European influences on the Theory of the psaltic art of the 19th and 20th century

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Κατεύθυνση Βυζαντινή Μουσικολογία
Library of the School of Philosophy
Deposit date:
Antoniou Georgios
Supervisors info:
Αποστολόπουλος Θωμάς, Αναπληρωτής Καθηγητής, Τμήμα Μουσικών Σπουδών, ΕΚΠΑ
Μπαλαγεώργος Δημήτριος, Αναπληρωτής Καθηγητής, Τμήμα Μουσικών Σπουδών, ΕΚΠΑ
Κρητικού Φλώρα, Επίκουρη Καθηγήτρια, Τμήμα Μουσικών Σπουδών, ΕΚΠΑ
Original Title:
Eυρωπαϊκές επιρροές στα Θεωρητικά της ψαλτικής τέχνης του 19ου και 20ου αιώνα
Translated title:
European influences on the Theory of the psaltic art of the 19th and 20th century
The Byzantine music, which in its early stage was consistent with the European music, was definitely influenied by the latter . The art of Psalm (chant), in attempt to communicate with the wider European music world, needed to use the music language of Europe.
The leading figure of that endeavour was Chrisanthos from Maditos. The forementioned man took an active part not only in the Eastern music Education but also in the corresponding European. Two considerable musicians of that period, Grigorios Protopsaltis and Hourmouzios Hartofilax, were his companions in that task.
Until the 19th century, the art of Psalm was " stenographic" in which its musical vocals formed the direction of the movement of the melody, on the high or low sound and the non vocals showed the complete shape, so that we could talk about "Thesis", which a student was obliged to learn so as to be able to chant. We realised that its acquisition required much effort but the most important of all is that it took a long time. That method, which was characterised as "old" gave way to the " New method". The new method abandοs the polysyllabic sounds (notes) so as to create monosyllabic ones, according to the west variation Do, Re, Mi, Fa, sol, La, Si, Do. An attempt of explanation of the great music existence was made during the three teachers' first steps. However, that attempt would be the motive and as a result the Byzantine music would be influenced by the European music.
Enough theoritical musicwritings will embrace the European equal temperament and in consequence the "modality" of Byzantine music is dying out. Moreover almost every handbook of the 20th century will relate the European metres with the equivalent rythmic "feet" of the art of Psalm. Parestigmena gorga, digorga and trigorga will appear owing to the exhausting analysis of the marks (Philosophy of European style of writing).
Finally it's a matter of necessity for the Byzantine music to be influenced (in this case by the European music), since this contributes to its progress and development. Nevertheless, it should keep its core and special features pure, so as to constitute an independent and unique music.
Main subject category:
Fine arts - Entertainment
European influences, tradition, renewal, Race, rhythm.
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