On the Issue of the 16-Mode System in the Theoretical Treatises on Music by Grigor Gapasakalian

2020 ◽  
pp. 40-52
Author(s):  
А.С. Аревшатян
Keyword(s):  
Church Music ◽  
Modal System ◽  
Armenian Music ◽  
Music Collection ◽  
Music Theorist

На протяжении своей истории церковная певческая практика и песнетворчество постоянно выходили за рамки, установленные церковным каноном Восьмигласия. Это отчетливо прослеживается при анализе мелодических образцов самых различных гимнографических национальных традиций. Статья посвящена 16-ти ладовой системе, упоминаемой в музыкально-теоретических трактатах видного константинопольского армянского музыканта-теоретика Григора Гапасакаляна (1740-1808) Книжка, называемая Музыкальное собрание , Книга о музыке и Книга Восьмигласия . Изучение этих трудов показало, что речь идет о некоем расширенном каноне , включающем 4 основных, 4 плагальных, 4 медиальных и 4 фторальных лада, что соответствует 16-ти ладам асмы в теории византийской церковной музыки. Проясняется сущность и назначение 16-ладовой системы, существовавшей и у греков, и армян, что свидетельствует о ней, как о сложной, разветвленной и многоярусной оригинальной модальной системе, не исчерпывающей тем не менее ладового многообразия живого певческого искусства. Throughout its history, church chanting practice and chant writing has constantly gone beyond the framework established by the ecclesiastical canon of the Octoechos. This can be clearly seen in the analysis of melodic samples of the most diverse hymnographic national traditions. The article is dedicated to the 16-mode system mentioned in the theoretical treatises on music by the prominent Armenian music theorist from Constantinople Grigor Gapasakalian (17401808) the Small Book Called Music Collection, the Book on Music and the Book of Octoehos. The study of these writings showed a presence of an extended canon that included 4 essential, 4 plagal, 4 medial and 4 phtoral modes, these corresponding to the 16-mode system of the asma in the byzantine theory of church music. This clarifies that the essence and purpose of the 16-mode system existed both among the Greeks and Armenians. And that testifies it as a complex, ramified and multi-tiered original modal system, which nonetheless does not exhaust the modal variety of living chanting art.

scholarly journals Publishing Music from the Fitzwilliam Museum, Cambridge: The Work of Vincent Novello and Samuel Wesley in the 1820s

2005 ◽  
Vol 130 (1) ◽  
pp. 38-73
Author(s):  
Philip Olleson ◽  
Fiona M. Palmer
Keyword(s):  
Church Music ◽  
University Of Cambridge ◽  
Hymn Tunes ◽  
Music Collection ◽  
Latin Church ◽  
The University

AbstractIn 1816, Richard Fitzwilliam died, bequeathing his important music collection to the University of Cambridge. In 1824 the University decided to allow selections from it to be published. The most important outcome was Vincent Novello's five-volume The Fitzwilliam Music (1825–7), containing Latin church music by Italian composers of the sixteenth to the eighteenth centuries, but there was also an edition by Samuel Wesley of three hymn tunes by Handel to words by his father, and Wesley also projected an edition of motets from Byrd's Gradualia which for financial reasons was never published. This article discusses Fitzwilliam's bequest, the involvement of Novello and Wesley, the two publications that resulted in the 1820s, and Wesley's unsuccessful Byrd project.

scholarly journals Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)

2015 ◽  
Vol 56 (1) ◽  
pp. 3-37 ◽  
Author(s):  
Marta Hulková
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Central Europe ◽  
Instrumental Music ◽  
Church Music ◽  
Central European ◽  
Protestant Church ◽  
Lutheran Church ◽  
The Reformation ◽  
Music Collection

Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.

Songs of the spirit from Dufftown

2019 ◽  
Vol 70 (1) ◽  
pp. 36-54
Author(s):  
Shelagh Noden
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Church Music ◽  
Early Years ◽  
Liturgical Music

Following the Scottish Catholic Relief Act of 1793, Scottish Catholics were at last free to break the silence imposed by the harsh penal laws, and attempt to reintroduce singing into their worship. At first opposed by Bishop George Hay, the enthusiasm for liturgical music took hold in the early years of the nineteenth century, but the fledgling choirs were hampered both by a lack of any tradition upon which to draw, and by the absence of suitable resources. To the rescue came the priest-musician, George Gordon, a graduate of the Royal Scots College in Valladolid. After his ordination and return to Scotland he worked tirelessly in forming choirs, training organists and advising on all aspects of church music. His crowning achievement was the production, at his own expense, of a two-volume collection of church music for the use of small choirs, which remained in use well into the twentieth century.

Pengaruh Kotbah, Musik Gereja Dan Fasilitas Gereja Terhadap Tingkat Kehadiran Jemaat

2016 ◽  
Vol 1 (1) ◽  
pp. 1-15
Author(s):  
Frederich Oscar Lontoh
Keyword(s):  
Regression Analysis ◽  
Multiple Regression Analysis ◽  
Church Music ◽  
Pearson Correlation ◽  
Descriptive Analysis ◽  
Target Population ◽  
The Other ◽  
Pearson Correlation Coefficient ◽  
Christian Church ◽  
The City

This research is titled " The influence of sermon, church music and church facilities on the level of attendance”. The purpose of research is to identify and analyze whether sermon, church music and church facilities have influence on the the level of attendance. The target population in this study is a Christian church members who live in the city of Surabaya.. Sample required is equal to 47 respondents. Through sampling stratified Random techniques.These influence was measured using Pearson correlation coefficient and multiple regression analysis, t-test and analysis of variance. Descriptive  analysis  were taken to analyze the level of attendance according to demographic groups.The hypothesis in this study are the sermon, church music and church facilities have positive and significant on the level of attendance. The results showed that collectively, there are positive and significant correlation among the sermon, church music and church facilities on the level of attendance  96,2%. It means that 96,2 % of level of attendance influenced by sermon, church music and church facilities and the other 28,9% by others. All of the variable partially have significant correlation to level of attendance.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Dibdin and Jane Austen

2018 ◽  
Author(s):  
Nicola Pritchard-Pink
Keyword(s):  
Subject Matter ◽  
Jane Austen ◽  
Musical Performance ◽  
Musical Education ◽  
Young Girls ◽  
Female Performance ◽  
The World ◽  
Music Collection ◽  
Conduct Book

Jane Austen was one of Dibdin’s greatest admirers and his songs feature prominently in her music collection. Yet the Dibdin songs she owned, with their bawdy comedy, political and social satire, and martial, masculine themes, were far removed from the musical diet prescribed for young ladies of Austen’s rank by conduct writers. Indeed, they were quite different from those advocated by Dibdin himself in his tract on the musical education of young girls, the Musical Mentor (1808), which suggested songs on ‘Constancy’, ‘A Portrait of Innocence’, or ‘Vanity Reproved’ as more suitable subject matter. By highlighting the contrasts between contemporary expectations of female performance and the contents of Austen’s collection, this interlude presents domestic musical performance less as an instrument of control and more as a means by which women could express themselves and participate in the world beyond the bounds of home, family, and conduct-book femininity.

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