Византијска музика — разлика између измена

}}

 

 

The first of these, the early bowed stringed instrument known as the [[Byzantine lyra]], would come to be called the ''[[lira da braccio]]'',<ref>{{cite encyclopedia|title=lira |url=http://www.britannica.com/EBchecked/topic/343204/lira |work=[[Енциклопедија Британика|Encyclopædia Britannica]] |year=2009}}</ref> in Venice, where it is considered by many to have been the predecessor of the contemporary violin, which later flourished there.<ref name=Arkenberg109>{{cite web|last=Arkenberg |first=Rebecca |title=Renaissance Violins |date=October 2002 |publisher=[[Метрополитенски музеј умјетности|Metropolitan Museum of Art]] |url=http://www.metmuseum.org/toah/hd/renv/hd_renv.htm |accessdate=22. 09. 2006}}</ref> The bowed "lyra" is still played in former Byzantine regions, where it is known as the [[Politiki lyra]] (lit. "lyra of the City" i.e. [[Константинопољ|Constantinople]]) in Greece, the [[Calabrian lira]] in Southern Italy, and the [[Lijerica]] in [[Далмација|Dalmatia]].

 

 

The final Byzantine instrument, the [[aulos]], was a double-reeded woodwind like the modern [[oboe]] or Armenian [[duduk]]. Other forms include the ''plagiaulos'' (πλαγίαυλος, from πλάγιος, ''plagios'' "sideways"), which resembled the [[flute]],<ref name="Howard">{{cite journal|last=Howard|first=Albert A.|year=1893|title=The Αὐλός or Tibia|journal=Harvard Studies in Classical Philology|volume=4|pages=1-60|doi=10.2307/310399|jstor=310399}}<!--| accessdate=16. 08. 2006 --></ref> and the ''askaulos'' (ἀσκαυλός from ἀσκός ''askos'' "[[wine-skin]]"), a bagpipe.<ref name="google15">[https://books.google.com/books?id=DOfuAgAAQBAJ&pg=PA15 William Flood. ''The Story of the Bagpipe'' p. 15]</ref> These bagpipes, also known as ''[[Dankiyo]]'' (from [[старогрчки језик|ancient Greek]]: angion (Τὸ ἀγγεῖον) "the container"), had been played even in Roman times. [[Dio Chrysostom]] wrote in the 1st century of a contemporary sovereign (possibly Nero) who could play a pipe ([[Tibia (instrument)|tibia]], Roman reedpipes similar to Greek aulos) with his mouth as well as by tucking a bladder beneath his armpit.<ref>{{cite web|title=Discourses by Dio Chrysostom (Or. 71.9) |url=http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Dio_Chrysostom/Discourses/71*.html#9 |work=The Seventy-first Discourse: On the Philosopher (Volume V) |publisher=[[Loeb Classical Library]] |volume=V |accessdate=25. 6. 2016|pages=173}}</ref> The bagpipes continued to be played throughout the empire's former realms down to the present. (See Balkan [[Gaida]], Greek [[Tsampouna]], [[Pontic Greek|Pontic]] [[Tulum (bagpipe)|Tulum]], Cretan [[Askomandoura]], Armenian [[Parkapzuk]], and Romanian [[Cimpoi]].)

|volume = 12

|pages=227–267

|chapter = The Georgian Witness to the Jerusalem Liturgy: New Sources and Studies|title = Inquiries into Eastern Christian Worship: Selected Papers of the Second International Congressof the Society of Oriental Liturgy (Rome, 17–21 September 2008)

|location = Leuven, Paris, Walpole

|date=2013

|publisher=Ashgate|isbn=9781317137832

|location=Farnham

|pages=311-358

| publisher = Dumbarton Oaks Research Library and Collection

|isbn = 978-0-88402-232-9

| title = Byzantine Monastic Foundation Documents: A Complete Translation of the Surviving Founder's Typika and Testaments

| chapter = Theodore Studites: Testament of Theodore the Studite for the Monastery of St. John Stoudios in Constantinople

|volume=Round tables

|pages=648-654|isbn=978-86-80656-10-6

|booktitle=Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables

}}</ref> The repertoire of these melodies (not so much their elaborated form) was obviously older and was transcribed by [[Enechema|echemata]] in Middle Byzantine notation which were partly completely different from those used in the [[Sticheron|sticherarion]]. While the [[Hagiopolitan Octoechos#Phthorai and mesoi of the Hagia Sophia|Hagiopolites]] mentioned 16 echoi of the cathedral rite (four kyrioi, four plagioi, four mesoi and four phthorai), the kontakia-idiomela alone represent at least 14 echoi (four kyrioi in devteros and tritos represented as mesos forms, four plagioi, three additional mesoi and three phthorai).

| ref = Raa1983

}}

| location = Washington, D.C.

| series = Dumbarton Oaks Studies

* {{Cite conference

| volume = 9

| last=Engberg

| first = Sysse G.