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Rezumat articol ediţie STUDIA UNIVERSITATIS BABEŞ-BOLYAI
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Rezumat: Diatonicity and Chromaticism in Transylvanian Church Music of the Byzantine Tradition. The Byzantine musical cultural suffered on time evolutions and changes which often changed its character and style much to sober of a grandiose art above all. One side of this evolution and change has an impact upon the chromatic mode of the Byzantine music. Some Byzantinologists among who I. D. Petrescu, Titus Moisescu, Gr. Panţiru, O. L. Cosma after the studies and researches made on the history of this art gave the hypothesis that the chromatic mode was not a part of the modal structures of the Byzantine voices but is the rezult of same Eastern influences, obvious especially after 1453, the year the Byzantine Empire influences, fell under Turkish rule. The chromatic mode developed and penetrated into the church’s music also as a consequence of the Byzantine music reform, made by Hrisant of Madith at 1814 at Constantinople. Another category of Byzantinologists led by Gh. Ciobanu think that the chromatic mode was a constitutive part of the modal structures of the Byzantine music from the very beginning. In Transylvania the second mode and its derived mode, the sixth mode have more melodic variants, diatonically as well as chromatically, which shows that in this side of the country the church’s music developed in a strong connection with the church’s music of Byzantine origin which existed in the Romanian Principalities, but shows also that this mode has some characteristics and specific features belonging to the variants from Transylvania, noted for the first time by the priest Dimitrie Cunţanu, at Sibiu in 1890 and by the priest and composer Celestin Cherebeţiu at Blaj in 1930. |
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