User:Hugh Beresford1997/Syriac chant/Skylercafferata Peer Review

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Again, good citations and information. I think you just need to organize your thoughts a bit better/re-read things out load/whatever method helps to avoid repeating things, awkward sentence structures, or jumping around between ideas.

the history of syria By John A. Shoup 978-1-4408-5835-2

https://www.jstor.org/stable/10.5921/yeartradmusi.47.2015.0045 early church napolian conquests islam

Syrian chant

Syrian chant is one of the oldest Christian chants in the world. Due to the lack of information concerning early musical manuscripts, it is conjectural to what extent the modern repertoire reflects the early traditions. There are historically six schools of chant created differently because of the chants being passed on through oral transmission. Syrian chant is estmeeded above all else in the Syrian church as both the greatest form of prayer and the most representative feature of the Syrian Orthodox church. Chant is integral to the Syrian church and has been a practice that has created a distinction in the Syrian practice of worship to that of its neighboring Christian orders.

Ethnomusicologist Tala Jarjour explains that other than a few sources on early Syrian chant, one must analyze its current form and reflect upon it in historical contexts. Jarjour's book Sense and Sadness; Syrian Chant in Allepo, she mentions that the proper word for Syrian chant is Hasho. ”Hasho is best thought of as a construct that exists at the intersection of emotionality, spirituality, musicality and knowledge” (Jajour, 2018, 52). Jajour also explains that the earliest known source of Syrian chant is from the Napoleonic conquest to Egypt. One of the earliest and only sources on Syriac chant is a scholar who travelled with the Napoleon conquests to Egypt named Villoteau. Villoteau made notes of the Syriac chant he encountered. He also wrote down many details about the chant onrr of which is the Syrian nation expressing their identity through chant and other songs. These ideas of identity through song are also discussed by ethnomusicologist Tala Jarjour which confirms the statements on the distinctive nature of Syrian chant compared to other types of chant around it.

Sound[edit]
Through modern renditions found on YouTube we can get a general understanding of how Syrian chant would have sounded. The chant usually begins with a highly ornamented and free rhythm pattern. There appear to be multiple voices singing taking turns. Each singer sings solo for their section of the chant. Jarjour explained earlier that Hasho, Syrian chant, is a coming together of emotionality, spirituality, musicality and knowledge. Music examples on YouTube are often a monophonic texture filled with melodic ornamentation. The ornamentation notes draw emotion, while the content is no doubt prayer and is spiritually rooted. while the catechesis of the prayer provides knowledge. These are inline with what we are to understand about Syrian chant. The other feature of the songs found YouTube is how it resonates through the building it is recorded in. The texture of the songs are usually thin but due to the acoustics in the buildings they are sung in the sound becomes more dense. Many of the Syrian chant videos also use scales and intervals that resemble the western diminished or diminished 7th scales. There is some harmonization but each voice there tends to follow the same melodic contour. The chants will occasionally sound like rounds. The timbre is usually dark and the range of pitch is wide. It is important though that these observations are made from modern chants found on YouTube. The observations may not reflect the historical chants.

Setting
The chant seems to be designed to accommodate the acoustics of the building. This reflects an interesting feature of the chant as it was likely sung to bounce of the walls and ceiling of a church. This was a technological advancement of the architecture that allowing sounds and prayers to carry throughout the buildings of the Middle East. The chants were reached by all present in the church which brought the components of emotion, spirituality, musicality, and knowledge to not just the singer but all who were/ are present. These principles are no doubt intertwined in a specific way giving Syrian chant its distinctive qualities. The earliest information that Villoteau gathered was all derived from a priest that he encountered in Syria.

Difficulty in Studying Syrian Chant
Syrian chant has been misrepresented in academics as well as misunderstood culturally due to wrongful association. Although the Syriac beliefs are in union with the Catholic Church, Syrian chant cannot be adopted by other forms of Christian worship found in Europe or America. Although it originated from the Levant, it cannot be associated or counted synonymous with Islamic chant which is dominant in the East. It has traits that suggest a derivative of the Arabic musical system but it does not have associations with any maqamat (plural of maqam). It is understood as a model musical system yet it does not have any existing music theory on these modes. It has almost no similarities to the Byzantine or Gregorian chants that are from the surrounding areas.

Due to the orality of its tradition and the minimal writing on the chant there is little known about it. Syriac christians have been marginalized throughout their existence in the Middle East which may account for the missing information. The first known source to write about it Syrian chant was Villoteau during the Napoleonic conquest of Egypt. The earliest information that Villoteau gathered was all derived from a priest that he encountered in Syria. Although Villoteau attempted to transcribe some of the chants, their use of Arabic quartertone's would prove difficult to interpret for Villoteau. Possibly due to the persecution Syrian Christians relied predominantly on oral language to pass on the chants which meant the music was either destroyed or was never transcribed from oral to notation. Only three sources have dealt with a Syriac chant in the modern centuries leaving this area greatly unexplored and currently threatened by political powers and movements in the Middle East.

Early Church[edit]
In the early church, the music consisted of hymns and antiphonal psalmody. The earliest extant work is the Gnostic Psalter of the 2nd century, a collection of Psalm texts in hymn form reflecting a Gnostic theology. The first orthodox work are the hymns of Ephrem the Syrian (306–373), some of which are still used today. Both hymns and antiphonal psalmody were brought by St. Ambrose to Milan and are apparently the basis for Ambrosian chant.

Modern Syrian chant is much more rhythmic and syllabic than Gregorian chant.

Historical Setting[edit]
Syria has had a long ancient historical attachment to the chant. Due to geographical locations, modern day Syria was one of the first areas to be exposed to Christendom brought by the early disciples of Christianity from Jerusalem. Syrian chants have been spread throughout regions of the world by Syrian immigration. This diaspora has brought many of the Syrian liturgical traditions to both neighboring and distant countries. The movement of a people, forced or unforced, establishes a desire to bring their culture with them. The chants of Syria have remained thus far as oral traditions and have been passed down through the generations who have kept loyally to their faith and culture though persecution. Ethnomusicologist Dorchak discusses the use of culture as a means to strengthen and resist culture loss. A culture attacked and marginalized throughout its history will rely greatly on its cultural values/ principles. This oral transmission of religious chants present in Syrian culture, is signet of a culture strengthened by marginalization and diaspora. The cause for the majority of Syrian diaspora is due to geopolitical and religious conflicts as well as its rich resources and geographical placement bridging Europe to North Africa make it a prime location to occupy. Since the introduction of Christianity and the first Syrian chants the Syrian culture has been confronted by such empires like that of the Roman Empire prior to the conversion of Constantine; the Persian Empire’s conquest in 611; the Islamic conquests lead by Mohamad prior to his death in 632; the Shi’ites and the religious persecution of rural regions of Syria, home to previous Islamic conquest; the conflicts of the crusades and the Islamic forces of the Middle East. The main expulsion of Syrian Christians was during the Ottoman rule in the Levant and the massacres that took place in Damascus. These historical events provide sufficient context to why Christian Syrian chant remained an oral culture and is lacking in historical or archeological sources. There may have been a musical notation system invented for Syrian chant that was destroyed through the many conquests ‘Syria’ faced. The most recent diaspora has led to Syrian refugee camps throughout the Middle East and the destruction of Syrian cities and villages, along with architecture and culture.

From Villiteou's comment on the Syrian identity and pride as well as the conversation from authors Jarjour and Gatta certain conclusions can be derived. The Syrian Christians have endured marginalization and persecution throughout their existence. Through this history the Syrian diaspora has brought many Syrian orthodox practices to new regions of the world. It is movement, marginalization, and persecution that drive the orality and resilience of Syrian Chant. This chant has no doubt changed in its presentation over its existence but the loyalty to tradition has kept it alive today.

Syriac Chants from South India.

The Christian liturgy that developed in Syriac as the Christian Aramaic came to be known in the early Christian era flourished in South India among Saint Thomas Christians. Early Christian chants by such saintly poets as St. Ephrem the Syrian (d. 372) became part of the Christian experience in this part of the world.