Livres en-ligne (4)

Eric Werner's famous and classical studies about the way, how Christian chant developed out of Synagogal chant is available online. The book has a detailed general index (names, places and terms), a huge glossary, and a scriptural index. The study was many times reviewed and discussed still decades after its publication in 1959 (see tag "Tropologion” within the Byzantine group).

9126139085?profile=original

Werner, Eric. The Sacred Bridge: The Interdependence of Liturgy and Music in Synagogue and Church during the First Millenium. London, New York: Dennis Dobson, Columbia UP, 1959. archive.
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Former announcement:

https://gregorian-chant.ning.com/profiles/blogs/floros-1

Former discussions:

https://gregorian-chant.ning.com/group/benevent/forum/topics/discussing-constantin-floros-byzantinische-musitheorie

https://gregorian-chant.ning.com/group/vieuxromain/forum/topics/eduardo-henrik-aubert-when-the-roman-liturgy-became-frankish-8th

https://gregorian-chant.ning.com/forum/topics/clivis-ou-clinis

https://gregorian-chant.ning.com/group/vieuxromain/forum/topics/hyeronimus-de-moravia-ornamentation-and-exegesis-in-gregorian-old

Reply by the author:

https://www.academia.edu/7855094

The other book:

9126135653?profile=original

 

The Origins of Russian Music : Introduction to the Kondakarian Notation (Revised and Translated by Neil Moran with a Chapter On Relationships between Latin, Byzantine and Slavonic Church Music)

 

 

Link zu diesem Datensatzhttp://d-nb.info/996954546
TitelThe origins of Russian music : introduction to the Kondakarian notation / Constantin Floros. Rev., transl. by Neil K. Moran
With a chapter on relationships between Latin, Byzantine and Slavonic church music / by Neil K. Moran
Person(en)Floros, Constantin (Verfasser)
Moran, Neil K.
VerlagFrankfurt, M. ; Berlin ; Bern ; Bruxelles ; New York, NY ; Oxford ; Wien : Lang
Zeitliche EinordnungErscheinungsdatum: 2009
Umfang/FormatXIX, 311 S. : Ill., Noten ; 21 cm
ISBN/Einband/Preis978-3-631-59553-4 Pp. : EUR 49.80
EAN9783631595534
Sprache(n)Englisch (eng), Originalsprache(n): Einzelne andere Sprachen (und)
AnmerkungenLiteraturverz. S. 288 - 299
SchlagwörterKondakar
DDC-Notation780.1480947 [DDC22ger]
Sachgruppe(n)780 Musik
Weiterführende InformationenInhaltsverzeichnis

Discussion:

https://gregorian-chant.ning.com/group/byzantin/forum/topics/recent-publications-about-the-slavonic-kondakar

Review:

Lingas, A., 2012. The origins of Russian music. Introduction to the Kondakarian Notation. Revised, translated, and with a chapter on relationships between Latin, Byzantine and Slavonic church music by Neil K. Moran. By Constantin Floros. Pp. xix+312 incl. 16 figs, 3 catalogues of neumes, 25 musical examples and 60 tables. Frankfurt-am-Main: Peter Lang, 2009. £41.90. 978 3 631 59553 4. The Journal of Ecclesiastical History, 63(01), 133–134. doi:10.1017/S0022046911001965.
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Nachbyzantinischer liturgischer Gesang im Wandel:

Studien zu den Musikhandschriften des Supplementum graecum der Österreichischen Nationalbibliothek

978-3-7001-3543-2.jpg


ISBN 978-3-7001-3543-2
Print Edition
ISBN 978-3-7001-3989-8
Online Edition
Veröffentlichungen zur Byzanzforschung 12 
Denkschriften der phil.-hist. Klasse  358 
2007,  378 Seiten, 64 Abb. auf 23 Tafeln, 29,7x21cm, broschiert
€  124,–   
Open access

Nina-Maria Wanek
ist Dozentin am Institut für Musikwissenschaft der Universität Wien, sowie an der Aufarbeitung des Briefnachlasses von Egon Wellesz an der Musiksammlung der Österreichischen Nationalbibliothek

Die vorliegende Publikation bietet einen fundierten Überblick über die insgesamt achtzehn Musikhandschriften des Supplementum graecum der Österreichischen Nationalbibliothek. Diese Codices sind deshalb von großer Bedeutung für die Forschung, da ihre Entstehungszeit einen Zeitraum vom 15. bis zum 19. Jahrhundert abdeckt. Darüber hinaus zeichnet sie eine Vielfalt an Notationsformen, musikalischen Traditionen, Gesangsgattungen und Komponisten aus. Anhand dieser Codices lässt sich somit die Evolution der musikliturgischen Bücher rekonstruieren, wie auch die unterschiedlichen Kompositionsstile und die einzelnen Entwicklungsstufen der Notenschrift bis hin zur Reform von 1814. Der erste Teil des Buches bringt einen Überblick über die einzelnen Handschriften, ihren Aufbau und ihr Repertoire, während sich der zweite der Meloden und ihren biographischen Details widmet. Im Mittelpunkt der Arbeit steht im dritten Teil die Analyse ausgewählter Gesangsgattungen, wie jene des Anastasimatarion, der elf Heothina sowie der Cherubika. Den Abschluss bildet ein spezielles Kapitel über die sogenannte „Papadike“, die als eine Art kurze Einführung in die byzantinische Notation vielen der Handschriften vorangestellt ist. Abgerundet wird die Publikation durch ein detailliertes Verzeichnis der über 1600 verschiedenen Gesänge und ihrer Komponisten, sowie durch einen ausführlichen Tafelteil.
Gedruckt mit Unterstützung des Fonds zur Förderung der wissenschaftlichen Forschung

The publication gives a detailed overview over the eighteen liturgical manuscripts of the "Supplementum graecum" at the Austrian National Library. These manuscripts are of great interest for the research of music in general as they date from 12th to the 19th centuries. They contain a great variety of notational practices, musical traditions, genres and composers. With the help of these manuscripts not only the evolution of music liturgical books can be reconstructed but also the compositional styles and the various stages of development of the different notations until the reform of 1814 can be traced. The first part of the book contains the overview over the individual manuscripts, their structure and their repertoire, whereas the second part is dedicated to the composers and their biographical details. The third and central part of the book brings analyses of selected genres, such as the "Anastasimatarion", the eleven "Heothina" and the "Cherubika". A special chapter deals with the so-called "Papadike" – a sort of short introduction to Byzantine notation, which can be found at the beginning of most of the manuscripts. The publication also includes a detailed register of the more than 1600 chants and their composers, as well as colour plates of parts of the manuscripts.

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A collection of essays was published by Nicolae Gheorghiţă:

"Byzantine Chant between Constantinople and the Danubian Principalities"

Bucarest: Editura Sophia, 2010.

9126127896?profile=originalPresentation of the book:

http://www.razbointrucuvant.ro/anunturi/2010/12/12/concert-de-colinde-formatia-anton-pan-duminica-12-decembrie-ora-19-00-la-sala-radio/

Please use this link to buy the book directly at the publisher:

http://www.sophia.ro/Byzantine-chant-between-Constantinople-and-the-Danubian-Principalities.-Studies-in-Byzantine-Musicology-by-Gheorghita-Nicolae-autor-en-490.htm

 

I. Byzantine Chant in the Romanian Principalities during
the Phanariot Period (1711 – 1821): 1
COMPOSING AND CHANTING IN THE ORTHODOX CHURCH,
Proceedings of the Second International Conference on Orthodox
Church Music, The International Society of Orthodox Church Music &
University of Joensuu, Eds. Ivan Moody and Maria Takala-Roszczenko,
Finland (2009), pp. 65-97

 

II. Secular Music at the Romanian Princely Courts during
the Phanariot Epoch (1711 – 1821): 37
NEW EUROPE COLLEGE YEARBOOK (2008-2009 [forthcoming])

 

III. Dionysios Photeinos (Moraitēs) (b. 1777 – d. 10 Oct 1821): 83
THE CANTERBURY DICTIONARY OF HYMNOLOGY, UK
(forthcoming)

 

IV. Nikēphoros Kantouniarēs (Nautouniarēs)
(b. c. 1770 – d. c. 1830): 87
THE CANTERBURY DICTIONARY OF HYMNOLOGY, UK
(forthcoming)

 

V. The Anastasimatarion of Dionysios Photeinos (1777 – 1821): 91
ACTA MUSICAE BYZANTINAE 4 (May 2002),
The Iaşi Centre for Byzantine Studies, pp. 99 – 109

 

VI. Διονύσιος Φωτεινός: Τὸ Ἀναστασιματάριον: 103
ΠΟΛΥΦΩΝΙΑ (POLYPHONY) 16 (Spring 2010), Athens, pp. 88 – 111

 

VII. Συντακτικές καὶ μορφολογικές παρατηρήσεις στὸ
Ἀναστασιματάριο τοῦ Διονυσίου Φωτεινοῦ· ἦχος βαρύς: 127
THEORIA AND PRAXIS OF THE PSALTIC ART: THE
OKTAECHIA, Acta of the Third International Congress of Byzantine
Musicology and Psaltic Art, Ed. Gregorios Stathis, Athens, 17-21
October 2006, Holy Synod of the Church of Greece, Institute of Byzantine
Musicology, Athens (2010), pp. 351 – 366

 

VIII. Byzantine Music Treatises in the Manuscripts Fund in
Romania. The Case of Gr. MS no. 9 from the National
Archives in Drobeta Turnu – Severin: 135
TRADITION AND INNOVATION IN LATE- AND
POSTBYZANTINE LITURGICAL CHANT. Acta of the Congress
held at Hernen Castle, the Netherlands [30 October – 3 November 2008]
(forthcoming)

 

IX. Οι καλλιτεχνικές και μουσικολογικές σπουδές
Βυζαντινής Μουσικής στη Ρουμανία: 163
ΚΕΝΤΡΟ ΕΚΚΛΗΣΙΑΣΤΙΚΗΣ ΜΟΥΣΙΚΗΣ, ΒΥΖΑΝΤΙΝΗ
ΛΕΙΤΟΥΡΓΙΚΗ ΣΚΗΝΗ, Β’ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΒΥΖΑΝΤΙΝΗΣ
ΜΟΥΣΙΚΗΣ. ΔΙΑΠΑΝΕΠΙΣΤΗΜΙΑΚΗ ΣΥΝΕΡΓΑΣΙΑ. Επιμόρφωση
– Εξομοίωση – Μεταπτυχιακές Σπουδές, Thessaloniki, 9 – 10 December
2004 (forthcoming)

 

X. Tradition and Renewal in the Romanian Byzantine Music
Education: 167
ΚΕΝΤΡΟ ΕΚΚΛΗΣΙΑΣΤΙΚΗΣ ΜΟΥΣΙΚΗΣ, ΒΥΖΑΝΤΙΝΗ
ΛΕΙΤΟΥΡΓΙΚΗ ΣΚΗΝΗ, Α’ ΔΙΕΘΝΕΣ ΣΥΝΕΔΡΙΟ ΒΥΖΑΝΤΙΝΗΣ
ΜΟΥΣΙΚΗΣ. ΔΙΑΠΑΝΕΠΙΣΤΗΜΙΑΚΗ ΣΥΝΕΡΓΑΣΙΑ. Έρευνα –
Εκπαίδευση – Καλλιτεχνικό έργο, Thessaloniki, 30 – 31 October 2003
(forthcoming)

 

XI. Some Observations on the Structure of the «Nouthesia pros
tous mathitas» by Chrysaphes the Younger from the Gr. MS no.
840 in the Library of the Romanian Academy (A.D. 1821): 171
ACTA MUSICAE BYZANTINAE 7 (May 2004), The Iaşi Centre for
Byzantine Studies, pp. 47 – 59. Republished in THEORY AND PRAXIS
OF THE PSALTIC ART. THE GENERA AND CATEGORIES OF
THE BYZANTINE MELOPOEIA, Acta of the Second International
Congress of Byzantine Musicology and Psaltic Art, Ed. Gregorios Stathis,
Athens, 15-19 October 2003, Holy Synod of the Church of Greece, Institute of
Byzantine Musicology, Athens (2006), pp. 271 – 289

 

XII. The kalophonic Idiom in the Second Half of the 18th Century.
The Koinonika Αἰνεῖτε τὸν Κύριον in the First Authentic
Mode: 191
ACTA MUSICAE BYZANTINAE 5 (May 2003), The Iaşi Centre for
Byzantine Studies, pp. 45 – 50

 

XIII. The Structure of Sunday Koinonikon in the Post – Byzantine
Era: 201
TRADITION AND INNOVATION IN LATE- AND
POSTBYZANTINE LITURGICAL CHANT. Acta of the Congress
held at Hernen Castle, the Netherlands, in April 2005. EASTERN
CHRISTIAN STUDIES, vol. 8 (ed. by Gerda WOLFRAM), A. A. Bredius
Foundation. PEETERS (Leuven – Paris – Dudley), MA (2008), pp. 331-
355


XIV. Observations on the Technique of Transcription (εξήγησις)
into the New Method of Analytical Music Notation of the
Sunday Koinonikon of the 18th Century: 225
“Festschrift zu Gerda Wolframs 70. Geburtstag”. “Edition Praesens,
Wien” (forthcoming 2011)

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