Κατεύθυνση Βυζαντινή Μουσικολογία
Library of the School of Philosophy

2017-04-24

2017

Koutrakos Panagiotis

Αχιλλέας Χαλδαιάκης, Καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Θωμάς Αποστολόπουλος, Αναπληρωτής καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών
Δημήτριος Μπαλαγεώργος, Αναπληρωτής καθηγητής, Τμήμα Μουσικών Σπουδών, Εθνικό και Καποδιστριακό Πανεπιστήμιο Αθηνών

Εξηγητική σπουδή στο Αναστασιματάριο των κωδίκων Μεταμορφώσεως 206 και Ξηροποτάμου 374: Οι ενότητες των χρωματικών ήχων

Greek

Exegetical study to the Anastasimatarion of the codes Metamorfoseos 206 and Ksiropotamou 374: The chapters of the chromatical modes

Τhe codices Metamorphoseos 206 [M] & Xeropotamou 374 [X] includes extremely interesting material of the well-known music book of the so-called Anastasimatarion. At the first one the full-length relevant material has been recorded, while at the second just a small part of the same material has been reproduced. The present thesis though is not consumed to search the paternity of the musical material in question. The work that has been done here -exclusively with the melodic material of the chromatic modes (second and second plagal) – is actually a comparative study (made on the basis of the relevant recordings of both manuscripts), a study that allows us to extract useful observations and beneficial conclusions regarding the following issues:
 Metric and melodic structure of the individual hymnographical and musical texts: the issue is approached through relevant analytical tables, where the (poetic and music) phrases of the mentioned source material can be clearly seen; Such a critical approach is driving us, on the one hand, to further comments on any possible (metric and melodic) similarities or differences among the existing source material, and, on the other hand, to a deeper research regarding the essential causes of the tactic of writing down same melodic formulas according to a “dual” notational technique.
 Comparative morphological analysis of individual sources (with a reasonable emphasis on codex M). The given music information is degraded (microstructural and macrostructural) in its individual formations and lines and is morphologically analyzed. Additionally, the question of composer’s identity is not remains unintelligible here: are there any similar musical ideas in the music information given by our sources and what is the analogy of their similarity? In other words: do the existing differences remain at the surface level of the notational record or extend deeper into the one of the composing structure?
In the light of the above, a novel exegetical approach is attempted for all the musical material under consideration. The latter is rewritten according to the Notation of the so-called New Method, especially in a transcription based on a primary exegetical study of the totally recorded individual musical formations and lines. This exegetical approach is as close as possible to the original notation. The entire effort is conceived, suggestive and sample, by comparing this new exegetical proposal to manuscript and printed musical material of the same genus and style in order not only to facilitate further reflections on the phenomenon of the so-called exegeses, but also to detect correlations between the examined melodic material and other homologous, recorded (more detailed or even varied) in several others notational and melodic proposals.

Fine arts - Entertainment

exegetical approach, exegeses, Anastasimatario

No

0

Yes

23

308

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https://pergamos.lib.uoa.gr/uoa/dl/object/1450091