We found a match
Your institution may have access to this item. Find your institution then sign in to continue.
- Title
THE SIMPLE MOTIVIC FORMULAS IN THE HEIRMOLOGICAL CHANTS IN THE FIRST MODE, BASED ON THE PRINTED BULGARIAN HEIRMOLOGION.
- Authors
Pischlöger, Maria
- Abstract
The research study on the melodic language of the syllabic heirmological chants is based on Angel Iwanow Sewliewetz' Bulgarian Heirmologion (1875). The 58 hymns in the first mode have been analyzed in terms of their melodic structure. In this paper, we have applied the theoretical principles of the method used by Bozhidar Karastoyanov in the analysis of the Russian type of chant called Znamenny Rospev and of the Bulgarian stichiraric type of chant. The events of the melody are analyzed from a broader perspective, where four different structural levels have been established: melodeme, motif, melodic phrase and period. The importance of this theory lies in the possibility of a multi-layered examination of the complex nature of each constituent element, which enables the discovery of phenomena like the undulating structure, the sonic realization, the prosodic realization and the relationship with the graphic signs of notation. The present article is dedicated to the simple cadential and recitative motifs. These motifs have been classified, typologized and analyzed. A second thesis deals with the sonic realization of the linear construction. Each motif is projected on a vertical scale, which enables the measurement of the ratios between the sonic heights of the various elements. The third level of research is the realm of prosody, where each melodic object has its dimensions, according to which the texts are applied to music. The next level of the motivic research is the representation of motifs through the notation introduced by Chourmousios and Chrysanthos. This enables certain changes of the graphical representation of the motif. We need to consider another aspect of the configuration, i.e. the modal categorization of the motif. This consists of the fact that a motif can be represented in a certain mode, i.e. it fits in a certain segment of the corresponding modal scale. The work of identification and research of the cadential and recitative formulas of the heirmological chant in the first mode has been completed. Both the simple and the complex motivic formulas have been described and standardized, and several articles have also been written on the subject. To the already existing tables dedicated to the Znamenny Rospev and to the late stichiraric chant, we can now add the table showing the formulas dedicated to the heirmological chant.
- Subjects
BULGARIA; CHANTS; BULGARIAN music; HYMNS; MUSIC theory; MUSICAL analysis; MUSICAL notation
- Publication
Musicology Papers, 2012, Vol 27, Issue 1, p59
- ISSN
1222-894X
- Publication type
Article