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  • Troelsgard Christian - Byzantine Musical Signs
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Troelsgard Christian - Byzantine Musical Signs
CODE: ΠB-629
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ΠΙΣΩ ΣΤΗΝ ΛΙΣΤΑByzantine Music

Troelsgard Christian - Byzantine Musical Signs

CODE: W399941075
9789606685866

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  • DESCRIPTION
    The branch of Musicology that studies the evolution of musical instruments over the centuries is divided into many sub-fields, which usually correspond to the various European or extra-European cultural traditions, but also explore the correlations or interactions that develop between them. However, the study of the musical instruments of Byzantine Civilization has so far been left out of this research process. Thus, the influence that Byzantium exerted on the course of the evolution of the musical instruments used in Europe, but also on the Mediterranean Cultures, has not been understood so far, nor has its extent and importance been appreciated.As early as the 8th century, the first attempts at music recording appeared in Byzantium, which evolved and led to the development of a complete system, the so-called "Middle Byzantine notation", in the middle of the 12th century.
     
    These musical signs assisted the practice of chanting and teaching until the beginning of the 19th century, when the reform of the "New Method" took place centered in Constantinople.
     
    Professor Christian Troelsgard, a leading contemporary exponent of the famous "Copenhagen School", gathers in this book the knowledge and experiences of himself, but also of the representatives of the Monumenta Musicae Byzantinae in general, on both the decoding of Meso-Byzantine and Mesopotamian notation. various aspects of Byzantine Song (octave, genre of music, repertoire, etc.).
     
    The textbook begins with four introductory chapters, which introduce the reader step by step to issues related to the language of Byzantine hymns and troparions, the types of Byzantine music writing as well as various ways of translating the old parasignificant into the stave or alphabetically, with emphasis on the transcription system used in this book.
     
    The following is the main part of the manual, which contains a systematic teaching of Middle Byzantine writing. The reader can learn and deepen his knowledge on aspects such as:
    • a geography of dissemination of mid-Byzantine writing, based on representative musical manuscripts,
    • the beacons of the Middle Byzantine notation: according to, regardless of their characteristic positions, damage,
    • the old octave: theoretical bases, echoes, suffixes, the phenomenon of chromaticity, changes,
    • genres and types of composition, with emphasis on the repertoire of the old Byzantine era (simple psalmody, auto-mela-simoi, eirmoi, stichira, samples of members of the Psalter and Asmatiko) and an opening to the calophonic repertoire.
    By quoting a large number of musical examples transcribed on the stave and using accessible and understandable language, the author manages to masterfully combine the immediacy required by a textbook with the penetration of a scholarly text that delves into the problematic aspects of the study. time.

    Contents:
     
    Foreword
    Preface of the Greek edition
    Preamble
    Introduction
     
     
    I. The texts of the songs
    Words and music
    The language of chanting texts
    Tones and music
    Writing and music
    Self-contained - Simulated
    Chanting based on syllables
     
    II. Preliminary remarks on Byzantine notation
    Chanting tradition before the nods
    Byzantine and Western pneumatic notations
    The unknown origins of Byzantine notation
    From "space" to "space"
    The problem of "scales" and "stringing"
     
     
    III. The varieties of Byzantine musical notations
    Reading Notation or "Speech"
    Theta notation
    Coislin and Chartres notations
    "Middle Byzantine" or "Round" notation
    The "New Method" or "Chrysanthemum Notation"
     
    IV. Transcription of Middle Byzantine notation
    The MMB transcription system
    Other transcription systems
    The transfer system of van Biezen
    The Raasted transcription system
    The transfer system of Stathis
    The transcription system used in this book
     
    V. The signs of Middle Byzantine notation
    The equal
    Bodies and spirits
    Dynamic quality and phraseological function of the signs
    Overview of space signs
    Additional space signs
    Rules for the combination of signs
    Boards for sign composition
    "Small" space signs (the "isaki")
    Confirmation signs
    The functions of the great beings
    What are the major hypostases and how often do they occur?
    Rhythm and rhythmic signs
    Overview of rhythmic signs
    Double, two apostrophes and grip
    Fraction or crack
    Mermaid and argon
    Stavros
    Overview of phraseological and grouping signs
    From skin
    Heavy
    Grip
    Dry fraction
    Rolling
    Thematizing
    Praying
    Τρομικόν
    Ψηφιστόν
    The earthquake complex
    The terminology of great beings
    Semantic variants ("red script variants")
    Paleographic distinctions
    Are there local and individual pneumatic styles?
    Map (places of origin of manuscripts)
     
     
    VI. Sounds, melody and intervals
    The Octopus
    Names and numbering of sounds
    Tropicity
    The testimonies of the sounds
    Arctic Witnesses (AM)
    The vehicles
    Overview of testimonials and vehicles
    Wider vehicles
    Echoes
    Interim testimonies (EM)
    Transfer
    Change
    Multiple Interim Testimonies (EM)
    Signs of change
    Start
    Damage
    Overview of damage
    Coloration
     
    VII. The Byzantine chants style
    The simple chanting of hagiographic texts
    Musical performance of members / simulations
    The Eirmologio
    The Stichirario
    The Psalter
    The Asthmatic
    The calligraphic styles
    Annex
    Bibliography and abstracts
    Supplementary bibliography
    Directory of main names
    Index of manuscripts
    Index of musical signs and key terms [extended]