Relevant bibliographies by topics / Byzantine Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Byzantine Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Byzantine Music"

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Ignatenko, Yevgeniya. "Byzantine music in the educational and scientific space of modern Ukraine." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 116–25. http://dx.doi.org/10.31318/2522-4190.2023.138.294798.

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Relevance of the research. The persistent revival of early music in the twentieth century led to a number of large and small discoveries that significantly enriched the history of European music. Byzantine music became one of the new continents that appeared on the map of European musicology in the twentieth century. The process of comprehending the millennial history of Byzantine music as an important component of European musical culture, as a musical expression of Christian culture, as a tradition that had a powerful influence on the whole of Europe is far from been completed. The revival of the Ukrainian monodic church repertoire, that we observe today, is accompanied by an active search for historical information and appropriate vocal manners and style that lead to the Greek-Byzantine tradition. Comparative studies of Byzantine and East Slavic musical manuscripts have enormous heuristic potential and open up the opportunity to represent the thousand-year history of Ukrainian music, and not be limited to its modern period. The purpose of our work is to analyze the controversial concepts and approaches to understanding the Byzantine church chant tradition (“Byzantium after Byzantium”, in the words of Nicolae Iorga, traditionalism versus historicism); to show the prospects of Byzantine-Slavic musicological research and the need for its actualization in Ukraine; to present the educational course “Byzantine Music: Theory and Practice”. Methodological framework. The study is based on historicaltypological and comparative research methods. Results and scientific novelty of the work. The experience of comprehending the Byzantine church chant tradition as an important component of European musical culture was analyzed, discussion concepts and approaches in the development of musical Byzantinology of the twentieth century were highlighted. The prospects and relevance of Byzantine-Slavic music research were shown. The necessity of studying Byzantine music in musical institutions in modern Ukraine was substantiated, the current status of development of Ukrainian musical Byzantine studies was analyzed. An educational program on Byzantine music was presented, and the range of related scientific and methodological discussion topics was outlined.
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BENAKIS, Linos G. "Byzantine Musical Theory (Harmonics)." WISDOM 10, no. 1 (June 25, 2018): 98–104. http://dx.doi.org/10.24234/wisdom.v10i1.206.

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Harmonics was one of the four mathematical sciences in the Byzantine higher education curriculum, together with Arithmetic, Geometry, and Astronomy (what was called quadrivium in the Latin West). Our knowledge of Byzantine harmonics is rather limited, as only two or three of the relevant treatises have been published in new editions. In this paper a systematic approach is attempted, while, at the same time, keeping distances from the well-studied practical aspect of Byzantine music, i.e. ecclesiastical music. Furthermore, the tradition of Greek musical theory (both Pythagorean and Aristoxenian), which the Byzantines developed further from a dual, both textual and educational, interest, presenting us at the same time with some original contributions.
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Moran, Neil. "Byzantine castrati." Plainsong and Medieval Music 11, no. 2 (October 2002): 99–112. http://dx.doi.org/10.1017/s0961137102002073.

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The employment of castrati in the Byzantine Church can be traced back to the choirmaster Brison in the fourth century. Brison was called upon by John Chrysostom to organize the antiphonal hymn-singing in the patriarchal church. Since eunuchs were generally considered to be remnants of a pagan past, castrati are seldom mentioned in early Byzantine sources, but beginning in the tenth century references to eunuchs or castrati became more and more frequent. By the twelfth century all the professional singers in the Hagia Sophia were castrati. The repertory of the castrati is discussed and the question is raised whether the introduction of castrati to the Sistine Chapel was influenced by the employment of castrati in Italo-Greek cloisters.
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Lingas, A. "Byzantine neumes." Early Music 37, no. 2 (April 29, 2009): 300–302. http://dx.doi.org/10.1093/em/cap006.

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Siopsi, Anastasia. "Music in the Imaginary Worlds of the Greek Nation: Greek Art Music during the Nineteenth-Century's fin de siécle (1880s–1910s)." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 17–39. http://dx.doi.org/10.1017/s1479409811000048.

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This essay analyzes ways in which music becomes attached to the growing demand for national culture by the Greek middle class since the last decades of the nineteenth century.In modern Greece of that period, the predominant notions of ‘historic continuity’ and ‘Hellenism’, or ‘Greekness’, interpret Greek history as an uninterrupted evolution from the classical past to Byzantium. In terms of music, continuity was believed to be found from ancient Greek music to Byzantine hymns and folk songs. This theory, supported by important scholars and composers both in Greece and abroad, placed tradition in a privileged position both in composition and reception of music; composers incorporated rhythms, scales and the character of Greek folk songs and Byzantine hymns in their works and the middle-class audience was eager to accept folkloristic styles and the embodiment of tradition in art music because they reflected the notion of ‘national’. Musically, the theory of ‘historic continuity’ was strengthened by the links between German romanticism and attitudes to ancient culture. Moreover, German models, or the organic romantic perception of music, influenced representatives of the so-called National School of Music; the consequence was a growing alienation from Italian music in terms of offering aesthetic standards to composition and reception.
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Mocanu, Daniel. "Musical Exegesis in the Transylvanian Style, Composed by Dimitrie Cuntanu, at Our Lord’s Birth Catavasia." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 193–216. http://dx.doi.org/10.24193/subbmusica.2021.1.13.

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"The Orthodox religious music in Transylvanian tradition has a unique history. It gained an important place in the Romanian musical heritage, by the way it managed to adapt to Romanian, in its own style, the psaltic musical repertoire, of Byzantine tradition. Build from the oral tradition, which, in its turn blended with folklore, cult music, and the other co-existing cults, and from psaltic tradition, Dimitrie Cuntanu’s work fairly represents, the first Transylvanian religious musical monument of Romanian root. The Byzantine musical origin of this paper can be detected, together with other works, from the musical structures of the first Katavasia established by Cuntanu, at Lord’s Birth Feast. Transformed to Romanian by different anonymous protagonists of the Transylvanian music, the Lord’s Birth Catavasia represents a Hrysantic exegesis reference of Byzantine music, in a Transylvanian style. Keywords: Catavasia, Byzantine music, Anton Pann, Cuntanu, Romanian adaptation "
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Wolfram, Gerda. "Byzantinische Musik." Het Christelijk Oosten 48, no. 1-2 (November 29, 1996): 89–98. http://dx.doi.org/10.1163/29497663-0480102005.

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Byzantine Music This article deals with the history of and developments in Byzantine ecclesiastical chant: a.o. the rise of antiphonal psalmody, the kontakion, the kanon, the stichera and the taxis ton akolouthion. Attention is paid to notation systems and instrumental music as well.
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Harris, Simon. "The Byzantine prokeimena." Plainsong and Medieval Music 3, no. 2 (October 1994): 133–47. http://dx.doi.org/10.1017/s096113710000070x.

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It is possible to attach too much significance to the names of both the hypakoae and the prokeimena. The word ‘hypakoe’ means ‘respond’, but this by itself does not mean that the Byzantine hypakoae were chants that derived from responsorially performed psalms (even though that is what they may ultimately have been), for the name might well refer simply to a responsorial method of singing them which, evidence suggests, prevailed between the eleventh and thirteenth centuries.
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Solunchev, Risto. "Ontology of Time as a Deconstruction of Space. An essay on the Philosophy of Byzantine music." Conatus 4, no. 1 (October 31, 2019): 109. http://dx.doi.org/10.12681/cjp.21717.

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In this paper the author examines the ontology of Byzantine music in its self, its aesthetical ground, the philosophical and cultural principles of creation, its episteme, the epistemological field that produced its forms from the 12th till the 14th century, and why that musical ontology hasn’t change through the centuries. The paper discusses in partucular Ernst Bloch’s view that the only evolutionary expression of the Absolute spirit as far as music is concerned, is Western classical music. The author claims that the Western and the Byzantine music stand for two totally distinct and diverse ontologies of the musical being, something that Bloch seems to overlook; this, according to the author, is mostly due to the different systems of representation that have been used, and especially the representational ideas of the time-space relation. The author supports the view that while Western music is spatially-modeled, Byzantine music is time-modeled.
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Peno, Vesna. "Methodological disputes about interpretation of neum notation in the 20th century." Muzikologija, no. 18 (2015): 15–33. http://dx.doi.org/10.2298/muz1518015p.

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Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish J?rgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow ?a middle path?, the distinction between the once exclusive Western option and the no less ?hard? Greek traditional option.
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Dissertations / Theses on the topic "Byzantine Music"

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Tsiappoutas, Kyriakos Michael. "Byzantine Music Intervals: An Experimental Signal Processing Approach." ScholarWorks@UNO, 2004. http://scholarworks.uno.edu/td/470.

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We used a Byzantine Music piece performed by a well recognized chanter in order to derive experimentally the mean frequencies of the first five tones (D – A) of the diatonic scale of Byzantine Music. Then we compared the experimentally derived frequencies with frequencies proposed by two theoretical scales, both representative of traditional Byzantine Music chanting. We found that if a scale is performed by a traditional chanter is very close in frequency to the frequencies proposed theoretically. We then determined an allowed frequency deviation from the mean frequencies for each tone. The concept of allowed deviation is not provided by theory. Comparing our results to the notion of pitch discrimination from psychophysics we further established that the frequency differences are minute. The Attraction Effect was tested for a secondary tone (E) and the effect is quantified for the first time. The concept of the Attraction Effect is not explained in theory in terms of frequencies of tones.
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Tsiappoutas, Kyriakos Michael. "Statistical Spectral Parameter Estimation of Acoustic Signals with Applications to Byzantine Music." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/1358.

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Digitized acoustical signals of Byzantine music performed by Iakovos Nafpliotis are used to extract the fundamental frequency of each note of the diatonic scale. These empirical results are then contrasted to the theoretical suggestions and previous empirical findings. Several parametric and non-parametric spectral parameter estimation methods are implemented. These include: (1) Phase vocoder method, (2) McAulay-Quatieri method, (3) Levinson-Durbin algorithm,(4) YIN, (5) Quinn & Fernandes Estimator, (6) Pisarenko Frequency Estimator, (7) MUltiple SIgnal Characterization (MUSIC) algorithm, (8) Periodogram method, (9) Quinn & Fernandes Filtered Periodogram, (10) Rife & Vincent Estimator, and (11) the Fourier transform. Algorithm performance was very precise. The psychophysical aspect of human pitch discrimination is explored. The results of eight (8) psychoacoustical experiments were used to determine the aural just noticeable difference (jnd) in pitch and deduce patterns utilized to customize acceptable performable pitch deviation to the application at hand. These customizations [Acceptable Performance Difference (a new measure of frequency differential acceptability), Perceptual Confidence Intervals (a new concept of confidence intervals based on psychophysical experiment rather than statistics of performance data), and one based purely on music-theoretical asymphony] are proposed, discussed, and used in interpretation of results. The results suggest that Nafpliotis' intervals are closer to just intonation than Byzantine theory (with minor exceptions), something not generally found in Thrasivoulos Stanitsas' data. Nafpliotis' perfect fifth is identical to the just intonation, even though he overstretches his octaveby fifteen (15)cents. His perfect fourth is also more just, as opposed to Stanitsas' fourth which is directionally opposite. Stanitsas' tendency to exaggerate the major third interval A4-F4 is still seen in Nafpliotis, but curbed. This is the only noteworthy departure from just intonation, with Nafpliotis being exactly Chrysanthian (the most exaggerated theoretical suggestion of all) and Stanitsas overstretching it even more than Nafpliotis and Chrysanth. Nafpliotis ascends in the second tetrachord more robustly diatonically than Stanitsas. The results are reported and interpreted within the framework of Acceptable Performance Differences.
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Brashier, Rachel Nicole. "Voice of Women in Byzantine Music Within the Greek Orthodox Churches in America." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/834.

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Byzantine chant, the music of the Greek Orthodox Churches in America, embeds meanings and functions as a methodological tool which constructs and teaches about the role of women within church communities. This thesis explores how as cultural group identity, belongingness, and gender identity are semiotically iconized, purified, and recursively transmitted through the liturgical music of the church, specifically hymns about women saints and The Akathist Hymn to the Mother of God. This work is a culmination of twelve years of ethnomusicological fieldwork conducted by the author in Midwestern Greek Orthodox churches and monasteries, using participant-observation techniques. The work outlines the basic musicological theory of Byzantine chant, describes how the portrayal of women in liturgical music provides templates for the desired behavior of females within the community, and examines how Byzantine music works as a memory aid, teaching tool, and constructor of social ideas in relationship to the roles of women.
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Callaghan, Patrick J. J. "THE IMITATION OF ROMAN CATHOLIC AND BYZANTINE CHANT IN ĒRIKS EŠENVALDS’S PASSION AND RESURRECTION." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/46.

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Ēriks Ešenvalds is an early twenty-first century composer who has been commissioned to write works for some of the most noteworthy ensembles in the world. Having written over 100 compositions to date, 72 of which are choral pieces, Ešenvalds is quickly becoming one of the most prolific and significant composers of his time. He currently works as a full-time composer out of Riga, Latvia. Ešenvalds’s choral works are primarily unaccompanied, while some include brass band, saxophone quartet, percussion, or orchestral accompaniment. Textures vary from three to twelve voice parts. His oratorio Passion and Resurrection (2005), written for soprano solo, SATB quartet, SATB chorus, SS soli, and strings, is an amalgamation of compositional techniques drawn from all eras of music history. This project identifies characteristics of Roman Catholic and Byzantine chant that are imitated throughout Passion and Resurrection. A succinct history of both styles is presented along with a detailing of Ešenvalds’s compositional technique and an overview of his oratorio. Aspects of form, melody, text, rhythm, harmony, and texture present in each movement are also discussed. This study provides conductors with insight into the chant-like aspects of Ešenvalds’s work and any influences on performance. Listings of notable Passion settings and Ešenvalds’s choral output are also included.
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Khalil, Alexander Konrad. "Echoes of Constantinople : oral and written tradition of the psaltes of the Ecumenical Patriarchate of Constantinople." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3344581.

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Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Mar. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 228-240.
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Wellington, James F. "Christe eleison! : the invocation of Christ in eastern monastic psalmody, c.350-450." Thesis, Lambeth Palace Library, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.734178.

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Lippert, Jordan. "From Profane to Divine: The Hegemonic Appropriation of Pagan Imagery into Eastern Christian Hymnody." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/151.

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Spanning the first seven centuries of Christianity, this paper explores how Eastern Christian and Byzantine hymn chant was developed alongside pagan and Jewish worship traditions around the Near East. Comparison of hymns by Christian composers such as St. Romanos the Melodist and pagan poetry reveals many similarities in the types of metaphorical imagery used in both religious expressions. Common in Christian hymn texts, well-known metaphors, like the “Light of God,” are juxtaposed with pagan mythological gods, such as Apollo and Helios. This paper attempts to explain how and why Christians appropriated and adopted ancient pagan imagery into the burgeoning musical tradition of Christian hymn singing.
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Hadjiloizou, Photos. "A historical background and reflections of Ancient Greek, Byzantine, and Cypriot folk music and idioms in the operas of Michael Hadjiloizou /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1967985941&sid=7&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Hadjiloizou, Photos. "A HISTORICAL BACKGROUND AND REFLECTIONS OF ANCIENT GREEK, BYZANTINE, AND CYPRIOT FOLK MUSIC AND IDIOMS IN THE OPERAS OF MICHAEL HADJILOIZOU." OpenSIUC, 2009. https://opensiuc.lib.siu.edu/theses/101.

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Michael Hadjiloizou's operas show the influence of Ancient Greek, Byzantine, and Cypriot folk music, all coexisting harmoniously to provide a new distinctive, unified and quite personalized compositional style. The examination of Hadjiloizou's operas is primarily an ethnic musicological matter, which requires a study of his compositional ideology, as the understanding and enjoyment of the ethical expressions evident in these works requires knowledge of the historical background on which they are based. Nevertheless, as in the case of Wagner, these operas are self-contained and can be observed for what they represent as staged productions. Hadjiloizou's information will be presented in two steps. First, the historical information of each of the three musical eras of the title will be told in the music of Ancient Greece and Byzantine, and Cypriot folk will be told by the similarities of each style in Mr. Hadjiloizou's operas. Musical information mentioned here, will be: (1) the nature of Greek music, how it differed from modern music, and why we are attracted to the history of Greek music; (2) mythical sound events, the mythology of musical reminiscence, musical myths, timbre of ancient instruments, principles of voice production, mode(s), ancient Greek Harmoniai, scales, octave species, tonoi or tropoi, the invention of musical intervals, physical basis of sound, the birth of drama, the use of Ancient Greek music for the care of the soul, the evolution of Greek music in the Byzantine empire, and women musicians; (3) the origins of Cypriot folk song, its rhythmic elements, morphology, scales and instruments, and; (4) Hadjiloizou's music and information about it as told by him.
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Cominos, Margaret C. Patrikeos. "The rhetorical bias of romanos' thought-world : musico-textual implications for his kontakia /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09PH/09phc733.pdf.

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Books on the topic "Byzantine Music"

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Moran, Neil. Byzantine castrati. Cambridge [England]: Cambridge University Press, 2002.

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Habbī, Anṭūn. Short course in Byzantine ecclesiastical music. [Newton, Mass: Greek Melkite Catholic Diocese of Newton in the United States], 1988.

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Richter, Lukas. Momente der Musikgeschichte. Salzburg: Mueller-Speiser, 2000.

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Robert, Littlewood Antony, ed. Originality in Byzantine literature, art, and music: A collection of essays. Oxford: Oxbow Books, 1995.

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Șirli, Adriana. Repertoriul tematic al manuscriselor muzicale bizantine și post-bizantine 9seoclele XIV-XIX) =: The thematic repertory of Byzantine and Post-Byzantine musical manuscripts (the 14th-19th centuries). Bucuresti: Editura Muzicala, 1986.

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Panagiōtopoulos, D. G. Theōria kai praxis tēs vyzantinēs ekklēsiastikēs mousikēs: Methodos meta pollōn askēseōn kai paradeigmatōn. 5th ed. Athēnai: Adelphotēs Theologōn Ho Sōtēr, 1991.

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Moran, Neil K. A list of Greek music palimpsests. [Leipzig]: Acta Musicologia, 1985.

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Littlewood, Antony Robert. Under the presidency of Saint Paul: The case of Byzantine originality : the "Constantinople and its legacy" annual lecture, February 5, 1995. Toronto: Hellenic Canadian Association of Constantinople, 1995.

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Littlewood, Antony Robert. Under the presidency of Saint Paul: The case of Byzantine originality. Toronto, Ontario, Canada: Hellenic Canadian Association of Constantinople, 1995.

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Littlewood, Antony Robert. Under the presidency of Saint Paul: The case of Byzantine originality. Toronto: Hellenic Canadian Association of Constantinople, 1996.

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Book chapters on the topic "Byzantine Music"

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Kountouras, Dimitris. "Western Music and Poetry. At the Kingdom of Thessalonica: Music and Historiography of the Fourth Crusade." In Studies in Byzantine History and Civilization, 177–98. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.sbhc-eb.5.128080.

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Asavei, Maria Alina. "Spiritual Ecologies and Meta-Byzantine: Music During Nicolae Ceauṣescu’s Regime." In Art, Religion and Resistance in (Post-)Communist Romania, 111–35. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-56255-7_5.

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Paris, Nektarios, Dionysios Politis, Rafail Tzimas, and Nikolaos Rentakis. "Virtual Design Studio Project for Mobile Learning in Byzantine Music." In Advances in Intelligent Systems and Computing, 745–57. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75175-7_73.

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"Patron of Byzantine Music." In Eva Palmer Sikelianos, 79–136. Princeton University Press, 2019. http://dx.doi.org/10.2307/j.ctv5j01vj.9.

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Leontis, Artemis. "Patron of Byzantine Music." In Eva Palmer Sikelianos, 79–136. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691171722.003.0003.

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This chapter tracks Eva Palmer Sikelianos's activities in a different performance medium, music. An organ named for her (Evion Panharmonium), records from a school of Byzantine music where she taught, two lectures, and more letters and photographs structure an inquiry into her collaboration with three subaltern musicians: Penelope Sikelianos, Konstantinos Psachos, and Khorshed Naoroji. Each one of these figures shaped Eva's journey in a different way, causing her to change the orientation of her musical pursuits from an initial disorienting pleasure that beguiled her (Penelope), to an essential part of the curriculum of becoming Greek (Psachos), to the basis of a social movement (Khorshed Naoroji) and ground for staging the Delphic Festivals.
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Kuhn, Magdalena. "BYZANTINE EMPIRE AND COPTIC MUSIC." In Byzantine Chant, Radiation, and Interaction, 97–110. Peeters Publishers, 2022. http://dx.doi.org/10.2307/j.ctv2tjdg9f.8.

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Ostashewski, Marcia. "Studying Byzantine Ukrainian congregational music in Canada." In Studying Congregational Music, 193–208. Routledge, 2021. http://dx.doi.org/10.4324/9780429492020-14.

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"From 'Fallen Woman' to Theotokos: Music, Women's Voices and Byzantine Narratives of Gender Identity." In Byzantine Narrative, 164–81. BRILL, 2017. http://dx.doi.org/10.1163/9789004344877_013.

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Desby, Frank. "Growth of Liturgical Music in the Iakovian Era 1." In Greek Music in America, 53–70. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819703.003.0003.

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Little has been written about the considerable changes in Greek Orthodox sacred music in America. In the late nineteenth and early twentieth centuries, the two most common types of Greek music performed were Byzantine and demotika. Byzantine chants were performed as part of the Greek Orthodox Liturgy. However, in America priests and others began to compose new liturgical music, some of which abandoned the traditional Byzantine modes and single vocal line. The new music with European scales was often presented in a westernized style through choirs accompanied by organs. Based at St. Sophia Cathedral in Los Angeles, author Frank Desby (1922-1992) was part of a second generation of academically trained Greek Orthodox Church musicians who created the westernized body of liturgical music.
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"CHAPTER 3. Patron of Byzantine Music." In Eva Palmer Sikelianos, 79–136. Princeton: Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691187907-007.

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Conference papers on the topic "Byzantine Music"

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Galaicu, Violina. "The historical trajectory of Byzantine religious music in the Romanian space: volutes and milestones." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.04.

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The trajectory of the Romanian cult music is intertwined with the trajectory of the Byzantine cult music, the mega-phenomenon and its zonal manifestation conditioning and enhancing each other. Respectively, any attempt to stage the evolution of sacred singing in the reference area refers to the transformations supported by Byzantine music as a whole. In the historiography of the field, we found several variants of systematization of the Byzantine ecclesiastical music on the Romanian territories: according to historical epochs, according to the stages of consolidation of the national Church, according to the linguistic factor (succession of sacred languages), according to stylistic manifestations. Based on the way in which the studies are structured, it is observed that historians do not consistently follow one way or another, but opt for summing them up. Thus, a milestone with generalizing value is outlined, in which the first Christian centuries mark the penetration and spread of Proto-Byzantine and Byzantine song in the Romanian space, the IX-X centuries – the enrollment of Romanianism in the Byzantine-Slavic religious front, the XIV century – the inauguration of the period of cultural effervescence related to the constitution of the Romanian medieval states, the end of the XVI century – the XVIII century – the Romanianization of the liturgical melody, the beginning of the XIX century – the XXI century – the passage of the Byzantine chant through the avatars of modernity and contemporaneity.
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Chrysochoidis, Georgios, Georgios Kouroupetroglou, and Sergios Theodoridis. "Vibrato detection in Byzantine Chant Music." In 2014 6th International Symposium on Communications, Control and Signal Processing (ISCCSP). IEEE, 2014. http://dx.doi.org/10.1109/isccsp.2014.6877955.

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CHIRCEV, Elena. "Reflection of the Other in the Byzantinologist Gheorghe C. Ionescu’s Lexicographic Pursuits." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0002.

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Teacher, conductor, Byzantine musicologist, Gheorghe C. Ionescu (1920- 1999) devoted the last years of his life to researching the history of Romanian Byzantine music and published in specialized journals several comprehensive papers that address various topics and bring back in focus personalities of the past. Due to his solid musical and theological training, guided by prestigious teachers from the interwar period, the distinguished musician had a rich artistic and cultural contribution to the second half of the previous century. The change of the political regime in Romania allowed him to return to the pursuits of his adolescence and youth and to continue his research of Orthodox church music in Romania. Along with his papers at various scientific events and the published studies, his tireless work materialized, soon after 1989, in the writing of a lexicon dedicated exclusively to those who had researched Romanian Byzantine music, in 1997. It was followed by a chronological dictionary, the foreword of which was written by the academician Virgil Cândea, who appreciated the importance of the book and the quality of Teacher Ionescu’s work. Entitled Muzica bizantină în România [Byzantine Music in Romania], the book appeared posthumously, through the care of his family, in 2003. Although the centenary of his birth passed almost unnoticed, both productions are valuable working tools for all those who will continue to value Orthodox church music in our country. One more reason to evoke this personality who put a lot of passion in illustrating the richness and beauty of music sung in Romanian churches, two decades after the book was printed.
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COROIU, PETRUTA-MARIA. "BYZANTINE ARTS AESTHETIC PRINCIPLES IN MUSIC AND ICONOGRAPHY." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.001.

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Galaicu, Violina. "Byzantine religious chanting between oral and written tradition." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.15.

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Those who scrutinized the historical development of Byzantine liturgical chanting could notice the late codification of this music. With the transition to the written tradition, a clear tendency to preserve orality in the new hypostasis emerged. Proto-Byzantine chanting circulated orally, this being conditioned by the original orality of the evangelical tradition. When the Eastern promoters of Christian liturgical chanting felt the need to codify the cultic repertoire, they resorted to the Ekphonetic notation, and later to the Diastematic one. Ekphonetic notation is a rudimentary notation, it has a mnemonic function, meaning the purpose of reminding the performer of a certain melodic formula that he knew before. The Diastematic notation, although it fixes several details of the melodic thread, also leaves enough room for interpretive ambiguity and can only be deciphered satisfactorily by those familiar with traditional practice. The attempt to explain the reluctance of the promoters of Byzantine religious music towards written codification will lead us to the deep roots of this art, as well as to its liturgical functionality.
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Kokkinidis, Kostas, Theodoros Mastoras, Athanasia Stergiaki, and Paraskevi Kritopoulou. "Gesture Recognition & Chanting Assessment For Byzantine Music Learning." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.806.

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Recent works related to digital self-instruction environments, present scarce efforts to provide combined instruction for gestural and vocal skills. Based upon a recently introduced learning and teaching method of vocal music, this research utilizes existing technologies to achieve the development of such a learning environment. The presented system administers the learning experience in order to improve the motion, sound and rhythm related skills of the student. Student performance is compared with a pre-recorded instructor performance in order to provide customized feedback that bespeaks the flaws of the former performance. Motion and sound-capturing technologies are combined, and related feature extraction algorithms are applied. The gestural and vocal features of the instructor performance are compared off-line to those of the student performance, in order to detect the differences, while the tempo is indicated through gestures. The system evaluates constantly the performances in order to provide visual feedback based on their differences. The aim is for the student to reproduce the instructor performance in an approximate manner. An assessment formula for the student performance is proposed and tested for its validity and accuracy. The selected musical genre on which this system was applied is Byzantine music, since its complexity and variety tests the existing sound recognition algorithms.
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Dimitriu, Petru, and Vasile-Ion Manta. "Scorewriter application with features aimed at Byzantine music processing." In 2018 22nd International Conference on System Theory, Control and Computing (ICSTCC). IEEE, 2018. http://dx.doi.org/10.1109/icstcc.2018.8540701.

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Kritopoulou, Paraskevi, Athanasia Stergiaki, and Konstantinos Kokkinidis. "Optimizing Human Computer Interaction for Byzantine music learning: Comparing HMMs with RDFs." In 2020 9th International Conference on Modern Circuits and Systems Technologies (MOCAST). IEEE, 2020. http://dx.doi.org/10.1109/mocast49295.2020.9200267.

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Kokkinidis, K., A. Panagi, and A. Manitsaris. "Finding the optimum training solution for Byzantine music recognition — A Max/Msp approach." In 2016 5th International Conference on Modern Circuits and Systems Technologies (MOCAST). IEEE, 2016. http://dx.doi.org/10.1109/mocast.2016.7495131.

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Rucsanda, Madalina. "THE ROMANIAN MUSIC OF BYZANTINE TRADITION AND THE FOLKLORIC GENRE �DOINA�. STYLE FEATURES AND MELODIC CORRESPONDENCE." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.033.

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