022Heaven and Earth: A Song of Creation performing edition, complete and individual movements, Musica RussicaBackground on Heaven and Earth: A Song of CreationCERN’s Higgs boson discoveryArchimandrite +Ephrem (Lash)     - Fr. Ephrem’s translation of Ps103, from draft to finalTikey Zes     - The Divine Liturgy of St. John Chrysostom CD release     - Tikey Zes: Choral Works CD release+Richard Toensing     - Kontakion on the Nativity of Christ with new Orthodox Christmas Carols CD releaseKurt Sander     - The Divine Liturgy CD releaseAlexander Khalil     - The Science Network interviewJohn Michael Boyer     - The Divine Liturgy in English CD releaseMatthew Arndt     - Interview with Society of St. Romanos the Melodist

Amy and Richard chat with the composers of Heaven and Earth, Cappella Romana's latest CD release, about the influence of Byzantine chant on this unique collaborative work. Heaven and Earth by Cappella Romana, recording release, October 14 2022 Heaven and Earth, concerts in Seattle and Portland, October 14-16 2022 Heaven and Earth: A Song of Creation performing edition, complete and individual movements, Musica Russica Background on Heaven and Earth: A Song of Creation CERN’s Higgs boson discovery Archimandrite +Ephrem (Lash) - Fr. Ephrem’s translation of Ps103, from draft to final Tikey Zes - The Divine Liturgy of St. John Chrysostom CD release - Tikey Zes: Choral Works CD release +Richard Toensing - Kontakion on the Nativity of Christ with new Orthodox Christmas Carols CD release Kurt Sander - The Divine Liturgy CD release Alexander Khalil - The Science Network interview John Michael Boyer - The Divine Liturgy in English CD release Matthew Arndt - Interview with Society of St. Romanos the Melodist

Heaven and Earth: A Song of Creation - Byzantine-Informed Choral Composition

In this episode Amy and Richard discuss the 4th Mode Resurrectional Apolytikion. You can find the score and recordings of the hymn on paralaggi and melos in the show notes, as well as a scale chart for reference.4th Mode Resurrection Apolytikion in Byzantine notation, by Papa Ephraim 4th Mode Resurrection Apolytikion in Western notation, by Papa EphraimParallagi Recording, Amy HoggMelos Recording, Amy HoggParallagi Recording, Richard BarrettMelos Recording, Richard BarrettScales Chart (B &amp; W): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdfScales Chart (Color): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdfRecordings of the 4th Mode Resurrectional Apolytikion in Greek:The Choir of Theodore VasilikosThrasyvoulos StanitsasPan Hellenic League of Sacred Cantors

In this episode Amy and Richard discuss the 4th Mode Resurrectional Apolytikion. You can find the score and recordings of the hymn on paralaggi and melos in the show notes, as well as a scale chart for reference. 4th Mode Resurrection Apolytikion in Byzantine notation, by Papa Ephraim 4th Mode Resurrection Apolytikion in Western notation, by Papa Ephraim Parallagi Recording, Amy Hogg Melos Recording, Amy Hogg Parallagi Recording, Richard Barrett Melos Recording, Richard Barrett Scales Chart (B &amp; W): <a href="https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdf" rel="nofollow" target="_blank">https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdf</a> Scales Chart (Color): <a href="https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdf" rel="nofollow" target="_blank">https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdf</a> Recordings of the 4th Mode Resurrectional Apolytikion in Greek: The Choir of Theodore Vasilikos Thrasyvoulos Stanitsas Pan Hellenic League of Sacred Cantors

Paralaggi Practice: Resurrection Apolytikion, Mode 4

Susan Ashbrook Harvey

Amy and Richard talk to Brown University’s Susan Ashbrook Harvey about her work, including liturgical aesthetics in late antiquity, and how St. Ephraim the Syrian’s choirs of women in fourth century Edessa might be helpful models for us today.Show Notes:Extract from Jacob of Serug’s Homily on St. Ephraim the Syrian [Hyperlink to the pdf which is attached to the email]More of Susan Ashbrook Harvey’s Work:Music as Liturgy: Models from Ancient Syriac Christianity:ISOCM PresentationISOCM Publication  Performance as Exegesis: Women’s Liturgical Choirs in Syriac TraditionOn Mary’s Voice: Gendered Words in Syriac Marian TraditionSinging Women’s Stories in Syriac TraditionRevisiting the Daughters of the Covenant: Women’s Choirs and Sacred Song in Ancient Syriac ChristianityModern Syrian Women’s Choirs:Syriac Choir of Nouri Iskandar, Aleppo  Choir of St. Petrus, Stockholm Syriac Music Institute

Amy and Richard talk to Brown University’s Susan Ashbrook Harvey about her work, including liturgical aesthetics in late antiquity, and how St. Ephraim the Syrian’s choirs of women in fourth century Edessa might be helpful models for us today. Show Notes: Extract from Jacob of Serug’s Homily on St. Ephraim the Syrian [Hyperlink to the pdf which is attached to the email] More of Susan Ashbrook Harvey’s Work: Music as Liturgy: Models from Ancient Syriac Christianity: ISOCM Presentation ISOCM Publication Performance as Exegesis: Women’s Liturgical Choirs in Syriac Tradition On Mary’s Voice: Gendered Words in Syriac Marian Tradition Singing Women’s Stories in Syriac Tradition Revisiting the Daughters of the Covenant: Women’s Choirs and Sacred Song in Ancient Syriac Christianity Modern Syrian Women’s Choirs: Syriac Choir of Nouri Iskandar, Aleppo Choir of St. Petrus, Stockholm Syriac Music Institute

“Eve’s Daughter Mary Has Opened Your Mouth”: A Conversation With Susan Ashbrook Harvey

In this episode Amy and Richard discuss the 3rd Mode Resurrectional Apolytikion.  You can find the score and recordings of the hymn on paralaggi and melos in the show notes, as well as a scale chart for reference. 3rd Mode Resurrectional Apolytikion - Looped Recording3rd Mode Resurrection Apolytikion in Byzantine notation, by Papa Ephraim3rd Mode Resurrection Apolytikion in Western notation, by Papa EphraimScales Chart (B &amp; W)Scales Chart (Color)

In this episode Amy and Richard discuss the 3rd Mode Resurrectional Apolytikion. You can find the score and recordings of the hymn on paralaggi and melos in the show notes, as well as a scale chart for reference. 3rd Mode Resurrectional Apolytikion - Looped Recording 3rd Mode Resurrection Apolytikion in Byzantine notation, by Papa Ephraim 3rd Mode Resurrection Apolytikion in Western notation, by Papa Ephraim Scales Chart (B &amp; W) Scales Chart (Color)

Paralaggi Practice: Resurrection Apolytikion, Mode 3

Richard and Amy discuss some of the spiritual, mental, and physical disciplines that they have found helpful in overcoming chanting related nervousness and anxiety.  Amy explains what happens in the voice box during  strong emotions, why this can negatively impact our ability to chant, and then models some exercises showing how to identify and learn to control the muscles involved.

Tips to Overcome Chanting Nerves

Saint Richard

This year, Richard chanted nameday services for his patron, Saint Richard of Wessex (7 February) for the very first time. In this episode, he tells the story of how all of that came to be, what it has to do with Byzantine chant in English, and how it brought together many people who have been on the show over the years.Livestream video of the service at Dormition of the Virgin Mary Greek Orthodox Church, Somerville, MAApolytikionSamuel Herron’s DoxastikonService orderByz scoresStaff scoresIcon by Brian Matthew Whirledge

This year, Richard chanted nameday services for his patron, Saint Richard of Wessex (7 February) for the very first time. In this episode, he tells the story of how all of that came to be, what it has to do with Byzantine chant in English, and how it brought together many people who have been on the show over the years. Livestream video of the service at Dormition of the Virgin Mary Greek Orthodox Church, Somerville, MA Apolytikion Samuel Herron’s Doxastikon Service order Byz scores Staff scores Icon by Brian Matthew Whirledge

The All-Night Vigil for Saint Richard of Wessex: Orthodox Creativity in Modern English for an Old En

Richard and Amy tell us what they have been up to the last few months during their podcasting absence.  Both have started new positions, Richard as Director of Publications, Grants, and Operations for Cappella Romana and Amy as the Protopsaltria as St. Nicholas Greek Orthodox Cathedral in Pittsburgh.

Amy and Richard’s Absence Excuse Note

Richard and Amy focus on the 2nd Mode Resurrectional Apolytikion in this episode, discussing the mode's structural notes and scale.  They talk about common pitfalls of the Soft Chromatic scale and give tips on tuning. You can find the score and recordings of the hymn on paralaggi and melos in the show notes.2nd Mode Resurrectional Apolytikion Score (Papa Ephraim) 2nd Mode Resurrectional Apolytikion Score (Father Seraphim Dedes) 2nd Mode Resurrectional Apolytikion Score (John Michael Boyer) 2nd Mode Resurrectional Apolytikion: Paralaggi (Amy) 2nd Mode Resurrectional Apolytikion: Melos (Amy) 2nd Mode Resurrectional Apolytikion: Paralaggi (Richard) 2nd Mode Resurrectional Apolytikion: Melos (Richard)

Richard and Amy focus on the 2nd Mode Resurrectional Apolytikion in this episode, discussing the mode's structural notes and scale. They talk about common pitfalls of the Soft Chromatic scale and give tips on tuning. You can find the score and recordings of the hymn on paralaggi and melos in the show notes. 2nd Mode Resurrectional Apolytikion Score (Papa Ephraim) 2nd Mode Resurrectional Apolytikion Score (Father Seraphim Dedes) 2nd Mode Resurrectional Apolytikion Score (John Michael Boyer) 2nd Mode Resurrectional Apolytikion: Paralaggi (Amy) 2nd Mode Resurrectional Apolytikion: Melos (Amy) 2nd Mode Resurrectional Apolytikion: Paralaggi (Richard) 2nd Mode Resurrectional Apolytikion: Melos (Richard)

Paralaggi Practice: Resurrection Apolytikion, Mode 2

The Living Tradition of Byzantine Music in America - Cantors Amy Hogg and Richard Barrett discuss the state of the field in English-language Byzantine chant, exploring where we’ve been, where we are, and where we’re going.

Thank you so much for doing this. I know it&#39;s a huge time investment. Years ago I toe-dipped into chanting and really appreciate what you are doing here. God bless and please keep it up!

A Chanting treasure

If you’re interested in Orthodox music in the English-speaking world, this is the podcast for you. Whether you’re a church musician or not, you’ll learn a lot about the development of Byzantine chant in English. You’ll hear examples and see how the work of many musicians has led us to where we are today - a work in progress to train chanters and make excellent materials available to every parish. Engaging interviews connect us with those who are making great contributions in this area, and let us know about their challenges and goals.

Lots of great history and interviews

A Sacrifice of Praise

Papa Ephraim

Papa Ephraim has composed a huge body of hymns for Vespers, Matins, and the Divine Liturgy and made them freely available online through St. Anthony’s Monastery. Join Amy and Richard as Papa Ephraim tells us about his journey into Orthodoxy, his time on Mt. Athos where he became a monk, and his time back in America where he started to compose.

Composer Spotlight: Papa Ephraim, Part 1

Richard and Amy discuss early Byzantine chant projects in English beginning in the 70’s with Basil Kazan’s Divine Music Project, moving into the 80’s with Vassilis Hadjinicolaou’s CDs, the 90’s with the formation of the Boston Byzantine Choir and Eikona, and ending in the early 2000’s with Fr. Apostolos Hill’s CDs.

The Development of Byzantine Chant in English, Part 1

Papa Ephraim continues his story, telling us how his composition process changed when he began composing hymns for Vespers and how he began codifying the melodies Byzantine chant into a systematic book of formulae in order to aid his work. He also shares how he was able to convert his font for Byzantine notation into Braille.

Composer Spotlight: Papa Ephraim, Part 2

Amy, Richard, and in-studio guest Peter George of St. Mark’s Greek Orthodox Cathedral in Boston and the ensemble Psaltikon talk about the structure of Sunday Matins. Part one of a three-part chat.

Matins with Peter George, Part 1 - Psalms, Canons and Canticles

Beginning in the early 2000s, a shift in Byzantine chant in English began to be noticeable. Join Amy and Richard as they describe the change in the composition process that spurred lots of new composition projects and lots of new recordings.

Byzantine Chant: Recent Developments

Gabriel Cremeens

Amy Hogg and Richard Barrett talk with Gabriel Cremeens, one of the more prolific of the current generation of cantors and composers working in English. In this episode he shares his beginnings as a composer at Hellenic College, followed by more intensive training in Greece studying composition with master teachers and chanting in churches there, and then landing as the full-time -- yes, full-time! -- protopsaltis of St. George Greek Orthodox Church in Albuquerque, New Mexico.

Composer Spotlight: Gabriel Cremeens, Part 1

Amy Hogg and Richard Barrett offer an introduction to the service of Vespers, discussing its structure, its moving parts, and why it's important to know these things as a cantor.Show NotesAntiochian Liturgical Guides: www.antiochian.org/liturgicdayAGES: www.agesinitiatives.com/dcs/test/dcs/dcs.htmlBishop Basil’s Typikon Charts and Explanations: www.dowama.org/node/31Services without a priest: www.dowama.org/content/services-without-priestBilingual Violakis Typikon: denver.churchmusic.goarch.org/publications-catalogFr. Robert Taft's book: The Byzantine Rite: A Short History (https://www.amazon.com/Byzantine-Rite-History-American-Liturgy/dp/0814621635/ref=sr_1_1 )The Typikon Decoded: www.amazon.com/s?k=the+typikon+decoded+an+explanation+of+byzantine+liturgical+practice

Amy Hogg and Richard Barrett offer an introduction to the service of Vespers, discussing its structure, its moving parts, and why it's important to know these things as a cantor. Show Notes Antiochian Liturgical Guides: <a href="http://www.antiochian.org/liturgicday" rel="nofollow" target="_blank">www.antiochian.org/liturgicday</a> AGES: <a href="http://www.agesinitiatives.com/dcs/test/dcs/dcs.html" rel="nofollow" target="_blank">www.agesinitiatives.com/dcs/test/dcs/dcs.html</a> Bishop Basil’s Typikon Charts and Explanations: <a href="http://www.dowama.org/node/31" rel="nofollow" target="_blank">www.dowama.org/node/31</a> Services without a priest: <a href="http://www.dowama.org/content/services-without-priest" rel="nofollow" target="_blank">www.dowama.org/content/services-without-priest</a> Bilingual Violakis Typikon: <a href="http://denver.churchmusic.goarch.org/publications-catalog" rel="nofollow" target="_blank">denver.churchmusic.goarch.org/publications-catalog</a> Fr. Robert Taft's book: The Byzantine Rite: A Short History (<a href="https://www.amazon.com/Byzantine-Rite-History-American-Liturgy/dp/0814621635/ref=sr_1_1" rel="nofollow" target="_blank">https://www.amazon.com/Byzantine-Rite-History-American-Liturgy/dp/0814621635/ref=sr_1_1</a> ) The Typikon Decoded: <a href="http://www.amazon.com/s?k=the+typikon+decoded+an+explanation+of+byzantine+liturgical+practice" rel="nofollow" target="_blank">www.amazon.com/s?k=the+typikon+decoded+an+explanation+of+byzantine+liturgical+practice</a>

An Introduction to Vespers

In this excerpt from a series of lessons developed for Byzantine Beginnings, Amy Hogg teaches the scale degrees in ascending and descending order without pitch.  This helps students develop confidence in their own knowledge of the pitch names as they learn to read Byzantine notation and practice with parallage.

Playing with Parallage 1

Amy and Richard continue talking to composer and cantor Gabriel Cremeens about the exceptional musical situation at his parish, his involvement with projects like the Dynamis Byzantine Ensemble, and what he's planning for the future.

Composer Spotlight: Gabriel Cremeens, Part 2

In July of 2018, at the Antiochian Archdiocese’s Sacred Music Institute, Deacon John El Massih, the protopsaltis of the Antiochian Archdiocese, gave a presentation on Vespers.  Deacon John used the vespers service of July 21st, 2018, as an example to talk about the parts of the service and the specifics of each hymn.  In this episode, you will hear Deacon John describe the beginning of Vespers up until O Gladsome Light!  Come back next week for the second part of Deacon John's presentation, and then join us again a week after that for the third and final part!Liturgical Guide for July 21 Vespers ServiceThe Liturgical Arts Academy, August 18-24, 2019Space is limited and the registration and payment are due August 1st

In July of 2018, at the Antiochian Archdiocese’s Sacred Music Institute, Deacon John El Massih, the protopsaltis of the Antiochian Archdiocese, gave a presentation on Vespers. Deacon John used the vespers service of July 21st, 2018, as an example to talk about the parts of the service and the specifics of each hymn. In this episode, you will hear Deacon John describe the beginning of Vespers up until O Gladsome Light! Come back next week for the second part of Deacon John's presentation, and then join us again a week after that for the third and final part! Liturgical Guide for July 21 Vespers Service The Liturgical Arts Academy, August 18-24, 2019 Space is limited and the registration and payment are due August 1st

Deacon John El Massih,  SMI Vespers Talk, Part 1

Amy and Richard continue their conversation about the order of Sunday Matins with cantor Peter George. In part 2 of 3, they pick up where they left off last week with the Evlogitaria and discuss the elements of the service through the Exaposteilaria.

Matins with Peter George, Part 2

Amy and Richard wrap up their conversation about the order of Sunday Matins with Boston cantor Peter George. They pick up where they left off last time with the Praises, continue through the end of the Great Doxology, and offer some closing thoughts.

Matins with Peter George, Part 3

Solfege is a familiar concept to many of us thanks to the famous song “Do-Re-Mi” from The Sound of Music; it’s the practice of “sounding out” a melody by singing pitch names, and it’s one of the oldest and most important musical teaching techniques we have. Byzantine chant has its own version of solfege: paralaggi. Amy and Richard talk about what paralaggi is, how it helps you to learn Byzantine music, and why it’s important for the beginner as well as the experienced cantor to do “paralaggi a hundred times” when learning to sing a new piece.Recordings of the Resurrectional Hymns in English:Ages Digital Chant Stand: http://www.agesinitiatives.com/dcs/public/dcs/dcs.htmlRecordings of the Resurrectional Hymns in Greek:Father Panaretos: https://www.imdleo.gr/diaf/2016/Byz_Panaretos.htm	For recordings of the Anastasimatarion on melos, go to: 5.2.2. MELOS.zip	For recordings of the Anastasimatarion on parallage, go to:   5.2.1. PARALAGH.zip         Score of the 1st Mode Resurrection Hymn used as an example:in Byzantine notation:http://www.stanthonysmonastery.org/music/Vespers/b2160_Apolytikion.pdfIn western notation:http://www.stanthonysmonastery.org/music/Vespers/Finale%202003%20-%20%5B2160_Apolytikion%5D.pdf

Solfege is a familiar concept to many of us thanks to the famous song “Do-Re-Mi” from The Sound of Music; it’s the practice of “sounding out” a melody by singing pitch names, and it’s one of the oldest and most important musical teaching techniques we have. Byzantine chant has its own version of solfege: paralaggi. Amy and Richard talk about what paralaggi is, how it helps you to learn Byzantine music, and why it’s important for the beginner as well as the experienced cantor to do “paralaggi a hundred times” when learning to sing a new piece. Recordings of the Resurrectional Hymns in English: Ages Digital Chant Stand: <a href="http://www.agesinitiatives.com/dcs/public/dcs/dcs.html" rel="nofollow" target="_blank">http://www.agesinitiatives.com/dcs/public/dcs/dcs.html</a> Recordings of the Resurrectional Hymns in Greek: Father Panaretos: <a href="https://www.imdleo.gr/diaf/2016/Byz_Panaretos.htm" rel="nofollow" target="_blank">https://www.imdleo.gr/diaf/2016/Byz_Panaretos.htm</a> 	For recordings of the Anastasimatarion on melos, go to: 5.2.2. MELOS.zip 	For recordings of the Anastasimatarion on parallage, go to: 5.2.1. PARALAGH.zip Score of the 1st Mode Resurrection Hymn used as an example: in Byzantine notation: <a href="http://www.stanthonysmonastery.org/music/Vespers/b2160_Apolytikion.pdf" rel="nofollow" target="_blank">http://www.stanthonysmonastery.org/music/Vespers/b2160_Apolytikion.pdf</a> In western notation: <a href="http://www.stanthonysmonastery.org/music/Vespers/Finale%202003%20-%20%5B2160_Apolytikion%5D.pdf" rel="nofollow" target="_blank">http://www.stanthonysmonastery.org/music/Vespers/Finale%202003%20-%20%5B2160_Apolytikion%5D.pdf</a>

Episode 10: Parallage: What, Why, & How Much

Romanos Karanos

Part 1 of 2. Recorded live at Εὐφράνθην! I Was Glad!, a liturgical symposium held at St. George Greek Orthodox Church in Southgate, Michigan on February 1, 2019. The Rev. Fr. Dr. Romanos Karanos, Assistant Professor of Byzantine Music at Hellenic College Holy Cross Greek Orthodox School of Theology, explains the what, how, and why of the All-Night Vigil service.

Fr. Romanos Karanos: Anatomy of a Vigil, Part 1

Amy Hogg and Richard Barrett speak with Fr. Seraphim Dedes, a translator of liturgical texts and a composer of English-language Byzantine music. He is also an innovator who has used technology to make liturgical materials accessible to everybody with a phone, and his works are used throughout the Greek Orthodox Archdiocese and beyond. In part 1 of Amy and Richard's conversation with Fr. Seraphim, he tells a story that takes him from his beginnings in Toledo, Ohio, to Boston, Mount Athos, and then back to the United States where he put his experience to work for the benefit of parish liturgical ministry.AGES digital chant stand can be found at www.agesinitiatives.com/dcs/public/dcs/dcs.html.

Amy Hogg and Richard Barrett speak with Fr. Seraphim Dedes, a translator of liturgical texts and a composer of English-language Byzantine music. He is also an innovator who has used technology to make liturgical materials accessible to everybody with a phone, and his works are used throughout the Greek Orthodox Archdiocese and beyond. In part 1 of Amy and Richard's conversation with Fr. Seraphim, he tells a story that takes him from his beginnings in Toledo, Ohio, to Boston, Mount Athos, and then back to the United States where he put his experience to work for the benefit of parish liturgical ministry. AGES digital chant stand can be found at <a href="http://www.agesinitiatives.com/dcs/public/dcs/dcs.html" rel="nofollow" target="_blank">www.agesinitiatives.com/dcs/public/dcs/dcs.html</a>.

Composer Spotlight: Father Seraphim Dedes, Pt 1

Nicholas Roumas

Greek-American Nicholas Roumas has the distinction of being the composer of the very first library-quality book of English-language Byzantine chant -- The Musical Ark, published by the Greek Orthodox Archdiocese. Amy and Richard talk to Nicholas about the story behind the book, and how he learned to sing and compose Byzantine music at a time when there were few resources for learning how to do so.Nick's book of compositions can be found here: www.asbm.goarch.org/store/#!/The-Musical-Ark-by-Nicholas-Roumas/p/84996540/category=0

Greek-American Nicholas Roumas has the distinction of being the composer of the very first library-quality book of English-language Byzantine chant -- The Musical Ark, published by the Greek Orthodox Archdiocese. Amy and Richard talk to Nicholas about the story behind the book, and how he learned to sing and compose Byzantine music at a time when there were few resources for learning how to do so. Nick's book of compositions can be found here: <a href="http://www.asbm.goarch.org/store/#!/The-Musical-Ark-by-Nicholas-Roumas/p/84996540/category=0" rel="nofollow" target="_blank">www.asbm.goarch.org/store/#!/The-Musical-Ark-by-Nicholas-Roumas/p/84996540/category=0</a>

Composer Spotlight: Nicholas Roumas

Samuel Herron

Amy Hogg and Richard Barrett continue their conversation with cantor and composer Samuel Herron, who talks more about his experiences chanting throughout the United States in cities like Nashville, Chattanooga, Boston, and Phoenix. He also tells us about his choir, the Dynamis Ensemble, and previews their new all-English recording of Byzantine chant for St. George.

Composer Spotlight: Samuel Herron, Part 2

This is the third part of Deacon John El Massih’s talk on Vespers from the 2018 Sacred Music Institute. Deacon John used the vespers service of July 22, 2018, as a model to talk about the parts of the service and the specifics of each hymn. This week you’ll hear about the end of vespers and the differences between daily and great vespers.Liturgical Guide for July 21 Vespers Service

This is the third part of Deacon John El Massih’s talk on Vespers from the 2018 Sacred Music Institute. Deacon John used the vespers service of July 22, 2018, as a model to talk about the parts of the service and the specifics of each hymn. This week you’ll hear about the end of vespers and the differences between daily and great vespers. Liturgical Guide for July 21 Vespers Service

Deacon John El Massih, SMI Vespers Talk, Part 3

This is the second part of Deacon John El Massih’s talk on Vespers from the 2018 Sacred Music Institute. Deacon John used the vespers service of July 22, 2018, as a model to talk about the parts of the service and the specifics of each hymn. In this episode, Deacon John covers Vespers from O Gladsome Light to just before the Apolytikia at the end. Come back next week to hear about the end of vespers and the differences between daily and great vespers.Liturgical Guide for July 21 Vespers ServiceWord that Burn Like a Lamp: a Summer Liturgical Workshop for the Prophet Elias, July 18-20, 2019The Liturgical Arts Academy, August 18-24, 2019Space is limited and the registration and payment are due August 1.

This is the second part of Deacon John El Massih’s talk on Vespers from the 2018 Sacred Music Institute. Deacon John used the vespers service of July 22, 2018, as a model to talk about the parts of the service and the specifics of each hymn. In this episode, Deacon John covers Vespers from O Gladsome Light to just before the Apolytikia at the end. Come back next week to hear about the end of vespers and the differences between daily and great vespers. Liturgical Guide for July 21 Vespers Service Word that Burn Like a Lamp: a Summer Liturgical Workshop for the Prophet Elias, July 18-20, 2019 The Liturgical Arts Academy, August 18-24, 2019 Space is limited and the registration and payment are due August 1.

Deacon John El Massih, SMI Vespers Talk, Part 2

Jessica Suchy-Pilalis

Amy and Richard talk to composer, cantor, and teacher Dr. Jessica Suchy-Pilalis. Dr. Suchy-Pilalis reflects on four decades of pioneering musical service and scholarship, including her recent compositions for the Boston Byzantine Choir's Twelve Days recording for Christmastide. Part one of three.

Composer Spotlight: Dr. Jessica Suchy-Pilalis - Part 1

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