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Musical Romania and the Neighbouring Cultures

Traditions – Influences – Identities- Proceedings of the International Musicological Conference- July 4–7 2013, Iaşi (Romania)


Edited By Laura Vasiliu, Florin Luchian and Loredana Iatesen

This book represents the volume of the International Musicological Conference «Musical Romania and Neighbouring Cultures. Traditions, Influences, Identities», which took place in Iaşi (Romania) and was organised by the George Enescu University of Arts Iaşi in collaboration with the International Musicological Society. The volume includes 35 papers of 38 authors who represent academic centres in Croatia, Bulgaria, Serbia, Greece and Romania. The diverse topics include ancient Romanian, Balkan or East-European music, music iconography, Byzantine and folkloristic traditions, as well as modern and contemporary music. The articles propose theoretical and methodological documentation on the interactions between liturgical, folkloric and academic works within this multicultural space.
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The Chant’s Exegesis at Anton Pann, Reflected by his Anastasimatarion’s Translation Activity (1854)


Carmen DuraOrtodox Theological Seminary “Vasile cel Mare” Iaş


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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