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Aramaic Project - I

Interviews and Performances - Video List

No. 260 to 251

AP 253b - Res Qala (Model Melody): യാദാ ഹൂശാവെ. Yada Husawe sung by Fr. Paul Kodamullil.

Here is another example of the Rēš Qālā (Model melody), Yādā Hūšāwē, in the voice of a celebrated singer, Fr. Paul Kodamullil from the diocese of Kothamangalam. Res Qala is a melodic and metric model to generate new compositions. Transmission of the Res Qala system was through oral tradition.


AP 252 - An example of a "Coda" to 'Qandisa Alaha' by Mr. Paulose Pallikkara, Alangad.

A coda (an additional conclusion to an existing melody) to the Syriac chant - Qandisa Alaha from the Qurbana of Fr Cyril Thayyil at Alangad Church. Paulose Pallikkara, harmonist and lead vocalist. 9 September 2021.


AP 252a - A different way of singing Qandisa Alaha (pre 1962 Missal). Fr. Perumalil CMI.

A different Performance practice (manner of executing a melody) of Qandisa Alaha. From the solemn Qurbana (pre-1962 missal) of Fr. Probus Perumalil, CMI (1922-2009). Recorded at St. Joseph's Monastery Chapel, Mannanam, Kerala, India. Early 1980s.


AP 252b - A different Coda for QANDISA ALAHA. Fr Sebastian Sankoorikal.

Here is another example of the performance practice (manner of singing) of the Syriac Trisagion. Fr. Sebastian Sankoorikal designed this format with his choir members, The choir sings the first incipit (deacon's invitation) in 4/4 rhythm. The celebrant sings the text and concludes with the second incipit (the first part of the minor doxology), the choir sings the second time and concludes with the third incipit (the response to the minor doxology).


AP 252c - Introducing Coda for Qandisa Alaha for the first time in America.

This is the fourth video introducing different performances practices of the most popular Syriac chant, Qandisa Alaha. The videos cover samples from an extended period of time. The present video is a segment from a historical event of the Syro Malabar Qurbana in English at the largest Catholic Church in America, the Basilica and Cathedral of the Immaculate Conception in Washington, D. C., on Saturday, 7 September 2013.


AP 252d - Yet another coda for Qandisha Alaha. Houston, Texas.

This is the final segment on a series of videos on the application of a coda to the traditional melody of Qandisa Alaha. The four videos covered four different periods and four different styles, depending on the musicality of the celebrants.


AP 252e - കന്ദീശാ ആലാഹാ:Qandisa Alaha with special 'Coda'. Poulose Pallikkara. Alangad

This video shows another example of the coda to the Trisagion. In the Syriac era, local choirs enjoyed the freedom to compose new melodies to texts and experiment new performance practices. This video adds to the set of examples we posted earlier under the series of Aramaic Project-252.


AP 252f - Qandisa with Coda. The Pulikottil Priests (1970)

The Syriac generation treated Qandisa Alaha differently from other Syriac chants. The celebrants and church choirs took the freedom to add several musical elements to the chant.


AP 251 - Fr. Cyril Thayyil in conversation with the Alangad Syriac Choir.

Fr. Cyril Thayyil has been kind enough to conduct this interview with the Syriac choir of the Marth Maryam Church at Alangad that has a unique place in the history of the St. Thomas Christians.


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