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Tradition and Innovation in Late- and Postbyzantine Liturgical Chant stellt ein ideales Thema dar, um die kontinuierliche Weiterentwicklung der byzantinischen Kirchenmusik und gleichzeitig die Bewahrung traditioneller Elemente im liturgischen Gesang aufzuzeigen. In 14 verschiedenen Beitragen treten bedeutende Komponisten mit ihren Schopfungen in den Vordergrund, weiters verschiedene musikliturgische Repertoires, regionale Entwicklungen, Veranderungen bzw. Neuinterpretationen in der Notation und in der Modalitat. Schliesslich rundet eine musikalische Analyse der Interpretation eines fruhchristlichen Troparion durch einen Sanger des 20. Jahrhunderts das Thema ab.
The first full-length, interdisciplinary study of the Greek performing arts - theatre, rhetoric and ritual - between antiquity and the Renaissance.
In this companion volume to Essays on Music in the Western World, Oliver Strunk focuses on the area of study that has dominated his interest for the last thirty years--the chant and liturgy of the Eastern Orthodox church.
Scholars of the patristic era have paid more attention to the dogmatic tradition in their period than to the development of Christian mystical theology. Andrew Louth aims to redress the balance. Recognizing that the intellectual form of this tradition was decisively influenced by Platonic ideas of the soul's relationship to God, Louth begins with an examination of Plato and Platonism. The discussion of the Fathers which follows shows how the mystical tradition is at the heart of their thought and how the dogmatic tradition both moulds and is the reflection of mystical insights and concerns. This new edition of a classic study of the diverse influences upon Christian spirituality includes a new Epilogue which brings the text completely up to date.
What is the relation between the Greek ecclesiastical chant traditions of today and Byzantine chant? That question can only be answered through a meticulous study of the transmission and transformation of both the melodies, the genres, and the whole musical culture of Late Byzantium and the subsequent centuries. This book presents a handful of studies focusing on both the development of new musical styles, such as the ornamented Kalofonia ('Beautiful sound'), and on the education of the cantors, the psaltai. The role of the master cantors, the maistores, their teachings, treatises, traditions, innovations, compositions, and the various modes of interpretation (exegesis) are among the topics covered by this collection of papers, written by specialist scholars of Byzantine chant history.
Examining every aspect of the culture from antiquity to the founding of Constantinople in the early Byzantine era, this thoroughly cross-referenced and fully indexed work is written by an international group of scholars. This Encyclopedia is derived from the more broadly focused Encyclopedia of Greece and the Hellenic Tradition, the highly praised two-volume work. Newly edited by Nigel Wilson, this single-volume reference provides a comprehensive and authoritative guide to the political, cultural, and social life of the people and to the places, ideas, periods, and events that defined ancient Greece.
A study of the musical discourse among Ottoman Greek Orthodox Christians during a complicated time for them in the nineteenth and early twentieth centuries. During the late Ottoman period (1856–1922), a time of contestation about imperial policy toward minority groups, music helped the Ottoman Greeks in Istanbul define themselves as a distinct cultural group. A part of the largest non-Muslim minority within a multi-ethnic and multi-religious empire, the Greek Orthodox educated elite engaged in heated discussions about their cultural identity, Byzantine heritage, and prospects for the future, at the heart of which were debates about the place of traditional liturgical music in a community that was confronting modernity and westernization. Merih Erol draws on archival evidence from ecclesiastical and lay sources dealing with understandings of Byzantine music and history, forms of religious chanting, the life stories of individual cantors, and other popular and scholarly sources of the period. Audio examples keyed to the text are available online. “Merih Erol’s careful examination of the prominent church cantors of this period, their opinions on Byzantine, Ottoman and European musics as well as their relationship with both the Patriarchate and wealthy Greeks of Istanbul presents a detailed picture of a community trying to define their national identity during a transition. . . . Her study is unique and detailed, and her call to pluralism is timely.” —Mehmet Ali Sanlikol, author of The Musician Mehters “Overall, the book impresses me as a sophisticated work that avoids the standard nationalist views on the history of the Ottoman Greeks.” —Risto Pekka Pennanen, University of Tampere, Finland “This book is a great contribution to the fields of historical ethnomusicology, religious studies, ethnic studies, and Ottoman and Greek studies. It offers timely research during a critical period for ethnic minorities in the Middle East in general and Christians in particular as they undergo persecution and forced migration.” —Journal of the American Academy of Religion
The national element in music has been the subject of important studies, yet the scholarly framework has remained restricted almost exclusively to the field of music studies. This volume brings together experts from different fields (musicology, literary theory and modern Greek studies), who investi- gate the links that connect music, language and national identity, focusing on the Greek paradigm. Through the study of the Greek case, the book paves the way for innovative interdisciplinary approaches to the formation of the ‘national’ in different cultures, shedding new light on ideologies and mechanisms of cultural policies.