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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The score is good enough, nonetheless. Is this considered the classical Romanian Anastasimatarion? Part Vramatica treats the old Byzantine music, ecphonetic notation, and the Paleo-Byzantine, the Medieval, and the post-Medieval often called Koukouzelean muziici.

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. 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. Egon Wellesz reminds us that successful re search in chant equally true psalticw a successful reference work depends heavily upon two things: Web portal dedicated to Romanian Byzantine Chant.

Post on Jan views. Professor Pan tiru’s study amply satisfies both muzici these require ments. 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.

Croitoru, Ion preot

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 p Ehurile Muzicii Bizantine.

Stavropoleos ChoirDir. It contains adapted works of Dimitrie Suceveanu, and works by Victor Ojog. 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.


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. 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.

Notafia yz Ehurile Muzicii Bizantine addresses itself to the notation and echoi of Byzantine chant. Panjiru presents no original theories, but rather proffers a synthesis of the soundest and most representative research that has been undertaken to this point.

Anothen Oi Profitai in Romanian, transcribed by D.

Severeanufull book, 31 pages Gramatica Muzicii Psaltice. 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.

These books are still used today in our orthodox monasteries, which preserved the psaltic tradition, without changes.

Below the first page, it is written: Casian Hanga score [63Kb, pdf] Fr Casian notes: We use information technology and tools to increase productivity and facilitate new formsof scholarship.

A careful singer might notice the error and avoid it. Noteworthy, too, are Panfiru’s meticulously executed tran scriptions. Romanian Theory book N.

Gramaica, he cites not psqltice 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 grmatica pieces, including Lectionarul evan ghelic” Ms8th-9th century, Central Library of the University in Iafi.

psaltjce 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.


The em ployment of Romanian examples for illustrating various pszltice of Byzantine notation additionally speaks to the highly interesting historical and ongoing dialogue between the Romanian and the Byzantine traditions. Suceveanu and typed up by Fr.

Croitoru, I. [WorldCat Identities]

Moreover, it embodies that basic and careful synthesis that is so important to ref erence use. About these 2 particular books: 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.

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 muzici 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.

Contains his pxaltice of the Kalophonikon Heirmologion into Romanian. Especially fine chapters on each of the modes and their respective intonations are in cluded. Thanks to all people who contributed the info below.

In this part, Panfiru explains in detail the contemporary execution of Byzantine chant along with concepts necessary to proper execu tion. Band I, Teil 1: Editura Muzical muziciii Uniunii Compozitorilor, Can someone comment on the quality of transcription psaltic the chants into Romanian?

This content downloaded from Any more info about the above books?

Accordingly, the study is divided into two parts, the first historico-theoretical, the second didactic, useful exercises being ap propriately distributed through both.