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Journal articles on the topic 'Byzantine Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

Lingas, A. "Byzantine neumes." Early Music 37, no. 2 (2009): 300–302. http://dx.doi.org/10.1093/em/cap006.

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8

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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9

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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10

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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11

Harris, Simon. "The Byzantine prokeimena." Plainsong and Medieval Music 3, no. 2 (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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12

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, o

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Cristescu, Constanta. "Musical styles of byzantine tradition from western and southwestern romania reflected in the work Anastasimatar Arădean." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 7–12. http://dx.doi.org/10.55383/amtap.2022.2.01.

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The traditional Byzantine music of western and southwestern Romania was a collective music, orally perpetuated as the folklore, a music in which no composers stood out, as they stood out in the orthodox musical culture of Moldova, Muntenia and Oltenia. Regional musical styles of Byzantine tradition were formed in these areas, through a long process of enclavisation for centuries. They are the result of the inter-influence of Byzantine music with the folklore and with the Western music culture imposed through the school. One of these sub-zonal styles from southwestern Romania is the style prese

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14

Varelas, Vassileios. "Existing Hypotheses about the Emergence of Nonsense Syllables in the Chant Tradition of Teretismata and Kratēmata in Byzantine Music." Journal of the International Society for Orthodox Music 7, no. 1 (2023): 34–50. http://dx.doi.org/10.57050/jisocm.122997.

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In the present essay, I review and evaluate the three main hypotheses about the historical background and emergence of the nonsense syllables in the chant tradition of teretismata and kratēmata in Byzantine music. The different historical hypotheses as to the historical roots and development of this singing practice are examined and analyzed thoroughly, namely those of Gregorios Stathis (1979, 2014), Diane Touliatos (1989), and Grigorios Anastasiou (2005). The aim of the analysis is to summarise and discuss the contribution of the up-to-date historical hypotheses to the theoretical approaches

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15

Di Mambro, Sofia. "Pseudo-Psellus’ Synopsis of Music." Greek and Roman Musical Studies 8, no. 2 (2020): 338–52. http://dx.doi.org/10.1163/22129758-bja10011.

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Abstract This paper focuses on some quotations of Pseudo-Psellus’ treatise on music. Three quotations are provided and discussed: the well-known one by Manuel Bryennius, and two others by Joannes Zonaras and Michael Italicus. The Byzantine tendency to preserve pagan contents within Christian categories, together with the unique presence of this text in the overview of the ancient theoretical tradition, may be the main reasons for its wide circulation in the Byzantine world.

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Velev, Ilija. "THE BYZANTINE HYMNOGRAPHIC GENRES REFLECTEDINTHEMACEDONIANMEDIEVAL MUSIC AND LITERARY TRADITION." PHILOLOGICAL STUDIES 19, no. 2 (2021): 39–47. http://dx.doi.org/10.17072/1857-6060-2021-19-2-39-47.

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In the Macedonian medieval music and literary tradition, an intense reflectionof the works of the Byzantine hymnographic genreshad occurred throughtheSlavic translations, transcriptions and creative compilations in the so-called original Slavic hymnographic compositions. More precise structural research has shown that even the Slavic translations of the Byzantine hymnography reflected particular authorial interventions inthe Byzantine form, as the translator was unable to fully adapt the original identicalversification or the music(the melody)fromthe originalinto its translation, and sometimes

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17

Blagojević, Gordana. "Contemporary composer Vladimir Jovanović and his role in the renewal of church Byzantine music in Serbia from the 1990s until today." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 11–30. http://dx.doi.org/10.14746/ism.2019.19.1.

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This work focuses on the role of the composer Vladimir (Vlada) Jovanović in the renewal of church Byzantine music in Serbia from the 1990s until today. This multi-talented artist worked and created art in his native Belgrade, with creativity that exceeded local frames. This research emphasizes Jovanović’s pedagogical and compositional work in the field of Byzantine music, which mostly took place through his activity in the St. John of Damascus choir in Belgrade. The author analyzes the problems in implementation of modal church Byzantine music, since the first students did not hear it in their

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18

Touliatos, Diane. "Research in Byzantine Music Since 1975." Acta Musicologica 60, no. 3 (1988): 205. http://dx.doi.org/10.2307/932752.

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Galaicu, Violina. "Improvisation in religious music of Byzantine tradition." Arta 33, no. 2 (2024): 7–12. https://doi.org/10.52603/arta.2024.33-2.01.

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The sources that fueled Byzantine sacred music, mostly oriental, as well as the multi-secular orality of its circulation, made this art possess a vast and rich spectrum of improvisational forms. The improvisational spirit manifests itself especially in the solo intonation and the more evolved melodic idioms, i.e. in the stihiraric and papadic singing, but also the irmologic singing leaves the psalmists a margin for individual contribution and invention. In all traditional musical cultures - and even more so in Byzantine music - improvisation starts from established patterns, predetermined laws

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20

Najock, Dietmar. "Greek and Latin Texts on the Harp and Similar Instruments in Byzantine Times." Greek and Roman Musical Studies 12, no. 1 (2024): 125–51. http://dx.doi.org/10.1163/22129758-bja10077.

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Abstract In Byzantine sources, both literary and iconographic, the harp occurs surprisingly seldom. Harpa as a term for a musical instrument is first encountered in Venantius Fortunatus. It is usually translated as ‘harp’, but at that time it most likely meant a lyre. Since the Carolingian Renaissance – when in the West often the harp, in Byzantium the psaltery gradually took the place of the lyre – the old name apparently passed to the new instrument, as similarly in the cases of cithara and ψαλτήριον. The name harpa was apparently adopted into Greek only at the end of the 14th century under

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21

Beyhom, Amine. "Dossier: Hellenism as an Analytical tool for Occicentrism (in musicology)." NEMO-Online / NEAR EASTERN MUSICOLOGY ONLINE 3, no. 5 (2016): 53–275. https://doi.org/10.5281/zenodo.7902470.

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<strong>Excerpt</strong> It has been over twenty-five years since I have researched <em>maqām </em>music, notwithstanding research in other fields such as European traditional, particularly Breton music. However, it is not until I probed deeply into Byzantine chant and its theories of the 19th century that I finally reached the conclusions put forward in this dossier. Working on Byzantine chant was an eye-opener which explained the litany of [...]

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22

Dumitriu, George. "THE ANTHEM "AXION" IN THE CHORAL VISION OF ROMANIAN COMPOSERS." Review of Artistic Education 29 (May 30, 2025): 51–54. https://doi.org/10.35218/rae-2025-0006.

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Abstract: The “Axion” hymn is one of the most beautiful compositions dedicated to the Mother of God, in the Byzantine church. Originally monodic, the hymn first received plurivocal choral treatment in the space of the Slavonic Orthodox Churches, and from the second half of the 19th century also in the worship of the Romanian Orthodox Church. In the Romanian space, the music of this anthem can be found in three guises: Western, Russian and Byzantine melodic inspiration. Reference Romanian composers - such as Isidor Vorbchievici, Gavriil Musicescu, Ciprian Porumbescu, Eusebiu Mandicevschi, Dumit

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23

Domanovska, Maryna. "Byzantine Studies in Ukrainian scholars’ dissertations, 2012–2023 (non-historical sciences)." V. N. Karazin Kharkiv National University Bulletin "History of Ukraine. Ukrainian Studies: Historical and Philosophical Sciences", no. 36 (June 29, 2023): 55–67. https://doi.org/10.26565/2227-6505-2023-36-06.

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The article reviews the dissertations on Byzantine studies, which have been defended in Ukraine over 2012–2023 in non-historical specializations (Aesthetics, Musicology, Theory and History of Culture, Pedagogy, Fine Arts, Religious Studies). Byzantine studies in Ukraine recently have started to develop in institutional centers, among which are the National University ‘Kyiv-Mohyla Academy,’ M. P. Drahomanov National Pedagogical University, M. V. Lysenko Lviv National Academy of Music (where a school of research in the history of Byzantine music has taken shape under the leadership of Yuri Yasin

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MAKRIS, EUSTATHIOS. "The chromatic scales of the Deuteros modes in theory and practice." Plainsong and Medieval Music 14, no. 1 (2005): 1–10. http://dx.doi.org/10.1017/s0961137104000075.

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The idea that the Deuteros modes (second authentic and second plagal) of Greek liturgical chant already had a chromatic character before the end of the Byzantine era has gained wide acceptance in the last decades. Trying to go one step further and reconstruct the scales of these modes, the present article attempts a new interpretation of certain crucial passages in late Byzantine treatises, which can provide important clues, if interpreted in connection with the description of the modes in modern Greek music theory and their actual characteristics in the written and oral tradition. The resulti

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Hannick, Christian. "Reference materials on Byzantine and Old Slavic music and hymnography." Journal of the Plainsong and Mediaeval Music Society 13 (November 1990): 83–89. http://dx.doi.org/10.1017/s0143491800001343.

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One of the reasons for the neglect of Byzantine music, liturgy and hymnography within medieval studies undoubtedly lies in the difficulty of comprehending the special terminology. The indices in general accounts such as A History of Byzantine Music and Hymnography by Egon Wellesz (Oxford 1/1949, 2/1961), a work still not surpassed, help only those who are already acquainted with the liturgical practice of the Orthodox Church to find a way into the subject. The booklet by Dimitri Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984), which is much more modest in scope, constitutes

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WANEK, NINA-MARIA. "The Greek and Latin Cherubikon." Plainsong and Medieval Music 26, no. 2 (2017): 95–114. http://dx.doi.org/10.1017/s0961137117000043.

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ABSTRACTThis article focuses on the so-called ordinary Cherubikon/Cherubic hymn (Οἱ τὰ χερουβίμ/Oi ta Cherubim) found in Byzantine manuscripts in connection with the Divine Liturgies of St John Chrysostomos and St Basil throughout the church year except for Lent and Easter. The Cherubikon is not, however, restricted to Byzantine codices, but can be found in various Latin manuscripts transliterated into Western letters and written with Western neumes.

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Varelas, Vassileios. "Nonsense Syllables in Byzantine Chant Tradition." Journal of the International Society for Orthodox Music 8, no. 1 (2024): 17–46. http://dx.doi.org/10.57050/jisocm.127530.

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This article examines the historical phenomenon of nonsense syllables in the chant of the Byzantine church. This practice of non-lexical singing upon the extended use of vocables, appears already in ancient Greek music and has gone by many terms, including kratēmata or teretismata. Three different hypotheses as to the historical roots and development of this singing practice are predominant, namely those of Gregorios Stathis (1979, 2014), Diane Touliatos (1989), and Gregorios Anastasiou (2005). The foundations, results and consequences of these theories are reassessed in the light of critical

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HARRIS, S. "THE BYZANTINE OFFICE OF THE GENUFLEXION." Music and Letters 77, no. 3 (1996): 333–47. http://dx.doi.org/10.1093/ml/77.3.333.

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Galaicu, Violina. "The catechetical value of Byzantine hymnography." Arta 30, no. 2 (2021): 7–10. http://dx.doi.org/10.52603/arta.2021.30-2.01.

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This paper is dedicated to the catechetical vocation of Byzantine hymnography, the author analyzing, on the one hand, the theological “matter” that nourishes it, and on the other - the way in which it is presented to the recipient. Thus, the dogma of the Holy Trinity (including that of trinity unity and intra-Trinitarian perichoresis) animates a series of liturgical songs and is also found in the ekfonises of prayers. No less fertile for Orthodox hymnography is the Christological dimension intimately associated with that of the trinity. To the extent that Byzantine sacred music has Christologi

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Tsiappoutas, Kyriakos M., George E. Ioup, and Juliette W. Ioup. "Frequency tracking of ecclesiastical Byzantine music frequency intervals." Journal of the Acoustical Society of America 119, no. 5 (2006): 3440–41. http://dx.doi.org/10.1121/1.4786934.

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Wołosiuk, Włodzimierz. "Sacred byzantine music and its influence on old East Slavic Orthodox music." Elpis : czasopismo teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku, no. 23-24 (2011): 59–86. http://dx.doi.org/10.15290/elpis.2011.23-24.04.

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Papatzalakis, Dimos. "The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries." Artes. Journal of Musicology 17, no. 1 (2018): 24–73. http://dx.doi.org/10.2478/ajm-2018-0002.

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Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we ne

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Atkinson, Charles M. "On modulation in Eastern and Western chant." Plainsong and Medieval Music 34, no. 1 (2025): 1–10. https://doi.org/10.1017/s0961137125000026.

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ABSTRACTIn his Epistola de harmonica institutione (c.900 CE), Regino of Prüm names fourteen antiphons that he calls nothae – that is, ‘degenerate and illegitimate – that begin in one mode, are yet another in the middle, and end in a third’. These antiphons represent two different types of modulation: one diatonic, the other resulting from systemic transposition brought about by chromatic alteration. A rationale for both types of modulation is offered by the Musica and Scolica enchiriadis, respectively, both dating to the second half of the ninth century, with the Scolica providing a theory of

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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018." Artes. Journal of Musicology 19, no. 1 (2019): 124–49. http://dx.doi.org/10.2478/ajm-2019-0007.

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Abstract Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished:

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Cernătescu, Cătălin. "Between Periphery and Centrality: Byzantine Musicology during Communist Romania." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 55 (2025): 175–82. https://doi.org/10.69608/mt.55.02.

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After 1950, in the writings on the history of Romanian music, there is a constant preoccupation in approaching the Byzantine musicology topics, being a domain able to adequately justify the presence of local “multisecular” musical practices. The Communist Party’s strategy of reaffirming national identity and cultural heritage on an international level will create unexpected opportunities for researchers of sacred music. Due to its ability to build solid historical bridges to the ancient past, Byzantine musicology, once largely overlooked and censored, would gain increasing importance. Since it

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Sîrbu, Adrian. "The “spirit” of the old communion chants." Artes. Journal of Musicology 17, no. 1 (2018): 1–23. http://dx.doi.org/10.2478/ajm-2018-0001.

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Abstract Byzantine music is the chanted prayer of the Orthodox Church left to us as a spiritual legacy by the holy masters of hymnography and hymnology ever since the early centuries. This music serves a precise purpose, i.e. to enhance the mood of prayer and to lift man closer to God. The Holy Liturgy, the mystical centre and the reference point of a man’s entire existence, represents man’s private meeting and communion with Christ, and the moment of this meeting is steeped in an atmosphere of meditation and inwardness created by a series of ample, slow, and vocalization-rich chants, called k

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Sanfratello, Giuseppe. "A Byzantine Chant Collection From Sicily. A Cοllaboration Between Cοpenhagen and Piana degli Albanesi (Palermo)". Kulturstudier 7, № 1 (2016): 80. http://dx.doi.org/10.7146/ks.v7i1.24055.

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The aim of this paper is to give an account of the collaboration between a collector of the Byzantine chant tradition of Piana degli Albanesi (Palermo) in Sicily, namely fr. Bartolomeo Di Salvo, and the editorial board of the Monumenta Musicae Byzantinae, i.e. an institution under the aegis of the University of Copenhagen. Before describing precisely how this collaboration has developed, I will briefly introduce the “Sicilian-Albanian” oral liturgical chant tradition. Among his publications are Oral performances in a (post)-literate society (Lund, 2016), The songs of the roots (forthcoming cha

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Chircev, Elena. "Tradition and Characteristics in the Approach to Psaltic Music Theory in Romania – the 20th Century." Artes. Journal of Musicology 24, no. 1 (2021): 269–99. http://dx.doi.org/10.2478/ajm-2021-0017.

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Abstract Throughout the 20th century, Byzantine music theory was a constant preoccupation of chanters, teachers and musicians, who contributed to the development of this field and to the publication of a significant number of books in the Romanian language. The paper addresses these theoretical contributions based on several key elements: conception, structure, content, vocabulary, musical exercises and examples, extension, graphic aspect, relevance in the era –, but also in the context of the development of a specialized literature in Romanian. The analysis of these books reveals that everyth

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Apostolopoulos, Thomas. "The songbirds as an inspiration for Byzantine kratēmata." Muzikologija, no. 36 (2024): 147–66. http://dx.doi.org/10.2298/muz2436147a.

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Byzantine krat?mata, widely known as the terrirem, as part of other, broader musical works, date approximately back to the eleventh-twelfth century. A small group of four krat?mata are named after birds (A?dhon - Luscinia megarhynchos, Potamis - Acrocephalus, Anyfantis and Papadopoula - Parus major). It is reasonable to assume that the singing of the respective birds inspired composers to set these krat?mata to music. Studying the related compositions, as they have been documented in the written tradition of the Byzantine and the post-Byzantine manuscripts un?til their transcription from the p

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Hughes, Andrew. "Centre For Medieval Studies Middle Eastern and Islamic Influence on Western Art & Liturgy." American Journal of Islam and Society 21, no. 2 (2004): 149–52. http://dx.doi.org/10.35632/ajis.v21i2.1811.

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Central to the conference, held during March 5-6, 2004, at Trinity College,University of Toronto (Canada), was the desire of its organizer, AndrewHughes, to find analogies in other disciplines to his speculation that theEuropean plainsong (liturgical chant) of the Middle Ages was performed in a manner similar to that of Middle Eastern music (“Continuous Music:Natural or Eastern? The Origins of Modern Performance Style”). His speculationstemmed from decades of discussions with his colleague TimothyMcGee about the nature of musical sound. Oral transmission, its replacementby various difficult-to

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Kumbe, Meri. "Music in Albania through the medium of paper musical manuscripts." New Sound, no. 46 (2015): 170–80. http://dx.doi.org/10.5937/newso1545170k.

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The aim of this paper is to present the musical Byzantine manuscripts, kept in the Central State Archive of Albania. It particularly focuses on the historical importance they had in the evolution of religious music in Albania and Albanian music per se, whilst providing important information related to the specificity of names and other music elements. This paper also focuses on the characteristics of these "papers", and "papers" in general, published through the medium of paper, from papers (article, essay, study) as a "text".

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Scurtu, Codruț-Dumitru. "Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902)." Artes. Journal of Musicology 17, no. 1 (2018): 74–88. http://dx.doi.org/10.2478/ajm-2018-0003.

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Abstract The Romanian Orthodox Church in the 19th century and the first half of the 20th century had a valuable generation of hierarchs protopsalts, composers, translators and promoters of the psaltic music of the Byzantine tradition. From this exceptional generation, Iosif Naniescu is the most valuable composer and interpreter of the 19th century psaltic music. By his rich musical work, Metropolitan Iosif stands out as a reference point for the composition and translation of Greek psaltic chanting. Thanks to the original compositions and translations from the old music notation system, Iosif

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Dănilă, Irina Zamfira. "Constantin Catrina – a life in the service of the Romanian music." Artes. Journal of Musicology 17, no. 1 (2018): 102–13. http://dx.doi.org/10.2478/ajm-2018-0005.

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Abstract A complex personality, with multifarious concerns in research as well as in composition, Constantin Catrina (1933-2013) was active as a folklorist, historian, musicologist, Byzantinologist, composer; he dedicated his entire life to the research of the Romanian music, viewed in all its manifold manifestations: folklore music, Orthodox church music of the Byzantine tradition as well as lay music. His investigations were directed mainly towards the area of Brasov and its surroundings. He diligently studied documents about the musical life of the city in archives and libraries, discovered

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Harris, Simon. "Two chants in the Byzantine Rite for Holy Saturday." Plainsong and Medieval Music 1, no. 2 (1992): 149–66. http://dx.doi.org/10.1017/s0961137100001741.

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Among the ten celebrations of the Mass of St Basil in the Orthodox Church during the year are the conclusions to the three Vesper services immediately before the three major feasts of Christmas, Epiphany and Easter. Two of these Vesper services – those for Christmas Eve and the Eve of Epiphany – are of particular musical interest since they contain psalms with troparia or antiphons, for both of which the entire music can be transcribed from thirteenth-century manuscripts, so that these two services can be celebrated with what are, almost certainly, the oldest known complete examples of Byzanti

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HARRIS, SIMON. "THE BYZANTINE RESPONDS FOR THE TWO SUNDAYS BEFORE CHRISTMAS." Music and Letters 74, no. 1 (1993): 1–15. http://dx.doi.org/10.1093/ml/74.1.1.

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Giannouli, V. "Depressive symptomatology and learning: Does intermediate testing or restudying the information determine long-term memory retrieval of novel symbols?" European Psychiatry 33, S1 (2016): S412. http://dx.doi.org/10.1016/j.eurpsy.2016.01.1486.

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IntroductionThere is a hypothesis in cognitive psychology that long-term memory retrieval is improved by intermediate testing than by restudying the information. The effect of testing has been investigated with the use of a variety of stimuli. However, almost all testing effect studies to date have used purely verbal materials such as word pairs, facts and prose passages.ObjectiveHere byzantine music symbol–word pairs were used as to-be-learned materials to demonstrate the generalisability of the testing effect to symbol learning in participants with and without depressive symptoms.MethodFifty

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Vasiliu, Laura Otilia. "14. Distinctive Features of Music Education in Iaşi: An Overview after 155 Years." Review of Artistic Education 11, no. 1 (2016): 115–25. http://dx.doi.org/10.1515/rae-2016-0014.

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Abstract Over a century and a half after the establishment of the first state educational institution dedicated to music in Iaşi – the School of Music and Declamation (1860) – the distinctive features of music education and the social and cultural phenomena involved can be perceived and analyzed. This study provides arguments to support the following features: 1. the openness to assimilate a variety of pedagogic and cultural influences, both from Europe and from Romania; 2. the role played by leading personalities, musicians – professors, in rising performance levels and in perpetuating the pr

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Pöhlmann, Egert. "Ἀνωνύµου σύγγραµµα περὶ µουσικῆς (Anonymi Bellermann)". Greek and Roman Musical Studies 6, № 1 (2018): 115–27. http://dx.doi.org/10.1163/22129758-12341315.

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Abstract In 1841, Friedrich Bellermann published two treatises about Greek music, the Anonymi scriptio de musica and Bacchii senioris introductio artis musicae (Bellermann 1841). While the second treatise belongs to some Dionysius, a Byzantine musicologist of the time of Constantine Porphyrogenetos (912-959; new edition Tertsēs 2010), the first treatise is an agglomeration of five musical handbooks (new edition Najock 1972 and 1975). The available manuscript tradition of the respective headings and the beginnings and the content of the different components make it possible to disentangle the a

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Olley, Jacob. "Modal diversity in early Ottoman music : the case of makâm Sabâ." NEMO-Online 1, no. 1 (2012): 39–54. https://doi.org/10.5281/zenodo.5633300.

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It is particularly obvious that it is impossible to discuss Byzantine Chant without reference to Ottoman music. Jacob Olley comments on its evolution in conjunction to the maqām Ṣabā and its various commentators, from Cantemir to Behar and Popescu-Judetz via Yekta Bey, Ezgi, Arel, Signell and Wright.

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Peno, Vesna. "Athens: New capital of traditional Greek music: Testimonies on musical life at the beginning of the twentieth century." Muzikologija, no. 9 (2009): 15–32. http://dx.doi.org/10.2298/muz0909015p.

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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European

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