Վերջավորող և վերջին վերջավորող ձայների գործառույթները հայոց ութձայն համակարգի տեսական բնութագրերում

Հոդվածը նվիրված է հայ եկեղեցական երաժշտության հիմքը կազմող ութձայն համակարգի հիմնական գործառութային աստիճաններից երկուսի՝ վերջին և վերջին վերջավորող ձայների տեսական բնութագրերին XIX-XX դարերի և արդի շրջանի հայ երաժշտական միջնադարագիտության ոլորտում: Քննության են ենթարկվում վերոհիշյալ գործառույթների տեսական նկարագրերի տարբերությունները Ե. Տնտեսյանի, Ն. Թաշճյանի, Կոմիտասի, Ռ. Աթայանի, Ն. Թահմիզյանի, Ա. Արևշատյանի աշխատություններում: Դիտարկվող խնդրի վերաբերյալ Կոմիտասի տեսակետը որպես հիմնական ելակետ ընդունելով՝ առաջարկվում է մեթոդաբանական որոշակի մոտեցում, որը կարող է նպաստել վերջավորող և վերջին վերջավորող ձայների տեսական սահմանումների հստակեցմանը: The present paper is dedicated to the theoretical descriptions of two main functional degrees of the eight-mode system basing the Armenian sacred music, verǰavoroł jayn (Arm: final tone) and verǰin verǰavoroł jayn (Arm: last final tone), in the field of the Armenian medieval music studies in XIX-XX centuries and in our days. It examines the differences between the theoretical descriptions of the mentioned functions in the works of Ye. Tntesyan, N. Tashchyan, Komitas, R. Atayan, N. Tahmizyan, A. Arevshatyan. The opinion of Komitas regarding the question observed is taken as a starting point, offering a certain methodological approach which may contribute to the clarification of the theoretical definition of final and last final tones.

The Metaphor of Sweetness in Medieval and Modern Music Listening

Historical listening has long been a topic of interest for musicologists. Yet, little attention has been given to the systematic study of historical listening practices before the common practice era (c. 1700–present). In the first study of its kind, this research compared a model of medieval perceptions of “sweetness” based on writings of medieval music theorists with modern day listeners’ aesthetic responses. Responses were collected through two experiments. In an implicit associations experiment, participants were primed with a more or less consonant musical excerpt, then presented with a sweet or bitter target word, or a non-word, on which to make lexical decisions. In the explicit associations experiment, participants were asked to rate on a three-point Likert scale perceived sweetness of short musical excerpts that varied in consonance and sound quality (male, female, organ). The results from these experiments were compared to predictions from a medieval perception model to investigate whether early and modern listeners have similar aesthetic responses. Results from the implicit association test were not consistent with the predictions of the model, however, results from the explicit associations experiment were. These findings indicate the metaphor of sweetness may be useful for comparing the aesthetic responses of medieval and modern listeners.

The Intellectual Dynamism of the High Middle Ages

Constant J. Mews's groundbreaking work reveals the wide world of medieval letters. Looking beyond the cathedral and the cloister for his investigations, and taking a broad view of intellectual practice in the Middle Ages, Mews demands that we expand our horizons as we explore the history of ideas. Alongside his cutting-edge work on Abelard, he has been a leader in the study of medieval women writers, paying heed to Hildegard and Heloise in particular. Mews has also expanded our knowledge of medieval music, and its theoretical foundations. In Mews' Middle Ages, the world of ideas always belongs to a larger world: one that is cultural, gendered and politicized. The essays in this volume pay tribute to Constant, in spirit and in content, revealing a nuanced and integrated vision of the intellectual history of the medieval West.

Intergenred Diffusion in Orthodox Hymnography (On The Example of Canticles of The Troparion Subsystem)

A complex and multifaceted characterization of the phenomenon of intergenre diffusion on the material of the troparion subsystem songs is carried out. A number of general scientific and special methods and approaches have been applied, in particular musicological (comparative and analytical), culturological, historical, philological, liturgical, theological. The method of analysis of individual hymns by eight genre features (developed by Olena Shevchuk on the basis of research by other musicologists, in particular Johann von Gardner and Iryna Bezuglova) was tested. For the first time in Ukrainian medieval music studies, rare troparion genres were involved in comparative studios — triadika, martyrika, thanatika, doxastika, eisodika and apolytykia. The problem of genre typology and genre hierarchy in hymnography, interrelation of liturgical genres with homiletic, euchographic and biblical ones is outlined in a new way. Several interrelated levels of intergenre diffusion have been identified in troparia, kathismata, hypakoi, monostrophic kontakiа and other related chants. Three main ones have been singled out: sources of poetic texts, genre names, common poetic-musical models. It is noted that the sources of verbal texts of troparion songs were often proimions and ikos of polystrophic kondaks of St. Romanos Melodos, which could act as selfsimilar to the hymns of the troparion subsystem. It has been proved that the change of genre names (troparion — kathisma — hypakoe — kondak — stichera) is connected both with different regional origin of names (Constantinople, Jerusalem) and with the historical development of liturgical genres and the whole genre system. Other common attributes in the hymns of the troparia group are determined — the theological content of the verbal text (contemplative, didactic, historical, dogmatic), genre styles and chants (in the Stoudios period — papadikon in Byzantium, kontakarion in Kyivan Rus, in Jerusalem — Bulgarian), forms (one-segment, two-segment, stanzas with codes, rondo type), methods of performance (hymnody, antiphonal, responsory). It was found that special troparia genres — triadika and thanatika — were sung in eight voices, but there were no special self-similar ones.

The Middle Ages

This chapter outlines some of the varied relationships between music and philosophy in the Middle Ages. As one of the disciplines of the mathematical quadrivium, musica concerns issues of acoustics but the notation and ontology of music additionally relate to grammar, logic, and rhetoric. Furthermore, music is related to the boundaries between human and non-human animals and overlaps with, while not being completely subsumed by, sonic practices. Medieval music was also implicated in writings on ethics, which give evidence of music’s role in gendered and political identity formation. Finally, the chapter considers what sort of knowledge musical knowledge was in the Middle Ages and why modern thinking might struggle with various aspects of music’s relation to philosophy in this period.

‘The Rains of Castamere’: medievalism, popular culture, and the music of Game of Thrones

This article closely examines the song ‘The Rains of Castamere’, from the television series Game of Thrones (2011–19), to draw broader conclusions about how ‘medieval’ music manifests in contemporary popular culture and how music for television has become increasingly important in the last few decades. This article argues for the relevance of ‘The Rains of Castamere’ in popular music from three perspectives: first, as a musical adaptation of the ‘medieval’ world of 'folk’ music popularised in George R.R. Martin's A Song of Ice and Fire novels (1996–); second, as a song embedded in the rich tradition of modern ‘medieval’ music, which itself is a modern reconstruction influenced by cinematic and literary tropes; and lastly, as a track that exemplifies the influence of fan culture in both shaping and responding to popular medievalist music.