Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)
The Chant’s Exegesis at Anton Pann, Reflected by his Anastasimatarion’s Translation Activity (1854)
Carmen DuraOrtodox Theological Seminary “Vasile cel Mare” IaşiROMANIAcarmendura@yahoo.com
The present paper intends to analyse the evolution of the chant’s exegesis at Anton Pann. In this respect three musical sources have been compared: Ms. gr. 185 – Ms. 198, 1809, The Romanian Patriarchate Library; Ms. gr. 741 (527), BAR, Άναστασιμάριον νέον, interpreted by Anton Pann, 1853–1854; Anton Pann, Anastasimatarion, 1854. In Ms. gr. 185 – Ms. 198, 1809, Dionisie Fotino uses a transition notation, prehrisantic, where each cheironomic sign was attributed a variety of possible executions, based on the oral tradition known by the great psalm singers. What is the frequency of the cheironomic signs in Ms. gr. 185 – Ms. 198, 1809? What are the differences of musical interpretation between Ms. gr. 741 (527) and Anton Pann’s Anastasimatarion, 1854? How are interpreted the cheironomic signs in Ms. gr. 741 (527), BAR, and in Anton Pann’s Anastasimatarion, 1854? Out of the cheironomic signs frequently met in Ms. gr. 185 – Ms. 198, 1809, we enumerate: Antikenoma, Apoderma, Bareia, Heteron, Homalon, Kylisma, Lyghisma, Parakletike, Piasma, Psephiston and Tromikon. As a consequence of the musical research we have found the following: 1. Some different cheironomic signs were played similarly (they were spelled differently, but played similarly); 2. The same cheironomic sign could be interpreted in different ways; 3. In Ms. gr. 185 – Ms. 198, the Kylisma and the Parakletike occur rather seldom while the Lyghisma, the Piasma and the Heteron are being increasingly employed. Therefore, the musical phenomenon is...
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