You are listening to an artificially slowed-down version of a song that appears in the "video comments".
Angeliki Michalakis Konsta sings a traditional Poimenikon - Epitrapezion (Kathistikon, etc.) song as she has learnt it from her mother, who was an exceptional singer.
I have slowed the piece so as to illustrate the quite complex yet fairly isochronous temporal divisions used in this repertoire, as well as the quite steady intervals and respect of rhythm that characterises traditonal singers.
Complex ANISOCHRONOUS temporal divisions ("parestigmenons") lead to AMANES.
Simple ANISOCHRONOUS temporal divisions are absolutely necessary in PSALTIKI.
Simple isochronous divisions characterize "school songs" and the sissy singing of the Karas school, whose teachings and interpretations represent a MUTATION of our Hellenic musical heritage.
The TYPE of temporal division used is just ONE of the many parameters of our traditional singing. Another parameter is that of being able to make "melisms" and vocalisations all in leaving an obligatory temporal "gap" before to the next "thesis", which corresponds to a vowel explosion. Contemporary sissy singers have NOT learned how to do these TRADITIONALLY, and they are always OFF, all in impeding upon the next thesis because of their inability to respect this PRE THESIS REFRACTORY period. Occidental audiences, of course, applaud such attempts, because they have not heard anything better, especially when it's been sung in "group" form.
Another parameter is that of ATTACK slope = "smooth" attacks are used in "Kalophonikos Chronos" and are extensively used in the Turkish repertoire. Steeper slope attacks are more characteristic of our Hellenic tradition.
GREEKS have an OBLIGATION to CRITISIZE all contemporary artists who pretend being "safekeepers" of our tradition, and I provide here elements of a method that uses ACOUSTIC as well as VISUAL parameters for comparison.
While contemporary psaltic notation shows the gross RHYTHMIC durations, paleographic Gregorian notation shows vocal "inflexions", just as viewed on this video.
Angeliki Michalakis Konsta sings a traditional Poimenikon - Epitrapezion (Kathistikon, etc.) song as she has learnt it from her mother, who was an exceptional singer.
I have slowed the piece so as to illustrate the quite complex yet fairly isochronous temporal divisions used in this repertoire, as well as the quite steady intervals and respect of rhythm that characterises traditonal singers.
Complex ANISOCHRONOUS temporal divisions ("parestigmenons") lead to AMANES.
Simple ANISOCHRONOUS temporal divisions are absolutely necessary in PSALTIKI.
Simple isochronous divisions characterize "school songs" and the sissy singing of the Karas school, whose teachings and interpretations represent a MUTATION of our Hellenic musical heritage.
The TYPE of temporal division used is just ONE of the many parameters of our traditional singing. Another parameter is that of being able to make "melisms" and vocalisations all in leaving an obligatory temporal "gap" before to the next "thesis", which corresponds to a vowel explosion. Contemporary sissy singers have NOT learned how to do these TRADITIONALLY, and they are always OFF, all in impeding upon the next thesis because of their inability to respect this PRE THESIS REFRACTORY period. Occidental audiences, of course, applaud such attempts, because they have not heard anything better, especially when it's been sung in "group" form.
Another parameter is that of ATTACK slope = "smooth" attacks are used in "Kalophonikos Chronos" and are extensively used in the Turkish repertoire. Steeper slope attacks are more characteristic of our Hellenic tradition.
GREEKS have an OBLIGATION to CRITISIZE all contemporary artists who pretend being "safekeepers" of our tradition, and I provide here elements of a method that uses ACOUSTIC as well as VISUAL parameters for comparison.
While contemporary psaltic notation shows the gross RHYTHMIC durations, paleographic Gregorian notation shows vocal "inflexions", just as viewed on this video.
GKM psaltis Angeliki Michalakis Konsta vocal transitions SLOW greek eats | |
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