diatessaron


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di·a·tes·sa·ron

 (dī′ə-tĕs′ər-ən)
n.
The four Gospels combined into a single narrative.

[Middle English, interval of a fourth, from Latin diatessarōn, made of four, from Greek dia tessarōn, out of four : dia, according to; see dia- + tessarōn, genitive of tessares, four; see kwetwer- in Indo-European roots.]

diatessaron

(ˌdaɪəˈtɛsəˌrɒn)
n
1. (Music, other) music (in classical Greece) the interval of a perfect fourth
2. (Bible) a conflation of the four Gospels into a single continuous narrative
[C14: from Late Latin, from Greek dia tessarōn khordōn sumphōnia concord through four notes, from dia through + tessares four]
References in periodicals archive ?
Among the topics are the papyrus manuscripts, the Greek minuscules, the Greek lectionaries, the Diatessaron of Tatian, the Syriac versions, the Coptic versions, the Ethiopic version, the Armenian version, the Gothic version, the use of the Greek fathers for New Testament textual criticism, scribal tendencies in transmission, analyzing and categorizing New Testament Greek manuscripts, criteria for evaluating readings in textual criticism, modern critical edition and apparatuses of the Greek New Testament, and reasoned eclecticism in New Testament textual criticism.
Diaphoniam seu organum constat ex diatessaron symphonia naturaliter derivari.
Tzvi Langermann and Josef Stern (Paris: Peeters, 2007), 331-47, and look for his promised article on the commentary's quotations from the Gospels, which Saleh says amount to a Muslim Diatessaron.
The Diatessaron was a brave attempt by the second-century Assyrian Christian Tatian to harmonise the New Testament gospels.
Petersen, The Diatessaron and Ephrem Syrius as Sources of Romanos the Melodist, CSChO 475 (Louvain 1985).
38) Such an assessment is drawn from Ephrem's own statements about Scripture, as can be seen in the following reference from his commentary on the Diatessaron VII, 22:
Petersen, Tatian's Diatessaron (Leiden 1994), and P.
We have noted the rejection of the Diatessaron by the early church in favour of the multiple traditions that have come down to us in the four canonical gospels.
In doing this, he concentrates for the most part on the usual issues raised by contemporary south German theorists: the gamut of notes, the proportions governing it, and its classification into tetrachords; the species of diatessaron, diapente, and diapason (that is, fourth, fifth, and octave); the eight modes and recognition of their characteristics.
Petersen (1950-2006) is best remembered for his book on Titian's Diatessaron, and several of the 32 essays collected here trace how he worked his way to it, and others trace his thinking after it.
The four-Gospel collection may be traced to Tatian who compiled the Diatessaron.
Tatian would continue this exegetic work in his Diatessaron (the four Gospels as a continuous narrative).