constantinople - Mélos et ses microtones

constantinople (4)

Aachen, Aurelianus Reomensis and the role of tonaries within Carolingian chant

Oliver for Lutz Felbick:

If you look at music history from the perspective of the Carolingian power center in Aachen/Aix la Chapelle, the result is an overall view, which is not recognizable when considering individual facts singularly. My research a

Started by Oliver Gerlach

17 Replies

Guido and the diesis

I'd like to open myself the discussion that Oliver Gerlach promised in the Low B-flat discussion. It refers to Guido of Arezzo's mention of the usage of the diesis in proper and inappropriate positions in the scale.

A first question that I have concer

Started by Nicolas Meeùs

28 Replies

The Use of Microtones in Plainchant since Pythagoras in Italy, Boethius in Rome and Justinian in Constantinople

Neil Moran wrote:

"Byzantine liturgical music is based on the principles of Pythagoras, classical Greek music theorists and Boethius, the contemporary of Justinian, who established a corps of 25 singers (including eunuchs) in the Hagia Sophia (consecr

Started by Oliver Gerlach

11 Replies

AIANEOEANE

Dans une source de la compilation alia musica, il y a une description du « tonus tertius » qui s’appelle AIANEOEANE (vous pouvez regardez la révision de la datation chez Charles Atkinson [commentaire sur l’exposition, auteur δ - dans l'edition du GS,

Started by Oliver Gerlach

14 Replies

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Mélos et ses microtones

Aachen, Aurelianus Reomensis and the role of tonaries within Carolingian chant

Guido and the diesis

The Use of Microtones in Plainchant since Pythagoras in Italy, Boethius in Rome and Justinian in Constantinople

AIANEOEANE

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