Византијска музика — разлика између измена

'''Византијска музика''' подразумијева један цјелокупни систем изражавања и испитивања мелодије, у складу са гласовима, родовима и хроама (бојама). Названа је византијском, зато што се почела значајније развијати у доба [[Византијско царство|Византијског царства]], заједно са ширењем [[Хришћанство|хришћанства]].

 

</ref> Његов тонски систем се заснива на синтези са [старим грчким моделима], али ми немамо других извора који би нам објаснили како је ова синтеза обављена. [[Каролиншки] кантори могу да мешају науку о хармоницима са дискусијом о црквеним тоновима, названим по етничким именима октавских врста и њиховим тропима транспозиције, јер су измислили своје октоихове на основу византијског. Али нису користили раније Питагорејске концепте који су били фундаментални за византијску музику, укључујући:

{| class="wikitable" style="margin: 1em auto 1em auto;"

! style="width:50%" |Грчка верзија

! style="width:50%" |Латинска верзија

The 9th century [[Persian people|Persian]] geographer [[Ibn Khordadbeh|Ibn Khurradadhbih]] (d. 911); in his lexicographical discussion of instruments cited the [[Byzantine lyra|lyra]] (lūrā) as the typical instrument of the Byzantines along with the ''urghun'' ([[pipe organ|organ]]), ''shilyani'' (probably a type of [[harp]] or [[lyre]]) and the ''salandj'' (probably a [[bagpipe]]).<ref name=Kartomi124>{{harvnb|Kartomi|1990|p=124}}.</ref>

 

 

The second instrument, the organ, originated in the [[Hellenistic]] world (see [[Hydraulis]]) and was used in the [[Hippodrome]] in Constantinople during races.<ref>Journal of Sport History, Vol. 8, No. 3 (Winter, 1981) [http://rbedrosian.com/Byz/Byz_Sports.pdf p. 44].</ref><ref name=Bush-Kassel-327>{{cite book |editor1=Douglas Earl Bush |editor2=Richard Kassel |title=The Organ: An Encyclopedia |publisher=Routledge |year=2006 |url=https://books.google.com/books?id=cgDJaeFFUPoC&pg=PA327 |p=327 |isbn=9780415941747 }}</ref> A [[pipe organ]] with "great leaden pipes" was sent by the emperor [[Constantine V]] to [[Pepin the Short]] King of the [[Franks]] in 757. Pepin's son [[Charlemagne]] requested a similar organ for his chapel in [[Aachen]] in 812, beginning its establishment in Western church music.<ref name=Bush-Kassel-327/>

Another genre that lies between liturgical chant and court ceremonial are the so-called [[Polychronion|polychronia]] (πολυχρονία) and [[acclamatio]]ns (ἀκτολογία).<ref>[[Ton Despotin|Τὸν Δεσπότην]] or Εἰς πολλἀ ἔτη, Δέσποτα. are two of the very few acclamations still in use today during the veneration of the icons by a Metropolit or the appointment of such an office.</ref> The acclamations were sung to announce the entrance of the Emperor during representative receptions at the court, the hippodrome or in the cathedral. They can be different from the polychronia, ritual prayers or ektenies for present political rulers and are usually answered by a choir with formulas such as "Lord protect" (κύριε σῶσον) or "Lord have mercy on us/them" (κύριε ἐλέησον).<ref>These formulas are documented in various regions of the Mediterranean such as the [[Gallican Rite|Gallican]] and [[Old Hispanic chant|Visigothic]] [[preces]], the terkyrie of the [[Ambrosian rite]], but also in coronation rites that were even performed at [[Montecassino|Montecassino Abbey]], when [[Pope Nicholas II]] accepted the [[Normans]] as allies.</ref> The documented polychronia in books of the cathedral rite allow a geographical and a chronological classification of the manuscript and they are still used during [[Ectenia|ektenies]] of the divine liturgies of national Orthodox ceremonies today. The [[Hippodrome of Constantinople|hippodrome]] was used for a traditional feast called [[Lupercalia]] (15 February), and on this occasion the following polychronion was celebrated:<ref>[[Constantine VII]]: [[De Ceremoniis|Ἔκθεσις τῆς Βασιλείου τάξεως]], [[Patrologia Graeca|PG]] 112, col. 664 ([https://archive.org/stream/corpusscriptorum07niebuoft#page/368/mode/2up book I, ch. 73]).</ref>

{| style="border-spacing: 3px; margin: 1em auto 1em auto;"

| style="width:90px" |Claqueurs:

|Lord, protect the Master of the Romans.

|ref = Kod2008

}}</ref>

|- border="0"

|The city was buried beneath these horrors and cried in great sorrow.

 

=== Манастирске реформе у Цариграду и Јерусалиму ===

 

During the 7th century kanons at the Patriarchate of Jerusalem still consisted of the two or three odes throughout the year cycle, and often combined different [[Echos|echoi]]. The form common today of nine or eight odes was introduced by composers within the school of [[Andrew of Crete]] at [[Mar Saba]]. The nine ''odes'' of the ''kanon'' were dissimilar by their metrum. Consequently, an entire ''heirmos'' comprises nine independent melodies (eight, because the second ''ode'' was often omitted outside Lenten period), which are united musically by the same echos and its melos, and sometimes even textually by references to the general theme of the liturgical occasion—especially in ''acrosticha'' composed over a given ''heirmos'', but dedicated to a particular day of the [[menaion]]. Until the 11th century, the common book of hymns was the tropologion and it had no other musical notation than a modal signature and combined different hymn genres like [[troparion]], [[sticheron]], and [[Canon (hymnography)|canon]].

}}</ref>

[[Датотека:Oktoich (11th century).jpg|thumb|center|800px|Theta and znamennaya notation within pages of an 11th-century Oktoich of the Kievan Rus ([[Russian State Archive of Ancient Documents|RUS-Mda]] Fond 381 Ms. 131)]]

[[Датотека:Центральный вход Софийского собора. Великий Новгород.jpg|thumb|left|[[Cathedral of St. Sophia, Novgorod|Saint Sophia Cathedral]] of [[Veliky Novgorod]] (11th century)]]

Kujumdžieva pointed later at a Southern Slavic origin (also based on linguistic arguments since 2015), although feasts of local saints, celebrated on the same day like Christina [[Boris and Gleb]], had been added. If its reception of a pre-Stoudite tropologion was of Southern Slavic origin, there is evidence that this manuscript was copied and adapted for a use in Northern Slavic territories. The adaption to the menaion of the Rus rather proves that notation was only used in a few parts, where a new translation of a certain text required a new melodic composition which was no longer included within the existing system of melodies established by the Stoudites and their followers. But there is a coincidence between the early fragment from the Berlin-collection, where the ἀλλὸ rubric is followed by a modal signature and some early neumes, while the elaborated zamennaya is used for a new sticheron (ино) dedicated to Saint Christina.

 

| publisher = Westdt. Verl.

| isbn = 978-3-531-05129-1

 

=== The Kievan Rus' and the earliest manuscripts of the cathedral rite ===

 

==== Примање литургије ====

# Tipografsky Ustav: [[Moscow]], [[State Tretyakov Gallery]], Ms. K-5349 (about 1100)<ref>Facsimile edition ([[#TipografskyUstav|2006]]).</ref>

# Two fragments of a kondakar’ (one kondak with notation): Moscow, [[Russian State Library]] (RGB), Fond 205 Ms. 107 (12th century)

# Blagoveščensky Kondakar’: [[Saint Petersburg]], [[National Library of Russia]] (RNB), Ms. [[#RUS-SPscQpI32|Q.п.I.32]] (about 1200)<ref>Facsimile (1976) and edition by Antonín Dostál etc. ([[#EdBlagKond|1976, 1977, 1979, 1980, 1990, 2004]]).</ref>

# Uspensky Kondakar’: Moscow, [[State Historical Museum]] (GIM), Ms. Usp. 9-п (1207)<ref>It was published by Arne Bugge as volume 6 of the main series of MMB ([[#MMB|1960]]).</ref>

# South-Slavic kondakar’ without notation: Moscow, State Historical Museum (GIM), part of the Book of Prologue at the Chludov collection (14th century)