Communion (chant)

{{Short description|Refrain sung with psalm recitation}} The '''Communion''' ({{langx|la|communio}}; {{langx|grc|κοινωνικόν}}, ''koinonikon'') is a refrain sung with psalm recitation during the distribution of the Eucharist in the Divine Liturgy or Mass. As chant it was connected with the ritual act of Christian communion.

== The koinonikon cycle of the Divine Liturgy in Orthodox rites == According to Dimitri Conomos the '''koinonikon''' (κοινωνικόν), as it is sung as an elaborated communion chant during the Divine Liturgy, has derived from an early practice of psalm recitation similar to Western liturgies, when the ''Koinonikon'' served as a troparion.<ref>Dimitri Conomos (1985).</ref> The oldest troparion which was used for communion, was "Γεύσασθε καὶ ἴδετε" ("O taste and see that the Lord is good", Ps. 33:9). It was supposed to symbolize the last supper celebrated on Maundy Thursday. During the 5th century, when the Divine Liturgy of the Presanctified Gifts had established and this communion chant became associated with it, the custom spread over the Lenten period, presumably with the recitation of different psalm sections ({{lang|la|staseis}}).

In the early ''Asmatika'' (12th and 13th century), the choirbook of the cathedral rite, this koinonikon is classified as ''{{lang|grc-Latn|echos protos}}'' (transcribed as ''a—α′'') according to the modal signatures of the Octoechos, but its archaic melos does not finish on the ''finalis'' and ''basis'' of this echos, but with the one ({{lang|grc-Latn|phthongos}}) of ''{{lang|grc-Latn|echos plagios devteros}}'' (transcribed as ''E—πλβ′'').<ref>See transcription of Ms. Γ. 3 (fol. 9)—an Asmatikon of the Great Lavra Monastery on Mount Athos (Conomos 1980, p. 259, ex. 4).</ref>

=== The koinonikon cycles of the Byzantine cathedral rite === In the cathedral rite of Constantinople the ''koinonikon'' as a ''troparion'' became so elaborated, that it was sung without psalm recitation. [[File:Easter Koinonikon.png|thumb|center|750px|Easter koinonikon σῶμα χριστοῦ μεταλάβετε in echos {{lang|grc-Latn|plagios protos}} with the old cheironomies (hand signs) or Asmatikon notation and their transcription into Byzantine round notation in a manuscript of the 14th century (GR-KA Ms. 8, fol. 36v)]]

Nevertheless, its text was usually a ''{{lang|grc-Latn|stichos}}'' taken from the psalter, like the Sunday ''Koinonikon'' of the Week Cycle Αἰνεῖτε τὸν κύριον ("Praise the Lord" Ps 148:1), which had already added as an Octoechos cycle in 13th-century Greek ''Asmatika'', so that they could be performed according to the echos of the week.<ref>Conomos (1980, pp. 255-259, ex. 2) analyzed this cycle, added later during the late 14th century, and compared it to the earlier {{lang|grc-Latn|echos-protos}} version in a Slavic Kondakar of the 13th century (ex. 3).</ref> Within the weekly cycle each koinonikon was also specified to certain liturgical occasions such as the Wednesday {{lang|grc-Latn|koinonikon}} Ποτήριον σωτηρίου ("Cup of salvation" Ps 115:4) which was dedicated to feasts around the Theotokos or around martyres. Apart from the week cycle there was a repertory of 26 ''koinonika'' which developed as a calendaric cycle of immoveable and moveable feasts during the 9th century and they can be found in the books of the cathedral rite since the 12th century (psaltikon and asmatikon).<ref>In his early article which preceded his book, Dimitri Conomos (1980) offers tables of the three cycles, their texts and their modal classification according to the Octoechos and a list of medieval notated chant manuscripts of the cathedral rite which have preserve these cycles.</ref>

Since the 14th century, when a mixed rite had replaced the former tradition of the cathedral rite at Hagia Sophia, the old models have been elaborated in compositions of the Maistores like John Glykys, John Koukouzeles, and Manuel Chrysaphes.

== Communion chant in Western plainchant ==

=== The communio part of the Ambrosian mass === The communion part of the Ambrosian Mass, as it had been celebrated in the cathedrals of Milan (called after the famous local bishop Ambrose), was composed around the Anaphora. It was opened by a litany called "Ter Kyrie", the Pater Noster, and the chant which preceded the ''Postcommunio'', was called "'''Transitorium'''".

=== The confractorium of the Gallican and Visigothic mass === According to Isidore of Seville (''Etymologiae, De ecclesiasticis officiis'') and Pseudo-Germanus' ''Expositio Antiquae Liturgiae Gallicanae''<ref>Autun, Bibliothèque municipale, Ms. 184.</ref> the communion chant of the Mass in the Gallican rite of France and the Visigothic rite of Spain was called ''Confractorium'' and probably connected with a ritual breaking (fraction) of sacramental bread.

=== The communion cycle of the Roman and Roman-Frankish rite === According to James McKinnon the ''communio'' became late part of Roman Mass, and like in many other Western sources, there is no early evidence of a Latin equivalent of the Ps. 33:9 ("Gustate et videte") as a kind of prototype of the genre, but ''Ordo romanus I'' describes the communion chant as an antiphon with psalm sung by the ''Schola cantorum'' accompanying the distribution of the Eucharist, until the presiding pope interrupts it.<ref>James McKinnon (2000, pp. 326-328).</ref> Nevertheless, the genre ''communio'' became an important and favored subject in the process of a compositional planning of the Mass Proper by the leader of the ''Schola cantorum'', which had already about 141 items during the 7th century. The dramaturgy in the composition of communion chants and the choice of scriptural texts from Advent to Epiphany includes the composition of an epic recitation of prophetic texts before Christmas, while the later serial of communion chants use extracts from the gospel readings of the day, composed in a rather dramatic style.<ref>James McKinnon (1998).</ref>

Since the Carolingian reform the Roman Mass Proper became part of the Roman-Frankish liturgy and the most common musical settings of it were reserved for special Masses such as Requiem Masses, where the chant has the incipit ''Lux aeterna''.

In contemporary Catholic usage, the communion chant corresponds to the '''Communion Antiphon''' and is sung or recited audibly throughout by the faithful.

== References and sources == {{reflist|2}}

=== Studies === *{{cite web |last=Bailey |first=Terence |title=Ambrosian chant |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/00754 |publisher=Grove Music Online. Oxford Music Online |access-date=20 August 2012 |ref=BaiNGr }} *{{Cite journal | volume = 33 | pages = 241–263 | last = Conomos | first = Dimitri E. | title = Communion Chants in Magna Graecia and Byzantium | journal = Journal of the American Musicological Society | year = 1980 | jstor = 831112 | ref = Con80 | doi=10.2307/831112 }} *{{cite book |last=Conomos |first=Dimitri E. |title=The Late Byzantine and Slavonic Communion Cycle: Liturgy and Music |year=1985 |publisher=Dumbarton Oaks |location=Washington D.C. |ref=Con85 }} *{{Cite journal | volume = 2012 | pages = 129–157 | last1 = Popova | first1 = Deniza | last2 = Gerlach | first2 = Oliver | title = Vater Stilijan – ein Mönch aus Bačkovo-Kloster: Seine Persönlichkeit und seine Bedeutung für die bulgarisch-orthodoxe Gesangspraxis | journal = Bulgarien-Jahrbuch | year = 2014 | doi = 10.3726/b12817 | doi-access = free }} *{{cite web |last=Huglo |first=Michel |title=Gallican chant |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/10559 |publisher=Grove Music Online. Oxford Music Online |access-date=20 August 2012 |ref=HugNGr |display-authors=etal}} *{{cite web |last=McKinnon |first=James |title=Communion |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/06199 |publisher=Grove Music Online. Oxford Music Online |access-date=20 August 2012 |ref=McKNGr }} *{{Cite book | publisher = University of California Press | isbn = 9780520221987 | last = McKinnon | first = James | title = The Advent project the later-seventh-century creation of the Roman Mass proper | location = Berkeley | year = 2000 | url = https://books.google.com/books?id=QHfxtBEGMPwC | access-date = 20 August 2012 | ref = McK00 }} *{{Cite journal | volume = 39 | pages = 241–245 | last = McKinnon | first = James W. | title = Compositional Planning in the Roman Mass Proper | journal = Studia Musicologica Academiae Scientiarum Hungaricae | year = 1998 | jstor = 902538 | ref = McK98 | doi=10.2307/902538 }} *{{cite web |last1=Randal |first1=Don M. |last2=Nadeau |first2=Nils |title=Mozarabic chant |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/19269 |publisher=Grove Music Online. Oxford Music Online |access-date=20 August 2012 |ref=RanNGr }} *{{Cite journal | volume = 43 | pages = 8–30 | last = Taft | first = Robert | title = The Evolution of the Byzantine 'Divine Liturgy' | journal = Orientalia Christiana Periodica | access-date = 11 April 2012 | year = 1977 | url = http://www.myriobiblos.gr/texts/english/taft_evolution_6.html | ref = Taf77 }} *{{cite web |last=Troelsgård |first=Christian |title=Koinōnikon |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/15273 |publisher=Grove Music Online. Oxford Music Online |access-date=20 August 2012 |ref=TroGr }}

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