Journal of the International Society for Orthodox Music最新文献

Sacred Music in a Sacred Space: Performance as Communal Event 神圣空间中的神圣音乐:作为公共事件的表演

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.120485

Pavlos Kordis

{"title":"Sacred Music in a Sacred Space: Performance as Communal Event","authors":"Pavlos Kordis","doi":"10.57050/jisocm.120485","DOIUrl":"https://doi.org/10.57050/jisocm.120485","url":null,"abstract":"\u0000 \u0000 \u0000During the Easter Week of 1999, the composer John Tavener (1944-2013) visited the Holy Trinity Archdiocesan Greek Orthodox Cathedral in New York City, to attend a unique concert, that occured under the auspicies of His Eminence Archbishop Spyridon, featuring Tavener's sacred para- liturgical music, conducted by the late maestro Dino Anagnost (1944-2011). Using this event as a base, regarding its reception and meaning, this paper ventures to compose a theoretical context, in which the performance of sacred works can function in a sacred performance space, while focusing on the composer's understanding of the notion of sacred in composition and in music making in general. Througout the course this research paper, the reader will explore ways in which the systematic application of musicological and theological tools on the complete musical material of the performed works, leads to a provocative analogy of sacred music being performed in a sacred space with a communal event within the church community. Ultimately, this paper suggests that such an occassion is closer to the idea of ecclesial event; an original concept created by the greek philosopher and theologian Christos Yannaras (1936-). \u0000 \u0000 \u0000","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123278499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Participation in Psalmody and Church Membership in Cyril of Jerusalem 参加耶路撒冷西里尔的圣咏和教会会籍

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.113242

Harri Huovinen

{"title":"Participation in Psalmody and Church Membership in Cyril of Jerusalem","authors":"Harri Huovinen","doi":"10.57050/jisocm.113242","DOIUrl":"https://doi.org/10.57050/jisocm.113242","url":null,"abstract":"Cyril of Jerusalem’s notion of ecclesiastical music and praise has received very little attention in academic research. When mapping this territory, I found that the Cyrilline gradation between each stage of the ecclesial initiatory process was reflected in the author’s view of the ability of the catechetical audience to participate in psalmody. First, the early-stage catechumens were not mentioned as participants in psalmody or praise. Secondly, the baptismal candidates were exhorted to magnify the Lord. Nevertheless, at the pre-baptismal stage, candidates were mainly regarded as “students” of psalmody. Thirdly, psalmody and praise were discussed chiefly in the context of the congregation of baptized Christians. In Cyril’s view, the Hagiopolite liturgies of baptism and eucharist included a celestial dimension as well. In the liturgies, the fully initiated members of the church—neophytes and authorized cantors alike—were, in effect, granted participation in celestial doxology in the presence of angels. This article fills a significant gap in the research on the mid-to-late fourth century theology of psalmody. It reveals a Patristic view of the relationship between participation in psalmody and church membership, thus emphasizing the markedly ecclesiastical nature of Christian song.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122292191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Existing Hypotheses about the Emergence of Nonsense Syllables in the Chant Tradition of Teretismata and Kratēmata in Byzantine Music 关于拜占庭音乐中Teretismata和Kratēmata咏唱传统中无意义音节出现的现有假设

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.122997

V. Varelas

{"title":"Existing Hypotheses about the Emergence of Nonsense Syllables in the Chant Tradition of Teretismata and Kratēmata in Byzantine Music","authors":"V. Varelas","doi":"10.57050/jisocm.122997","DOIUrl":"https://doi.org/10.57050/jisocm.122997","url":null,"abstract":"In the present essay, I review and evaluate the three main hypotheses about the historical background and emergence of the nonsense syllables in the chant tradition of teretismata and kratēmata in Byzantine music. The different historical hypotheses as to the historical roots and development of this singing practice are examined and analyzed thoroughly, namely those of Gregorios Stathis (1979, 2014), Diane Touliatos (1989), and Grigorios Anastasiou (2005).\u0000The aim of the analysis is to summarise and discuss the contribution of the up-to-date historical hypotheses to the theoretical approaches of the topic, including the identification of potential flaws, lacunae and inadequacies of their explanatory power.\u0000Touliatos takes antiquity as a starting point for her hypothesis and posits the roots of nonsense syllables in the music of Ancient Greece. After a historical gap of several centuries, those syllables reappear in the Byzantine music during the 14th c. Stathis and Anastasiou examine the phenomenon exclusively within the boundaries of Byzantine music. Before reviewing the three hypotheses concerning the historical development of nonsense syllables in Byzantine music, we must consider the sources on which the theories are postulated.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116986685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Tntesean and the Music of the Armenian Hymnal 亚美尼亚赞美诗的音乐

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.129814

I. Moody

引用次数: 0

Geography in Psalms: Hagiosophitikon Settings of Psalms 1, 2 and 3 圣诗中的地理:圣诗1、2和3的圣哲学背景

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.113600

Nina-Maria Wanek

{"title":"Geography in Psalms: Hagiosophitikon Settings of Psalms 1, 2 and 3","authors":"Nina-Maria Wanek","doi":"10.57050/jisocm.113600","DOIUrl":"https://doi.org/10.57050/jisocm.113600","url":null,"abstract":"The term hagiosophitikon is quite well-known in Byzantine chant, where it occurs in manuscripts from the 14th century onwards: Most often one encounters the designation hagiosophitikon in rubrics of settings of Psalm 1 (Μακάριος ἀνήρ) and Psalm 3 (Κύριε, τί ἐπληθύνθησαν οἱ θλίβοντές με). Nevertheless, neither the exact meaning of hagiosophitikon has ever been clearly determined, nor have the settings themselves been melodically analysed yet. \u0000Thus, hagiosophitikon is sometimes explained to denote chants associated with services in the church of Hagia Sophia in Constantinople and in Thessaloniki respectively, and/or to represent hymns rather conservative in outline or to have been composed in a very local style. \u0000The present article will aim at both clarifying the term’s meaning itself as well as presenting a detailed analysis of the compositional style by comparing the hagiosophitikon settings of Psalms 1 and 3 among themselves and with melodies named palaion (old) in manuscripts of the 14th and 15th centuries: What kind of compositional style do the hagiosophitikon settings display, do they use formulas and if yes which ones, might their syllabic parts show traces of the old, so-called “simple” psalmody and how are the melismatic parts treated? – These are just some of the questions which will be discussed in the article in order to get closer to resolving the unanswered questions surrounding the term hagiosophitikon.","PeriodicalId":423648,"journal":{"name":"Journal of the International Society for Orthodox Music","volume":"370 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123389070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Localization of Orthodox Spiritual Songs 东正教灵歌的本土化

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.131824

Jenni-Tuuli Hakkarainen

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Bessarion and music. Concepts, theoretical sources and styles. Proceedings of the international meeting Venice, 10-11 November 2018 贝萨里翁和音乐。概念、理论来源和风格。2018年11月10日至11日，威尼斯国际会议论文集

Journal of the International Society for Orthodox Music Pub Date : 2023-08-02 DOI: 10.57050/jisocm.131703

I. Moody

引用次数: 0

The Liturgy of St John Chrysostom: a work of ecclesiastical or concert character? 圣若望金口礼:教会或音乐会性质的作品?

Journal of the International Society for Orthodox Music Pub Date : 2022-11-29 DOI: 10.57050/jisocm.113241

Oleh Harkavyy

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Sacred Encampment 神圣的营地

Journal of the International Society for Orthodox Music Pub Date : 2022-11-29 DOI: 10.57050/jisocm.113278

M. Haig

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In Memoriam Archpriest Michael Fortounatto (1931–2022) 纪念迈克尔·福图纳托大主教(1931-2022)

Journal of the International Society for Orthodox Music Pub Date : 2022-11-29 DOI: 10.57050/jisocm.117024

I. Moody

引用次数: 0