Amy and Richard talk to Christina Stravros Kidonakis, the Protopsaltria at All Saints Greek Orthodox Church in Joliet, Illinois. Christina was a pioneer for the Byzantine Chant Certificate Program at Hellenic College Holy Cross School of Theology and is the coordinator of the Synaxis of Orthodox Women Byzantine Cantors, an annual educational event in Chicago for women who are active in Byzantine music. You can find out more about the Synaxis of Orthodox Women Byzantine Cantors on the St. Sophia Greek Orthodox Church website.

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, koukouzelis.net Byzantine Chant: The Received Tradition - A Lesson Book, ByzChantLessonBook.com Book launch at Maliotis Cultural Center, https://maliotis.hchc.edu/index.php/event/byzantine-chant-the-received-tradition-with-john-michael-boyer/ Cappella Romana Publishing, cappellaromana.org Holy Trinity Greek Orthodox Cathedral, New Orleans, LA, holytrinitycathedral.org

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, koukouzelis.net Byzantine Chant: The Received Tradition - A Lesson Book, ByzChantLessonBook.com Book launch at Maliotis Cultural Center, https://maliotis.hchc.edu/index.php/event/byzantine-chant-the-received-tradition-with-john-michael-boyer/ Cappella Romana Publishing, cappellaromana.org Holy Trinity Greek Orthodox Cathedral, New Orleans, LA, holytrinitycathedral.org

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

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.

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.

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.

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

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

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

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 & W): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdf Scales Chart (Color): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdf Recordings of the 4th Mode Resurrectional Apolytikion in Greek: The Choir of Theodore Vasilikos Thrasyvoulos Stanitsas Pan 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 & W): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdf Scales Chart (Color): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdf Recordings of the 4th Mode Resurrectional Apolytikion in Greek: The Choir of Theodore Vasilikos Thrasyvoulos Stanitsas Pan 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 & W): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-B-and-W.pdf Scales Chart (Color): https://trisagion-school.s3.us-west-2.amazonaws.com/2021/01/Trisagion-School-Scale-Chart-Color.pdf Recordings of the 4th Mode Resurrectional Apolytikion in Greek: The Choir of Theodore Vasilikos Thrasyvoulos Stanitsas Pan Hellenic League of Sacred Cantors

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

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

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

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 & 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 & 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 & W) Scales Chart (Color)

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.

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.

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.

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

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

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

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.

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.

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.

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)

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)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 2 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion (Father Seraphim) 1st Mode Resurrectional Apolytikion (John Michael Boyer) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 2 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion (Father Seraphim) 1st Mode Resurrectional Apolytikion (John Michael Boyer) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 2 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion (Father Seraphim) 1st Mode Resurrectional Apolytikion (John Michael Boyer) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 1 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 1 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

In these two episodes Richard and Amy work through the 1st Mode Resurrectional Apolytikion, discussing the mode's structural notes, scale, common intervals, and attractions. You can find the score and recordings of the hymn on parallagi and melos (set from Pa equal to both A and D) in the show notes. Part 1 of 2 1st Mode Resurrectional Apolytikion Score (Papa Ephraim) 1st Mode Resurrectional Apolytikion: Paralaggi (Richard) 1st Mode Resurrectional Apolytikion: Melos (Richard) 1st Mode Resurrectional Apolytikion: Paralaggi (Amy) 1st Mode Resurrectional Apolytikion: Melos (Amy)

Amy and Richard conclude their conversation with Chadi Karam. In this segment Chadi discusses more of the chanting context for Orthodox in Lebanon, including the participation of women, the legacy of Mitri El Murr, and the composers and cantors active today. Part 3 of 3.

Amy and Richard conclude their conversation with Chadi Karam. In this segment Chadi discusses more of the chanting context for Orthodox in Lebanon, including the participation of women, the legacy of Mitri El Murr, and the composers and cantors active today. Part 3 of 3.

Amy and Richard conclude their conversation with Chadi Karam. In this segment Chadi discusses more of the chanting context for Orthodox in Lebanon, including the participation of women, the legacy of Mitri El Murr, and the composers and cantors active today. Part 3 of 3.

Richard and Amy continue their conversation with Chadi Karam. In this segment Chadi explains his composition process, shares some projects he is working on, and talks about some of the hurdles involved when composing in English. Part 2 of 3.

Richard and Amy continue their conversation with Chadi Karam. In this segment Chadi explains his composition process, shares some projects he is working on, and talks about some of the hurdles involved when composing in English. Part 2 of 3.

Richard and Amy continue their conversation with Chadi Karam. In this segment Chadi explains his composition process, shares some projects he is working on, and talks about some of the hurdles involved when composing in English. Part 2 of 3.

Amy and Richard talk to composer and cantor Chadi Karam about his composition efforts for the Antiochian Archdiocese and his own grounding and education in the Arabic-language chant world. Part 1 of 3.

Amy and Richard talk to composer and cantor Chadi Karam about his composition efforts for the Antiochian Archdiocese and his own grounding and education in the Arabic-language chant world. Part 1 of 3.

Amy and Richard talk to composer and cantor Chadi Karam about his composition efforts for the Antiochian Archdiocese and his own grounding and education in the Arabic-language chant world. Part 1 of 3.

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the second of a two-part conversation, Amy, Richard, and Photini continue to discuss her journey with the tradition of the Psaltic Art, as well as hear about a number of upcoming efforts. Cappella Romana's Hymn of Kassiani Project: Click here Listen to the panel discussion "Women in Sacred Chant: Past and Present." Click here Photini's Voice Studio: Yphos Voice Studio: Click here

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the second of a two-part conversation, Amy, Richard, and Photini continue to discuss her journey with the tradition of the Psaltic Art, as well as hear about a number of upcoming efforts. Cappella Romana's Hymn of Kassiani Project: Click here Listen to the panel discussion "Women in Sacred Chant: Past and Present." Click here Photini's Voice Studio: Yphos Voice Studio: Click here

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the second of a two-part conversation, Amy, Richard, and Photini continue to discuss her journey with the tradition of the Psaltic Art, as well as hear about a number of upcoming efforts. Cappella Romana's Hymn of Kassiani Project: Click here Listen to the panel discussion "Women in Sacred Chant: Past and Present." Click here Photini's Voice Studio: Yphos Voice Studio: Click here

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the first of a two-part conversation, Amy and Richard talk to Photini about her experience learning Byzantine music through professional music making, her own discoveries about how chant works in womens' voices, and her reflections on the repertoire as a voice teacher. Cappella Romana's Lost Voices of Hagia Sophia project: Click here Photini's Voice Studio: Yphos Voice Studio: Click here

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the first of a two-part conversation, Amy and Richard talk to Photini about her experience learning Byzantine music through professional music making, her own discoveries about how chant works in womens' voices, and her reflections on the repertoire as a voice teacher. Cappella Romana's Lost Voices of Hagia Sophia project: Click here Photini's Voice Studio: Yphos Voice Studio: Click here

Photini Downie Robinson is the left cantor on staff at Holy Trinity Greek Orthodox Cathedral in Portland, OR, a professional singer with Cappella Romana, and the teacher behind the Yphos Voice Studio. In the first of a two-part conversation, Amy and Richard talk to Photini about her experience learning Byzantine music through professional music making, her own discoveries about how chant works in womens' voices, and her reflections on the repertoire as a voice teacher. Cappella Romana's Lost Voices of Hagia Sophia project: Click here Photini's Voice Studio: Yphos Voice Studio: Click here

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. You can find the Dynamis Ensemble's album "A Journey Through Lent to Holy Week" at https://www.dynamisensemble.org/ Part 2 of 2.

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. You can find the Dynamis Ensemble's album "A Journey Through Lent to Holy Week" at https://www.dynamisensemble.org/ Part 2 of 2.

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. You can find the Dynamis Ensemble's album "A Journey Through Lent to Holy Week" at https://www.dynamisensemble.org/ Part 2 of 2.

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. Part 1 of 2.

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. Part 1 of 2.

The Hymn of Kassiani is one of the highlights of Holy Week! Amy and Richard take a deep dive into the tradition of long settings of this hymn, with composer and cantor Samuel Herron of Assumption Greek Orthodox Church in Scottsdale, AZ leading an in-depth walkthrough of his 20 minute English-language setting. The score can be found here, and the recording can be found here. Part 1 of 2.

Amy and Richard conclude their conversation with Fr. John El Massih, who discusses some of the current efforts of the Antiochian Archdiocese around Byzantine music, reflects on the history of Byzantine music in the Antiochian Archdiocese, and offers thoughts on practical matters such as tuning.

Amy and Richard continue their conversation with Fr. John El Massih, who talks about his contribution to the groundbreaking “All Creation Trembled” recording by the St. Romanos Choir, his time at Hellenic College Holy Cross, his perspective on “free chanting”, and more.

Amy and Richard conclude their conversation with Fr. John El Massih, who discusses some of the current efforts of the Antiochian Archdiocese around Byzantine music, reflects on the history of Byzantine music in the Antiochian Archdiocese, and offers thoughts on practical matters such as tuning.

Amy and Richard conclude their conversation with Fr. John El Massih, who discusses some of the current efforts of the Antiochian Archdiocese around Byzantine music, reflects on the history of Byzantine music in the Antiochian Archdiocese, and offers thoughts on practical matters such as tuning.

Amy and Richard continue their conversation with Fr. John El Massih, who talks about his contribution to the groundbreaking “All Creation Trembled” recording by the St. Romanos Choir, his time at Hellenic College Holy Cross, his perspective on “free chanting”, and more.

Amy and Richard continue their conversation with Fr. John El Massih, who talks about his contribution to the groundbreaking “All Creation Trembled” recording by the St. Romanos Choir, his time at Hellenic College Holy Cross, his perspective on “free chanting”, and more.

Fr. John El Massih is a priest, cantor, teacher, composer, and advocate of Byzantine music in the Antiochian Archdiocese and beyond. Amy and Richard talk to him about his background and education, his contributions to multiple high-level efforts to pass along the chant tradition in America, including recordings like PROTO's "Sun of Justice", and his current work with the Byzantine Chant Committee of the Antiochian Archdiocese's Department of Sacred Music.

Fr. John El Massih is a priest, cantor, teacher, composer, and advocate of Byzantine music in the Antiochian Archdiocese and beyond. Amy and Richard talk to him about his background and education, his contributions to multiple high-level efforts to pass along the chant tradition in America, including recordings like PROTO's "Sun of Justice", and his current work with the Byzantine Chant Committee of the Antiochian Archdiocese's Department of Sacred Music.

Fr. John El Massih is a priest, cantor, teacher, composer, and advocate of Byzantine music in the Antiochian Archdiocese and beyond. Amy and Richard talk to him about his background and education, his contributions to multiple high-level efforts to pass along the chant tradition in America, including recordings like PROTO's "Sun of Justice", and his current work with the Byzantine Chant Committee of the Antiochian Archdiocese's Department of Sacred Music.

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy. (Part 2 of 2) The Divine Liturgy Recording (CD or digital download): https://cappellaromana.org/product/divine-liturgy-english/ Scores from the project: https://cappellaromana.org/divine-liturgy-music/

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy. (Part 2 of 2) The Divine Liturgy Recording (CD or digital download): https://cappellaromana.org/product/divine-liturgy-english/ Scores from the project: https://cappellaromana.org/divine-liturgy-music/

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy. (Part 2 of 2) The Divine Liturgy Recording (CD or digital download): https://cappellaromana.org/product/divine-liturgy-english/ Scores from the project: https://cappellaromana.org/divine-liturgy-music/

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy.

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy.

Amy and Richard talk with Cappella Romana Musical Director Alexander Lingas and Associate Director John Michael Boyer about the genesis and legacy of The Divine Liturgy in English, Cappella Romana’s groundbreaking recording first released in 2008, and recently re-released on the Naxos label. Alexander and John discuss the intent to represent the core of the Byzantine chant tradition, employing an Anaphora/Leitourgika setting in Kliton (the "reader's mode") and papadic compositions that reflect the styles used in settings by Petros Peloponnesios and ascribed to St. John Koukouzelis. This recording was also the first, and to this point only, recording to include all the parts of the Divine Liturgy.

Amy, Richard, and guest Peter George finish their conversation about chanting the Sunday Divine Liturgy. Part four of a four-part chat.

Amy, Richard, and guest Peter George finish their conversation about chanting the Sunday Divine Liturgy. Part four of a four-part chat.

Amy, Richard, and guest Peter George finish their conversation about chanting the Sunday Divine Liturgy. Part four of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part three of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part three of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part three of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part two of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part two of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part two of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part one of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part one of a four-part chat.

Amy, Richard, and guest Peter George talk about the structure of Sunday Divine Liturgy. Part one of a four-part chat.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 3 of 3.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 3 of 3.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 3 of 3.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 2 of 3.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 2 of 3.

On April 27 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. Part 2 of 3.

On April 27, 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. (Part 1 of 3)

On April 27, 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. (Part 1 of 3)

On April 27, 2020, A Sacrifice of Praise hosted a live-streamed panel discussion about the teaching and learning of Byzantine music. Our panelists were six teachers, cantors, composers, and students active in the psaltic art: John Michael Boyer, Gabriel Cremeens, Samuel Herron, our co-host Amy Hogg, Ruth Rutledge, and Christina Stavros, the questions were sent in by our listeners, and the panel was moderated by our co-host Richard Barrett. It was a very wide-ranging and provocative discussion, and we present it here. (Part 1 of 3)

Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 2 of 2. Praise Him in the Highest on CD Baby: https://store.cdbaby.com/cd/georgiostheodoridis2 Praise Him in the Highest on Amazon: https://www.amazon.com/Praise-Him-Highest-Georgios-Theodoridis/dp/B07PMMQ8GC

Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 2 of 2. Praise Him in the Highest on CD Baby: https://store.cdbaby.com/cd/georgiostheodoridis2 Praise Him in the Highest on Amazon: https://www.amazon.com/Praise-Him-Highest-Georgios-Theodoridis/dp/B07PMMQ8GC

Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 2 of 2. Praise Him in the Highest on CD Baby: https://store.cdbaby.com/cd/georgiostheodoridis2 Praise Him in the Highest on Amazon: https://www.amazon.com/Praise-Him-Highest-Georgios-Theodoridis/dp/B07PMMQ8GC

Georgios Theodoridis' website: www.georgiostheodoridis.com Georgios Theodoridis' YouTube channel: https://www.youtube.com/channel/UCxm0WazN3Ap6JWU9MAYDtzw St Sophia Greek Orthodox Cathedral: https://saintsophiadc.org/ Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 1 of 2.

Georgios Theodoridis' website: www.georgiostheodoridis.com Georgios Theodoridis' YouTube channel: https://www.youtube.com/channel/UCxm0WazN3Ap6JWU9MAYDtzw St Sophia Greek Orthodox Cathedral: https://saintsophiadc.org/ Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 1 of 2.

Georgios Theodoridis' website: www.georgiostheodoridis.com Georgios Theodoridis' YouTube channel: https://www.youtube.com/channel/UCxm0WazN3Ap6JWU9MAYDtzw St Sophia Greek Orthodox Cathedral: https://saintsophiadc.org/ Georgios Theodoridis, the Master Chanter of St. Sophia Greek Orthodox Cathedral in Washington, DC, is one of the busiest cantors in the United States -- singing services, teaching students, creating scores, making recordings, and putting on concerts. In this interview, he tells Amy and Richard how he came to the psaltic art in Greece, what brought him to America, and talks about several of his current projects. Part 1 of 2.

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 three of three. The Boston Byzantine Choir’s CD featuring compositions by Dr. Jessica Suchy-Pilalis: Twelve Days: Byzantine Chant from Christmas to Epiphany

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 three of three. The Boston Byzantine Choir’s CD featuring compositions by Dr. Jessica Suchy-Pilalis: Twelve Days: Byzantine Chant from Christmas to Epiphany

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 three of three. The Boston Byzantine Choir’s CD featuring compositions by Dr. Jessica Suchy-Pilalis: Twelve Days: Byzantine Chant from Christmas to Epiphany

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 two of three.

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 two of three.

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 two of three.

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.

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.

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.

Richard and Amy interview Charlie Marge, the founder and director of the Boston Byzantine Choir. The Boston Byzantine Choir recently celebrated their 25th anniversary with a new recording, Twelve Days: Byzantine Chant from Christmas to Epiphany. The just-released CD includes 13 new compositions for the liturgical season of Christmastide composed by Dr. Jessica Suchy-Pilalis.

Richard and Amy interview Charlie Marge, the founder and director of the Boston Byzantine Choir. The Boston Byzantine Choir recently celebrated their 25th anniversary with a new recording, Twelve Days: Byzantine Chant from Christmas to Epiphany. The just-released CD includes 13 new compositions for the liturgical season of Christmastide composed by Dr. Jessica Suchy-Pilalis.

Richard and Amy interview Charlie Marge, the founder and director of the Boston Byzantine Choir. The Boston Byzantine Choir recently celebrated their 25th anniversary with a new recording, Twelve Days: Byzantine Chant from Christmas to Epiphany. The just-released CD includes 13 new compositions for the liturgical season of Christmastide composed by Dr. Jessica Suchy-Pilalis.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Part 2 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, goes into detail about the celebration of an All-Night Vigil, with specifics about what we do differently that makes a Vigil such a special and festal service. There were a number of Greek terms that Fr. Romanos used without explaining them. Tin Timiotera: More Honourable Dominical feast day: Feasts of the Lord Theometoric Feast day: Feasts of the Theotokos Exapsalmos: The 6 Psalms at the beginning of Matins Ypapandi: Presentation of Christ Tes Presvies: Throught the intercessions Koinonikon: Communion Hymn

Part 2 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, goes into detail about the celebration of an All-Night Vigil, with specifics about what we do differently that makes a Vigil such a special and festal service. There were a number of Greek terms that Fr. Romanos used without explaining them. Tin Timiotera: More Honourable Dominical feast day: Feasts of the Lord Theometoric Feast day: Feasts of the Theotokos Exapsalmos: The 6 Psalms at the beginning of Matins Ypapandi: Presentation of Christ Tes Presvies: Throught the intercessions Koinonikon: Communion Hymn

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.

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.

Part 2 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, goes into detail about the celebration of an All-Night Vigil, with specifics about what we do differently that makes a Vigil such a special and festal service. There were a number of Greek terms that Fr. Romanos used without explaining them. Tin Timiotera: More Honourable Dominical feast day: Feasts of the Lord Theometoric Feast day: Feasts of the Theotokos Exapsalmos: The 6 Psalms at the beginning of Matins Ypapandi: Presentation of Christ Tes Presvies: Throught the intercessions Koinonikon: Communion Hymn

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.

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

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

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

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

Amy Hogg and Richard Barrett continue their conversation with Fr. Seraphim Dedes. In part 2, Fr. Seraphim discusses how his work and perspective has evolved, and how parish music ministry has had an impact on his approach.

Amy Hogg and Richard Barrett continue their conversation with Fr. Seraphim Dedes. In part 2, Fr. Seraphim discusses how his work and perspective has evolved, and how parish music ministry has had an impact on his approach.

Amy Hogg and Richard Barrett continue their conversation with Fr. Seraphim Dedes. In part 2, Fr. Seraphim discusses how his work and perspective has evolved, and how parish music ministry has had an impact on his approach.

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 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 www.agesinitiatives.com/dcs/public/dcs/dcs.html.

Amy Hogg and Richard Barrett continue their conversation with John Michael Boyer,the Associate Musical Director of Cappella Romana, co-founder (with Fr. Dn. John El Massih) of PRÓTO, and the Protopsaltis of the GO Metropolis of San Francisco. In the second part of our discussion John tells us about some of the exciting projects he has been working on more recently, including his textbook, his most recent recording for Christmas, and he’ll tell us the name he is using for his English language Anastasimatarion, the hymnal that contains all of the Resurrectional chants for Sundays. Find out more about The Sun of Justice CD, by the Proto Ensemble, at cappellaromana.org/product/sun-of-justice.

Amy Hogg and Richard Barrett continue their conversation with John Michael Boyer,the Associate Musical Director of Cappella Romana, co-founder (with Fr. Dn. John El Massih) of PRÓTO, and the Protopsaltis of the GO Metropolis of San Francisco. In the second part of our discussion John tells us about some of the exciting projects he has been working on more recently, including his textbook, his most recent recording for Christmas, and he’ll tell us the name he is using for his English language Anastasimatarion, the hymnal that contains all of the Resurrectional chants for Sundays. Find out more about The Sun of Justice CD, by the Proto Ensemble, at cappellaromana.org/product/sun-of-justice.

Amy Hogg and Richard Barrett continue their conversation with John Michael Boyer,the Associate Musical Director of Cappella Romana, co-founder (with Fr. Dn. John El Massih) of PRÓTO, and the Protopsaltis of the GO Metropolis of San Francisco. In the second part of our discussion John tells us about some of the exciting projects he has been working on more recently, including his textbook, his most recent recording for Christmas, and he’ll tell us the name he is using for his English language Anastasimatarion, the hymnal that contains all of the Resurrectional chants for Sundays. Find out more about The Sun of Justice CD, by the Proto Ensemble, at cappellaromana.org/product/sun-of-justice.

Amy and Richard talk to John Michael Boyer, the Associate Musical Director of Cappella Romana, and co-founder (with Fr. Dn. John El Massih) of PRÓTO. John is a cantor, composer, and teacher based in Portland, Oregon. In the part 1/2 of our conversation, John talks about his musical background, his introduction to chant, and his involvement in projects like the Cappella Romana Divine Liturgy in English recording, among many others. You can find the Cappella Romana Divine Liturgy CD here: cappellaromana.org/product/divine-liturgy-english

Amy and Richard talk to John Michael Boyer, the Associate Musical Director of Cappella Romana, and co-founder (with Fr. Dn. John El Massih) of PRÓTO. John is a cantor, composer, and teacher based in Portland, Oregon. In the part 1/2 of our conversation, John talks about his musical background, his introduction to chant, and his involvement in projects like the Cappella Romana Divine Liturgy in English recording, among many others. You can find the Cappella Romana Divine Liturgy CD here: cappellaromana.org/product/divine-liturgy-english

Amy and Richard talk to John Michael Boyer, the Associate Musical Director of Cappella Romana, and co-founder (with Fr. Dn. John El Massih) of PRÓTO. John is a cantor, composer, and teacher based in Portland, Oregon. In the part 1/2 of our conversation, John talks about his musical background, his introduction to chant, and his involvement in projects like the Cappella Romana Divine Liturgy in English recording, among many others. You can find the Cappella Romana Divine Liturgy CD here: cappellaromana.org/product/divine-liturgy-english

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: www.antiochian.org/liturgicday AGES: www.agesinitiatives.com/dcs/test/dcs/dcs.html Bishop Basil’s Typikon Charts and Explanations: www.dowama.org/node/31 Services without a priest: www.dowama.org/content/services-without-priest Bilingual Violakis Typikon: denver.churchmusic.goarch.org/publications-catalog Fr. 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: www.antiochian.org/liturgicday AGES: www.agesinitiatives.com/dcs/test/dcs/dcs.html Bishop Basil’s Typikon Charts and Explanations: www.dowama.org/node/31 Services without a priest: www.dowama.org/content/services-without-priest Bilingual Violakis Typikon: denver.churchmusic.goarch.org/publications-catalog Fr. 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: www.antiochian.org/liturgicday AGES: www.agesinitiatives.com/dcs/test/dcs/dcs.html Bishop Basil’s Typikon Charts and Explanations: www.dowama.org/node/31 Services without a priest: www.dowama.org/content/services-without-priest Bilingual Violakis Typikon: denver.churchmusic.goarch.org/publications-catalog Fr. 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

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: 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: www.asbm.goarch.org/store/#!/The-Musical-Ark-by-Nicholas-Roumas/p/84996540/category=0

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.

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.

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.

Samuel Herron, protopsaltis of Assumption Greek Orthodox Church in Scottsdale, AZ and founder and director of the Dynamis Byzantine Ensemble, is one of the new generation of cantors and composers whose work is part of the flourishing of English-language Byzantine music. In this first of a two-part interview, Amy and Richard talk to Sam about his initial exposure to Byzantine music, his experiences studying in Greece, and how he put his experience and education to use once he returned to the United States.

Samuel Herron, protopsaltis of Assumption Greek Orthodox Church in Scottsdale, AZ and founder and director of the Dynamis Byzantine Ensemble, is one of the new generation of cantors and composers whose work is part of the flourishing of English-language Byzantine music. In this first of a two-part interview, Amy and Richard talk to Sam about his initial exposure to Byzantine music, his experiences studying in Greece, and how he put his experience and education to use once he returned to the United States.

Samuel Herron, protopsaltis of Assumption Greek Orthodox Church in Scottsdale, AZ and founder and director of the Dynamis Byzantine Ensemble, is one of the new generation of cantors and composers whose work is part of the flourishing of English-language Byzantine music. In this first of a two-part interview, Amy and Richard talk to Sam about his initial exposure to Byzantine music, his experiences studying in Greece, and how he put his experience and education to use once he returned to the United States.

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.html Recordings 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.pdf In 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: http://www.agesinitiatives.com/dcs/public/dcs/dcs.html Recordings 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.pdf In 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: http://www.agesinitiatives.com/dcs/public/dcs/dcs.html Recordings 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.pdf In western notation: http://www.stanthonysmonastery.org/music/Vespers/Finale%202003%20-%20%5B2160_Apolytikion%5D.pdf

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 2 of 2.

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 2 of 2.

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 2 of 2.

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 1 of 2.

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 1 of 2.

Alexander Khalil is a musician-scholar in whom many worlds come together -- among many other things, he is an ethnomusicologist, neuroscientist, cantor, and multi-talented performer and researcher of musics from China, Japan, and Indonesia. Dr. Khalil's PhD dissertation, "Echoes of Constantinople: Oral and Written Tradition of the Psaltes of the Ecumenical Patriarchate of Constantinople" is one of the foundational works of English-language scholarship for understanding the chant practices of the Ecumenical Patriarchate, and Amy and Richard had a wide-ranging conversation with him in which he reflected on several aspects of the development of English-language Byzantine chant. Part 1 of 2.

In June, Richard and Amy traveled in opposite directions, with Amy heading to Minneapolis for the International Society of Orthodox Church Music (ISOCM) Conference and Richard heading to Crete for the International Conference on Digital Media and Orthodox Pastoral Care. Amy recounts the presence of Byzantine chant at ISOCM, including an English-language concert by the Byzantine choir YPHOS, and Richard discusses the very different landscapes Greece and the United States represent in terms of Orthodox concerns about digital media (and yes, that includes chanting).

In June, Richard and Amy traveled in opposite directions, with Amy heading to Minneapolis for the International Society of Orthodox Church Music (ISOCM) Conference and Richard heading to Crete for the International Conference on Digital Media and Orthodox Pastoral Care. Amy recounts the presence of Byzantine chant at ISOCM, including an English-language concert by the Byzantine choir YPHOS, and Richard discusses the very different landscapes Greece and the United States represent in terms of Orthodox concerns about digital media (and yes, that includes chanting).

In June, Richard and Amy traveled in opposite directions, with Amy heading to Minneapolis for the International Society of Orthodox Church Music (ISOCM) Conference and Richard heading to Crete for the International Conference on Digital Media and Orthodox Pastoral Care. Amy recounts the presence of Byzantine chant at ISOCM, including an English-language concert by the Byzantine choir YPHOS, and Richard discusses the very different landscapes Greece and the United States represent in terms of Orthodox concerns about digital media (and yes, that includes chanting).

Automela, or model melodies, have historically been an important part of Byzantine chant. Their use in English is becoming more prevalent as we have more and more metered text. Richard and Amy explain how model melodies make chanting services easier as well as discuss the complications that arise due to the circulation of multiple English translations.

Automela, or model melodies, have historically been an important part of Byzantine chant. Their use in English is becoming more prevalent as we have more and more metered text. Richard and Amy explain how model melodies make chanting services easier as well as discuss the complications that arise due to the circulation of multiple English translations.

Automela, or model melodies, have historically been an important part of Byzantine chant. Their use in English is becoming more prevalent as we have more and more metered text. Richard and Amy explain how model melodies make chanting services easier as well as discuss the complications that arise due to the circulation of multiple English translations.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Richard and Amy discuss the modal system, the way that the liturgical function of hymns contributes to their melodic makeup, the notation system used in Byzantine chant, as well as oral tradition and vocal style.

Richard and Amy discuss the modal system, the way that the liturgical function of hymns contributes to their melodic makeup, the notation system used in Byzantine chant, as well as oral tradition and vocal style.

Richard and Amy discuss the modal system, the way that the liturgical function of hymns contributes to their melodic makeup, the notation system used in Byzantine chant, as well as oral tradition and vocal style.

Richard Barrett and Amy Hogg introduce themselves and describe what this podcast will entail.

Richard Barrett and Amy Hogg introduce themselves and describe what this podcast will entail.

Richard Barrett and Amy Hogg introduce themselves and describe what this podcast will entail.