A history of Byzantine music and hymnography / Egon Wellesz.
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| Format: | eBook |
| Language: | English |
| Published: |
Oxford :
Clarendon Press,
1961.
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| Edition: | 2nd edition revised and enlarged. |
| Subjects: |
Table of Contents:
- Abbreviations
- INTRODUCTION. A SURVEY OF STUDIES IN BYZANTINE MUSIC AND HYMNOGRAPHY
- I. Byzantine music
- II. Early work on Byzantine music and hymnography
- III. J.-B. Pitra and W. Christ
- IV. Later studies in Byzantine hymnography
- V. Later studies in Byzantine music
- VI. The deciphering of the music
- VII. The present state of studies in Byzantine chant
- I. THE ORIGINS OF BYZANTINE MUSIC
- I. The oriental hypothesis
- II. The composite character of Byzantine civilization
- III. The vocal character of Byzantine music
- IV. The legacy of the synagogue [a. Psalmody
- b. Hymns
- c. Spiritual songs]
- V. Conclusion
- II. THE SURVIVAL OF GREEK MUSICAL THEORY
- I. The principles of Greek musical theory
- II. The doctrine of 'ethos' in Greek musical theory
- III. Neoplatonic influences on musical theory
- IV. The Byzantine conception of music
- V. Music in treatises of Greek gnostics and alchemists [a. Gnostic formulae of incantation
- b. Greek alchemists on music]
- III. THE PAGAN BACKGROUND
- I. Absence of musical documents
- II. The attitude of the church to music in public life
- III. Ecclesiastical edicts against pagan music
- IV. The theatre
- V. The pantomime
- VI. Pagan feasts [a. Olympic games
- b. Maioumas
- c. The Calendae]
- VI. Instrumental music
- VIII. Musica perniciosa and the Christian ideal
- IV. MUSIC IN CEREMONIES
- I. Origin and development of the acclamations
- II. The performance of music in the ceremonies
- III. The organ
- IV. Use of the acclamations
- V. Function of the acclamations
- VI. The music of the acclamations
- V. BYZANTINE LITURGY
- I. The liturgies of St. Basil and of St. Chrysostom and the liturgy of the presanctified
- II. The community and the service
- III. The office
- IV. The liturgical books
- VI. EARLY CHRISTIAN HYMNS
- I. The pagan and Jewish background
- II. Synesius
- III. The Christian hymn with music
- VII. ORTHODOX THEOLOGY AND BYZANTINE HYMNOGRAPHY
- I. The character of Byzantine hymns
- II. The Orthodox church
- VIII. THE POETICAL FORMS: (I) TROPARION AND KONTAKION
- I. Troparion
- II. Kontakion
- IX. THE POETICAL FORMS: (II) KANON
- I. Origin and development
- II. The structure of the Kanon [a. The Resurrection Kanon
- b. Canticle and Ode]
- III. The later development of hymn-writing
- IV. Minor Byzantine hymnography
- X. BYZANTINE MUSICAL NOTATION I
- I. The two systems: ecphonetic signs and neumes
- II. Ecphonetic notation
- XI. BYZANTINE MUSICAL NOTATION II: THE NEUMES
- I. The three phases of neumatic notation
- II. Early Byzantine notation
- III. The system of middle and late Byzantine neumatic notation
- IV. The interval signs
- V. The 'Great Hypostases'
- VI. The modes
- VII. The intonation formulae
- VIII. The modulation signs
- XII. THE TRANSCRIPTION OF BYZANTINE MELODIES
- XIII. THE STRUCTURE OF BYZANTINE MELODIES
- I. Hirmi and Stichera
- II. Melismatic chant
- III. Psalmody
- XIV. WORDS AND MUSIC
- EXCURSUSES
- APPENDIX I. HYMNS FROM THE HIRMOLOGION
- APPENDIX II. HYMNS FROM THE STICHERARION
- APPENDIX III. MELISMATIC CHANT
- APPENDIX IV. TABLE OF INTONATION FORMULAE AND INCIPITS OF APPENDED STICHERA
- APPENDIX V. TABLES OF FORMULAE OF HIRMI IN THE FIRST MODE
- BIBLIOGRAPHY
- LIST OF HYMNOGRAPHERS FROM THE FIFTH TO THE FIFTEENTH CENTURIES
- LIST OF HYMNS. TROPARIA, HIRMI, KONTAKIA
- CHRONOLOGICAL SURVEY
- INDEX.