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Reference materials on Byzantine and Old Slavic music and hymnography*

Published online by Cambridge University Press:  14 July 2009

Christian Hannick
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Extract

One of the reasons for the neglect of Byzantine music, liturgy and hymnography within medieval studies undoubtedly lies in the difficulty of comprehending the special terminology. The indices in general accounts such as A History of Byzantine Music and Hymnography by Egon Wellesz (Oxford 1/1949, 2/1961), a work still not surpassed, help only those who are already acquainted with the liturgical practice of the Orthodox Church to find a way into the subject. The booklet by Dimitri Conomos, Byzantine Hymnography and Byzantine Chant (Brookline 1984), which is much more modest in scope, constitutes a suitable introduction. We may therefore applaud the initiative of the Greek scholar Georgios Bergotes, professor at the Ecclesiastical Academy in Thessalonika and author of several works in the area of liturgy and church music, who has compiled a Λεξικò λειτουργικν κα τελετουργικν ὅρων (Lexicon of liturgical and teleturgical terms, Thessalonika 1988). In this introduction to teleturgy Bergotes offers a definition of the two terms liturgy and teleturgy as conceived by the Orthodox Church, which help understand the aims and methods of compilation of the lexicon: ‘In the discipline of liturgy the services and festivals of the orthodox rite are investigated from a historical, archeological and theological standpoint, while the discipline of teleturgy engages the same services or festivals from the practical point of view and in their technical aspects.’

Type
Research Article
Information
Journal of the Plainsong & Mediaeval Music Society , Volume 13 , November 1990 , pp. 83 - 89
Copyright
© The Plainsong and Medieval Music Society 1990

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Footnotes

*

Revised and translated from the article ‘Nachschlagewerke zur byzantinischen Musik und Hymnographie’ in Mitteilungsblatt des Mediävistenverbandes 7/1 (1990), 46–56. The permission of the editors is gratefully acknowledged.

References

Notes

[1] The expression ‘musical Byzantinistics’ (‘musikalische Byzantinistik’), used for example by Floros, Constantin, Universale Neumenkunde I (Kassel 1970), p.9 Google Scholar, is not a particularly happy choice. One does not, for instance, speak of a ‘numismatical Byzantinistics’.

[2] Cf. Schlötterer, R. in Byzantinische Zeitschrift 58 (1965), pp.379–381 Google Scholar. On the history of this work, which came into being during the years when Wellesz was a Fellow of Lincoln College, Oxford, see Benser, C. Cepin: ‘Egon Wellesz as scholar and teacher: the Oxford years’, in Egon Wellesz, ed. Kolleritsch, O., Studien zur Wertungsforschung 17 (Vienna-Graz 1986), pp.44ffGoogle Scholar.

[3] Bergotes, G.Th.: Τελετοργική (Συμβολή στήν ἱστορία τς χριστιανικς λατρείας) (Thessaloniki 1984), p.7 Google Scholar.

[4] Dmitrievskij, A.: Opisanie liturgičeskich rukopisej, chranjaščichsja v bibliotekach pravoslavnogo Vostoka. I, III Typika (Kiev 1895, Petrograd 1917, R Hildesheim 1965)Google Scholar; cf. particularly for sources of the Evergetis-Typikon, Gautier, P.: ‘Le typikon de la Théotokos Evergetis’, Revue des Études Byzantines 40 (1982), p.8 CrossRefGoogle Scholar; an appreciation of the work of Dmitrievskij, the distinguished leader of the Russian school of liturgical history and professor at the St Petersburg Spiritual Academy, is given by Sove, B.I.: ‘Russkij Goar i ego škola’, Bogoslovskie trudy 4 (Moscow 1968), pp.39–84 Google Scholar; see also the bibliography compiled by L. Machno, ibid. pp.95–107.

[5] Mateos, J.: Le typicon de la Grande Église, Ms. Sainte-Croix no 40, Xe siècle, Orientalia Christiana analecta 165–166 (Rome 1962–1963)Google Scholar.

[6] Arranz, M.: Le typicon du monastère de Saint-Sauveur à Messine. Codex Messinensis 115 a.d. 1131, Orientalia christiana analecta 185 (Rome 1969)Google Scholar. (Cf. Hannick, Christian in Jahrbuch der Österreichischen Byzantinistik 19, 1970, pp.299–300 Google Scholar.) Bergotes made use of this edition.

[7] There is a survey of Byzantine writings on music theory by Hannick, Christian: ‘Byzantinische Musik’, in Hunger, H.: Die hochsprachliche profane Literatur der Byzantiner II, Handbuch der Altertumswissenschaft 12/5/2 (Munich 1978), pp.183–218 Google Scholar.

[8] Cf. Darrouzès, J. in Revue des Études Byzantines 5 (1947), pp.257–265 Google Scholar. Differences from the views of the founders of the Monumenta Musicae Byzantinae are discussed by Tardo, L.: ‘A proposito di una recensione di E.J. Wellesz sull'Antica Melurgia Bizantina’, Bollettino della Badia greca di Grottaferrata 2 (1948), pp.222–228 Google Scholar. On Tardo (1883–1967) see Petta, M.: ‘Padre Lorenzo Tardo e il rifiorimento del canto bizantino nella badia’, Bollettino della Badia greca di Grottaferrata 21 (1967), pp.3–19 Google Scholar, and also the contribution by Somma, N. in: Lorenzo, P. Tardo e la musica bizantina (Contessa Entellina 1985)Google Scholar, unpaginated.

[9] Hannick, Christian and Wolfram, Gerda: Gabriel Hieromonachos, Abhandlung über den Kirchengesang, Corpus scriptorum de re musica 1 (Vienna 1985)Google Scholar (cf. Tončeva, E.: ‘Gavriil Jeromonach i negovijat traktat vǔrchu cǔrkovnata muzika’, Bǔlgarsko muzikoznanie 1986, vol.4, pp.55–60)Google Scholar; Conomos, Dimitri E.: The treatise of Manuel Chrysaphes, the Lampadarios, CSRM 2 (Vienna 1985)Google Scholar (cf. Failler, A. in Revue des Éludes Byzantines 45, 1987, pp.224–225 Google Scholar; Hörandner, W.: ‘Textkritische Betrachtungen zu Georgios Lapithes und Manuel Chrysaphes’, Orthodoxes Forum 4, 1990, pp. 17–19 Google Scholar; and Agepetos, P. in Byzantinische Zeitschrift 82, 1989, pp.272–276 Google Scholar). As the third volume of CSRM there has now appeared Schartau, B.: Hieronymos Tragodistes (Vienna 1990)Google Scholar.

[10] Cf. Hannick, C. in Jahrbuch der Österreichischen Byzantinistik 37 (1987), pp.398–399 Google Scholar.

[11] Schartau, B.: ‘On collecting ‘Testimonia’ of Byzantine musical practice’, CIMAGL 57 (1988), pp.159–166 Google Scholar.

[12] Cf. Goltz, H. in Theologische Literaturzeitung 110 (1985), pp.213–214 Google Scholar; Hannick, C. in Revue d'histoire écclesiastique 73 (1983), pp.257–258 Google Scholar; also Vodoff, W.: ‘La terminologie du christianisme russe. Notes critiques’, Revue de l'histoire des religions 198 (1981), pp.187–195 CrossRefGoogle Scholar.

[13] Cf. Hannick, C. in Die Welt der Slaven 28 (1983), pp.447–448 Google Scholar.

[14] Cf. Beck, H.G. in Byzantinische Zeitschrift 55 (1962), pp.101–102 Google Scholar; 59 (1966), pp.372–373.

[15] Korolevskij, C.: ‘L'édition romaine des ménées grecs (1888–1901)’, Bollettino della Badia greca di Grottaferrata 3 (1949), pp.30–40, 153–162, 225–247 Google Scholar; 4 (1950), pp.15–16.

[16] Raes, A.: ‘Les livres liturgiques imprimés à Venise’, in Mélanges Eugène Tisserant, III, Studi e testi 233 (Rome 1964), pp.209–222 Google Scholar; there is a short biography of Bartholomaios Kutlumusianos (1772–1852), who was among other things director of the Athonias school, in Pantelakis: Les livres liturgiques, p.542.

[17] Cf. Halkin, F. in Analecta Bollandiana 101 (1983), 221–222 Google Scholar.

[18] Cf. Hannick, C. in Jahrbuch der Österreichischen Byzantinistik 22 (1973), pp.339–340 Google Scholar; 28 (1979), pp.401–402.

[19] Cf. Bonis, K. in θεολογία 46 (1975), pp.672–675 Google Scholar.

[20] Bibliography by von Gardner, J.: System und Wesen des russischen Kirchengesangs, Schriften zur Geistesgeschichte des östlichen Europa 12 (Wiesbaden 1976), p.30fGoogle Scholar.

[21] In this area cf. most recently Ertlbauer, A.: Geschichte und Theorie der einstimmigen armenischen Kirchenmusik. Eine Kritik der bisherigen Forschung, Musica mediaevalis Europae Orientalis 3 (Vienna 1985)Google Scholar.

[22] Unfortunately, the book by Braschowanowa, L.: Die mittelalterliche bulgarische Musik und loan Kukuzel, Wiener musikwissenschaftliche Beiträge 12 (Vienna 1984)Google Scholar communicates a distorted picture of the historical reality; cf. Hannick, C. in Mitteilungen des bulgarischen Forschungsinstituts in Österreich 7 (1985), vol.2, pp.127–132 Google Scholar.

[23] There is an appreciation of the Hungarian musicologist Ilona Borsai, who died in 1982, by Kapronyi, T.: ‘Borsai Ilona közleményei az egyiptomi népzene és a kopt liturgikos zene tárgykörébäl’, Antik Tanulmányok 33 (1983), p.115 Google Scholar.

[24] The second part of the Prophetologium with pericopes for the unmoveable services of the church year appeared in 1980–81 in Copenhagen, edited by Gudrun Engberg, Monumenta Musicae Byzantinae Lect. 1.

[25] In 1980 in Tbilisi there appeared the monumental edition of the Georgian hymnal, edited by E. Metreveli, C. Čankieva and L. Ḫevsuriani: Udzvelesi iadgari. In 1982 there followed the edition and facsimile of a hirmologion of the 10th-11th century with neumatic notation, edited by Kiknadze, G.: Nevmirebuli dzlispirni (ḫrelnaceri A–603)Google Scholar.

[26] Particularly by taking into account the old-Slavonic tradition, substantial progress in this area has been made in recent years. See for example for the triodion Momina, M.A.: ‘O proischoždenii grečeskoj triodi’, Palestinskij sbornik 28/91 (1986), pp.112–119 Google Scholar. See also id.: ‘Zum Problem der Korrektur slavischer gottesdienstlicher hymnographischer Bücher in der Rus' des 11. Jh.’, Zeitschrift für slavische Philologie 50 (1990), pp. 16–49.

[27] In 1984 in Munich there appeared a reprint of V.M. Metallov's Russische Semeiographie, edited by J. von Gardner; cf. Hannick, C. in Die Welt der Slaven 33 (1988), pp.205–212 Google Scholar.

[28] The first of ten planned volumes of the Istorija russkoj muzyki appeared in Moscow in 1983. Here J. Keldyš treats the period from the 11th to the 17th century.

[29] Cf. most recently Schirò, G.: ‘Introduzione agli studi sull'irmologia e gli irmologi’, in Bizanzio e l'Italia. Raccolta di studi in memoria di A. Pertusi (Milan 1982), pp.331–347 Google Scholar.

[30] Cf. most recently Alygizakes, A.E.: Ἡ ỏκταηχία στν έλληνικ λειτουργικ ὑμνογραφία (Thessaloniki 1985)Google Scholar.

[31] In recent years increased attention has been paid to this monument of Byzantine hymnography; cf. the German translation by Goltz, H.: Akathistos – Hymnen der Ostkirche (Leipzig 1988)Google Scholar; the Dutch translation by Aerts, W.J., Hokwerda, H., Schoonhoven, H.: Romanós de Melode – Vier byzantijnse hymnen en de Akáthistoshymne (Groningen 1990)Google Scholar; and also the chapter ‘The Akathistos hymn – The miniatures, the frescoes’ in Moran, N.K.: Singers in Late Byzantine and Slavonic Painting, Byzantina neerlandica 9 (Leiden 1986), pp.93–114 Google Scholar. See also Şirli, A.: ‘Imnul Acatist în manuscrise muzicale din secolele XIV şi XV’, Studii de muzicologie 17 (1983), pp.243–271 Google Scholar. neerlandica 9 (Leiden 1986), pp.93–114.

[32] New German translation by Kallis, A.: Liturgie – Die göttliche Liturgie der Orthodoxen Kirche. Deutsch-Griechisch-Kirchenslavisch (Mainz 1989)Google Scholar.

[33] Cf. most recently M. Arranz: ‘Čin Pesnennoj Večerni (Ἀσματικòς έσπρινóς) drevnego vizantijskogo Evchologija’, in id.: Kak molilis' Bogu drevnie vizantijcy. Sutočnyj krug bogosluženija po drevnim spiskam vizantijskogo evchologija (Leningrad 1979), pp.257–309.

[34] Cf. most recently de Matons, J. Grosdidier: ‘Aux origines de l'hymnographie byzantine: Romanos le Mélode et le Kontakion’, in Liturgie und Dichtung. Ein interdisziplinäres Kompendium I, ed. Becker, H. and Kaczynski, R. (St. Ottilien 1983), pp.435–463 Google Scholar; and Hannick, C.: ‘Zur Metrik des Kontakion’ in ΒΥΖΑΝΤΙΟΣ – Festschrift Herbert Hunger (Vienna 1984), pp.107–119 Google Scholar.

[35] On the question of rhythm cf. the collection of essays Rhythm in Byzantine Chant (Hernen 1991), and also Suceava, D.: ‘Chronos prōtos. Privire diacronicǎ asupra unui principiu ritmic’, Studii şi cercetǎri de istoria artei. Seria teatru, musicǎ, cinematografie 35 (1988), pp.19–26 Google Scholar.

[36] After the appearance in 1986 in Leningrad of his monograph Antičnoe muzykal'noe myšlenie, Gercman, E. went on the write a very informative introduction to Byzantine music: Vizantijskoe muzykoznanie (Leningrad 1988)Google Scholar, in which West European research is fully taken into account. See also Troelsgard, Ch.: ‘Ancient musical theory in byzantine environments’, Cahiers de l'lnstitut du moyen-âge grec et latin 56 (Copenhagen 1988), pp.228–238 Google Scholar. Texts are presented in translation in Barker, Andrew, ed.: Greek Musical Writings II: Harmonic and Acoustic Theory (Cambridge 1989)Google Scholar.

[37] Cf. most recently Wolfram, Gerda: ‘Ein neumiertes Exaposteilarion anastasimon Konstantins VII’, in ΒΥΖΑΝΤΙΟΣ – Festschrift Herbert Hunger (Vienna 1984), pp.333–338 Google Scholar.

[38] See further Detorakes, Th.E.: ‘Κοσμς Μελῳός’, Ἀνάλεκτα Βλατάων 28 (Thessaloniki 1979)Google Scholar.

[39] Cf. the Bulgarian contributions in Joan Kukuzel – život, tvorčestvo, epocha, Muzikalni horizonti 18–19 (Sofia 1981); Jakovljević, A.: ‘Ὀ Μέγας Μαίστωρ Ἰωάννης Κουκουζέλης Παπαόπουλος’, Κληρονομία 14 (1982), pp.357–374 Google Scholar; Trapp, E.: ‘Critical notes on the biography of John Koukouzeles’, Byzantine and Modern Greek Studies 11 (1987), pp.223–229 CrossRefGoogle Scholar.