Untitled

THE ACCLAMATIONS 35
repeated three times, first by those inside the church, then by the
crowd outside, then again by those inside the church. The acclama
tions, both to the Emperor and Empress and to the Patriarch are first
sung by those in the church and then repeated by the crowd outside:
(iii)
Ex.6
f\
I7o\ - Act TO. -
TTJ
. .
vov rov eu - ae - fit - ord - TOV /?a - m - Ae -
J- * J' Ji J. Ji J. Jl JS J> J'i J,
KQ.I av - TO - Kpd - TO - pos- 'Pea - /W - a>v TOV Do. - Aat - o - Ad - yoir
j. j. m
at Ma. - pi - ay TTJJ cu - CTC - ^3
*=3= J
tea! ot - KOU - /ie
J. j ^
- ara-'njs Av - yov-cmj? TroA - *\d rd f -
I A A A
'
TOV a -
J* J> Ji J J* Jl
- a - KOU Tra - rpi - dp - p^ou TroA - Ad TO. c
yt
-
TTJ.
a> - ra - rou
.
J' I
(Many be the years of the Sovereigns [three times]. Many be the years of John,
the most religious King and Emperor of the Romans, the Palaeologus, and of
Mary, the most religious Empress [twice]. Many be the years of Joseph, the most
holy Oecumenical Patriarch [twice].)
From the text of this acclamation we learn that this panegyric style
was used to greet a high dignitary of the Church as well as the
Emperor and Empress. After the fall of Constantinople acclamations
were only used to greet bishops when they visited a monastery. At
present they are only sung in honour of an archbishop.
BYZANTINE MUSICAL NOTATION
We have to distinguish between two systems of Byzantine musical
notation one for the formal reading of the lessons, and the other for
the singing of the hymns. The first, the so-called ecphonetic notation,
seems to have been introduced towards the end of the fourth century. 2
1 Translation by H. J. W. TiUyard.
2 Of. C. Hoeg, La Notation ekphonetique (Copenhagen, 1935), pp. 38-39.
j
r>].