Hudba arménského hymnáře: Tnteseanův korpus

- Haig Utidjian V této disertační práci si klademe za cíl objasnit a co nejpřesvědčivějším způsobem také popsat postupy, které Ełia Tntesean (1834-1881) používal při pořádání a redakci své verze melodií arménského hymnáře. Zároveň se pokoušíme vyložit jeho úsilí v kontextu dalších snah o zaznamenávání melodií arménských hymnů v Limōnčeanově systému hudebního zápisu v Cařihradu devatenáctého století, tedy v době, kdy již byla středověká neumatická notace do značné míry nesrozumitelná. Náš přístup zahrnuje vzájemné porovnání Tnteseanových muzikologických textů a pedagogických publikací s jeho transkripcemi v západní notaci a jeho zralejší realizací melodií hymnů v Limōnčeanově systému (publikováno posmrtně v roce 1934). Tyto informační zdroje pro nás představují koherentní korpus, jehož jednotlivé komponenty jsou vzájemně provázány. Porovnání s jinými hymnáři ze stejného období, prozkoumání paralel se sousední praxí osmanských makamů, terénní práce s přežívajícími zbytky ústní tradice a kritické studium Tnteseanových spisů a transkripcí nám umožňují objasnit aspekty notace a provozovací praxe. Zároveň nás vedou i k odkrytí jemného vývoje estetiky tohoto hudebního projevu. Navíc podrobná analýza Tnteseanova korpusu nám umožňuje řešit i zásadní otázky týkající se způsobu, jakým byly středověké neumy...Haig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean...Institute of MusicologyÚstav hudební vědyFilozofická fakultaFaculty of Art

Challenging the MEI Neumes Module: Encoding Armenian Neumes

Chant notations are found across a large geographical area encompassing Europe and part of the Middle East (including the Levant and the historical Armenian lands). The Neumes Module represents a collective endeavour on the part of the MEI Community to capture in a machine- readable format the meaning of chant notations. In recent years intensive efforts were devoted towards improving the applicability of the MEI Neumes module, first applied almost exclusively to St Gall notation (also known as ‘East Frankish notation’), and recently extended to include the encoding of Old Hispanic, Aquitanian and square notations (MEI Neumes module, version 4.0). With this paper, we aim to contribute towards expanding the interoperability of the MEI Neumes module by testing it against the Armenian neumatic notation. From an encoding point of view, Armenian notation shows a higher degree of complexity compared to the neumatic notations so far tackled by MEI. Indeed, unlike all the neumatic notational systems hitherto dealt with by MEI, with the Armenian system we possess no information on either the melodic contour or the number of pitches associated with the neumes. Therefore, one of the fundamental elements of the current Neumes Module cannot be applied to the encoding of Armenian neumes: the ‘neume component’ , that is, a ‘sign representing a single pitched event, although the exact pitch may not be known’. Moreover, encoding Armenian neumes will serve to take even further the recent tendency to encode the visual appearance of the neumes rather than their semantics. In this paper, we outline the challenges of encoding Armenian notations with MEI and propose a solution applicable to future projects aiming at the digital analysis of the Armenian chant repertory

Armenian conference dedicated to the 850th death anniversary of St. Nerses the Gracious

Conference section 1 Opening of the conference with speeches by official persons Boghos Levon Zekiyan, Archeparch of Istanbul and Turkey for the Catholic Armenians - Saint Nerses Shnorhali as a Unique Figure in Christian Thought And Praxis: Shnorhali’s Pioneering Vision of Christian Oecumenism Claude Mutafian, Dr.hist. (University of Paris) -- Mleh, a Successful Armenian Prince (1169- 1175) Andris Priede, Dr.hist.eccl. (Faculty of Theology, University of Latvia) - Marginal Forms of Armenian Monasticism in 13th Century Valda Salmiņa, M.A. - St. Nerses Shnorhali’s historical poem “Lament of Edessa” Conference section 2 Vahan S. Hovhanessian, Bishop PhD (Karekin the First Research Center) -Analysis of the Four Gospels attributed to St. Nerses the Graceful Abraham Terian, Prof. emeritus (St. Nersess Armenian Seminary) - Shnorhali’s Commentary on the Beatitudes Elizabete Taivāne, Dr.theol. (Faculty of Theology, University of Latvia) -Christology of St. Nerses Shnorhali at the Crossroads of Eastern and Western Theology: The Edifying Details Conference section 3 Ojārs Spārītis, Dr.habil.art. (Latvian Academy of Arts) - View on Sacral Architecture of Central Armenia Haig Utidjian, PhD (CESEM, New University of Lisbon) - The music of the Šnorhali Corpus: challenges and rewards Arusyak Tamrazyan, PhD (Matenadaran, Research Institute of Ancient manuscripts) - Mystical symbolism in melismatic performance: the odes by St Nersēs th

The music of the Armenian Hymnal: the Tntesean corpus

Haig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean..