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]

This content downloaded from A careful singer might notice the error and avoid it. 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.

Notafia p Ehurile Muzicii Bizantine. Can someone comment on the quality of transcription of the chants into Romanian?

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. We use information technology and tools to increase productivity and facilitate new formsof scholarship.

It is a well-documented, well illustrated and exceptionally well-organized pres entation of the trends in Byzantine musical paleography. Furthermore, he cites not vramatica classically famous chant manuscripts, such as the Codex Coislin of the Bibliothque nationale at Paris muaicii 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.


Anothen Oi Profitai in Romanian, transcribed by D. Band I, Teil 1: The score is good enough, nonetheless.

Thanks to all people who contributed the info below. Post on Jan views.

Croitoru, Ion preot [WorldCat Identities]

Panjiru presents no original theories, but rather proffers a synthesis of the soundest and most representative research that has been undertaken to this point. Noteworthy, too, are Panfiru’s meticulously executed tran scriptions. Casian Hanga score [63Kb, pdf] Fr Casian notes: Professor Pan tiru’s study amply satisfies both of these require ments.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. About these 2 particular books: Panfiru concisely but thorougly characterizes each of the above periods while discussing notation, neumes, gramaatica martyria mode signaturethe eight echoi, intonation formulae, interval and modulation signs.

Lungu, Nicolae 1900-1993

It contains adapted works of Dimitrie Suceveanu, and works by Victor Ojog. Especially fine chapters on each of the modes and their respective intonations are in cluded. The professor’s name was Nicolae Severeanu; he was a professor of Vocal Music, chanter and conductor of the Choir of the Buzau Episcopate Buzau is a province in the east of Romania.

bramatica Egon Wellesz reminds us that successful re search in chant equally true of a successful reference work depends heavily upon two things: 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”. Notafia yz Ehurile Muzicii Bizantine addresses itself to the notation and echoi of Byzantine chant.

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. Is this psaltie the classical Romanian Anastasimatarion? These books are still used today in our orthodox monasteries, which preserved the psaltic tradition, without psaltide. The author’s purposes, as clearly stated psaltide his introduction, are to provide a gener al and theoretical palographie reference, and secondly, to give practical experience in correct transcription.


Moreover, it embodies that basic and careful synthesis that is so important to ref erence use. Contains his transcription of the Kalophonikon Heirmologion into Romanian.

Accordingly, the study is divided into two parts, the first historico-theoretical, the second didactic, useful exercises being ap propriately distributed through both. Suceveanu and typed up by Fr. Editura Muzical a Uniunii Compozitorilor, Part I treats the old Byzantine music, ecphonetic notation, and the Paleo-Byzantine, the Medieval, and the post-Medieval often called Koukouzelean epochs.

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. 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.

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