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Alexander Lingas

Cambridge Theological Federation, The Institute for Orthodox Christian Studies, Cambridge, Faculty Member

City, University of London, Music, Emeritus

St. Vladimir's Orthodox Theological Seminary, Institute of Sacred Arts, Faculty Member

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Founder and Musical Director, Cappella Romana www.cappellaromana.org

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Ioannis Arvanitis

Ionian University

Arsinoi Ioannidou

Università degli Studi di Padova

Spiro Antonopoulos

City, University of London

Andrew Walker White

George Mason University

Αθανάσιος Δέλιος

Ioannis Tsagkarakis

Royal Holloway, University of London

Nicolae Gheorghita

National University of Music Bucharest

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Papers by Alexander Lingas

Sir John Tavener and the Search for an English Orthodox Musical Language

June Boyce-Tillman and Anne-Marie Forbes, ed., Heart's Ease: Spirituality in the Music of John Tavener (Peter Lang), pp. 185–224 , 2020

Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt

Peter Bouteneff and Jeffers Engelhardt, eds, Arvo Pärt: Sounding the Sacred (Fordham University Press), 220–31, 2020

Canonising Byzantine Chant as Greek Art Music

Roderick Beaton, Katerina Levidou, Polina Tambakaki and Panos Vlagopoulos, eds., Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries, Centre for Hellenic Studies, Kings College London Publications 21 (London and New York: Routledge), 31–53., 2019

Hymnography with(out) Music as Scripture and Prayer', in Ivan Moody and Maria Takala-Roszczenko, eds, Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music

Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music , 2017

'Singing the Lord’s Song in a Foreign Land—Teaching Orthodox Liturgical Music in Non-Orthodox Contexts'

in Ann Bezzerides, ed., Orthodox Christianity, Higher Education, and the University: Theological, Historical, and Contemporary Reflection (South Bend: University of Notre Dame Press), 2017

'An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946)' in Vladimir Morosan, ed., Maximilian Steinberg, Opus 13, Based on Early Russian Chants (San Diego: Musica Russica, 2015), vii–xviii. ISBN: 978-0-9701767-5-2.

Over the last few decades there has been an international revival of interest in what Vladimir Mo... more Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called the "New Russian Choral School": a movement of churchmen, composers, and conductors of the late nineteenth and early Op. 13 Based on Early Russian Chants far mixed choir a cappella Максимилиан Штейнберг СТРАСТНАЯ СЕДМИЦА Опус 13 По старинным русским распевам для смешанного хора без сопровождения MUSICA RUSSICA

From Earth to Heaven: The Changing Soundscape of Byzantine Liturgy

Claire Nesbitt and Mark Jackson, eds, Experiencing Byzantium: Papers from the 44th Spring Symposium of the Society for the Promotion of Byzantine Studies, Newcastle and Durham, April 2011 (Farnham: Ashgate), pp. 311–58., 2013

Late Byzantine Cathedral Liturgy and the Service of the Furnace

$The Akolouthiai offer only a single extra setting of Tav natégwv’ (Figure 48). I MS Iveron 1120 it is titled ‘Eregov &AAaypa madatov’ (‘an old alternat efrain’’’), whilst in Athens, MS 2406 it is accompanied by a rubric echoin, ymeon: ‘Até tiv évadAayry tod péAous A€yovot Kats toeetc Kat técoaQga: rtixoug Tov nmatégwv td étegov obtwo”’* (For the sake of melodic variety the ay this other ‘T@v natégwv’ after every three or four verses in this manner). Thi old’ refrain turns out to be a variation on the soloist’s music in the entrance ntiphon for the Holy Fathers (Figure 46), Its opening reproduces his first phras Imost exactly, including its placement of meaningless syllables (cf. Figure 46a) \fter some new melodic material that begins with an expressive leap of a seventh he ‘old’ refrain concludes with further quotations from the morning office’ riginal refrain (“Kvete’) and its kalophonic extension (‘o@oov thé’).$

How Musical was the “Sung Office”? Some Observations on the Ethos of the Byzantine Cathedral Rite

Medieval Byzantine chant and the sound of Orthodoxy

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 2006

'Musica e liturgia nelle tradizioni ortodosse', in J.J. Nattiez, ed., Enciclopedia della musica, 4 Storia della musica europea (Turin: Giulio Einaudi, 2004), 68–93.

C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1e... more C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1ese greco-cattoliche", "melchite" o "uniati" il cui rito segue quello bizantino, ma che in vari momenti della storia entrarono in comunione con la Sede di Roma. Una speciale attenzione sarà comunque accordata a qu~lle che, per prestigio ecclesiastico e diffusione geografica, si P?ssono .cons~derare le due tradizioni musicali piu rappresentative, vale a dire la .b1zantu~o-gr~ca ~la bizanti~o-slava. Non tratteremo in questa sede l~ mus1ca e la hturg1a di quelle Ch1ese che nel dialogo ecumenico sono de-

Preliminary reflections on studying the liturgical place of Byzantine and Slavonic melismatic chant

In Gerda Wolfram (ed.), Paleobyzantine Notations III: Acta of the Congress Held at Hernen Castle, The Netherlands, in March 2001 (Eastern Christian Studies 4; Leuven, Paris and Dudley, MA: Peeters), 147-55., 2004

Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical m... more Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical music, to say nothing of its ubiquity in the received tradition of Byzantine chanting, it is only in recent times that significant progress has been made toward understanding its historical place within the services of the Byzantine rite. In the case of Byzantine chant, it would be fair to say that florid repertories were not addressed in any significant way until the latter half of the twentieth century, during which discussions of melismatic chants from the Asmatikon and Psaltikon led to increasingly thorough treatments of kalophonic works from the Paleologan and Post-Byzantine periods. The need to consolidate these recent gains, as well as the desire to correlate them with similar advances in the study of Slavonic repertories inspired the formation of a team of researchers (of which this writer is one) led by Christian Troelsgard and supported by INTAS to study melismatic chant in Russia and Byzantium from the eleventh to the seventeenth centuries. It is envisioned that this project will eventually produce a monograph of detailed case studies and comparative surveys of Greek and Slavonic repertories, providing thereby a more complete picture of how, where, when and by whom florid chants were sung. This will, in turn, provide new opportunities to heighten our understanding of the meaning and function of these chants within the context of Orthodox worship.

Tradition and Renewal in Contemporary Greek Orthodox Psalmody

Psalms in community: Jewish and Christian textual, …, Jan 1, 2004

Festal Cathedral Vespers in Late Byzantium

The First Antiphon of Byzantine Cathedral Rite Matins: From Popular Psalmody to Kalophonia

Performance Practice and the Politics of Transcribing Byzantine Chant

Acta Musicae Byzantinae, 6, 56-76., Jan 1, 2003

Performance Practice and the Politics of Transcribing Byzantine Chant

Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been g... more Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been generating controversy ever since the first Western European attempts to apprehend the intervallic and rhythmic information conveyed by medieval Byzantine neumes. These early efforts not only sparked debates among Western academics as to whose interpretation was more correct, but also provoked a strongly negative reaction from certain Greek scholars and cantors who saw all of the transcriptions as musically alien to the received tradition of Byzantine chanting. By the mid-1920s, Western musicologists and Greek traditionalists had each achieved a modicum of internal consensus, leaving the two sides arrayed against each other over issues of tuning, rhythm, chromaticism, and ornamentation. These positions hardened in the next decade as the debates became focused on the transcriptions issued by the Monumenta Musicae Byzantinae (MMB) of Copenhagen, the organisation founded in 1931 by Carsten H...

Sunday matins in the Byzantine cathedral rite: music and liturgy

This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byza... more

Hesychasm and psalmody

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 1996

The Liturgical Place of the Kontakion in Constantinople

In ed. Constantin C. Akentiev, Liturgy, Architecture and Art of the Byzantine World: Papers of the XVIII International Byzantine Congress (Moscow, 8–15 August 1991) and Other Essays Dedicated to the Memory of Fr. John Meyendorff, Byzantinorossica 1 (St. Petersburg: 1995), 50–57., 1995

Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos... more Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos and other early hymnographers were once the dominant form of hymnography in Byzantine matins, but were curtailed to their first two stanzas after the advent of the kanon 2 • This traditional view of the kontakion's liturgical place was rejected by Jose Grosdidier de Matons, who, arguing from a careful examination of the style and content of the kontakia themselves, asserted that kontakia had never occupied tl~e present place of the kanon in monastic orthros 3 • He believed that the kontakia of Romanos, in keeping with their origins as poetic sermons, were originally written for the instruction of the laity at cathedral vigils4, and only after at least two centuries were they adapted to the monastic office 5 • While Grosdidier de Matons' identification of the cathedral vigil as the original home of the kontakion is generally consistent with his literary evidence, he unfortunately has very little to say about the nature and structure of these nocturnal rites. Curiously, he also seems unaware of even the existence of a distinctly Constantinopolitan cathedral rite (the asmatike akolouthia or "sung office") that differed from the Palestinian monastic rite 6 • In an attempt to remedy this situation, the present study will briefly examine the question of the kontakion's relationship to the asmatike akolouthia.

Sir John Tavener and the Search for an English Orthodox Musical Language

June Boyce-Tillman and Anne-Marie Forbes, ed., Heart's Ease: Spirituality in the Music of John Tavener (Peter Lang), pp. 185–224 , 2020

Christian Liturgical Chant and the Musical Reorientation of Arvo Pärt

Peter Bouteneff and Jeffers Engelhardt, eds, Arvo Pärt: Sounding the Sacred (Fordham University Press), 220–31, 2020

Canonising Byzantine Chant as Greek Art Music

Roderick Beaton, Katerina Levidou, Polina Tambakaki and Panos Vlagopoulos, eds., Music, Language and Identity in Greece: Defining a National Art Music in the Nineteenth and Twentieth Centuries, Centre for Hellenic Studies, Kings College London Publications 21 (London and New York: Routledge), 31–53., 2019

Hymnography with(out) Music as Scripture and Prayer', in Ivan Moody and Maria Takala-Roszczenko, eds, Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music

Creating Liturgically: Hymnography and Music. Proceedings of the Sixth International Conference on Orthodox Church Music , 2017

'Singing the Lord’s Song in a Foreign Land—Teaching Orthodox Liturgical Music in Non-Orthodox Contexts'

in Ann Bezzerides, ed., Orthodox Christianity, Higher Education, and the University: Theological, Historical, and Contemporary Reflection (South Bend: University of Notre Dame Press), 2017

'An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946)' in Vladimir Morosan, ed., Maximilian Steinberg, Opus 13, Based on Early Russian Chants (San Diego: Musica Russica, 2015), vii–xviii. ISBN: 978-0-9701767-5-2.

Over the last few decades there has been an international revival of interest in what Vladimir Mo... more Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called the "New Russian Choral School": a movement of churchmen, composers, and conductors of the late nineteenth and early Op. 13 Based on Early Russian Chants far mixed choir a cappella Максимилиан Штейнберг СТРАСТНАЯ СЕДМИЦА Опус 13 По старинным русским распевам для смешанного хора без сопровождения MUSICA RUSSICA

From Earth to Heaven: The Changing Soundscape of Byzantine Liturgy

Claire Nesbitt and Mark Jackson, eds, Experiencing Byzantium: Papers from the 44th Spring Symposium of the Society for the Promotion of Byzantine Studies, Newcastle and Durham, April 2011 (Farnham: Ashgate), pp. 311–58., 2013

Late Byzantine Cathedral Liturgy and the Service of the Furnace

$The Akolouthiai offer only a single extra setting of Tav natégwv’ (Figure 48). I MS Iveron 1120 it is titled ‘Eregov &AAaypa madatov’ (‘an old alternat efrain’’’), whilst in Athens, MS 2406 it is accompanied by a rubric echoin, ymeon: ‘Até tiv évadAayry tod péAous A€yovot Kats toeetc Kat técoaQga: rtixoug Tov nmatégwv td étegov obtwo”’* (For the sake of melodic variety the ay this other ‘T@v natégwv’ after every three or four verses in this manner). Thi old’ refrain turns out to be a variation on the soloist’s music in the entrance ntiphon for the Holy Fathers (Figure 46), Its opening reproduces his first phras Imost exactly, including its placement of meaningless syllables (cf. Figure 46a) \fter some new melodic material that begins with an expressive leap of a seventh he ‘old’ refrain concludes with further quotations from the morning office’ riginal refrain (“Kvete’) and its kalophonic extension (‘o@oov thé’).$

How Musical was the “Sung Office”? Some Observations on the Ethos of the Byzantine Cathedral Rite

Medieval Byzantine chant and the sound of Orthodoxy

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 2006

'Musica e liturgia nelle tradizioni ortodosse', in J.J. Nattiez, ed., Enciclopedia della musica, 4 Storia della musica europea (Turin: Giulio Einaudi, 2004), 68–93.

C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1e... more C.IJ?ro e Grecla .. Per .;stensione, i seguenti paragrafi saranno anche applicabill a talune Ch1ese greco-cattoliche", "melchite" o "uniati" il cui rito segue quello bizantino, ma che in vari momenti della storia entrarono in comunione con la Sede di Roma. Una speciale attenzione sarà comunque accordata a qu~lle che, per prestigio ecclesiastico e diffusione geografica, si P?ssono .cons~derare le due tradizioni musicali piu rappresentative, vale a dire la .b1zantu~o-gr~ca ~la bizanti~o-slava. Non tratteremo in questa sede l~ mus1ca e la hturg1a di quelle Ch1ese che nel dialogo ecumenico sono de-

Preliminary reflections on studying the liturgical place of Byzantine and Slavonic melismatic chant

In Gerda Wolfram (ed.), Paleobyzantine Notations III: Acta of the Congress Held at Hernen Castle, The Netherlands, in March 2001 (Eastern Christian Studies 4; Leuven, Paris and Dudley, MA: Peeters), 147-55., 2004

Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical m... more Despite the prominence of melismatic chant in medieval sources of Greek and Slavonic liturgical music, to say nothing of its ubiquity in the received tradition of Byzantine chanting, it is only in recent times that significant progress has been made toward understanding its historical place within the services of the Byzantine rite. In the case of Byzantine chant, it would be fair to say that florid repertories were not addressed in any significant way until the latter half of the twentieth century, during which discussions of melismatic chants from the Asmatikon and Psaltikon led to increasingly thorough treatments of kalophonic works from the Paleologan and Post-Byzantine periods. The need to consolidate these recent gains, as well as the desire to correlate them with similar advances in the study of Slavonic repertories inspired the formation of a team of researchers (of which this writer is one) led by Christian Troelsgard and supported by INTAS to study melismatic chant in Russia and Byzantium from the eleventh to the seventeenth centuries. It is envisioned that this project will eventually produce a monograph of detailed case studies and comparative surveys of Greek and Slavonic repertories, providing thereby a more complete picture of how, where, when and by whom florid chants were sung. This will, in turn, provide new opportunities to heighten our understanding of the meaning and function of these chants within the context of Orthodox worship.

Tradition and Renewal in Contemporary Greek Orthodox Psalmody

Psalms in community: Jewish and Christian textual, …, Jan 1, 2004

Festal Cathedral Vespers in Late Byzantium

The First Antiphon of Byzantine Cathedral Rite Matins: From Popular Psalmody to Kalophonia

Performance Practice and the Politics of Transcribing Byzantine Chant

Acta Musicae Byzantinae, 6, 56-76., Jan 1, 2003

Performance Practice and the Politics of Transcribing Byzantine Chant

Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been g... more Transcriptions of Byzantine chants into staff notation, despite their proven utility, have been generating controversy ever since the first Western European attempts to apprehend the intervallic and rhythmic information conveyed by medieval Byzantine neumes. These early efforts not only sparked debates among Western academics as to whose interpretation was more correct, but also provoked a strongly negative reaction from certain Greek scholars and cantors who saw all of the transcriptions as musically alien to the received tradition of Byzantine chanting. By the mid-1920s, Western musicologists and Greek traditionalists had each achieved a modicum of internal consensus, leaving the two sides arrayed against each other over issues of tuning, rhythm, chromaticism, and ornamentation. These positions hardened in the next decade as the debates became focused on the transcriptions issued by the Monumenta Musicae Byzantinae (MMB) of Copenhagen, the organisation founded in 1931 by Carsten H...

Sunday matins in the Byzantine cathedral rite: music and liturgy

This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byza... more

Hesychasm and psalmody

PUBLICATIONS-SOCIETY FOR THE PROMOTION OF …, 1996

The Liturgical Place of the Kontakion in Constantinople

In ed. Constantin C. Akentiev, Liturgy, Architecture and Art of the Byzantine World: Papers of the XVIII International Byzantine Congress (Moscow, 8–15 August 1991) and Other Essays Dedicated to the Memory of Fr. John Meyendorff, Byzantinorossica 1 (St. Petersburg: 1995), 50–57., 1995

Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos... more Since the time of Cardinal J.B. Pitra, it has generally been assumed that the kontakia of Romanos and other early hymnographers were once the dominant form of hymnography in Byzantine matins, but were curtailed to their first two stanzas after the advent of the kanon 2 • This traditional view of the kontakion's liturgical place was rejected by Jose Grosdidier de Matons, who, arguing from a careful examination of the style and content of the kontakia themselves, asserted that kontakia had never occupied tl~e present place of the kanon in monastic orthros 3 • He believed that the kontakia of Romanos, in keeping with their origins as poetic sermons, were originally written for the instruction of the laity at cathedral vigils4, and only after at least two centuries were they adapted to the monastic office 5 • While Grosdidier de Matons' identification of the cathedral vigil as the original home of the kontakion is generally consistent with his literary evidence, he unfortunately has very little to say about the nature and structure of these nocturnal rites. Curiously, he also seems unaware of even the existence of a distinctly Constantinopolitan cathedral rite (the asmatike akolouthia or "sung office") that differed from the Palestinian monastic rite 6 • In an attempt to remedy this situation, the present study will briefly examine the question of the kontakion's relationship to the asmatike akolouthia.

Cappella Romana - A Byzantine Emperor at King Henry's Court: Christmas 1400, London

Cat # CR427 SACD Hybrid Multichannel Artists: Cappella Romana, Alexander Lingas, conductor Pr... more

Hymns of Kassiani: The Earliest Music by a Female Composer, Kassianí (Kassía) ca. 810– ca. 865 - CAPPELLA ROMANA

by Alexander Lingas and Ioannis Arvanitis

Cappella Romana, Hymns of Kassiani (CR 422SACD), 2021

Booklet to the recording Hymns of Kassiani: The Earliest Music by a Female Composer, Kassianí (Ka... more

Lost Voices of Hagia Sophia: Medieval Byzantine Chant Sung in the Virtual Acoustics of Hagia Sophia. The Feast of the Exaltation of the Holy Cross in Constantinople

Cappella Romana (CR420-CDBR, 2019). Booklet essays by Bissera V. Pentcheva, Jonathan S. Abel and ... more Cappella Romana (CR420-CDBR, 2019). Booklet essays by Bissera V. Pentcheva, Jonathan S. Abel and Elliot K. Canfield Dafilou, and Alexander Lingas. Includes CD and Blu-ray discs.

The Blu-ray includes the documentary film 'The Voice of Hagia Sophia', directed, edited and co-produced by Duygu Eruçman; Produced by Bissera V. Pentcheva. Cinematography by Meryem Yavuz, Michael Seely, and Ben Wu.

Part of the Icons of Sound project: https://ccrma.stanford.edu/groups/iconsofsound/

Venice in the East: Rennaisance Crete & Cyprus, Cappella Romana (CR-419, 2019) DIGIBKLT

This music bears witness to how ancient Greek and Latin liturgical traditions were richly embelli... more This music bears witness to how ancient Greek and Latin liturgical traditions were richly embellished during the Renaissance on the islands of Crete and Cyprus, all within the shared cultural space of Venetian rule. First performed by Cappella Romana at the Early Music Festival in Utrecht (Netherlands).

Cyprus: Between East and West. Cappella Romana (CR416-CD, 2015).

Maximillian Steinberg: Passion Week, Opus 13 / Nikolay Rimsky-Korsakov: Chants for Holy Week. Cappella Romana (CR414-CD, 2015).

Cappella Romana, Good Friday in Jerusalem: Medieval Byzantine Chant from the Church of the Holy Sepulchre, Cappella Romana CR413-CD (2015)

Performing editions used for this recording by Dr Ioannis Arvanitis. English translations in the ... more

Robert Kyr, A Time for Life, An Enviromental Oratorio, Cappella Romana and Third Angle New Music (CR411-CD, 2013).

Tikey Zes: The Divine Liturgy of St John Chrysostom in Greek for Mixed Choir and Organ (1991/1996). Cappella Romana (CR410-CD, 2013).

Cappella Romana Live in Greece. From Constantinople to California. Cappella Romana CR 409 CD, 2012.

Medieval and Renaissance Cretan Chant and Polyphony, together with modern Choral works by Adamis,... more

Voices of Byzantium – Medieval Byzantine Chant from Mt Sinai, Cappella Romana (Metropolitan Museum of Art, 2012), released as a companion disc to the exhibition 'Byzantium and Islam: Age of Transition'. Also released as Mt Sinai: Frontier of Byzantium (CR-407 CD 2011).

by Alexander Lingas and Ioannis Arvanitis

Choral Settings of Kassiani — Hatzis • Theodorakis • Moody • Mantzaros, English Chamber Choir (Guy Protheroe, dir.) with Patricia Rozario (sop.); Members of Cappella Romana (Alexander Lingas, dir.). Naxos 9.70039 (2011)

Richard Toensing, Kontakion on the Nativity of Christ—New Orthodox Christmas Carols Cappella Romana (CR405-CD, 2008).

Peter Michaelides: The Divine Liturgy of St John Chrysostom, Cappella Romana (CR406-CD, 2009).

Byzantium 330–1453, Cappella Romana (RRCD489/RAA, 2008).

Compiled from previous recordings of medieval Byzantine chant, this is the official companion dis... more

The Divine Liturgy of St John Chrysostom according to the Byzantine Tradition: A New Musical Setting in English, Cappella Romana (CR404-2CD, 2008).

Byzantium in Rome: Medieval Byzantine Chant from Grottaferrata, Cappella Romana (Cappella Romana 403-2CD, 2007).

by Alexander Lingas and Ioannis Arvanitis

The Fall of Constantinople: Byzantine and Latin Music of the Fifteenth Century, Cappella Romana (Capella Romana CR 402CD, 2006).

Reviews in Early Music America, Early Music Review and Gramophone (‘G’ pick with sidebar interview).

Music of Byzantium, Cappella Romana (The Metropolitan Museum of Art, New York: 2004).

by Alexander Lingas and Ioannis Arvanitis

Ivan Moody: The Akathistos Hymn, Cappella Romana (Gothic Records, G 491210-2, 2003), a 2-CD set. Reissued as Cappella Romana CR418-2CD, 2018

by Alexander Lingas and Ivan Moody

Review of The Oriental Music Broadcasts, 1936–1937: A Musical Ethnography of Mandatory Palestine, edited by Ruth F. Davis, Recent Researches in the Oral Traditions of Music 10 (Middleton, Wis., A-R Editions, 2013)

Ethnomusicology Forum, 2018

Review of Merih Erol, Greek Orthodox Music in Ottoman Istanbul: Nation and Community in the Era of Reform (Bloomington: University of Indiana Press, 2015), Music and Letters.

Music and Letters, 2017

Review of Jim Samson, Music in the Balkans (Leiden and Boston: Brill, 2013), Ethnomusicology Forum. DOI: 10.1080/17411912.2014.980200

Tore Tvarnø Lind, The Past is Always Present: The Revival of the Byzantine Musical Tradition at Mount Athos , Europea: Ethnomusicologies and Modernities Series 13 (London, Toronto and Plymouth: Scarecrow Press, 2012)

Ethnomusicology Forum 22/1 (2013): 121–24., 2013

Constantin Floros, The Origins of Russian Music: Introduction to the Kondakarian Notation, Revised, translated, and with a Chapter on the Relationships between Latin, Byzantine and Slavonic Church Music by Neil K. Moran (Frankfurt am Mein: Peter Lang, 2009)

The Journal of Ecclesiastical History 63/1 (2012): 133–34, 2012

Christian Troelsgård, Byzantine Neumes: A New Introduction to the Middle Byzantine Musical Notation (Copenhagen: Museum Tusculanum Press, 2011)

Speculum: A Journal of Medieval Studies 87/4 (2012): 1258–29, 2012

Job Getcha, Le Typikon décrypté: Manuel de liturgie byzantine (Paris: Cerf, 2009)

St Vladimir’s Theological Quarterly 56/1 (2012): 113–16., 2012

‘Byzantine Neumes’, review of Constantin Floros, Introduction to Early Medieval Notation, 2nd ed., revised, translated and with an Illustrated Chapter on Cheironomy by Neil K. Moran (Warren Michigan: Harmonie Park Press, 2005)

) Early Music (May 2009): 300–302., 2009

'Ancient Music in a Medieval Mirror', review of Thomas J. Mathiesen, Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages (Lincoln and London: University of Nebraska Press, 1999)

Journal of the Royal Musical Association, 129 no. 2 (2004): 298–304., 2004

Goffredo Plastino, ed., Mediterranean Mosaic: Popular Music and Global Sounds (New York and London: Routledge, 2003)

Music and Letters 86 (2005): 328–32, 2005

Peter Jeffrey, ed., The Study of Medieval Chant, Paths and Bridges, East and West, In Honor of Kenneth Levy (Cambridge: Boydell Press, 2001)

The Journal of Ecclesiastical History 54 (2003): 333–35, 2003

William T. Flynn, Medieval Music as Medieval Exegesis (Lanham, Maryland and London: The Scarecrow Press, 1999)

The Journal of Ecclesiastical History 52 (2001): 541–42., 2001

Co-author with the late Frank Desby (principal author), Jessica Suchy-Pilalis and Dimitri Conomos of A Guide to Transcription of Post-Byzantine (Chrysanthine) Chant, ed. Nicolas Maragos (Bloomington: 2000). 52 pp.

Liturgy and Hymnody in Byzantium Across Centuries and Spaces. International Conference, 22–23 November 2018, Moscow

by Arkadiy Avdokhin, Harald Buchinger, Alexander Lingas, Sergey Kim, Thomas Arentzen, and Ксения Моругина

This international conference brings together scholars from across a spectrum of specializations,... more This international conference brings together scholars from across a spectrum of specializations, affiliations, and academic traditions to look at Byzantine liturgy and hymnography across a considerable time span. Through talks and exchange of various kinds of academic expertise , we aim to seek new insights into the historical development of Christian liturgical ritual, hymn-writing and singing from the earliest times into late Byzantine epoch.

Bereketes, Petros

Oxford Music Online

Romanos the Melodist

Oxford Music Online

Petros Byzantios

Oxford Music Online

Jakobos Peloponnesios

Oxford Music Online

Germanos of New Patras

Oxford Music Online

Greece, III. In the Byzantine Empire, 1. Sacred Music

Grove Music Online, 2019

‘Music’, Chapter III.19 in E. Jeffreys, R. Cormack and J. Haldon, eds., The Oxford Handbook of Byzantine Studies (Oxford: Oxford University Press, 2008), 915–935.

Music

Oxford Handbooks Online, 2008

Music, Byzantine

The Encyclopedia of Ancient History, 2012

Liturgy, Byzantine

The Encyclopedia of Ancient History, 2012

Chant (liturgical)

The Encyclopedia of Ancient History, 2012