Achilleas Chaldaeakes’ Articles

THEORY

Chaldæakes, Achilleas G. (2026) “Plato’s Influences in the Greek Religious Music Theory”, in E. Karamalengou (†), I. G. Kalogerakos & Z. Wang (eds.), Jixia Academy and Plato’s Academy. Essays in Ancient Chinese and Ancient Greek Philosophy and Culture. Pages 299-319. Athens: National and Kapodistrian University of Athens Press.

_______ (2020) “John Laskaris’s Modality Schema”, Ἐπιστημονικὴ Ἐπετηρὶς τῆς Φιλοσοφικῆς Σχολῆς τοῦ Πανεπιστημίου Ἀθηνῶν 44: 13-50.

_______ (2018) “Is Polyphony hidden into Byzantine Monophony?”, in Rusudan Tsurtsumia & Joseph Jordania (eds.), The Eight International Symposium on Traditional Polyphony, 26-30 September 2016 Tbilisi, Georgia, Proceedings. Pages 459-69. Tbilisi, Georgia: Ministry of Culture and Monument Protection of Georgia – Tbilisi State Conservatoire.

_______ (2017) “A new reading of John Laskaris’s Explanation and Modulation of the Musical Art: Towards a Critical Edition of Laskaris’s Theoretical Treatise”, in Vesna Sara Peno & Ivan Moody (eds.), Aspects of Christian Culture in Byzantium and Eastern Christianity. Word, Sound and Image in the Context of Liturgical and Christian Symbolism. Pages 55-84. Belgrade: Institute of Musicology of SASA – ISOCM.

_______ (2015) “Illustrating Melodies: Iconographical Instructions into Byzantine Music Theory and Practice”, in Ivan Moody & Maria Takala-Roszczenko (eds.), Church Music and Icons: Windows to Heaven. Proceedings of the Fifth International Conference on Orthodox Church Music. University of Eastern Finland, Joensuu, Finland 3-9 June 2013. Pages 138-52.Joensuu, Finland: The International Society for Orthodox Church Music (ISOCM).

_______ (2012) “The Greek-speaking Instruction of the Psaltic Art. Past, Present and Future”, Musicology Today 12: 173-96.  

NOTATION – MELOPOEIA

Chaldæakes, Achilleas G. (2024), “The Automelon O strange wonder, great and marvelous! [Ὢ τοῦ παραδόξου θαύματος] of the Feast of the Dormition of the Theotokos; the compositional approach of Matthæos Vatopædinos”, Ἐπιστημονικὴ Ἐπετηρὶς τῆς Φιλοσοφικῆς Σχολῆς τοῦ Πανεπιστημίου Ἀθηνῶν 48: 9-29.

_______ (2023) “The ‘Key of the Ancient Byzantine Notation’ ”, Ἐπιστημονικὴ Ἐπετηρὶς τῆς Φιλοσοφικῆς Σχολῆς τοῦ Πανεπιστημίου Ἀθηνῶν 47: 9-43.

_______ (2013) “The story of a composition or ‘Adventures’ of written melodies, during the Byzantine and post-Byzantine era”, in Gerda Wolfram & Christian Troelsgård (eds.), Tradition and Innovation in Late-and Postbyzantine Liturgical Chant II. Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October-3 November 2008. Pages 261-89. Leuven-Paris-Walpole, MA: A.A. Bredius Foundation Peeters – Eastern Christian Studies 17.

_______ (2011) “Yet another contributor to the exegesis’ issue: Georgios-Eutychios Ugurlus”, ГИМНОЛОГИЯ/Hymnology 6: 76-108.

_______ (2011) “ ‘…old wine into new bottles…’ The continuity of the Tradition in the Contemporary Composition Practice of Byzantine Music”, in Lithuanian Academy of Music and Theatre-Lithuanian Composers’ Union, 11^th International Music Theory Conference; Vilnius, October 9-21, 2011. Principles of Music Composing: National Romanticism and Contemporary Music. Dedicated to the 100^th anniversary of M.K.Čiurlionis’ death. Pages 90-112. Vilnius: Lithuanian Academy of Music and Theatre.  

Achilleas Chaldæakes, Socrates Loupas, Evangelia Chaldæaki (2021) “Uses of the New Method of the Byzantine Notation; Historico-Musicological Testimonies from K. A. Psachos’s Archive”, Epistêmês Metron Logos 5:1-47.

PERFORMANCE

Chaldæakes, Achilleas G. (2025) “A Kalophonic Verse from the Second Psalm composed by John Koukouzeles: From Manuscript to Performance”, in Elsa De Luca, Ivan Moody and Jean-François Goudesenne (eds.), The Materiality of Sound in Chant Manuscripts in the East. Scriptor, Cantor & Notator. Volume II. Pages 123-34. Turnhout, Belgium: Brepols, Musicalia Antiquitatis & Medii Aevi.

_______ (2013) “Singing antiphonally: Unity or Variety?”, in Ivan Moody & Maria Takala-Roszczenko (eds.), Unity and Variety in Orthodox Music: Theory and Practice. Proceedings of the Fourth International Conference on Orthodox Church Music. University of Eastern Finland, Joensuu, Finland, 6-12 June 2011. Pages 139-63. Joensuu, Finland: The International Society for Orthodox Church Music (ISOCM).

_______ (2009) “The figures of composer and chanter in Greek Psaltic Art”, in Ivan Moody & Maria Takala-Roszczenko (eds.), Composing and Chanting in the Orthodox Church. Proceedings of the second International Conference on Orthodox Church Music. University of Joensuu, Finland 4-10 June 2007. Pages 267-301. Joensuu, Finland: The International Society for Orthodox Church Music (ISOCM).

Achilleas Chaldaeakes & Anastasia Georgaki (2012) “Visual Aspects of Byzantine Music Modes: Exploring the ‘Ethos’ of Byzantine Melopoeia through Acoustic Analysis”, in Lithuanian Academy of Music and Theatre-Lithuanian Composers’ Union, 12^th International Music Theory Conference; Vilnius, October 16-19, 2012; Principles of Music Composing: Links between Music and Visual Arts. Pages 54-61. Vilnius: Lithuanian Academy of Music and Theatre.

HISTORY

Chaldæakes, Achilleas G. (2020) “Reflections of Ecclesiastical Policy in Sacred Music: The Case of Patriarch Athanasios V”, in Ivan Moody & Ivana Medić (eds.), Orthodoxy, Music, Politics and Art in Russia and Eastern Europe. Pages 17-57. London: Centre for Russian Music, Goldsmiths, University of London – Belgrade: Institute of Musicology, Serbian Academy of Sciences and Arts.

_______ (2014) “Musical Freedom and Ecclesiastical Rules at the Ecumenical Patriarchate of Constantinople during the 18th century”,  Ἀνατολῆς τὸ Περιήχημα 1: 87-129.

_______  (2010) “ ‘All master composers of Greek ecclesiastic music’: An initial step on a new History of Greek sacral music”, inLithuanian Academy of Music and Theatre-Lithuanian Composers Union, 10^th International Music Theory Conference; Vilnius, October 20-22, 2010; Principles of Music Composing: Sacred Music. Pages 126-37. Vilnius: Lithuanian Academy of Music and Theatre.

_______ (2010) “Daniel the Protopsaltes († 1789): his life and work. A preliminary paper”, Revista Muzica 3: 39-53.

Achilleas Chaldæakes, Socrates Loupas, Evangelia Chaldæaki (2021) “Historico-musicological Aspects of K. A. Psachos’s Archive”, Musicologist. International Journal of Music Studies 5.2: 187-239.

AESTHETICS – MORPHOLOGY

Chaldæakes, Achilleas G. (2015) “The Sense of ‘Pleasure’ in Eastern Chant”, Human and Social Studies 4.1: 119-38.

_______ (2014) “Byzantine Music as ‘Tabula Rasa’ or Which should be the ‘Language’ of Byzantine Music”, in Mirjana Veselinovic-Hofman, Vesna Mikic, Tijana Popovic-Mladjenovic, Ivana Perkovic (eds.), Music Identities on Paper ans Screen. Pages 362-75. Belgrade: Department of Musicology, Faculty of Music, University of Arts in Belgrade – Musicological Studies: Monographs.

_______ (2011) “The ‘woman figure’ in Byzantine Melopoeia”, in Nina-Maria Wanek (ed.), Psaltike. Neue Studien zur Byzantinischen Musik: Festschrift für Gerda Wolfram. Pages 65-100. Wien: Praesens Verlag.

_______ (2011) “From the Ritual of the Matins Servise: The insertion of poetic texts in the chant of the Polyeleos”, Musicology. Journal of the Institute of Musicology of the Serbian Academy of Sciences and Arts 11: 75-101.

_______ (2008) “Tradition and Innovation in the Person of Petros Bereketes”, in Gerda Wolfram (ed.), Tradition and Innovation in Late-and Postbyzantine Liturgical Chant. Acta of the Congress held at Hernen Castle, the Netherlands, in April 2005. Pages 191-223. Leuven-Paris-Dudley, MA: A.A. Bredius Foundation Peeters – Eastern Christian Studies 8.