Св. Йоан Кукузел — личност, твочество, епоха [Sv. Joan Kukuzel: Personality, Work, Epoch], Sofia: Sv. Kliment Ohridski UP, 2020. (original) (raw)

2020

Cover of the new book "Sv. Ioan Kukuzel: Personality, Work, Epoch" for the celebration of the 740th birthday of St John Koukouzelis, born at the Albanian seaport Durrës, one of the most famous musicians of Constantinople at the Court and at the Patriarchate, anachoret and hesychast at the Great Lavra of Holy Mount Athos. Content: His Holiness Neophit, Patriarch of Bulgaria and Metropolitan of Sofia. The Orthodox Liturgical Singing Tradition / 13 Svetlana Kujumdzieva. Introduction / 19 PERSONALITY / 25 Svetlana Kujumdzieva. St. John Koukouzeles – Musical-liturgical Innovations / 43 Lyubomir Ignatov. St. John Koukouzeles – a Measure of Singing Mastery in Eastern Orthodox Church Music / 77 Stefka Venkova. St. John Koukouzeles in the Editions of the Bulgarian Musical Union: Data and Interpretations / 91 Tatyana Ilieva. St. John Koukouzeles’ Character According to Dobri Nemirov’s Historical Novel “The Angel-Voiced” / 122 WORK / 123 Maria Alexandru. Towards a Corpus of the Kalophonic Mathemata by St. John Koukouzeles / 164 Klara Mechkova. Koukouzeles’ Wheel in the Light of Hesychast Theology / 176 Emmanouil Giannopoulos. Koukouzeles’ Heritage according to the Cretan Psaltic Tradition of the Sixteenth and Seventeenth Centuries / 183 Stefan Harkov. Koukouzelian Heritage among the Bulgarians in the Middle of the 19th Century: Reconsideration of Some Lesser-Known Sources / 206 Nikola Antonov. The New Method Version of “Mega ison” by St. John Kukuzeleles or about the Continuity of Tradition under the Aspect of the Tone System / 223 Andrey Kasabov. Musical Creativity of Saint John Koukouzeles in the Bulgarian Printed Church-Singing Collections from the Middle of 19th and the beginning of the 20th centuries. Ἄνωθεν ο ἱ προφῆται in ἦχος βαρύς / 237 EPOCH / 239 Iskra Hristova-Shomova. The Ochrid Menaion Between the Old Recension and the Norms of the Jerusalem Typikon / 263 Oliver Gerlach. The Generation around John Koukouzeles and the Re-Definition of the Constantinopolitan Tradition by the “Koukouzelian” Reform / 294

Kosta P. Manojlović and the teaching of liturgical singing

New Sound

In this paper we deal with Kosta Manojlović's engagement in the field of church music education, especially within curricula of the Pravoslavno-bogoslovski fakultet [Faculty of Orthodox Theology] in Belgrade, aiming to answer two research question: one, regarding different aspects of Manojlović's work at the between 1923 and 1937, and the other, dealing with ways in which his writings on the Serbian Orthodox church music were affected by the historical, social, and cultural milieu of the interwar period. An analysis of Manojlović's teaching catalogues for the Faculty of Orthodox Theology between 1923/24 and 1936/37, showed three basic models in syllabus organisation: in his early teaching career, he was teaching two subjects "Octoechos" and "History of Serbian Orthodox Church Singing Church Choral Music" (in 1923/24); as mid-career teacher (between 1924/25 and 1934/35) he was teaching "Octoechos" and "Strano pjenije", while in the ...

Workshop Byzantine Music (1): The current tradition of Orthodox Chant (1814-2018)

2018

This lecture aims simply an introduction into “Byzantine music” following a kind of archaeological approach. The first unit starts with the living tradition defined by the Neo-Byzantine reform of 1814 and the establishment of Chrysanthos’ New Method, when monodic church music and its oktoechos system was redefined by the distinction of four chant genres (troparic, heirmologic, sticheraric, and papadic), their tempo, and their mele. This lecture introduces to the common print editions of chant books (anthologies for Orthros and of the Divine Liturgies, the doxastaria, the two parts of the heirmologion, and the anastasimatarion or voskresnik). The notation reform will be less regarded as a simplification of the Middle Byzantine notation than as a creation of universal notation which was based on an oral tradition of the different performance styles (oktoechos, makamlar, traditional music of 2 different regions of the Mediterranean). It will also treat the printed anthologies of makam music (mismagia, a Greek corruption of the Ottoman divan called “mecmua”) and the New Method to transcribe makamlar as aspects of the oktoechos. The oral tradition of oktoechos performance will be presented by historical field recordings, including own fieldwork.

What Exactly is Bulgarian Church Music? A Current Attempt to Answer an Apparently Simple Question

Series Musicologica Balcanica, 2022

The question leads me back to my first fieldwork ever, I have done at Bačkovo Monastery (Rhodope Montains) in August 2002. There I got my first basics of psaltic chant thanks to the generosity of Otec Stiliyan, the tipikar of the monastery, and of Deniza Popova, a German-Bulgarian scholar whom I know, while we studied at the Humboldt-University and who visited Bačkovo for many years. When I returned in 2015, I found another Bulgaria and met young people at the church who opened a new world for me. With this paper I would like to try to answer this seemingly innocent question, and point at local Balkan traditions of the country which earn more scholarly attention, free from the usual and common preconceptions, also in response to current trends in ethnomusicological research which have changed the common perspectives considerably. The overview includes various traditions since Neofit Rilski's educational reforms and the later foundation of the Bulgarian state and various new approaches to look at the history of Slavonic chant in the territory of the current state Bulgaria.

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