Byzantine Music Treatises in Romania with an Analysis of MS Gr. 9 from the National Archives in Drobeta Turnu Severin (original) (raw)
Related papers
Byzantine Musicology and Romanian Communist Regime: A Revisitation
Musicology Today: Journal of the National University of Music Bucharest 10/2 (38), 2018
Somehow surprisingly, Byzantine musicology flourished during the communism in Romania. How was it possible to publish articles and books on a religious topic in an atheist totalitarian state with a vigilant censorship? Franz Metz (1995) and Nicolae Gheorghiță (2015) have shown that religious music research was in fact encouraged by the regime in order to support its nationalist ideology. My paper is a revisitation of the subject, bringing new data into view.
Fondazione Ugo e Olga Levi, 2020
During the conference-which was divided into twenty-three sessions and two posters, an exhibit dedicated to Byzantin notation in the codices of the Biblioteca Marciana, and three concerts-the results of complex and original studies were presented. The proceedings-edited by James Borders with the support of the Fondazione Levi, and, for the musical examples, with the kindly advice offered to us by David Hiley and Marco Gozzi-demonstrate the depth of the Group's projects, Thus again, the Fondazione Ugo e Olga Levi confirms the importance of its role as a point of reference for the musicological studies of the Middle Ages and the Renaissance, while rapidly increasing its editorial production, which is now on-line and open access. XII XIII CANTUS PLAN US 2014 which have broadened the central themes during their thirty years of activity to include new methodology and stimulating perspectives, also through a progressive branching off into active subgroups. Along with two of the subgroups (Historiae and Byzantin Music) the Fondazione Levi then organized two other conferences (2017, Historiae: Litugical chant for offices of the Saints in the Middle Age; 2018, Bessarione e la musica: concezioni, fonti teoriche e stili). The relative proceedings are in the process of being published and forthcoming. In confirming its readiness to cooperate further, the Fondazione Levi wishes to express its satisfaction for the superior scientific level of the papers published here. James Borders, Chair, Ims Study Group «Cantus Planus» Foreword to the Meeting Founded in 1984 at the initiative of Professors Helmut Hucke and László Dobszay with the approval of the Directorium of the International Musicological Society (Ims), the Study Group «Cantus Planus» (Ims-sgcp) has met regularly at international congresses of the Ims and independently every two or three years ever since. The objective of the Ims-sgcp is the advancement of research in fields relevant to the history and practice of liturgical plainchant as branches of learning and scholarship. In pursuing this objective, the Ims-sgcp encourages international cooperation and facilitates constructive interactions among researchers. The Study Group held its seventeenth meeting on the small and peaceful island of San Servolo in the Venetian lagoon, once the site of a Benedictine monastery, between 28 July and 1 August 2014. This five-day gathering was co-sponsored by the Fondazione Ugo e Olga Levi and the Department for Historical, Artistic, Musical and Demoanthropologic Heritage of the University of Padua. The organizers were Prof. James Borders, Ims-sgcp chair, and Dr. Nausica Morandi, Università degli studi di Padova. The call for papers attracted over a hundred abstracts for sessions on individual topics, panel discussions, free papers, and posters on Western European and Eastern Mediterranean chant, as well as a session on polyphony. The program comprised twenty-three sessions, most of them simultaneous; many papers read at these sessions are published in this volume. Meeting participants also enjoyed a visit to a manuscript exhibition at the Biblioteca Nazionale Marciana near the Basilica di San Marco. The Ims-sgcp is most grateful to the Fondazione Ugo e Olga Levi for generously sponsoring both the Venice meeting and the publication of these proceedings. We extend special thanks to Luisa Zanoncelli, former Presidente del Comitato scientifico della Fondazione Levi, Giorgio Busetto, Direttore e direttore della Biblioteca Fondazione Levi, as well as the members of the Advisory Board, Christelle Cazaux
Musicology Today: Journal of the National University of Music Bucharest, 11/1 (41), p. 53-66. , 2020
Among the remarkable musical sources in the Library of the Romanian Academy in Bucharest, the Music Cabinet, is the Codex no. 2663. The manuscript is donated by mademoiselle Euphrosina Ghyka to Mrs. Elisabetta Franchini, as a gesture of friendship, on August 10th, 1824, when two ladies were in Odessa, after a significant segment of the Danubian Principalities elite, from Moldavia especially, had emigrated there, following the breakdown of the Philiki Hetairia and the Ottoman’s subsequent reaction to the Revolution of 1821. The anthology is ample (152 pages) and contains 183 works, piano transcriptions, and arrangements by Western and local composers, being the earliest most extensive collection of salon piano music from Moldavia discovered to date. This paper investigates the musical and semiographic contents of the anthology in the context of the musical and socio-cultural practices of the elites in the Romanian Principalities of Wallachia and Moldavia during the first decades of the 19th century.
Issue 25: "Byzantium and Islam" — In Memory of Alessandro Angelucci, 189-193, 2017
Review of K. KALAITZIDIS, Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to early 19th century), trans. by KYRIAKI and DIMITRI KOUBAROULIS, Würzburg 2012 (Istanbuler Texte und Studien, 28), pp. 356, € 75, ISBN 978-3-89913-947-1
The Influence of Byzantine Music on the West
|Greece as an intercultural pole of musical thought and creativity. International Musicological Conference, June 6-10 2011, Thessaloniki, Greece
It has long recognized that Byzantine art exerted a significant influence on the West. This is particularly been shown to be the case on art history. The eminently important question of the relationship of Latin to Byzantine neumatic notation has long been unclear – understandable because systematic comparative studies on the neumatic notations had not been undertaken. Every investigation of connexions between Gregorian chant and Byzantine church music must give consideration to the fact that in the sixth, seventh and eight centuries the closest relationships must have existed between Rome and Constantinople. During this time period numerous chants of byzantine rite were introduced into the Roman Church. My own investigations caused an enormous sensation. Suddenly amazing connections between Byzantine Church music and the notation of Gregorian chant were exposed. Numerous Latin neumes and corresponding Byzantine signs (semata) proved to be onomatically, paleographivally and semasiologically (semantically) related and in many cases identical. The great number of names of Latin neumes have been shown to be borrowed words or borrowed translations from Middle Greek. The medieval classification of the Latin neumatic repertory comprise five classes and has the advantage that it is compatible with the typology of the Paleobyzantine signs: 1. neumae simplices (tonoi haploi); 2. neumae compositae (tonoi synthetoi); 3. ornamental neumes; 4. notae semivocales (hemiphona), 5. litterae significativae (grammata). The most frequently used litterae and the most important grammata have similar meanings. Comparing Byzantine and Latin notation we came to the conclusion that both had a partial stenographic character. Neumes like the quilisma, pressus and genarally speaking every sign based on different forms of the oriscus are considered as stenograpic signs. It could be shown that the closest connections existed between Paleobyzantine and Latin neumes.
A PSALTIC MUSIC MANUSCRIPT IN A PRIVATE COLLECTION IN CLUJ-NAPOCA
Musicology Papers, vol. XXVII No.1, pp. 97-112, 2012
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.
The Oldest Romanian Manuscript and Printed Versions of the Akathistos Hymn (Seventeenth Century)
Revue roumaine de linguistique, 2022
The paper introduces an interdisciplinary project, AKATHYMN, which addresses the oldest Romanian manuscript and printed versions of a liturgical masterpiece, namely, the Akathistos Hymn (AH). We describe the three Slavo-Romanian manuscripts and four printed books, all dating from the seventeenth century, that include the AH in Romanian. We argue that all these Romanian versions emerge within a multilingual, Slavonic and Greek textual tradition of the AH, particularly visible in Wallachia. We present the project's main objectives: to study the beginnings of the Romanian tradition of the AH, to shed light on the cultural milieu in which this tradition emerged, and to edit the seventeenth-century Romanian recensions of the text. The research stresses the importance of the multilingual tradition of the AH, of the main commissioners of it, and of the possible connections between Moldavian and Wallachian monastic and / or printing centres where the AH was copied, read or published. Keywords: Akathistos Hymn; seventeenth-century Romanian manuscript and printed versions of the Akathistos Hymn; bilingual manuscripts; manuscripts with double readings; inscriptions on frescoes and icons; liturgical canon in Romanian; patronage strategies in seventeenth-century Romanian countries.