Κατά την εβδομάδα 20-24 Σεπτεμβρίου 2021 είχα τη χαρά να συμμετέχω με εκλεκτούς διδακτορικούς φοιτητές μου στο εξαιρετικά ενδιαφέρον μουσικολογικό συνέδριο
The 10th European Music Analysis Congress (EuroMAC-10), Moscow Tchaikovsky Conservatory.
https://euromac.mosconsv.ru/en/
Παρουσίασα ανακοίνωση υπό τον τίτλο: Towards a contemporary technique of the Analysis of the Byzantine Music
ABSTRACT
Unfortunately, in the scientific field of the so-called Byzantine Music there isn’t any specific (well-known established or worldwide spread and used) Analysis technique. Of course, several suggestions and general ideas on the issue could be found in the existing relevant bibliography, starting from the fundamental Great Theory of Music written by the highly acclaimed Chrysanthos of Madytos, as well as in a few analogous studies written by contemporary scholars.
Nevertheless, the present speaker has additionally published various books and articles on this specific issue; there, the phenomenon of the Analysis of the Byzantine Music is mainly being studied, on the one hand, through the Grammar (but also the essential meaning and the deepest philosophy) of the poetic text on which the Music is based and on the other via the entire music structure and development (especially, via the repetitions and transpositions of the individual musical formulæ) of any given melody.
The goal of the present paper is dual; initially, to gather any possible information, coming out from the aforementioned “relationship” between the poetic text and the music itself, by taking into consideration language’s specific rules and by analyzing their reflection to the melody’s formulation; finally, to describe the Principles of the Analysis of the Byzantine Music; the latter effort could be considered as a first attempt at writing a contemporary Guide of the issue under examination.
