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abstracts
Apostolos
Kostios: Dimitri Mitropoulos: The contribution of the man and the
artist (a different approach)
In
this new study a different approach is attempted – in addition to
data from conducting technique (performance), aesthetic (interpretation),
methods of composition (creation), and beyond any recognition by the
public and critics – of Dimitri Mitropoulos as a creator and re-creator.
His (almost) universal acclaim as a conductor and the increasing
acceptance of his compositions led the author to an evaluation (with
the help of numerical data) of his contribution as a man and artist,
based on his concept of debt towards society; a perception that was
the foundation of his declared musical philosophy.
Magdalini
Kalopana: Dimitris Dragatakis: Works’ Catalogue (1914-2001)
In this article it is
published for the first time the complete Works’ Catalogue of
Dimitris Dragatakis. The first chapters refer to the works’
catalogues of the international and Greek musicological bibliography,
as well as to the catalogues made by the composer about his work.
Afterwards, I analyze the methods used for making out my Works’
Catalogue of D. Dragatakis. More specifically, I present the
systematic categories and subcategories of the catalogue, and the
rules undertaken concerning the classification, the dating and the
numbering of the works into the Catalogue. At the end of the article,
there is the complete Works’ Catalogue of D. Dragatakis in brief (table).
It is mentioned that the
detailed Works’ Catalogue of D. Dragatakis is included in: Magdalini
Kalopana, Dimitris Dragatakis:
Works’ Catalogue, unpublished doctoral dissertation, Department
of Musical Studies – University of Athens, 2009, which is available
at the Library of the Department of Musical Studies of the University
of Athens as well as at the Music Library of Greece “Lilian Voudouri”.
Nicolae
Gheorghiţă: Dionysios Photeinos: The Anastasimatarion
Dionysios
Photeinos (1777-1821) was one of the most important Greek musicians
established in Ouggro-Wallachia by the end of 18th century and one of
the representatives of «the last generation of Byzantine scholars
whom the Balkan emigration flow had made become naturalized on the
territories of the Romanian Principalities». Known especially due to
his history works, Dionysios Photeinos was remarkable in his period as
a talented poet, drawer and historian, but particularly as a far-famed
psalms singer and composer, continuer of the Constantinople tradition,
apprentice of the renowned musicians Iakovos Protopsaltes († 1800)
and Petros Byzantios Fygas († 1808), and, subsequent to his settling
in Bucharest, as a Byzantine music professor in the capital of Ouggro-Wallachia.
The
current study offers insights on his life and music works as these
ensue from the manuscript tradition, mainly emphasizing the analysis
of his Anastasimatarion,
a codex that can be found nowadays in the Romanian Patriarchy Library
(Gr. MS no. 185 – M. 198, dated 1809).
Ioannis
Fulias: Sonata forms and their theoretical evolution: Concluding
remarks on the first three sonata types – The contribution of Sonata
Theory by Hepokoski and Darcy to the current scientific debate
The
ninth part of this extensive survey of the theoretical evolution of
sonata forms from 18th to 20th centuries completes the investigation
of the first three sonata types (i.e. ternary, binary and sonata
without development),
marking the general tendencies that prevail in the relevant sources (handbooks
of composition and analysis, as well as newer musicological studies)
during the classic period, from mid-19th-century to mid-20th-century
and afterwards. Special emphasis is given to the known controversy on
whether the basic sonata type is ternary or binary, based not only on
thematic or tonal-harmonic criteria but also on the possible
macrostructural repeats. Although Elements
of Sonata Theory by James Hepokoski and Warren Darcy belong to the
21st-century, this recent contribution is so significant and
exhaustive that could not be disregarded in the present study; on the
contrary, Hepokoski’s and Darcy’s main views on the first three
sonata types are here summarised with some annotations that mostly
underline the (latent) historical background of their theory. At the
end of this paper, there is also a summary of the specifications of
the three aforementioned sonata types in the classic period, according
to the music theoretical writings from mid-18th-century up to
late-20th-century.
Apostolos
Kostios: Music Therapy: Art in the service of science (II)
The
second part of the dissertation deals with the means of Music Therapy.
The author highlights the therapeutic properties of music, considering
parameters such as sound pitch, intensity, timbre etc. Next, the
author refers to some of the cases he met indirectly, or with which he
dealt during his investigation, citing the observations arising from
them.
Anastasia Kakaroglou – Katy Romanou:
Extracts from Guillaume André Villoteau’s De l’état actuel de l’art musical en Égypte
(V)
In
this volume of Polyphonia
we go on with the publication of Guillaume André Villoteau’s
“De la musique grecque moderne”, i.e., the fourth chapter of his
treatise De
l’état actuel de l’art musical en Égypte…
(1826), in a Greek translation. In “Article” VIII, presented in
this volume, Villoteau takes over the translation of the treatise,
interrupted in the two previous “articles” in order to explain the
“composition of neumes” and the “great hypostaseis”, which he
was taught by Dom Gebrael, his teacher of modern Greek music, in Egypt.
In “article” VIII, Villoteau translates the part of the treatise
covering the description of modes and alteration signs. All music
examples in this translation are photographed from the French edition
of 1826.
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