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Dissertations / Theses on the topic 'Byzantine Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Antonopoulos, Spyridon. "The life and works of Manuel Chrysaphes the Lampadarios, and the figure of composer in late Byzantium." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17439/.

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This is the first full-length, bioergographical study devoted to Manuel Chrysaphes, a fifteenth century composer, theorist, and singer, who worked in the imperial court of Constantinople as lampadarios (a director of the imperial choirs) under the final two emperors of Byzantium, residing in Mistra, Serbia, and Crete after the disintegration of the Empire in 1453. Aside from Edward Williams’ study dedicated to the fourteenth-century musical reforms of Ioannes Koukouzeles, there are virtually no complete studies on notable musicians of the late Byzantine Empire. This dearth of scholarship is al
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12

Gjoroveni, Argita. "The Byzantine Musical Tradition in Southern Illyria. The Sticherarion Br. 81 of the CSA of Tirana, Albania: Repertory and Notation." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3424979.

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This doctoral thesis aims to investigate some aspects of the liturgical and musical tradition of Southern Illyria, a specific region of the Byzantine civilization in the Balkans. Focusing on a group of manuscripts conserved today at the National Archive of the State in Tirana the project will help expand and deepen the knowledge about medieval Byzantine music of the Western Balkans. The methods adopted include the cataloguing, the study of the notation, the classification of the neumatic signs, as well as performing the transcription and critical analyses of texts and music, through a comparis
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13

Weddigen, Anne. "Les Harmonica de Manuel Bryenne : édition, traduction, commentaire." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL120.

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Les Harmoniques de Manuel Bryenne sont, autour de 1300, le dernier texte de théorie musicale 'classique', écrit à Byzance, dans le contexte de la Renaissance Paléologue. Il n'existe que deux éditions de ce texte (celle de J. Wallis en 1699 et celle de G. H. Jonker en 1970), dont aucune n'établit une histoire critique du texte. Le but de cette édition sera donc de proposer une histoire rigoureuse du texte et une traduction française qui s’adresse tant aux hellénistes qu’aux musicologues. L’ensemble est accompagné d’un commentaire au contenu, d’une étude des diagrammes ainsi que des sources util
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14

Charalampous, Charalampos. "Byzantine Music." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-291140.

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Magdalény Rettigové 4, 116 39 Praha 1 tel.: +420 221 900 111 www.pedf.cuni.cz IČ 00216208 DIČ CZ00216208 Dle čl. 4 Opatření rektora č. 6/2010 o Zpřístupnění elektronické databáze závěrečných prací http://www.cuni.cz/UK-3470.html a čl. 1 Opatření děkana 17/2010 se z časového hlediska závěrečné práce dělí do tří skupin: a. "nové práce", tj. práce odevzdávané k obhajobě počínaje 29. 9. 2010, b. "starší práce", tj. práce odevzdané k obhajobě od 1. 1. 2006 do 28. 9. 2010, c. "práce před rokem 2006", tj. práce odevzdané k obhajobě před 1. 1. 2006. V tomto případě jde o "starší práci" odevzdanou k ob
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15

Tsiappoutas, Kyriakos. "Byzantine music intervals an experimental signal processing approach /." 2004. http://louisdl.louislibraries.org/u?/NOD,424.

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Thesis (M.S.)--University of New Orleans, 2004.<br>Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Science in the Department of Physics."--Thesis t.p. Vita. Includes bibliographical references.
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16

Lingas, Alexander Leonidas. "Sunday matins in the Byzantine cathedral rite : music and liturgy." Thesis, 1996. http://hdl.handle.net/2429/6156.

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This is an interdisciplinary examination of the office of Sunday Matins as celebrated in the Byzantine cathedral Rite of the Great Church from its origins in the popular psalmodic assemblies of the fourth century to its comprehensive reform by Archbishop Symeon of Thessalonica (fl429), Byzantium's last and most prolific liturgical commentator. Specifically, it studies the influence of developments in liturgical music and piety—notable among which were the advent of monastic hymnody and virtuosic styles of chanting—on the order of service at the Constantinopolitan andThessalonian cathedra
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