Early Sources with Middle Byzantine Notation.Transition Coislin Notation in Diastematic Stage in the second half of XII century.(According to...

Ранни източници със средновизантийска нотация. Преход на Coislin нотация в диастематичен стадий през втората половина на XII в. (по материали от...

Author(s): Yanko Marinov / Language(s): / Issue: 2/2004

Early Sources with Middle Byzantine Notation.Transition Coislin Notation in Diastematic Stage in the second half of XII century.(According to materials from the Sticherarion)

Historical tracing of echemata section (των ήχημάτων) in Yanko Marinov byzantine musical treatises based on sources dated between XII-XVI century

Историческо проследяване на дяла echemata (των ήχημάτων) във византийските музикални трактати по извори от XII до XVI в.

Author(s): Stanislava Georgiava,Yanko Marinov / Language(s): / Issue: 2/2004

The heritage of Byzantine musical treatises known as προπαιδεία and προθεωρία is a valuable source of information about neumatic notation and its use in ecclesiastical chants. The present work deals with the section of intonation formulas (echemata) and its close relation with the liturgical practice. Usually, this section follows others which represent the names, graphic symbols and combinations of the neumes, their classification in groups and the exposition of the modes, modal signatures and modulation signs φθοραί. We find some clarification of the meaning of the mysterious words used for singing the intonation formulas (without literal translation) - αvαvεαvες, ανεαvες, αvεσ, αγια etc. in Greek-Arabic music treatise Petrop. Gr. 497 identified by Yanko Marinov as a part of Sinai Hirmologion 1257 (1332) and in the treatise of Chrysantos. The wide space dedicated to echemata section in some of the byzantine musical treatises is indicative of their important role in liturgical practice during the Middle Ages. Analysis of the various kinds of intonation formulas (intonations) and comparison between them take up a large place in this study and every detail of theirs is important because they witness the regional characteristics. The echemata variants of four modes (first, second, third and forth plagal) are classified in several groups each of them including intonations that have identical (similar) melodic constructions or endings. Two types of exposition in the echemata sections are being distinguished here: an early type, in which the intonations are few in number and they are given mostly in their short forms and a late type including numerous additional variants some of them combined with the incipits of certain stichera. Also the number of the intonations containing melismatic figures increases in the late treatises . We find melismatic variants even in the earliest sections of echemata, a fact that makes us conclude about the simultaneous existence of short and melismatic intonations before their inscription in treatises. The study is based on eight byzantine manuscripts dated between XII-XVI century. (The list of sources and their abbreviations is given on page 5). Sticherarion 1218 does not contain a full treatise. In it we can find the earliest systematic exposition of the intonation formulas (f. 271) according to the known up to now sources. Even though the treatise Petrop. Gr. 495 contains no colophon, however it could be dated according to Sticherarion Sin. gr.1231 (1236). In terms of the date of the Vatican anthology Barb. gr. 300, we accept the thesis of E.Gamillscheg, D. Harlfinger and H. Hunger. A part of the present publication also deals with the problem of close relation between intonation formulas and modal signatures; a subject on which efforts have been made in a lot of studies to enlighten us. O.Strunk’s thesis that the signatures are a simple abbreviation of the intonation formulas presumes the secondary character of

Introduction

Увод

Author(s): Elena Toncheva / Language(s): / Issue: 2/2004

Authors in this issue

Authors in this issue

Author(s): Author Not Specified / Language(s): / Issue: 2/2004

Authors in this issue.

Triodion for Good Friday by Kosma from Majuma in Early and Round Notation Sources from X-XIV century

Трипеснец за Велики петък от Козма Маюмски в ранно- и средновизантийски извори от X-XIV век

Author(s): Svetla Tsvetkova / Language(s): / Issue: 2/2004

The study aims to present different sources.The Heirmoi of the Good Friday Triodion (a canon containing 3 odes) which belongs to the significant, in trems of quantity, hymnographical work of Cosma from Majuma , are presented by Byzantine musical manuscripts written in Round notation (XIII-XIV c.) and by others written in paleobyzantine notation system (X-XII c.). The Heirmoi of this canon are written not only in Heirmologions, but also in other sticherarions where the repertoire for Easter week is written down so detailed that it reaches the level of a full liturgical typicon.

Byzantine Liturgical Chants from Southern Italy

В изантийски литургически песнопения в Южна Италия

Author(s): Ivan Ivanov / Language(s): / Issue: 2/2004

The main source which is considered in the article (study) is the book “L’antica melurgia bizantina” by hieromonk Lorenzo Tardo. The book is little known in Bulgaria. In presenting the book to the readers I have preferred those data which provide information on Byzantine music in the territory of Italy. The book also presents sources from libraries and monasteries in Italy. This work by Tardo is of Eastern Church chants. It is based on evidence from the monastic school in the Grottaferrata Monastery near Rome. It was printed in 1938 in the Eastern Italian school of printing bearing the name of St. Nilus. The author also relies on a large number of documents as living evidence of the importance and beauty of those medieval works which in his opinion are a model of Byzantine music and hymnography and which are still in use in the Church. The chants presented can be accepted as models showing the interaction of the oral and written traditions of Byzantine chant. The book by L.Tardo is not the object of a critical study. It cannot rival contemporary works on the subject but it provides valuable obserations in the field of Byzantine music and hymnography in the Italo-Greek area. By means of a comparative analysis of many musical documents preserved in Italian libraries and their interpretation by hieromonk Lorenco, we obtain a picture (we get an idea) of the vitality and importance of the local oral tradition and its legitimization in the practice of the Church as a genuine bridge between the East and the West.

Methods for scientific work - on the example of the "Byzantine church music. Investigations on Easter circle in Backovo Monastery (Bulgaria)"

Методи за научна работа - върху примера на „Църковната музика. Изследвания върху Великденския цикъл в Бачковския манастир"

Author(s): Deniza Popova / Language(s): / Issue: 2/2004

Commentaries and inquiries: The Flesh of the Message or the Bodily Shell: Dilemmas of the Recipient of Contemporary Audiovisual Culture

Omówienia: Mięso przekazu, czy skorupa ciała: dylematy odbiorcy współczesnej kultury audiowizualnej

Author(s): Marta Paluch / Language(s): / Issue: 24-25/2012

The point of departure for the present article is a debate around the image of Izabelle Caro, which has proven to be received as shocking not because it transgresses the taboo of nudity, but because it violates the taboo of the ideal body. The model’s body has been presented to the broad audience in its “raw,” unbeautified state, thus forcing the viewers to acknowledge the existence of an ill body, a body remote from the preferred ideal, and―most importantly―a body which has become ill as a result of the strife to live up to the ubiquitous template of perfection. In the case discussed by the author of the article, the result which such a struggle yields stands in direct opposition to its goals. Pretending to be natural, the fully digitized―or, in fact, digitally generated―body of the model is painfully confronted with what apparently is the same body, yet a body entirely natural, although degraded and exhausted by the destructive power of the former. The viewer facing the image, in which the body is central and its background reduced to a blur beyond signification, confronts the exposed and emphasized discrepancy: its immediacy does not allow him or her to remain indifferent. However, the lack of background results in the model’s suspension in vacuum: her body fails to harmonize with its surrounding, as is the case with bodies functioning as empty or void indices. It is for this reason that an average “consumer of the image,” lacking proper interpretive tools, is likely to fail to tame such an image or to acknowledge its authenticity. Rather than that, he or she may be inclined to reduce the final outcome of the photographer’s work to computer manipulation.

Commentaries and inquiries: The Loom of the Land

Omówienia: Osnowa złej ziemi

Author(s): Sławomir Masłoń / Language(s): / Issue: 24-25/2012

The essay endeavours to show that the problems encountered while attempting to determine the ontological status of The Manuscript Found in Saragossa (the original text does not exist; what is taken for it is a compilation of fragments in various languages) have a wider significance than merely a textological one. The way the fragments of the text reflect each other making the position of an interpreter very uncomfortable is reflected in the problems the main protagonist of the novel has with ascertaining the nature of reality he encounters in Sierra Morena, which is being constructed for him by means of multiple stories he is told during his journey and of which the novel mainly consists. Because these narrations cannot be classified as either cunning fictions or true renditions of reality, the status of the experience taking place becomes ever more problematic. Taking into account the structural impossibility of the all-encompassing perspective inscribed the novel, the essay tries to show that the status of the reality and the narratives presented in the text is very different from what is finally presented to the protagonist as the true interpretation of the events. Relying on “truths” whose origin is the discourse of the King and the Church, the interpretation attempts to “explain” the space which extends beyond such authority using categories which are not applicable to it. This space is also the space of narration as literary practice.

Locked in the Library: Reflections on Metanarratives and Academic Weltanschauungs

Zamknięci w bibliotece, czyli rozważania o metanarracjach i naukowych wizjach świata

Author(s): Paweł Jędrzejko / Language(s): / Issue: 24-25/2012

The main idea underlying the article is that of the interdependence between the essential notions of the central metanarratives of logocentric cultures and the inventory of concepts available as keywords for academic research. In other words, the argument of this paper is designed to draw the attention of the reader to the fact of the interdependency between the language used to describe the world and the existence (or inconceivability of existence) of entities inhabiting it. The starting point for the musings collected here is Ludwig Wittgenstein’s famous adage, which provided the motto for the present observations. Departing from there, the argument develops into a deepened reflection concerning the limitations of the development of knowledge in a logocentric world. Eventually, it leads to the question of discourses which dictate the characteristics of everyday strategies of library and Internet research, as employed by students and scholars alike. The final part of the text is dedicated to the potential of figurative language in the search for possible solutions to the menace of the vicious circle of recognized methodologies. First and foremost, however, the present musings provide a point of departure for further philosophical and philological debate on the state of knowledge and of its development.

Dialogues and polemics: Amiri Baraka: A Poet Fighter (Two Interviews)

Polemiki: Amiri Baraka: poeta walczący

Author(s): Paweł Jędrzejko / Language(s): / Issue: 24-25/2012

The tripartite “Dialogues and Polemics” section of the present issue consist of Christopher Bigsby’s interview with Amiri Baraka (originally published in the "Theatre Quarterly" in 1978), the latter’s controversial poem “Somebody Blew Up America” and a conversation with the poet recorded in the artist’s backstage room of the Hipnoza Jazz Club in Katowice, Poland, immediately after a moving performance of the Amiri Baraka Speech Quartet during the "Ars Cameralis Silesiae Superioris" Festival in 2009. The interlocutors were accompanied by a leading jazz pianist, Dave Burrell, and an excellent double bass player, William Parker. Attempting to illustrate the metamorphoses of Amiri Baraka’s artistic and political Weltanschauung over the past three decades, the juxtaposition of the two interviews demonstrates both its continuity and its evolution. On the one hand, artistic attempts to contrast the current discourse of Americanness with the ideological basis of the American project seem to be constant in Baraka’s work: the artist employs “Americanness” to criticize Americanness, as is the case in his unsettling interpretation of Melville’s "Moby-Dick", entitled “Re: Port” (1996) ― or in his “Somebody Blew Up America” of 2001, the publication of which cost him the title of Poet Laureate of the State of New Jersey. On the other hand, his concept of People’s Revolution undergoes change, reflecting the artist’s ideological evolution in the light of the transformations of social, political and economic realities of America in the past thirty years.

Dialogues and polemics: “Somebody Blew Up America”

Polemiki: „Ktoś wysadził Amerykę” („Somebody Blew Up America”)

Author(s): Amiri Baraka / Language(s): / Issue: 24-25/2012

A Victorian Cathedral of Art

Wiktoriańska katedra sztuki

Author(s): Anna Antonowicz / Language(s): / Issue: 24-25/2012

The Victorian epoch was a period of great admiration for- and revival of medieval, particularly gothic, design. Although the Victorian South Kensington Museum (today Victoria and Albert Museum) did not replicate gothic architecture, the objectives and character of its interiors show significant parallels to it in terms of the impact which the gothic cathedral would exert on its visitors. The gothic cathedral would appeal to the eye by its grand scale, majestic beauty and opulent decoration. These three features constituted an impressive―and effective―instrument in the diffusion of Christian dogmas and teachings to all classes of the medieval feudal society. A similar mechanism pertaining to the treatment of the interior as a didactic iconographic text was made use of in the case of South Kensington Museum in the mid-Victorian period. The application of such a mechanism helped emphasise the authoritative character of the Museum as an institution responsible for the reform of British decorative art and art education, as well as for the improvement of artistic tastes of all classes of the Victorian society in Britain. In other words, the interior iconographic programme transformed the South Kensington Museum into an institution of an exceptional public missionary role, a cathedral among other Victorian temples of art.

Dialogues and polemics: “The Theatre and the Coming Revolution”

Polemiki: Teatr i nadchodząca rewolucja

Author(s): Amiri Baraka,Christopher Bigsby / Language(s): / Issue: 24-25/2012

Summaries in english

Summaries in english

Author(s): red. Errgo / Language(s): / Issue: 24-25/2012

Dialogues and polemics: Still a Revolutionary

Polemiki: Wciąż rewolucjonista

Author(s): Amiri Baraka,Paweł Jędrzejko / Language(s): / Issue: 24-25/2012

Reviews: Writer-Visionary-Philosopher: Herman Melville’s Thought in the Context of the Western Culture of Discourse

Recenzje: Pisarz, wizjoner, filozof: myśl Hermana Melville’a w kontekście zachodniej kultury dyskursu

Author(s): Julia Szołtysek / Language(s): / Issue: 24-25/2012

Notes on books

Noty o książkach

Author(s): Paweł Jędrzejko / Language(s): / Issue: 24-25/2012

Info for contributors

Informacje dla autorów

Author(s): red. Errgo / Language(s): / Issue: 24-25/2012