the mocking of the Christ, scene of the musicians, Staro Nagoričane monastery
Serbian Medieval music, like the art of the period, developed within the sphere of the activities of Byzantine culture in the Serbian state from the 12th to the 15th centuries.[1] However, it also continued to develop during the five centuries of slavery under the Turks. The singing was one-part, done as a solo or by a choir (in the two choirs of the church). Through hand movements, the director (domestikos) indicated the flow of the melody which was learned by heart. The lead singer (protopsaltos) would sing the initial intonational formula which was actually an abbreviated melodic preparation for the song, a melodic-rhythmic unit which characterised a certain church melody (knowledge of these formulae made it possible for an experienced singer to sing the whole song). Then the song would be started in unison, in one voice with the choir, though songs could also have other forms as well. If the melody were melismatic, the soloist would sing alone, accompanied by a sustained tone by the choir, the ison. As sources (models) for the Serbian church melodies were the melodies of the Osmoglasnik. The Osmoglasnik was a collection of church songs for the Sunday service dedicated to the resurrection of Christ. These songs were repeated cyclically over eight weeks throughout the church year in one of the eight church voices - each voice corresponded to a certain modus based on a defined number of formulas. The songs of the Osmoglasnik served as a model for the creation of other church songs. Songs dedicated to Serbian sovereigns had a significant impact, as did those songs written by Serbian writers: in those songs the Medieval notes (the neume) are not to be found, but there are symbols for certain voices, which means that they were meant to be sung.
A certain number of Medieval Serbian manuscripts record the neumes. Their author was probably Kir Stefan the Serb,[2] whose works reveal common melodic-rhythmical characteristics. Previous research has shown that he lived in the 15th century. Traces of his existence are found in the monastery in Kumanovo, in today's North Macedonia, in a monastery in Romania, but also in the court of despot Lazar Branković in Smederevo. His work was followed by Nikola the Serb and Isaiah the Serb, whose songs were written in honour of Serbian saints. Even though Kir Stefan, Isaija and Nikola are the only reliably Serbian Medieval composers known till now, there is another name: "Joachim domestikos of Serbia" — as he signed in 1453 in more places in the manuscript number 2406 from the Athens National library.
music, serbia, confused, with, music, serbia, album, soloist, dragoslav, pavle, aksentijević, with, ensemble, renaissance, released, 1987, label, released, 1997, most, material, from, this, album, remaster, from, music, serbia, only, this, edition, dedicated, . Not to be confused with Music of the Old Serbia Music of Old Serbia is an album by soloist Dragoslav Pavle Aksentijevic with Ensemble Renaissance released in 1987 on the PGP RTs label re released in 1997 Most of the material from this album is a remaster from Music of the Old Serbia only this edition is dedicated exclusively to the Medieval Serbian chant and important members of the Serbo Byzantine school Music of Old SerbiaStudio album by Ensemble RenaissanceReleased1987 1987 GenreEarly musicLabelPGP RTSEnsemble Renaissance chronologyMon amy 1987 Music of Old Serbia 1987 Vidovdan 1989 Alternate cover Contents 1 Content 2 Track listing 3 Personnel 4 References 5 External linksContent Edit nbsp the mocking of the Christ scene of the musicians Staro Nagoricane monasterySerbian Medieval music like the art of the period developed within the sphere of the activities of Byzantine culture in the Serbian state from the 12th to the 15th centuries 1 However it also continued to develop during the five centuries of slavery under the Turks The singing was one part done as a solo or by a choir in the two choirs of the church Through hand movements the director domestikos indicated the flow of the melody which was learned by heart The lead singer protopsaltos would sing the initial intonational formula which was actually an abbreviated melodic preparation for the song a melodic rhythmic unit which characterised a certain church melody knowledge of these formulae made it possible for an experienced singer to sing the whole song Then the song would be started in unison in one voice with the choir though songs could also have other forms as well If the melody were melismatic the soloist would sing alone accompanied by a sustained tone by the choir the ison As sources models for the Serbian church melodies were the melodies of the Osmoglasnik The Osmoglasnik was a collection of church songs for the Sunday service dedicated to the resurrection of Christ These songs were repeated cyclically over eight weeks throughout the church year in one of the eight church voices each voice corresponded to a certain modus based on a defined number of formulas The songs of the Osmoglasnik served as a model for the creation of other church songs Songs dedicated to Serbian sovereigns had a significant impact as did those songs written by Serbian writers in those songs the Medieval notes the neume are not to be found but there are symbols for certain voices which means that they were meant to be sung A certain number of Medieval Serbian manuscripts record the neumes Their author was probably Kir Stefan the Serb 2 whose works reveal common melodic rhythmical characteristics Previous research has shown that he lived in the 15th century Traces of his existence are found in the monastery in Kumanovo in today s North Macedonia in a monastery in Romania but also in the court of despot Lazar Brankovic in Smederevo His work was followed by Nikola the Serb and Isaiah the Serb whose songs were written in honour of Serbian saints Even though Kir Stefan Isaija and Nikola are the only reliably Serbian Medieval composers known till now there is another name Joachim domestikos of Serbia as he signed in 1453 in more places in the manuscript number 2406 from the Athens National library Track listing EditAll tracks produced by Ensemble Renaissance Music of Old SerbiaNo TitleWriter s Length1 Hilandarska zvona The bells of Hilandar 1 032 Pryiidѣte Vsi Zemlnorodny Come All You Earth born Isaiah the Serb1 153 VkȢsite i Vidite Taste and See Kir Stefan the Serb2 044 Ninyia Sili Now the Celestial Powers Kir Stefan the Serb5 235 Servikon Sticheron for the Entrance of the Virgin anonymous 1553 2 136 Gospodi Vozzvah Lord I Have Cried anonymous 18th century3 037 Prѣzrѣv Nizhnѧ Canon for Saint Sava anonymous 18th century3 298 Vskliknѣte Bogovi Make a Joyful Noise Isaiah the Serb1 299 Ἅgios ὁ 8eos Svety Bozhe Holy God Isaiah the Serb2 0810 AllilȢia Alleluia Isaiah the Serb0 5911 SȢgȢba Ektenia The Litany of Fervent Supplication anonymous 14th century3 5812 Xeroybikon Oi tois Xeroybeim Cherubic Hymn Nikola the Serb3 3913 KrstȢ TvoemȢ Before Thy Cross Isaiah the Serb0 5214 Two songs in honor of Saints Cyril and Methodius anonymous 11th century3 3715 Serbian Koinwnikon Praise The Lord From The Heavens anonymous 1652 1 1316 Polyeleos Serbikos Serbian Polyeleios Isaiah the Serb15 0917 Krathma Terirem Kratima Terirem Joakim domestikos of Serbia2 2418 Hilandarska zvona The bells of Hilandar 0 58Personnel EditThe following people contributed to Music of Old Serbia Dragoslav Aksentijevic Pavle domestikos Vlado Mikic voice track 11 Aleksandar Dodig ison Mihajlo Đoric ison Milan Milijanovic ison Nebojsa Spasic ison Stanimir Spasojevic isonEnsemble Renaissance soloists Dragan Mlađenovic voice ison Miomir Ristic ison Ljudmila Gross Maric voice track 14 Vojka Đorđevic voice track 14 References Edit Project Rastko THE HISTORY OF SERBIAN CULTURE Roksanda Pejovic Medieval music Kir Stefan Srbin Menu External links Editalbum on discogs Retrieved from https en wikipedia org w index php title Music of Old Serbia amp oldid 1157293586, wikipedia, wiki, book, books, library,
