94 research outputs found
Institutions of Religious Music Education in Interwar Romania. Case Study: The Academy of Religious Music in Bucharest
In the spring of 1928, Miron – the first Patriarch of the Romanian Orthodox Church – established The Academy of Religious Music in Bucharest, the only academic music institution in Romania, at the time, whose purpose was – from the perspective of its founder, the Patriarch – the rehabilitation of the status of Byzantine music in the Orthodox Church and the establishment of a coherent relationship with Western vocal religious music. The present article investigates the historical, social and cultural context of the establishment of this singular institution of religious music education in Romania, as well as its necessity, objectives and utility. It also explores the benefits it brought to Romanian Orthodox religious music and to the Church, until 1948, when it was disbanded by the Communist regime
Status pojačke knjige u srpskoj pojačkoj tradiciji
The status of chanting codices, which is directly associated with the phenomenon of musical literacy, is examined in this paper by means of the examples of a few scarce neumed manuscripts that represent a primary source for the reconstruction of the Serbian music past. The following reasons have been stated in the Serbian musicological literature as an explanation for the lack of a larger number of preserved neumed books: 1) melodies were transmitted orally, 2) an intensive liturgical practice, in which chanting had a primary place and 3) historical circumstances due to which manuscripts were exposed to decay. For the sake of an objective evaluation of the probable level of chanting skill in the Middle ages in Serbia, the aforementioned reasons have been reconsidered and revised.Tokom zlatnog perioda srpske srednjovekovne kulture (od sredine XIII do polovine XV veka) poduhvati na polju arhitekture, monumentalnog slikarstva, ikonopisa i primenjene umetnosti, kao i u domenu pisarske delatnosti, potvrdili su da je vizantijski civilizacijski model, koji je vladarima svetorodne dinastije Nemanjić bio trajni uzor, u potpunosti bio dostignut. Brojni su, premda posredni, razlozi zbog kojih se može pretpostaviti da je i srpska crkvenopojačka umetnost u istom razdoblju bila na zavidnom nivou. Pa ipak, notirane pojačke knjige, kao glavni izvori za rekonstrukciju srpske muzičke prošlosti, posve su retke u našim fondovima. Nedostatak, tačnije, sporadično prisustvo neumskih zbornika u srpskim rukopisnim riznicama, zadugo je u domaćoj naučnoj literaturi dovođeno u vezu sa usmenim načinom prenošenja crkvenih melodija, sa učitelja na učenike, sa živom bogoslužbenom praksom, u kojoj crkveno pojanje ima svoje primarno mesto, kao i sa istorijskim okolnostima u kojima je umetničko, pokretno i nepokretno blago, bivalo izloženo uništenju. Navedeni razlozi su u radu stavljeni pod lupu. Proporcionalni odnos između sačuvane srpske bogoslužbene - nenotirane knjige (oktoisi, mineji, psaltiri i dr.) i one u kojoj su neumama zabeleženi i tekstovi i melodije za odgovarajuća bogosluženja više nego rečito govori o tome da istorijske okolnosti nikako nisu mogle biti presudne za to što danas ne posedujemo veći broj muzičkih spomenika srednjeg veka. U pojačkoj tradiciji koja nije svedena na elementarni nivo pojačke veštine, usmeni način prenošenja znanja sa učitelja na učenike nikako nije dovoljan da se u praksi primene složeniji napevi koji bi trebalo da prate svečana praznična bogosluženja. Drugim rečima, melodijski repertar koji podrazumeva viši nivo pojačke tehnike i izrazitije glasovne sposobnosti pojaca nije moguće naprosto memorisati. Neophodna je ispomoć u notnom - neumskom zapisu kako bi interpretacija bila dosledna i tačna. Takođe, bogatstvo određene pojačke tradicije ogleda se i u brojnim varijantama melodija na isti tekst, dakle, na stvaralačku - kompozitorsku produkciju, što već u XIII, a naročito tokom XIV i XV veka potvrđuju grčki neumski zbornici tipa akolutije, psaltike, antologije, matimatariona i dr. Osvrtom na postojeće izvore koji svedoče o srpskoj srednjovekovnoj crkvenoj muzici u radu je razmotren status pojačke knjige u tradiciji koja je za uzor, a i u praksi imala svečana dvojezična bogosluženja čiji su učesnici bili i srpski i grčki služašči, kao i srpski i grčki arhondi. Studija predstavlja prilog sagledavanju fenomena muzičke (ne)pismenosti kod Srba, ali i model za istraživanja pojačkih tradicija naroda koji su činili vizantijski komonvelt, a u kojima takođe nema primarnih muzičkih izvora
The Origins of Western Notation
Modern music notation developed out of the so-called square notation and this out of the Latin neumes. The question of where these neumes came from has long been the subject of scholarly debate. As the author demonstrated in his three-volume Universale Neumenkunde published in German in 1970, there is a very close relationship between the Paleo-Byzantine notation and the Latin neumes. Although the study aroused a great deal of dispute, more recent studies have revealed that the relevance of the Neumenkunde remains essentially unchallenged after 40 years. Those path-breaking research results on the relationship of the Greek and Latin notational systems are now available for the first time in a completely revised and augmented English translation
Cartographie sémantique : esquisse sémiographique de la Québécoise
La sémiographie est une technique de description du sens et de sa construction; elle permet, entre autres, de tracer des « cartes » de « géographie mentale ». Au moyen de protocoles d'enquête conçus à cette fin, nous obtenons des données de type sémantique, illustrées dans la première partie de cet article. Nous regroupons ensuite en champs sémantiques ces données en provenance d'échantillons relativement vastes et nous en représentons les configurations dynamiques sous forme de réseaux probabilistes (deuxième partie). Les chemins reliant nos stéréotypes sont comparables aux trajets qu'emprunte chacun au cours de déplacements habituels dans un espace physique, d'où l'appellation « cartographie sémantique ». Il s'agit ici de l'espace sémantique de la Québécoise.Semiography is a technique of description of meaning and of its production process. One of its outputs can take the form of "semantic maps", by analogy with geographic maps, of itineraries through a landscape of stereotypes. The first part of this paper gives an example of the data collected with the help of our protocol and of one type of analytic method. In the second part, data from a relatively large sample for this kind of research, are processed as semantic fields and synthesized as a dynamic transition probability network purporting to describe the "mental paths" of Québec City women through the set of stereotypes available to them in their culture
ALEA III 14th International Composition Competition for Young Composers
This is the concert program of the ALEA III 14th International Composition Competition for Young Composers performance on Wednesday, September 25, 1996 at 7:00 p.m., at the Tsai Performance Center. Works performed were "Passages" by Eliane Aberdam, "Peregrination" by Joao Pedro Oliveira, "L'Attimo Rapito" by Paolo Tortiglione, "Fire Mountain" by Gregory C. Smith, Fragment from "Prometheus Unbound" by Hendrik Pienaar Hofmeyr, "B'reshit" by Jorge Liderman, "Samandakas' Dance" by George Hatzimichelakis, and "The Unforgettable Hour" by Drew Hemenger. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
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