This book discusses such topics as chant transmission before the neumes, the varieties of Byzantine musical notations, words and music in Byzantine chant, and Byzantine and Western neu-matic notations, modes and melody.
Author: Christian Troelsgård
Publisher: Museum Tusculanum
Category: Performing Arts
The medieval chant of Byzantium is but little-known, although a large body of music has been preserved in neumatic notation. This book discusses such topics as chant transmission before the neumes, the varieties of Byzantine musical notations, words and music in Byzantine chant, and Byzantine and Western neu-matic notations, modes and melody.
Author: Assistant Professor of Art History Bissera PentchevaPublish On: 2017-07-04
Chrysaphes, The Treatise of Manuel Chrysaphes, 41–43. Troelsgård, Byzantine Neumes, 62–65. Egon Wellesz, “Words and Music in Byzantine Liturgy,” Musical
Quarterly 33, no. 3 (1947): 297–310, esp. 307. Troelsgård, Byzantine Neumes ...
Author: Assistant Professor of Art History Bissera Pentcheva
Publisher: Taylor & Francis
Emerging from the challenge to reconstruct sonic and spatial experiences of the deep past, this multidisciplinary collection of ten essays explores the intersection of liturgy, acoustics, and art in the churches of Constantinople, Jerusalem, Rome and Armenia, and reflects on the role digital technology can play in re-creating aspects of the sensually rich performance of the divine word. Engaging the material fabric of the buildings in relationship to the liturgical ritual, the book studies the structure of the rite, revealing the important role chant plays in it, and confronts both the acoustics of the physical spaces and the hermeneutic system of reception of the religious services. By then drawing on audio software modelling tools in order to reproduce some of the visual and aural aspects of these multi-sensory public rituals, it inaugurates a synthetic approach to the study of the premodern sacred space, which bridges humanities with exact sciences. The result is a rich contribution to the growing discipline of sound studies and an innovative convergence of the medieval and the digital.
The musical meaning of the neumes in early Russian stolp notation of the
eleventh through thirteenth centuries is still not ... For example, the neume
XapinAsi has the shape X in Byzantine notation, while in Russian stolp notation
the hamila ...
Author: Johann von Gardner
Publisher: St Vladimir's Seminary Press
The history of church singing in Russia constitutes an essential aspect of that nation's culture and musical history. For the first 650 years, from the Christianization of Rus' in the year 988, liturgical chant was the only documentable art music in that vast territory that eventually became the modern nations of Russia, Ukraine and Belarus. Indeed, in Russia before the revolution of 1917, "liturgical musicology" was a bona fide scholarly discipline, taught in conservatories, universities, and theological seminaries. All activity in the field came to a halt, however, during the 75-year "Soviet era," when the study and practice of sacred music was severely repressed for ideological reasons, with a resulting lack of published research and secondary material. Consequently, Russian and Western music historians, church musicians, and liturgical scholars (as well as ordinary church-goers), whose interest in Orthodox Christianity and its art has been increasing of late, have been deprived of reference works that would impart even a general knowledge of the history and development of liturgical singing in the Russian Orthodox Church. The present Volume, Russian Church Singing: Volume 2 is the second installment of Professor Johann von Gardner's monumental work to appear in English translation. The 396-page volume, translated and edited by Dr. Vladimir Morosan, considers the development and practice of liturgical chant in the Russian lands from a variety of aspects: its origins and the various cultural influences upon its formation; extant manuscripts; the evolution of the notation and the problematics of deciphering it into modern-day notes; the forces involved in its performance; its stylistic evolution from exclusively monodic forms to improvised and, eventually, notated polyphony; its earliest known composers and performing ensembles; its aesthetics in relation to liturgy, the language, and the various problems that arose over the centuries, resulting in the adoption of Westernized stylistic models around the year 1650, which marks the approximate end of the time period covered in this volume. Much of this information is made accessible for the first time to the English reader, and will be of interest both to the specialist and to the general reader, generating a healthy demand for further research and exploration into this fascinating and hitherto unknown field. Book jacket.
late Byzantium: a system of so-called 'ekphonetic' signs (neumes) employed by
readers for the cantillation of scriptural pericopes that is found in lectionaries, and
families of 'melodic' neumes recording the hymns and psalms chanted by ...
Author: Claire Nesbitt
From the reception of imperial ekphraseis in Hagia Sophia to the sounds and smells of the back streets of Constantinople, the sensory perception of Byzantium is an area that lends itself perfectly to an investigation into the experience of the Byzantine world. The theme of experience embraces all aspects of Byzantine studies and the Experiencing Byzantium symposium brought together archaeologists, architects, art historians, historians, musicians and theologians in a common quest to step across the line that divides how we understand and experience the Byzantine world and how the Byzantines themselves perceived the sensual aspects of their empire and also their faith, spirituality, identity and the nature of ’being’ in Byzantium. The papers in this volume derive from the 44th Spring Symposium of Byzantine Studies, held for the Society for the Promotion of Byzantine Studies by the University of Newcastle and University of Durham, at Newcastle upon Tyne in April 2011. They are written by a group of international scholars who have crossed disciplinary boundaries to approach an understanding of experience in the Byzantine world. Experiencing Byzantium is volume 18 in the series published by Ashgate on behalf of the Society for the Promotion of Byzantine Studies.
About these controversies overtheinterpretation and transcription ofmedieval
Byzantine chant,see Troelsgård, Byzantine Neumes, pp. 35–40; andA. Lingas, '
Performance Practiceand thePolitics of Transcribing Byzantine Chant', Acta
Author: Dr Claire Nesbitt
Publisher: Ashgate Publishing, Ltd.
From the reception of imperial ekphraseis in Hagia Sophia to the sounds and smells of the back streets of Constantinople, the sensory perception of Byzantium is an area that lends itself perfectly to an investigation into the experience of the Byzantine world. The theme of experience embraces all aspects of Byzantine studies and the Experiencing Byzantium symposium brought together archaeologists, architects, art historians, historians, musicians and theologians in a common quest to step across the line that divides how we understand and experience the Byzantine world and how the Byzantines themselves perceived the sensual aspects of their empire and also their faith, spirituality, identity and the nature of ‘being’ in Byzantium. The papers in this volume derive from the 44th Spring Symposium of Byzantine Studies, held for the Society for the Promotion of Byzantine Studies by the University of Newcastle and University of Durham, at Newcastle upon Tyne in April 2011. They are written by a group of international scholars who have crossed disciplinary boundaries to approach an understanding of experience in the Byzantine world. Experiencing Byzantium is volume 18 in the series published by Ashgate on behalf of the Society for the Promotion of Byzantine Studies.
Melik'yan, in his reviewofPotier's study,makes the alternative suggestion thatthe
Armenian khazes are related tothe Byzantine neumes and not to the Latin. He
finds that the shapes of the signs in the GreekPapadike are all, without exception,
Author: R. A. At'ayan
Category: Social Science
The study of the Armenian system of notation called Khazs (Neumes) is of significance both for Armenian and Byzantine music from a historical and aesthetic point of view. Over the centuries the Armenian people have created a musical culture which is largely inaccessible because of the fact that to this day the medieval notation of this music has not been deciphered. Prof. R.A. At'ayan's unique study based on the abundant manuscript sources of the Institute of Ancient Manuscripts (Erevan) not only traces the origin and development of this notation system convincingly, but also re-creates the tunes of the numerous chants and songs composed over the centuries.
... three main phases and divide the development of Byzantine neumes into the
following three groups: (1) „Early Byzantine notation (paleobyzantine, “Stroke-dot
” or linear notation), 9th–12th century; (2) Middle Byzantine notation (hagiopolite,
Origine Byzantine de la Notation Neumatique de l ' Église Latine . Paris , 1907 .
Tillyard , H . J . W . “ Byzantine Music about A . D . 1100 " , The Musical Quarterly ,
XXXIX ( 1953 ) , pp . 223 – 31 . - “ Byzantine Neumes : The Coislin Notation ” ...
5 By the year 1106 the Coislin notation too had begun to decline , and by 1177
the fully diastematic Middle Byzantine ... Cf . H . J . W . TILLYARD , “ Byzantine Neumes : The Coislin Notation , ” Byzantinische Zeitschrift XXXVII ( 1937 ) , 345 -
Author: Henry Julius Wetenhall TillyardPublish On: 1970
But they are of great historical value , both as affording a clue to the nature of the
accent in later classical Greek and as the parent of the Byzantine neumes . The
earliest musical system appears towards the end of the tenth century ; and it ...
A number of bilingual — Greek and Bulgarian — manuscripts with Late Byzantine
notation are preserved in Rumanian libraries and await examination . By finding
the Greek prototypes with Middle Byzantine neumes — upon which other Greek ...
Institute of America THE PROBLEM OF BYZANTINE NEUMES THE musical
notation of Greek liturgical manuscripts from the tenth to the thirteenth century
has long been a puzzle to investigators , although the notation from the thirteenth
MS - 4 HERMOLOGION With Byzantine neumes richly illuminated with a
miniature of the Crucifixion . Sixteenth Century MS - 5 EVANGELION Slavonic
manuscript around 1575 and opened at painting of Saint Matthew in finest
Byzantine style .
They both contain an arrangement and a presentation of the material using text
and neumes . Codex 311 includes a papadike , 18 whereas the Glagolitic treatise
has nothing in common with traditional Byzantine musical - theoretical works .
Theories on the origin of Latin neumes and their possible relationship to Byzantine neumes . 5 . Notated Coptic sources . 6 . Nubian sources with accent
signs . 7 . The notation of Ethiopic chant . B . Other neumatic or Ekphonetic
notations that ...
Byzantine performance theory would appear to occupy an aesthetic middle
ground between Islam and Western ... of seventeenth century , different values
were gradually assigned to the Byzantine neumes to create a written tradition for
1 1 allowed him to formulate the basic principles of transcription of the Middle Byzantine notation , within which system he deciphered the intervallic
relationship of neumes . He was also the first to define the meanings and
interpretations of ...
From 1943 he taught at Oxford and in 1948 received the title of Reader in
Byzantine Music . During ... 310 ; “ Early Byzantine Neumes , " XXXVIII ( 1952 ) ,
68 - 79 ; and “ Recent Studies in Western Chant , ” XLI ( 1955 ) , 177 - 90 . In
addition , a ...