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The liturgical book called Octoechos (from the Greek: ;〔The female form ' means the book (''ἡ βίβλος'') "octoechos" or "octaechos".〕 from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмѡгласникъ, ''Osmoglasnik'' from о́смь "eight" and гласъ "voice, sound") contains a repertoire of hymns ordered in eight parts according to the eight echoi (tones or modes). Originally created as a hymn book with musical notation in the Stoudios monastery during the 9th century, it is used until nowadays in many rites of Eastern Christianity. The hymn book has something in common with the book tonary of the Western Church. Both contained the melodic models of the octoechos system, but the tonary served simply for a modal classification, while the book octoechos is as well organized as a certain temporal of several eight week periods and the word itself means the repertoire of hymns sung during the celebrations of the Sunday Office. == Performing an avtomelon over a kontakion by Romanos == Kathismata, odes or kontakia are set in a strict meter—a rhythm within a fixed number of verses as a strophe, a fixed number of syllables and accents as a verse. Despite the meter it is possible to arrange a complex poem like the prooimion of a Christmas kontakion composed by Romanos the Melodist which has its own history as a kontakion with its music and text,〔Concerning the history of its translation in Old Church Slavonic Kondakars, see Roman Krivko (2011, 726).〕 according to the simple melodic model of a sticheron in echos tritos of the Octoechos. In the current tradition the kontakion exists as well as avtomelon—as a model to recite stichera prosomoia which was as well translated into Old Church Slavonic. The arrangement of the syllables with their metric accentuation are composed as a well-known hymn tune or sticheron avtomelon within the melos of a certain echos. These melodic stichera are called automela, because they can easily adapted to other texts, even if the number of syllables of verse varies—the so-called "prosomoia."〔The Three Classes of Melodic Forms for Stichera, II. Automela (Samopodobny, Model Melodies)〕 The avtomelon which precedes the kontakion for Christmas, is recited today with a simple melody in a rather sophisticated troparic melos of echos tritos:〔The Greek way definitely represents a monodic tradition of automelon as it had developed since the 7th century, while the polyphonic Russian way to perform the kontakion uses simpler forms of "echos-melodies" (the expression "na glas" is still used among Old Believers) (Shkolnik 1995).〕
A hymn may more or less imitate an automelon melodically and metrically—depending, if the text has exactly the same number of syllables with the same accents as those of verses in the corresponding automelon.〔Modern avtomelon over the Prooimion of the Christmas Kontakion by Romanos: (【引用サイトリンク】title=Avtomelon Ἡ Παρθένος σήμερον ) Slavonic Kondak sung in Valaamskiy Rozpev (Valaam Monastery): 〕 Such a hymn was called sticheron prosomoion, the echos and opening words of the sticheron avtomelon were usually indicated.〔The Three Classes of Melodic Forms for Stichera, III. Prosomoia (Podobny, Special Melodies)〕 For example, the Octoechos' kontakion for Sunday Orthros in echos tritos has the indication, that it should be sung to the melody of the above Christmas kontakion.〔See the article about the three melody types of stichera, where the texts of the two kontakia are compared as an illustration (idiomelon, avtomelon, prosomoion).〕 Both kontakia have nearly the same number of syllables and accents within its verses, so the exact melody of the former is slightly adapted to the latter, its accents have to be sung with the given accentuation patterns.〔The Three Classes of Melodic Forms for Stichera, I. Idiomela (Samoglasny, Independent Melodies).〕 The printed book Octoechos with the Sunday cycles is often without any musical notation and the determination of a hymn's melody is indicated by the echos or glas according to the section within the book and its avtomelon, a melodic model defined by the melos of its mode. Since this book collects the repertoire of melodies sung every week, educated chanters knew all these melodies by heart, and they learnt how to adapt the accentuation patterns to the printed texts of the hymns while singing out of other text books like the menaion. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Octoechos (liturgy)」の詳細全文を読む スポンサード リンク
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