K |
Kaibelianus dochmius habet formam x - v - v -Klimax est gradatio rhetorica verborum vel sententiarum.
Knox - lex seu pons:
- I. mora irritum reddit effectum sequentis vel extantis morae minoris;
- II. non datur finis verbi bisyl et trisyl:
... x - v | - v | - v -.Kommos - kommo/j - est lamentatio Chori.
Kontakion - The development of large scale hymnographic forms begins in the fifth century with the rise of the kontakion, a long and elaborate metrical sermon, reputedly of Syriac origin, which finds its acme in the work of St. Romanos the Melodos (sixth century). This dramatic homily, which usually paraphrases a Biblical narrative, comprises some 20 to 30 stanzas and was sung during the Morning Office (Orthros) in a simple and direct syllabic style (one note per syllable). The earliest musical versions, however, are ''melismatic'' (that is, many notes per syllable of text), and belong to the time of the ninth century and later when kontakia were reduced to the ptooimion (introductory verse) and first oikos (stanza). In the second half of the seventh century, the kontakion was supplanted by a new type of hymn, the kanon, initiated by St. Andrew of Crete (ca. 660-ca. 740) and developed by Saints John of Damascus and Kosmas of Jerusalem (both eighth century). Essentially, the kanon is an hymnodic complex comprised of nine odes which were originally attached to the nine Biblical canticles and to which they were related by means of corresponding poetic allusion or textual quotation. The nine canticles are:
(1) and (2) The two songs of Moses (Exodus 15:1-19 and Deuteronomy 32:1-43);
(3)-(7)Tthe prayers of Hannah, Habbakuk, Isaiah, Jonah and the Three Children (1 Kings [1 Samuel] 2:1-10; Habbakuk 3:1-19; Isaiah 26:9-20; Jonah 2:3-10; Apoc. Daniel 3:26-56);
(8) The song of the Three Children (Apoc. Daniel 3:57-88);
(9) The Magnificat and the Benedictus (Luke 1:46-55 and 68-79).
Each ode consists of an initial troparion, the heirmos, followed by three, four or more troparia which are the exact metrical reproductions of the heirmos, thereby allowing the same music to fit all troparia equally well.
The nine heirmoi, however, are metrically dissimilar; consequently, an entire kanon comprises nine independent melodies (eight, when the second ode is omitted, which are united musically by the same mode and textually by references to the general theme of the liturgical occasion, and sometimes by an acrostic. Heirmoi in syllabic style are gathered in the Heirmologion, a bulky volume which first appeared in the middle of the tenth century and contains over a thousand model roparia arranged into an oktoechos (the eight-mode musical system).