Master Thesis - Part 2: "SACRED MUSIC OF ETHNICITIES OF ISTANBUL: A COMPARATIVE STUDY OF MUSIC SYSTEM OF BYZANTINE AND ARMENIAN SACRED MUSIC" (original) (raw)
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In this study using the research material except bibliographic study comes from the process of the fieldwork, the music system of Armenian sacred music compares to another tradition, that of the Byzantine music. While talking about two religious musical traditions which are tenets of Christianity, the differences are apparent after separation and thus the evolution followed different paths in recent centuries. On the other hand, the oral tradition and listening gives them the feeling that they are often the same musical tradition since the similarities are obvious. Finally, with the help of technology will become quote comparative study through analysis of audio examples from computer. These analyzes indicate mainly the differences and similarities between the two musical traditions in terms of musical intervals. Keywords: Byzantine music, Armenian music, comparison. ISTANBUL TECHNICAL UNIVERSITY - INSTITUTE OF SOCIAL SCIENCES Dr. Erol Üçer Centre for Advanced Studies in Music (MIAM)
In this study using the research material except bibliographic study comes from the process of the fieldwork, the music system of Armenian sacred music compares to another tradition, that of the Byzantine music. While talking about two religious musical traditions which are tenets of Christianity, the differences are apparent after separation and thus the evolution followed different paths in recent centuries. On the other hand, the oral tradition and listening gives them the feeling that they are often the same musical tradition since the similarities are obvious. Finally, with the help of technology will become quote comparative study through analysis of audio examples from computer. These analyzes indicate mainly the differences and similarities between the two musical traditions in terms of musical intervals. Keywords: Byzantine music, Armenian music, comparison. ISTANBUL TECHNICAL UNIVERSITY - INSTITUTE OF SOCIAL SCIENCES Dr. Erol Üçer Centre for Advanced Studies in Music (MIAM)
12. Uluslararası Hisarlı Ahmet Sempozyumu, 2022
Doğu Roma/Bizans İmparatorluğu, İmparator Konstantin’in MS. 330’da tek bir bayrak altında topladığı Doğu Akdeniz ülkelerinden oluşan bir coğrafyada teşekkül etmiştir. Bizans müziği de (Βυζαντινή μουσική) Doğu Roma İmparatorluğu’nun müziğidir. İstanbul (Konstantinopolis) merkezli olan ve inanç temelli gelişen bu müziğin tarihsel açıdan önemi Doğu Avrupa Ortodoks Kilisesi’nin yani Rus, Sırp, Bulgar, Rumen ve Yunan kiliselerinde söylenen dinî şarkıların ortak kaynağı olması ve günümüz Ortodoks kilisesi müziğinin de temelini oluşturmasıdır. Bu anlamda, Doğu müziğinin kendine özgü niteliklerini sürdüren monofonik (tek sesli), ezgisel ve ehos/makam temelli bir yapıyla günümüze değin süregelmiştir. Bir diğer konu ise, Bizans müziğinin Antik Yunan müziği ile olan kültürel ilişkisidir. Bizans kilise müziğinin, Antik Yunan müziğinde olduğu gibi edebiyat kalıplarından önemli ölçüde etkilendiği bilinmektedir. Diğer yandan, genel olarak diyatonik temelli bir ses dizisinin Bizans müzik kültüründe her dönem hâkim olduğu ve bu dizi üzerinde ortaya konulan organizasyon mantığının Antik Yunan müzik kültürü ile aynı özellikleri taşıdığı da söylenmektedir. Buna ek olarak, Antik Yunan döneminde olduğu gibi yoğun bir müzik teorisi araştırmasına Bizans döneminde rastlanmamakta; Antik Yunan müzik teorisi geleneğinin sürdürülerek, metinsel ve eğitsel olarak ele alındığı da görülmektedir. Halen güncelliğini koruyan problemlerden bir diğeri ise, Antik Yunan uyum bilimi (Armoni) ile Bizans müzik teorisinin (özellikle bunların arasında Antik Yunan’daki oktavın bölünümü, türleri ve cinsler gibi konular ile Bizans’daki sekiz mod/oktoehos sistemi) arasında doğrudan bir bağlantı olup olmadığı ve Bizans’ın müzik teori pratiğinin Doğulu bir kaynaktan yararlanan yepyeni bir başlangıç noktası taşıyıp taşımadığı sorusudur. Bu çalışmada, doğu müziğinin kendine has özellikleri dikkate alınarak Bizans ve Antik Yunan müzik teorileri arasındaki ilişki bazı örnekler üzerinden ifade edilerek, Bizans müziğinin kökenleri hakkında daha zengin bir anlayışa ulaşılması amaçlanmaktadır. _________ The Eastern Roman Empire was formed in a geography consisting of Eastern Mediterranean countries, which Emperor Constantine gathered under a single flag in 330 AD. The historical importance of Byzantine music, which is based in Istanbul and developed on the basis of faith, is that it is the common source of the religious songs sung in the Eastern Orthodox Church, that is, the Russian, Serbian, Bulgarian, Romanian and Greek churches, and forms the basis of current Orthodox church music. It has continued until today with a monophonic, melodic, and echo/maqam based structure that maintains the distinctive features of Eastern music. Another issue is the cultural relationship of Byzantine music with Ancient Greek music. It is known that Byzantine church music was significantly influenced by literary patterns, as in Ancient Greek music. On the other hand, it is also said that a diatonic-based sound scale dominates the Byzantine music culture in every period and the organizational logic put forward on this series has the same characteristics as the Ancient Greek music culture. In addition, there is no intensive research on music theory in the Byzantine period as it was in the Ancient Greek period; It is seen that the tradition of ancient Greek music theory is continued and studied textually and educationally. Another problem that still remains current is the question of whether there is a direct connection between the ancient Greek science of harmony and Byzantine music theory, and whether the Byzantine music theory practice has a brand new starting point that draws on an Eastern source. In this study, it is aimed to reach a richer understanding about the origins of Byzantine music by expressing the relationship between Byzantine and Ancient Greek music theories through some examples, taking into account the unique characteristics of eastern music.
The evolution of Armenian liturgical music
Bulletin of the Transilvania University of Braşov, 2020
The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper-as mentioned before-presents only briefly this vast and very interesting topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies.
2019
The aim of this study is to show how the traditions of modal music in the Byzantine and Turkish contexts shared a common history over several centuries, as it is well exemplified by figure and the role of the Greek cantor and composer Petros Peloponnesios. As the work will display, the common history of Byzantine and Turkish music emerged thanks to various contacts within different types of environment, ranging from the Ottoman court to the Orthodox Patriarchate of Istanbul, and involving a wide range of musical genres, from Christian Orthodox religious music to Ottoman Classical Music. The contacts resulted in promoting the dialogue between the coexisting Orthodox Christian and Muslim communities in the Ottoman
22-3, 2018
Compilation of religious musical works is a survey that needs to be implemented promptly. In order to carry out such a survey, a connection is to be established between the last representatives of a great civilization and the modern members of the same society. To forge a link between these two groups of people is an incumbent upon the people of today. If we cannot derive the musical culture from the last representatives of this great civilization this musical and cultural heritage will be lost forever. In this respect source persons are of great importance in this process. They preseve the heritage in their memories. Other cultural assets such as; mosques, bridges and books can be restored decades later whereas the oral tradition and musical culture living in the memories of source persons gets lost in such a time. The lifetime of source persons comes out as a significant criteria in the urgency and importance of the issue. As a result, collection of oral tradition and musical culture has a higher ranking of importance among the other cultural assets beforementioned. In this study rules and methods of compiling religious musical works will be examined.
G. Blagojević Byzantine church music as a field for ethnological and anthropological research
The Psaltic Art as an Autonomous Science. Scientific Branches – Related Scientific Fields – Interdisciplinary Collaborations and Interaction. Proceedings of the 1st International Interdisciplinary Musicological Conference 29 June - 3 Jυly 2014, Volos, Greece, 2015
In the focus of this paper lies Byzantine church music as a field for ethnological and anthropological research. In this respect, music is observed as a cultural practice which has an impact on interpersonal communication. The aim of it is to point to all the possible ways in which knowledge and scientific approach from the fields of ethnology and anthropology can be applied to Byzantine church music. When studying this kind of music, it is necessary to perceive a wider social context and a complex network of different factors which affected and are still affecting its creation and development. Research can be conducted on several levels, depending on the what is placed in the centre of the research - the creators of music, music as an audible-meaningful message or its listeners-the receivers of the message. It is necessary to apply a comparative method – in terms of different social and cultural settings – in order to perceive the role of Byzantine church music in the intercultural dialogue.
Medieval Turkish music , 2023
In this article, a general view of the Turkic world is given, and with it, the formation of the "Central Asian-Anatolian phenomenon" that emerged as a result of the Turkic world musical ties and these relations, and how it changed in terms of form and content in the later period, is described. In addition, Muhammad al-Farabi (874-950), who had unparalleled services in the development of Central Asian Turkish music science, and his scientific activities and heritage in music science, are described at the same time as the characteristics of the development of music in the period of the first independent Turkish feudal states and other feudal states of the Middle Ages. In addition, the musical traditions of the ancient Turkic peoples of Central Asia and the characteristics of the musical instruments they used are briefly described.