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Issue 16

(Spring 2010)






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detailed Works’ Catalogue of D. Dragatakis is included in: Magdalini Kalopana, Dimitris Dragatakis: Works’ Catalogue, unpublished doctoral dissertation, Department of Musical Studies – University of Athens, 2009, which is available at the Library of the Department of Musical Studies of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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