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History of Byzantine Music and Hymnography, by Egon Wellesz
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The History of Byzantine Music and Hymnography was first published in 1949 and has for ten years been the standard textbook on this subject. Recent progress in this field, however, due in part to the author's own work, has made a second revised and enlarged edition necessary. The sections on Byzantine liturgy and on Byzantine notation have been rewritten and considerably extended. New chapters have been added on the melismatic style and on liturgical chant proper. Thus, for the first time, the entire field of Byzantine musicology has been covered and the second edition will be indispensable not only to all those interested in Byzantine studies but also to students of Eastern liturgy. Egon Joseph Wellesz (1885-1974) was an Austrian composer, musicologist, and teacher. His importance as a composer rests chiefly on his stage works and symphonies. While his creative career was divided between Vienna and Oxford, his musical style was unpredictable, showing his affection for beautiful melody often with wide leaps and angular in profile. Wellesz studied in Vienna under Schoenberg - purportedly his first private pupil - as well as Guido Adler, who founded the musicological institute in Vienna and was a leading editor of the Denkm�ler der Tonkunst �sterreich. These dual influences shaped much of his musical and scholarly thought. In 1913, Wellesz embarked upon what would become a lifelong study of Byzantine music.
- Sales Rank: #1567641 in Books
- Published on: 1961-06
- Original language: English
- Number of items: 1
- Binding: Hardcover
- 461 pages
- Note(s): Bibliography: p. 428-441./
- Description: xiii, 461 p. plates, music. 24 cm.
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By Rabih Joubran
This boook & the Previus ones about Byzantine Music restrict there Studies to the period before the 15th century. So the results about the expression of Byzantine music do not take in account it's practice till now, & they show that there is a gape between what was writen before the 15th century & what is writen & chanted now adays. The notes expresses what is chanted, & it meens nothing in itself. So we must take in consideration that the Byzantine Music Scriptures are translated wrongly in this book, & there is somthong missing, but I do not know how to mannage with these trnslations. Excuse me, but I am searching for an answer.
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