Theory and Practice of Psaltiki: Why do they not coincide?
| Autor: | Beyhom, Amine |
|---|---|
| Přispěvatelé: | Centre de Recherche sur les Musiques Arabes et Apparentées (CERMAA), Fondation pour la Recherche, la Documentation, le Filmage et la Conservation des Musiques et Arts, Beyhom, Amine |
| Jazyk: | angličtina |
| Rok vydání: | 2020 |
| Předmět: | |
| Zdroj: | 3rd International Musicological and Psaltic Conference «…ἐν ἐπιγνώσει ὑμνοῦντάς Σε…» (= chanting consciously in praise to Thee) Prerequisites and Skills for Sacred Chanting in Orthodox Worship Τετάρτη 30 Μαΐου – Σάββατο 2 Ἰουνίου 2018 Συνεδριακὸ Κέντρο «Θεσσαλία» – Μελισσιάτικα Βόλου 3rd International Musicological and Psaltic Conference «…ἐν ἐπιγνώσει ὑμνοῦντάς Σε…» (= chanting consciously in praise to Thee) Prerequisites and Skills for Sacred Chanting in Orthodox Worship Τετάρτη 30 Μαΐου – Σάββατο 2 Ἰουνίου 2018 Συνεδριακὸ Κέντρο «Θεσσαλία» – Μελισσιάτικα Βόλου, 2020 |
| Popis: | International audience; Psaltiki follows since the late 19 th century a theory of the scale established by the 1881 Musical Committee under the Patriarchate of Constantinople. Tonometric analyses show that praxis and theory barely coincide, and that the latter should be considered as a mere guide for cantors, and not a binding procedure. The structural differences between the scale of the First and Second Reforms of the 19 th century are underlined. A series of short examples-from Lebanese as well as Greek cantors-demonstrate the discrepancies between theory and praxis. Explanations about the role of heterophony in Psaltiki are provided as well as an example of reconstruction of a Byzantine choir. |
| Databáze: | OpenAIRE |
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