GRAMATICA MUZICII PSALTICE PDF

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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Croitoru, I. [WorldCat Identities]

Notafia p Ehurile Muzicii Bizantine. Editura Muzical a Uniunii Compozitorilor, Despite its publication date ofthis study in Romanian deserves more than passing mention here since it may have been overlooked by those who do not regularly read the language. I advise the interested reader not to be daunted by limited facility with Romanian, since a high percentage of cognates readily recognizable to the student of Byzantine chant and doubly famil iar to those knowledgeable in other Romance languages, in addition to the wealth of musical examples, assures its usefulness and interest to all.

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

Notaia i Ehurile Muzicii Bizantineby Grigore Paniru

This topic has enjoyed an impressive amount of research during the present century, yet, given both the continual proliferation of new topics and the fascinating pursuit of problems stUl unsolved, it once again invites our attention.

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Panjiru presents no original theories, but rather proffers a synthesis of the soundest and most representative research that has been undertaken to this point.

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.

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

Part I treats the old Byzantine music, ecphonetic notation, and the Paleo-Byzantine, the Medieval, and the post-Medieval often called Koukouzelean epochs. 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.

Croitoru, Ion preot

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. Part 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.

In this part, Panfiru explains in detail the contemporary execution of Byzantine chant along with concepts necessary to proper execu tion. Especially fine chapters on each of the modes and their respective intonations are in cluded.

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Notaia i Ehurile Muzicii Bizantineby Grigore Paniru – [PDF Document]

Egon Wellesz reminds us that successful re search in chant equally true of a successful reference work depends heavily upon two things: Professor Pan tiru’s study amply satisfies both of these require ments. Furthermore, he cites not only classically famous chant manuscripts, such as the 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.

Noteworthy, too, are Panfiru’s meticulously executed tran scriptions. In brief, besides its obvious didactic value as a succinct and representative general introduction to the study of historical and contemporary Byzantine chant, Grigore Panfiru’s No tafia ji Ehurile Muzicii Bizantine is a kind of state of the art” report.

It is a well-documented, well illustrated and exceptionally well-organized pres entation of the trends in Byzantine musical paleography. Moreover, it gramztica that basic and careful synthesis that is so important to ref erence use. Band I, Teil 1: This content downloaded from