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: 25 July 2025

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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 o
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ARDEREANU, Ion Alexandru. "ASPECTS OF BYZANTINE MUSIC FROM ”BYZANTIUM AFTER BYZANTIUM”." Cercetări și Studii. Etno - muzicologie, Bizantinologie, Etnologie 1, no. 7 (2024): 95–102. https://doi.org/10.63702/csembe.2024.1.7.95.

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The present study makes a short foray into the Byzantine religious musical realities, respectively the way in which they continued to manifest themselves after the fall of Constantinople in the Balkan and North-Danube (Romanian) orthodox space until today.
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BENAKIS, Linos G. "Byzantine Musical Theory (Harmonics)." WISDOM 10, no. 1 (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
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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 (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
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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 (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 wo
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Moran, Neil. "Byzantine castrati." Plainsong and Medieval Music 11, no. 2 (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 ques
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Lingas, A. "Byzantine neumes." Early Music 37, no. 2 (2009): 300–302. http://dx.doi.org/10.1093/em/cap006.

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Wolfram, Gerda. "Byzantinische Musik." Het Christelijk Oosten 48, no. 1-2 (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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Solunchev, Risto. "Ontology of Time as a Deconstruction of Space. An essay on the Philosophy of Byzantine music." Conatus 4, no. 1 (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
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Nikolakopoulos, Konstantin. "Die orthodoxe Kirchenmusik als ein bedeutendes Erbe von Byzanz und ihre moderne Rezeption im Westen am Beispiel des „Byzantinischen Kantorenchores München“." Review of Ecumenical Studies Sibiu 7, no. 3 (2015): 447–59. http://dx.doi.org/10.1515/ress-2015-0033.

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The Byzantine Music was created within the liturgical life of Orthodoxy and has been developed accordingly in the Eastern Church Worship. Together with the hymnography the Byzantine Music in Orthodoxy has from the beginning taken a central place, especially since there is absolutely no orthodox worship without psalmodic accompaniment. It is one of the most notable achievements in the Byzantine era, for which in the last decades also in Western Europe a great interest is awakened.
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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 co
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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)
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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 Gre
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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 Pass
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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.<br>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 ap
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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
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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 University Press, 2002.

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

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

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Robert, Littlewood Antony, ed. Originality in Byzantine literature, art, and music: A collection of essays. 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). 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. Adelphotēs Theologōn Ho Sōtēr, 1991.

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Moran, Neil K. A list of Greek music palimpsests. 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. Hellenic Canadian Association of Constantinople, 1995.

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

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Littlewood, Antony Robert. Under the presidency of Saint Paul: The case of Byzantine originality. 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. 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. 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. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75175-7_73.

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Tessari, Silvia. "‘New Music’ in MS Milan, Biblioteca Ambrosiana L 36 sup. (Martini-Bassi 476). With a New Critical Edition of the Set of Megalynaria Ascribed to Patriarch Germanos." In Studies in Byzantine History and Civilization. Brepols Publishers, 2024. http://dx.doi.org/10.1484/m.sbhc-eb.5.138227.

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"Patron of Byzantine Music." In Eva Palmer Sikelianos. 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. 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 essentia
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Kuhn, Magdalena. "BYZANTINE EMPIRE AND COPTIC MUSIC." In Byzantine Chant, Radiation, and Interaction. 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. Routledge, 2021. http://dx.doi.org/10.4324/9780429492020-14.

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Desby, Frank. "Growth of Liturgical Music in the Iakovian Era 1." In Greek Music in America. 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 Cath
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"From 'Fallen Woman' to Theotokos: Music, Women's Voices and Byzantine Narratives of Gender Identity." In Byzantine Narrative. BRILL, 2017. http://dx.doi.org/10.1163/9789004344877_013.

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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, ac
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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 r
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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
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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
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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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