These viseo-analyses are part of the VIAMAP (Video-Animated Music Analysis Project) and are intended to accompany the article “MAT for the VIAMAP. Maqām Analysis Tools for the Video-Animated Music Analysis Project” by Amine Beyhom – NEMO-Online Vol. 4 No. 7, November 2018, p. 145-258 (see http://nemo-online.org/articles). The graphic scale follows the solmization and the Interval values of the Second Reform of the 19th century. Further details can be found in the aforementioned article.
Kyrie Ekekraxa is a well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul). The chant is in the 8th mode (on Νη=c) of the Byzantine Church (equivalent to maqām Rāst in Arabian music), with an incursion (a modulation) in the 2nd mode (“Mild chromatic”). The notation in Petros Ephesios’ Anastasimatarion (1820) is proposed below and was transnotated (notated in another notation system) in Western/Byzantine notation in Amine Beyhom’s 2015 book on Byzantine chant.
Some of the audio recordings analyzed on this page were originally published in the aforementioned book with Power Point animations for four Lebanese cantors, together with Greek versions of this chant (8 versions in all, with detailed analyses of two excerpts). Two other recordings were undertaken with a fifth Lebanese cantor: it was too late however to analyze them as the book was already under print. The two additional recordings were however also published as audio recordings in the accompanying DVD-R of the book.
8 versions are (re)analysed and published on this page (numbered 1-8), with 12 supplementary versions (numbered 9-20) (with 4 other versions performed by Greek cantors), 4 of which by Bachir Osta and 4 remakes of the video-analyses of the Anonymous cantor: in both the latter, half-tempo versions are included.
In all the animations, the upper part offers a general view of the analysis while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant. Note that video-analyses hold two rankings: one for the dedicated page, and the second – between parenthesises – chronological (date and time of publication) for all the video-analyses published by the CERMAA.
The first video analysis of this chant (below) by CERMAA was published on the 16th of February 2018: it relates to a performance in 2012 by fr. Makarios Haidamous, with the text in Arabic language.
1 (2): Kyrie Ekekraxa in Arabic by fr. Makarios Haidamous (published 16/02/2018): https://youtu.be/j8w9I9CfF0c
The second video analysis of this chant (below) was published on the 19th of February 2018: the performance is also by fr. Makarios Haidamous in 2012, with the text in Greek language.
2 (3): Kyrie Ekekraxa in Greek by fr. Makarios Haidamous (published 19/02/2018): https://youtu.be/8SSETdJWC8o
Two other versions by an Anonymous Cantor were released on the 19th of February 2018:
3 (4): Kyrie Ekekraxa in Arabic by an Anonymous Cantor (published 19/02/2018): https://youtu.be/Uek_AD_aRQg
4 (5): Kyrie Ekekraxa in Greek by an Anonymous Cantor (published 19/02/2018): https://youtu.be/ush88CvgQYk
Two other versions by fr. Nicolas Malek were released on the 22nd of February 2018:
5 (6): Kyrie Ekekraxa in Arabic by fr. Nicolas Malek (published 22/02/2018): https://youtu.be/wIhyN30y-qc
6 (7): Kyrie Ekekraxa in Greek by fr. Nicolas Malek (published 22/02/2018): https://youtu.be/w6YWloCd2Do
Two new (abridged – Part 1 only) versions by Joseph Yazbeck were released on the 26th of February 2018: