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Подобны в византийской гимнографии. Этапы развития (на материале воскресных, рождественских, богоявленских песнопений)

100%
Nikiforova A.
Przegląd Wschodnioeuropejski
|
2014
|
vol. V/1
199-212
EN
In this article the fundamental method of Byzantine hymnography, the method of similarity, that is a composition of new hymns on the base of an existing melodic and metrical model, and the phases of its development are analyzed regarding to the text. The Easter, Christmas, Epiphany chants from the Tropologion, main chanting-book in Palestine in 7th-9th c, were examined. At the first stage npoao^oia chants were some kind of loan translation, “calque”, of the model. Further, new texts preserved refrain of the model, as well as included some quotations from the pattern. And at the last stage a model and a new text had nothing in common, except melodic and metrical structure. Also the formation of the chants for Epiphany on the base of Easter hymnography has been shown. The analysis of the phenomenon comes with two indexes of the models from two important hymnographical sources of Byzantine rite Palestinian Tropologion Sinait. gr. МГ56-5 (8th-9th c.) and Constantinopolitan Menaion Sinait.gr.607 (9th-10th c.).
2

Von der kompositorischen Funktion und Stellung der Kratemata im byzantinischen Kirchengesang

86%
Papachristopoulos I.
Review of Ecumenical Studies Sibiu
|
2015
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vol. 7
|
issue 3
348-387
EN
The Byzantine church chant is a purely liturgical song. The music that is practiced here is primarily linked to the understanding of the text and its comprehension. That’s why the sound-word ratio is very pronounced in the syllabic and semi-melismatic chants. This harmonious relationship between music and poetry is partly destroyed in the very extensive and highly melismatic kalophonic songs, because long note chains are set over a single word, even over the vowel of a single syllable. Closely related to the kalophonic pieces often Kratema are executed, representing the total abolition of the connection between the music and the text message. They are likewise extensive melismata, but have no concrete text and are usually built on the meaningless syllables te-ri-rem. In this study, first some of the different explanations as to the origin and the role of Kratemata in worship events will be presented shortly. The actual core of the investigation are the reflections about what a compositional meaning (in music content, formal, compositional and sound aesthetic way) these pieces have and how they affect the structure and organization of their respective total song (kalophonic piece and Kratema together).
3

Die orthodoxe Kirchenmusik als ein bedeutendes Erbe von Byzanz und ihre moderne Rezeption im Westen am Beispiel des „Byzantinischen Kantorenchores München“

72%
Nikolakopoulos K.
Review of Ecumenical Studies Sibiu
|
2015
|
vol. 7
|
issue 3
447-459
EN
The Byzantine Music was created within the liturgical life of Orthodoxy and has been developed accordingly in the Eastern Church Worship. Together with the hymnography the Byzantine Music in Orthodoxy has from the beginning taken a central place, especially since there is absolutely no orthodox worship without psalmodic accompaniment. It is one of the most notable achievements in the Byzantine era, for which in the last decades also in Western Europe a great interest is awakened.
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