Византијска музика — разлика између измена
Садржај обрисан Садржај додат
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Ред 25:
| title = Die acht "Wege" der arabischen Musiklehre und der Oktoechos – Ibn Misğah, al-Kindī und der syrisch-byzantinische oktōēchos
| journal = Zeitschrift für Geschichte der Arabisch-islamischen Wissenschaften
|
}}</ref>
Ред 32:
=== Најранији извори и тонски систем византијске музике ===
Према приручнику "Хагиополити" (Јерусалим), најранији који је сачуван до данас, певачи Аја Софије користили су систем 16 црквених тонова (гласова), док аутор ове расправе уводи тонски систем од 10 гласова. Ипак, обе школе имају заједнички сет од 4 октаве (протос, деутерос, тритос и тетартос), свака од њих је имала kyrios echos (аутентични начин) са последњим тоном на 5. степену, и plagios echos (коси начин) са последњом нотом на 1. степену. Према латинској теорији, добијених осам тонова (октоих) идентификовано је са седам модова (октавских врста) и тропа (тропои што је значило транспозицију ових начина). Имена тропа као што су "Дорски" итд. су такође коришћена у грчким упутствима за певање, али су имена Лидијска и Фригијска за октаве деутероса и тритоса понекад била размењена. Древни грчки хармоникаи био је хеленистичка верзија питагорејског образовног програма дефинисаног као математа ("вјежбе"). Хармоникаи је био један од њих. Данас се певачи хришћанских православних цркава поистовећују са наслеђем византијске музике чији се најстарији композитори памте по имену још од 5. века. Композиције су биле повезане са њима, али оне морају бити реконструисане нотираним изворима који датирају стољећима касније. Мелодијска нотација византијске музике развила се касно још од 10. века, са изузетком ранијег екфонетског записа, интерпункцијских знакова који се користе у лекционарима, али модални потписи за осам ецхои већ се могу наћи у фрагментима (папирима) монашких химни ( тропологиа) датира из 6. века.<ref>{{Cite book|last=Troelsgård|first = Christian|contribution = A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications|title = Proceedings of the 1st International Conference of the ASBMH|year=2007|url = http://www.asbmh.pitt.edu/page12/Troelsgard.pdf
Усред успона хришћанске цивилизације унутар хеленизма, многи концепти знања и образовања преживели су у царском добу, када је хришћанство постало званична религија.<ref>{{cite book|last=Constantelos|first=Demetrios|chapter=The Formation of the Hellenic Christian Mind|title=Christian Hellenism. Essays and Studies in Continuity and Change|year=1998|publisher=Caratzas|location=New Rochelle, New York & Athens|isbn=978-0-89241-588-5|chapter-url=http://www.myriobiblos.gr/texts/english/Constantelos_1.html|pages=}}</ref> Питагорејска секта и музика као део четири "цикличне вежбе" (υγκυκλια μαθηματα) које су претходиле латинском квадривијуму и науци данас засноване на математици, основане су углавном међу Грцима у јужној Италији (у Таранту и Кротону). Грчки анахорете из раног средњег вијека још су пратили ово образовање. Калабријски Касиодор је основао Виваријум, где је превео грчке текстове (науку, теологију и Библију), а Јован Дамаску који је научио грчки од калабријског монаха Косме, роб у домаћинству његовог привилегованог оца у Дамаску, споменуо је математику као део спекулативне филозофије.<ref>{{cite book|last=John of Damascus|title = Πηγή Γνώσεως|year=1958|location = New York|url = https://archive.org/stream/fathersofthechur009511mbp#page/n63/mode/2up|publisher = Fathers Oe The Church|pages=12}}</ref>
Ред 48:
| booktitle = Cantus Planus: Papers read at the ninth meeting
| location = Budapest
|
| url = http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/CPvolumes/1998.pdf#page=563|accessdate=11. 5. 2019
| archiveurl = https://web.archive.org/web/20161022095326/http://www.uni-regensburg.de/Fakultaeten/phil_Fak_I/Musikwissenschaft/cantus/CPvolumes/1998.pdf#page=563|archivedate=22. 10. 2016
Ред 102:
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 | editor-last2 = Kassel | editor-first2 = Richard |title=The Organ: An Encyclopedia |publisher=Routledge |year=2006 |url=https://books.google.com/books?id=cgDJaeFFUPoC&pg=PA327 |p=327 |isbn=9780415941747|pages=}}</ref> A [[pipe organ]] with "great leaden pipes" was sent by the emperor [[Constantine V]] to [[Пипин Мали|Pepin the Short]] King of the [[Franks]] in 757. Pepin's son [[Карло Велики|Charlemagne]] requested a similar organ for his chapel in [[Ахен|Aachen]] in 812, beginning its establishment in Western church music.<ref name=Bush-Kassel-327/>
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
=== Акламације на двору и књига церемонија ===
Ред 192:
| location = Canberra
| series = Byzantina Australiensia
|
}}</ref> In its incomplete form chapter 1–37 of book I describe processions and ceremonies on religious festivals (many lesser ones, but especially great feasts such as the [[Elevation of the Cross]], [[Christmas]], [[Epiphany (holiday)|Theophany]], [[Palm Sunday]], [[Good Friday]], [[Easter]] and [[Ascension Day]] and feasts of saints including [[St Demetrius]], [[St Basil]] etc. often extended over many days), while chapter 38–83 describe secular ceremonies or rites of passage such as coronations, weddings, births, funerals, or the celebration of war triumphs.<ref>For a discussion of the ceremonial book's composition, but also on details of certain ceremonies, see: {{Cite journal
| volume = 22
Ред 200:
| title = The Ceremonial Book of Constantine Porphyrogennetos
| journal = The English Historical Review
|
| url = https://archive.org/details/TheCeremonialBookOfConstantinePorphyrogennetos
| doi=10.1093/ehr/xxii.lxxxvi.209
Ред 209:
|url = http://www.byzantium1200.com/
|title = Constantinople about 1200
|
|website = Byzantium 1200
}} a three-dimensional model of the [http://www.byzantium1200.com/images/tile_01L.jpg quarter], and the [http://www.byzantium1200.com/greatpalace.html presentation of a reconstruction by Jan Kostenec]. {{Cite book
Ред 223:
| location = Istanbul
| series = Byzas
|
}}</ref> with fixed stations and rules for ritual actions and acclamations from specified participants (the text of acclamations and processional troparia or [[kontakion|kontakia]], but also [[Heirmos|heirmoi]] are mentioned), among them also ministers, senate members, leaders of the "Blues" (Venetoi) and the "Greens" (Prasinoi)—chariot teams during the hippodrome's horse races. They had an important role during court ceremonies.<ref>The hippodrome was as important for court ceremonies as the Hagia Sophia for imperial religious ceremonies and rites of passage. It was not only used during horse races, but also for receptions and its banquets and the yearly celebration of Constantinople's inauguration on 11 May. The "Golden Hippodrome" was an own ceremony to inaugurate a new season and to fix the calendar of the ceremonial located in the hippodrome. Occasionally also votive horse races were given, for example on 22 July for the feast of Saint Elias. {{Cite journal
| publisher = Durham University
Ред 229:
| first = Zoe Antonia
| title = Imperial Ideology in Middle Byzantine Court Culture: The Evidence of Constantine Porphyrogenitus's 'De ceremoniis'
|
| url = http://etheses.dur.ac.uk/3969/
}}</ref> The following chapters (84–95) are taken from a 6th-century manual by [[Peter the Patrician]]. They rather describe administrative ceremonies such as the appointment of certain functionaries (ch. 84,85), investitures of certain offices (86), the reception of ambassadors and the proclamation of the Western Emperor (87,88), the reception of Persian ambassadors (89,90), Anagorevseis of certain Emperors (91–96), the appointment of the senate's ''proedros'' (97). The "palace order" did not only prescribe the way of movements (symbolic or real) including on foot, mounted, by boat, but also the costumes of the celebrants and who has to perform certain acclamations. The emperor often plays the role of Christ and the imperial palace is chosen for religious rituals, so that the ceremonial book brings the sacred and the profane together. Book II seems to be less normative and was obviously not compiled from older sources like book I, which often mentioned outdated imperial offices and ceremonies, it rather describes particular ceremonies as they had been celebrated during particular imperial receptions during the Macedonian renaissance.
Ред 264:
and in Constantinople they were combined in pairs against this canonical order:<ref>{{Cite journal
|volume = 9/10
* Ps. 17 with troparia Ἀλληλούϊα and Μνήσθητί μου, κύριε.
* (1) with troparion Tῷ κυρίῳ ἄισωμεν, ἐνδόξως γὰρ δεδόξασται.
Ред 294:
| location = St. Petersburg
| series = Byzantino Rossica
|
}}</ref> The earliest notated versions in Slavic ''kondakar's'' (12th century) and Greek ''kontakaria-psaltika'' (13th century), however, are in a more elaborate style (also rubrified [[Idiomelon|idiomela]]), and were probably sung since the ninth century, when ''kontakia'' were reduced to the ''prooimion'' (introductory verse) and first ''oikos'' (stanza).<ref>See the edition of the notated and usually elaborated models in the habilitation of Constantin Floros (University of Hamburg, 1961) whose publication was realised very late ([[#Flo2015|2015]]), and Neil Moran's English translation ([[#Flo2009|2009]]) of relevant parts of Floros' “Universale Neumenkunde” ([[#Flo1970|1970]]). In his comparative study of ''kontakarion'' manuscripts, Christian Thodberg made a typological distinction between the short and the long ''kontakarion.'' {{Cite book
| publisher = E. Munksgaard
Ред 304:
| series = Monumenta musicae Byzantinae - Subsidia
| volume = 8
|
| ref = Tho1966
}}</ref> Romanos' own recitation of all the numerous ''oikoi'' must have been much simpler, but the most interesting question of the genre are the different functions that ''kontakia'' once had. Romanos' original melodies were not delivered by notated sources dating back to the 6th century, the earliest notated source is the Tipografsky Ustav written about 1100. Its gestic notation was different from Middle Byzantine notation used in Italian and Athonite Kontakaria of the 13th century, where the gestic signs (cheironomiai) became integrated as “great signs”. During the period of psaltic art (14th and 15th centuries), the interest of kalophonic elaboration was focussed on one particular kontakion which was still celebrated: the [[Akathist]] hymn. An exception was [[John Kladas]] who contributed also with kalophonic settings of other kontakia of the repertoire.
Ред 314:
|title = Imperial Propaganda in the Kontakia of Romanos the Melode
|journal = Dumbarton Oaks Papers
|
|jstor = 20788050
|ref = Kod2008
Ред 365:
}}</ref> Concerning the [[Аја Софија|Hagia Sophia]], which was constructed earlier, the procession was obviously within the church.<ref>Neil Moran offers a discussion of different hypotheses concerning the exact way of the procession. He also regards a central [[Ambon (liturgy)|ambo]], positioned slightly eastwards before the choir screen, as the regular place of the chanters since the 5th century. Since [[Justinian]] two choirs have had to be limited to 12 singers each. {{Cite journal
|title = The Musical 'Gestaltung' of the Great Entrance Ceremony in the 12th century in accordance with the Rite of Hagia Sophia|last=Moran|first = Neil
|
|journal = Jahrbuch der Österreichischen Byzantinistik
|volume = 28
Ред 378:
=== Манастирске реформе у Цариграду и Јерусалиму ===
By the end of the seventh century with the [[Quinisext Council|reform of 692]], the kontakion, Romanos' genre was overshadowed by a certain monastic type of [[Homily|homiletic]] hymn, the [[Canon (hymnography)|canon]] and its prominent role it played within the cathedral rite of the Patriarchate of Jerusalem. Essentially, the kanon, as it is known since 8th century, is a hymnodic complex composed of nine odes that were originally attached to the nine Biblical [[canticle]]s and to which they were related by means of corresponding poetic allusion or textual quotation (see the [[#The recitation of the biblical odes|section about the biblical odes]]). Out of the custom of canticle recitation, monastic reformers at Constantinople, Jerusalem and Mount Sinai developed a new homiletic genre whose verses in the complex ode meter were composed over a melodic model: the [[heirmos]].<ref>{{cite journal|last=Frøyshov|first=Stig Simeon R.|year=2007|title=The Early Development of the Liturgical Eight-Mode System in Jerusalem|url=https://www.academia.edu/2980443|journal=Saint Vladimir's Theological Quarterly|volume=51
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 [[Андреј Критски|Andrew of Crete]] at [[Манастир Светог Саве Освећеног|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]].
Ред 390:
|location = Leuven, Paris, Walpole
|series = Eastern Christian Studies
|
|chapterurl = https://www.academia.edu/2449049
}}</ref>
Today the second ode is usually omitted (while the great kanon attributed to John of Damascus includes it), but medieval heirmologia rather testify the custom, that the extremely strict spirit of Moses' last prayer was especially recited during Lenten tide, when the number of odes was limited to three odes ([[triodion]]), especially patriarch Germanus I contributed with many own compositions of the second ode. According to Alexandra Nikiforova only two of 64 canons composed by Germanus I are present in the current print editions, but manuscripts have transmitted his hymnographic heritage.<ref>{{Cite journal|last=Nikiforova|first=Alexandra
|
|title=Неизвестное гимнографическое наследие константинопольского патриарха Германа [Unknown Hymnographical Heritage of St. Germanus, Patriarch of Constantinople]
|url=https://www.academia.edu/1042860
Ред 414:
| title = Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie
| journal = Jahrbuch der Österreichischen Byzantinistik
|
| url = http://hw.oeaw.ac.at/0xc1aa500d_0x0003b376
| ref = Wol2003
Ред 430:
| title = Nouvelles découvertes sinaïtiques. À propos de la parution de l'inventaire des manuscrits grecs
| journal = Revue des Études Byzantines
|
}} It comprises a cycle of 73 services. Many compositions are anonymous, except of the Sabbaite school which is just mentioned by the names Andrew, John and Cosmas, the earliest layer of twelve troparia are ascribed to [[Cyril of Jerusalem]] (4th century): {{Cite journal
| volume = 12
Ред 439:
| journal = Scripta & E-Scripta. International Journal for Interdisciplinary Studies
| url = https://www.ceeol.com/search/article-detail?id=17991
|
# the ''[[sticherarion]]'', consisting of the idiomela in the ''menaion'' (the fixed cycle between September and August), the ''triodion'' and the ''pentekostarion'' (mobile cycle around the holy week), and the short version of ''[[Octoechos (liturgy)|octoechos]]'' (hymns of the Sunday cycle starting with Saturday evening) which sometimes contained a limited number of model troparia ([[Idiomelon|prosomoia]]). A rather bulky volume called "great octoechos" or "parakletike" with the weekly cycle appeared first in the middle of the tenth century as a book of its own.<ref>There was a hypothesis that the parakletike was mainly created by Joseph the Hymnographer, but it is disputed controversially. Svetlana Kujumdžieva agreed with this ascription, while others like Frøyshov argue on the basis of the early Iadgari findings, that important parts of it already existed before Joseph.{{Cite journal
| volume = 2012
Ред 448:
| title = The Тropologion: Sources and Identifications of a Hymnographic Book
| journal = Българско музикознание
|
| url = https://www.ceeol.com/search/article-detail?id=18371
}}</ref>
Ред 469:
The old custom can be studied on the basis of the 9th-century tropologion ΜΓ 56+5 from Sinai which was still organised according to the old tropologion beginning with the Christmas and Epiphany cycle (not with 1 September) and without any separation of the movable cycle.<ref>See the list of incipits: {{Cite book
|title=About the History of the Menaion in Byzantium: Hymnographic Monuments of the 9th–12th Centuries from the St. Catherine's Monastery on the Sinai|last=Nikiforova|first=Alexandra
|
|location=Moscow
|pages=195-235
Ред 476:
}}</ref> The new Studite or post-Studite custom established by the reformers was that each ode consists of an initial troparion, the heirmos, followed by three, four or more troparia from the menaion, which are the exact metrical reproductions of the heirmos (akrostics), thereby allowing the same music to fit all troparia equally well. The combination of Constantinopolitan and Palestine customs must be also understood on the base of the political history.<ref>{{Cite book
|title=Experiencing Byzantium: Papers from the 44th Spring Symposium of Byzantine Studies, Newcastle and Durham, April 2011|last=Lingas|first=Alexander
|
|publisher=Ashgate|isbn=9781317137832
| editor-last = Nesbitt | editor-first = Claire |editor2=Mark Jackson
Ред 495:
| title = Kassia's hymnography in the light of patristic sources and earlier hymnographical works
| journal = Zbornik Radova Vizantoloskog Instituta
|
}} {{Cite conference
| publisher = Edipuglia
Ред 508:
| location = Bari
| series = Per la storia della Chiesa di Bari
|
}}</ref> The basic repertoire of the newly created cycles the immovable [[menaion]], the movable [[triodion]] and [[Pentecostarion|pentekostarion]] and the week cycle of [[Octoechos (liturgy)|parakletike]] and Orthros cycle of the eleven stichera heothina and their lessons are the result of a redaction of the tropologion which started with the generation of Theodore the Studite and ended during the Macedonian Renaissance under the emperors [[Leo VI the Wise|Leo VI]] (the stichera heothina are traditionally ascribed to him) and [[Constantine VII]] (the exaposteilaria anastasima are ascribed to him).
Ред 521:
| title = The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213
| journal = Plainsong and Medieval Music
|
}}</ref> Older lectionaries had been often completed by the addition of [[ekphonetic notation]] and of reading marks which indicate the readers where to start (ἀρχή) and to finish (τέλος) on a certain day.<ref>Have a look at Sysse Engberg's French introduction ([[#Eng2005|2005]]) into the subject of Greek lectionaries which focussed on the Constantinopolitan type as it was established between the 8th and 12th centuries and the different types of lectionaries which were related to this custom.</ref> The Studites also created a [[typikon]]—a monastic one which regulated the cœnobitic life of the [[Monastery of Stoudios|Stoudios Monastery]] and granted its autonomy in resistance against iconoclast Emperors, but they had also an ambitious liturgical programme. They imported Hagiopolitan customs (of Jerusalem) like the Great Vesper, especially for the movable cycle between Lent and Allsaints (triodion and pentekostarion), including a Sunday of Orthodoxy which celebrated the triumph over iconoclasm on the first Sunday of Lent.<ref>Unfortunately, the liturgical part has not survived in the late copies of his typikon, but it is assumed that its specific form was a synthesis of the monastic and the cathedral typikon: {{Cite book
| publisher = Dumbarton Oaks Research Library and Collection
Ред 531:
| series = Dumbarton Oaks Studies
|pages=67–83
|
| chapter-url = http://staging.doaks.org/research/publications/doaks-online-publications/byzantine-monastic-foundation-documents/typ009.pdf
}}</ref>
Ред 543:
| title = The Needle and the Haystack - Searching for Evidence of the Eucharistic Old Testament Lection in the Constantinopolitan rite
| journal = Bollettino della Badia Greca di Grottaferrata
|
}}</ref> The Great Vespers according to Studite and post-Studite custom (reserved for just a few feasts like the Sunday of Orthodoxy) were quite ambitious. The evening psalm 140 (kekragarion) was based on simple psalmody, but followed by florid coda of a soloist (monophonaris). A melismatic [[prokeimenon]] was sung by him from the ambo, it was followed by three antiphons (Ps 114-116) sung by the choirs, the third used the [[trisagion]] or the usual anti-trisagion as a refrain, and an Old Testament reading concluded the prokeimenon.<ref>See table 17.1 in Lingas ([[#Lin2013|2013]]). {{Cite journal
| volume = 54
Ред 551:
| title = The Greek Old Testament Lectionary as a Liturgical Book
| journal = Cahiers de l'Institut du Moyen-Âge Grec et Latin
|
| url = http://cimagl.saxo.ku.dk/download/54/54Engberg39-48.pdf
| ref = Eng1987
Ред 579:
| title = Kondakarion Chant: Trying to Restore the Modal Patterns
| journal = Musicology Today
|
| url = http://www.musicologytoday.ro/BackIssues/Nr.16/studies2.php
| ref = Art2013
Ред 600:
| title = Viewing the Earliest Old Slavic Corpus Cantilenarum
| journal = Palaeobulgarica / Старобългаристика
|
| url = https://www.ceeol.com/search/article-detail?id=415927
}}</ref> Only few early Glagolitic sources have been left. The [[Кијевски мисал|Kiev Missal]] proves a West Roman influence in the Old Slavonic liturgy for certain territories of Croatia. A later 11th-century New Testament lectionary known as the [[Асеманијево јеванђеље|Codex Assemanius]] was created by the [[Ohrid Literary School]]. An euchologion ([[Saint Catherine's Monastery|ET-MSsc]] Ms. [[Euchologium Sinaiticum|Slav. 37]]) was in part compiled for Great Moravia by Cyril, Clement, [[Naum of Ohrid|Naum]] and [[Constantine of Preslav]]. It was probably copied at [[Preslav Literary School|Preslav]] about the same time.<ref>An overview of the dispute how the early sources can be explained (pp. 239-244): {{Cite journal
Ред 611:
| title = The Present Status of Research in Slavic Chant
| journal = Acta Musicologica
|
| jstor = 932170
}}</ref> The [[aprakos]] lectionary proves that the Stoudites typikon was obeyed concerning the organisation of reading cycles. It explains, why Svetlana Kujumdžieva assumed that the “church order” mentioned in Methodius' vita meant the mixed Constantinopolitan Sabbaite rite established by the Stoudites. But a later finding by the same author pointed to another direction.<ref>{{Cite book
Ред 622:
| title = The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory
| location = London, New York
|
| chapter-url = https://books.google.com/books?id=9449DwAAQBAJ
}}</ref> In a recent publication she chose "Iliya's book" ([[Russian State Archive of Ancient Documents|RUS-Mda]] Fond 381, Ms. 131) as the earliest example of an Old Church Slavonic tropologion (around 1100), it has compositions by [[Cyril of Jerusalem]] and agrees about 50% with the earliest tropologion of Sinai ([[Saint Catherine's Monastery|ET-MSsc]] Ms. NE/MΓ 56+5) and it is likewise organised as a mеnaion (beginning with September like the Stoudites), but it still includes the movable cycle. Hence, its organisation is still close to the tropologion and it has compositions not only ascribed to Cosmas and John, but also [[Stephen the Sabaite]], [[Theophanes the Branded]], the Georgian scribe and hymnographer Basil at Mar Saba and [[Joseph the Hymnographer]]. Further on, musical notation has been added on some pages which reveal an exchange between Slavic literary schools and scribes of Sinai or Mar Saba:
Ред 634:
| title = On the Archaic Form of Znamennaya Notation (Neumes in the so-called "Iliya's Book")
| journal = Българско музикознание
|
| url = https://www.ceeol.com/search/article-detail?id=18375
}}</ref>
Ред 651:
| series = Patristica Slavica
| volume = 9
|
| ref = MenDez
}} The edition verified an earlier hypothesis that there has been already an earlier Slavic reception which left the system of melodies established under the Stoudites intact. It was already mentioned by Constantin Floros in his discussion of earlier debates in 1980, see also the English re-publication realised and translated by Neil Moran ([[#Flo2009|2009]]).</ref> The reason is that their translation of Greek hymnography were not very literal, but often quite far from the content of the original texts, the main concern of this school was the recomposition or troping of the given system of melodies (with their models known as avtomela and heirmoi) which was left intact. The Novgorod project of re-translation during the 12th century tried to come closer to the meaning of the texts and the notation was needed to control the changes within the system of melodies.
Ред 687:
| title = Slavonic Kondakaria and Their Byzantine Counterparts: Discrepancies and Similarities
| journal = Българско музикознание
|
| url = http://www.ceeol.com/search/article-detail?id=18363
| ref = Gri2012
Ред 742:
The reason, why the psaltikon was called “kontakarion”, was that most parts of a kontakion (except of the refrain) were sung by a soloist from the ambo, and that the collection of the kontakarion had a prominent and dominant place within the book. The classical repertoire, especially the [[kontakion]] cycle of the movable feasts mainly attributed to [[Romanos the Melodist|Romanos]], included usually about 60 notated kontakia which were obviously reduced to the prooimion and the first oikos and this truncated form is commonly regarded as a reason, why the notated form presented a melismatic elaboration of the kontakion as it was commonly celebrated during the cathedral rite at the Hagia Sophia. As such within the notated kontakarion-psaltikon the cycle of kontakia was combined with a [[prokeimenon]] and [[alleluiarion]] cycle as a proper chant of the [[Divine Liturgy|divine liturgy]], at least for more important feasts of the movable and immovable cycle.<ref>{{Cite book
|title=Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil|last=Thodberg|first=Christian
|
|publisher=E. Munksgaard
|others=Holger Hamann (trans.)
Ред 763:
|title=Quattro testimoni manoscritti della tradizione musicale bizantina nell'Italia meridionale del secolo XIII
|journal=Musica e Storia
|
|volume=8
|issue=1
Ред 801:
| title = Zur Melodie des Kontakions Ἡ παρθένος σήμερον
| journal = Cahiers de l'Institut du Moyen-Âge Grec et Latin
|
| url = https://cimagl.saxo.ku.dk/download/59/59Raasted233-246.pdf
| ref = Raa1989
Ред 828:
| url = http://www.igl.ku.dk/MMB/standard.html
| journal = Cahiers de l’Institut du Moyen-Âge grec et latin
|
| ref = SAVstichera
}}</ref> and 3300 odes of the heirmologion.<ref>{{Cite journal
Ред 836:
| title = Observations on the Manuscript Tradition of Byzantine Music, I: A List of Heirmos Call-Numbers, based on Eustratiades’s Edition of the Heirmologion
| journal = Cahiers de l’Institut du Moyen-Âge grec et latin
|
| url = http://cimagl.saxo.ku.dk/download/1/1Raasted1-12.pdf
| ref = SAVodai
Ред 1.116:
== = Литература ==
* {{Cite book| ref=harv|last=Troelsgård|first = Christian|contribution = A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications|title = Proceedings of the 1st International Conference of the ASBMH|year=2007|url = http://www.asbmh.pitt.edu/page12/Troelsgard.pdf
* {{Cite web
|url = http://www.igl.ku.dk/MMB/pub.html
Ред 1.126:
}}
* {{Cite book| ref = harv | last=Floros| first = Constantin| title = Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition| location = Hamburg (Habilitation 1961 at University of Hamburg)| volume = 1-3
|
| url = http://www.fbkultur.uni-hamburg.de/hm/forschung/publikationen/byzantinische-kontakien.html
| ref = Flo2015
Ред 1.138:
| series = Cahiers de l'Institut du Moyen-Âge Grec et Latin
| volume = 45
|
| url = http://cimagl.saxo.ku.dk/download/45/45Raasted1-99.pdf
| ref = Raa1983
Ред 1.145:
| location = Washington, D.C.
| series = Dumbarton Oaks Studies
|
| url = https://www.doaks.org/research/publications/books/byzantine-monastic-foundation-documents-a-complete
}}
Ред 1.152:
| volume = 1-3
| series = Памятники славяно-русской письменности. Новая серия
|
| ref = TipografskyUstav
}}
Ред 1.160:
| volume = 4
| series = Monumenta Slavico-Byzantina Mediaevalia Europensia
|
| ref = Mye1994
}}
Ред 1.171:
| volume = 3:2-7
| series = Bausteine zur Geschichte der Literatur bei den Slawen, Editionen
|
| issn = 0170-3552
| ref = EdBlagKond
Ред 1.177:
* {{Cite book| ref = harv | publisher = European Art Centre (EUARCE)| editor-last=Voudouris| editor-first = Angelos L.| title = Κώδικες της Ορθοδόξου Βυζαντινής Εκκλησιαστικής Ασματωδίας [Codices of Orthodox eclesiastic chant according to the school of Iakovos Nafpliotis, Archon Protopsaltes of the Ecumenical Patriarchate]| location = Athens
| volume = 1-18
|
| url = http://search.lib.auth.gr/Search/Results?type=AllFields&sort=callnumber-sort&filter%5B%5D=callnumber-subject%3A"M+-+Music"&filter%5B%5D=authorStr%3A"Βουδούρης%2C+Άγγελος+Λ.%2C+1891-1951"
| ref = EdNafpliotis
Ред 1.189:
| volume = 1
| encyclopedia = New Grove Music Online. Oxford Music Online
|
| doi = 10.1093/gmo/9781561592630.article.04494
}}
Ред 1.200:
| volume = 1
| encyclopedia = New Grove Music Online. Oxford Music Online
|
| doi = 10.1093/gmo/9781561592630.article.43458
}}
* {{Cite book| ref = harv | edition = 2nd, revised and enlarged| publisher = Clarendon Press| last=Wellesz| first = Egon| title = A history of Byzantine music and hymnography
| location = Oxford
|
}}
* {{Cite encyclopedia
Ред 1.214:
| encyclopedia = MGG Online
| location = Kassel, Stuttgart, New York
|
| url = https://www.mgg-online.com/mgg/stable/12367
}}
Ред 1.224:
| encyclopedia = MGG Online
| location = Kassel, Stuttgart, New York
|
| url = https://www.mgg-online.com/mgg/stable/11712
}}
Ред 1.237:
| title = Some Observations on the Slavic Sources for Theta Notation
| journal = Scripta & E-Scripta
|
| url = https://www.ceeol.com/search/article-detail?id=83427
| ref = Dim2006
Ред 1.254:
| location = Paris, Orléans
| series = Ædilis, Actes. Séminaires et tables rondes
|
| url = https://irht.hypotheses.org/612
| ref = Eng2005
Ред 1.261:
| title = The Origins of Russian Music: Introduction to the Kondakarian Notation
| location = Frankfurt am Main etc.
|
| ref = Flo2009
}}
* {{Cite book| ref = harv | publisher = Bärenreiter| last=Floros| first = Constantin| title = Universale Neumenkunde| language = de
| location = Kassel-Wilhelmshöhe
|
| volume = 1, 3
| ref = Flo1970
Ред 1.277:
| title = The medieval Russian Kondakar and the choirbook from Kastoria: a palaeographic study in Byzantine and Slavic musical relations
| journal = Plainsong and Medieval Music
|
| ref = Mye1998
}}
Ред 1.289:
| title = The Stages of the Early Byzantine Musical Notation
| journal = Byzantinische Zeitschrift
|
| ref = Til1952
}}
Ред 1.300:
| last=Tillyard| first = Henry Julius Wetenhall
| title = Byzantine Neumes: The Coislin Notation| journal = Byzantinische Zeitschrift
|
| ref = Til1937
}}
Ред 1.306:
| location = Copenhagen
| series = Monumenta Musicae Byzantinae, Subsidia
|
| ref = Til1935
}}
Ред 1.313:
| location = Copenhagen
| series = Monumenta Musicae Byzantinae, Subsidia
|
| ref = Tro2011
}}
Ред 1.332:
|title = Copy of Chrysanthos' first book of the 'Mega Theoretikon' (Ms. Gr. 90)
|editor = Vasileios Nikolaidis Vyzantios
|
}}
* {{Cite book| ref = harv | publisher = Axion Estin Foundation|isbn = 9780615342597| translator-last=Romanou| translator-first = Katy G.| title = Great Theory of Music by Chrysanthos of Madytos
| location = New Rochelle, New York
|
| ref = TranslationChrysanthos
}}
| |||