My wish for today is that you are all well, without fear and also well informed about what is going on. Please use these days with pleasant things, reconnect yourself with the universe and do celebrate the feasts of your tradition (whatever the religion is) without even thinking of everyday's bullshit and those who do organise it, and definitely without paying any attention of what they could expect from you!

The little Christmas surprise, I have for you this year, is actually not a present of mine, but a present made by Mark Powell and Spyridon Antonopoulos in the context of the group "Cappella Romana" specialised in the reconstruction of Byzantine chant, as they learnt it through a cooperation with Ioannis Arvanitis.

Some days ago, they sent me an email with transcription of a Christmas allelouiarion about the first two stichoi of psalm 18 (according the Greek edition of Septuaginta):

2 Οἱ οὐρανοὶ διηγοῦνται δόξαν θεοῦ, ποίησιν δὲ χειρῶν αὐτοῦ [ἀναγγέλλει τὸ στερέωμα]·

3 ἡμέρα τῇ ἡμέρᾳ ἐρεύγεται ῥῆμα, καὶ νὺξ νυκτὶ [ἀναγγέλλει γνῶσιν].

Here the English translation offered by this email:

Alleluia. V.1 The heavens are telling the glory of God, and the work of his hands [the firmament proclaims].
V.2 Day to day pours out speech, and night to night [reveals knowledge].

Here the version in the kontakarion of Paris:

Beginning of the allelouiaria section with protos allelouiaria
(Paris, Bibliothèque nationale, fonds grec ms. 397, f.19v-20r)

The second stichos according to the transcription of Spyridon:

Transcription according I-Fl (Florence, Biblioteca medicea laurenziana) Codex Ashburn 64, f. 200
(Kontakarion of the Grottaferrata Abbey, 13th century)

Realisation by Cappella Romana conducted by Spyridon Antonopoulos:

Realisation by Ansamble Aghiopolitis conducted by Ioannis Arvanitis:

I am sorry to announce this too late, because it was also possible to join this lecture via zoom. I will insert here a link, as soon as a video is available.

Description

Kosmas of Jerusalem (ca. 675-ca.752)
Fresco attributed to Manuel Panselinos, Protaton on Holy Mount Athos (14th c.)

Byzantine music, deeply ingrained in European and Near-East cultures, presents a plethora of remarkable personalities and a wealth of genres and categories in the realm of hymnography, chant and secular music. This lecture aims at giving an overview of coryphées in the field, along with musical examples, to which the audience is invited to join in. We will also try to approach some examples paleographically and analytically, in order to go on with a discussion concerning transcription, historically informed performance practice, meta-aesthetics of Byzantine chant and didactical approaches.

Source: Events announced by the city of London: https://www.city.ac.uk/events/2020/october/maria-alexandru-byzantine-and-post-byzantine-melodists-hymnographers-and-composer-a-panoramic-view

CV

Maria Alexandru, native in Romania, with studies in Bucharest, Bonn, Copenhagen (PhD, 2000), and Greece, is an associate professor for Byzantine music at the Aristotle University of Thessaloniki. Her work comprises 4 books, more than 50 articles and different recordings, translations into Romanian and editorial work on Conference Proceedings, books and the on-line journal Series Musicologica Balcanica. She conducts different ensembles (Study Group for Palaeography of Byzantine Music Chrysorrhemon, Psaltira, both of the School of Music Studies of the aforementioned university, and the female Byzantine Choir “St Anysia” of the Greek Society for Music Education). She is chair of the IMS-Study Group for Music of the Christian East and Orient, and got different distinctions.

Relevant publication

Video about Hagia Kassiani

Link to the video published at the Aristotle University, Thessaloniki

In the video, we can listen to music examples and demonstrations of Maria Alexandru together with her students, dedicated to the female hymnographer and higoumenia Saint Kassia.

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).

A PETITION TO SAVE THE "MONUMENTA MUSICAE BYZANTINAE"

https://www.change.org/p/rektor-adm-ku-dk-save-the-monumenta-musicae-byzantinae

(Please follow the link, if you would like to support the petition!)

To the Rector of the University of Copenhagen (prof. Henrik C. Wegener: rektor@adm.ku.dk)

To the Dean of the Faculty of Humanities of the University of Copenhagen (prof. Jesper Kallestrup: dekan@hum.ku.dk)

To the Head of the Saxo Institute of the University of Copenhagen (prof. Stuart James Ward: stuart@hum.ku.dk)

Dear Sirs,

We are writing to you as the Editorial Board of the Monumenta Musicae Byzantinae, to express our alarm at your proposal to dismiss Prof. Christian Troelsgård from his position as Associate Professor in the Saxo Institute.

The Monumenta Musicae Byzantinae (MMB) was established in Copenhagen in 1935 under the direction of Prof. Carsten Høeg, and quickly became a world-renowned scientific enterprise devoted to the study and publication of Byzantine musical and liturgical sources. The University of Copenhagen has been central to the activities of the MMB ever since. As you are doubtless aware, it houses a comprehensive library and archive which has supported a sustained and highly productive programme of research and publication by a very international body of scholars. Students of the successive directors of the MMB have gone on to secure prestigious positions around the world in the fields of Classics, Byzantine Studies and Musicology. The MMB volumes are published under the auspices of the Union Académique Internationale, with the support of the Carlsberg Foundation and several other funding bodies, and are universally admired for the quality of their research as well as for their high production standards.

In consideration of the worldwide recognised leading role of the MMB in research on Byzantine music and liturgy, we are deeply concerned by the unexpected news that the intense research activities conducted within the MMB project are in serious danger of coming to an abrupt end. We gather that, for reasons of ‘necessary cut-backs’, the University plans in a few weeks to dismiss – after 26 years of honoured service – the MMB Director Prof. Christian Troelsgård, a highly esteemed scholar and teacher, on the vague grounds that his position no longer ‘matches the future development of the Faculty’.

Since Prof. Troelsgård represents the one and only institutional affiliation of the MMB project in Denmark, this would lead to a sudden cessation of all of the MMB’s research activities, which have for more than 80 years been centred in the University of Copenhagen, and to the lamentable dispersal of a whole scholarly tradition that has represented a jewel in the crown of Danish (and European) research in the humanities thoughout this period. In fact, the consequences of this dismissal on research in the field of Byzantine music and chant would be really dramatic, not only in Denmark: the MMB has since its inception been designated as a ‘research enterprise’ under the auspices of the Union Académique Internationale, a status in which it was recently re-accredited, and the dismantling of its leading research unit in Denmark would condemn the whole international project (with partner-scholars in Austria, Italy, Germany, Greece, the United Kingdom, the United States, and many other countries) to a sudden and definitive closure. The MMB has attracted long-term research funding to the University of Copenhagen over many decades, flourishing successively under the leadership of its founder Prof. Carsten Høeg, then Prof. Jørgen Raasted, and especially now under Prof. Troelsgård’s careful and dedicated guidance. The hasty liquidation of a research school that is so well established in the University of Copenhagen would put at stake a unique and important European research tradition.

We are not party to the ‘future development of the Faculty’ on which grounds you propose to dismiss Prof. Troelsgård, but we respectfully remind you that he is universally regarded as a leading scholar in all branches of the study of Byzantine chant, known internationally through his many books and articles of consistently exceptional quality, and widely respected in the University through his co-ordination of several externally-funded research projects and as a member of the Academic Council of the Faculty of Humanities. In Demark he is honoured as a member of the Royal Danish Academy, and internationally he sits on many advisory panels for leading journals and research projects. His graduate students have taken the field of research into many new directions under his careful guidance, and have developed successful careers in many countries, widening interest in the field of Byzantine chant across the world.

Byzantine music should not be considered an exotic and sophisticated research field reserved for the happy few who are engaged in it: it has important repercussions on our understanding of many aspects of the different cultures of the world we live in. The Byzantine chant tradition is the real core of the Orthodox liturgy in Greece, Eastern Europe, Russia, the Balkans, Southern Italy, and the Middle East, and is therefore an important key to our understanding of the mentality of the different peoples living in this wide area. Language, rite and music constitute fundamental aspects of the cultural identity of the Eastern-Mediterranean Christian communities, many of which are now often under threat. Weakening the study of these traditions would lead to an impoverishment of our understanding of this part of world culture, and could also be seen as turning our backs on these populations on a cultural level. In the context of the study and research activities of the Saxo Institute, Prof. Troelsgård’s teaching and research have the potential to make one of the closest and most direct connections between the ancient world and the lives of many of the most marginalised communities of today. Far from being an arcane and obscurantist discipline, Byzantine chant is a field which can inspire students to embrace the study of Classical and Eastern languages, Theology, Music, History, Ethnography and Social Anthropology.

Perhaps it is not a consequence you intended in your proposal to dismiss Christian Troelsgård, but we fear that the result in the sudden annihilation of the research centre which has placed Copenhagen at the centre of this branch of historical enquiry for the best part of the last century would have serious consequences in terms of our understanding of global culture, and not only of European or global academic studies. Therefore we strongly encourage you to reconsider your decision to cut short a career in which we continue to foresee much promising contribution to the wider understanding of society.

ON BEHALF OF THE MMB EDITORIAL BOARD

Prof. Nicolas BELL (Trinity College, Cambridge)
Prof. Francesco D’AIUTO (University of Rome "Tor Vergata")
Prof. Sysse Gudrun ENGBERG (University of Copenhagen, emerita)
Prof. Christian HANNICK (Julius-Maximilians-Universität Würzburg, emeritus)
Prof. Christian THODBERG (University of Aarhus, emeritus)
Prof. Gerda WOLFRAM (University of Vienna, emerita)

and

Prof. John D. BERGSAGEL (former Director of MMB; University of Copenhagen, emeritus)
Prof. Tore Tvarnø LIND (secretary of MMB; University of Copenhagen)

Useful links

The Saxo Institute:

https://saxoinstitute.ku.dk/

Homepage of the MMB:

http://www.igl.ku.dk/MMB/

The microfilm collection (and an additional international source catalogue with useful information):

http://www.igl.ku.dk/MMB/catbyz.html

Christian Troelsgård’s permanently updated list of the standard abridged version repertoire of stichera idiomela of the menaion part within the sticherarion (very useful to identify missing parts of a sticherarion manuscript):

http://www.igl.ku.dk/MMB/standard.html

The «Cahiers de l'Institut du Moyen-Âge Grec et Latin» (CIMAGL), an available publication series of the Saxo Institute:

https://cimagl.saxo.ku.dk/access/

Homepage of the related studies of Ottoman music “Corpus Musicae Ottomanicae” (CMO):

https://corpus-musicae-ottomanicae.de/

Middle Ages and Renaissance manuscripts at the collections of “The Royal Danish Library” (Copenhagen):

http://www.kb.dk/en/nb/materialer/haandskrifter/HA/e-mss/mdr.html

Preserving Ancient New Testament Manuscripts for a Modern World

http://www.csntm.org/

The Center for the Study of New Testament Manuscripts (CSNTM), under the umbrella of The Center for the Research of Early Christian Documents (CRECD), exists for the following purposes:

1. To make digital photographs of extant Greek New Testament manuscripts so that such images can be preserved, duplicated without deterioration, and accessed by scholars doing textual research.

2. To utilize developing technologies (OCR, MSI, etc.) to read these manuscripts and create exhaustive collations.

3. To analyze individual scribal habits in order to better predict scribal tendencies in any given textual problem.

4. To publish on various facets of New Testament textual criticism.

5. To develop electronic tools for the examination and analysis of New Testament manuscripts.

6. To cooperate with other institutes in the great and noble task of determining the wording of the autographa of the New Testament.

The Origins of Western Notation : Revised and Translated by Neil Moran

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:

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)

Discussion:

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

Review:

Please have a look at:

http://www.ottomanhistorypodcast.com/p/episode-list.html

Chris Gratien and Emrah Safa Gürkan
Georgetown University, April 2011

Ottoman History Podcast began in March of 2011. It was a modest experiment aimed at finding an alternative form of academic production that explores new and more accessible media and allows for a collaborative approach. Since then we have grown to be one of the largest digital resources for academic discussion concerning the Ottoman Empire and the modern Middle East. Our recorded interviews and lectures, while still largely academic in tone, provide serious and constructive conversation in an accessible and almost human format that is easy on the brain and eyes. For more about our mission, see our project overview.

http://zti.hu/sipos_gyujtesek/index_EN.asp

This trilingual (Hungarian, English, Turkish) website presents a significant part of János Sipos’s Turkic folk music collection recorded since 1987.

On the left side we get information of the archives, the author, a Hungarian-Turkic comparative music research and much more.

Above we focused on the actual presentation of the collected material.

      Search allows us seeking out video and audio recordings according to genre, lyrics, musical instruments, informants and place of recordings. The “identifier” selects a whole record, for example “SJ_AZE_01_DAT” lists the complete material of the first Azerbaijani cassette.

      Under E-books we can read e-books on the Kyrgyz and the Karachay folk music.

      Books presents the PDF and the ISSUU format of János Sipos’s books. In the latter case, use full-screen mode, and return to the website by closing the ISSUU interface. Here and under Articles we are working on attaching video and audio recordings to the books.

      Studies presents us János Sipos’s articles in PDF form (use Ctrl + F to search for subject titles).

      In Audio, Video and Photo archives each recording is presented in unedited form. Later on, these recordings will be enlarged by a “map of recordings” giving a better orientation.

The Byzantine Turks, 1204-1461

http://www.brill.com/products/book/byzantine-turks-1204-1461

Go to Online Edition

Nachbyzantinischer liturgischer Gesang im Wandel:

Studien zu den Musikhandschriften des Supplementum graecum der Österreichischen Nationalbibliothek

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,–   

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.

Manuscript reproduction on the cover
Gritsanis 8, 323 (17th c.):

Ἐντεύθεν ἄρχονται καὶ μερικὰ τραγώδια καὶ μουραμπάδες
From here start some songs and murhabbas

Kalaitzidis, Kyriakos (Engl. translation by Kyriaki and Dimitris Koubaroulis)
Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century)
Istanbuler Texte und Studien, 28.
Orient-Institut Istanbul
Würzburg: Ergon, 2012.
356 pages with many reproductions from manuscripts – 170 x 240 mm. Hardcover
ISBN 978-3-89913-947-1

http://www.ergon-verlag.de/orientali...en/band-28.php

Contents:
http://www.ergon-verlag.de/downloads/9783899139471.pdf

Preview

Martin Greve (Orient-Institut):

The idea for this English edition of Kyriakos Kalaitzidis’ Ph.D. thesis came into being during the conference entitled "Writing the History of "Ottoman Music," which was organized by the Orient-Institut Istanbul in cooperation with the State Conservatory for Turkish Music of the Technical University Istanbul in November 2011. It was planned to invite Kyriakos Kalaitzidis to share his experience as a performing musician, but he proposed a paper on Ottoman music in post-Byzantine music manuscripts. As it turned out almost none of the Turkish and international experts on Ottoman music in attendance had ever heard about this research and these sources. The paper itself caused a true sensation: By mining diverse post-Byzantine manuscript collections in libraries and monasteries for the first time, Kyriakos Kalaitzidis discovered about 4,200 pages of previously unknown notations of secular Greek, Ottoman and Persian music. After the publication of two known collections of Ottoman art music prior to the 19th century, Ali Ufki’s Mecmua and the collection of Cantemir, these new sources promise a third outstanding historical corpus of compositions.

Presentation in 2013:

http://www.musikidergisi.net/?p=2398

http://panagiotisandriopoulos.blogspot.gr/2013/02/blog-post_2.html

Please have a look at the hompage of the « Institut du Moyen-Âge Grec et Latin »:

http://www.cimagl.dk/

If you click on "Access CIMAGL," you will have open access to all editions until 2015 (including Raasted's edition of the Hagiopolites, vol. 45, and Maria Alexandru's critical edition of Ioannes Koukouzeles' "Mega Ison," published in vol. 66)

This Sunday about 3 pm or to any later time you can listen to a field recording of a Zikir ceremony which I made last September in the oldest Cerrahi Tekke founded by Nurettin al-Cerrahî in Karagümrük (Istanbul) in 1703.

Just visit this link and click on the loudspeaker:

http://www.concertzender.nl/programmagids/?date=2016-1-17&month=0&detail=82983

The Karagümrük district lies up the hill between Fener and the ancient Byzantine wall, and near the stadion there is a street called "Nurettin Tekke Sokak" (the street of Nurettin's brotherhood). As a 19-year-old man Nurettin al-Cerrahî (Nureddin al-Jerrahi) was on his way to Egypt, where he was chosen to work as a Kadi for the Ottoman administration. Stemming from a highly privileged family of Ottoman Istanbul, he visited a Zikir ceremony of the Halveti Sufis in Üsküdar (a district at the Asian coastline of Istanbul in front of Beşiktaş). He was addressed by the Sheykh Alauddin Kostendili to become one of his followers. He did not leave Istanbul, instead he was initiated to Sufism by Kostendili. After 6 years of instruction, he finally became a sheykh himself and he was asked to go to Karagümrük and to found an own brotherhood, which is known until today as "Cerrahiyye".

The Zikir ceremony is still the central form celebrated by this brotherhood, but it has many different episodes full of music and dance.

In 1991, after a long clandestine period since the foundation of the secular Republic Turkey, the first Cerrahi Tekke became an important institution for Ottoman traditional music. The State Ensemble for Classical Turkish Music was founded and rehearsed regularly in the Tekke, and performed weekly concerts in its ceremonial hall.

Sa contribution pour la conférence à Genève 2011 est publiée maintenant:

Alexandru, Maria. 2013. “Byzantine kalophonia, illustrated by St. John Koukouzeles’ piece Φρούρηζον πανένδοξε in honour of St. Demetrios from Thessaloniki. Issues of notation and analysis.” Studii Şi Cercetări de Istoria Artei. Teatru, Muzică, Cinematografie 49-50. Serie Novă 5-6: 57–105.

Abstract

The present paper explores some aspects of the so-called kalophonic musical style which flourished during the last centuries of Byzantium. It focuses on a masterpiece by St. John Koukouzeles, namely the epibole Φρούρησον πανένδοξε (Ο Allglorious, keep watch over the city), in honor of St. Demetrios, the protector of Thessaloniki, and is complementary to some previous musicological analysis of this piece by Stephania Meralidou. After a brief presentation of the old sticheron Ἔχει μὲν ἡ θειοτάτη σου ψυχή, whereof St. John takes his departing point for the kalophonic composition, the paper concentrates on a multi-level analysis of the epibole, firstly on the ground of the late middle-Byzantine notation, according to the ms Vlatadon 46 (A.D. 1551), and secondly by comparing the old notation to its slow exegesis in new-Byzantine notation by Chourmouzios Chartophylax (score and recording issued by the Greek Byzantine Choir, dir. L. Angelopoulos).

The analysis comprises several approaches like textual, music-architectural, modal, micro-syntactical, rhetorical, macro-syntactical, generative, comparative (cf. plates 7-12, 17-20. Since this material is also suitable for didactic purposes, the different plates are given again in the appendix, in form of exercises to be filled in by interested students).

The different analytical approaches reveal the highly refined melodic fabric of kalophonia with its plethora of theseis-combinations, the extensive use of music-rhetorical devices, basic norms of the complex art of musical exegesis in this style, as well as the beauty of this kind of melodies, which have been acknowledged to represent the ‘zenith’ of Byzantine music (Wellesz).

Keywords: Kalophonia, Musicological analysis of Byzantine chant, Hesychasm, St. Demetrios of Thessaloniki, Exegesis, Sectio aurea

Interpretation by the Greek-Byzantine Choir

Μέλος Αγίου Ιωάννου Κουκουζέλους. Ψάλλει η ΕΛ.ΒΥ.Χ. υπό την διεύθυνση του Λυκούργου Αγγελόπουλου

"Φρούρησον πανένδοξε την σε μεγαλύνουσαν πόλιν από των εναντίον προσβολών,
παρρησίαν ως έχων,
προς Χριστόν τον σε δοξάσαντα.
Αοίδιμε Δημήτριε,
φρούρησον την σε τιμώσαν πόλιν,
τους άνακτας συμμάχησον,
την πόλιν σου στερέωσον,
τους σε τιμώντας ευσεβώς αοίδιμε Δημήτριε
(κράτημα τε -ρι - ρεμ)
παρρησίαν ως έχων προς Χριστόν τον σε δοξάσαντα."

I would like to announce another important publication which, unfortunately, follows a symposium with 5 years delay!

It is already the second conference dedicated to the topic (see the proceedings of 2005 at the publisher Peeters and at Google Books), and Christian Troelsgård wrote in the foreword about these two symposia:

The question of the relationship between the actual musical traditions of the Greek Church of today and the melodies contained in the medieval manuscripts with Byzantine neumatic notation, has very often been raised, and a qualified answer can only be given through a precise study of the transmission and transformations of the melodies and the whole musical heritage during the intermediate centuries. At the 2005 symposium, more general studies of the development of Byzantine chant repertoires and a number of case studies spanning the 14th through the 19th centuries were presented. In this volume, the study of the development of Byzantine-Greek Church music is supplemented with a handful of papers on the development of yet other genres, and with a focus on the education of cantors (psaltai). It is precisely the role of the master cantors, the so-called maïstores, their teachings, treatises, innovations and their relations with the pupils, that is treated in a number of papers in the present volume. As has been learned from these symposia, the evolution of the didactic tradition appears to be one of the key points for understanding phenomena of transmission and development in Byzantine chant in general.

Summary:

What is the relation between the Greek ecclesiastical chant traditions of today and Byzantine chant? That question can only be answered through a meticulous study of the transmission and transformation of both the melodies, the genres, and the whole musical culture of Late Byzantium and the subsequent centuries.

This book presents a handful of studies focussing on both the development of new musical styles, such as the ornamented Kalofonia ('Beautiful sound'), and on the education of the cantors, the psaltai. The role of the master cantors, the maïstores, their teachings, treatises, traditions, innovations, compositions, and the various modes of interpretation (exegesis) are among the topics covered by this collection of papers, written by specialist scholars of Byzantine chant history.

Table of Contents

See pdf at the publishers page: http://www.peeters-leuven.be/toc/9789042927483.pdf

Achilleas Chaldaiakis' contribution about the Eunuch Protopsaltis Philanthropinos

Here with facsimiles in colour: http://www.academia.edu/3308858/

Emmanouil Giannopoulos' contribution about chant treatises in 17th- and 18th-century manuscripts

Please visit his homepage: http://users.auth.gr/mangian/Emm.%20Giannopoulos,%20Hernen%202008.pdf

Review

A collection of essays was published by Nicolae Gheorghiţă:

"Byzantine Chant between Constantinople and the Danubian Principalities"

Bucarest: Editura Sophia, 2010.

Presentation 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)

I would like to announce another publication of this year in the field of Byzantine and Orthodox Chant.

You can buy or review this book here:

http://www.praesens.at/praesens2013/?p=4120

The sticherarion is one of the most important chant books since its creation as a fully notated chant book during the 10th century (the genre of the chant sticheron is much older and can even be traced back to the earliest papyrus fragments of the 6th century) until today, when it still represents one of the main genres of Orthodox chant, defined according to the New Method by its own formulaic repertory within the Octoechos and its own tempo.

Because the study is focussed on the late period (since the reform of Ioannes Koukouzeles and his creation of an alternative kalophonic method during the 14th century), it is of particular interest for Orthodox chanters who would like to understand the connection between the "old sticherarion", a mysterious voluminous book called "mathematarion" ("exercise book" as the alternative name for the sticherarion kalophonikon), and the printed editions of the doxastaria today, which are differentiated between a "short" (syntomon), a "moderate" (argosyntomon), and a "long version" (argon). The author does treat the arrangements of the "old sticherarion" by the 17th-century composers Panagiotes the New Chrysaphes and Germanos of New Patras who became the most representative agents of the Byzantine sticherarion for Chourmouzios the Archivist's transcription according to the New Method (around 1814). 

Hopefully the book will answer a lot of open questions. The sticherarion represents a very huge collection of chant, so Nina-Maria Wanek's study has its focus on the sticheraria of August (menaion) concerning the repertory and on the collections of three libraries concerning the sources: the National Libraries of Austria (Vienna), Greece (Athens), and the Bayerische Staatsbibliothek (Munich, a reproduction of cgm 626, fol. 305r,  is already presented on the hard cover).

Maintenant le libre est arrivé!!!

Il s'agît d'une collection des articles. Visitez ma nouvelle page, svp. Vous trouvez aussi quelques extraits:

http://ensembleison.de/current.htm

Et si vous avez intéresse, là vous pouvez aussi ordonner le livre.

Il contient aussi un CD supplément avec les enregistrements au champs que j'ai fait en Bulgarie.

Je voudrais remercier pour tous les échanges que je pourrais faire dans ce réseau. Ils m'ont aidé beaucoup dans la révision de mes articles.