Интонационните формули (ихими) като елемент от осмогласната система. Списъци с ихими във византийски пападики-трактати

Author(s): Stanislava Georgiava / Language(s): Bulgarian Issue: 3-4/2007

This study is focused on the echemata lists in the Byzantine papadike treatises. The intonation formulae known as echemata are examined in the context of the eight­ mode system (oktoechos). Observations on both the Byzantine modes and echemata are based on theoretical manuals. According to known evidence about the early use of intonational formulae, it is thought that they appeared as early as the eighth century, probably at the same time when the oktoechos itself took shape. From the earliest models of echemata list dating from the 12th-13th centuries to the later ones found in the late papadike treatises of 15th-I6th centuries, a developmental process can be ascertained. Together with the changes observed in the lists some elements remain stable and unchanged throughout the whole of this period. As a result of comparative study of the echemata lists, three levels of development are defined. They concern special characteristics that make each of the levels unique in comparison with the others. Akey position is assigned to a version of John Glykes’ didactic work comprising a full list of echemata of the modes. It is considered as a possible archetype for the echemata lists in the late Byzantine papadike. Some observations are made on the tetraphonos echema. It is examined from two points of view (according to its theoretical and practical use): first, as an universal one containing all the eight modes (their starting tones), plagal modes appearing through the descending tones and authentic modes through the ascending tones; and, second, as an individual one functioning as an intonational fonnula of a particular mode. Explanations of the meaning of echemata syllables as found in some music theories are presented. A theoretical text from Sinai music theory dealing with this matter written in question-answer form is given as an example. Various methods of indicating mode are discussed and illustrated with samples from early and late Byzantine manuscripts. The special kind of melismatic intonational formulae are not included in the present article; instead, they are the subject of a forthcoming publication. In conclusion, the development of echemata lists is characterized by a tendency toward their enrichment and extension. The changes are obviously a result of the general development in Byzantine church music: the rise and flowering of the kalophonic style, growing interest in modal theory, etc. Echemata reflect these changes in music theory and practice. After the Chrysanthos reform, music theory was based on new rules, which led to the rise of new shapes of echemata, which were quite different than the late Byzantine ones, characterized in the Mega Theoretikon of Chrysanthos as “interpreted according to the new method.”

Йоасаф Рилски

Author(s): Svetlana Kujumdzieva / Language(s): Bulgarian Issue: 3-4/2007

Joasaph of Rila is a distinguished music teacher and composer. According to some new evidences found, he lived between 1780 and 1852. Joasaph left two inscriptions in two copies of the book containing Service for St. John of Rila that was sponsored by him and published by Neophit of Rita in 1836. The inscriptions prove that he was Bulgarian by birth: he was born in village of Rajovo near the town of Samokov in the south-western part of Bulgaria. His activity was linked to the Rita monastery, and especially to the Rita singing school, one of the greatest singing schools in the Balkans during the 18th and 19th century. According to Neophit of Rita Joasaph, as a Rita monk, was sent to Mount Athos in 1802 to learn the Eastern chant. He spent 10 years there and after his coming back to the monastery in 1812, he was appointed as a teacher of this chant there. In 1816 Joasaph was sent for six months to Istanbul to learn the “New Method” that was established by the three “teachers”: Chrysantos, Chourmusius and Grigorios Protopsaltis. Coming back for the second time to the Rila monastery, Joasaph was the first to teach this method at the Rila singing schoAs a composer, Joasaph wrote pieces in Greek and Slavic. His works are found in 15 manuscripts preserved now at the library of the Rila monastery and at the two monasteries on Mount Athos ­ Xenophontos and Dionisiatos. The pieces are labeled as “translations”, “interpretations” (“exegeseis”) and “original” works. They were designated for the Great Vespers, the three liturgies (the Liturgy of St. John Chrysostomos, the Liturgy of St. Basil the Great and the Liturgy of the Presanctified Gifts), for some special services like the beginning of the new church year (September 1), Pasha, the Elevation of the Cross (September 14), etc. The study of the pieces reveals virtuosity and invention and represents Joasaph as both fine chant teacher and composer. The pieces, also, represent Bulgarian contribution to the development of the Balkan Orthodox music at the time of Joasaph.

Богословски поглед върху средновековните музикални трактати

Author(s): Ivan Ivanov / Language(s): Bulgarian Issue: 3-4/2007

This article focuses on Medieval musical treatises. Some of the texts from the Papadite are analyzed in order to reveal in detail their essence and function as complete musical theories or as a mystical combination of sign and symbol. The article covers the 13th and 14th centuries, a period which marked the pinnacle of the dissemination and application of the doctrine of Hesychasm, a doctrine which lies at the basis of the new musical and hymnographic style. This work discusses the collections of songs known as αηκολουθι, αϊ linked with a newly-composed stylistic layer (defined as νέον in the earliest documents). The newly-composed repertory is defined as καλοπισμός, καλοφωνικός, i.e. decoration and sweet-singing (καλοφωνια from καλός “beautiful” and φωνή “voice”). Special attention is devoted to the so-called kratimataria - collections of kratimata, a kind of teriteme - tunes without words that rest on syllables without meaning. The work presents the so-called great hypostases (μεγάλες υποστάσεις), which were seen for the first time in the Athens 2458 MS from the year 1336, a manuscript containing works by St John Koukouzeles, including polyeleion calophonic (sweet-sounding) verses. An analysis is offered (on the basis of a theological and hermeneutical interpretation of the text) of Papadike, the musical theory treatises (in Greek and in Slavonic languages) dating from the end of the Byzantine epoch (the 15th through the 17th centuries). These treatises show the methods of teaching the Faith through the singing practice of the Byzantine Church. This analysis provides grounds to give new meaning to the liturgical life of that church. The Papadike are defined as musical theories and mystical combining of sign and symbol. An analysis is made of texts from the Hilendar 311 MS from the 18th century (and its Church Slavonic version translated from the Greek), Codex Vatic. Gr. 872, from the beginning of the 14th century, as well as other documents. The article reveals the hidden meaning of the introductory intonation formulae (άπήχημα, ενήχημα), which were deciphered in a technical sense by Byzantine musical scholars. That hidden genuine sense can be revealed only through theological interpretation. The introductory intonation formulae are defined as fundamental devotional and confessional formulae. The article draws a comparison with specific texts from the prayers and sacraments of the Church.

Authors in this issue

Author(s): Author Not Specified / Language(s): English Issue: 3-4/2007

Authors in this issue.

Православна музика. Въведение

Author(s): Elena Toncheva,Ivan Ivanov / Language(s): Bulgarian Issue: 3-4/2007

Църковно пеене и духовност

Author(s): Kiril Popov / Language(s): Bulgarian Issue: 3-4/2007

Church singing has been defined as a vital necessity for spiritual sustenance, an indivisible part of the liturgy (its “breath”), and the active link between earth and heaven, where the holy hymns are constantly heard (Revelations 4:8): angelic songs of praise, voices from the heavens, and eternal harmonies that inspire the Christian soul to strive towards saintliness. The author traces statements about Church singing made in the Holy Scriptures, as well as by the most prominent church fathers from the time of the apostles until the fourth or fifth centuries, and in the decisions by the Ecumenical Councils. According to the author, the true history of church singing began after the Edict of Milan (313 A.D.) that proclaimed Christianity as the official religion. Rule 15 of the Council of Laodicea in 343 A.D. was also important, since it allowed only ordained singers to participate in the practice of church singing (in contrast to the common practice until that time that had allowed all to sing without conductors, which led to the incorporation of pagan Greek elements). The 75th rule of the Sixth Ecumenical Council (680-681) is cited, which harshly rebukes singers who “use scandalous howls” and “unnatural cries.” It emphasizes that holy chants are not intended to be performed using “vocal ornamentation inappropriate to liturgical needs, such as, for example, dramatic melodies and unnecessary turns of the voice.” According to the author, liturgical eight-voice polyphony, the system of voice parts that forms the basis of liturgical chant was created in the spirit of these recommendations. In the second half of this paper, the author critically analyzes contemporary lit vertical vocal performance, outlining its problems and weaknesses. The first problem is the shortage of qualified liturgical singers and conductors. It is necessary to improve the system of education for liturgical singing by introducing specialized courses not only irreligious, but also in secular musical institutions (such as the National Musical Academy in Sofia). The low spiritual and emotional level of the chance being performed is pointec out as an alarming problem. Prayer is the goal and the meaning of liturgical singing which was called “verbal melody” by the Church fathers. The preceding period (after 1944) is regarded as an unfavorable time for liturgical singing during which it was considered anachronistic. Today, it is once again taken its rightful place on the concer stage; however, this is led to incorrect interpretations and coarse individualism that is not suitable to the liturgical song style: dramatic effects are introduced that an inappropriate manners of performance, such as щрих, staccato, contrasting dynamics and humming. The highly regulated place of each chant within the service is not taker into consideration, thus inadmissible changes are made to the liturgical text. Arrangements and new works are created that allow the incorporation of secular elements...

Zoltán Kodály and Universal Editions – A Double Portrait Emerging from Letters

Author(s): Ferenc Bónis / Language(s): English Issue: 04/2014

The correspondence between Zoltán Kodály and the Viennese Universal Edition – like that between Bartók and the Viennese publisher, only excerpts of which have been published to date – is an invaluable source of twentieth-century music history. It reveals unknown details about the creation, publication and contemporary critical reception of certain works, throwing light on the “everyday” work of composer and publisher from the rounds of proofs and preparing new impressions to the financial aspects of the artist and distributor. The letters provide information about whether the publisher’s initiatives came across in the development of the composer’s oeuvre. Also, during harsh historic times, they bear witness to the direct or indirect influence of “high politics” on business policies, that testing aspect of the relationship of composer and publisher.

Viata lirică si dramatică a exilatului (interviu)

Author(s): Alexander Bălănescu,Adriana Cârcu / Language(s): Romanian Issue: 07/2013

Az amnézia szótára - A Csendes Dalok Valentyin Szilvesztrov életmũvének fordulópontján

Author(s): Bálint Veres / Language(s): Hungarian Issue: 2/2005

This study is a parallel of an earlier text appeared in the Review of Pannonhalma (The Kurtág-encyclopedia, 2002 No.2) and it is defined also by a pathological metaphor. While the study on Kurtág´s music focused on the paradoxical duality of aphasia (inability of speech) and encyclopedia (the universal ability of verbal reflection), the present essay on the Ukrainian composer Valentin Silvestrov´s music uses another paradoxical duality: amnesia and cyclopedia i.e. vocabulary. In this case the main point of interest is the function of (musical) recollection and the availability of tradition itself. In this context the author examines the potential readings which interpret Silvestrov´s music as an example of kitsch and/or faking (following such theories on kitsch/faking as the ones of Abraham Moles and Sándor Radnóti). Finally, the text declines both indictments and closes with a brief reference to the peculiar theme of Silvestrov´s aesthetics: viz. the era and zone of the postludium.

THE ORIGINS OF ORGAN TOCCATA. TERMINOLOGY AND SOURCES FROM THE MIDDLE AGES TO THE RENAISSANCE

Author(s): Zsolt Garai / Language(s): English Issue: 2/2012

This paper addresses the complex issue of the Toccata genre. The first part aims to define the term Toccata from a historical and philological perspective as well as to summarize the viewpoints of various theorists about Toccata as a genre, as reflected in a variety of older or more recent musicological sources. Their review is intended on the one hand to highlight the complexity of the subject of the Toccata genre, and on the other to illustrate the active character of the research and the refinement of the hypotheses, observations, comparisons, argumentations and conclusions. The purpose of the second part of the paper is to offer an original analytical contribution to the studies on Toccata evolution in various European countries like Italy, Spain, Germany and on its correlation with genres like falsobordoni and intonazioni, while capturing the similarities and the specific differences between them. This study is therefore intended to lead to a few important questions concerning the origins of organ Toccata: is it an improvisatory, free genre or is it based, harmonically and structurally, on a cantus firmus or on a psalm tone? Does it by any chance derive from the intonatio and is it somehow influenced by the embellished vocal falsobordoni?

THE SINAI MUSICAL MANUSCRIPTS: NEW EVIDENCE

Author(s): Balageorgos Dimitrios K. / Language(s): English Issue: 2/2012

St. Catherine's Monastery on Mount Sinai hosts one of the richest collections of manuscripts in the world. Among the various Sinai manuscripts (about 5,000 codices written on papyrus, parchment and maps), stands out the remarkable collection of about 400 musical codices of great value and importance to the history of the art of chanting. The need for a detailed study of the Sinai musical manuscripts and of the treasury of melodies and information accompanying them acted as an incentive to the author of this paper and to Mrs. Flora Kritikou, to develop a complete catalogue with detailed descriptions of the contents of these musical manuscripts. The study began in June 2004 and the first volume of the catalogue is already in print. In June, 2011, another visit took place to the monastery of St. Catherine in order to continue the task of gathering the material for the second volume of the catalogue. This release aims to present the new pieces of information and elements that emerged in the course of this study, in order to enrich our knowledge with new facts and fill in the gaps in various chanting issues.

ADELA-FRANÇOISE BIHARI – BERGSON’S COMIC. TEXTUAL STRUCTURES/MUSICAL STRUCTURES - Review

Author(s): Tatiana Oltean / Language(s): English Issue: 2/2012

MODERNITY AND ACCESSIBILITY. A POSSIBLE PARADIGM FOR MUSICAL COMPOSITION

Author(s): Dediu Dan / Language(s): English Issue: 2/2012

In the process of communication, music plays different roles and therefore can be conceived in terms of five different perspectives: psychological, social, cultural, ideological and moral. To play these complex roles, music needs to be able to be understood. In this study we will focus only on the problem of accessibility and of its relationship with modernity, illustrating certain theoretical assumptions with samples of musical experience that are highly relevant in this context. We will start our quest for the purports of the phenomenon of accessibility by relating to a dialogic linguistic model imagined by the Russian linguist Yuri M. Lotman, which we will expand and extrapolate. Then, in the realm of accessibility we will distinguish between the receiving subject and the meaning-bearing object – in this case, the musical work of art – to then make the junction with another exemplary model proposed by the American composer and researcher Fred Lerdahl, commented and completed through an edifying parallel with the literature of Gabriel Garcia Marquez. Our final proposal will thus prove to be not only a challenging scientific endeavour, but also a viable creative route into contemporaneity.

GHEORGHE BURADA (1831-1870) – A FORERUNNER OF MUSIC OF IAŞI

Author(s): Irina Zamfira Dănilă / Language(s): English Issue: 2/2012

The contribution of Gheorghe Burada (1831-1870), composer and conductor of Iaşi, to the musical life, musical education and to religious and lay musical composition is important as it represents one of the first steps in knowing, understanding and applying the composition principles of Western tonal music – not heard of before the beginning of the 19th century. Gheorghe Burada was the conductor of the first choir singing religious harmonic music and also the first to teach musical theory and solmization at the Academy of Music and Dramatic Art of Iaşi. He composed both lay and religious music, yet his scores were never published. In the works he authored, lay and religious – now preserved at the Special Collections Department with Mihai Eminescu Central University Library – the principles of tonal classical music can be recognized, in a simpler, more rudimentary, yet effective form, lacking, however, genuine artistic mastery. His main religious composition, Divina Liturghie a Sf. Ioan Gură de Aur, having as a subtitle “music that was partly adapted from Russian and partly being an original composition by G. T. Burada, Iassie” he introduced harmonized melodies belonging to the Russian-Ukrainian lithurgic repertoire and original melodies created in the same style and adapted using mainly harmonic techniques, while he very rarely employed elements of immitative polyphonic techniques. The ratio text – music is not neglected, the composer adequately illustrates the meaning of the lithurgic text. Elements of musical agogic and dynamics are also present in his scores, which make the musical discourse more expressive, at the same time proving Gheorghe Burada’ good musical training as well as his experience as a conductor of church choirs.

SOME IDEAS ON THE POSSIBLE PERCEPTION OF MUSICAL STRUCTURES

Author(s): Wolfram Wagner / Language(s): English Issue: 2/2012

Starting point of my thoughts is the question what exactly (as far as it is possible to find out by thinking over it) happens in the ear, respectively in the brain, while listening to music, in the sense of the processing of the acoustic information. Connected to how this processing of information works is the question how music can be made up to provide the acoustic perceptive apparatus with stimulation and food which are usable for it, that is to say, from which the listener can derive the sense of what the composer tries to tell him. Those are fundamental thoughts, applied also to musical examples, which are important for me to keep in mind when I am composing.

THE MODERN CONCEPT OF GRAMMAR. SYNTACTIC AND SEMANTIC ASPECTS OF LANGUAGE SYNTACTIC AND SEMANTIC ASPECTS OF LANGUAGE)

Author(s): Alexandru Boboc / Language(s): English Issue: 2/2012

The paper starts from the idea that thought and speech work together as a unit and that language itself is not a simple means of communication, but plays an active and generative role. Beyond the task of the grammar of a language to provide rules for the formation of meaningful expressions, there is the complex activity of the mind, which includes the creative function of the language. “Grammaticality”, therefore, is not reduced to the criterion of rule, but is also structural to the language and to the unity between language and thought. The chapters of the paper deal with aspects related to the structure of the natural, formal and musical language from a syntactic and semantic perspective. It is in this context that the discussion about musical language unfolds, a discussion that should consider the relationships with thinking, just as the development of the musical discourse should revolve around the theory of the work of art. Thus, the essence of music resides in becoming, it is not a chain of moments or of forms of existence. In the becoming of the enduring music lies only the unique possibility of its manifestation now, here, thus and not otherwise. The spirit is present at any point in the evolution of music, pursuing the line of becoming, which is simultaneity.

Kineski narodni instrumenti i muzika

Author(s): Mina Tasković / Language(s): Serbian Issue: 113/115 I/2006

An important component of Chinese musical art is the fact that folk musicians have great artistic talents and that they are familiar with different ancient playing techniques. Most classic music pieces from China, written for traditional Chinese instruments, originate from the period at the end of the Ming dynasty and the beginning of the Qing dynasty. Wind and percussion instrument music is one of the most common forms of Chinese music.

Ugdymo turinio pokyčiai Lietuvos muzikos/meno mokyklose: mokyklų vadovų požiūrio analizė

Author(s): Giedrė Gabnytė,Diana Strakšienė / Language(s): English Issue: 16/2012

With a view to a more precise diagnostics of current peculiarities of education in music / arts schools, leaders‘ of the latter Lithuanian schools attitude towards musical education and its possible perspectives was analyzed. The analysis of the obtained data shows the realistic situation: the education being carried out at music / arts schools is still influenced by the traditions formed in the past century, and is partly determined by the leaders‘ attitude, is frequently isolated from society topicalities, is rather reserved with regard to spread of innovations. However, the research conducted also emphasized positive aspects of education: educational forms attractive for students are gradually included into contents of education in separate schools, various demands of the students are being taken into consideration, more divert artistic expression more acceptable for students is being encouraged.

ROMANIAN CHORAL RETROSPECTIVE II

Author(s): Ancuţa Sandu / Language(s): English Issue: 2/2011

PRECEPTS OF CHRIST EMBODIED IN THE FANTASY IN F MINOR OP.103 BY FRANZ SCHUBERT

Author(s): Manuela Mihăilescu / Language(s): English Issue: 2/2011