Melania Nagy | Gheorghe Dima Music Academy Cluj, Romania (original) (raw)

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Papers by Melania Nagy

Acta Musicae Byzantinae, vol. VII, pp. 104-113, 2004

Considering the time when the work was written (1940) and the unusual association of two widely d... more Considering the time when the work was written (1940) and the unusual association of two widely differing terms, Paul Constantinescu's Byzantine Sonata evokes through its very title an attempt at fusing the instrumental musical characteristics of the sonata with the exclusively vocal practice of Byzantine monody. Paul Constantinescu did indeed combine in an authentic manner the Eastern Church music with its byzantine roots and the refinements of Western cultivated music. There are two suggestions at main archetypal elements in the work analyzed in this paper: the elements of the baroque solo sonata/suite for string instruments and those of Byzantine monody. Paul Constantinescu demonstrated in some of his compositions such as Christmas and Easter Byzantine Oratorios, Two Studies in Byzantine Style and Byzantine Sonata for Viola or Cello- analyzed in this paper-constant preoccupation for such syntheses, bearing however the stylistic hallmarks of a 20th century composer.

Crossroads. Greece as an intercultural pole of thought and creativity. Conference Proceedings, pp. 607-617, 2013

The Romanian Academy Library of Cluj-Napoca holds a collection of seven post- and neo-Byzantine m... more The Romanian Academy Library of Cluj-Napoca holds a collection of seven post- and neo-Byzantine musical manuscripts in Greek, written in both the Old and New Methods of notation. Most of them had formerly belonged to Timotei Cipariu (1805-1887), a renowned Romanian orientalist, owner of an impressive library at that time. Our paper focuses on the 19th century Manuscript O. 354 from this collection, a short Heirmologion by Petros Byzantios. A great deal of our work is dedicated to the description of the manuscript, both physical and from the point of view of the content. We have pointed out the connections and differences between Ms. O. 354 and the similar Greek printed version, published in 1825, in Constantinopole. The manuscript is known basically among Romanian musicologists. Thus, the main aim of this paper is to draw the attention of international scholars to this Greek manuscript and the whole collection of mansucripts mentioned, found in Cluj-Napoca.

Artes, vol. 13, pp. 35-56, 2013

The aim of this paper is to present the diverse manner in which the chromatic genre occurs in the... more The aim of this paper is to present the diverse manner in which the chromatic genre occurs in the podoben (prosomia) melodies, using examples taken mainly from the manuscripts kept in Cluj-Napoca libraries. Beside the frequent case of the chromatic second authentic mode exchanging scale with its plagal, there are also podobens in diatonic modes borrowing scales of the chromatic modes. We found Romanian manuscripts and also Greek ones containing series of podobens for all eight modes. Each of these podobens has a number of variants, as reflected in the chosen manuscripts and printed books. The oral tradition influence is evident once more even when we are dealing with a written repertoire, such as the one analysed in this paper.

Musicology Papers, vol. XXVII No.1, pp. 97-112, 2012

Although psaltic music is not considered to be representative for central Transylvania, there use... more Although psaltic music is not considered to be representative for central Transylvania, there used to be a constant concern for this type of music in this area. The phenomenon is also reflected by the presence of the fifteen manuscripts in the Byzantine tradition, in the public libraries of Cluj-Napoca. The number is small compared with that of the similar documents preserved in other Romanian regions. In this context, each newly discovered manuscript has been minutely described by the Transylvanian researchers in relevant publications. This paper presents a sixteenth manuscript, this time one kept in the private library of the poet Marcel Mureşeanu from Cluj. As a nineteenth-century document in Chrysanthine notation, the value of the manuscript lies in the five polychronia it contains, dedicated to princes and hierarchs of Wallachia. Our primary purpose is to signal and give a detailed description of the manuscript, so that it can be included in the relevant catalogues. We believe that further comparative research will increase the importance of this document.

Thesis Chapters by Melania Nagy

PhD Thesis, 2016

The psaltic manuscripts in Chrysanthine notation held in the libraries of Cluj-Napoca, although r... more The psaltic manuscripts in Chrysanthine notation held in the libraries of Cluj-Napoca, although relatively small in number as compared to those from other Romanian regions, provide a comprehensive view of the 19 th century Byzantine music. Our thesis comprises an introduction, five chapters, conclusions and an appendix.

Acta Musicae Byzantinae, vol. VII, pp. 104-113, 2004

Considering the time when the work was written (1940) and the unusual association of two widely d... more Considering the time when the work was written (1940) and the unusual association of two widely differing terms, Paul Constantinescu's Byzantine Sonata evokes through its very title an attempt at fusing the instrumental musical characteristics of the sonata with the exclusively vocal practice of Byzantine monody. Paul Constantinescu did indeed combine in an authentic manner the Eastern Church music with its byzantine roots and the refinements of Western cultivated music. There are two suggestions at main archetypal elements in the work analyzed in this paper: the elements of the baroque solo sonata/suite for string instruments and those of Byzantine monody. Paul Constantinescu demonstrated in some of his compositions such as Christmas and Easter Byzantine Oratorios, Two Studies in Byzantine Style and Byzantine Sonata for Viola or Cello- analyzed in this paper-constant preoccupation for such syntheses, bearing however the stylistic hallmarks of a 20th century composer.

Crossroads. Greece as an intercultural pole of thought and creativity. Conference Proceedings, pp. 607-617, 2013

The Romanian Academy Library of Cluj-Napoca holds a collection of seven post- and neo-Byzantine m... more The Romanian Academy Library of Cluj-Napoca holds a collection of seven post- and neo-Byzantine musical manuscripts in Greek, written in both the Old and New Methods of notation. Most of them had formerly belonged to Timotei Cipariu (1805-1887), a renowned Romanian orientalist, owner of an impressive library at that time. Our paper focuses on the 19th century Manuscript O. 354 from this collection, a short Heirmologion by Petros Byzantios. A great deal of our work is dedicated to the description of the manuscript, both physical and from the point of view of the content. We have pointed out the connections and differences between Ms. O. 354 and the similar Greek printed version, published in 1825, in Constantinopole. The manuscript is known basically among Romanian musicologists. Thus, the main aim of this paper is to draw the attention of international scholars to this Greek manuscript and the whole collection of mansucripts mentioned, found in Cluj-Napoca.

Artes, vol. 13, pp. 35-56, 2013

The aim of this paper is to present the diverse manner in which the chromatic genre occurs in the... more The aim of this paper is to present the diverse manner in which the chromatic genre occurs in the podoben (prosomia) melodies, using examples taken mainly from the manuscripts kept in Cluj-Napoca libraries. Beside the frequent case of the chromatic second authentic mode exchanging scale with its plagal, there are also podobens in diatonic modes borrowing scales of the chromatic modes. We found Romanian manuscripts and also Greek ones containing series of podobens for all eight modes. Each of these podobens has a number of variants, as reflected in the chosen manuscripts and printed books. The oral tradition influence is evident once more even when we are dealing with a written repertoire, such as the one analysed in this paper.

Musicology Papers, vol. XXVII No.1, pp. 97-112, 2012

Although psaltic music is not considered to be representative for central Transylvania, there use... more Although psaltic music is not considered to be representative for central Transylvania, there used to be a constant concern for this type of music in this area. The phenomenon is also reflected by the presence of the fifteen manuscripts in the Byzantine tradition, in the public libraries of Cluj-Napoca. The number is small compared with that of the similar documents preserved in other Romanian regions. In this context, each newly discovered manuscript has been minutely described by the Transylvanian researchers in relevant publications. This paper presents a sixteenth manuscript, this time one kept in the private library of the poet Marcel Mureşeanu from Cluj. As a nineteenth-century document in Chrysanthine notation, the value of the manuscript lies in the five polychronia it contains, dedicated to princes and hierarchs of Wallachia. Our primary purpose is to signal and give a detailed description of the manuscript, so that it can be included in the relevant catalogues. We believe that further comparative research will increase the importance of this document.

PhD Thesis, 2016

The psaltic manuscripts in Chrysanthine notation held in the libraries of Cluj-Napoca, although r... more The psaltic manuscripts in Chrysanthine notation held in the libraries of Cluj-Napoca, although relatively small in number as compared to those from other Romanian regions, provide a comprehensive view of the 19 th century Byzantine music. Our thesis comprises an introduction, five chapters, conclusions and an appendix.