Bălgarska muzika v Chilendar:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Akad. Izdat. "Prof. Marin Drinov"
2008
|
| Ausgabe: | 1. izd. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | PST: Bulgarian music in Hilandar. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache |
| Beschreibung: | 175 S. Ill., Noten |
| ISBN: | 9789543221851 |
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СЪДЪРЖАНИЕ
1.
Предварителни думи
. 9
2.
Хилендарският изследователски проект
. 13
3.
Музикалните ръкописи в Хилендарската изследователска биб¬
лиотека и Извороведския център за средновековни слави¬
стични проучвания
. 19
4.
Музикални ръкописи
с песнопения за св. Иван
Рилски.
25
5.
Музикални ръкописи
с песнопения за св.
Петка Търновска. .
. 55
6.
Музикални ръкописи
с песнопения,
означени като „български".
. 70
7.
Музикални ръкописи
с песнопения,
писани от българи или
отвеждащи към България
. 78
8.
Музикални ръкописи
с песнопения,
писани във и за българ¬
ския манастир Зограф
. 85
9.
Музикални ръкописи от Хилендар, свързани
с
България, из¬
вън микрофилмовата сбирка в Хилендарската изследовател¬
ска библиотека
. 88
10.
Заключителни думи
. 92
Показалци
. 96
Транскрипции
. 99
Факсимилета
. 151
Резюме на английски език
. 171
CONTENTS
1.
Foreword
. 9
2.
The Hilandar Research Project
. 13
3.
The musical manuscripts at the Hilandar Research Library and
the Resource Center for Medieval Slavic Studies
. 19
4.
Musical manuscripts with chants for St. John of
Rila
. 25
5.
Musical manuscripts with chants for St.
Petka
of Tirnovo.
. 55
6.
Musical manuscripts with chants designated as "Bulgarian"
. 70
7.
Musical manuscripts with chants written down by Bulgarians or
related to Bulgaria
. 78
8.
Musical manuscripts written down in or for the Bulgarian Zograf
monastery
. 85
9.
Hilandar musical manuscripts, which are related to Bulgaria but
are not available on microform at the Hilandar Research Library.
88
10.
Conclusion
. 92
Indexes
. 96
Transcriptions
. 99
Facsimilia
. 151
Summary in English
. 171
BULGARIAN MUSIC IN HILANDAR
(Summary)
This book is based on the study of primary sources, for the most part
manuscripts from the library of the Hilandar Monastery on Mount
Athos,
available on microform at the Resource Center for Medieval Slavic Studies
and the Hilandar Research Library at The Ohio State University in Colum¬
bus, Ohio (USA). The book was made possible thanks to both the Resource
Center for Medieval Slavic Studies and the School of Music at the Ohio
State University, which supported the stay and the research work of the
author in Columbus. Her deep gratitude goes to Dr.
Predrag Matejić,
Ms.
Mary Allen Johnson, Mrs.
Helene Senecal,
and Dr. Charles Atkinson: their
help and support were critical for the realization of this book, which is dedi¬
cated to them. Also, the author would like to acknowledge the Monks of
Hilandar Monastery for their forethought in seeking ways to preserve and
make accessible the manuscript treasures in their library.
The aim of this book is to investigate all of the materials related to Bul¬
garian musical culture found in musical manuscripts preserved on micro¬
form at the Hilandar Research Library. The materials found far exceeded
the expectations of the author. The book is organized into ten chapters as
follows:
1)
Foreword;
2)
The Hilandar Research Project;
3)
The musical
manuscripts at the Hilandar Research Library and the Resource Center for
Medieval Slavic Studies;
4)
Musical manuscripts with chants for St. John of
Rila;
5)
Musical manuscripts with chants for St.
Petka
of Tirnovo;
6)
Musi¬
cal manuscripts with chants designated as "Bulgarian";
7)
Musical manu¬
scripts with chants written down by Bulgarians or related to Bulgaria;
8)
Musical manuscripts written down in or for the Bulgarian Zograf monas¬
tery;
9)
Hilandar musical manuscripts, which are related to Bulgaria but
are not available on microform at the Hilandar Research Library; and
10)
Conclusion. An Index of the manuscripts is included in the study, as well
as twenty-nine musical works transcribed from neumes into linear nota¬
tion, and seventeen facsimile images. The greater part of the primary
sources is introduced for the first time in this book.
The Resource Center for Medieval Slavic Studies (RCMSS), with the
largest collection of medieval Slavic manuscripts on microform in the
world, plays an enormous role in the study of Slavic culture and exerts a
profound impact on researchers striving for a better understanding of the
various fields of this culture and its place in the history of civilization. There
171
are over
100
notated musical manuscripts available on microform at
RCMSS from various public and private collections of the world (including
various monasteries on Mount
Athos,
the Vatican,
Szentendre
in Hungary,
etc.)· The over
70
notated Hilandar manuscripts represent the greatest part
of these musical manuscripts. The uniqueness of the two earliest Slavic
musical manuscripts, Hilandar
307
(Sticherarion) and
308
(Heirmologion),
from the end of the 12th and the early 13th century respectively, has already
been recognized worldwide: they were the manuscripts that first gave schol¬
ars reason to suggest that Slavs may perhaps have put the art of music to
their own uses as early as
880
(O.
Strunk).
Among the sources most significant to this work are those containing
chants for the offices to the two Bulgarian saints John of
Rila
(9th—10th
century), who is commemorated three times during the year
—
on October
19,
July
1,
and August
18,
and
Petka
of Tirnovo (the second half of the 10th
century), celebrated on October
14.
The popularity of these two saints was
great not only in Bulgaria but also in Byzantium, Serbia, Wallachia,
Moldova, and Russia, that is why the sources containing works for these
saints are important for the history of Orthodox culture as a whole. Previ¬
ously unknown pieces for the offices of these two saints were found in nu¬
merous manuscripts. All the pieces with notation, known until now as origi¬
nating from the Balkans, are presented in the book: from the earliest one,
the Draganov Menaion from the second half of the 13th century where
signs of
ŕ/zeta-notation
were included in chants for the office of St.
Petka
of
Tirnovo, up to notated manuscripts with modern neume notation from the
second half of the 19th century. Ten manuscripts with chants for the two
saints are in the focus of this study: nine from Hilandar Monastery and one
from the "St. Athanasius" Great
Lavra
Monastery on Mount
Athos.
Four of
the Hilandar manuscripts, dating from the second half of the 18th and/or
the very beginning of the 19th century up to the musical reform of Ortho¬
dox music of
1814
(the so-called "New Method"), contain chants for the
office to both St. John of
Rila
and St.
Petka
of Tirnovo (Hilandar
309, 312,
565,
and
581).
In two of these manuscripts (Hilandar
312
and
581)
the
chants are labelled as being for the offices to the two saints. In the other two
manuscripts (Hilandar
309
and
565)
there is no indication to whom the
chants are dedicated, and the chants are identified here as belonging to the
offices to St. John of
Rila
and St.
Petka
of Tirnovo for the first time. The re¬
maining five Hilandar manuscripts
—
two of the same period and three dat¬
ing after the reform of
1814 —
only contain chants for St. John of
Rila
(Hilandar
311, 668, 560, 580,
and
597).
The Great
Lavra
manuscript, dated
to the
1
8th century, only contains works for St.
Petka
of Tirnovo
(Lavra
E.1O/GLZ.58).
Special attention is paid to six Hilandar manuscripts written before
1814
that are unique in many respects. First of all, their compilation is
172
unique:
they
combine
the repertory of different chant books and transmit
them in quite a free manner unknown in any other manuscript of that time.
This repertory in Slavic is not found elsewhere, although the repertory is a
traditional one as a whole. For example, manuscript Hilandar
311
contains
an Oktoechos of the Anastasimatarion type
—
Sticherarion
—
Anthology;
manuscript Hilandar
668
compiles Anthology
—
Oktoechos of the
Anastasimatarion type
—
Sticherarion
—
Anthology, etc.
Having been compiled in such a manner, the manuscripts might be
characterized as a handbook of a certain Hilandar psalt (i.e. singer), who
used them for his own duties and/or devices in church. In fact, they are the
first manuscripts where we find notated chants in the Russian redaction of
the Old Bulgarian language in the Balkans. Chants for Great Vespers, for
the Akathistos office to the Mother of God, for Matins of Holy Week, for the
Liturgy of St. Basil, the Liturgy of the Presanctified Gifts, etc. are written
down in the Church Slavonic language. The Slavic repertory does not have
parallels in the known musical literature originating from the Balkans of
that time. It was based on one of these manuscripts (Hilandar
311)
that the
first extensive musical theory regarding the relationship of Slavic to late
Byzantine music was formulated (D.
Stefanović).
Some of these early manu¬
scripts (Hilandar
311, 312,
and
668)
contain chants for the offices to
Serbian saints as well. They have been discussed and published by numer¬
ous Serbian musicologists as well as American scholars of Serbian descent
(D.
Radojičić,
D.
Trifunović,
M.
Matejić, J. Milojković-Djurić, D. Stefano¬
vić,
A.
Jakovljević,
D.
Petrović,
and P.
Matejié).
The Slavic repertory for
Bulgarian and Serbian Saints in the manuscripts gives sufficient reason to
state that in the course of the
1
8th century there was a strong tendency at
Hilandar Monastery to record and preserve both the traditional Slavic re¬
pertory and commemorations for the most popular Balkan Slavic Saints.
Chants designated as "Bulgarian" are also very important for the his¬
tory of Bulgarian music and some unknown copies of such chants were
found in these Hilandar manuscripts. A copy of the polyeleos chant per¬
formed on Sunday designated as
"Bulgara"
("Bulgarian woman") is found
in the Hilandar Greek manuscript
144,
dated to
1770.
The chant is based
on the text of Psalm 134:13b and is attributed to John Koukouzeles, a great
medieval composer who lived between the last quarter of the 13th and the
first half of the 14th century. According to his Vita, Koukouzeles was Bul¬
garian on his mother's side. In the same manuscript is also found a Cheru¬
bic hymn with the designation "disikon" ("western") attributed to
Koukouzeles' teacher John Glykes. Chants with this designation are very
often linked with the designation
"Bulgarikon"
("Bulgarian") in other
manuscripts. Both chants, although written in Greek, are related to Bul¬
garian musical history. Some manuscripts of the 19th century transmit
chants in Slavic of Psalm
103
for Great Vespers, the so-called "Aniksa-
173
ntari" (after the textual
incipit)
designated as "Bulgarian" and "of Zograf
'
(Hilandar
556, 557, 585,
and
777).
These designations again are linked to
Bulgaria. There are many speculations as to this meaning of "Bulgarian": is
it an indication of origin of the chant, the manner of performance or com¬
position, or both?
Many chants by Bulgarian authors are found in Hilandar manuscripts.
Some of the authors were monks and worked in the
Rila
singing school at
Rila
Monastery (Bulgaria). The
Rila
singing school was one of the largest in
the Balkans during the 18th and the 19th centuries. Musical pieces by
Neophit of
Rila
and Athanasius of
Rila
are included in three Hilandar
manuscripts (Hilandar
166, 561,
and
588).
Others authors were secular
members of society who called themselves "teachers": Joan, Michael
Vasilev, Nikola
Zlatarski,
Christo
Valkov Pulekov, etc. (see Hilandar
166,
561, 588, 686,
and
808).
Some of these secular authors have been unknown
in the history of Bulgarian music until now. Their works were designed not
only for the church, but also for the new secular Bulgarian schools that
were established in the second quarter of the 19th century in Bulgarian
lands: pupils learned chants in these schools and performed them in
church on Sundays where they would go and take part in the solemn ser¬
vices. Perhaps it is because of the great popularity of these chants that they
entered musical manuscripts designed for performance during offices in
church.
Another group of chants in Hilandar musical manuscripts are related
to the Bulgarian Zograf monastery. The latter is situated not far from
Hilandar Monastery on Mount
Athos.
Some of the chants included in
Hilandar manuscripts are by monks of Zograf. The names of Anatolij of
Zograf, Gavriil of Zograf, Daniil of Zograf, Kalistrat of Zograf are found in
Hilandar
33, 100, 588, 694, 695,
and
808.
Finally, some inscriptions are presented here which indicate that cer¬
tain manuscripts were written in Bulgaria. Such a manuscript is, for in¬
stance, Hilandar
566:
the inscription attests to the fact that the manuscript
was written in the Bulgarian town of Panagyurishte.
The sources studied illustrate the significant role that Hilandar Monas¬
tery has played in the history of Bulgarian music during the 18th and 19th
centuries. Hilandar arose as one of the most significant centers of resumed
Orthodox activity at the time, after centuries of the Ottoman yoke: it became
a focal point of education and culture where people of different nationalities
worked together. The rich collection of Hilandar sources reveals that various
traditions were compiled and preserved in Hilandar and that there were close
musical relationships among the three major spiritual and cultural Slavic
centers of Hilandar, Zograf, and
Rila
monasteries, on the one hand, and be¬
tween Mount
Athos
and the inner Bulgarian lands, on the other.
174
In conclusion, the sources studied have raised the awareness of our mu¬
sical roots and also has shown us where such traditions have diverged and
where they have crossed, what of them has been transmitted through the
centuries and how it has been preserved. Certainly, a considerable amount
of work still remains to be done. This is especially true if we consider that
the Eastern chant as a religious chant was neglected for more than forty-
five years in the former socialist countries belonging to the Orthodox world
where such music fell into oblivion. Nowadays, with the changes in our
world, the interest in religious chant has greatly increased. It is a challenge
of our time to appreciate the beauty of this music, to reconstruct it and to
make it a "living" tradition for future generations.
175 |
| adam_txt |
СЪДЪРЖАНИЕ
1.
Предварителни думи
. 9
2.
Хилендарският изследователски проект
. 13
3.
Музикалните ръкописи в Хилендарската изследователска биб¬
лиотека и Извороведския център за средновековни слави¬
стични проучвания
. 19
4.
Музикални ръкописи
с песнопения за св. Иван
Рилски.
25
5.
Музикални ръкописи
с песнопения за св.
Петка Търновска. .
. 55
6.
Музикални ръкописи
с песнопения,
означени като „български".
. 70
7.
Музикални ръкописи
с песнопения,
писани от българи или
отвеждащи към България
. 78
8.
Музикални ръкописи
с песнопения,
писани във и за българ¬
ския манастир Зограф
. 85
9.
Музикални ръкописи от Хилендар, свързани
с
България, из¬
вън микрофилмовата сбирка в Хилендарската изследовател¬
ска библиотека
. 88
10.
Заключителни думи
. 92
Показалци
. 96
Транскрипции
. 99
Факсимилета
. 151
Резюме на английски език
. 171
CONTENTS
1.
Foreword
. 9
2.
The Hilandar Research Project
. 13
3.
The musical manuscripts at the Hilandar Research Library and
the Resource Center for Medieval Slavic Studies
. 19
4.
Musical manuscripts with chants for St. John of
Rila
. 25
5.
Musical manuscripts with chants for St.
Petka
of Tirnovo.
. 55
6.
Musical manuscripts with chants designated as "Bulgarian"
. 70
7.
Musical manuscripts with chants written down by Bulgarians or
related to Bulgaria
. 78
8.
Musical manuscripts written down in or for the Bulgarian Zograf
monastery
. 85
9.
Hilandar musical manuscripts, which are related to Bulgaria but
are not available on microform at the Hilandar Research Library.
88
10.
Conclusion
. 92
Indexes
. 96
Transcriptions
. 99
Facsimilia
. 151
Summary in English
. 171
BULGARIAN MUSIC IN HILANDAR
(Summary)
This book is based on the study of primary sources, for the most part
manuscripts from the library of the Hilandar Monastery on Mount
Athos,
available on microform at the Resource Center for Medieval Slavic Studies
and the Hilandar Research Library at The Ohio State University in Colum¬
bus, Ohio (USA). The book was made possible thanks to both the Resource
Center for Medieval Slavic Studies and the School of Music at the Ohio
State University, which supported the stay and the research work of the
author in Columbus. Her deep gratitude goes to Dr.
Predrag Matejić,
Ms.
Mary Allen Johnson, Mrs.
Helene Senecal,
and Dr. Charles Atkinson: their
help and support were critical for the realization of this book, which is dedi¬
cated to them. Also, the author would like to acknowledge the Monks of
Hilandar Monastery for their forethought in seeking ways to preserve and
make accessible the manuscript treasures in their library.
The aim of this book is to investigate all of the materials related to Bul¬
garian musical culture found in musical manuscripts preserved on micro¬
form at the Hilandar Research Library. The materials found far exceeded
the expectations of the author. The book is organized into ten chapters as
follows:
1)
Foreword;
2)
The Hilandar Research Project;
3)
The musical
manuscripts at the Hilandar Research Library and the Resource Center for
Medieval Slavic Studies;
4)
Musical manuscripts with chants for St. John of
Rila;
5)
Musical manuscripts with chants for St.
Petka
of Tirnovo;
6)
Musi¬
cal manuscripts with chants designated as "Bulgarian";
7)
Musical manu¬
scripts with chants written down by Bulgarians or related to Bulgaria;
8)
Musical manuscripts written down in or for the Bulgarian Zograf monas¬
tery;
9)
Hilandar musical manuscripts, which are related to Bulgaria but
are not available on microform at the Hilandar Research Library; and
10)
Conclusion. An Index of the manuscripts is included in the study, as well
as twenty-nine musical works transcribed from neumes into linear nota¬
tion, and seventeen facsimile images. The greater part of the primary
sources is introduced for the first time in this book.
The Resource Center for Medieval Slavic Studies (RCMSS), with the
largest collection of medieval Slavic manuscripts on microform in the
world, plays an enormous role in the study of Slavic culture and exerts a
profound impact on researchers striving for a better understanding of the
various fields of this culture and its place in the history of civilization. There
171
are over
100
notated musical manuscripts available on microform at
RCMSS from various public and private collections of the world (including
various monasteries on Mount
Athos,
the Vatican,
Szentendre
in Hungary,
etc.)· The over
70
notated Hilandar manuscripts represent the greatest part
of these musical manuscripts. The uniqueness of the two earliest Slavic
musical manuscripts, Hilandar
307
(Sticherarion) and
308
(Heirmologion),
from the end of the 12th and the early 13th century respectively, has already
been recognized worldwide: they were the manuscripts that first gave schol¬
ars reason to suggest that Slavs may perhaps have put the art of music to
their own uses as early as
880
(O.
Strunk).
Among the sources most significant to this work are those containing
chants for the offices to the two Bulgarian saints John of
Rila
(9th—10th
century), who is commemorated three times during the year
—
on October
19,
July
1,
and August
18,
and
Petka
of Tirnovo (the second half of the 10th
century), celebrated on October
14.
The popularity of these two saints was
great not only in Bulgaria but also in Byzantium, Serbia, Wallachia,
Moldova, and Russia, that is why the sources containing works for these
saints are important for the history of Orthodox culture as a whole. Previ¬
ously unknown pieces for the offices of these two saints were found in nu¬
merous manuscripts. All the pieces with notation, known until now as origi¬
nating from the Balkans, are presented in the book: from the earliest one,
the Draganov Menaion from the second half of the 13th century where
signs of
ŕ/zeta-notation
were included in chants for the office of St.
Petka
of
Tirnovo, up to notated manuscripts with modern neume notation from the
second half of the 19th century. Ten manuscripts with chants for the two
saints are in the focus of this study: nine from Hilandar Monastery and one
from the "St. Athanasius" Great
Lavra
Monastery on Mount
Athos.
Four of
the Hilandar manuscripts, dating from the second half of the 18th and/or
the very beginning of the 19th century up to the musical reform of Ortho¬
dox music of
1814
(the so-called "New Method"), contain chants for the
office to both St. John of
Rila
and St.
Petka
of Tirnovo (Hilandar
309, 312,
565,
and
581).
In two of these manuscripts (Hilandar
312
and
581)
the
chants are labelled as being for the offices to the two saints. In the other two
manuscripts (Hilandar
309
and
565)
there is no indication to whom the
chants are dedicated, and the chants are identified here as belonging to the
offices to St. John of
Rila
and St.
Petka
of Tirnovo for the first time. The re¬
maining five Hilandar manuscripts
—
two of the same period and three dat¬
ing after the reform of
1814 —
only contain chants for St. John of
Rila
(Hilandar
311, 668, 560, 580,
and
597).
The Great
Lavra
manuscript, dated
to the
1
8th century, only contains works for St.
Petka
of Tirnovo
(Lavra
E.1O/GLZ.58).
Special attention is paid to six Hilandar manuscripts written before
1814
that are unique in many respects. First of all, their compilation is
172
unique:
they
combine
the repertory of different chant books and transmit
them in quite a free manner unknown in any other manuscript of that time.
This repertory in Slavic is not found elsewhere, although the repertory is a
traditional one as a whole. For example, manuscript Hilandar
311
contains
an Oktoechos of the Anastasimatarion type
—
Sticherarion
—
Anthology;
manuscript Hilandar
668
compiles Anthology
—
Oktoechos of the
Anastasimatarion type
—
Sticherarion
—
Anthology, etc.
Having been compiled in such a manner, the manuscripts might be
characterized as a handbook of a certain Hilandar psalt (i.e. singer), who
used them for his own duties and/or devices in church. In fact, they are the
first manuscripts where we find notated chants in the Russian redaction of
the Old Bulgarian language in the Balkans. Chants for Great Vespers, for
the Akathistos office to the Mother of God, for Matins of Holy Week, for the
Liturgy of St. Basil, the Liturgy of the Presanctified Gifts, etc. are written
down in the Church Slavonic language. The Slavic repertory does not have
parallels in the known musical literature originating from the Balkans of
that time. It was based on one of these manuscripts (Hilandar
311)
that the
first extensive musical theory regarding the relationship of Slavic to late
Byzantine music was formulated (D.
Stefanović).
Some of these early manu¬
scripts (Hilandar
311, 312,
and
668)
contain chants for the offices to
Serbian saints as well. They have been discussed and published by numer¬
ous Serbian musicologists as well as American scholars of Serbian descent
(D.
Radojičić,
D.
Trifunović,
M.
Matejić, J. Milojković-Djurić, D. Stefano¬
vić,
A.
Jakovljević,
D.
Petrović,
and P.
Matejié).
The Slavic repertory for
Bulgarian and Serbian Saints in the manuscripts gives sufficient reason to
state that in the course of the
1
8th century there was a strong tendency at
Hilandar Monastery to record and preserve both the traditional Slavic re¬
pertory and commemorations for the most popular Balkan Slavic Saints.
Chants designated as "Bulgarian" are also very important for the his¬
tory of Bulgarian music and some unknown copies of such chants were
found in these Hilandar manuscripts. A copy of the polyeleos chant per¬
formed on Sunday designated as
"Bulgara"
("Bulgarian woman") is found
in the Hilandar Greek manuscript
144,
dated to
1770.
The chant is based
on the text of Psalm 134:13b and is attributed to John Koukouzeles, a great
medieval composer who lived between the last quarter of the 13th and the
first half of the 14th century. According to his Vita, Koukouzeles was Bul¬
garian on his mother's side. In the same manuscript is also found a Cheru¬
bic hymn with the designation "disikon" ("western") attributed to
Koukouzeles' teacher John Glykes. Chants with this designation are very
often linked with the designation
"Bulgarikon"
("Bulgarian") in other
manuscripts. Both chants, although written in Greek, are related to Bul¬
garian musical history. Some manuscripts of the 19th century transmit
chants in Slavic of Psalm
103
for Great Vespers, the so-called "Aniksa-
173
ntari" (after the textual
incipit)
designated as "Bulgarian" and "of Zograf
'
(Hilandar
556, 557, 585,
and
777).
These designations again are linked to
Bulgaria. There are many speculations as to this meaning of "Bulgarian": is
it an indication of origin of the chant, the manner of performance or com¬
position, or both?
Many chants by Bulgarian authors are found in Hilandar manuscripts.
Some of the authors were monks and worked in the
Rila
singing school at
Rila
Monastery (Bulgaria). The
Rila
singing school was one of the largest in
the Balkans during the 18th and the 19th centuries. Musical pieces by
Neophit of
Rila
and Athanasius of
Rila
are included in three Hilandar
manuscripts (Hilandar
166, 561,
and
588).
Others authors were secular
members of society who called themselves "teachers": Joan, Michael
Vasilev, Nikola
Zlatarski,
Christo
Valkov Pulekov, etc. (see Hilandar
166,
561, 588, 686,
and
808).
Some of these secular authors have been unknown
in the history of Bulgarian music until now. Their works were designed not
only for the church, but also for the new secular Bulgarian schools that
were established in the second quarter of the 19th century in Bulgarian
lands: pupils learned chants in these schools and performed them in
church on Sundays where they would go and take part in the solemn ser¬
vices. Perhaps it is because of the great popularity of these chants that they
entered musical manuscripts designed for performance during offices in
church.
Another group of chants in Hilandar musical manuscripts are related
to the Bulgarian Zograf monastery. The latter is situated not far from
Hilandar Monastery on Mount
Athos.
Some of the chants included in
Hilandar manuscripts are by monks of Zograf. The names of Anatolij of
Zograf, Gavriil of Zograf, Daniil of Zograf, Kalistrat of Zograf are found in
Hilandar
33, 100, 588, 694, 695,
and
808.
Finally, some inscriptions are presented here which indicate that cer¬
tain manuscripts were written in Bulgaria. Such a manuscript is, for in¬
stance, Hilandar
566:
the inscription attests to the fact that the manuscript
was written in the Bulgarian town of Panagyurishte.
The sources studied illustrate the significant role that Hilandar Monas¬
tery has played in the history of Bulgarian music during the 18th and 19th
centuries. Hilandar arose as one of the most significant centers of resumed
Orthodox activity at the time, after centuries of the Ottoman yoke: it became
a focal point of education and culture where people of different nationalities
worked together. The rich collection of Hilandar sources reveals that various
traditions were compiled and preserved in Hilandar and that there were close
musical relationships among the three major spiritual and cultural Slavic
centers of Hilandar, Zograf, and
Rila
monasteries, on the one hand, and be¬
tween Mount
Athos
and the inner Bulgarian lands, on the other.
174
In conclusion, the sources studied have raised the awareness of our mu¬
sical roots and also has shown us where such traditions have diverged and
where they have crossed, what of them has been transmitted through the
centuries and how it has been preserved. Certainly, a considerable amount
of work still remains to be done. This is especially true if we consider that
the Eastern chant as a religious chant was neglected for more than forty-
five years in the former socialist countries belonging to the Orthodox world
where such music fell into oblivion. Nowadays, with the changes in our
world, the interest in religious chant has greatly increased. It is a challenge
of our time to appreciate the beauty of this music, to reconstruct it and to
make it a "living" tradition for future generations.
175 |
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| author | Kujumdžieva, Svetlana 1949- |
| author_GND | (DE-588)1047111780 |
| author_facet | Kujumdžieva, Svetlana 1949- |
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| author_sort | Kujumdžieva, Svetlana 1949- |
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| building | Verbundindex |
| bvnumber | BV035161956 |
| ctrlnum | (OCoLC)644789491 (DE-599)BVBBV035161956 |
| edition | 1. izd. |
| format | Book |
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| id | DE-604.BV035161956 |
| illustrated | Illustrated |
| index_date | 2024-07-02T22:51:04Z |
| indexdate | 2025-01-31T09:02:08Z |
| institution | BVB |
| isbn | 9789543221851 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016969051 |
| oclc_num | 644789491 |
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| owner_facet | DE-12 DE-20 |
| physical | 175 S. Ill., Noten |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Akad. Izdat. "Prof. Marin Drinov" |
| record_format | marc |
| spelling | Kujumdžieva, Svetlana 1949- Verfasser (DE-588)1047111780 aut Bălgarska muzika v Chilendar Svetlana Kujumdžieva 1. izd. Sofija Akad. Izdat. "Prof. Marin Drinov" 2008 175 S. Ill., Noten txt rdacontent n rdamedia nc rdacarrier PST: Bulgarian music in Hilandar. - In kyrill. Schr., bulg. - Zsfassung in engl. Sprache Chiliandariu Athos Bibliothek (DE-588)4427939-5 gnd rswk-swf Bulgarisch (DE-588)4120165-6 gnd rswk-swf Musikhandschrift (DE-588)4040847-4 gnd rswk-swf Bulgarisch-Kirchenslawisch (DE-588)4208179-8 gnd rswk-swf Chiliandariu Athos Bibliothek (DE-588)4427939-5 b Musikhandschrift (DE-588)4040847-4 s Bulgarisch (DE-588)4120165-6 s DE-604 Bulgarisch-Kirchenslawisch (DE-588)4208179-8 s Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016969051&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016969051&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Kujumdžieva, Svetlana 1949- Bălgarska muzika v Chilendar Chiliandariu Athos Bibliothek (DE-588)4427939-5 gnd Bulgarisch (DE-588)4120165-6 gnd Musikhandschrift (DE-588)4040847-4 gnd Bulgarisch-Kirchenslawisch (DE-588)4208179-8 gnd |
| subject_GND | (DE-588)4427939-5 (DE-588)4120165-6 (DE-588)4040847-4 (DE-588)4208179-8 |
| title | Bălgarska muzika v Chilendar |
| title_auth | Bălgarska muzika v Chilendar |
| title_exact_search | Bălgarska muzika v Chilendar |
| title_exact_search_txtP | Bălgarska muzika v Chilendar |
| title_full | Bălgarska muzika v Chilendar Svetlana Kujumdžieva |
| title_fullStr | Bălgarska muzika v Chilendar Svetlana Kujumdžieva |
| title_full_unstemmed | Bălgarska muzika v Chilendar Svetlana Kujumdžieva |
| title_short | Bălgarska muzika v Chilendar |
| title_sort | balgarska muzika v chilendar |
| topic | Chiliandariu Athos Bibliothek (DE-588)4427939-5 gnd Bulgarisch (DE-588)4120165-6 gnd Musikhandschrift (DE-588)4040847-4 gnd Bulgarisch-Kirchenslawisch (DE-588)4208179-8 gnd |
| topic_facet | Chiliandariu Athos Bibliothek Bulgarisch Musikhandschrift Bulgarisch-Kirchenslawisch |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016969051&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016969051&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT kujumdžievasvetlana balgarskamuzikavchilendar |