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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."
Katalog der mittelalterlichen Musikhandschriften der Österreichischen Nationalbibliothek Wien (=Codices Manuscripti & Impressi Supplementum 10), Purkersdorf 2014, ISSN 0379-3621. 198 EUR.
Detailed descriptions of 108 important music manuscripts, short descriptions of further 259 partly notated manuscripts.
521 pages (121 with high resolution color images). Contents.pdf
Complete book as downloadable PDF (open access): http://e-book.fwf.ac.at/o:599
La rivista internazionale Vox Antiqua, promossa da Cantus Gregoriani Helvetici Cultores e da Cantar di Pietre, diretta da Giovanni Conti, è giunta alla sua terza uscita.
Dall'editoriale di G. Conti nel primo numero: "Iniziare oggi un nuovo cammino, per noi significa nello stesso momento onorare la memoria di Luigi Agustoni. Magister magnus è stato degno erede dei grandi monaci medievali, anonimi teorici e compositori di melodie eterne capaci oggi, a secoli di distanza, di intrigare gli studiosi, entusiasmare gli interpreti, stimolare coloro che cercano una guida sicura nel lavoro costante di attualizzazione del linguaggio della musica sacra...".
Cliccando sulle immagini sottostanti è possibile consultare l'indice di ogni numero:
Per informazioni e ordini:
musidora.libri@libero.it
info@voxantiqua.org
Giacomo Baroffio vient de nous apprendre la triste nouvelle du décès de Giulio Cattin, décédé ce matin.
Don Giulio Cattin (Vicenza, 1929), était professeur émérite d''histoire de la musique, après une période où il enseigna les lettres classiques au Séminaire épiscopal de Vicence, il a enseigné l'histoire de la liturgie à l'Université de Pise et l'histoire de la musique médiévale et Renaissance à l'Université de Padoue.
Dear students, colleagues and friends,
as some of you might already know, I have recently published an intruductory book on renaissance music.
The publishing house, that has published my book, has just started a competition.
Everybody who „likes“ their new Facebook-profile advertising my book can win a copy of the book.
https://www.facebook.com/636107129769694/photos/a.641836795863394.1073741830.636107129769694/751722258208180/?type=1&theater
If you do not win the book but are still interested, you can order a copy through the publisher or contact me.
Please find the table of contents of the book on my academia.edu page.
All best,
Felix
The visual representation of speech, sound, and noise from Antiquity to the Renaissance
The Musiconis conference will take into account the conveyance of sound through all types of visual representation, whether figurative, mathematical, graphic, calligraphic, epigraphic, coloristic, ornamental, compositional, substantive or other means. The conference presentations may address all visual media, from monumental art to objects and manuscript illumination.
To propose a paper, send an abstract of no more than 3000 characters to Frédéric Billiet and Isabelle Marchesin by January 31, 2015.
Comité scientifique/Program committee
Dorothea Baumann (Université de Zürich)
Frédéric Billiet (IReMus-Université Paris-Sorbonne)
Susan Boynton (Columbia University)
Florence Gétreau (IReMus-CNRS)
Nicoletta Guidobaldi (Alma Mater Studiorum-Università di Bologna)
Isabelle Marchesin (INHA-Université de Poitiers)
Claude Montacié (STIH-Université Paris-Sorbonne)
Christophe Vendries (Université Rennes 2-LAHM)
Comité d’organisation/Conference organizers
Sébastien Biay (CESCM-Université de Poitiers)
Frédéric Billiet
Isabelle Marchesin
Xavier Fresquet
Fonts for Early Music
by Ross W. Duffin
For the last several years, beginning with the editing of A Performer's Guide to Medieval Music(Indiana, 2000) during the late 1990s, I have been creating fonts for early music, both for use in text discussions and in actual editions. My interest in early notation fonts began in the mid-70s, when I convinced Leland C. Smith to create an early music "package" for his Score program when it was still running on a mainframe computer at Stanford University. Using that system, I created Forty-Five Dufay Chansons from Canonici 213: An Edition in Original Notation (Ogni Sorte, 1983), which was honored with the Noah Greenberg Award from the American Musicological Society for work of benefit to both scholars and performers.
The fonts I have created have been purchased by music publishing houses for use in making editions, mostly for notation discussions, ornaments, and incipits, although many of the fonts have been designed for use in actual editions using Finale. As can be seen in the few samples given below, I believe the symbols are the finest available for these types of notations, and look forward to adding new old fonts as I have the time and the need.
They work best on Macintosh computers, which is to say, I designed the keystrokes for a Mac keyboard, but they can be made to work on PCs as well, as several users can attest. This is never going to be a huge commercial enterprise, but it takes a lot of work to design a font and I ask $50 for each font purchase, along with a request that the font not be passed along to further users.
The fonts are briefly described below. Clicking on the sample character will link to a pdf keycaps file for that font.
...
Finally, an App for Transcribing Medieval Manuscripts
A new app allows medievalists, aspiring medievalists, or medievally minded scriveners to try their hand at transcribing 26 manuscripts on their smartphones. “I’ve been looking for an awesome medieval app like this for ages!,” says one Google Android reviewer, and we can’t help but agree......
http://hyperallergic.com/161301/finally-an-app-for-transcribing-medieval-manuscripts/
Thomas Kelly
Capturing Music
The Story of Notation
An entertaining history of how musicians learned to record music for all time, filled with art that sings.
In today’s digital landscape, we have the luxury of experiencing music anytime, anywhere. But before this instant accessibility and dizzying array of formats—before CDs, the eight-track tape, the radio, and the turntable—there was only one recording technology: music notation. It allowed singers and soloists to travel across great distances and perform their work with stunning fidelity, a feat that we now very much take for granted.
Thomas Forrest Kelly transports us to the lively and complex world of monks and monasteries, of a dove singing holy chants into the ear of a saint, and of bustling activity in the Cathedral of Notre Dame—an era when the only way to share even the simplest song was to learn it by rote, church to church and person to person. With clarity and a sense of wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined.
Kelly reveals the technological advances that led us to the system of notation we use today, placing each step of its evolution in its cultural and intellectual context. Companion recordings by the renowned Blue Heron ensemble are paired with vibrant illuminated manuscripts, bringing the art to life and allowing readers to experience something of the marvel that medieval writers must have felt when they figured out how to capture music for all time.
Cantare amantis est - Festschrift zum 60. Geburtstag von Franz Karl Prassl
ed. Robert Klugseder, publisher: Verlag Brüder Hollinek (www.hollinek.at).
33 article, 384 pages, many color pictures. office@hollinek.at
ISBN 978-3-85119-352-7 (95 EUR)
Nino Albarosa: Segni sviluppati e consuetudine esecutiva................................................ 25
Terence Bailey: A remnant of the Old-Ambrosian office?................................................ 28
Giacomo Baroffio: Il canto gregoriano oltre l’orizzonte dei canti gregoriani.................... 36
Hrvoje Beban: Musik fur geistliche Herrscher: Zagreber Laudes aus der
ersten Hälfte des 20. Jahrhunderts...................................................................................... 46
Inga Behrendt: Tota pulchra es Maria et macula originalis non est in te – eine Antiphon
und ihr Kontext .................................................................................................................. 57
Dirk van Betteray: Gulden mehs – Beobachtungen zum Messproprium Rorate caeli aus
textlich-musikalischer und liturgiegeschichtlicher Sicht ................................................... 69
Barbara Boisits: Der Stellenwert des Gregorianischen Chorals in der frühen
Musikwissenschaft am Beispiel Guido Adlers...................................................................... 76
James Borders: Apropos Chants for the Consecration of Virgin in Medieval
Pontificals from the German Lands.................................................................................... 89
Hana Breko Kustura: Liturgical and chant manuscripts from medieval Istria
(11th-14th centuries) ............................................................................................................. 99
Ana Čizmić: Das Salzburger Pontifikale Wien, ONB, Cod. 1830.................................... 105
Thomas Csanády: Paraliturgisches „Strandgut“ in der mittelalterlichen Bibliothek
von Seckau: Das Stundenbuch Codex Graz, Univ. Bibl., Ms 1119.................................. 113
Peter Ebenbauer: Liturgie in den Umbruchen der Gegenwart. Aktuelle Spannungsfelder
im Ringen um die Gestalt des Gottesdienstes................................................................... 122
Stefan Engels: Deus creator omnium Augustinus als Zeuge fur den Hymnengesang .... 130
Johannes Berchmans Göschl: Transposition oder Originallage? Eine kontroverse Frage
zur Wiedergabe der Quadratnotation im Graduale Novum............................................... 138
Barbara Haggh-Huglo: The survival of early features of psalmody at Cambrai Cathedral 147
Roman Hankeln: Sense structures sound? Analysing facets of text-music-interrelation
in three chant cycles for St. Maurice and the Theban legion (11th-14th century)............... 153
Philipp Harnoncourt: Stationen einer schonen Weggefahrtenschaft................................. 160
David Hiley: The historia for Sts Marinus and Anianus composed at Rott am Inn in Bavaria............................................................................................................................... 163
Gábor Kiss: The Mass Ordinary Formulas of the 18th century Hungarian and
Croatian Pauline Provinces............................................................................................... 172
Martin Klöckener: Sacrum Triduum paschale Passionis et Resurrectionis Domini 188
Stefan Klöckner: Modus, Ton und Melodie: Uberlegungen zum Verhaltnis zwischen
„adiastematisch“ und „diastematisch“ sowie zwischen „relativ“ und „absolut“ bei der Notation
mittelalterlicher Musik................................................................................................ ...... 199
Robert Klugseder mit einem Beitrag von Martin Roland: Choralhandschriften
aus der Klosterbibliothek Mehrerau und dem Vorarlberg Museum Bregenz.................... 211
Wolfgang Kreuzhuber: Zum qualitatsvollen Orgelbau in Osterreich – Entwicklungsschritte
von 1945 bis jetzt............................................................................................................... 244
Réka Miklós: Reformbedurftig: Gesangbuch der ungarischen romisch-katholischen
Gemeinden in der Wojwodina........................................................................................... 255
Rudolf Pacik: Der Klosterneuburger Liturgiestreit beim II. Internationalen
Kirchenmusikkongress 1954. Eine Skizze........................................................................ 265
Andreas Pfisterer: Zum Kyriale des gedruckten Salzburger Missales........................... 274
Jeremias Prassl: Lex Orandi, Lex Credendi: Evensong as the Liturgy of Communities. 283
Alexander Rausch: Der Tonar des Rudolf Volkhardt von Haringen im Melker Codex 1099................................................................................................................................. 289
Erich Renhart: Einige auffallige phonetische Schreibweisen in mittelalterlichen
Handschriften................................................................................................................. 308
Peter Revers: Te lucis ante terminum und Custodes hominum: Zur Relation von
mittelalterlichem Hymnus und japanischem Nō-Theater in Benjamin Britten’s Curlew River................................................................................................................................ 311
Heinrich Rumphorst: Beobachtungen zum lateinischen Wortakzent in den
gregorianischen Kompositionen....................................................................................... 324
Jurij Snoj: An old dissertation on the Sacramentary of Millstatt..................................... 335
Gerda Wolfram mit einem Beitrag von Ernst Gamillscheg: Die Sticheraria Cod. Theol. gr.
136 und Cod. Theol. gr. 181 der Osterreichischen Nationalbibliothek............................ 343
Biographie Franz Karl Praßl ..................................................................................................353
Bibliographie / Diskographie Franz Karl Praßl .............................................................. .........359
Autorinnen und Autoren .............................................................. ........................................381
For further information on the Settimo Corso Internazionale di Formazione sulla Musica nel Medioevo (Florence, 22-25 October 2014), please read the announcement and the application form!
MEM (Medioevo Musicale / Music in the Middle Ages. Mediaeval Music Bibliographical Bulletin)
now on MIRABILE, with an online database of 108.436 manuscripts
« Medioevo musicale: Problemi di classificazione e metodi della bibliografia »
Firenze, presso la sede della Fondazione Ezio Franceschini, via Montebello 7
22-25 ottobre 2013
ÉCOLE PRATIQUE DES HAUTES ÉTUDES
IVe SECTION – SCIENCES HISTORIQUES ET PHILOLOGIQUES
Doctorat
— Musicologie —
LE GRADUEL-RESPONSORIAL-ANTIPHONAIRE PALIMPSESTE DE TURIN
Paris, BnF, ms. Grec 2631 ( Xe-XIe s.)
édition et commentaire
Thèse dirigée par Madame Marie-Noël COLETTE
soutenue le 2 décembre 2006
JURY :
Mme Marie-Noël COLETTE (EPHE) M. Jean VEZIN (EPHE)
M. Giacomo BAROFFIO (Università degli Studi di Pavia)
Mme Susan RANKIN (University of Cambridge, Emmanuel College)
Télécharger :
Bonjour à tous,
Comme vous le savez, depuis 2010 l’entretien de notre réseau « Musicologie médiévale » est payant. Notre hébergeur (Ning) demande un montant de 599.90 $. L’an dernier encore plusieurs d’entre vous ont accepté de me soutenir, je les remercie encore très grandement pour ce geste.
Sans votre aide le réseau n’existerait plus et mes travaux de recherche seraient limités.
J’espère encore que cette année ces frais ne soient pas à la charge d’une seule personne, mais pouvoir compter sur votre générosité à tous.
Mon statut d’étudiant ne me permet pas d’avancer moi-même cette somme qui doit être versée pour le 20 aout 2014.
Si vous désirez soutenir le réseau « Musicologie médiévale », vous pouvez m’envoyer un versement via PayPal à l'adresse suivante: domgatte@gmail.com ou me contacter à cette même adresse pour tout autre moyen de paiement.
Je vous tiendrai informés de l’avancée de vos dons.
Il serait dommage que par manque de moyens financiers notre réseau ferme ses portes.
Aujourd’hui Musicologie Médiévale c’est : 1683 membres et plus de 1300 pages de renseignements (outils de recherches, échanges scientifiques, manuscrits...)
Je vous remercie d’avance pour votre générosité.
Très cordialement,
Dominique Gatté
"Le répertoire grégorien" de l'"Académie de chant grégorien", c'est aujourd'hui :
8.379 pièces grégoriennes.
2.315 textes latins traduits en français.
4.913 textes traduits en allemand.
2.898 référence bibliques.
42.251 références de manuscrits.
13.123 liens vers des manuscrits en ligne
11.762 références de publication.
1.113 analyses morphologiques.
Les nouveautés de ce répertoire sont les index suivants :
- Paris, Bibliothèque nationale de France lat 18010
- Bamberg, Staatsbibliothek Msc.Lit.7
- Paris, Bibliothèque nationale de France lat 9434
Ces index on été faits par votre humble serviteur (Dominique Gatté)
Pour contacter le responsable du site : Gerald Messiaen
Pour suivre l’actualité du Répertoire grégorien vous pouvez vous abonner à sa page FB :
Dans la perspective d'un stage pratique à l'abbatiale de Conques, voici quelques réflexions sur le programme qui sera abordé du 8 au 15 juillet prochains
Chant%20Gr%C3%A9gorien%20%C3%A0%20Conques%20Dossier%20de%20Presse%20mai%202014b.pdf
Fragment de Graduel, vers 1150 (Archives départementales de l'Aveyron, photo IRHT)
Dear friends, colleagues, music-lovers,
Tasto Solo is going to record this august 2014 a new CD!
We are collecting funds to afford this project. There’s a crowdfunding platform where you can support this recording and purchase in advance the CD:
http://www.kisskissbankbank.com/en/projects/tasto-solo-new-cd
We thank you in advance for joining us and sharing this project!
Guillermo Pérez / TASTO SOLO
INVENTAIRE DES LIVRES LITURGIQUES DE BRETAGNE
Par jean luc deuffic
VIENT DE PARAÎTRE
Nous avons le plaisir de vous faire savoir qu'est enfin disponible :
Jean-Luc DEUFFIC
INVENTAIRE DES LIVRES LITURGIQUES DE BRETAGNE. Livres d’heures, de piété, de dévotion et ouvrages associés antérieurs à 1790. Manuscrits et imprimés.
ISBN 978-2-7466-6731-0.
CDROM. Fichiers pdf. Recherche par mot.
Concerne les diocèses de Quimper, Saint-Pol de Léon, Tréguier, Saint-Brieuc, Saint-Malo, Dol, Rennes, Nantes, Vannes.
Index des titres et des manuscrits. Index des noms de saints du domaine breton par diocèse.
Environ 1600 pages – 1800 notices de livres et de manuscrits.
BON DE COMMANDE
Revue Mabillon 1990-2008
"La Revue Mabillon est une revue internationale d’histoire de la vie religieuse et de la spiritualité pour l’époque médiévale et moderne. Axée prioritairement sur la publication et l’exploitation de sources nouvelles relatives aux ordres monastiques et canoniaux, cette revue recouvre une aire géographique qui s’étend à tout l’Occident. Chaque numéro annuel de la nouvelle série, depuis 1990, contient environ 350 pages et est édité en collaboration avec l’EPHE et la Société Mabillon."
http://brepols.metapress.com/content/121246/
Vous trouverez ici l'accès gratuit de 1910 à 1989:
http://visualiseur.bnf.fr/ark:/12148/cb34349219d/date
Partnership
and your logo here...
We need other partners !
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Soutenir et adhérer à l'Association Musicologie Médiévale !
