Matins in selected Medieval Byzantine musical manuscripts:
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Warszawa
Rhetos
2017
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| Ausgabe: | First edition |
| Schlagworte: | |
| Online-Zugang: | Abstract Abstract Inhaltsverzeichnis Literaturverzeichnis |
| Beschreibung: | 160 Seiten Notenbeispiele 24 cm |
| ISBN: | 9788394809850 |
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| 246 | 1 | 3 | |a The structure of Byzantine "Orthos" according to the XIVth century |
| 246 | 1 | 3 | |a La struttura dell'orthros bizantino secondo i manoscritti musicali bizantini |
| 246 | 1 | 3 | |a Štruktúra byzantskej utirne podľa hudobných rukopisov 14. storočia |
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| 546 | |a Zusammenfassung in englischer, italienischer und slowakischer Sprache: The structure of Byzantine "Orthos" according to the XIVth century. La struttura dell'orthros bizantino secondo i manoscritti musicali bizantini. Štruktúra byzantskej utirne podľa hudobných rukopisov 14. storočia | ||
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Datensatz im Suchindex
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| adam_text | Sommario La struttura dell’orthros bizantino secondo і manoscritti musicali bizantini “Taxis tôn Akolouthiôn” del 14 secolo Il lavoro si divide in cinque capitoli. Il primo capitolo porta il titolo “la storia dello sviluppo dei manoscritti d’akolouthia”. In questo primo capitolo dopo l’abozzo del contesto storico - “conditio sine qua non” per capire le cir costanze dell’epoca nella quale avvenivano і cambiamenti liturgici e musicali nei manoscritti - segue la descrizione dei manoscritti dai quali, secondo l’o pinione dei ricercatori (Dimitri Conomos, Miloš Velimirović, Egon Wellesz) si è sviluppato il manoscritto di akolouthia. Alla fine segue la descrizione del nuovo manoscritto akolouthia. Il secondo capitolo intitolato “le fonti” presenta tre tipi di fonti utilizza te nel lavoro. In primo luogo si tratta dei manoscritti musicali d’akolouthia. Abbiamo utilizzato 23 manoscritti, dall’anno 1336 (EBE 2458 - il più antico manoscritto dell’akolouthia) fino al 1795 (uno degli ultimi akolouthia che si trovano ancora nella forma manoscritta). La ricerca si è concentrata su sette manoscritti che coprono il periodo che va dal 1336 fino al 1453, cioè alla caduta di Costantinopoli. Tutti questi manoscritti akolouthia indicano una ra ra coincidenza dei loro schemi. Un’altra fonte importante che ci offre molti esempi dello sviluppo dell’epoca, sono і commentari e manuali liturgici di Simeone di Salonicco, Filoteo Kokkino e Marco Eugenico. La terza fonte sono gli Eucologi, cioè і libri di preghiere per il vescovo e per il sacerdote, necessari per la celebrazione della liturgia
eucaristica, dell’ufficio delle ore e di altre cerimonie. Il terzo capitolo si intitola “orthros bizantino”. In questo capitolo si presenta lo schema liturgico, dedotto dallo studio dei manoscritti musicali. Allo stesso tempo si indicano alcune differenze schematiche che si trovano nei manoscritti. Poi si presenta lo schema dell’orthros ridotto, derivante dai commentari e ma nuali liturgici. In questa parte si indichano anche alcune differenze che derivano 155
Sommario dalle scelte fatte da ogni singolo commentatore nel suo lavoro. Il terzo schema è dedotto dagli Eucologi. Nella conclusione del terzo capitolo si presenta una tavola comparativa finale che ci permette di presentare un quadro dell’insieme dello schema nella liturgia d’orthros così come questa si riflette nei manoscritti musicali e nei commentari e manuali dell’epoca. Il capitolo quarto è intitolato “la musica negli akolouthia”. In questo capi tolo vengono studiati elementi musicali dell’epoca e nello stesso tempo an che і principali cambiamenti che avvenivano nella musica liturgica del 14° secolo. La maggior parte delle informazioni che oggi abbiamo sulla musica dell’Impero Bizantino si trova ancora a livello di ipotesi, perciò la credibilità della presente ricerca e la sicurezza dei suoi risultati deve essere percepita alla luce delle reali possibilità oggi oiferte dalla scienza musicologica mondiale, cioè di possibilità alquanto ridotte. Studiando la musica dell’Impero Bizanti no nel periodo del suo declino, non possiamo trascurare teretismata, prologoi e kratemata, il problema che in un certo senso caratterizza l’arte musicale di Bisanzio dal 13° al 15° secolo. Il quinto capitolo si intitola “trascrizione musicale”. In questo capitolo vie ne studiato il sistema dell’opera musicale bizantina. Per questo studio è de terminante la conoscenza del sistema della notazione musicale bizantina. La musica attraverso l’annotazione musicale è espressione di una concreta mo dalità, cioè dell’appartenenza al suo modo musicale elementare che è la scala. Nel presente
lavoro і neumi ֊ la notazione musicale - vengono trascritti con il sistema occidentale, rappresentato in un unico manuale - libro di Henry Tillyard, pubblicato nell 1935. Questa percezione occidentale dei neumi vie ne respinta e contrastata dalla scuola orientale - greca. Proprio a causa dei risultati diametralmente opposti delle ricerche nel campo della musicologia bizantina il presente lavoro si limita ai pochi esempi di trascrizione musicale. A modo di conclusione della dissertazione sono riassunte le ipotesi emerse. Alla fine del testo si presentano tavole comparative derivanti dai documenti principali oggetto della presente ricerca. Dopo le tavole comparative sono aggiunte le appendici. Nelle appendici si trovano in primo luogo le rubriche della liturgia dell’orthros dai manoscritti musicali. Oltre queste ֊ proprio per un confronto migliore - sono aggiunte le altre tavole comparative che indicano lo schema dell’orthros da diversi punti di vista. Allo stesso modo è stata elaborata anche la tavola comparativa deri vante dai commentari liturgici. In conclusione, fra gli allegati, sono inseriti anche alcuni esempi di trascri zione di opere musicali prese dai manoscritti. Questa parte concreta delle appendici che nel piano originale doveva essere centrale della presente ri156
Sommario cerca, alla fine è stata volontariamente ridotta al numero minimo di esempi, sufficenti per una indicazione concreta del contributo innovativo musicale che si può riscontrare nel periodo di decadenza dell’Impero Bizantino, circa un secolo prima della caduta definitiva di Costantinopoli. 157
Resumé V Struktura byzantskej utierne podľa hudobných rukopisov 14. storočia „Taxis tôn Akolouthiôn“ Práca sa delí na päť kapitol. Prvá kapitola nesie názov „Dejiny vývoja ru kopisov akolouthia“. V nej po úvode do dejinného kontextu - podmienky „si ne qua non“ pre pochopenie okolností doby, v ktorej dochádzalo v rukopisoch k liturgickým a hudobným zmenám ֊ nasleduje opis rukopisov, z ktorých podľa mienky vedcov (Dimitri Conomos, Miloš Velimirovié, Egon Wellesz) sa vyvinul rukopis akolouthia. V závere kapitoly nasleduje opis spomínaného novo vzniknutého rukopisu akolouthia. Druhá kapitola nazvaná „Pramene“ predstavuje tri typy prameňov, ktoré boli v práci použité. Na prvom mieste sú to hudobné rukopisy akolouthia. Použili sme 23 rukopisov datovaných od roku 1336 (EBE 2458 ֊ najstarší zachovaný rukopis akolouthia) až po rok 1795 (jeden z posledných rukopisov akolouthia, ktorý je ešte v rukopisnej podobe). Samotný výskum bol zamera ný na sedem rukopisov, ktoré pokrývajú obdobie od roku 1336 do roku 1453, teda do pádu Konštantínopolu. Všetky skúmané rukopisy akolouthia indikujú vzácnu zhodu v svojej schéme. Ďalším dôležitým prameňom, ktorý nám po núka mnoho príkladov vývoja tej doby, sú liturgické komentáre a manuály Simeona Solúnskeho, Filotea Kokkina a Marka Eugenika. Tretím prameňom sú euchológiá, teda knihy modlitieb pre biskupa a kňaza, potrebné pre sláve nie eucharistickej liturgie, liturgie hodín a ďalších obradov. Tretia kapitola má názov „Byzantská utiereň“. V tejto kapitole je pred stavené liturgické schéma, ako je odvodené z výskumu študovaných hudob ných
rukopisov. Zároveň sú tam indikované niektoré schematické odlišnosti rukopisov. Ďalej je predstavené redukované schéma utieme, odvodené z li turgických komentárov a manuálov. V tejto časti sú tiež indikované niektoré odlišnosti v jednotlivých prameňoch, súvisiace s voľbou výberu informácií každého z autorov prameňov. Tretie schéma je odvodené z euchológií. V zá159
Resumé vere tretej kapitoly je predstavená finálna porovnávacia tabuľka, ktorá umož ňuje predstaviť celkový obraz schémy liturgie utieme tak, ako je odrazená v hudobných rukopisoch, komentároch a manuáloch doby. Štvrtá kapitola má názov „Hudba v Akolouthiách“. V tejto kapitole sú študované dobové hudobné prvky, a zároveň aj podstatné zmeny, ku kto rým dochádzalo v liturgickej hudbe 14. storočia. Väčšina informácií, ktoré dnes o hudbe Byzantskej ríše máme, sa pohybuje na úrovni hypotéz, preto aj hodnovernosť výskumu tejto práce a pravdivosť výsledkov výskumu za chytených v tejto práci, treba chápať vo svetle reálnych možností, ktoré nám v súčasnosti ponúka svetová hudobná veda, teda možností trocha obmedze ných. Pri štúdiu hudby Byzantského impéria v dobe jeho úpadku nemôžeme vynechať teretismata, prologoi a kratemata, otázok, ktoré v istom zmysle cha rakterizujú hudobné umenie Byzancie od 13. do 15. storočia. Piata kapitola má názov „Hudobný prepis“. V tejto kapitole je študova ný systém byzantského hudobného diela. Pre toto štúdium je rozhodujúca znalosť byzantského hudobno-notačného systému. Hudba je skrze svoju no táciu vyjadrením konkrétnej modality, teda príslušnosti svojmu základnému hudobnému modu, teda stupnici. V tejto práci sú neumy - hudobná notácia ֊ prepísané podľa západného systému transkripcie, ktorý je dnes predstavený v jedinej publikácii - knihe Henryho Tillyarda, ktorá bola publikovaná v ro ku 1935. Západné ponímanie neúm bolo odmietnuté a zavrhnutá východnou školou - gréckou. Kvôli týmto diametrálne odlišným výsledkom výskumov na poli byzantskej
muzikológie, sa táto práca obmedzila na minimálne množ stvo príkladov hudobnej transkripcie. V závere sú zhrnuté hypotézy, ktoré sa objavili v práci. Na konci textu sa nachádzajú porovnávacie tabuľky odvodené z hlavných dokumentov rele vantných k téme tejto práce. Za porovnávacími tabuľkami sa nachádzajú prílohy. Spomedzi nich sú na prvom mieste rubriky liturgie utieme z hudobných rukopisov. Okrem nich sú pre lepšie porovnanie pridané aj ďalšie porovnávacie tabuľky znázorňujúce schému utieme z rôznych uhlov pohľadu. Rovnakým spôsobom bola tiež vy pracovaná porovnávacia tabuľka liturgických komentárov. Úplne na záver je priložených niekoľko príkladov transkripcie hudobných diel vybraných z rukopisov. Konkrétne táto časť mala byť podľa pôvodného zámem práce kľúčovou časťou tohto výskumu, avšak napokon bola úmysel ne redukovaná na minimálne množstvo príkladov, dostačujúce pre konkrétnu indikáciu hudobno-inovatívneho príspevku, pozorovateľného v období úpad ku Byzantského impéria približne jedno storočie pred definitívnym pádom Konštantínopolu. ~~ľ 160 Bayerische StabtsbiSiiothek n
Table of Contents Bibliography and Abbreviations.......................................................................7 Acknowledgments..............................................................................................17 Introduction....................................................................................................... 19 Chapter I: History of Development of the Akolouthiai........................... 23 The New Manuscripts.................................................................................... 25 Chapter II: The Sources..............................................................................29 Manuscripts....................................................................................................... 30 Liturgical Commentaries................................................................................. 40 Eucologies....................................................................................................... 42 Chapter III: The Byzantine Όρθρος........................................................... 45 Orthros in the Manuscripts................................................................ Orthros in the Commentaries........................................................................... 50 Orthros in the Eucologies................................................................................. 54 Comparison....................................................................................................... 57 Chapter IV: The Music in the Akolouthiai...............................................65
New Musical Elements.................................................................................... 66 The Location of Prologos and Kratemata..................................................... 70 Chapter V: Musical Transcription...............................................................73 Musical Notations...........................................................................................74 Modality...........................................................................................................77 Interpretation of Music.................................................................................... 79 Principles of Musical Transcription...............................................................83 Conclusion....................................................................................................... 84 Plates 87 45
Musical Examples 137 Summary...............................................................................................................153 Sommario...............................................................................................................155 Resumé.................................................................................................................. 159
Bibliography and Abbreviations E. Alygizakis, “English translation of the ‘Interpretation of the Tones and Modes’ from MS Athos Dionysiou 570,” Byzantine Chant (ed. Troelsgård) 151-157. Alygizakis, “Interpretation of Tones and Modes” = E. Alygizakis, “Interpre tation of Tones and Modes in Theoretical Handbooks of the 15th century,” Byzantine Chant (ed. Troelsgård) 143-149. AM = Acta Musicologica. Amargianakis, “Interpretation of Old Sticherarion” = G. Amargianakis, “The Interpretation of the Old Sticherarion,” Byzantine Chant (ed. Troelsgård) 23-51. L. A. Angelopoulos, “The ‘Exegesis’ of Chourmouzios Hartofylax on certain compositions by Ioannis Koukouzelis,” Byzantine Chant (ed. Troelsgård) 109-121. Arranz, “Asmatikos Orthros” = M. Arranz, “L’office de l’Asmatikos Orthros (matines chantée) de l’ancien Euchologe byzantin,” Orientalia Christiana Periodica Al (1981) 122-157. Arranz, “Euchologe slave” = M. Arranz, “La liturgie de l’Eucholge slave du Sinai,” Christianity among the Slavs (Acts of the International Congress held on the Eleventh Centenary of the Death of St. Methodius, Rome, Oc tober 8-11, 1985) (Rome 1988) 15-74. Arranz, Eucologio Costantinopolitano = M. Arranz, L ’Eucologio Costantino politano agli inizi del secolo XI (Rome 1996). Arranz, “Grandes étapes” = M. Arranz, “Les Grandes étapes de la liturgie byzantine: Palestine-Byzance-Russie,” Liturgie d’Égliseparticulière et li turgie de l’Église universelle, BELS 7 (Rome 1976) 43-72. Arranz, Kak molilis = M. Arranz, Как молились Богу древние византийцы (Leningrad 1979). Arranz, Molitvy = М. Arranz, Молитвы и
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Bibliotheca Ephemerides Liturgicae. Subsidia. Beneševič, Opisanije rukopiseį Sinaja = V. N. Beneševič, Описание греческих рукописей монастыря святой Екатерины на Синае (St. Pe tersburg 1911). Bertonière, Easter Vigil = G. Bertonière, The Historical Development of the Easter Vigil and Related Services in the Greek Church (OCA 193) (Rome 1972). BZ = Byzantinische Zeitschrift. CHR = The Byzantine Divine Liturgy of St. John Chrysostom. Clark, Checklist ofSinai = K. W. Clark, Checklist ofManuscripts in St. Cathe rine ’s Monastery, Mount Sinai, microfilmed for the Library of Congress (Washington 1952).
Bibliography and Abbreviations D. Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984). Conomos, “Asmaticon” = D. Conomos, “Asmaticon,” ODB 209. Conomos, Communion Cycle = D. Conomos, The Late Byzantine and Slavo nic Communion Cycle: Liturgy and Music, DOS 21 (Washington 1985). Conomos, “Papadike” = D. Conomos, “Papadike,” ODB 1578. Conomos, “Psaltikon” = D. Conomos, “Psaltikon,” ODB 1754. Conomos, Trishagia and Cheroubika = D. Conomos (ed.), Byzantine Trishagia and Cheroubika of the fourteenth andfifteenth centuries: study ofa la te Byzantine liturgical chant (Thessalonica 1974). Demetrakou, Lexicon = D. Demetrakou, Μεγα λεξικόν Ελληνικής- γλώσσης I-IX (Athens-Thessalonica 1933-1951). Dévai, “Cucuzeles” = G. Dévai, “The Musical Study of Cucuzeles in a Ma nuscript of Debrecen,” Acta Antiqua Academiae Scientiarum Hungaricae III, fase. 1-2 (Budapest 1955) 151-179. Dévai, “Kukuzeles” = G. Dévai, “The Musical Study of Koukouzeles in a Fourteenth-Century Manuscript,” Acta Antiqua Academiae Scientiarum Hungaricae VI (Budapest 1955) 213-235. Devresse, Codices Vaticani = R. Devresse (ed.), Codices Vaticani graeci, (Va tican 1950). Diamante, Eucologio Sinai = D. Diamante, L’Eucologio Sinai 959 (doctoral dissertation at PIO Rome) (Venice 1995). Dimitrova, “Utrinnata služba” = M. Dimitrova, “Утринната служба във византийските музикални ръкописи от XIV в.,” Paleobulgarica 3 (1998)3-20. Di Salvo, “Asinata” = В. Di Salvo, “Gli Asmata nella musica bizantina,” BBGG 13 (1959) 45-50, 127-145; 145-178. Di Salvo, “Asmatikon” = B. Di Salvo, “Asmatikon,” BBGG 16 (1962)
135-158. Di Salvo, “Contacarium Ashbumhamense” = B. Di Salvo, “A proposito della publicazione del Contacarium Ashbumhamense,” BBGG 14 (1960) 55-64. Dragoumis, “Vasileiou, a Pioneer” = M. Dragoumis, “Markos Vasileiou, a Pioneer of Byzantine Musicology,” Rhythm in Byzantine Chant (ed. Hannick) 45-53. DOS = Dumbarton Oaks Studies. EBE = Ethniki Vivliothiki tis Ellados. EUG = Markos Eugenikos, Του σωφωτάτου και λογιωτάτου Μάρκου Ευγενικοί) μιτροττολίτου Εφέσου εξήγησις τής εκκλησιαστικής ακολουθίας, PG 160:1163-1194. Eustratiades-Arcadlos, Manuscripts ofVatopedi = S. Eustratiades - Arcadlos (deacon), Catalogue of the Greek Manuscripts in the Library of the Mo nastery ofVatopedi on Mount Athos (Cambridge 1924).
Bibliography and Abbreviations FIL = Philotteos Kokkinos, “Διάταξις τής Ιεροδιακονίας ίηγουν πώς· ύπερετει ό διάκονος μετά του ίερεως, εν те τω μεγάλω εσπερινώ, τω άρθρω τε καί τή λειτουργία, συντεθεΐσα κα ι τυπωθεΐσα παρά του άγιωτάτου, κα ι οικουμενικοί) πατριάρχου κυρίου Φιλόθεου,” PG
154:745-766. Georgiou, Hebdomadiaìa antifonike = К. I. Georgiou, Ή εβδομαδιαία άντιφωνική κατανομή των ψαλμών και των ωδών είς τάς ’Ασματικάς ’Ακολουθίας εσπερινοί) κα ι άρθρου. Ελληνικοί Μουσικοί Κώδικες 20612062 ’Εθνικής Βιβλιοθήκης Αθηνών (Unpublished doctoral dissertation at PIO) (Rome 1976).
Gercman, “Documenta Koukouzeliana” = E. V. Gercman, “Documenta Koukouzeliana,” VV 58 (1999) 104-116. Hannick, “Akolouthia Asmatiké” = Ch. Hannick, “Étude sur l’akolouthia asmatiké (avec quatre figures),” JOB 19 (1970) 243-260. Hannick, “Značenie” = Ch. Hannick, “Музыкальное и литургическое значение
кратимы и прологоса в византийских рукописях до XV в.,” Българско музикознание (Sofia 1992) 93-98. Hannick, “Performance of Kanon” = Ch. Hannick, “The Performance of the Kanon in Thessaloniki in the 14th Century,” Studies in Eastern Chant 5 (Crestwood 1990) 137-152. Hannick, “Reference materials” =
Ch. Hannick, “Reference materials on By zantine and Old Slavic music and hymnography,” JPMMS 13 (Cambridge 1990)83-89. Hannick (ed.), Rhythm in Byzantine Chant = Ch. Hannick (ed.), Rhythm in Byzantine Chant (Acta of congress held at Hernen Castle in November 1986) (Hernen 1991). Hannick, “Probleme
der rhythmik” = Hannick, “Probleme der rhythmik des byzantinischen Kirchengesangs,” Rhythm in Byzantine Chant
(ed. Han nick) 1-19. Hannick-Wolfram, Gabriel Hieromonachos = Ch. Hannick - G. Wolfram, Gabriel Hieromonachos. Abhandlung über den Kirchengesang, MMB (Vienna 1985). Høeg, Notation ekphonétique = C. Høeg, La notation ekphonétique, MMB Subsidia (Copenhagen 1935). Hunger-Hannick, Katalog der österreichischen nationalbibliothek = H. Hun ger ֊ Ch. Hannick, Katalog der griechischen handschriften der österrei chischen nationalbibliothek (Vienna 1984). Husssey, Orthodox Church = J. M. Husssey, The Orthodox Church in the Byzantine Empire (Oxford 1990).
Bibliography and Abbreviations Idelsohn, Jewish Music = A. Z. ldelsohn, Jewish Music (New York 1992). Ieratikon, 1998 = ’кратікоѵ (Athens 1998). JAMS = Journal of the American Musicological Society. JLW = Jahrbuch für Liturgiewissenschaft. JM = The Journal of Musicology. JÖB = Jahrbuch der österreichischen byzantinischen Gesellschaft (19511968); Jahrbuch der österreichischen Byzantinistik (Wien 1969 ff.) JPMMS = Journal of the Plainsong and Medieval Music Society. Kavras-Hoffmann, “Greek Manuscripts at Dumbarton Oaks,” DOP 50 (1996) 289. Kohoutek, Hudební styly = C. Kohoutek, Hudební styly z hlediska skladatele (Prague 1976). Korza, Eucologio Rossano = К. Korza, L Euchologio di Santa Maria del Patirion di Rossano (Codice Vaticano Greco 1970) (doctoral dissertation at PIO) (Rome 1998). Koumarianos, Eucologio Bizantino = P. Koumarianos, Il Codice 226 della Biblioteca di San Pietroburgo. L ’Eucologio Bizantino di Porjyrio Uspen sky (doctoral dissertation at PIO Rome) (London Ontario 1996). Lambros, Catalogue ofManuscripts on Athos = S. P. Lambros, Catalogue of the Greek Manuscripts on Mount Athos (Cambridge 1895). Levy, “Byzantine Music” = K. Levy, “Music ofthe Byzantine Rite,” NGDMM 2, 553-566. Liddell-Scott, Lexicon = H. G. Liddell-Scott, An Intermediate Greek-English Lexicon (Oxford 1996). Lingas, “Hesychasm and Psalmody” = A. L. Lingas, “Hesychasm and Psal mody,” Mount Athos and Byzantine Monasticism (Papers from the Twen ty-eight Spring Symposium of Byzantine Studies, Birmingham, March 1994 (A. Bryer- M. Cunningham eds.)) (Hampshire 1996) 155-168. Lingas, Matins = A.
L. Lingas, Sunday Matins in the Byzantine Cathedral Rite: Music and Liturgy, UMI (Ann Arbor Michigan 1996). Lingas, “Vespers” = A. L. Lingas, “Festal Cathedral Vespers in Late Byzan tium,” Orientalia Christiana Periodica 63 (1997) 421-459. LXX = Septuaginta (A. Rahlfs ed.) (Stuttgart 1979). Martini-Bassi, Catalogus bibliothecae ambrosianae = A. Martini ֊ D. Bassi, Catalogus codicum graecorum bibliothecae ambrosianae (Milan 1906). Mateos, “Horologion” = J. Mateos, “Un horologion inédit de S. Sabas. Le Codex sinaïtique grec 863 (IXe siècle),” ST 233 (Vatican 1964) 47-76. Mateos, “Morning and Evening Office” = J. Mateos, “The Morning and Eve ning Office,” Worship 42 (1968) 31-47.
Bibliography and Abbreviations Mateos, “Prières initiales” = J. Mateos, “Prières initiales fixes des Offices Syrien, Maronite et Byzantin,” OS И (1966) 488-498. Mateos, “Psalmodie variable” = J. Mateos, “La Psalmodie variable dans l’of fice byzantin,” Societas Academica Dacoromana, Acta philosophica et theological 2 (Rome 1964) 327-339. Mateos, “Quelques problèmes” = J. Mateos, “Quelques problèmes de l’orthros byzantin,” РОС 11 (1961) 17-35, 201-220. Mateos, “Vigile cathédrale” = J. Mateos, “La Vigile cathédrale chez Egèrie,” Orientalia Christiana Periodica 27(1961)281-312. Mateos, Typicon I-II = J. Mateos, Le Typicon de la Grande Eglise I-II (OCA 166) (Rome 1963). MGG = Die Musik in Geschichte und Gegenwart. ММВ = Monumenta Musicae Byzantinae. MQ = The Musical Querterly. NGDMM = The New Grove Dictionary ofMusic and Musicians (S. Sadie ed.) (Oxford 1980). OCA= Orientalia Christiana Analecta. OCh = Orientalia Christiana. ODB = The Oxford Dictionary of Byzantium (3 vols.) (Oxford 1991). Orthros = ΟΡΘΡΟΣ, the Resurrectional Hymns for Sunday (Northridge CA, 1996). OS = L Orient Syrien. Panagiotides, “Musical use of Psalter” = P. Ch. Panagiotides, “The Musi cal use of the Psalter in the 14th and 15th centuries,” Byzantine Chant (ed. Troelsgård) 159-171. Papadopoulos-Kerameus, Hierosolymitiki bibliothiki = A. Papadopoulos-Kerameus, Hierosolymitiki bibliothiki (St Petersburg 1891). Parenti, “Eucologio Slavo” = S. Parenti, “L’eucologio slavo del Sinai nel la storia dell’eucologio Bizantino” (Seminario del Dipartimento di Studi Slavi e dell’Europa Centro-orientale, Università di
Roma “La Sapienza”) (Rome 1997). Parenti-Velkovska, Eucologio Barberini = S. Parenti - E. Velkovska, L Euco logio Barberini gr. 336 (Rome 1995). PG = Jacobus Paulus Migne, Patrologiae Cursus Completus, Series Graeca (Paris 1857-1866). H. Phelan (ed.), Anàil Dé (The Breath of God) (Limerick 2001). Pitra, Codices Manuscripti Palatini = I. B. Pitra, Codices Manuscriptі Pala tini Graeci Bibliothecae Vaticanae (Rome 1885). РОС = Proche-Orient chrétien.
Bibliography and Abbreviations Polites, Katalogos cheirografon EBE = L. Polites, Κατάλογος χειρογράφων της Εθνικής Βιβλιοθήκης τής ’Ελλάδος (άρ. 1857-2500) (Athens 1991). PRES = The Divine Liturgy of the Presanctified Gifts. Quasten, Music and Worship = J. Quasten, Music and Worship in Pagan and Christian Antiquity (Washington DC 1983). Raasted, “Koukouzeles Sticherarion” = J. Raasted, “Koukouzeles’ Sticherarion,” Byzantine Chant (ed. Troelsgård) 9-21. Raasted, “Rhythm” = J. Raasted, “Rhythm in Byzantine Chant,” Rhythm in Byzantine Chant (ed. Hannick) 67-91. RABI = Rivista delle Accademie e Biblioteche d’Italia. Raes, “Matines” = A. Raes, “Note sur les anciennes Matines byzantines et arméniennes,” Orientalia Christiana Periodica 19 (1953) 205-210. Rocchi, Codices Cryptensis = A. Rocchi, Codices Cryptensis seu Abbatiae Cryptae Ferratae (Grottaferrata 1883). Sakkelion, Katalogos cheirografon tis Hellados = 1. Sakkelion - A. I. Sakkelion, Κατάλογος τον χειρογράφων τής Εθνικής Βιβλιοθήκης τής ’Ελλάδος (άρ. 1-1856) (Athens 1892). E. W. Saunders, A Descriptive Checklist of Selected Manuscripts in the Monasteries of Mount Athos, microfilmed for the Library of Congress (Washington DC 1957). Schartau, Interval Signs = B. Schartau, Anonymous Questions and Answers on the Interval Signs, MMB (Vienna 1998). Slovar = Словарь академіи Россійской 1-Vl (St Petersburg 1789-1794). Spyridon-Eustratiades, Catalogue of Manuscripts of Laura - Spyridon ֊ S. Eustratiades, Catalogue of the Greek Manuscripts in the Library of the Laura on Mount Athos (Cambridge 1925). ST = Studi e Testi (Città del
Vaticano 1900 ff.). Stathis, “Analysis” = G. Th. Stathis, “An Analysis of the Sticheron Τον ήλιον κρύψαντα by Germanos, Bishop of New Patras [The Old ‘Synoptic’ and the New ‘Analytical’ Method of Byzantine Notation],” Studies in Eastern Chant 4 (M. Velimirović ed.) (Crestwood 1979) 177-227. Stathis, Cheirografa = G. Th. Stathis, Τά χειρόγραφα Βυζαντινής μουσικής, Αγιον’Όρος (Athens 1976, 1993). Stathis, “Method and Application” = G. Th. Stathis, “Ή Μέθοδος των θέσεων του Ίωάννου Κουκουάέλη και ή εφαρμογή της,” Byzantine Chant (ed. Troelsgård) 189-201. Strunk, “Antiphons” = O. Strunk, “The Antiphons of the Oktoechos,” JAMS 13 (1960) 50-67 (reprinted in Strunk, Essays on Music, 165-190).
Bibliography and Abbreviations Strunk, “Byzantine Music” = O. Strunk, “Byzantine Music in the Light of Recent Research and Publication,” Proceedings of the Thirteenth Interna tional Congress ofByzantine Studies (London ֊ New York 1967) 245-254 (reprinted in Strunk, Essays on Music, 240-254). Strunk, “Byzantine Office” = O. Strunk, “The Byzantine Office at Hagia Sophia,” DOP 9-10 (1956) 175-202 (reprinted in Strunk, Essays on Music, 112-150). Strunk, “Early Byzantine Notations” = O. Strunk, “The Classification and Development of the Early Byzantine Notations” (Atti del Congresso Inter nazionale di Musica Sacra, Tournai 1952) (reprinted in Strunk, Essays on Music, 40-44). Strunk, Essays on Music = O. Strunk, Essays on Music in the Byzantine World (New York 1977). Strunk, “Intonations and Signatures” = O. Strunk, “Intonations and Signatu res of the Byzantine Modes,” MQ 31 (1945) 339-355 (reprinted in Strunk, Essays on Music, 19-36). Strunk, “S. Salvatore di Messina” = O. Strunk, “S. Salvatore di Messina and the Musical Tradition of Magna Grecia,” (Ninth International Congress of Byzantine Studies, Thessalonica, April 1953) (reprinted in Strunk, Essays on Music, 45-54). Strunk, “Tonal System” = O. Strunk, “The Tonal System of Byzantine Mu sic,” MQ 28 (1942) 190-204 (reprinted in Strunk, Essays on Music, 3-18). SYM = Symeon of Thessalonica, “Пері τής· θείας ευχής,” PG 155:536-669. Symeon, Treatise = Symeon of Thessalonica, Treatise on Prayer (H. L. N. Simmons transi.) (Brookline Mass. 1984). Taft, “Mt. Athos” = R. Taft, “The Mt. Athos: A Late Chapter in the History of the
Byzantine Rite,” DOP 42 (!988) 179-194. Taft, Great Entrance = R. Taft, The Great Entrance. A History ofthe Transfer of Gifts and other Pre-anaphoral Rites (OCA 200) (Rome 1978). Taft, Short History = R. Taft, The Byzantine Rite. A Short History (College ville 1992). Taft, Hours = R. Taft, The Liturgy of the Hours in East and West: The Origins of the Divine Office and its meaning for today (Collegeville 1993). Tardo, Antica Melurgia Byzantina = L. Tardo, L’Antica Melurgia Byzantina nell ’interpretazione della scuola Monastica di Grottaferrata (Grottaferra ta 1938). Tardo, “Codici del Vaticano” = L. Tardo, “I codici melurgici della Vaticana ed il contributo alla musica bizantina del monacheSimo greco della Magna Grecia,” ASCL 1 (1931)225-248.
Bibliography and Abbreviations L. Tardo, “1 manoscritti greci di musica bizantina nella Biblioteca Ambrosia na di Milano,” ASCL 19 (1950) 15-26. Tardo, “Manoscritti di Messina” = L. Tardo, “I manoscritti greci di musica bizantina nella Biblioteca Universitaria di Messina,” ASCL 23 (1954) 187201. Tiby, Musica bizantina = O. Tiby, La musica bizantina. Teoria e storia (Milan 1938). Tillyard, “Byzantine Notation” = H. J. W. Tillyard, “Byzantine Musical Nota tion ֊ a Reply,” BZ 24 (1923/24) 320-328. Tillyard, Handbook of Byzantine Notation = H. J. W. Tillyard, Handbook of the Middle Byzantine Musical Notation (Copenhagen 1935). Touliatos, Amomos = D. Touliatos-Banker, The Byzantine Amomos Chant of the Fourteenth and Fifteenth Centuries, Πατριαρχικόν Ιδρυμα Πατερικών Μελετών (Thessalonica 1984). Touliatos, “Chant Repertory” = D. Touliatos, “Byzantine Chant Repertory Recovered: The Sources in the National Library of Greece in Athens,” Manuscripta 38 (1994) 171-186. Touliatos, “Byzantine Orthros” = D. Touliatos-Banker, “The Byzantine Orthros,” Byzantina 90 (Thessalonica 1977) 325-383. Touliatos, “Nonsense Syllables” = D. Touliatos, “Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions,” JM 7/II (1989) 231-243. Touliatos, “Status” = D. Touliatos, “The Status of Byzantine Music through the Twenty-First Century,” Byzantium: Identity, Image, Influence (XIX In ternational Congress of Byzantine Studies) (Copenhagen 1996) 449-463. Troelsgård, Byzantine Chant = Ch. Troelsgård (ed.), Byzantine Chant. Tradi tion and Reform (Athens 1997). Troelsgård, “Development
of Didactic Poem” = Ch. Troelsgård, “The Deve lopment of a Didactic Poem. Some remarks on the ’Ίσον, ολίγον, οξεία by loannes Glykys,” Byzantine Chant (ed. Troelsgård) 69-85. UMI = University Microfilms International Dissertation Services (Ann Ar bor, Michigan). Velimirović, “Present Status” = M. Velimirović, “Present Status of Research in Byzantine Music,” AM 43 (1971) 1-20. VV = Vizantijskij vremennik. Wellesz, Music and Hymnography = E. Wellesz, The History of Byzantine Music and Hymnography (Oxford 1961). Williams, “Akolouthiai” = E. V. Williams, “Akolouthiai,” NGDMM 1, 187188.
Bibliography and Abbreviations Williams, “Polyeleos Psalm 134” = E. V. Williams, “The Kalophonic Tradi tion and Chants for the Polyeleos Psalm 134,” Studies in Eastern Chant 4 (Crestwood 1979)228-241. Williams, Koukouzeles ’Reform = E. V. Williams, John Koukouzeles ’Reform ofByzantine Chantingfor Great Vespers in the Fourteenth Century (with) Musical Supplement, UM1 (Ann Arbor Michigan 1968). Zerbos, Euchologion = S. Zerbos, Ευχολόγιου το μόγα (Venezia 1862; re printed Athens 1992). List of Manuscripts Used Athens EBE 899, EBE 2061, EBE 2401, EBE 2406, EBE 2458, EBE 2604, EBE 2622. Jerusalem Taphos 425 Mt. Athos Iviron 985, Koutloumousiou 399, Megale Lavra E 148,1 79,1 173, I 175, Vatopediu 1528, 1529. Paris Bibi. Nat. suppi. gr. 1046. Mt. Sinai 1276, 1293, 1311, 1462. Vatican gr. 791. Vienna Theol. gr. 185.
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| building | Verbundindex |
| bvnumber | BV045131004 |
| ctrlnum | (OCoLC)1080950043 (DE-599)BVBBV045131004 |
| edition | First edition |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| geographic | Bizancjum (państwo dawne) Byzantinisches Reich (DE-588)4009256-2 gnd |
| geographic_facet | Bizancjum (państwo dawne) Byzantinisches Reich |
| id | DE-604.BV045131004 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:09:34Z |
| institution | BVB |
| isbn | 9788394809850 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030521000 |
| oclc_num | 1080950043 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 160 Seiten Notenbeispiele 24 cm |
| publishDate | 2017 |
| publishDateSearch | 2017 |
| publishDateSort | 2017 |
| publisher | Rhetos |
| record_format | marc |
| spelling | Marinčák, Šimon 1971- Verfasser (DE-588)1174700262 aut Matins in selected Medieval Byzantine musical manuscripts Šimon Marinčák The structure of Byzantine "Orthos" according to the XIVth century La struttura dell'orthros bizantino secondo i manoscritti musicali bizantini Štruktúra byzantskej utirne podľa hudobných rukopisov 14. storočia First edition Warszawa Rhetos 2017 160 Seiten Notenbeispiele 24 cm txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer, italienischer und slowakischer Sprache: The structure of Byzantine "Orthos" according to the XIVth century. La struttura dell'orthros bizantino secondo i manoscritti musicali bizantini. Štruktúra byzantskej utirne podľa hudobných rukopisov 14. storočia Geschichte gnd rswk-swf Muzyka bizantyńska Muzyka religijna Prawosławie Rękopisy muzyczne Śpiewy liturgiczne Rękopisy muzyczne / średniowiecze jhpk Rękopisy bizantyjskie jhpk Muzyka religijna (Kościół prawosławny) / historia i krytyka jhpk Musikhandschrift (DE-588)4040847-4 gnd rswk-swf Geistliche Musik (DE-588)4126228-1 gnd rswk-swf Bizancjum (państwo dawne) Byzantinisches Reich (DE-588)4009256-2 gnd rswk-swf Byzantinisches Reich (DE-588)4009256-2 g Geistliche Musik (DE-588)4126228-1 s Musikhandschrift (DE-588)4040847-4 s Geschichte z DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Marinčák, Šimon 1971- Matins in selected Medieval Byzantine musical manuscripts Muzyka bizantyńska Muzyka religijna Prawosławie Rękopisy muzyczne Śpiewy liturgiczne Rękopisy muzyczne / średniowiecze jhpk Rękopisy bizantyjskie jhpk Muzyka religijna (Kościół prawosławny) / historia i krytyka jhpk Musikhandschrift (DE-588)4040847-4 gnd Geistliche Musik (DE-588)4126228-1 gnd |
| subject_GND | (DE-588)4040847-4 (DE-588)4126228-1 (DE-588)4009256-2 |
| title | Matins in selected Medieval Byzantine musical manuscripts |
| title_alt | The structure of Byzantine "Orthos" according to the XIVth century La struttura dell'orthros bizantino secondo i manoscritti musicali bizantini Štruktúra byzantskej utirne podľa hudobných rukopisov 14. storočia |
| title_auth | Matins in selected Medieval Byzantine musical manuscripts |
| title_exact_search | Matins in selected Medieval Byzantine musical manuscripts |
| title_full | Matins in selected Medieval Byzantine musical manuscripts Šimon Marinčák |
| title_fullStr | Matins in selected Medieval Byzantine musical manuscripts Šimon Marinčák |
| title_full_unstemmed | Matins in selected Medieval Byzantine musical manuscripts Šimon Marinčák |
| title_short | Matins in selected Medieval Byzantine musical manuscripts |
| title_sort | matins in selected medieval byzantine musical manuscripts |
| topic | Muzyka bizantyńska Muzyka religijna Prawosławie Rękopisy muzyczne Śpiewy liturgiczne Rękopisy muzyczne / średniowiecze jhpk Rękopisy bizantyjskie jhpk Muzyka religijna (Kościół prawosławny) / historia i krytyka jhpk Musikhandschrift (DE-588)4040847-4 gnd Geistliche Musik (DE-588)4126228-1 gnd |
| topic_facet | Muzyka bizantyńska Muzyka religijna Prawosławie Rękopisy muzyczne Śpiewy liturgiczne Rękopisy muzyczne / średniowiecze Rękopisy bizantyjskie Muzyka religijna (Kościół prawosławny) / historia i krytyka Musikhandschrift Geistliche Musik Bizancjum (państwo dawne) Byzantinisches Reich |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000001&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=030521000&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030521000&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
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