By Egon Wellesz
The historical past of Byzantine song and Hymnography was once first released in 1949 and has for ten years been the normal textbook in this topic. fresh development during this box, even if, due partially to the author's personal paintings, has made a moment revised and enlarged variation helpful. 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 total box of Byzantine musicology has been lined and the second one variation can be crucial not just to all these attracted to Byzantine stories but additionally to scholars of japanese liturgy. Egon Joseph Wellesz (1885-1974) used to be an Austrian composer, musicologist, and instructor. His significance as a composer rests mainly on his degree works and symphonies. whereas his inventive occupation was once divided among Vienna and Oxford, his musical sort used to be unpredictable, exhibiting his affection for gorgeous melody frequently with vast leaps and angular in profile. Wellesz studied in Vienna lower than Schoenberg - purportedly his first deepest student - in addition to Guido Adler, who based the musicological institute in Vienna and used to be a number one editor of the Denkmäler der Tonkunst Österreich. those twin affects formed a lot of his musical and scholarly idea. In 1913, Wellesz embarked upon what could develop into a lifelong examine of Byzantine song.
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Extra info for A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints)
Categorizing produces items, not individuals. In order to obtain individuals, one needs to create a narrative out of a situation. This narrative can be minimal: “There is a horse in the barn” is enough to summon a horse. “Horses are animals,” “horses have four feet,” “horses can be white,” “horses are not literate,” etc. cannot deliver any equine individual. In De grammatico, Anselm went as close as he possibly could to thinking of the individual and the process of individualization in a logical fashion (not in an ethical, legal, or theological fashion).
There are no logical reasons to make a distinction between a man, a book, a stone, or a horse, as particulars or individuals. But if we take proper names as the highest index of individualization, we can see that there are only two categories of beings or items which are susceptible to receiving a proper name: animals and places. By animals, I mean living beings, including humans and any thing that may be assimilated to a living being, even if it is not living (when a boat is named, she becomes assimilated to a living being).
45 If I listen to Tiecelin while not believing in his existence, I also may not agree with his justiﬁcation of theft. The interest of such non-things as rational animals, pagan demigods, and Arthurian knights is that they can be signiﬁcant without having any existential weight or authority. Anything they are reported to have said or done is subject to evaluation, discussion, and doubt, because they are inhabitants of a realm of signiﬁcation that is not exhausted by a referential analysis. 47 This disjunction allows ﬁction to stand not as a degraded reﬂection of reality but as a space of semiotic and ontological experimentation, as just one possible set of non-things among many.
A History of Byzantine Music and Hymnography (Oxford University Press academic monograph reprints) by Egon Wellesz