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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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