Joint and Divergent Elements in the Vilnius Treatises of the Second Half of the 17th Century: Musical Grammar by Mykola Dyletsky and Ars et Praxis Musica by Sigismundus Lauxmin - Спільне та відмінне у вільнюських музично-теоретичних трактатах другої половини 17 століття... (original) (raw)
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Ars musica and its contexts in medieval and early modern culture, ed. by Paweł Gancarczyk
2016
This volume is dedicated to Elżbieta Witkowska-Zaremba on the occasion of her 70th birthday. It draws together twenty-nine articles in English, Polish and German, devoted to various aspects of the functioning of music in the culture of the Middle Ages and early modern period. The first part contains texts devoted to the theory and the teaching of music, while the second includes studies of musical practice, i.e., works and repertories functioning in specific sources and communities. Ars musica is shown here in its cultural contexts, which encompass iconography, literature and politics. Such interdisciplinary approaches are found in the third part, and the volume closes with articles relating to the concepts currently in use in discourse about music, as well as to issues in historiography and history of musicology.
The purpose of this submitted scientific article is based on emphasizing of archaic musical styles evaluation problem in the earliest Lithuanian folklore publications. The target of this investigation is defined on analysis of the historical music notations in the historical musical folklore editions. The methods of this represented exploration are formed on the basis of historical method, where some well-known stereotypes have to be re-thought. Systemic method is also important here to understand the whole socio-cultural context of early notations of Lithuanian folk songs. The structurally analytical method allows maximal profoundly holding out the contemporary outlook concerning previous actual investigations on this theme. The scientific newness of the presented article is determined by new attitude for evaluation of earliest musical styles throughout Lithuanian folklore heritage. The actual facts discovering from large period of historical times in Lithuanian ethnomusicology might be understood as also important novelty of this our scientific work. Conclusions. We are not allowed to bring guarantees, that the earliest musical descriptions of folk songs and their melodies are really earliest in historical life and development of local folk tradition. The described, fixed folklore materials are just very fragmentary moments, taken from the real and eternal folk life development both in Lithuanian case, and worldwide. And this development has no any clear beginning, any clear outset. The main task of all ethnomusicologists is to find, to understand, and to evaluate the level of the antiquity and authenticity of particular local melodic tunes in the context, certainly, of all contemporary scientific knowledge.
Мистецтвознавчі записки - Notes on art criticism, 2018
Purpose of the article is to analyze newly discovered documents containing information about the theatrical and musical culture of the Volhynian Voivodeship in the early modern period and compare them with already popular documents. The methodology of the research is to apply descriptive, comparative and historical-logical methods. The above-mentioned methodological approach allows us to understand the place and significance of these documents in the history music and theatrical art of Ukraine. Scientific novelty. Two documents have been introduced to the scientific treatment, which is the most ancient evidence of the early modern period on the history of the theater and musical arts of the Volhynian Voivodeship for the first time. Also, the researcher made their rethinking and comparison with other documents of this time and a little later. Conclusions. The revealed documents are essential for the study of the history of theatrical and musical art in Ukraine of the Lithuanian-Polish era. The complaint about the beating of the puppeteers makes it possible to substantiate the time of the birth of the puppet theater on the Ukrainian lands (not later than the middle of the 16th century), as well as to confirm the use of the violin as a musical instrument to accompany theatrical performances. Also relevant is the information about the existence of the tradition of the den in the days of Easter holidays, since the crib was still associated with Christmas alone. The document on the abduction of singers is an additional confirmation of the value of this specialty in ancient Ukraine, as well as being the first documentary news about the existence of professional bishops church choirs. An assumption is made about the unique role of Metropolitan Hypatius Pociej in establishing the tradition of singing and instrumental chapels at the Metropolitan and Episcopal chairs of the Ruthenian Church in Ukraine and Belarus. Key words: puppet show, crib, violin, metropolitan and episcopal singers.
Research on 18th Century Music in Poland. An Introduction
Musicology Today, 2016
Research on 18 th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages) and local history (mostly in Polish). In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18 thcentury Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally-to the political history of Central Europe at large. The most important subjects taken up in research on 18 th-century music include: the musical cultures of the royal court in 18 th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska) as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska), the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż); problems of musical style (texts by Szymon Paczkowski); research on sources containing music by European composers (e.g. by Johann Adolf Hasse); the musical culture of cities (of Gdańsk, first and foremost); studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
Tradition and Innovation in Late-and Postbyzantine Liturgical Chant II. Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October-3 November 2008, Leuven-Paris-Walpole, MA 2013, pp. 261-289
The story of a composition (the story of any composition) constitutes -undoubtedly- a completely interesting “adventure”: as soon as its composer conceives it, it is noted down (by its composer or by his students), it is copied (unedited or partly changed) into various other musical manuscripts, it is broadly spread during its time or even centuries after that, it arouses the interest of other (known or unknown) music instructors (who retouch it, beautify it, reform it, broaden it), and – finally – it is transcribed into various (and differentiated, as time goes by) systems of musical notation… In the present paper, I try to trace some aspects and respective illustrations of this “adventure”, triggered off an enigmatic figure; the Eunouxos Protopsaltes the Phelanthropenos (Constantinople, second half of 13th century), a composer who is accredited with only one composition, which is anthologized occasionally (from the 14th until the 16th century) into various Mathemataria. The emerging conclusions present a high musicological interest, with a generalized and diachronic validity…
Духовна пісня в жанровій системі сакральної музики: питання термінології
2019
The purpose of the research. The purpose of the article is to clarify the place of the spiritual song in the genre system of sacred music of the main Christian denominations based on the analysis of the basic definitions of the spiritual song genre in various national traditions. The research methodology consists of a combination of comparative, historical, cultural and musical-liturgical methods, with the help of which the spiritual song was described as a component of the genre system of the European liturgical musical tradition from the Middle Ages to the present. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science, based on the characteristics of the definitions of the genre of spiritual song in different national traditions and confessional centres, national and confessional features of the genre system of European sacred music were highlighted. Conclusions. The genre of spiritual song throughout the history of Christian music has been interpreted in different ways. In early Christianity, the spiritual song was interpreted as a poetic fragment of the biblical text, which came on behalf of the Old Testament or New Testament characters. This tradition has been preserved in Western Christian and Eastern Christian hymnography. In the late Middle Ages in Western Europe, the genre of spiritual songs transformed. The term «song» («cantio») began to denote musical and poetic works of the strophic form written in Latin, and later in national languages, which performed the paraliturgical function, but over time became the central musical and poetic genre of the liturgy of the Western rite, radically changing it genre system. In the Ukrainian-Belarusian lands, under the influence of the Western liturgical tradition, the term «song» as a musical and poetic work of a strophic form became the basis for defining the genre in all Christian denominations. In the Russian spiritual-song tradition, which was fundamentally different from the Ukrainian-Belarusian lack of long-term connections with the Catholic culture, the musical and poetic works of the strophic form were called psalms or spiritual verses. Key words: sacred music, spiritual song, church hymnography, genre system of liturgical music, Christian denominations.
International Journal of Scientific and Research Publications (IJSRP), 2021
This study refers to the renewal of the music education of the Greeks during the Enlightenment shortly before the Revolution. It is very interesting to present this reform in the Eastern Orthodox ecclesiastical music, namely the Byzantine Music, of the Eastern Orthodox Church because its members had strongly opposed to the Enlightenment, as there had been many objections to the Greek Enlightenment on behalf of the members of the Orthodox Church. Nevertheless, as revealed in the present study, the Orthodox Church not only accepted the reform but adopted and supported it. Therefore, this paper demonstrates the great achievement of the innovation brought about by the adaptation of the “New Method”, a method that simplified the system of neumatic notation and theory of the Byzantine music, by the conservative circles of the Eastern Orthodox Church. At the same time, the importance of the printing press that flourished during the Enlightenment is demonstrated, because it greatly promoted...