Venice in the East: Renaissance Crete and Cyprus (Performances released on CD and contextual information)
- Submitting institution
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City, University of London
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 1263
- Type
- I - Performance
- Venue(s)
- St. Stephen Catholic Church, Portland, Oregon
- Open access status
- -
- Month of first performance
- May
- Year of first performance
- 2019
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Through its nearly 75 minutes of music, the vast majority of it previously unrecorded, and 24-page booklet, Venice in the East offers a reappraisal of Greco-Latin musical relations during the later Middle Ages and early Renaissance in areas under Venetian rule. Incorporating research that I presented in still unpublished conference papers (offered here as contextual information), it shows that: 1. Mimetic rituals that accrued to Greek and Latin liturgy for the Triduum of Good Friday to Easter Sunday in Northern Italy and Venice's Greek colonies developed in parallel, mutually influencing each other through the exchange of texts and music; 2. Efforts after the Council of Ferrara-Florence to incorporate Greek Orthodox clergy and laity into the Roman Catholic Church influenced the practice of Byzantine music in areas under Italian rule. Particularly striking is the setting in Greek by Gazes and Plousiadenos of the Gloria in excelsis of the Roman mass I edited, constituting an attempt to convey the rhythms of mensural cantus fractus in Byzantine neumes. My original research underpinning this output includes: · Undertaking comparative study of Byzantine and north Italian liturgical and musical sources of the fifteenth and sixteenth centuries, leading to my selection of the items recorded · Writing the scholarly essay included in the accompanying booklet, complete with bibliography and manuscript call numbers · Applying current research findings on 15th- and 16th-century notation to produce performing editions in modern Byzantine and/or staff notations (myself editing the items on tracks 6, 14 and 16, while delegating six other scores to I. Arvanitis and one to T. Dumitrescu) · Applying current research findings on 15th- and 16th-century performance practice to realise the music in performance (including items sung directly from facsimiles of original sources), in which I both sang and directed the ensemble.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
