By Egon Wellesz
The historical past of Byzantine track and Hymnography used to be first released in 1949 and has for ten years been the normal textbook in this topic. fresh development during this box, besides the fact that, due partly to the author's personal paintings, has made a moment revised and enlarged version important. The sections on Byzantine liturgy and on Byzantine notation were rewritten and significantly prolonged. New chapters were further at the melismatic variety and on liturgical chant right. hence, for the 1st time, the whole box of Byzantine musicology has been coated and the second one version might be vital not just to all these drawn to Byzantine reviews but in addition to scholars of jap liturgy. Egon Joseph Wellesz (1885-1974) was once an Austrian composer, musicologist, and instructor. His significance as a composer rests mainly on his degree works and symphonies. whereas his artistic occupation used to be divided among Vienna and Oxford, his musical sort was once unpredictable, exhibiting his affection for gorgeous melody frequently with vast leaps and angular in profile. Wellesz studied in Vienna less than Schoenberg - purportedly his first deepest student - in addition to Guido Adler, who based the musicological institute in Vienna and was once a number one editor of the Denkmäler der Tonkunst Österreich. those twin impacts formed a lot of his musical and scholarly proposal. In 1913, Wellesz embarked upon what might develop into a lifelong research of Byzantine tune.
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Extra info for A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints)
Commencing at his residence, the Villa Farnesina, the cortège processed across the Ponte Sisto to the Campo dei Fiori, bypassing Via Giulia. From there it passed to the Quartiere dei Banchi, along Via del Pellegrino and Via dei Banchi Vecchi (the construed route of the ancient Via Triumphalis). Then it processed along the Canale di Ponte, as far as the Ponte Sant’Angelo, and passed along the banks of the Tiber River to S. 55 Agostino’s life could be said to have mediated between the two faces of Rome – between the otium of his villa suburbana and the negotium of the banking district of Rome.
24 Vegio’s observation conveys the idea of urban topography as something that can be measured by the observant eye. 7 Antonio Averlino (Filarete) (1400–69), Crucifixion of St Peter. Right-hand panel of the bronze doors of St Peter’s Basilica, Vatican, Rome (fifteenth century). ) Signposting Peter and Paul 19 martyrdom, Vegio was inadvertently applying a method of triangulation more familiarly deployed in later surveying techniques. In doing so, Vegio infers an ‘intentionality’ of topographical relationships; the banks of the Tiber River, of which the two ancient pyramids were inextricably related, was predestined to ‘host’ the execution.
15 Commissioned by the Gonzaga family in Mantua in the fifteenth century, the depictions utilise features of other triumphs that ancient sources describe, such as that of Aemilius Paullus. Mantegna’s paintings demonstrate how the reception of the triumph of Caesar effectively becomes the Roman triumph par excellence. In terms of identifying and representing key topographical features along the route, these depictions were also probably influenced by the well-known fifteenth-century reconstruction of the Via Triumphalis by Flavio Biondo, from his Roma Triumphans, Book X.
A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints) by Egon Wellesz