Методолошки диспути о тумачењу неумске нотације у XX веку
Methodological Disputes about Interpretation of Neum Notation in the 20th Century
Чланак у часопису (Објављена верзија)
Метаподаци
Приказ свих података о документуАпстракт
Рад истиче водеће научнике, проучаваоце византијске науке о музици који су,
после бројних дебата и сучељених аргумената, заслужни за превазилажење
диспута између такозваних „традиционалиста зилота” – Грка и „монументиста”
– западноевропских проучавалаца, који су следили концепт оснивача
Monumenta Musicae Byzantinae. У чланку је посебан нагласак на различитим
приступима интерпретацији средњовизантијске нотације, познатим такође
под називом стари метод. Реферира се такође на проблем хроматизма у византијском
тоналном систему пре и после пада Константинопоља.
Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and find...ing an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish Jørgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow “a middle path”, the distinction between the once exclusive Western option and the no less “hard” Greek traditional option.
Кључне речи:
неумска нотација / тумачење – интерпретација – транскрипција / грчки и западноевропски истраживачи / музичка реформа / стари и нови методИзвор:
Музикологија / Musicology, 2015, I, 18, 15-32Издавач:
- Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
Финансирање / пројекти:
- Идентитети српске музике од локалних до глобалних оквира: традиције, промене, изазови (RS-MESTD-Basic Research (BR or ON)-177004)
Напомена:
- Студија је реализована у оквиру пројекта Музиколошког института САНУ: Идентитети српске музике од локалних до глобалних оквира: традиције, промене, изазови (бр. 177004). Пројекат финансира Министарство просвете, науке и технолошког развоја Владе Републике Србије.
Колекције
Институција/група
Музиколошки институт САНУ / Institute of Musicology SASATY - JOUR AU - Пено, Весна PY - 2015 UR - https://dais.sanu.ac.rs/123456789/3850 AB - Рад истиче водеће научнике, проучаваоце византијске науке о музици који су, после бројних дебата и сучељених аргумената, заслужни за превазилажење диспута између такозваних „традиционалиста зилота” – Грка и „монументиста” – западноевропских проучавалаца, који су следили концепт оснивача Monumenta Musicae Byzantinae. У чланку је посебан нагласак на различитим приступима интерпретацији средњовизантијске нотације, познатим такође под називом стари метод. Реферира се такође на проблем хроматизма у византијском тоналном систему пре и после пада Константинопоља. AB - Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish Jørgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow “a middle path”, the distinction between the once exclusive Western option and the no less “hard” Greek traditional option. PB - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts T2 - Музикологија / Musicology T1 - Методолошки диспути о тумачењу неумске нотације у XX веку T1 - Methodological Disputes about Interpretation of Neum Notation in the 20th Century SP - 15 EP - 32 VL - I IS - 18 DO - 10.2298/MUZ1518015P UR - https://hdl.handle.net/21.15107/rcub_dais_3850 ER -
@article{ author = "Пено, Весна", year = "2015", abstract = "Рад истиче водеће научнике, проучаваоце византијске науке о музици који су, после бројних дебата и сучељених аргумената, заслужни за превазилажење диспута између такозваних „традиционалиста зилота” – Грка и „монументиста” – западноевропских проучавалаца, који су следили концепт оснивача Monumenta Musicae Byzantinae. У чланку је посебан нагласак на различитим приступима интерпретацији средњовизантијске нотације, познатим такође под називом стари метод. Реферира се такође на проблем хроматизма у византијском тоналном систему пре и после пада Константинопоља., Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish Jørgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow “a middle path”, the distinction between the once exclusive Western option and the no less “hard” Greek traditional option.", publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts", journal = "Музикологија / Musicology", title = "Методолошки диспути о тумачењу неумске нотације у XX веку, Methodological Disputes about Interpretation of Neum Notation in the 20th Century", pages = "15-32", volume = "I", number = "18", doi = "10.2298/MUZ1518015P", url = "https://hdl.handle.net/21.15107/rcub_dais_3850" }
Пено, В.. (2015). Методолошки диспути о тумачењу неумске нотације у XX веку. in Музикологија / Musicology Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts., I(18), 15-32. https://doi.org/10.2298/MUZ1518015P https://hdl.handle.net/21.15107/rcub_dais_3850
Пено В. Методолошки диспути о тумачењу неумске нотације у XX веку. in Музикологија / Musicology. 2015;I(18):15-32. doi:10.2298/MUZ1518015P https://hdl.handle.net/21.15107/rcub_dais_3850 .
Пено, Весна, "Методолошки диспути о тумачењу неумске нотације у XX веку" in Музикологија / Musicology, I, no. 18 (2015):15-32, https://doi.org/10.2298/MUZ1518015P ., https://hdl.handle.net/21.15107/rcub_dais_3850 .