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Issue 28

(Spring 2016)

contents

abstracts

contributors

abstracts

 

Katy Romanou: Music in Cyprus during the Frankish and Venetian rule (1191-1571)

 

This article describes music in Cyprus during the Frankish and Venetian rule (1191-1571), by articulating the social conditions of a multi-ethnic, multicultural and multilingual population. It highlights the musical manifestations of the Greeks’ gradual urbanization, the prevalence of Italian and Greek as main languages, as well as the tight connections built with Venice. The article informs on the Western reputation of the royal dynasty of the Lusignans, and on their interest in music, proven in the “Cypriot” works of Guillaume de Machaut, and the famous Codex Turin J. II. 9. It focuses on the music in the Cypriot countryside in addition to the introduction of folk traditions in the cities, as evidenced mainly in travellers’ memoirs, and it provides information on the close contacts of Cypriots with Venice and the University of Padua (supported by Venice), and on the attempt of the Cypriot Hieronymos –who studied with Gioseffo Zarlino before enrolling in the University of Padua– to reform Byzantine notation. It also refers to the influence of Venetian music to Cypriot church music. The article ends with an explanation of the causes that brought down the urban culture of Cyprus immediately after its Ottoman conquest.

 

 

Vasileios Kalagkias: Form and technique in Wolfgang Amadeus Mozart’s independent sets of variations for keyboard (Part II)

 

This study refers to Wolfgang Amadeus Mozart’s independent sets of variations: 16 solo keyboard sets, 2 sets for keyboard and violin, and one for keyboard duet. Through the consideration of the works, is attempted the outcome of conclusions about the form and the techniques Mozart used and the way that Mozart improvised, since some of them were performed in public by the composer even before they had been written. In the first part of the study the variation sets are considered in chronological order, which is validated by recent literature. The study of each work includes historical information, which is followed by an examination of the structure and important elements of the themes and leads to the consideration of modifications that Mozart uses in each variation separately and in relation to the overall structure of each set. The second part includes the conclusions in respect to the form of the themes, the types of variations in the studied repertoire, the sequence of the variations and the techniques used by the composer. These conclusions are placed within the broader historical context, considering important theoretical studies.

 

 

Anastasia Georgaki: Towards a classification of visual sound in 20th-century art: From color sequence to interactive visual music

 

The text pursues a comprehensive approach to the relationship between painting and music or, specifically, the relationship between image and sound in 20th-century art. This relationship can be perceived through different viewpoints and with different interdisciplinary and interpretative approaches, beginning with visual sound of the beginnings of the 20th century, following in the footsteps of visual sequence and abstract film and reaching, until nowadays, to visual music and the sound-to-image conversion through new digital systems. In this article, the author attempts a classification of these interdisciplinary approaches based on the threefold model of Jerrold Levinson regarding hybrid art forms. Furthermore, this article discusses whether the development of modern digital technological media has acted as a catalyst to create new hybrid audiovisual art forms.

 

 

Evangelia Chaldaiaki: Orality and literacy in the Ottoman music: The role of non-Muslim musicians on developing and using musical notation systems

 

This study is aimed to present and comment on the orality and literacy of Ottoman music. Orality is the main characteristic of Ottoman music since its origination, which is estimated in the 16th century. Literacy is a trait that occurs during the 17th century, one century after the first evidence of Ottoman music. This paper presents the cases of four non-Muslim musicians who inscribed Ottoman music, namely Wojciech Bobowski, Dimitri Cantemir, Hampartzum Limoncuyan and Peter the Peloponnesian. These were musicians, subjects of the Ottoman Empire who inhabited or origined from regions outside the Åmpire, which means that either they had contacted other music cultures or they held a different music tradition, appreciated literacy in music and wanted to apply this characteristic to Ottoman music as well. This article highlights the significance of these musical inscriptions for the history of Ottoman music and makes some conclusions regarding the motivations of each musician and their common idea to introduce a concept unknown to the Ottomans: that of musical notation.

 

 

Eirini Nikolaou: The harmonies of earlier periods of time in Aristides Quintilianus’ treatise On music

 

The treatise of Aristides Quintilianus cannot be accurately dated. However, his activity is placed between the first and fourth AD century under the Roman Empire. This hardly affects the value of his treatise, because he handles the issues of music education as did elder philosophers and writers, such as Damon, Plato, Aristotle and Aristoxenus. Something like that has a direct result in the provision of valuable information on musical issues, regarding to those periods that have not been addressed from the afore-mentioned philosophers and writers.

The aim of this article is to investigate four passages exposed to the first book of the Aristides Quintilianus’ treatise On music. In these passages, harmonies are described in the form of scales as they were presented earlier than Quintilianus. Although these passages belong to the technical part of music, it’s quite interesting that they are dealing with issues such as melody and musical ethos and they represent unique testimonies of Ancient Greek notation.

 

 

Alain Gedovius – George Leotsakos: Dimitris Levidis: Gleanings from Le Journal de ma Vie [The diary of my life] (Part I)

 

This document presents extensive excerpts from the three-volume manuscript diary of Dimitris Levidis, under the title Le Journal de ma Vie [The diary of my life]. The manuscript is expertly summarized in depth, with the aid of Alain Gedovius, who is the owner of the composer’s copyrights, due to his father’s marriage to the composer’s daughter Marie-France. Alain Gedovius kept the archives, music material (both manuscript and printed scores), photos and Memoirs of Levidis for almost 30 years, before donating the whole archive to the Département de la Musique of the Bibliothèque Nationale de France. The extensive prologue and the commentary of the text have been written by the author and music critic George Leotsakos. Leotsakos, with his vivid style of writing, gives a first account of this new significant find, offering a wealth of information about the fortune of composer’s works after his death.

 

 

 
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