Patriarchial ifos in the perception of Greek church chanters

IF 0.2 0 MUSIC Muzikologija-Musicology Pub Date : 2021-01-01 DOI:10.2298/muz2131129p
V. Peno
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Abstract

The paper deals with the so-called patriarchal - Constantinople ifos in the recent church-singing tradition. Different aspects of this phenomenon are presented, about which numerous stereotypical attitudes have been expressed in different kind of narratives. In considering the phenomenon of ifos in this study, we started from the fact that it was at the center of a dispute between the reformers of the late Byzantine Neum notation - the so-called the ?old method? and the conservative among Constantinople?s renowned singers, who did not accept the ?new method? without resistance. It was also stated that the patriarchal ifos by inertia and not always justifiably attributed to the singers who were active in the Church of St. George on Fanar. Also, arguments were presented in favor of a critical review of contemporary discourses in which the ideologized belief is repeated that the Constantinople throne is the guarantee of any kind of saint church tradition, and thus the patristic Orthodox church music.
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父权在希腊教会唱诗班的观念中占有重要地位
本文论述了近代教会唱诗传统中所谓的君士坦丁堡宗法。这一现象的不同方面被呈现出来,许多刻板的态度在不同的叙述中被表达出来。在考虑本研究中的ifos现象时,我们从这样一个事实开始,即它是晚期拜占庭新记数法改革者之间争论的中心-所谓的“旧方法”?君士坦丁堡的保守派呢?美国著名歌手谁不接受“新方法”?没有阻力。还有人指出,父权制度是由惯性造成的,并不总是合理地归因于在法纳尔岛圣乔治教堂活跃的歌手。此外,还提出了一些论点,支持对当代话语进行批判性的回顾,在这些话语中,意识形态化的信仰被重复,即君士坦丁堡的王位是任何一种圣徒教会传统的保证,因此是教父东正教教堂音乐的保证。
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
5
审稿时长
12 weeks
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