scholarly journals Byzantine Theoretical Treatises on Music in comparison with the Theoretikon Mega tes Mousikes by Chrysanthos of Madytos

2021 ◽  
Author(s):  
Gerda Wolfram
Keyword(s):  
Music Theory ◽  
Liturgical Music ◽  
Liturgical Chant

Studying the Theoretikon Mega tes Mousikes one can state, that the ambition of Chrysanthos of Madytos was to preserve the old Byzantine tradition to a certain extent, but also to take into account the development of liturgical music during the last three hundred years. With the alterations in liturgical chant, music theory had to be revised and refounded on a new basis. (...)

scholarly journals The poetics of liturgical chant between oral and written tradition

2016 ◽  
pp. 517-531
Author(s):  
Dragan Askovic ◽  
Zoran Rankovic
Keyword(s):  
Old Testament ◽  
Liturgical Music ◽  
Original Meaning ◽  
New Meanings ◽  
Liturgical Chant ◽  
The Church

In this work the authors explain the relevant terms from the Old Testament, biblical tradition and the Scripture, as well as from liturgical songs and prayers, which refer to liturgical music - chanting. On the basis of the translations from Hebrew into Greek, Latin and Church Slavonic, their original meaning is identified, and some new or possible discrepancies, created in the process of translation, or new meanings are pointed out. In this way, the role and meaning of the Christian liturgical poetics are stressed as well as its inseparable connection with the church chanting. Namely, liturgical chanting is a prayer, ?the theology of sound?, and that means that the word is more important than the music - although it is more complete with the music, and music is to follow and show the meaning of words, and to help their adoption.

The chromatic scales of the Deuteros modes in theory and practice

2005 ◽  
Vol 14 (1) ◽  
pp. 1-10 ◽  
Author(s):  
EUSTATHIOS MAKRIS
Keyword(s):  
Present Article ◽  
Music Theory ◽  
Oral Tradition ◽  
Theory And Practice ◽  
Modern Greek ◽  
Wide Acceptance ◽  
One Step ◽  
Byzantine Era ◽  
Liturgical Chant ◽  
New Interpretation

The idea that the Deuteros modes (second authentic and second plagal) of Greek liturgical chant already had a chromatic character before the end of the Byzantine era has gained wide acceptance in the last decades. Trying to go one step further and reconstruct the scales of these modes, the present article attempts a new interpretation of certain crucial passages in late Byzantine treatises, which can provide important clues, if interpreted in connection with the description of the modes in modern Greek music theory and their actual characteristics in the written and oral tradition. The resulting structures can serve as a basis for future transcriptions of chants, at least for the late and post-Byzantine repertory.

scholarly journals Requiem. Resonanzen katholischer Totenliturgie in Vergangenheit und Gegenwart

2019 ◽  
Vol 34 ◽  
Author(s):  
Thomas Quartier
Keyword(s):  
The Netherlands ◽  
Roman Catholic ◽  
Western Society ◽  
Liturgical Music ◽  
Resonance Theory ◽  
Shared Experience ◽  
History Of ◽  
Christian Worship ◽  
Liturgical Chant ◽  
Contemporary Western Society

Liturgical music at Roman-Catholic funerals has a very diverse character in contemporary Western society, especially in a strongly secularized country like the Netherlands. The spectrum covers the favorite music of the deceased as well as traditional chants. But how is it possible that people still frequently opt for the Requiem, even outside the classical liturgical context? In this article, we explore the concepts of experience and meaning with regard to the Requiemmass. Which kind of experience belongs to this type of liturgical chant? And which meaning is ascribed to it? Using the resonance-theory of Hartmut Rosa, we distinguish a liturgical horizontal dimension (shared experience) and a vertical dimension (religious meaning). Diagonal resonance refers to the liturgical elements of singing. By referring to striking examples from the history of Christian worship, we show that experience and meaning of liturgical chant always depended on its context. It changed; meaning differed from experience and covered it again. For contemporary liturgical practice it would therefore be too simple to only speak about an experiential dimension of the Requiem and no longer about its meaning. The aim must be to combine a personalized meaning with the tradition of ecclesial liturgy.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

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