«Μοναχός Θεοφάνης Παντοκρατορινός. Ένας εξηγητής της προ Χρυσανθικής περιόδου», Crossroads. Greece as an intercultural pole of musical thought and creativity. International Musicological Conference June 6-10, 2011, σ. 1077-1086.
Summary
Liakos Ioannis,
Monk Theophanis Pantokratorinos, an exeget of the pre-Crysanthine period.
The Chanting Art, as a creation of the general Greek musical culture seems to influence the musical events of the Balkan people, especially those who embraced the Orthodox Christian faith and thus the act of worship, particularly during the post-Byzantine period. The period of ten centuries we have written records of the Chanting Art is divided, according to the notations used for the neumation of the liturgical hymns and troparia, into four periods. Certainly, the consolidation of each period was not realized at a specific time, but there were always the forerunners of the different notational systems, who by copying, teaching and performing the compositions imposed, sometimes less and sometimes at a larger degree, the use of the notational system that they were using. The maintenance and the improvement of a system until its final consolidation and wider acceptance, were expected to face controversy. One such effort of record, that concerns the fourth period of notation is that of Theophanis Pantokratorinos, who belongs, together with Nicholas Docheiaritis, Ioasaph Dionysiatis and Matthew Vatopaidinos to the most outstanding manuscript writers and exegets. The notation system they used is characterized by the discipline of musicology as a pre-Chrysanthine notation. Certainly, they also delivered us recordings of compositions in the writing of the New System. The collection of works by monk Theophanes from the shelves of libraries of Mount Athas and a manuscript of his which is located in Romania, as well as the study of his exegetical notation, which slightly differs from that of the New Method, while coexisting in time, and yet on his compositions, all these are elements, the traces of which lead us to conclusions regarding a better understanding of the mechanism of reading the notation system of the Chanting Art of the third period (1670-1814).
