Page - 178 - in JRFM - Journal Religion Film Media, Volume 07/01

178 | Christos Kakalis www.jrfm.eu 2021, 7/1, 173–190 the priest during the services, leaving the emphasis on the sonorous expres- sion of the books and including these moments of silence in the animation of the ritual soundscape. In figure 2 an A4 sheet of paper of Choir instructions for Palm Sunday in April 1988 is depicted. It is signed by the priest-in-charge then, Archimandrite John Maitland Moir. It is a collage of hymns (antiphons) in English, Greek and Russian and instructions about Matins and the Liturgy. A closer look reveals again a merging of moving and fixed calendars: the choir is to read from the Lenten Triodion and from books usually used for the Divine Liturgy (fixed cal- endar). Different languages and different calendars are all depicted on this compressed transcription of the Liturgy. In the case of St Andrew’s, we find an amalgamation of two kinds of norma- tive liturgical orders: the Typikon of Constantinople, practised in Greece and the churches under the Ecumenical Patriarchate, and the Typikon of Jerusalem, practised in Russia and Balkan countries such as Serbia. This amalgamation is based on a careful organisation of the components of the services to meet the worshipping needs of the community, greatly informed by its demograph- ic dynamics. Three languages are used: Greek (mainly related to the Typikon of Constantinople), Old Slavonic (connected to the Typikon of Jerusalem) and English, as the common language of the different national groups. In parallel, two musical notations are deployed, the European (used for the polyphonic Slavonic chanting) and the Byzantine (used for the Byzantine chanting). The parallel use of the two typika introduces a temporal dimension. The Typikon of Jerusalem still follows the Julian calendar, which was replaced by the Gregorian calendar (which we still use) during the sixteenth century. The former is currently thirteen days behind the latter. The periods of daylight and darkness are divided into twelve equal parts of one hour.9 Additionally, the division of Orthodox Christian music into eight modes (tones) influences the liturgical soundscape, as the chanting of each week of the year follows the sequence of the eight modes. At every ninth week, the musical tone goes back to the first, continuing a repetitive pattern that is interrupted by the moving elements of the festive calendar. A closer look at the construction of this page of instructions introduces us to the way in which the community was established and developed. It is one of 9 For example, Christmas and the feast of the Holy Protection of the Theotokos (Pokrov in Slavonic) were worshipped in both the Old Calendar and the New Calendar. The feasts of St Nicholas and St Seraphim of Sarov were celebrated only in the Old Calendar.