Tag: People

Release of Eight Video-Analyses of Byzantine Scales performed by Four Lebanese Cantors

These Eight Video-analyses of the scales of Byzantine chant (for the scales of the Eight modes) are proposed on a dedicated main page. The analyses come originally from the book of Amine Beyhom Théories et pratiques de l’échelle dans le chant byzantin arabe : Une approche comparative et analytique proposant une solution inédite pour le système théorique de Chrysanthos le Madyte and were edited for video.

Four Lebanese cantors of Byzantine chant – Fr. Nicolas Malek, Fr. Makarios Haidamous, Joseph Yazbeck and a cantor who preferred to remain anonymous – accepted to record (among other performances) the scales of the eight canonical modes of their liturgical chant for research purposes. Each of them is a renowned soloist and choir director in Lebanon.

Opening Screen of the video for the First Byzantine Mode

The complete results of the analyses of these recordings are proposed in the aforementioned book, while particular results concerning the first mode were presented on various occasions in Greece and in Cyprus, but also in France, Tunisia and in Lebanon.

The analyses in the videos are based on these presentations, which in turn were based on power point animations proposed in the aforementioned book.

Each video comprises a short theoretical introduction contextualizing the scales of the current mode within the general frame of the 19th-Century Second Reform of Byzantine chant.

Example of a slide with explanations on the scale of the First Byzantine Mode according to the teaching of Thrasyvoulos Stanitsas

Moreover, the first video (for the First mode) features a General Introduction which explains shortly:

  • The solmization of the Byzantine – and equivalences between Byzantine and Western – degrees of the scale
Byzantine chant solmization with transliteration and equivalences with the degrees of the Western Common-Practice scale
  • The accidentals used in the theory of the Second Reform (and in the Western/Byzantine notation proposed by the author)
Accidentals used in the theory of Byzantine Chant (19th-Century Second Reform) with equivalents in fractions of the tone (including cents)
  • The scores and literal notations
Western/Byzantine and literal notations of scales
  • (And) Explanations about the graphic representation of the results
Conventions used for the Graphic notations of scales

The videos on the main page are in High resolution, and also available on the YouTube Channell of CERMAA. An alternate, Low resolution version is proposed for each mode (and the Intro) in a dedicated page.

Volos conference on Psaltiki 2018

Rosy & Amine Beyhom participated in the 3rd International Musicological and Psaltic Conference on Psaltic Art of the Department of Psaltic Art and Musicology of the Volos Academy for Theological Studies.

The Conference took place in the Conference Center of the Holy Metropolis of Demetrias, in Melissiatika, Volos, Greece, between May 30th (official opening in the evening) and June 2nd (official closing in the afternoon), 2018.

Amine Beyhom presented a paper entitled “Theory and Practice of Psaltiki: Why do they not coincide?“, and assisted Rosy Beyhom for the recording of four Greek cantors who performed Kyrie Ekekraxa (by Petros Byzantios) and Axion estin (Anonymous).

Volos Cantors_lightAbove: Five Greek cantors – Volos (Makrinitsa) 2018/05/31 © Rosy Beyhom. Front row, left to right: Ioannis Tomas, Nikolaos Siklafidis and Michalis Stroumpakis; 2nd row: Conference host Konstantin Karagounis and Emmanouil Giannopoulos.

The video-animated analyses of these chants will soon be published on our site as a further contribution to the development of alternative methods for the analysis of melodic music of the Mediterranean and around (maqām music).

Release of CERMAA Videos of Kyrie Ekekraxa by Petros Byzantios performed, in Greek and Arabic, by Joseph Yazbeck in 2011

Two additional Greek and Arabic versions (below) of the chant Kyrie Ekekraxa, the well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul) performed in 2012 by Joseph Yazbeck. The audio recording was first published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584).
As with other CERMAA animated analyses, the upper part offers a general view of the analysis (with two dashed lines for the tonic and octave pitches) while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant.
Compare with other analyses of the same chant by different performers at http://foredofico.org/CERMAA/analyses/byzantine-chant/kyrie-ekekraxa-by-petros-byzantios.

  • Greek Version by Joseph Yazbeck (below)

  • Arabic Version by Joseph Yazbeck (below)

Release of CERMAA Videos of Kyrie Ekekraxa by Petros Byzantios performed, in Greek and Arabic, by fr. Nicolas Malek in 2011

Release by CERMAA of two additional Greek and Arabic versions (below) of the chant Kyrie Ekekraxa, the well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul) performed in 2011 by fr. Nicolas Malek. The audio recording was first published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584).
As with other CERMAA animated analyses, the upper part offers a general view of the analysis (with two dashed lines for the tonic and octave pitches) while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant.
Compare with other analyses of the same chant by different performers at http://foredofico.org/CERMAA/analyses/byzantine-chant/kyrie-ekekraxa-by-petros-byzantios.

  • Greek Version by fr. Nicolas Malek (below)

  • Arabic Version by fr. Nicolas Malek (below)

New page by CERMAA dedicated to Video Analyses of the chant Kyrie Ekekraxa by Petros Byzantios

A new page, dedicated to different versions of the chant Kyrie Ekekraxa by Petros Byzantios has been added to the site of the CERMAA.
Kyrie Ekekraxa is a well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul). The chant is in the 8th mode (on Νη=c)  of the Byzantine Church (equivalent to maqām Rāst in Arabian music), with an incursion (a modulation) in the 2nd mode (“Mild chromatic”).

Most of the audio recordings analyzed in the videos on this page were originally published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584), with Power Point animations for four Lebanese cantors, together with Greek versions of this chant (8 versions in all, with detailed analyses of two excerpts each undertaken in the aforementioned book). Two other recordings were undertaken with a fifth Lebanese cantor: it was too late however to analyze them as the book was already under print. The two additional recordings were also published as audio recordings in the accompanying CD-Rom of the book.

All these should be (re)analysed and published on this dedicated page.

Release of CERMAA Videos of Kyrie Ekekraxa by Petros Byzantios performed, in Greek and Arabic, by an Anonymous Cantor in 2011

Release by CERMAA of two additional Greek and Arabic versions (below) of the chant Kyrie Ekekraxa, the well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul) performed in 2011 by an Anonymous Cantor. The audio recording was first published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584).
As with other CERMAA animated analyses, the upper part offers a general view of the analysis (with two dashed lines for the tonic and octave pitches) while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant.
Compare with other analyses of the same chant by different performers at http://foredofico.org/CERMAA/analyses/byzantine-chant/kyrie-ekekraxa-by-petros-byzantios.

  • Greek Version by Anonymous (below)


 

  • Arabic Version by Anonymous (below)

Release of CERMAA Video of Kyrie Ekekraxa by Petros Byzantios performed in Greek by fr. Makarios Haidamous in 2012

This the Greek version (below) of the chant Kyrie Ekekraxa, the well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul) performed in 2012 by fr. Makarios Haidamous. The audio recording was first published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584).
As with other CERMAA animated analyses, the upper part offers a general view of the analysis (with two dashed lines for the tonic and octave pitches) while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant.

Compare with the version in Arabic by the same cantor at http://foredofico.org/CERMAA/archives/933.

 

Release of CERMAA Video of Kyrie Ekekraxa by Petros Byzantios performed by fr Makarios Haidamous 2012

The CERMAA is delighted to publish this video animation (below) of the chant Kyrie Ekekraxa, a well known composition by Petros Byzantios in the 19th-century Constantinople (now Istanbul). This animation relates to a performance in 2012 by fr. Makarios Haidamous, with the text in Arabic language. The audio was published in Amine Beyhom’s book on Byzantine chant in 2015 (see http://foredofico.org/CERMAA/archives/584), with Power Point animations for four Lebanese cantors (including fr. Makarios Haidamous), together with Greek versions of this chant (8 versions in all). Two other recordings were undertaken with a fifth Lebanese cantor: it was however too late to analyze them as the book was already under print. The two additional recordings were published as audio recordings in the accompanying CD-Rom of the book.
This is the second video animation based on Pitch analysis with the Praat program that the CERMAA publishes on the internet. The first video was the Hurrian Song H6 performed by Lara Jokhadar (http://foredofico.org/CERMAA/archives/926). A series of video animations of different versions of Kyrie Ekekraxa should be made available during the year 2018. The aim of this series is to demonstrate the variety of interpretations of one chant by different cantors.
As with Lara’s animation for H6, the upper part offers a general view of the analysis while the lower part shows the detailed analysis which includes, in this case, an overprint of the Byzantine scale of the 1881 (Second) Reform of Byzantine chant.

NEMO-Online Vol. 4 Nos. 6 & 7 : Call for papers / Appel à contributions

English

NEMO-Online Vol. 4 Nos. 6 & 7 : Call for papers

Research groups CERMAA, ICONEA and IReMus are seeking papers for the sixth and seventh issues of NEMO. The theme, continued from the theme of NEMO-Online No. 5 (available here), is about ‘Musicology/Ethnomusicology: evolutions, problems, alternatives’.

We would like these issues of NEMO to continue the debate initiated in NEMO-Online No. 5 concerning the usefulness of the science, the problems raised due to powerful and contradictory non-scientific characteristics, and the alternatives which may be proposed.

Papers to be sent both to Richard Dumbrill and Amine Beyhom and should follow the editorial layout.

Papers will be published on the site as preliminary versions as soon as they are evaluated, corrected and prepared for Internet publication; NEMO-Online issue No. 6 to be published as a whole in November 2017, NEMO-Online issue No. 7 to be published, along with complete Vol. 4 (NEMO-Online 6&7), in November 2018.

The Editing Board will consider the publication of papers which might be ‘off subject’ as long as they retain some relationship with the wider theme of the publication.

Deadlines: proposals by end of June 2017 and finalized paper by end of August 2017 for NEMO-Online No. 6, by end of May 2018 and finalized paper by end of July 2018 for NEMO-Online No. 7.

Previous volumes available here, individual articles on the dedicated page (new Articles tab) on NEMO-Online website.

 

Français

Appel à contributions pour NEMO-Online Volume 4 nos 6 & 7

Les centres et groupes de recherches CERMAA, ICONEA et IReMus ont le plaisir d’annoncer le thème du Volume 4 de NEMO-Online, nos 6 & 7 : « Musicologies/Ethnomusicologies : évolutions, problèmes, alternatives ». Le thème est la continuation du thème de NEMO-Online no 5, que vous pouvez revoir ici.

Nous souhaitons à NEMO que les deux numéros de ce quatrième volume prolongent le débat sur l’utilité de la discipline, sur les problèmes suscités par ses caractéristiques fortement (et contradictoirement) a-scientifiques, et, surtout, sur les alternatives qui peuvent être proposées.

Les articles des ces deux numéros seront publiés au fur et à mesure de leur réception-évaluation-préparation pour la publication internet. NEMO-Online No 6 rassemblera les articles parus et en cours de parution et sera publié en Novembre 2017; de même pour NEMO-Online No 7 en novembre 2018, comme partie du Volume 4 (NEMO-Online Nos 6 & 7).

Langues et normes : voir ici.
Envoi des propositions d’articles à Richard Dumbrill et à Amine Beyhom avant : fin juin 2017 pour NEMO-Online No 6 et fin mai 2018 pour NEMO-Online No 7.

Date limite d’envoi des articles : fin août 2017 pour NEMO-Online No 6 et fin juillet 2018 pour NEMO-Online No 7.

La rédaction acceptera également d’examiner des dossiers spéciaux ou des articles hors-thème, du moment qu’ils concernent la thématique générale de la revue.

Les volumes précédents sont disponibles ici, les articles individuels dans l’onglet Articles récemment ajouté sur le site de NEMO-Online.

 

Permalink : http://nemo-online.org/?p=1550.

NEMO-Online Vol. 1 No. 1 and Vol. 2 Nos. 2&3 : Reissue 2016/12

(click on the title of each article for the corresponding pdf version / cliquer sur les titres des articles pour télécharger les pdf).

The redaction of NEMO-Online is pleased to announce the reissue of NEMO-Online Vol. 1 No. 1 and NEMO-Online Vol. 2 No. 2&3 as individual articles / La rédaction de NEMO-Online a le plaisir d’annoncer une nouvelle édition de NEMO-Online Vol. 1 No. 1 et NEMO-Online Vol. 2 No. 2&3 en articles individuels.

Reminder / Rappel: NEMO-Online Vol. 3 No. 4&5 / is available / est disponible (November 2016).

NEMO-Online Vol. 1 No. 1 Reissue 2016/12 : (all pdf articles in this volume are bookmarked for titles and subtitles / tous les articles au format pdf de ce volume contiennent des marque-pages correspondant aux titres et sous-titres)

Editor’s letter / Éditorial / كلمة الناشرين : Questioning Modality / La modalité en question / بخصوص المقامية

Contents / contenu / ملخّص :

  • Richard Dumbrill : “Modus Vivendi”, NEMO-Online 1 1 |2012-11| p. 89–116.

 

NEMO-Online Vol. 2 Nos. 2&3 Reissue 2016/12 : (all pdf articles in this volume are bookmarked for titles, subtitles and figures / tous les articles au format pdf de ce volume contiennent des marque-pages correspondant aux titres, sous-titres et figures)

Editor’s letter / Éditorial / كلمة الناشرين : Modality and Musical Myths / Modalité et mythes musicaux / المقامية والخرافات الموسيقية

Contents / contenu / ملخّص :

 

 

Volumes / Volumes / الأعداد /

Note: we use at NEMO-Online the CharisSIL font / nous utilisons à NEMO-Online la police CharisSIL http://www.fon.hum.uva.nl/praat/CharisSIL-4.110.zip, also available at / également téléchargeable à http://www.fon.hum.uva.nl/praat/download_win.html. Specialized fonts may also be used in individual articles / Des polices spécialisées sont parfois utilisées dans certains articles.

(Permalink: http://nemo-online.org/?p=1557)