byzantine - Musicologie Médiévale2024-03-29T09:50:36Zhttps://gregorian-chant.ning.com/group/benevent/forum/topics/feed/tag/byzantineBeneventan Chant Performances in Beneventhttps://gregorian-chant.ning.com/group/benevent/forum/topics/beneventan-chant-performances-in-benevent2014-09-07T17:30:17.000Z2014-09-07T17:30:17.000ZChristoph Dohrmannhttps://gregorian-chant.ning.com/members/ChristophDohrmann<div><p>I would like to suggest that Beneventan chants should be performed on a regular basis on their proper feast days in Benevent by a small group (around 7 or 8 singers) of well-trained singers with very clear voices who are able to deliver the long melismas very smoothly and who have some deal of "sweetness" in the upper register, i. e. who do not sing high notes too loud: It would be best if such a group could specialize on this repertory and be based in Benevent permanently. All informations about performance practices (including the use of boys for certain chants or portions of chant) which may be valid for this repertory should then be collected and tried out in performance. Especially appropriate places for such chant performances would be: Sancta Sofia, Sant' Ilario, San Francesco, Museo del Sannio and the museum in the crypta of the dome. When the ensemble has reached a certain level of fluidness</p><p>and specialization, a row of CDs with especially beautiful and characteristic chants could document Beneventan chant. Extremely low pitch and "orientalizing" ornaments/tone production such as the Ensemble Organum does with other chants should in my view NOT be realized, as it is not very probable that these were taken up in THIS way by Western singers, even if there was some orthodox influence in the repertory: Only such performance practices should be taken up which are really in keeping with pertinent sources and/or which seem likely and beautiful (which permanently low pitches and a profusion of ornaments which cover up music and text too musch are certainly NOT).</p><p>It would also be good to make available all melodies online, giving all the source information and possibly even linking transcriptions with scanned sources.</p><p>All of this would surely be a strong contribution to enhance the appreciation of the beauties of Beneventan chant!</p><p>Christoph Dohrmann</p></div>Discussing Constantin Floros' "Byzantinische Musiktheorie"https://gregorian-chant.ning.com/group/benevent/forum/topics/discussing-constantin-floros-byzantinische-musitheorie2014-09-03T20:24:16.000Z2014-09-03T20:24:16.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Oliver for Constantin Floros</p><p><strong>Byzantinische Musiktheorie.</strong><br /> In: <em>Vom Mythos zur Fachdisziplin. Antike und Byzanz</em> (= Geschichte der Musiktheorie Bd. 2), ed. Fr. Zaminer and Th. Ertelt (Darmstadt, 2006), pp. 257-318. chapt. VIII (pp. 303-318) at <a href="https://www.academia.edu/8183506/" target="_blank">Academia.edu</a>.</p><p> </p><p>Dear Constantin Floros</p><p>Welcome to the group about the Adria, Italian and Italobyzantine chant and thank you very much for this generous offer to rethink the relation between Palaeo Byzantine and early Latin notation systems. Some of your excerpts read like a comment to <a href="http://gregorian-chant.ning.com/group/vieuxromain/forum/topics/eduardo-henrik-aubert-when-the-roman-liturgy-became-frankish-8th" target="_blank">another discussion</a> we had in the group dedicated to Old-Roman Chant:</p><blockquote><p>CONCLUSIONS: My research published in 1970 led to the conclusion that the four <em>Toni medii</em> of Middle Latin music theory exactly correspond to the Byzantine <em>Echoi mesoi</em> and they were dependent on them. (p. 309). My own comparative study of the neumes has provided the proof for Thibaut's thesis about the origins of the neumes My research revealed, namely, that there are links between the Paleobyzantine signs and the Latin neumes. The relationships go much further than has previously thought possible. Minute studies of the neumes, as well as structural-semantic and semasiological comparisons between corresponding signs led to the following results. (p. 314). A careful analysis of these results leads to the conclusion that the West taken over the chant notation with certain changes directly from Byzantium and then developed it independently. The objection that the transmission of Latin neumes already began in the 9th century, and that the Byzantine notation in contrast in the 10th century, can truly be declared invalid. (p. 317).</p></blockquote><p>I think your contribution about Byzantine music theory is worth a discussion of its own.</p></div>The Crusades and the Ottoman Conquest of the Adriatic Balkanshttps://gregorian-chant.ning.com/group/benevent/forum/topics/the-crusades-and-the-ottoman-conquest-of-the-adriatic-balkans2013-11-04T10:31:08.000Z2013-11-04T10:31:08.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Talking about "Beneventan Chant", scholars interested in Italian plainchant, notated in so-called "Beneventan" notation, often forget, that this name does not really correspond to the territory where it once had been used, especially concerning the huge territory of Ravenna or Aquilean Chant. With respect to the complex history of the Adriatic Balkans, I often observe a rather poor knowledge, and some demented even when I pointed at the obvious common features between Glagolitic and Beneventan scripture.</p><p>The more I hope for a certian curiosity about these issues. These days there will be two international conferences at Vienna (Austria) and Veliko Tarnovo (Bulgaria), the <a href="http://gregorian-chant.ning.com/events/the-fairest-meadows-in-the-world-crusades-and-crusaders-in-the" target="_blank">Bulgarian one this weekend</a> is among other topics dedicated to the progroms against Bogomils as heretics during the crusades around the turn to the 13th century. Concerning the Bosnian church, John Fine emphasized already in 1975 that not every Christian sect which was associated with Bogomils, had something to do with it (see <a href="http://gregorian-chant.ning.com/group/benevent/forum/topics/about-the-glagolitic-singing-in-croatia-and-macedonia#histoire" target="_blank">Lockwood 2009, note 2</a>). The <a href="http://gregorian-chant.ning.com/events/the-ottoman-conquest-of-the-balkans" target="_blank">Viennese conference</a> is dedicated to the Ottoman conquests of the Balkans.</p><p> </p><p>Thomas Lecaque: <em><a href="http://www.academia.edu/5067661/" target="_blank">Sclavonia etenim est tellus deserta et invia, et montuosa: Reassessing the Provençal Route through the Balkans on the First Crusade</a></em> (Veliko Tarnovo, Bulgaria, Nov 7, 2013)</p></div>Donatella Bucca: "Catalogo dei manoscritti musicali greci del SS. Salvatore di Messina" (2013)https://gregorian-chant.ning.com/group/benevent/forum/topics/donatella-bucca-catalogo-dei-manoscritti-musicali-greci-del-ss2013-10-22T15:24:28.000Z2013-10-22T15:24:28.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>After questions of fund raisings could finally be solved, Donatella Bucca's catalogue of the music manuscripts of the Library of the Archimandritate Saint-Saviour Messina, the collection is preserved at the Biblioteca Regionale Universitaria di Messina today, could be published this year.</p><p>The presentation was 10 May and was filmed in large parts:</p><p><a href="http://www.ustream.tv/recorded/32959851#/recorded/32650375" target="_blank">http://www.ustream.tv/recorded/32959851#/recorded/32650375</a></p><p>Recorded (unfortunately very badly) presentation of a DVD by Ensemble Hagiopolites under direction of Ioannis Arvanitis.</p><p><a href="http://www.ustream.tv/recorded/32959851#/recorded/32656727" target="_blank">http://www.ustream.tv/recorded/32959851#/recorded/32656727</a></p><p>Here the programme of the whole day:</p><p><a href="http://www.regione.sicilia.it/beniculturali/brum/immagini_sito/locandina_paleografia.jpg" target="_blank">http://www.regione.sicilia.it/beniculturali/brum/immagini_sito/locandina_paleografia.jpg</a></p><p> </p><p>Here the cover of the catalogue:</p><p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271815577?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271815577?profile=RESIZE_1024x1024" alt="1271815577?profile=RESIZE_1024x1024" width="750" /></a></p><p>The facsimile is taken from Messan. gr. 161, fol. 66v (we already discussed the <a href="http://gregorian-chant.ning.com/group/byzantin/forum/topics/reconstructions-of-the-byzantine-cathedral-rite" target="_blank">psaltikon part of the old cherouvikon</a> which can be found in the same Anthology of the Asma). Here the description by the author (p. 230):</p><blockquote><p><em>(ff. 64v-67v) pentekostaria: per un martire (λεγόμενον εἰς ἀθλοφόρου) [...], <catanittico>, inc. Τί ἐπιμένεις ψυχή μου καὶ οὐκ ἐργάζου ἀγαθὸν... ἦχ. πλ. β´ [Di Salvo,</em> '<em>Asmata,' 154</em>].</p></blockquote><p>The manuscript itself contains chant for the Orthros (ff. 20r-67v) and chant for the Divine Liturgies (ff. 68r-89v + Messan. gr. 175).</p><p>Half of the volume are indexes which allow readers to prepare a visit of the Library, whatever might be the perspective of the study of Italo-Byzantine chant manuscripts. Who would like to study those manuscripts of Cypriote provenance, can just look under "origine, loco d' — dei manoscritto:" in the analytical index (p. 448) and will find the signatures of 3 manuscripts which we discussed <a href="http://gregorian-chant.ning.com/group/byzantin/forum/topics/la-liturgie-a-chypre-croisement-de-la-culture-byzantine-et-latine" target="_blank">here</a>. Who would like to study compositions by Joseph the Hymnographer will find references to his canons, and to kontakia, and to an illumination of the famous monk who was born in Sicily, but grew up in Palestine and Constantinople: Giuseppe l'Innografo (p. 432). Who would like to study the sources of the liturgical drama about the biblical odes taken from Prophet Daniel, the so-called "Service of the Furnace", might look for it under "esequie, acolutia per le —" "di fanciulli" and finds the indication of the folios of one manuscript (p. 422). Who prefers to look for all compositions on the subject, better search in the "index of biblical readings" (p. 394).</p><p>For further information I recommend my review at <a href="http://hsozkult.geschichte.hu-berlin.de/rezensionen/2013-3-147" target="_blank">hsozkult.geschichte.hu-berlin.de</a>. </p></div>Neil Moran: Singers in late Byzantine and Slavonic painting (1986)https://gregorian-chant.ning.com/group/benevent/forum/topics/neil-moran-singers-in-late-byzantine-and-slavonic-painting-19862013-09-07T09:25:00.000Z2013-09-07T09:25:00.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Oliver for Neil Moran:</p><div class="csl-bib-body" style="line-height:1.35;padding-left:2em;text-indent:-2em;"><div class="csl-entry">Moran, Neil K. 1986. <em>Singers in Late Byzantine and Slavonic Painting</em>. (Leiden: Brill). <a href="http://books.google.com/books?id=5-wigEUmmCgC" target="_blank">Google preview</a>.</div></div></div>Hemingway on Byzantine Castratihttps://gregorian-chant.ning.com/group/benevent/forum/topics/hemingway-on-byzantine-castrati2013-09-07T09:20:23.000Z2013-09-07T09:20:23.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>Oliver for Neil Moran:</p><p>Some extracts:</p><p>Author: Nicole <span id="Tp63" class="hint" style="top:7401px;left:70px;display:none;">NICOLE Nearly Intelligent Computer Operated Language Examiner <span class="illustration">(chatterbot)</span><br /> ..... <span class="flw">Click the link for more informati</span></span> J. CAMASTRA (University of Georgia)</p><p><strong>Hemingway's modern hymn</strong></p><p><strong>Music and the church as background sources for "God Rest You Merry, Gentlemen"</strong></p><p>published in: The Hemingway Review (<a href="http://www.thefreelibrary.com/The+Hemingway+Review/2008/September/22-p51659" target="_blank">September 22, 2008</a>)</p><p><a href="http://www.thefreelibrary.com/_/print/PrintArticle.aspx?id=191011217" target="_blank">Link to the unshortened article</a></p><p>I. A STRANGE STORY</p><p>The opening line of Hemingway's "God Rest You Merry, Gentlemen" conflates both Old and New Worlds: "In those days the distances were all very different, the dirt blew off the hills that have now been cut down, and Kansas City was very like Constantinople" (CSS 298). Horace, the narrator, recognizes that this simile lacks credibility when he says, "no one believes this; but it is true" (298). Indeed, the analogy is difficult to accept, (1) but the short story's emphasis on castration and Christianity may help us to connect Kansas City to Constantinople via an obscure fact—the use of castrated boys in church choirs and the subsequent tradition of employing them in Italian opera had their inception in fifth-century Byzantium. Music and its historical relation to the church create a powerful means of understanding this strange story of a boy's defeat by "the flesh." As George Monteiro has noted, the title of "God Rest You" derives from a Christmas carol whose scriptural source is "the physician Luke's account of Satan's power over the flesh and the Savior's role in keeping men safe from that power" (208). The youth's sexual mutilation presents every reason to be dismayed, but only when taken out of musical context. Hemingway's "God Rest You Merry, Gentlemen" is a profound and complex prose hymn, celebrating the defeat necessary to negotiate faith in the modern world.</p><p>[…]</p><p>III. HISTORICAL SECRETS</p><p>Castrati, also known as eunuchs, evirati, or musici, were males castrated before puberty to produce a singing voice with the range of a female soprano. Eunuchs were indispensable to the music, religion, and even politics of the Byzantine. Neil Moran's deft article "Byzantine Castrati" explains that although the "Byzantines doubtless generally harboured a certain antipathy or abhorrence" towards them, "the Byzantine state could not have functioned without its eunuchs".</p><p>[…]</p><p>The use of castrati in Byzantine churches such as the Hagia Sophia, or Great Church, ended with the conquest of 1204 and the "conversion of the Great Church to a Latin cathedral" (Moran 108). The disappearance of these professional singers had "wide-reaching consequences," creating a need for "new melodies to be composed" and altering the "musico-cultural situation" (Moran 111). The diaspora of castrati stretched into "the countryside [of] ... Russia, Trapezunt ... [and] southern Italy" (Moran 108).</p><p>Southern Italy would prove a haven for the castrati, and lead to their resurfacing in the 17th and 18th centuries, both in church music and the rising art form of opera.</p><p><strong>The article discussed here:</strong></p><p>Moran, Neil. 2002. “Byzantine Castrati.” <em>Plainsong and Medieval Music</em> 11 (02): 99–112. doi:<a href="http://dx.doi.org/10.1017/S0961137102002073" target="_blank">10.1017/S0961137102002073</a>.</p></div>chant en grec et en latin à Beneventohttps://gregorian-chant.ning.com/group/benevent/forum/topics/chant-en-grec-et-en-latin-benevento2013-07-01T12:34:34.000Z2013-07-01T12:34:34.000ZEtienne STOFFELhttps://gregorian-chant.ning.com/members/EtienneSTOFFEL241<div><p>Bonjour. Voici une question davantage liturgique que musicologique :</p><p>Sait-on comment se chantaient les antiennes en latin et en grec dans la liturgie de Benevento ?</p><p>(exemples ci-dessous)</p><p>Etaient-ce des solistes qui alternaient l'antienne puis le verset, puis dans l'autre langue, ou les mêmes chantaient-ils les antiennes en choeur ?</p><p>Merci à qui aurait une réponse.</p><div><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271824616?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1271824616?profile=RESIZE_1024x1024" alt="1271824616?profile=RESIZE_1024x1024" width="750" /></a></div><div><a href="http://storage.ning.com/topology/rest/1.0/file/get/1271824990?profile=original"><img class="align-left" src="http://storage.ning.com/topology/rest/1.0/file/get/1271824990?profile=RESIZE_1024x1024" alt="1271824990?profile=RESIZE_1024x1024" width="750" /></a></div></div>Italo-Byzantine and Peloponnesian Monastic Foundation Documentshttps://gregorian-chant.ning.com/group/benevent/forum/topics/italo-byzantine-and-peloponnesian-monastic-foundation-documents2013-05-06T17:13:22.000Z2013-05-06T17:13:22.000ZOliver Gerlachhttps://gregorian-chant.ning.com/members/1fkkdlhqnd9oq<div><p>For the exact geographic position, please have a look at the</p><p><a href="http://staging.doaks.org/research/publications/doaks-online-publications/byzantine-monastic-foundation-documents/maps.pdf" target="_blank">Maps</a></p><p><strong>Chapter One</strong><strong>: Traditional Private Religious Foundations</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ006.pdf" target="_blank">Introduction</a></p><p><strong>Eighth Century</strong></p><p><a href="http://staging.doaks.org/research/publications/doaks-online-publications/byzantine-monastic-foundation-documents/typ008.pdf" target="_blank">2. Pantelleria</a>: Typikon of John for the Monastery of St. John the Forerunner <span style="color:#800000;">on Pantelleria</span> (trans. Gianfranco Fiaccadori)</p><p> </p><p><strong>Chapter Three</strong><strong>: The Protectorate</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ023.pdf" target="_blank">Introduction</a></p><p><strong>Tenth Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ025.pdf" target="_blank">17. Nikon Metanoeite</a>: Testament of Nikon the Metanoeite for the Church and Monastery of the Savior, the Mother of God and St. Kyriake <span style="color:#800000;">in Lakedaimon</span> (trans. Anastasius Bandy)</p><p><strong>Eleventh Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ026.pdf" target="_blank">18. Nea Gephyra</a>: Testament of Nikodemos for the Monastery of Nea Gephyra <span style="color:#800000;">near Lakedaimon</span> (trans. Stephen Reinert)</p><p> </p><p><strong>Chapter Five</strong><strong>: Imperial and Royal Monasteries of the Twelfth Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ034.pdf" target="_blank">Introduction</a></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ035.pdf" target="_blank">25. Fragala</a>: Testaments of Gregory for the Monastery of St. Philip of Fragala <span style="color:#800000;">in</span> <span style="color:#800000;">Sicily</span> (trans. Patricia Karlin-Hayter and Timothy Miller)</p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ036.pdf" target="_blank">26. Luke of Messina</a>: Typikon of Luke for the Monastery of Christ Savior (San Salvatore) <span style="color:#800000;">in</span> <span style="color:#800000;">Messina</span> (trans. Timothy Miller)</p><p> </p><p><strong>Chapter Six</strong><strong>: Early Reform Monasteries of the Twelfth Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ040.pdf" target="_blank">Introduction</a></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ042.pdf" target="_blank">31. Areia</a>: Memorandum and Typikon of Leo, Bishop of Nauplia, for the Monastery of the Mother of God <span style="color:#800000;">in Areia</span> (trans. Alice-Mary Talbot)</p><p> </p><p><strong>Chapter Eight</strong><strong>: Later Private Religious Foundations</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ053.pdf" target="_blank">Introduction</a></p><p><strong>Twelfth Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ056.pdf" target="_blank">43. Kasoulon:</a> Rule of Nicholas for the Monastery of St. Nicholas of Kasoulon <span style="color:#800000;">near</span> <span style="color:#800000;">Otranto</span> (trans. Timothy Miller)</p><p><strong>Fourteenth Century</strong></p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ062.pdf" target="_blank">49. Geromeri</a>: Testament of Neilos Erichiotes for the Monastery of the Mother of God Hodegetria <span style="color:#800000;">in</span> <span style="color:#800000;">Geromeri</span> (trans. George Dennis)</p><p><a href="http://staging.doaks.org/resources/publications/doaks-online-publications/byzantine-studies/typikapdf/typ066.pdf" target="_blank">53. Meteora</a>: Canonical Rule of Athanasios the <span style="color:#800000;">Meteorite</span> for the Monastery of the Transfiguration (Metamorphosis) (trans. George Dennis)</p></div>