idiomela造句

• Even some idiomela served as models to compose new hymns according to the needs of a local liturgy like the prosomoia for certain martyrs.
• When Theodore the Studite and his brother Joseph composed the early prosomoia for Hesperinos of Lenten tide, they used certain idiomela of the Triodion as models.
• It was a heterogenous collection of hymns, mainly of unique compositions ( "'stichera idiomela "') which could be identified by their own idiomatic melodies.
• The heterogenous repertoire itself, whose avtomela were sometimes simple and formulaic, sometimes they had the complexity of idiomela, was probably not collected before the Second Council of Nicaea.
• Voskresnik ), " the book of resurrection hymns ", the whole repertoire of avtomela is 140 and together with their prosomeia it is even larger than the whole repertoire of unique idiomela created in various regions.
• It was usually an avtomelon, but in some cases even idiomela had been used for a kind of contrafact and there are even cases of notated prosomoia, because they had been " mistaken " for an avtomelon.
• The definition of ?P??????? ( " avtomelon " ) meant as well a sticheron which defines its melody with a melody for " itself " ( Gr . ?P???, Sl . " samopodoben " ), but not in the idiomatic and exclusive sense of the unique idiomela.
• In the daily practice the " prosomeia " of the Octoechos are combined with " idiomela " from the other books : On the fixed cycle, " i . e . ", dates of the calendar year, the Menaion and on the movable cycle, according to season, the Lenten Triodion ( in combination from the previous year's Paschal cycle ).
• In their case, all idiomela ( A0 <  > 3; 0A = K ) for a given " glas " are sung to the same melody and an avtomelon ( A0 <  >  ?  > 4 > 15 = J ) and its prosomoia ( ?  > 4 > 1 = K ) are simply other melodies related to a certain recitation model as in case of the kondak.
• Concerning this paradigmatic use of notation the musical setting of a " sticheron ", the " sticherarion " had been mainly a collection of " idiomela " which had to be understood as individual compositions for a certain " sticheron " poem, although the melodic patterns could be rather classified according to one of the eight or ten modes ( " echos " or " glas " ) of the Hagiopolitan Octoechos.