By Egon Wellesz
The heritage of Byzantine song and Hymnography was once first released in 1949 and has for ten years been the traditional textbook in this topic. fresh growth during this box, even if, due partially to the author's personal paintings, has made a moment revised and enlarged version worthy. The sections on Byzantine liturgy and on Byzantine notation were rewritten and significantly prolonged. New chapters were extra at the melismatic type and on liturgical chant right. therefore, for the 1st time, the whole box of Byzantine musicology has been lined and the second one variation might be necessary not just to all these drawn to Byzantine reports 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 inventive occupation used to be divided among Vienna and Oxford, his musical variety was once unpredictable, exhibiting his affection for gorgeous melody usually with extensive leaps and angular in profile. Wellesz studied in Vienna below 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 affects formed a lot of his musical and scholarly suggestion. In 1913, Wellesz embarked upon what may turn into a lifelong research of Byzantine track.
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Additional info for A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints)
The similes have an additional dimension of demystification. The first is a sailor’s yarn (“as seamen tell”), the second is a fairy tale, and possibly a dream; both are staged in the darkness and uncertainty of night. 740)—which seems to contain its own etiological explanation of how a falling star might have been erringly converted by fable into a falling deity, fits into this pattern. Book 1 already provides a generic home for the devils as make-believe fairies by means of two similes in its later section that evoke the romances of chivalry.
In addition to resembling the Dead Sea and the stormy waves outside of Virgil’s Carthage, Milton’s lake is a kind of Red Sea from which Satan and his crew may make a temporary exodus, but to which they are destined to make a final return, like Pharaoh’s army: “The depths have covered them: they sank into the bottom as a stone” (Exodus 15:5). 20 But here, too, the catalog is closely connected to the action of book 1 and the ensuing construction of Pandaemonium. It lists the neighboring gods of the Israelites whose cults were introduced into Jerusalem itself.
37 The devils’ clashing of their swords against their shields invites, in fact, a double interpretation. ”39 The fallen angels similarly appear to confirm Satan’s call for war and to be spoiling for a fight. But clashing one’s sword against one’s shield had acquired a different possible meaning between Roman times and Milton’s own. ” A Ruffian is the same with a Swaggerer, so called because endeavoring to make that Side to swag or weigh down, whereon he engageth. The same also with Swash-Buckler, that from swashing, or making a noise on Bucklers.
A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints) by Egon Wellesz