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Journal articles on the topic 'Byzantine Music'
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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 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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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 (December 1, 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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Di Mambro, Sofia. "Pseudo-Psellus’ Synopsis of Music." Greek and Roman Musical Studies 8, no. 2 (August 14, 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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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 preserved in the Arad area, fixed on scores by the church school teacher Trifon Lugojan. Our present volume, entitled Anastasimatar arădean2, published in 2021 at Eurostampa Publishing House in Timişoara, is based on the repertory selection on criteria of representativeness of the church musical style of Byzantine tradition in the Arad area, made after the analysis of the anthologies of church music written by Trifon Lugojan. For the first time in the south-west of the country, the musical notation of the Arad style is also made by transcribing in the usual psaltic musical notation in the Romanian Orthodox Church, the songs being written in two parallel systems of musical notation – psaltic and western.
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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 (August 2, 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 of the topic, including the identification of potential flaws, lacunae and inadequacies of their explanatory power. Touliatos takes antiquity as a starting point for her hypothesis and posits the roots of nonsense syllables in the music of Ancient Greece. After a historical gap of several centuries, those syllables reappear in the Byzantine music during the 14th c. Stathis and Anastasiou examine the phenomenon exclusively within the boundaries of Byzantine music. Before reviewing the three hypotheses concerning the historical development of nonsense syllables in Byzantine music, we must consider the sources on which the theories are postulated.
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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 there was a disruption of the original acrostic in the canonical songs. However, even the so-called original hymnographic works intended to eulogize and celebrate, were composed from a textual and structural perspective only in support of the Byzantine creative cliché, and they were supposed to reflect the general Christian theological views and cult impressions.
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Touliatos, Diane. "Research in Byzantine Music Since 1975." Acta Musicologica 60, no. 3 (September 1988): 205. http://dx.doi.org/10.2307/932752.
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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 surroundings, as well as the responses of the listeners. Special attention is paid to students’ narratives, which help us perceive the broad cultural and social impact of Jovanović’s creative work.
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Najock, Dietmar. "Greek and Latin Texts on the Harp and Similar Instruments in Byzantine Times." Greek and Roman Musical Studies 12, no. 1 (April 3, 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 Italian influence. Πλινθίον probably referred to the rectangular psaltery in Byzantium. Ἀχιλλιακόν may have meant a rare instrument in Byzantium, probably due to a misunderstanding of our Fortunatus passage.
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MAKRIS, EUSTATHIOS. "The chromatic scales of the Deuteros modes in theory and practice." Plainsong and Medieval Music 14, no. 1 (April 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 resulting structures can serve as a basis for future transcriptions of chants, at least for the late and post-Byzantine repertory.
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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 a suitable introduction. We may therefore applaud the initiative of the Greek scholar Georgios Bergotes, professor at the Ecclesiastical Academy in Thessalonika and author of several works in the area of liturgy and church music, who has compiled a Λεξικò λειτουργικν κα τελετουργικν ὅρων (Lexicon of liturgical and teleturgical terms, Thessalonika 1988). In this introduction to teleturgy Bergotes offers a definition of the two terms liturgy and teleturgy as conceived by the Orthodox Church, which help understand the aims and methods of compilation of the lexicon: ‘In the discipline of liturgy the services and festivals of the orthodox rite are investigated from a historical, archeological and theological standpoint, while the discipline of teleturgy engages the same services or festivals from the practical point of view and in their technical aspects.’
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WANEK, NINA-MARIA. "The Greek and Latin Cherubikon." Plainsong and Medieval Music 26, no. 2 (October 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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HARRIS, S. "THE BYZANTINE OFFICE OF THE GENUFLEXION." Music and Letters 77, no. 3 (August 1, 1996): 333–47. http://dx.doi.org/10.1093/ml/77.3.333.
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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 (May 2006): 3440–41. http://dx.doi.org/10.1121/1.4786934.
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Galaicu, Violina. "The catechetical value of Byzantine hymnography." Arta 30, no. 2 (December 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 Christological and soteriological relevance, it is also the bearer of mariological meanings. Mariological images amplify the sacrificial, eschatological, and epiphanic resonances of Christian liturgy, in general, and of religious music in particular. In conclusion, we will state that, on its catechetical side, Byzantine hymnography has a higher efficiency than discursive theology. Due to the doxological form in which it presents its teachings, it manages to evade sterile didacticism, it communicates vividly with the heart and mind of the believers, fully involving them in the hierophantic exercise.
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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 (January 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 negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.
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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018." Artes. Journal of Musicology 19, no. 1 (March 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: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.
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Sanfratello, Giuseppe. "A Byzantine Chant Collection From Sicily. A Cοllaboration Between Cοpenhagen and Piana degli Albanesi (Palermo)." Kulturstudier 7, no. 1 (July 14, 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 chapter on Cretan music, University of Vienna), Creative performance in the liturgy: a formulaic melodic language in the Sicilian-Albanian chant tradition (forthcoming, University of Joensuu, Finland), and several articles as chapters of his doctoral thesis.
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Sîrbu, Adrian. "The “spirit” of the old communion chants." Artes. Journal of Musicology 17, no. 1 (January 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 koinonika. It is a moment of ultimate inner appeasement and preparation. Early composers managed to capture this meditation effect in their koinonika, both through their compositional techniques and, especially, through an inner state of grace. However, in the 19th century, two phenomena became apparent: on the one hand, some of the new composers no longer succeeded in attaining the same ethos as the old masters, and, on the other hand (particularly from Ioan Popescu-Pasărea on), the music tastes of the time caused these ample chants to be replaced with simpler melodies, which, often, were even harmonized. This study has a threefold aim: first, it reasserts the fundamental role played by the koinonikon in the Holy Liturgy, by arguments that underline the ancientness of this practice as well as its survival in other Orthodox areas (such as Mount Athos and Greece). Second, the paper signals the publication, next year, of the first Romanian collection of koinonika signed by Byzantine and post-Byzantine composers (13th-19th centuries). Third, our study aims to show that these ancient chants have a special ethos, representing melodic as well as aesthetic archetypes and, par excellence, the true Classicism of Byzantine melos.
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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 (April 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 everything that was published in Romania in the 20th century in the field of psaltic theory remains within the confines of the Byzantine tradition, faithfully passed down to the modern era. At the same time, the changes that the Romanian society went through in the second half of the century influenced the manner of approach to the theoretical notions, which were treated in the light of staff notation and Western music theory. However, over the course of the 20th century, successive authors managed to develop a specialized terminology in Romanian and to transmit the notional content specific to the Byzantine tradition.
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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 pre-1814 old stenographic method notation, we report certain observations that reinforce the initial hypothesis, as well as some parallel remarks about the phenomenon of creation, establish?ment, and spreading of this form.
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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 (April 1, 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-interpret notations, and an often polemic rejectionof Arabic influence make the investigation difficult and controversial.1McGee responded (“Some Concerns about Eastern Influence in MedievalMusic”) and later, working from practical experiments presented by agroup of graduate students attending the conference, offered a very interestingnew interpretation. Some reservations were expressed by CharlesBurnett (Warburg Institute, London), a distinguished Arabist with musicologicalqualifications. He was invited to comment on the initial round tableand the conference as a whole.Other papers relevant to music were George Sawa’s review of Arabictheories of medieval music (“The Uses of Arabic Language in MedievalRhythmic Discourses”). He referred to numerous matters that might havea bearing on European music, especially with respect to ornamentationand rhythm. Art Levine discussed other non-western musical cultures,some of which were also influenced by Islamic music, and raised questionsabout ornamentation, tuning, and the nature of pitch (e.g., what is anote? “What Can Non-Western Music Offer?”).Moving from the sound of music to words about it, Randall Rosenfelddescribed numerous pilgrimage and Crusader chronicles. They containpassages reporting that Europeans found little strange in eastern music,suggesting that eastern and western music cannot have been as dissimilaras seems to be the case today (“Frankish Reports of Central Asian andMiddle Eastern Musical Practice”). John Haines traced in detail the use ofArabic terms from Adelard of Bath’s twelfth-century translation ofEuclid’s geometrical writings to an important mid-thirteenth-centurymusical treatise, where the terms for quadrilateral shapes resemblingsquare notation are used to refer to musical symbols (“Anonymous IV’sElmuahim and Elmuarifa”). Luisa Nardini presented details of particularmelodic characteristics in Gregorian chants that identify Byzantine andGallican melodies in Gregorian repertories (“Aliens in Disguise:Byzantine and Gallican Songs as Mass Propers in Italian Sources”).In other disciplines, Philip Slavin revealed the striking similarities oftopics and words between Byzantine and Roman (Gregorian) penitentialliturgy, seeing possible origins in Jewish prayers and the fourth-centuryConstitutiones Apostolorum (“Byzantine and Western Penitential Prayers ...
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Harris, Simon. "Two chants in the Byzantine Rite for Holy Saturday." Plainsong and Medieval Music 1, no. 2 (October 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 Byzantine psalm singing. From a recent paper of mine on these psalms, it can be gathered that they are examples of what is known as ‘responsorial psalmody’, the psalm itself being sung by a soloist, and the attached troparion by a choir of trained singers or psaltae. In both services they occur as punctuations of a series of readings, appearing in each case after the third and the sixth reading. On the Eve of Epiphany we should perhaps expect to find further psalms after the ninth and twelfth readings, since the series extends to thirteen readings in modern service books and to twelve in the early Middle Ages; yet no such psalms appear now or seem ever to have been sung at this point. And similarly, on Holy Saturday, when according to the ancient Jerusalem cursus twelve readings were given, to be extended in Constantinople to fifteen, no equivalents seem to have been performed at any point.
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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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Scurtu, Codruț-Dumitru. "Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902)." Artes. Journal of Musicology 17, no. 1 (January 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 Naniescu may be included among the promoters of the Christian music notation system in our country alongside Macarie the Monk (with whom he would collaborate), Anton Pann (with whom he bound a close friendship between 1839-1854), and Dimitrie Suceveanu (whom he promoted as a protopsalter of Moldavia). The quality of his performance is highlighted by the countless written testimonies over time. Iosif Naniescu shows a special talent and zeal in his widespread work of over 100 musical manuscripts (stored in our country and in the Holy Mountain of Athos); he is also acknowledged for the Psalms of Time, which he copied in anthologies besides his own chants. Therefore, the present article comes to assert the origins of his chants and pays tribute to classical music of Byzantine tradition.
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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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Dănilă, Irina Zamfira. "Constantin Catrina – a life in the service of the Romanian music." Artes. Journal of Musicology 17, no. 1 (January 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 interesting information about the cultural personalities of this old Transylvanian city, with rich cultural traditions and diverse influences. He also managed to reveal their connections with other cultural centres in Romania. He was a pioneer in the field of Byzantinology, filling a space left empty in the history of Byzantine music by emphasizing the activity of an important centre of church music teaching and education in central Transylvania – the School of “Saint Nicholas” Church in Scheii Brasovului between the 15th and 20th centuries. In terms of folklore research, he investigated the areas related to Brasov and collected a rich ethnographic, literary and musical material which he published in reputable collections. In all three lines of activity, he wrote and published an impressive number of articles in the local and specialised national press, thus proving to have a genuine passion for research and for the dissemination of its results to the specialists and the general public.
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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 (March 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 healthy (24 women, M age = 26.20, SD = 5.64) and forty volunteers with high depressive symptomatology (20 women, M age = 27.00, SD = 1.04) were examined. The participants did not have a music education. The examination material was completely new for them: 16 byzantine music notation stimuli, paired with a verbal label (the ancient Greek name of the symbol). Half of the participants underwent intermediate testing and the others restudied the information in a balanced design.ResultsResults indicated that there were no statistically significant differences in final memory test performance after a retention interval of 5 minutes for both groups of participants with low and high level depressive symptomatology (P > 0.005). After a retention interval of a week, tested pairs were retained better than repeatedly studied pairs for high and low depressive symptomatology groups (P < 0.005).ConclusionsThis research suggests that the effect of testing time on later memory retrieval can also be obtained in byzantine symbol learning.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Pöhlmann, Egert. "Ἀνωνύµου σύγγραµµα περὶ µουσικῆς (Anonymi Bellermann)." Greek and Roman Musical Studies 6, no. 1 (March 22, 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 alleged σύγγραµµα into its parts and to describe the original treatises accurately.
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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 (March 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 project; 3. valorizing Romanian music traditions - liturgical songs of Byzantine origin and regional folklore - through education (specializations, courses, creative activities and music performance); 4. the constant involvement of music education in concerts and musical performances in Iaşi.
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Nieicheva, Liliia. "BULGARIAN MUSICAL ART AS A SYNTHESIS OF FOREIGN-NATION CULTURAL CONTRIBUTIONS." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 5–11. http://dx.doi.org/10.25128/2411-3271.19.2.1.
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This article studies the effect of achievements of proto-Bulgarian, Thracian, Ancient Greek and Byzantine cultures on formation of the Bulgarian nation. The main scientific concepts concerning the origins of Bulgarians, etymology of name, and matters concerning linguistic and ethnic affiliation have been analyzed. The most important historical events that bore upon formation of the Bulgarian nation have been reviewed; in particular, attention was focused upon development of religious views of Bulgarians starting from the archaic eras. Materials concerning the influence which achievements of proto-Bulgarians had on Bulgarian music and culture in general have been studied. An analysis of historical materials concerning the life of Turkish and Irano-Indian peoples, archeological cultural discoveries and accounts of various historians suggest the conclusion that archaic layers of Bulgarian folklore have relation to Irano- Indian, Turkish and Irano-Semite origins of monodic melodic culture, which were in organic contact with proto-Christian and early Christian artistic layers, thus facilitating flexible contacts with other Southern European cultural phenomena. This relation manifests itself in common features of Turkish and Bulgarian rhythms, the structure of folk music modes and the use of a quartertone system in music of these countries. One subsection systemizes historical information regarding Thracians, and offers an overview of the works of historians and scholars studying origins of the Thracian language that influenced morphological and syntactical linguistic system of Bulgarians, and religious legacy. A conclusion was drawn that Bulgaria preserved the orphic cult of Ancient Thrace no less than Greece and Byzantium did, where vocal basis of music defined exceptional originality of rhythmic structures, in particular, in instrumentalism. Accounts of Greek historians concerning secular and folk music of Thrace, rites, pantomimic scenes, etc. have been analyzed as well. The discovered sources allow to assume that practicing musicians of Ancient Thrace were prohibited from not only writing about music but even talking about it, although the myths, religious beliefs and ritual practices indicate the authoritativeness of Thracians in this particular area. Bulgaria’s inheritance of Ancient Greece’s cultural legacy, including via Byzantine Orthodoxy of the 4 th to 6 th and 9 th to 11 th centuries, as proved by numerous examples of architecture, painting art and music (and especially its rhythmical side) has been analyzed. Based on theoretical works by V. Kholopova, D. Hristov, V. Stoin and A. Stoyanov, particularities of Bulgarian “irregular rhythmics” (which have, first of all, antique metrics at its core) and the problems of their fixing have been described. Attention was also given to the hereditary features existing between Bulgaria and Byzantium, especially in religious Christian culture. The commonness manifests itself not only in the structure of Divine Service and the octoechos system but also in the monody of drone (ison) singing that remains contemporaneous in Bulgaria, in dissemination of the tradition of bass singing of psalms, in melisma which was not just an “adornment” but has retained the original rhetoric in the function of sacral mode of singing, and in the importance of ritual theatrical forms.
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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 musical heritage and its methods in musical pedagogy, and those who called themselves traditionalists and were engaged in the preservation of traditional values of church and folk music. The best insight into the circumstances in which Greek musical life was getting a new direction are offered by the numerous musical journals published in Athens before the First World War. Among them, The Formigs is of the special interest, firstly because of the long period during which it was published (1901-1912), and secondly because of its main orientation. The editor Ioannes Tsoklis, a church chanter, and his main collaborator, the famous Constantinopolitan musician and theorist and later Principal of the Department for Byzantine music at Athens musical school Konstantinos Psahos, with other associates firmly represented the traditional position. That is why most of the published articles and the orientation of the journal generally were dedicated to the controversial problems and current musical events that were attracting public attention. The editorial board believed that there was a connection between the preservation of musical traditions and their development on one side, and foreign musical influences that were evident in the promotion of polyphonic church music, which had been totally foreign to the Greek Orthodox church until the end of the 19th century, on the other. Tsoklis and Psahos were resolved to provide enough reliable documented articles and theoretical and historical studies on church and folk music to pull up the church chanters and in such a way contribute to their better musical education. They assured that this would be the best way to attract and recruit church chanters struggling to maintain their own musical heredity. The Formigs thus served primarily in the so-called Greek music question, actuated with the aim of eliminating polyphonic music from liturgical practice. However, it also assisted in national endeavors to ensure that church and folk music would obtain separate status in official Greek musical education, which had been significantly changed by non-traditional, European methodology.
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Peno, Vesna. "On the orthodox church melos: A contribution to the typology of church chant." Muzikologija, no. 3 (2003): 219–34. http://dx.doi.org/10.2298/muz0303219p.
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Many unresolved questions related to post-Byzantine church chanting present obstacles to understanding some aspects of church music since the 19th century. One of those problems concerns the need for strict definitions of criteria according to which a church melody is classified as "melos" (Serb. napev). In this article the actual classifications of new Greek and Serbian chants are given. The most important Greek theoretical sources (theoretikon) are taken into consideration, as well as writings in which Serbian theoreticians and chanters explain the classification of hymns in Serbian church singing. The terminology related to "melos" in Greek and Serbian church chanting practice is critically examined. Attention is also drawn to elements common to new Greek (neumatic) and Serbian (staff notation) "melos". This article is an introduction to more detailed research whose aim will be to establish similarities and distinctions between the two church singing traditions that have the same origins in Byzantine church music.
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Gezerlis, Velissarios G., and Sergios Theodoridis. "Optical character recognition of the Orthodox Hellenic Byzantine Music notation." Pattern Recognition 35, no. 4 (April 2002): 895–914. http://dx.doi.org/10.1016/s0031-3203(01)00098-x.
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Peno, Vesna. "The state of research on church chant in medieval Serbia." Muzikologija, no. 16 (2014): 131–54. http://dx.doi.org/10.2298/muz1416131p.
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The Byzantine-musicological studies in Serbia during the last few decades have been at an unsatisfactory level. The fact that Serbian musicologists have not exhibited much interest in exploring this research area could be somewhat justified by the fact that its scope for new studies might seem limited. The efforts aimed towards reconstructing and ?resounding? the medieval liturgical melodies based on the anagogic sources (the primary sources - notated manuscripts are very deficient) seems, at first glance, discouraging, even futile. Nevertheless, the conditions for systematic research do exist, all the more because the current knowledge on music paleography, rhythmic and scale characteristics of Byzantine church chant has considerably changed the previous inquiry that had been limited to a few, although very precious musical pieces of only three known Serbian fifteenth-century composers - Ishaia, Nikola and Stefan. After a brief account on the topics and issues that have, until now, been in the scholarlyfocus, I draw attention to what has been done and what is currently underway in the research on Serbian medieval chant, while also indicating the areas that could be of greater interest for future explorations. I pay special critical attention to certain conclusions and methodological methods applied to the notated manuscripts that deal with liturgical music practice in medieval Serbia. According to some new findings in the field of Byzantine musicology, a new critical reading of available sources is necessary. Becoming acquainted with the earlier false approaches and conclusions made in haste and without particular evidence could be of significant help and serve as an important impulse for young researchers to get involved with explorations of Serbian music past.
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Gheorghiță, Nicolae. "Nationalism through sacred chant? Research of Byzantine musicology in totalitarian Romania." Studia Musicologica 56, no. 4 (December 2015): 327–41. http://dx.doi.org/10.1556/6.2015.56.4.3.
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In an atheist society, such as the communist one, all forms of the sacred were anathematized and fiercly sanctioned. Nevertheless, despite these ideological barriers, important articles and volumes of Byzantine — and sometimes Gregorian — musicological research were published in totalitarian Romania. Numerous Romanian scholars participated at international congresses and symposia, thus benefiting of scholarships and research stages not only in the socialist states, but also in places regarded as ‘affected by viruses,’ such as the USA or the libraries on Mount Athos (Greece). This article discusses the mechanisms through which the research on religious music in Romania managed to avoid ideological censorship, the forms of camouflage and dissimulation of musicological information with religious subject that managed to integrate and even impose over the aesthetic visions of the Party. The article also refers to cultural politics enthusiastically supporting research and valuing the heritage of ancient music as a fundamental source for composers and their creations dedicated to the masses.
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Laskov, Lasko. "Processing of Byzantine Neume Notation in Ancient Historical Manuscripts." Serdica Journal of Computing 5, no. 2 (July 19, 2011): 183–98. http://dx.doi.org/10.55630/sjc.2011.5.183-198.
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Byzantine neume notation is a specific form of note script, used by the Orthodox Christian Church since ancient times until nowadays for writing music and musical forms in sacred documents. Such documents are an object of extensive scientific research and naturally with the development of computer and information technologies the need of a software tool which can assist these efforts is needed. In this paper a set of algorithms for processing and analysis of Byzantine neume notation are presented which include document image segmentation, character feature vector extraction, classifier learning and character recognition. The described algorithms are implemented as an integrated scientific software system.
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NARDINI, LUISA. "Aliens in disguise: Byzantine and Gallican chants in the Latin liturgy." Plainsong and Medieval Music 16, no. 2 (October 2007): 145–72. http://dx.doi.org/10.1017/s096113710700068x.
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AbstractComparison of a considerable number of Gregorian sources dating from the tenth to the thirteenth centuries reveals a handful of Mass Proper items that do not belong to the standard repertory and show possible ties with the Byzantine and/or Gallican traditions. These pieces are not recorded in most of the earliest French and German sources of the Gregorian tradition. Some of them seem to have been composed in Italy (but not in Rome), while others would appear to have Eastern or Frankish ties. Comparative melodic analysis, along with the discussion of their position in the liturgical year, discloses insights about their origin, date, routes of transmission and the ways to compare chants belonging to different liturgical families.
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Martani, Sandra. "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213." Plainsong and Medieval Music 12, no. 1 (April 2003): 15–42. http://dx.doi.org/10.1017/s0961137103003024.
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The cantillation of the Scriptures played an important role in the complex matrix of symbols that is the Byzantine liturgy. Beginning in the ninth century, a special type of notation called ‘ekphonetic’ was developed to indicate in the lectionaries the formulae used in the chanting of the appointed scriptural pericopes. Gradually, over the course of the thirteenth and fourteenth centuries the system fell into disuse, and the meaning of the notational signs was forgotten. Unfortunately, no surviving Byzantine theoretical treatises explain the system; hence the only sources of information about it (apart from the lectionaries themselves) are lists of ekphonetic neumes found in some manuscripts. Of particular value in this regard is the manuscript Sinaiticus graecus 213. Not only is this one of the oldest datable Greek evangeliaries, but it contains the most ancient list of neumes heretofore discovered, having escaped the attention of musicologists probably because of its unusual location in the manuscript. The present study, proceeding from an analysis of the theoretical information contained in the Sinait. graec. 213 list, will seek to establish the practical application of the neumes within the body of the manuscript, thus contributing to a clarification of the structural characteristics of the earliest, so-called ‘preclassic’, phase of the notational system.
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Chircev, Elena. "The Influence of Political Regimes on Romanian Psaltic Music in the Second Half of the 20thCentury." Musicology Papers 35, no. 1 (November 1, 2020): 7–34. http://dx.doi.org/10.47809/mp.2020.35.01.01.
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During the second half of the 20th century, the Romanian society was marked by two events that had a profound impact on its destiny: the establishment of the communist regime after the abdication of King Michael I in 1948, and the Romanian Revolution of 1989, which marked the end of this regime. The Byzantine monody has had a millenary tradition in this part of Europe, and the contribution of the local chanters to the perpetuation of Orthodox church music – also through their own compositions – is evidenced by the numerous manuscripts written by Romanian authors and by the works printed in the last two centuries. In 20th-century Romania, the music written in neumatic notation specific to the Orthodox Church manifested itself discontinuously due to the historical events mentioned above. The church chant in the traditional psaltic style managed to survive, despite being affected by the Communist Party’s decisions regarding the Church, namely the attempt to standardize the church chant. This paper captures the way in which the preservation of tradition and the perpetuation of church music succeeded through the difficult times of the communist period, with special emphasis on the religious music written in neumatic notation and on certain peculiarities of the period, due to the political regime. The musicians trained before the establishment of Communism – by teachers concerned with the preservation of the good tradition of church chanting, in monastic schools and prestigious theological seminaries of the interwar period – were the binding forces who ensured the rapid revival of the music of Byzantine tradition in the last decade of the 20thcentury and who enriched the repertoire of the Romanian churches with valuable original works.