To be published.
1st International Interdisciplinary Musicological Conference
“The Psaltic Art a... more To be published.
1st International Interdisciplinary Musicological Conference “The Psaltic Art as an Autonomous Science: Scientific branches – Related Scientific fields – – Interdisciplinary Collaborations and Ιnteraction.”
The so called exegeseis (interpretations-transcriptions) of the Old Sticherarion by Chourmouzios ... more The so called exegeseis (interpretations-transcriptions) of the Old Sticherarion by Chourmouzios Chartophylax in new-Byzantine notation include many phthorai which indicate plenty of modulations. On the other hand, in the older manuscripts with middle-Byzantine notation, there are seemingly no signs which could guide the interpreters to perform these modulations. Thus, an important question arises: Were Chourmouzios’ modulations based only on his psaltic experience and his deep knowledge of the so called theseis, or did he also focus on phenomenically hidden musical elements and rules which could lead him to the respective modulations? Through our research we try to rediscover possible inner musical mechanisms, eventually lost with the passing of time, which may have been related to the modulation in the old sticheraric repertoire written in middle-Byzantine notation. This study combines musicological and statistical analyses, focusing on the dominating tones of the respective modes, both on micro- and macrostructural level.
Έχει τονιστεί στην Βυζαντινή Μουσικολογία η σημασία των θέσεων και της προφορικής παράδοσης στην ... more Έχει τονιστεί στην Βυζαντινή Μουσικολογία η σημασία των θέσεων και της προφορικής παράδοσης στην διαδικασία της εξήγησης των Τριών Διδασκάλων και η ανάγκη για συγκριτική-αναδρομική μελέτη των μελών του παλαιού Στιχηραρίου σε νεοβυζαντινή και μεσοβυζαντινή παρασημαντική (Αλεξάνδρου: 2010. Στάθης: 2003. Ψάχος: 1978. Alexandru/Tsougras: 2008.). Πρόσφατη έρευνα σε μέλη του παλαιού Στιχηραρίου (Σπανουδάκης: 2012), έδειξε πως: -Οι φθόγγοι μετροφωνικής δομής (φ.μ.δ.) εντοπίζονται σχεδόν πάντα (98,5%) ως φθόγγοι μέλους στις αντίστοιχες εξηγητικές μουσικές φράσεις (ε.μ.φ.) -Για συλλαβές που έχουν στη μεσοβυζαντινή σημειογραφία έναν φ.μ.δ., οι φθόγγοι αυτοί εντοπίζονται στις αντίστοιχες ε.μ.φ. (νεοβυζαντινή σημειογραφία), ως πρώτος ή τελευταίος φθόγγος μέλους σε ποσοστό 82%. Στην παρούσα μελέτη γίνεται μία μουσικολογική-μικροαναγωγική ανάλυση (Αλεξάνδρου: 2006,2007) στις συλλαβές που έχουν δύο φ.μ.δ. στην μεσοβυζαντινή σημειογραφία. Στην ανάλυση λαμβάνονται υπόψη: -Η χρονική διάρκεια των αντίστοιχων ε.μ.φ. -Τα σημεία εντοπισμού των φ.μ.δ. στις ε.μ.φ. Η ανάλυση οργανώνεται σύμφωνα με μοντέλα ανάλυσης της Υπολογιστικής και Γνωσιακής Μουσικολογίας. Οι παρατηρήσεις εντάσσονται σε στατιστικούς πίνακες (λογισμικό SPSS-Statistical Package for Social Sciences) και συνοδεύονται από γραφήματα εξεικόνισης (Microsoft Excel, Inkscape editor). Εξετάζονται τρία Στιχηρά της οικογένειας του δευτέρου ήχου: -Ἡ τοῦ ἐλέους πηγή, β’ ήχος. -Σήμερον κρεμᾶται, πλ.β’ ήχος. -Ὅσιε τρισμάκαρ, ήχος πλ.β’ νενανώ. Τα μέλη μελετώνται από το Στιχηράριο Διονυσίου 564 (έτ. 1445. Στάθης: 1976) και τις εξηγήσεις του Χουρμουζίου Χαρτοφύλακα στο παλαιό Στιχηράριο (χειρόγραφα ΜΠΤ 708-ΜΠΤ 715, αρχές 19ου αιώνα. Στάθης: 2001. Χατζηγιακουμής: 1975). Τα συμπεράσματα της μελέτης αναδεικνύουν: α) στοιχεία της τεχνικής της εξήγησης β) το γεγονός πως ο Χουρμούζιος Χαρτοφύλακας εξήγησε τα μέλη του παλαιού Στιχηραρίου με καλλιτεχνικότητα αλλά και μαθηματική ακρίβεια εντάσσοντας τους φθόγγους μετροφωνικής δομής σε συγκεκριμένα σημεία των εξηγητικών μουσικών φράσεων. γ) την σημαντική βοήθεια που μπορούν να προσφέρουν τα Υπολογιστικά Μοντέλα Μουσικής Δομής στην κατανόηση της τεχνικής της εξήγησης (ICMPC/ESCOM: 2012).
1. Introduction
The present study proposes an interdisciplinary approach (Musicology and Mathemat... more 1. Introduction The present study proposes an interdisciplinary approach (Musicology and Mathematics – Statistic) which has to do with the analysis to the Byzantine Music through the research in manuscripts with new and old notation . More specifically, we use a mathematically-statistically informed approach to investigate chromaticity in the sticheron Σήμερον συνέχει τάφος - Today, a tomb holds Him which is chanted as the first idiomelon of the Lauds of Mattins of Holy Saturday and it is in the second (B’) mode with finalis Di . In the present study, the sticheron which belongs to the repertory of the Old Sticherarion, is examined: i) In new notation from the manuscript Sancti Sepulcri 715 (MPT 715 ), which is written by Chourmouzios Chartofylaxin the early 19th century and includes the slow exegeseis - transcriptions - interpretations of the aforementioned Teacher for the old sticheraric style. ii) In old notation from the highly important manuscript Dionysiou 564 (D 564), which is written by Grigorios Mpunis Alyatis in 1445 A.D. This manuscrpt is neumated with fully developed Middle-Byzantine notation. The aim of the study is to investigate whether some notes of the chromatic scale have a “closer relation” with: i) the ison and the neumes which augment the duration of the phonetic signs , ii) the syllables and the kola of the hymnographic text. Moreover, we want to examine whether and how some notes have a greater total duration in comparison with other notes in the same scale and to visualize the “profile ” of the second mode according to the acoustic result of the sticheron Σήμερον συνέχει τάφος. The conclusions emerge through a parallel research which focuses on the modulations which occur in the sticheron both in new and old notation. It has to be noticed that the notes in the old notation show us the metrophonic structure of the melody . (Footnotes included in full paper) ISSN: 1224-6646
The Sticheron Today is hanged (Cyril of Jerusalem or Alexandria 4th-5th cent.) is a famous doxast... more The Sticheron Today is hanged (Cyril of Jerusalem or Alexandria 4th-5th cent.) is a famous doxastikon from the Ninth Great Hour of Good Friday which represents the Sticheraric genre. • In the first part of the present study manuscripts Dionysiou 564 (D 564) and Sancti Sepulcri 715 (MPT 715 cf. Kerameus) are presented. Manuscript D 564 is examined in detail on: i) its Palaeographic characteristics (cf. Stathis) ii) the Calendar for the Cycle of the Twelve Months (Menologion) and the Triodion. iii) Initials of the chants from October till December and of the whole Triodion. There have been identified more than 20 feasts and more than 20 chants which are not included in the Standard Abridged Version (cf. Strunk). • In the second part, the Sticheron Today is hanged (automelo - model melody) and its lesser known prosomoion Today is imprisoned (Σήμερον καθείργνυται) in honor of St. Dimitrios of Thessaloniki (cf. Fountoulis, Alygizakis) are submitted to structural, metrical, expanded modal and syntactical musical analysis. The old, classical melody and the slow exegesis (traditional rendition) of Today is hanged is used as a model for an application of the slow exegesis (based on studies by Stathis and Arvanitis) for the chant Today is imprisoned which hasn’t been transcribed into New Byzantine notation by the Three Teachers. Furthermore, the Sticheron Today is hanged is examined from the manuscript Konstamonitou 86 (15th cent.) which includes repertory from the chanting tradition of Thessaloniki. Finally, the relation between traditional carols (kalanta) of Good Friday and the Sticheron Today is hanged is examined as to the poetic text and the musical texture.
The present study discusses specific problems and tendencies in analysis of Byzantine Music. For ... more The present study discusses specific problems and tendencies in analysis of Byzantine Music. For this purpose the Sticherarion Dionysiou 564 from the year 1445 AD was selected. It’s a highly important manuscript written by Gregorios Mpounis Alyatis, Cantor of the Great Church of Christ during the years of the fall of Constantinople (1453), transmitting the Old Byzantine style of this repertory (cf. Stathis Gregorios & Alexandru Maria) The study includes: 1) Palaeographical description of the Manuscript 2) The calendar for the Cycle of the Twelve Months (Menologion) & 3) Initials of the chants for October-November - December Dionysiou 564 is compared with Ambrosianus A 139 (1341 AD - Leon Padiatis), which represents the Standard Abridged Version of the Sticherarion (cf Alexandru Maria) and with the actual Greek Menologion. There have been identified more than 20 feasts and more than 10 chants (months October November) which are not included in the Standard Abridged Version. 4) Analysis of chants in honor of Saint John Chrysostom Redactions for Dionysiou 564 and Ambrosianus A 139 (fully developed Middle Byzantine notation) are compared with Sancti Sepulcri 708 (19th century - Chourmouzios Chartofylax - New Byzantine notation) which include the large musical exegesis rescued in the New Method by the Three Teachers (1814 AD). This comparison shows the traditional way of the analytical decoding the old stenographic notation.
To be published.
1st International Interdisciplinary Musicological Conference
“The Psaltic Art a... more To be published.
1st International Interdisciplinary Musicological Conference “The Psaltic Art as an Autonomous Science: Scientific branches – Related Scientific fields – – Interdisciplinary Collaborations and Ιnteraction.”
The so called exegeseis (interpretations-transcriptions) of the Old Sticherarion by Chourmouzios ... more The so called exegeseis (interpretations-transcriptions) of the Old Sticherarion by Chourmouzios Chartophylax in new-Byzantine notation include many phthorai which indicate plenty of modulations. On the other hand, in the older manuscripts with middle-Byzantine notation, there are seemingly no signs which could guide the interpreters to perform these modulations. Thus, an important question arises: Were Chourmouzios’ modulations based only on his psaltic experience and his deep knowledge of the so called theseis, or did he also focus on phenomenically hidden musical elements and rules which could lead him to the respective modulations? Through our research we try to rediscover possible inner musical mechanisms, eventually lost with the passing of time, which may have been related to the modulation in the old sticheraric repertoire written in middle-Byzantine notation. This study combines musicological and statistical analyses, focusing on the dominating tones of the respective modes, both on micro- and macrostructural level.
Έχει τονιστεί στην Βυζαντινή Μουσικολογία η σημασία των θέσεων και της προφορικής παράδοσης στην ... more Έχει τονιστεί στην Βυζαντινή Μουσικολογία η σημασία των θέσεων και της προφορικής παράδοσης στην διαδικασία της εξήγησης των Τριών Διδασκάλων και η ανάγκη για συγκριτική-αναδρομική μελέτη των μελών του παλαιού Στιχηραρίου σε νεοβυζαντινή και μεσοβυζαντινή παρασημαντική (Αλεξάνδρου: 2010. Στάθης: 2003. Ψάχος: 1978. Alexandru/Tsougras: 2008.). Πρόσφατη έρευνα σε μέλη του παλαιού Στιχηραρίου (Σπανουδάκης: 2012), έδειξε πως: -Οι φθόγγοι μετροφωνικής δομής (φ.μ.δ.) εντοπίζονται σχεδόν πάντα (98,5%) ως φθόγγοι μέλους στις αντίστοιχες εξηγητικές μουσικές φράσεις (ε.μ.φ.) -Για συλλαβές που έχουν στη μεσοβυζαντινή σημειογραφία έναν φ.μ.δ., οι φθόγγοι αυτοί εντοπίζονται στις αντίστοιχες ε.μ.φ. (νεοβυζαντινή σημειογραφία), ως πρώτος ή τελευταίος φθόγγος μέλους σε ποσοστό 82%. Στην παρούσα μελέτη γίνεται μία μουσικολογική-μικροαναγωγική ανάλυση (Αλεξάνδρου: 2006,2007) στις συλλαβές που έχουν δύο φ.μ.δ. στην μεσοβυζαντινή σημειογραφία. Στην ανάλυση λαμβάνονται υπόψη: -Η χρονική διάρκεια των αντίστοιχων ε.μ.φ. -Τα σημεία εντοπισμού των φ.μ.δ. στις ε.μ.φ. Η ανάλυση οργανώνεται σύμφωνα με μοντέλα ανάλυσης της Υπολογιστικής και Γνωσιακής Μουσικολογίας. Οι παρατηρήσεις εντάσσονται σε στατιστικούς πίνακες (λογισμικό SPSS-Statistical Package for Social Sciences) και συνοδεύονται από γραφήματα εξεικόνισης (Microsoft Excel, Inkscape editor). Εξετάζονται τρία Στιχηρά της οικογένειας του δευτέρου ήχου: -Ἡ τοῦ ἐλέους πηγή, β’ ήχος. -Σήμερον κρεμᾶται, πλ.β’ ήχος. -Ὅσιε τρισμάκαρ, ήχος πλ.β’ νενανώ. Τα μέλη μελετώνται από το Στιχηράριο Διονυσίου 564 (έτ. 1445. Στάθης: 1976) και τις εξηγήσεις του Χουρμουζίου Χαρτοφύλακα στο παλαιό Στιχηράριο (χειρόγραφα ΜΠΤ 708-ΜΠΤ 715, αρχές 19ου αιώνα. Στάθης: 2001. Χατζηγιακουμής: 1975). Τα συμπεράσματα της μελέτης αναδεικνύουν: α) στοιχεία της τεχνικής της εξήγησης β) το γεγονός πως ο Χουρμούζιος Χαρτοφύλακας εξήγησε τα μέλη του παλαιού Στιχηραρίου με καλλιτεχνικότητα αλλά και μαθηματική ακρίβεια εντάσσοντας τους φθόγγους μετροφωνικής δομής σε συγκεκριμένα σημεία των εξηγητικών μουσικών φράσεων. γ) την σημαντική βοήθεια που μπορούν να προσφέρουν τα Υπολογιστικά Μοντέλα Μουσικής Δομής στην κατανόηση της τεχνικής της εξήγησης (ICMPC/ESCOM: 2012).
1. Introduction
The present study proposes an interdisciplinary approach (Musicology and Mathemat... more 1. Introduction The present study proposes an interdisciplinary approach (Musicology and Mathematics – Statistic) which has to do with the analysis to the Byzantine Music through the research in manuscripts with new and old notation . More specifically, we use a mathematically-statistically informed approach to investigate chromaticity in the sticheron Σήμερον συνέχει τάφος - Today, a tomb holds Him which is chanted as the first idiomelon of the Lauds of Mattins of Holy Saturday and it is in the second (B’) mode with finalis Di . In the present study, the sticheron which belongs to the repertory of the Old Sticherarion, is examined: i) In new notation from the manuscript Sancti Sepulcri 715 (MPT 715 ), which is written by Chourmouzios Chartofylaxin the early 19th century and includes the slow exegeseis - transcriptions - interpretations of the aforementioned Teacher for the old sticheraric style. ii) In old notation from the highly important manuscript Dionysiou 564 (D 564), which is written by Grigorios Mpunis Alyatis in 1445 A.D. This manuscrpt is neumated with fully developed Middle-Byzantine notation. The aim of the study is to investigate whether some notes of the chromatic scale have a “closer relation” with: i) the ison and the neumes which augment the duration of the phonetic signs , ii) the syllables and the kola of the hymnographic text. Moreover, we want to examine whether and how some notes have a greater total duration in comparison with other notes in the same scale and to visualize the “profile ” of the second mode according to the acoustic result of the sticheron Σήμερον συνέχει τάφος. The conclusions emerge through a parallel research which focuses on the modulations which occur in the sticheron both in new and old notation. It has to be noticed that the notes in the old notation show us the metrophonic structure of the melody . (Footnotes included in full paper) ISSN: 1224-6646
The Sticheron Today is hanged (Cyril of Jerusalem or Alexandria 4th-5th cent.) is a famous doxast... more The Sticheron Today is hanged (Cyril of Jerusalem or Alexandria 4th-5th cent.) is a famous doxastikon from the Ninth Great Hour of Good Friday which represents the Sticheraric genre. • In the first part of the present study manuscripts Dionysiou 564 (D 564) and Sancti Sepulcri 715 (MPT 715 cf. Kerameus) are presented. Manuscript D 564 is examined in detail on: i) its Palaeographic characteristics (cf. Stathis) ii) the Calendar for the Cycle of the Twelve Months (Menologion) and the Triodion. iii) Initials of the chants from October till December and of the whole Triodion. There have been identified more than 20 feasts and more than 20 chants which are not included in the Standard Abridged Version (cf. Strunk). • In the second part, the Sticheron Today is hanged (automelo - model melody) and its lesser known prosomoion Today is imprisoned (Σήμερον καθείργνυται) in honor of St. Dimitrios of Thessaloniki (cf. Fountoulis, Alygizakis) are submitted to structural, metrical, expanded modal and syntactical musical analysis. The old, classical melody and the slow exegesis (traditional rendition) of Today is hanged is used as a model for an application of the slow exegesis (based on studies by Stathis and Arvanitis) for the chant Today is imprisoned which hasn’t been transcribed into New Byzantine notation by the Three Teachers. Furthermore, the Sticheron Today is hanged is examined from the manuscript Konstamonitou 86 (15th cent.) which includes repertory from the chanting tradition of Thessaloniki. Finally, the relation between traditional carols (kalanta) of Good Friday and the Sticheron Today is hanged is examined as to the poetic text and the musical texture.
The present study discusses specific problems and tendencies in analysis of Byzantine Music. For ... more The present study discusses specific problems and tendencies in analysis of Byzantine Music. For this purpose the Sticherarion Dionysiou 564 from the year 1445 AD was selected. It’s a highly important manuscript written by Gregorios Mpounis Alyatis, Cantor of the Great Church of Christ during the years of the fall of Constantinople (1453), transmitting the Old Byzantine style of this repertory (cf. Stathis Gregorios & Alexandru Maria) The study includes: 1) Palaeographical description of the Manuscript 2) The calendar for the Cycle of the Twelve Months (Menologion) & 3) Initials of the chants for October-November - December Dionysiou 564 is compared with Ambrosianus A 139 (1341 AD - Leon Padiatis), which represents the Standard Abridged Version of the Sticherarion (cf Alexandru Maria) and with the actual Greek Menologion. There have been identified more than 20 feasts and more than 10 chants (months October November) which are not included in the Standard Abridged Version. 4) Analysis of chants in honor of Saint John Chrysostom Redactions for Dionysiou 564 and Ambrosianus A 139 (fully developed Middle Byzantine notation) are compared with Sancti Sepulcri 708 (19th century - Chourmouzios Chartofylax - New Byzantine notation) which include the large musical exegesis rescued in the New Method by the Three Teachers (1814 AD). This comparison shows the traditional way of the analytical decoding the old stenographic notation.
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1st International Interdisciplinary Musicological Conference
“The Psaltic Art as an Autonomous Science: Scientific branches – Related Scientific fields –
– Interdisciplinary Collaborations and Ιnteraction.”
Through our research we try to rediscover possible inner musical mechanisms, eventually lost with the passing of time, which may have been related to the modulation in the old sticheraric repertoire written in middle-Byzantine notation. This study combines musicological and statistical analyses, focusing on the dominating tones of the respective modes, both on micro- and macrostructural level.
ISBN 978-3-631-64880-3, ISBN 978-3-653-03912-2
Πρόσφατη έρευνα σε μέλη του παλαιού Στιχηραρίου (Σπανουδάκης: 2012), έδειξε πως:
-Οι φθόγγοι μετροφωνικής δομής (φ.μ.δ.) εντοπίζονται σχεδόν πάντα (98,5%) ως φθόγγοι μέλους στις αντίστοιχες εξηγητικές μουσικές φράσεις (ε.μ.φ.)
-Για συλλαβές που έχουν στη μεσοβυζαντινή σημειογραφία έναν φ.μ.δ., οι φθόγγοι αυτοί εντοπίζονται στις αντίστοιχες ε.μ.φ. (νεοβυζαντινή σημειογραφία), ως πρώτος ή τελευταίος φθόγγος μέλους σε ποσοστό 82%.
Στην παρούσα μελέτη γίνεται μία μουσικολογική-μικροαναγωγική ανάλυση (Αλεξάνδρου: 2006,2007) στις συλλαβές που έχουν δύο φ.μ.δ. στην μεσοβυζαντινή σημειογραφία. Στην ανάλυση λαμβάνονται υπόψη:
-Η χρονική διάρκεια των αντίστοιχων ε.μ.φ.
-Τα σημεία εντοπισμού των φ.μ.δ. στις ε.μ.φ.
Η ανάλυση οργανώνεται σύμφωνα με μοντέλα ανάλυσης της Υπολογιστικής και Γνωσιακής Μουσικολογίας. Οι παρατηρήσεις εντάσσονται σε στατιστικούς πίνακες (λογισμικό SPSS-Statistical Package for Social Sciences) και συνοδεύονται από γραφήματα εξεικόνισης (Microsoft Excel, Inkscape editor).
Εξετάζονται τρία Στιχηρά της οικογένειας του δευτέρου ήχου:
-Ἡ τοῦ ἐλέους πηγή, β’ ήχος.
-Σήμερον κρεμᾶται, πλ.β’ ήχος.
-Ὅσιε τρισμάκαρ, ήχος πλ.β’ νενανώ.
Τα μέλη μελετώνται από το Στιχηράριο Διονυσίου 564 (έτ. 1445. Στάθης: 1976) και τις εξηγήσεις του Χουρμουζίου Χαρτοφύλακα στο παλαιό Στιχηράριο (χειρόγραφα ΜΠΤ 708-ΜΠΤ 715, αρχές 19ου αιώνα. Στάθης: 2001. Χατζηγιακουμής: 1975).
Τα συμπεράσματα της μελέτης αναδεικνύουν:
α) στοιχεία της τεχνικής της εξήγησης
β) το γεγονός πως ο Χουρμούζιος Χαρτοφύλακας εξήγησε τα μέλη του παλαιού Στιχηραρίου με καλλιτεχνικότητα αλλά και μαθηματική ακρίβεια εντάσσοντας τους φθόγγους μετροφωνικής δομής σε συγκεκριμένα σημεία των εξηγητικών μουσικών φράσεων.
γ) την σημαντική βοήθεια που μπορούν να προσφέρουν τα Υπολογιστικά Μοντέλα Μουσικής Δομής στην κατανόηση της τεχνικής της εξήγησης (ICMPC/ESCOM: 2012).
The present study proposes an interdisciplinary approach (Musicology and Mathematics – Statistic) which has to do with the analysis to the Byzantine Music through the research in manuscripts with new and old notation .
More specifically, we use a mathematically-statistically informed approach to investigate chromaticity in the sticheron Σήμερον συνέχει τάφος - Today, a tomb holds Him which is chanted as the first idiomelon of the Lauds of Mattins of Holy Saturday and it is in the second (B’) mode with finalis Di .
In the present study, the sticheron which belongs to the repertory of the Old Sticherarion, is examined:
i) In new notation from the manuscript Sancti Sepulcri 715 (MPT 715 ), which is written by Chourmouzios Chartofylaxin the early 19th century and includes the slow exegeseis - transcriptions - interpretations of the aforementioned Teacher for the old sticheraric style.
ii) In old notation from the highly important manuscript Dionysiou 564 (D 564), which is written by Grigorios Mpunis Alyatis in 1445 A.D. This manuscrpt is neumated with fully developed Middle-Byzantine notation.
The aim of the study is to investigate whether some notes of the chromatic scale have a “closer relation” with:
i) the ison and the neumes which augment the duration of the phonetic signs ,
ii) the syllables and the kola of the hymnographic text.
Moreover, we want to examine whether and how some notes have a greater total duration in comparison with other notes in the same scale and to visualize the “profile ” of the second mode according to the acoustic result of the sticheron Σήμερον συνέχει τάφος.
The conclusions emerge through a parallel research which focuses on the modulations which occur in the sticheron both in new and old notation. It has to be noticed that the notes in the old notation show us the metrophonic structure of the melody .
(Footnotes included in full paper)
ISSN: 1224-6646
• In the first part of the present study manuscripts Dionysiou 564 (D 564) and Sancti Sepulcri 715 (MPT 715 cf. Kerameus) are presented.
Manuscript D 564 is examined in detail on:
i) its Palaeographic characteristics (cf. Stathis)
ii) the Calendar for the Cycle of the Twelve Months (Menologion) and the Triodion.
iii) Initials of the chants from October till December and of the whole Triodion.
There have been identified more than 20 feasts and more than 20 chants which are not included in the Standard Abridged Version (cf. Strunk).
• In the second part, the Sticheron Today is hanged (automelo - model melody) and its lesser known prosomoion Today is imprisoned (Σήμερον καθείργνυται) in honor of St. Dimitrios of Thessaloniki (cf. Fountoulis, Alygizakis) are submitted to structural, metrical, expanded modal and syntactical musical analysis. The old, classical melody and the slow exegesis (traditional rendition) of Today is hanged is used as a model for an application of the slow exegesis (based on studies by Stathis and Arvanitis) for the chant Today is imprisoned which hasn’t been transcribed into New Byzantine notation by the Three Teachers. Furthermore, the Sticheron Today is hanged is examined from the manuscript Konstamonitou 86 (15th cent.) which includes repertory from the chanting tradition of Thessaloniki.
Finally, the relation between traditional carols (kalanta) of Good Friday and the Sticheron Today is hanged is examined as to the poetic text and the musical texture.
The study includes:
1) Palaeographical description of the Manuscript
2) The calendar for the Cycle of the Twelve Months (Menologion) & 3) Initials of the chants for October-November - December
Dionysiou 564 is compared with Ambrosianus A 139 (1341 AD - Leon Padiatis), which represents the Standard Abridged Version of the Sticherarion (cf Alexandru Maria) and with the actual Greek Menologion.
There have been identified more than 20 feasts and more than 10 chants (months October November) which are not included in the Standard Abridged Version.
4) Analysis of chants in honor of Saint John Chrysostom
Redactions for Dionysiou 564 and Ambrosianus A 139 (fully developed Middle Byzantine notation) are compared with Sancti Sepulcri 708 (19th century - Chourmouzios Chartofylax - New Byzantine notation) which include the large musical exegesis rescued in the New Method by the Three Teachers (1814 AD). This comparison shows the traditional way of the analytical decoding the old stenographic notation.
1st International Interdisciplinary Musicological Conference
“The Psaltic Art as an Autonomous Science: Scientific branches – Related Scientific fields –
– Interdisciplinary Collaborations and Ιnteraction.”
Through our research we try to rediscover possible inner musical mechanisms, eventually lost with the passing of time, which may have been related to the modulation in the old sticheraric repertoire written in middle-Byzantine notation. This study combines musicological and statistical analyses, focusing on the dominating tones of the respective modes, both on micro- and macrostructural level.
ISBN 978-3-631-64880-3, ISBN 978-3-653-03912-2
Πρόσφατη έρευνα σε μέλη του παλαιού Στιχηραρίου (Σπανουδάκης: 2012), έδειξε πως:
-Οι φθόγγοι μετροφωνικής δομής (φ.μ.δ.) εντοπίζονται σχεδόν πάντα (98,5%) ως φθόγγοι μέλους στις αντίστοιχες εξηγητικές μουσικές φράσεις (ε.μ.φ.)
-Για συλλαβές που έχουν στη μεσοβυζαντινή σημειογραφία έναν φ.μ.δ., οι φθόγγοι αυτοί εντοπίζονται στις αντίστοιχες ε.μ.φ. (νεοβυζαντινή σημειογραφία), ως πρώτος ή τελευταίος φθόγγος μέλους σε ποσοστό 82%.
Στην παρούσα μελέτη γίνεται μία μουσικολογική-μικροαναγωγική ανάλυση (Αλεξάνδρου: 2006,2007) στις συλλαβές που έχουν δύο φ.μ.δ. στην μεσοβυζαντινή σημειογραφία. Στην ανάλυση λαμβάνονται υπόψη:
-Η χρονική διάρκεια των αντίστοιχων ε.μ.φ.
-Τα σημεία εντοπισμού των φ.μ.δ. στις ε.μ.φ.
Η ανάλυση οργανώνεται σύμφωνα με μοντέλα ανάλυσης της Υπολογιστικής και Γνωσιακής Μουσικολογίας. Οι παρατηρήσεις εντάσσονται σε στατιστικούς πίνακες (λογισμικό SPSS-Statistical Package for Social Sciences) και συνοδεύονται από γραφήματα εξεικόνισης (Microsoft Excel, Inkscape editor).
Εξετάζονται τρία Στιχηρά της οικογένειας του δευτέρου ήχου:
-Ἡ τοῦ ἐλέους πηγή, β’ ήχος.
-Σήμερον κρεμᾶται, πλ.β’ ήχος.
-Ὅσιε τρισμάκαρ, ήχος πλ.β’ νενανώ.
Τα μέλη μελετώνται από το Στιχηράριο Διονυσίου 564 (έτ. 1445. Στάθης: 1976) και τις εξηγήσεις του Χουρμουζίου Χαρτοφύλακα στο παλαιό Στιχηράριο (χειρόγραφα ΜΠΤ 708-ΜΠΤ 715, αρχές 19ου αιώνα. Στάθης: 2001. Χατζηγιακουμής: 1975).
Τα συμπεράσματα της μελέτης αναδεικνύουν:
α) στοιχεία της τεχνικής της εξήγησης
β) το γεγονός πως ο Χουρμούζιος Χαρτοφύλακας εξήγησε τα μέλη του παλαιού Στιχηραρίου με καλλιτεχνικότητα αλλά και μαθηματική ακρίβεια εντάσσοντας τους φθόγγους μετροφωνικής δομής σε συγκεκριμένα σημεία των εξηγητικών μουσικών φράσεων.
γ) την σημαντική βοήθεια που μπορούν να προσφέρουν τα Υπολογιστικά Μοντέλα Μουσικής Δομής στην κατανόηση της τεχνικής της εξήγησης (ICMPC/ESCOM: 2012).
The present study proposes an interdisciplinary approach (Musicology and Mathematics – Statistic) which has to do with the analysis to the Byzantine Music through the research in manuscripts with new and old notation .
More specifically, we use a mathematically-statistically informed approach to investigate chromaticity in the sticheron Σήμερον συνέχει τάφος - Today, a tomb holds Him which is chanted as the first idiomelon of the Lauds of Mattins of Holy Saturday and it is in the second (B’) mode with finalis Di .
In the present study, the sticheron which belongs to the repertory of the Old Sticherarion, is examined:
i) In new notation from the manuscript Sancti Sepulcri 715 (MPT 715 ), which is written by Chourmouzios Chartofylaxin the early 19th century and includes the slow exegeseis - transcriptions - interpretations of the aforementioned Teacher for the old sticheraric style.
ii) In old notation from the highly important manuscript Dionysiou 564 (D 564), which is written by Grigorios Mpunis Alyatis in 1445 A.D. This manuscrpt is neumated with fully developed Middle-Byzantine notation.
The aim of the study is to investigate whether some notes of the chromatic scale have a “closer relation” with:
i) the ison and the neumes which augment the duration of the phonetic signs ,
ii) the syllables and the kola of the hymnographic text.
Moreover, we want to examine whether and how some notes have a greater total duration in comparison with other notes in the same scale and to visualize the “profile ” of the second mode according to the acoustic result of the sticheron Σήμερον συνέχει τάφος.
The conclusions emerge through a parallel research which focuses on the modulations which occur in the sticheron both in new and old notation. It has to be noticed that the notes in the old notation show us the metrophonic structure of the melody .
(Footnotes included in full paper)
ISSN: 1224-6646
• In the first part of the present study manuscripts Dionysiou 564 (D 564) and Sancti Sepulcri 715 (MPT 715 cf. Kerameus) are presented.
Manuscript D 564 is examined in detail on:
i) its Palaeographic characteristics (cf. Stathis)
ii) the Calendar for the Cycle of the Twelve Months (Menologion) and the Triodion.
iii) Initials of the chants from October till December and of the whole Triodion.
There have been identified more than 20 feasts and more than 20 chants which are not included in the Standard Abridged Version (cf. Strunk).
• In the second part, the Sticheron Today is hanged (automelo - model melody) and its lesser known prosomoion Today is imprisoned (Σήμερον καθείργνυται) in honor of St. Dimitrios of Thessaloniki (cf. Fountoulis, Alygizakis) are submitted to structural, metrical, expanded modal and syntactical musical analysis. The old, classical melody and the slow exegesis (traditional rendition) of Today is hanged is used as a model for an application of the slow exegesis (based on studies by Stathis and Arvanitis) for the chant Today is imprisoned which hasn’t been transcribed into New Byzantine notation by the Three Teachers. Furthermore, the Sticheron Today is hanged is examined from the manuscript Konstamonitou 86 (15th cent.) which includes repertory from the chanting tradition of Thessaloniki.
Finally, the relation between traditional carols (kalanta) of Good Friday and the Sticheron Today is hanged is examined as to the poetic text and the musical texture.
The study includes:
1) Palaeographical description of the Manuscript
2) The calendar for the Cycle of the Twelve Months (Menologion) & 3) Initials of the chants for October-November - December
Dionysiou 564 is compared with Ambrosianus A 139 (1341 AD - Leon Padiatis), which represents the Standard Abridged Version of the Sticherarion (cf Alexandru Maria) and with the actual Greek Menologion.
There have been identified more than 20 feasts and more than 10 chants (months October November) which are not included in the Standard Abridged Version.
4) Analysis of chants in honor of Saint John Chrysostom
Redactions for Dionysiou 564 and Ambrosianus A 139 (fully developed Middle Byzantine notation) are compared with Sancti Sepulcri 708 (19th century - Chourmouzios Chartofylax - New Byzantine notation) which include the large musical exegesis rescued in the New Method by the Three Teachers (1814 AD). This comparison shows the traditional way of the analytical decoding the old stenographic notation.