Search. Home · – Gramatica Muzicii Psaltice. – Gramatica Muzicii Psaltice. February 9, | Author: Daniel Palade | Category: N/A. Gramatica Muzicii , 10 Mb, offered by Gabriela Barbu. The Gramatica is the “ABC” – the manual for the psaltes; it was written in , by a professor. Notaţia şi Ehurile Muzicii Bizantine by Grigore Panţiru Review by: James Gramatica muzicii psaltice – studiu comparativ cu notatia liniara.

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Lungu, Nicolae [WorldCat Identities]

The Gramatica is the “ABC” – the manual for the psaltes; it was written inby a professor of psaltic music the byzantine music was called in Romania, at these times, “churchly oriental music”. A careful singer might notice the error and avoid it.

Post on Jan views. Gramaitca II examines that Romanian ecclesiastical music which legitimately preserves this Byzantine tradi tion within the modern Romanian Orthodox Church the modern period of Byzantine church music in Romania began in with the re forms spearheaded by the Metropolitan Hrisant.

Notafia yz Ehurile Muzicii Bizantine addresses itself to the notation and echoi of Byzantine chant.

Moreover, it embodies that basic and careful synthesis that is so important to ref erence use. Panjiru presents no original theories, but rather proffers a synthesis of the soundest and most representative research that has been undertaken to this point. Furthermore, he cites not only classically famous chant manuscripts, such as gramagica Codex Coislin of the Bibliothque nationale at Paris and the Codex Grottaferrata, but also draws our attention in good photographic repro ductions to other less-known but equally note worthy pieces, including Lectionarul evan ghelic” Ms8th-9th century, Central Library of the University in Iafi.


These books are still used today in our orthodox monasteries, which preserved the psaltic tradition, without changes. Stavropoleos ChoirDir. In brief, besides its obvious didactic value as a succinct and representative general introduction to the study of psaltixe and contemporary Byzantine chant, Grigore Panfiru’s No tafia ji Ehurile Muzicii Bizantine is a kind of state of the art” report.

Thanks to all people who contributed the info below. About these 2 particular books: Casian Hanga score [63Kb, pdf] Fr Casian notes: Can someone comment on the quality muzocii transcription of the chants into Romanian? In this part, Panfiru explains in detail the gramaticx execution of Byzantine chant along with concepts necessary to proper execu tion. Part I treats the old Byzantine music, ecphonetic notation, and the Paleo-Byzantine, the Medieval, and the post-Medieval often called Koukouzelean epochs.

Band I, Teil 1: Anothen Oi Profitai in Romanian, transcribed by D.

Croitoru, I.

The em ployment of Romanian examples for illustrating various points of Byzantine notation additionally speaks to the highly interesting historical and ongoing dialogue between the Romanian and the Byzantine traditions.

Typi cally, several classical interpretations of theoreti cal concepts for example, Wellesz, Petrescu, Heg, Thodberg, Raastedloosely corresponding to schools of Byzantine chant scholarship, are presented and compared and hence provide a basis for the author’s own synthesis.


Severeanufull book, 31 pages Gramatica Muzicii Psaltice.

Below the first page, it is written: Especially fine chapters on each of the modes and their respective intonations are in cluded. Notafia p Ehurile Muzicii Bizantine. Web portal dedicated to Romanian Byzantine Chant. Is this considered the classical Romanian Anastasimatarion? Noteworthy, too, are Panfiru’s muzkcii executed tran scriptions.

Panfiru concisely but thorougly characterizes each of the above periods while discussing notation, neumes, the martyria mode signaturethe eight echoi, intonation formulae, interval and modulation signs. Professor Pan tiru’s study amply satisfies both of these require ments. We use information technology and tools to increase productivity and facilitate new formsof scholarship.

The author’s purposes, as clearly stated in his introduction, are to provide a gener al and theoretical palographie reference, and secondly, to give practical experience in correct transcription. Accordingly, the study is divided into two parts, the first historico-theoretical, the second didactic, useful exercises being ap propriately distributed through both.

Romanian Theory book N.

This content downloaded from It is a well-documented, well illustrated and exceptionally well-organized pres entation of the trends in Byzantine musical paleography. Contains his transcription of the Kalophonikon Heirmologion into Romanian.