Byzantine Chant

 

Introduction (French)

Cette bibliographie contient des références en connection avec l”aspect modal du chant byzantin : elle se décline en divisions selon la langue des références.

Ces divisions sont, à ce jour, les suivantes :

  1. Références en langue anglaise.
  2. Références en langue allemande.

Introduction (English)

This is a reference bibliography of modal studies in Byzantine chant.  It is divided into sections following the language in which the documents are written.

Currently, there are the following sections:

  1. English language references.
  2. German language references.

 

Bibliographie/ Bibliography

Références en langue anglaise / English Language References

  1. Alexandru, M. and C. Tsougras: “On the Methodology of Structural Analysis in Byzantine and Classical Western Music-A Comparison”.
  2. Alexandru, Maria: “The palaeography of Byzantine music: A brief introduction with some preliminary remarks on musical palimpsests”, El palimpsesto grecolatino como fenómeno librario y textual, 113–130.
  3. Atkinson, C. M: “The‘ Parapteres: Nothi’ or Not?”, The Musical Quarterly (1982), 32–59.
  4. Beaton, Roderick: “Modes and Roads: Factors of Change and Continuity in Greek Musical Tradition”, The Annual of the British School at Athens (1980), 1-11.
  5. Braun, Joachim: “Musical Instruments in Byzantine Illuminated Manuscripts”, Early Music (1980), 312-327.
  6. Carr, A. W: “Illuminated musical manuscripts in Byzantium: A note on the late twelfth century”, Gesta (1989), 41–52.
  7. Conomos, D.: “Experimental Polyphony „According to the Latin‟ s‟, in Late Byzantine Psalmody”, Early Music History (1982), 1–16.
  8. Conomos, Dimitri E.: The late Byzantine and Slavonic Communion Cycle: liturgy and music, Dumbarton Oaks Research Library and Collection (1985).
  9. Conomos, Dimitri E.: Byzantine hymnography and Byzantine chant, Hellenic College Press (1984).
  10. Conomos, Dimitri E.: Byzantine Trisagia and Cheroubika of the fourteenth and fifteenth centuries: a study of late Byzantine liturgical chant, Patriarchal Institute for Patristic Studies (1974).
  11. Conomos, Dimitri E. and Graham Speake: Mount Athos, the sacred bridge: the spirituality of the Holy Mountain, Peter Lang (2005).
  12. Desby, Frank, Nicolas E. Maragos, Alex Lingas, et al.: A guide to the transcription of post-byzantine chant, The National Forum of Greek Orthodox Church Musicians (2000).
  13. Finlay, George: History of the Byzantine and Greek empires, from DCCXVI to MCCCCLIII, W. Blackwood and sons (1856).
  14. Finlay, George: History of the Byzantine and Greek empires…, W. Blackwood and sons (1854).
  15. Greif, A.: “Reputation and coalitions in medieval trade: evidence on the Maghribi traders”, Journal of economic history (1989), 857–882.
  16. Hannick, Christian: “Reference Materials on Byzantine and Old Slavic Music and Hymnography”, Journal of the Plainsong & Mediaeval Music Society (1990) [doi:10.1017/S0143491800001343], 83-89.
  17. Harmon, Roger: “Plato, Aristotle, and Women Musicians”, Music & Letters (2005), 351-356.
  18. Hatherley, Stephen Georgeson: A treatise on Byzantine music, W. Reeves (1892).
  19. Jonker, G. H.: The Harmonics of Manuel Bryennus, Wolters-Noordhoff Publishing (Groningen, 1970).
  20. Karavites, P.: “Gregory Nazianzinos and Byzantine Hymnography”, Journal of Hellenic studies (1993), 81–98.
  21. Lapidaki, E. and M. Alexandru: “Temporal experience in ecclesiastical chanting: A collaborative approach between music psychology and Byzantine musicology.”
  22. Levy, Kenneth and Peter Jeffery: The study of medieval chant: paths and bridges, east and west : in honor of Kenneth Levy, Boydell & Brewer Ltd (2001).
  23. Makris, Eustathios: “The chromatic scales of the Deuteros modes in theory and practice”, Plainsong and Medieval Music (2005) [doi:10.1017/S0961137104000075].
  24. Mavromatis, P.: “A hidden Markov model of melody production in Greek church chant”, Computing in Musicology (2005), 93–112.
  25. Nordlander, D.: “Innokentii Veniaminov and the Expansion of Orthodoxy in Russian America”, Pacific Historical Review (1995), 19–36.
  26. Palackal, Joseph J.: “Oktoēchos of the Syrian Orthodox Churches in South India”, Ethnomusicology (2004), 229-250.
  27. Rōmanou, K.: Great theory of music by Chrysanthos of Madytos, Indiana University. (1973).
  28. Schartau, B. and C. Troelsg\aard: “The Translation of Byzantine Chants into the‘ New Method’: Joasaph Pantokratorinos-Composer and Scribe of Musical Manuscripts”, Acta Musicologica (1997), 134–142.
  29. Stathis, Gregorios Th.: “Studies in Eastern chant”, Ed. Egon Wellesz, Miloš Velimirović, and Dimitri E. Conomos, Studies in Eastern chant (1979).
  30. Strunk, O.: “The Antiphons of the Oktoechos”, Journal of the American Musicological Society (1960), 50–67.
  31. Strunk, O.: “Intonations and Signatures of the Byzantine Modes”, The Musical Quarterly (1945), 339–355.
  32. Strunk, O.: “The Tonal System of Byzantine Music”, The Musical Quarterly (1942), 190–204.
  33. Swan, A. J: “New developments in the transcription of Byzantine melodies”, The Musical Quarterly (1943), 254–256.
  34. Taft, R. F: “Mount Athos: A Late Chapter in the History of the Byzantine Rite”, Dumbarton Oaks Papers (1988), 179–194.
  35. Tillyard, H. J. W.: “Recent Byzantine Studies”, Music & Letters (1954), 31–35.
  36. Tillyard, H. J. W.: “The Byzantine Modes in the Twelfth Century”, The Annual of the British School at Athens (1953), 182-190.
  37. Tillyard, H. J. W.: “Medi\aeval Byzantine Music”, The Musical Quarterly (1937), 201–209.
  38. Tillyard, H. J. W.: “The Antiphons of the Byzantine Octoechus”, The Annual of the British School at Athens (1935), 132-141.
  39. Tillyard, H. J. W.: “A Byzantine Musical Handbook at Milan”, The Journal of Hellenic Studies (1926) [doi:10.2307/625310], 219-222.
  40. Tillyard, H. J. W.: “Signatures and Cadences of the Byzantine Modes”, The Annual of the British School at Athens (1923), 78-87.
  41. Tillyard, H. J. W.: “The Problem of Byzantine Neumes”, The Journal of Hellenic Studies (1921) [doi:10.2307/624795], 29-49.
  42. Tillyard, H. J. W.: “Some Byzantine Musical Manuscripts at Cambridge”, The Annual of the British School at Athens (1918), 194-205.
  43. Tillyard, H. J. W.: “The Problem of Byzantine Neumes”, American Journal of Archaeology (1916) [doi:10.2307/497203], 62-71.
  44. Tillyard, H. J. W.: “Fragment of a Byzantine Musical Handbook in the Monastery of Laura on Mt. Athos”, The Annual of the British School at Athens (1912a), 95-117.
  45. Tillyard, H. J. W.: “The Acclamation of Emperors in Byzantine Ritual”, The Annual of the British School at Athens (1911), 239-260.
  46. Tillyard, H. J.W: “Rhythm in Byzantine Music”, The Annual of the British School at Athens (1914), 125–147.
  47. Tillyard, H. J.W: “Fragment of a Byzantine Musical Handbook in the Monastery of Laura on Mt. Athos”, The Annual of the British School at Athens (1912b), 95–117.
  48. Touliatos, Diane: “Nonsense Syllables in the Music of the Ancient Greek and Byzantine Traditions”, The Journal of Musicology (1989), 231-243.
  49. Touliatos, Diane: “Research in Byzantine Music Since 1975”, Acta Musicologica (1988) [doi:10.2307/932752], 205-228.
  50. Touliatos-Banker, Diane: “State of the Discipline of Byzantine Music”, Acta Musicologica (1978) [doi:10.2307/932291], 181-192.
  51. Troelsgård, Christian: “A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications”, In Proceedings of the 1st International Conference of the ASBMH, 668-679.
  52. Troelsgård, Christian and Danske institut i Athen: Byzantine chant: tradition and reform : acts of a meeting held at the Danish Institute at Athens, 1993, Danish Institute at Athens (1997).
  53. Velimirović, M.: “Egon Wellesz and the Study of Byzantine Chant”, The Musical Quarterly (1976), 265.
  54. Velimirović, M.: “HJW Tillyard, Patriarch of Byzantine Studies”, The Musical Quarterly (1968), 341–351.
  55. Velimirovic, Miloš M.: “Present Status of Research in Byzantine Music”, Acta Musicologica (1971), 1–20.
  56. Velimirović, Miloš M.: BYZANTINE FLEMENTS IN EARLY SLAV.CHAN.V.4.
  57. Velimirovic, Miloš M., H. J. W. Tillyard, Egon Wellesz, and Carsten Høeg: Byzantine elements in early Slavic chant: the hirmologion: pars principalis, pars suppletoria, Ejnar Munksgaard (1960).
  58. Wellesz, Egon: A history of Byzantine music and hymnography, 2nd ed., Clarendon Press (1980).
  59. Wellesz, Egon: Melody construction in Byzantine chant, s.n. (1961).
  60. Wellesz, Egon: The music of the Byzantine Church, Arno Volk Verlag (1959).
  61. Wellesz, Egon: “The‘ Akathistos’. A Study in Byzantine Hymnography”, Dumbarton Oaks Papers (1956), 141–174.
  62. Wellesz, Egon: “Recent Studies in Western Chant”, The Musical Quarterly (1955), 177-190.
  63. Wellesz, Egon: “Byzantine Music and its Place in the Liturgy”, In Proceedings of the Royal Musical Association (1954), 13–28.
  64. Wellesz, Egon: “Early Byzantine Neumes”, The Musical Quarterly (1952), 68–79.
  65. Wellesz, Egon: A History of Byzantine music and hymnography, 1st ed., The Clarendon press (1949).
  66. Wellesz, Egon: “Origins of Byzantine Music”, Bulletin of the American Musicological Society (1948), 25–26.
  67. Wellesz, Egon: “The Nativity Drama of the Byzantine Church”, The Journal of Roman Studies (1947a) [doi:10.2307/298465], 145-151.
  68. Wellesz, Egon: Eastern elements in Western chant: studies in the early history of ecclesiastical music, Byzantine Institute of America (1947b).
  69. Wellesz, Egon: “Words and Music in Byzantine Liturgy”, Musical Quarterly (1947c), 297–310.
  70. Wellesz, Egon: “Byzantine Music”, Proceedings of the Musical Association (1932), 1–22.
  71. Wellesz, Egon and T. Baker: “Are the Foundations of Our Musico-Historical Training Sound?”, The Musical Quarterly (1925), 475–481.
  72. Wellesz, Egon and Egon Wellesz Contemporary Music Collection: Byzantine music and its place in the liturgy, Royal Musical Association (1955).
  73. Wellesz, Egon and Miloš M. Velimirovic, eds.: Studies in Eastern chant, Oxford University Press (1971).
  74. Wellesz, Egon and Miloš M. Velimirović, eds.: Studies in Eastern chant, Oxford University Press (1973).
  75. Wellesz, Egon and Miloš M. Velimirović, eds.: Studies in Eastern chant, Oxford Univ. Press (1966).
  76. Wellesz, Egon, Miloš Velimirović and Dimitri E. Conomos, eds.: Studies in Eastern chant, Oxford University Press (1979).
  77. Wellesz, Egon, Miloš M. Velimirović and Dimitri E. Conomos, eds.: Studies in Eastern chant, St Vladimir’s Seminary Press (2001).
  78. Werner, Eric: “The Psalmodic Formula ‘Neannoe’ and Its Origin”, The Musical Quarterly (1942), 93–99.
  79. Zannos, Iannis: “Intonation in Theory and Practice of Greek and Turkish Music”, Yearbook for Traditional Music (1990) [doi:10.2307/767931], 42-59.

 

Références en langue allemande / German Language References

  1. Alexandru, Maria: “Zur Analyse byzantinischer Musik. Eine historische Sichtung des Formelbegriffs”, Studia Musicologica Academiae Scientiarum Hungaricae (1998) [doi:10.2307/902531], 155-185.
  2. Anoyanakis, Fivos: “Ein byzantinisches Musikinstrument”, Acta Musicologica (1965) [doi:10.2307/932442], 158-165.
  3. Hannick, C.: “Exégèse, typologie et rhétorique dans l’hymnographie byzantine”, Dumbarton Oaks Papers (1999), 207–218.
  4. Husmann, H.: “Zur Harmonik des griechischen Volksliedes”, Acta Musicologica (1981), 33–52.
  5. Husmann, H.: “Echos und Makam. nach der Handschrift Leningrad, \Öffentliche Bibliothek, gr. 127”, Archiv f\ür Musikwissenschaft (1979), 237–253.
  6. Husmann, H.: “Modalit\ätsprobleme des psaltischen Stils”, Archiv f\ür Musikwissenschaft (1971), 44–72.
  7. Husmann, H.: “Die oktomodalen Stichera und die Entwicklung des byzantinischen Okto\ëchos”, Archiv f\ür Musikwissenschaft (1970), 304–325.
  8. Husmann, Heinrich: “Tonartenprobleme der spätbyzantinischen Musik”, Byzantion Wetteren (1982), 194-243.
  9. Husmann, Heinrich: “Interpretation und Ornamentierung in der nachbyzantinischen Musik”, Acta Musicologica (1980) [doi:10.2307/932488], 101-121.
  10. Husmann, Heinrich: “Syrischer und byzantinischer Oktoëchos: Kanones und Qanune”, Orientalia Christiana Periodica Roma (1978), 65-73.
  11. Husmann, Heinrich: “Madraše und Seblata, Repertoireuntersuchungen zu den Hymnen Ephraems des Syrers”, Acta Musicologica (1976) [doi:10.2307/932310], 113-150.
  12. Husmann, Heinrich: “Strophenbau und Kontrafakturtechnik der Stichera”, Archiv für Musikwissenschaft (1972a) [doi:10.2307/930068], 150-161.
  13. Husmann, Heinrich: “Strophenbau und Kontrafakturtechnik der Stichera”, Archiv für Musikwissenschaft (1972b) [doi:10.2307/930068], 150-161.
  14. Husmann, Heinrich: “Modulation und Transposition in den bi- und trimodalen Stichera”, Archiv für Musikwissenschaft (1970) [doi:10.2307/930179], 1-22.
  15. Husmann, Heinrich: “Das System der modalen Rhythmik”, Archiv für Musikwissenschaft (1954) [doi:10.2307/929586], 1-38.
  16. Jammers, E.: Musik in Byzanz, im p\äpstlichen Rom und im Frankenreich, Carl Winter (Heidelberg, 1962).
  17. Kiesewetter, Raphael G.: Der neuen Aristoxener zerstreute Aufsätze über das Irrige der musikalischen Arithmetik und das Eitle ihrer Temperaturrechnungen: gesammelt, und mit einer historisch-kritischen Einleitung als Vorrede herausgegeben, Breitkopf und Härtel (1846).
  18. Kiesewetter, Raphael Georg: Über die Musik der neueren Griechen, Breitkopf und Härtel (1858).
  19. Kiesewetter, Raphael Georg: Geschichte der europäisch-abendländischen oder unsrer heutigen Musik, Breitkopf und Härtel (1834).
  20. Richter, Lukas: “Antike Überlieferungen in der byzantinischen Musiktheorie”, Acta Musicologica (1998) [doi:10.2307/932707], 133-208.
  21. Thodberg, Christian and Egon Wellesz: Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil, E. Munksgaard (1966).
  22. Wellesz, Egon: Die Kirchenmusik Im Byzantinischen Reiche Und Zur Entzifferung Der Byzantinischen Notenschrift, Gorgias Pr Llc (2010).
  23. Wellesz, Egon: “Die Grundlagen der muſikgeſchichtlichen Forſchung”, Archiv für Musikwissenschaft (1993) [doi:10.2307/931033], 15-28.
  24. Wellesz, Egon: Byzantinische musik, F. Hirt (1927).
  25. Wellesz, Egon: “Die Grundlagen der muſikgeſchichtlichen Forſchung”, Archiv für Musikwissenschaft (1919) [doi:10.2307/929979], 437-450.
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