“Dance Music” in Byzantium and in the Balkans by Angeliki Liveri

IMS-RASMB, Series Musicologica Balcanica 1.2, 2021. e-ISSN: 2654-248X

DOI: https://doi.org/10.26262/smb.v1i2.7932

©2021 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercial NoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc- nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. The copyright for eventually included manuscripts belongs to the manuscript holders.

Liveri, “Dance Music” in Byzantium…

“Dance Music” in Byzantium and in the Balkans

Angeliki Liveri

Abstract: This paper will present a selection of representations belonging to Byzantine art, which show dance performances accompanied by music, by focusing on the time frame from the early to the late Byzantine period. Such pictures appear in various kinds of Byzantine art (e.g. wall paintings, sculptures, ivories, and illuminated manuscripts). However, only in a few of them, musicians and their musical instruments are depicted. Only a small number of these motifs is available. Most of these illustrations are linked with religious texts (New or Old Testament and psalms). Greek mythology also inspired a great number of them. Very few have a secular character inspired by literature or historical events. The representations will be combined and compared with references in written sources and archaeological remains. Songs, dance and music were performed in various occasions and places, e.g. in the imperial palace, in aristocratic palaces, in houses of ordinary people, in public places and in the countryside. This paper aims to highlight the presence of music at the dances in Byzantium, as well as the similarities and differences of these motifs in the contemporary art of the Balkan countries, which were under its cultural influence (e.g. Serbia, Bulgaria and Romania), making comparisons among the works originating from these regions.

Keywords: Byzantium, Balkan, Art, Music, Dance.

In Byzantine art, a small number of dance representations with musical accompaniment is preserved. I have selected representative dance images, which I classified in accordance with the number and type of the accompanied musical instruments that they illustrate.1 These are usually religious dances, according to

1 Regarding the terminology of Byzantine musical instruments see: Nikos Maliaras, Βυζαντινά Μουσικά όργανα (Athens: C. Papagrigoriou ‒ H. Nakas Co, 2007), 64-98; 163-166; 173-179; Maria Voutsa, «Γλωσσάριο μουσικών οργάνων της βυζαντινής και μεταβυζαντινής περιόδου,» in Ελληνικά Μουσικά ΄Οργανα. Αναζητήσεις σε εικαστικές και γραμματειακές μαρτυρίες (2000 π. Χ. – 2000 μ.Χ.), ed. Alexandra Goulaki-Voutira (Thessaloniki: Telogleio Fondation of Art, Aristotle University of Thessaloniki, 2012), 199-255: both with references; “Byzantine Musical Instruments”: Koç

24 Liveri, “Dance Music” in Byzantium… texts of the Old and the New Testament: The Odes of Moses in Exodus and the Psalms of David (149 and 150). They appear in illuminated manuscripts, dated from the 9th to the 14th century, and in wall paintings, mainly during the late Byzantine period (especially in the 14th c.). Only minimal evidence is available from other source materials (e.g. ceramic, marble and ivory reliefs), as well as from secular art.

Ι. Percussion instruments

Castanets, krotala or rattles

Castanets, krotala or rattles2 are played either by one dancer in individual dances, or by one or more dancers in group dances. Long krotala, i.e. krotala with a long handle3 are held by dancers in some representations i.e. Salome in the Banquet of Herod in the fresco of St. John at Çavuşin of Cappadocia (7th c.).4 Similarly, the dancers on the marble reliefs of the Obelisk base (figs. 1a, b) of the emperor Theodosius the Great (390-395) at the Hippodrome of Constantinople (end of the 4th c.) use this type of krotala or castanets.5 Here, their sound is combined with the music

University – Stavros Niarchos Foundation Center for Late Antique and Byzantine Studies (GABAM Byzantine Musical Instruments Collection): https://libdigitalcollections.ku.edu.tr/digital/collection/BMI/search (January 15. 2021).

2 They are terms for the same instrument (in plural, because it was holding a pair in each hand), sometimes with small differences. Here I will use the term long krotala to distinguish them of the short ones. 3 Bachmann also uses the term clappers on stick: Werner Bachmann, “Musikdarbietung im Hippodrom von Konstantinopel,” Imago Musicae XXI/XXII (2004/2005): 193-227; Currie following him uses the term cymbal tongs (kymbala) for the krotala which hold the dancers on the Obelisk base (see below): Gabriela Currie, “Glorious Noise of Empire,” in Medieval and Early Modern Performance in the Eastern Mediterranean, eds. Arzu Öytürkmen, and Evelyn Birge Vitz, LMEMS 20 (Turnhout: Brepols, 2014), 432-433; cf. Liveri Angeliki, “Byzantine and Western Medieval Royal Dances,” forthcoming. 4 Nicole Thierry, Haut Moyen Âge en Cappadoce. Les églises de la region de Çavuşin, vol. 1 (Paris: Librairie Orientaliste Paul Geuthner, 1983), 86-90, fig. 34, pls. 36a, 37a, b, e; Angeliki Katsioti, «Οι σκηνές της ζωής και ο εικονογραφικός κύκλος του Αγίου Ιωάννη Προδρόμου στη βυζαντινή τέχνη» (PhD diss., University of Ioannina, 1996), 124-128, 130, fig. 6; Angeliki Liveri, “Der Tanz in der mittel- und spätbyzantinischen Kunst,“ in Vierzig Jahre Institut für Byzantinistik und Neogräzistik der Universität Wien im Gedenken an Herbert Hunger, eds. Wolfram Hörandner et al., Byzantina et Neograeca Vindobonensia XXIV (Wien: Verlag der Österreichischen Akademie der Wissenschaften, 2014), 289. 5 André Grabar, Die Kunst im Zeitalter Justinians. Vom Tod Theodosius I. bis zum Vordringen des Islam (München: Verlag C. H. Beck, 1967), 219, figs. 245-246; Bachmann as in note 3; Albrecht Berger, “Die akustische Dimension des Kaiserzeremoniells. Gesang, Orgelspiel und Automaten,“ in Visualisierungen der Herrschaft. Frühmittelalterliche Residenzen ‒ Gestalt und Zeremoniell, ed. Franz Alto Bauer, Internationales Kolloquium 3./4. Juni 2004 in Istanbul. Veröffentlichung des Deutschen Archäologischen Instituts Istanbul, Byzas 5 (2006), 63-77, fig. 1; Jean-Pierre Sodini, “Images sculptées et

25 Liveri, “Dance Music” in Byzantium… of the hydraulic organ, the syrinx of Pan/panpipes, the double flute and the long trumpet. A similar type of krotala is also used in dance performances in Egypt, as show representations of Coptic Art in textiles, or other archaeological finds, such as real instruments and terracotta statuettes representing krotalists.6 Long krotala, or perhaps a kind of rattles also appear in dance scenes depicted on miniatures of illuminated manuscripts of the 11th and 12th centuries, combined with other instruments: e.g. they are played by the young woman, who is dancing behind Rea in Zeus’ birth, participating at the ensemble of four musicians-corybantes, in the miniature of the cod. Taphou 14, fol. 310v in Jerusalem (mid. 11th c.);7 In the 14th century, the motif of krotala-holding dancers in combination with other instruments reappears in illustrations in Bulgaria (wall paintings in the Trasfiguration Chapel in the Chrelio’s/Khrelio’s tower in the Rila monastery, ca. 1334-1335)8 and in Serbia (on

propaganda impériale du IVe au VIe siècle: recherches récentes sur les collonnes honorifiques et les reliefs politiques à Byzance,” in Byzance et les images: Cycle de conférences organisé au Musée du Louvre par le Service culturel du 5 octobre au 7 décembre 1992, eds. Andre Guillou and Jannic Durand (Paris: Documentation Française, 1994), 67-73, figs. 18-19; Paola Dessì, L’organo tardo antico. Storie di sovranità e diplomazia (Padova: CLEUP, 2008), 75-84, fig. 8; Maliaras, Βυζαντινά όργανα, 282- 283, 411-413, fig. 193; Gabriela Currie, «Απεικονίσεις μουσικών οργάνων στη βυζαντινή και μεταβυζαντινή εικονογραφία,» in Ελληνικά Μουσικά ΄Οργανα. Αναζητήσεις σε εικαστικές και γραμματειακές μαρτυρίες (2000 π.Χ. – 2000 μ.Χ.), ed. Alexandra Goulaki-Voutira (Thessaloniki: Telogleio Fondation of Art, Aristotle University of Thessaloniki, 2012), 131-132, fig. X.1; Currie, “Glorius Noise,” 430-433, fig. 26.1; cf. note 3 above: I find that the use of the term Kymbala for this example brings more confusion: a) with cymbals and b) because is not distinguishable the form of the upper part of this instrument on the marble base: is it cymbals-like or another one? It fits only, when a pair of small cymbals mounted on a long handle, perhaps flexible are (cf. the next note); Liveri, as in note 3.

6 Marie-Hélène Rutschowscaya, Tissus coptes (Paris: Adam Biro, 1990), 111, 123; Marie-Hélène Rutschowscaya and Dominique Bénazeth, eds., L’art Copte en Égypte. 2000 ans de christianisme. Exhibition Catalogue (Paris: Gallimard, 2000), 168, 226f, nos. 170, 284-287; Helen C. Evans and Brandie Ratliff, eds., Byzantium and Islam. Age of Transition 7th ‒ 9th century (New York: The Metropolitan Museum of Arts, 2012), 195f, no. 137. For the Coptic examples, the term cymbal tongs would fit very well, because here the krotala or rattles consist of small cymbals mounted on a long handle.

7 George Galavaris, The illustrations of the Liturgical Homilies of Gregory Nazianzenus, Studies in Manuscript Illuminations 6 (Princeton N. J.: Princeton University Press, 1969), 222-227; Joachim Braun, “Musical Instruments in Byzantine illuminated Manuscripts,” Early Music 8, no. 3 (July 1980): 318, fig. 2f; Thomas Steppan, “Tanzdarstellungen der mittel- und spätbyzantinischen Kunst. Ursache, Entwicklung und Aussage eines Bildmotivs,“ Cahiers Archéologiques 45 (1997):159-160. Panajotis L. Vocotopoulos, Μικρογραφίες των Βυζαντινών χειρογράφων του Πατριαρχείου Ιεροσολύμων (Athens ˗ Jerusalem: Patriarchat of Jerusalem, 2002), 124f, 174˗176, fig. 283; Ioannis Spatharakis, The Illustrations of the Cynegetica in Venice. Codex Marcianus Graecus Z 139 (Leiden: Alexandros Press, 2004), 245, fig. 168; Maliaras, Βυζαντινά όργανα, fig. 2; Currie, «Απεικονίσεις μουσικών οργάνων,» 135, fig. X. 7. 8 Assen Tschilingirov, Die Kunst des christlichen Mittelalters in Bulgarien. 4. bis 18. Jahrhundert (München: Beck Verlag, 1979), 68, figs. 136-137; Zoe Kazazaki et al., eds., The Routes of Orthodox Monasticism. Monasteries of the Via Egnatia, 2 (Heraklion: The Greek Ministry of Culture, 1999), 116-118, fig. on p. 117; Assen Kirin, “Contemplating Vistas of Piety at the Rila Monastery Pyrgos,” Dumbarton Oaks Paper

26 Liveri, “Dance Music” in Byzantium… miniatures of illuminated Serbian manuscripts, e.g. in the Serbian Psalter, cod. Mon. Slav. 4, fol. 186v, fig. 2).9 - I will return to this topic later. In the next depictions, we could identify krotala made by two short lengths of wood strung together. These are held by the first Hebrew woman on the lower part of a miniature representing the Crossing of the Red Sea (cod. Dep. Museo 4, fol. 287v in the National Library of Palermo, last quarter of 12th c.).10 Similar instruments are held by Salome at the banquet of Herod on a miniature of an Armenian illuminated manuscript (codex Erevan Matenadaran 7651, fol. 43r, 2nd half of the 13th c. or 1320)11 and by a female folk dancer decorating a ceramic bowl from Cyprus (13th c.).12 In these examples, the dancers hold the krotala differently: The Hebrew woman has krotala in each hand and raises them above her head. Salome has her two arms raised with bent elbows just above the waist. The folk dancer makes a quick turn to the left looking frontally, while playing the krotala, the so called Feggia, bringing her hands at the left side.

59 (2005): 128-131, fig. 45w; Margarita Koeva, Das Rilakloster (Sofia: Borina, 2006), 47; Magdaline Parcharidou, «Οι Αίνοι στη μνημειακή ζωγραφική του 16ου αιώνα (Συμβολή στη μελέτη του θέματος, με αναφορές σε μνημεία του 5ου-19ου αιώνα)» (PhD diss., University of Thessaloniki, 2000), 48-50, figs. 25d, e, 26; Currie, “Απεικονίσεις μουσικών οργάνων,” 148, fig. X.33. 9 Josef Strzygowski, Die Miniaturen des serbischen Psalters der Königl. Hof- und Staatsbibliothek in München. Denkschriften der Kaiserlichen Akademie der Wissenschaften, Philos.-hist. Klasse, 52, Abh. 2 (Vienna: Aus der Kaiserlich-Koniglichen̈ Hof- und Staatsdruckerei, 1906), 68-69, pl. XLVI, 107; Roksanda Pejovic, Musical Instruments in Medieval Serbia (Serbian Academy of Sciences and Arts, Institute of Musicology. Monographs, vol. DXLIX. Department of Fine Arts and Music, no. 4) (Beograd: Serbian Academy of Sciences and Arts, 1984), fig. 85; Hans Belting, ed., Der Serbische Psalter. Faksimile-Ausgabe des Cod. Slav. 4 der Bayerischen Staatsbibliothek München, Textband unter Mitarbeit von Suzy Dufrenne, Svetozar Radojčić, Rainer Stichel, Ihor Ševčenko (Wiesbaden: Ludwig Reichert, 1978/1981); Hans Belting, ed., Der serbische Psalter: Textband zur Faksimile-Ausgabe des Cod. Slav. 4 der Bayerischen Staatsbibliothek München (Wiesbaden: Ludwig Reichert, 1990), 250-251.

10 Anthony Cutler, The Aristocratic Psalters in Byzantium (Paris: Picard, 1984), no. 38, 61-63, esp. 61, fig. 237. 11 Thomas F. Mathews and Avedis K. Sanjian, Armenian Gospel Iconography. The Tradition of the Glajor Gospel, Dumbarton Oaks Studies 29 (Washington D. C.: Harvard University Press, 1991), fig. 92c; Katsioti, “Κύκλος Προδρόμου,” 123, 130, fig. 144; Liveri, “Tanz,” 289-290.

12 Athens, Benake Museum, no. 13609: Dimitra Papanikola-Bakirtzi, Εργαστήρια Κύπρου ‒ Μεσαιωνική εφυαλωμένη κεραμική της Κύπρου. Τα εργαστήρια Πάφου και Λαπήθου (Thessaloniki: A. G. Leventis Foundation, 1996), 102, no. 73, pl. XV, 73, dr. V: 1; Dimitra Papanikola-Bakirtzi et al., eds., Βυζαντινή κεραμική στο Μουσείο Μπενάκη (Athens: Benake Museum, 1999), 161, no. 335; Liveri, “Tanz,” 292, fig. 4; Anastasia Drandaki et al., eds., Heaven & Earth. Art of Byzantium from Greek Collections, Exhibition Catalogue (Athens: Benake Museum, Hellenic Ministry of Culture, 2013), 241, no. 112 (D. Papanikola-Bakirtzi).

27 Liveri, “Dance Music” in Byzantium…

Cymbals

Cymbals are depicted in three forms: a) Female dancers holding small, conical and hollow cymbals in each hand, raised above their head, give the rhythm in their dance movements. It is in this way that biblical figures such as Myriam, Salome and the anonymous Hebrew women who participated at historical and royal events and celebrations, or also anonymous folk women at wedding processions or in other private dance scenes move. Myriam is the cymbalist in miniatures of illuminated manuscripts of the Middle Byzantine period, from the 9th to the 12th centuries, in the scene After the Crossing of the Red Sea (after the Ode of Moses: Exodus 15:1-19). An inscription identifies the main figures as Μωυσής- Μαριάμ (Moses-Mariam). These manuscripts are mainly Psalters, as the Chludov (cod. 129, fol. 148v) (fig. 3),13 the Pantokrator (cod. 61. fol. 206r)14 and the Homilies of the Gregory of Nazianzus (cod. Par. Gr. 510, fol. 264v),15 all dated back in the late 9th c. The first two examples show similarities in their iconography: Myriam is depicted in a three-quarter position on the left with long black curly hair, wearing a long red dress with gold cuffs and a belt. Her left leg moves forward, whilst the right leg stays back. In the cod. Par. Gr. 510, Myriam dances frontally, playing the cymbals above her head and moving her right leg forward. Her hairstyle is different from the representations in the previous miniatures; Her hair falls behind her shoulders, while a veil waves in the rhythms of her dancing movement, exhibiting a courtesy elegance. Small differences are also evident in her dress: embroidery on the chest and a wide broad band on the hem. Myriam plays similar instruments in the Barberini codex (cod. Vat. Barb. gr. 372, fol. 249, late 11th or 1st quarter of the 12th c.).16 Here, she is also depicted in a three-quarter

13 M. V. Ščepkina, The Miniatures of Psalter Chludov, Faksimile, in Russian with English summary (Moscow: 1977), 148; Ioli Kalavrezou, “Dance as Ritual, Dance as Performance,” in Greek Ritual Poetics, eds. Dimitrios Yatromanolakis and Panajotis Roilos, Hellenic Studies Series 3 (Cambridge, MA‒London: Harvard University Press, 2004), 285, 287, fig. 5; Liveri, “Tanz,” 288.

14 Stylianos M. Pelekanides et al., eds. Οι θησαυροί του Αγίου ΄Ορους. Εικονογραφημένα Χειρόγραφα, v. 3 (Athens: Ekdotike Athenon, 1979), 265, fig. 233; Liveri, “Tanz,” 288, fig. 1. 15 Sirarpie Der Nersessian, “The Homilies of Gregory of Nazianzus,” Dumbarton Oaks Papers 16 (1962): 197-228, fig. 2; Steppan, “Tanzdarstellungen,” 145, fig. 4. 16 Jeffrey C. Anderson et al., eds., The Barberini Psalter: Codex Vaticanus Barberinianus Graecus 372 (Zürich: Belser, 1990); Steppan, “Tanzdarstellungen,” 146, fig. 7; Christoph Stiegemann, ed. Byzanz. Das Licht aus dem Osten. Kult und Alltag im Byzantinischen Reich vom 4. bis 15. Jahrhundert, Katalog der Ausstellung im Erzbischöflichen Diözesanmuseum Paderborn (Mainz am Rhein: Philipp von Zabern, 2001), 170˗175, no. I.62, fig. on p. 172 (A. von Euw); Axinia Džurova, Byzantinische Miniaturen. Schätze der Buchmalerei vom 4. bis zum 19. Jahrhundert, mit einem Vorwort zur deutschen Übersetzung von Peter Schreiner (Regensburg: Verlag Schnell und Steiner, 2002), 85f, 89, fig. 69; Maliaras, Βυζαντινά όργανα, 212 and 544, figs. 6 and 88; Currie, “Απεικονίσεις μουσικών οργάνων,” 134, fig. X.5.

28 Liveri, “Dance Music” in Byzantium… position, moves to the right playing conical cymbals, while she looks to the left. She is flanked by a female musician’s quartet which plays various musical instruments. Myriam’s position is similar with that of the woman cymbalist and dancer (fig. 4) represented in a wedding procession on the upper part of a miniature in the manuscript of Oppianos Cynegetica in the Biblioteca Marciana in Venice (cod. Marc. gr. Z 479, fol. 12v, 1st half of the 11th c., after Spatharakis ca. 1060).17 She is the first of the two women-dancers and she moves turning to the right. It is difficult to distinguish the cymbals’ form. The only iconographical differences with Myriam’s depiction are that in the latter, where she moves and looks to the right and wears different clothing, her dress is blue with red-golden embroidered bands around the neck, in the hem and belt. In the Barberini codex, Myriam’s dress is red, belt-less, with a blue waved veil. b) Small cymbals, the so-called roptra or bells are visible at female dances. The women hold them in each hand in two different ways: i. above their head as the unknown Hebrew woman, who dances for King David after his victory over Goliath in Par. gr. 139, fol. 5v (10th c., ca. 975)18 - the instrument is buried in her right palm; ii. with the right hand raised above the head and the left down, as the fourth dancer of Myriam’s group in Octateuchs of the 11th and 12th centuries (cod. Vat. gr. 746, fol. 194v; cod. Vat. gr. 747, fol. 90v, cod. Serai/Topkapi G.I.8, fol. 200r and in Smyrne, fol. 82v).19 c) Great cymbals like small dishes belong to a third group; we will discuss these later, in combination with other instruments.

17 Italo Furlan, Codici Greci illustrati della Biblioteca Marciana, vol. V (Padova: Stendahl, 1988), fig. 17b; Jorgos Galavaris, Ελληνική Τέχνη. Ζωγραφική Βυζαντινών Χειρογράφων (Athens: Ekdotike Athenon, 1995), 84, 227, fig. 64; Steppan, “Tanzdarstellungen,” 158-159, fig. 24; Spatharakis, Illustrations of Cynegetica, 55, fig. 21; Kalavrezou, “Dance as Ritual,” 289, fig. 8. 18 Cutler, Aristocratic Psalters, 63, 65, no. 39, fig. 249; Kurt Weitzmann, “Euripides Scenes in Byzantine Art,“ Hesperia 18/2 (1949) or Classical Heritage in Byzantine and Near Eastern Art, Variorum Reprints VI (1981): 197-210, pl. 32, fig. 26; Liveri, “Tanz,” 288 with bibliography.

19 Steppan, “Tanzdarstellungen,”147-148, figs. 10, 11; Kurt Weitzmann Kurt and Massimo Bernabò, eds., with col. of Rita Tarasconi, The Byzantine Octateuchs, 2 vols. (Princeton New Jersey: Princeton Univeristy Press, 1999), 165-166, figs. 708-711, color fig. 10; Džurova, Byzantinische Miniaturen, 88, 146, fig. 68; Kalavrezou, “Dance as Ritual,” 291-292, figs. 11-12; Liveri,“Tanz,” 295, fig. 6; Maliaras, Βυζαντινά όργανα, 212-213, 221, figs. 87, 104-106 ( the author dates all Octateuchs to the 12th c.).

29 Liveri, “Dance Music” in Byzantium…

Tympana/drums

A drummer dances on a miniature of cod. 61, fol. 85r of the Pantokrator monastery (9th c.) mentioned above (fig. 5).20 He moves to the left wearing a long blue dress. On the left, another young man with a short blue dress, who is also a drummer, is depicted frontally. Both of them have their hand open holding objects to beat the horizontal hourglass drums with two impact membranes, which hang from their neck. They are identified by the inscription ΥΙΟΙ ΚΟΡΕ (Kores’ sons). Below, on the left, in a circle Apostle Paul can be seen to turn left. He is depicted as descendant of Benjamin, who is mentioned in the verse 28 of the 76th Psalm and identified by the inscription Ο άγιος Παύλος. A similar horizontal hourglass drum is also depicted on two other miniatures of the Chludov Psalter in Moscow (cod. MS D. 129, 5v and 37v, 9th c.).21 In the first example, the drummer is the figure on the left above, just behind the bow; the other figures on the miniature represent Christ, David and three other musicians (a tuba player, a cymbalist and a lute player). In the second example, according to the inscription, Idithun, who is depicted frontally, carries the drum. These drums are made to be played by hand. In later periods, the drummers used one or two stick-shaped keys, often with a curved edge. In the 14th century, a male tympanist accompanies a circular dance on miniatures of the Serbian Psalter (1370-1390), which represent the Psalm 150: in the Belgrade version, fol. 232r, the tympanist on the right accompanies a female circular dance, according to the verse 2.22 He leads the dance holding a drum-stick/drum beater with his right hand and with his left perhaps another to beat the drum which hangs around his neck. In the Munich version in the Bavarian State Library in Munich, cod. Mon. Slav. 4, fol. 184v, (fig. 6) the musician accompanies a male circular dance of eight persons, according to the verse 3.23 The dancers move, laying their arms on each other’s shoulders. The drummer is dancing alone on the right holding a drum with his left hand and a golden staff/stick-key with his raised right hand. These illustrations are located in the lower zone of the miniatures. The upper zone illustrates a crowd of men walking to the right and praising God with lutes and trumpets in the version-copy of Belgrade, fol. 232r. In the upper part of the fol. 184v,

20 Suzy Dufrenne, L’illustration des Psautiers Grecs du Moyen Age, Bibliothèque des Cahiers Archéologiques I (Paris: Librairie G. Klincksieck, 1966), 27, pl. 11; Pelekanides et al., Θησαυροί Αγίου Όρους 3, 265, 271, fig. 202; Currie, «Απεικονίσεις μουσικών οργάνων,» 133, fig. X.3; Voutsa, «Γλωσσάριο μουσικών οργάνων,» 219, fig. XIV. 41.

21 Ščepkina, Psalter Chludov, 1, 37; Maliaras, Βυζαντινά όργανα, 141, 238, fig. 62; Currie, «Απεικονίσεις μουσικών οργάνων,» 132-133, fig. X.2; X3.

22 Strzygowski, Miniaturen des serbischen Psalters, 67, fig. 29. 23 Ibidem, 66, pl. XLIV, 103/104; Pejović, Musical instruments, fig. 83; Belting, Serbischer Psalter, 247-248, pls. XVIII-XX; Parcharidou, «Αίνοι,» 34, 38, figs. 15a-c.

30 Liveri, “Dance Music” in Byzantium… from the left to the right, we can see, among the praising men two lute players, one of whom holds a kithara/Zither, and three trumpet players. The lower strip is separated from the upper by some verses and then follows the dance of eight men or women – it is difficult to distinguish the gender - and the drummer. If we look at these images as a whole, then we should classify them in the group with many musical instruments, which we will discuss later.

Musical combinations in dancing scenes

Cymbals and drum

We can also see some combinations of the music that accompanies dancing representations. They probably express their use in modern life as well, although most of them depict religious texts, usually psalms. The most typical combination of two percussion musical instruments is cymbals and the horizontal cylindrical drum with two impact membranes/or double-skin barrel-drum. Such a combination is visible in dance representations where female dancers play small cymbals, roptra, or bells. The last female dancer in the dance formations of four Hebrew women holds these instruments from their cord/rope or strap handle. This scene dates back to the 11th and 12th centuries and decorates miniatures of Octateuchs. It is depicted in some variations regarding the style (e.g. the dancers have different facial features). However, the iconography is the same. Myriam and her friends dance and play music again, e.g. in the Octateuchs mentioned above:24 a. in Vat. gr. 746, fol. 194v; b. in Vat. gr. 747, fol. 90v; c. in Serai/Τopkapi G.I.8, fol. 200r; and in Smyne, fol. 82v (ca. 1150). The first woman is playing a horizontal drum and the fourth is dancing playing small cymbals, roptra or bells, with the right hand raised above her head and the left down. She moves quickly to the left, while she looks on her right. A pair of women in the middle is dancing holding each other’s hands. In the third miniature, we can see a beautiful variation, where the middle dancers try to turn back. Another innovation is that the dresses of the dancers have no sleeves.

24 See above, footnote 19.

31 Liveri, “Dance Music” in Byzantium…

Krotala, cymbals and drum

We can also see a combination of various percussion instruments, e.g. krotala, cymbals, drums and rattles or bells in the next miniatures, which represent Myriam’s and the Hebrew’s women dance in a different artistic way. Three of the Hebrew women, who dance with Myriam, play a small horizontal drum, conical cymbals and krotala in a very beautiful miniature (fig. 2) of the Serbian Psalter (Munich version, cod. Mon. slav. 4, fol. 186v).25 Myriam is depicted in the center of the circle holding a handkerchief in each hand and with a blue flying veil around her. The last dancer holds handkerchiefs with the one hand as well. The drummer is seen inside the circle on the left. She carries a small cylindrical drum with her left hand, while the right hand is raised, holding the drum beater. Behind her, we can see the cymbalist who beats her conical cymbals and above on the right corner the krotalist is displayed, holding gold castanets/krotala in each hand. The instruments are difficult to distinguish because the background is also golden.

Krotala or rattles, cymbals, drums and bells

The representation of the same event in cod. Sin. gr. 61, fol. 235v (a Psalter made in the 13th c., ca. 1274, now found in the Monastery of St. Catherine in Sinai) is very interesting.26 The miniature is divided into two parts. In the upper part, four female musicians and dancers are placed. Three of them play great cymbals-like small dishes (or castanets/frame drums?) holding them in a different way: the first and the third cymbalists, with their hands raised above their head, the fourth woman down, in the high of her waist. The second woman plays a horizontal cylindrical drum/or double-skin barrel-drum. In this musician’s group, the two central figures seem to dance, while the other two women are standing quietly. On the contrary, in the lower part, four women dance ecstatically with vivid gestures and movements, while the last one on the right is standing and looking on the left. I can distinguish that on the left, the first woman holds a kind of long krotala or rattles and the second one bells with a long cord or strap. However, I cannot follow with certainty Braun’s identification of these instruments with double-ended rattles. Similarly, the cymbals held by the third woman, as he has proposed, are not visible or they are difficult to distinguish.

25 See above, footnote 9. 26 Braun, “Musical Instruments,” 323-324, fig. 7a, b; Cutler, Aristocratic Psalters, 112, 114, no. 57, fig. 401.

32 Liveri, “Dance Music” in Byzantium…

In the second example, a similar group of musicians, which consists of two cymbalists and a drummer, decorates a beautiful miniature of a Bulgarian Psalter, the so-called Tomič Psalter (GIM, Muz. 2752, fol. 249v, made around 1360).27 It was produced during the reign of Tsar Ivan Alexander, and it is regarded as one of the masterpieces of the Tarnovo literary and art school. It is exhibited in the State Historical Museum in Moscow. Myriam must be the fourth woman with the wave veil and the cymbals. We can see above the two cymbalists holding great cymbals (the first and fourth woman), a woman holding a bell with a long handle (the second behind the cymbalist), a drummer holding a small instrument with her left hand and her right hand raised holding the drum-beater (central figure). The tympanist and Myriam dance vividly alone, while in the lower part a group of five women dances in circle moving to the right. The second dancer seems to hold a small bell in her raised right hand. The sounds of a Psalter and a horizontal cylindrical drum with two impact membranes accompany the beautiful male circle dance on a wall painting in the Narthex of the Katholikon of Archangel Michael in Lesnovo/Serbia (fig. 7), which represents the Psalm 149 (A.D. 1349).28 Nine men dance holding crosswise each other. Behind them, on the left above, David is playing a trapezoidal psalter, while the personification of Melody on the right above plays a drum, which hangs from her neck, with two small sticks. The drum is decorated with cross ropes or straps. The two musicians are larger in scale than the dancers and carry halos. Similar musical instruments are represented in many other examples in medieval Serbia.29

27 Belting, Serbischer Psalter, 165-267; Axinia Džurova, Tomič Psalter, Monumenta Slavico-Byzantina et Mediaevalia Europensia, Facsimile edition, vol. I-II (Sofia: Kliment Ohridski University press, 1990), 111, pl. 69; Eadem, Byzantinische Miniaturen, 233, 238, fig. 169; Liveri, “Tanz,” 295, fig. 8. 28 Vojislav J. Djurić, Byzantinische Fresken in Jugoslawien (München: Hirmer, 1976), 272-274, fig. 64; Pejović, Musical instruments, pl. 146, fig. 14; Belting, Serbischer Psalter, 331, pl. XIX.1; Parcharidou, «Αίνοι,» 44-47, fig. 23.

29 See e.g. Pejović, Musical instruments.

33 Liveri, “Dance Music” in Byzantium…

II. String instruments

Lute music also accompanies Byzantine dances. A lute player is visible at the King David’s dance before the Ark of the Covenant in a miniature of the cod. Vat. gr. 333, fol. 46r (12th c.).30 King David is also depicted alone playing a lute-like instrument with a crooked neck on another miniature of the cod. Add. 49753, fol. 1v (2nd half of 12th c.) in the British Library.31 However, it is difficult to distinguish whether he is also dancing or he is seated, and the lute is resting on his raised left thigh. Nevertheless, there are many representations of David playing a lute-like instrument in various forms, such as in the cod. Lavra B26, fol. 209r, 12th c. (pear-shaped with a long neck and fiddler stick, fig. 8).32 Lute music is also combined with various instruments in dance scenes. So we can see a lute and cymbals player in cod. Vat. gr. 752, fol. 3r (1059/middle of 11th c.),33 while in the cod. 14 of the Esfigmenou monastery, fol. 400v, 11th c., a flute player has been added (figs. 9a, b).34 In the first picture, we can see the seated David playing a lute- like instrument or a rebec, with a long fiddle stick and a soundbox of a kithara. Two dancers and other musicians flank the poet-King. On the left, a musician plays cymbals; we cannot distinguish the other musical instruments. The inscription informs us about the depicted person, the musicians, the dancers and the songs

30 Jean Lassus, L’Illustration byzantine du Livre des Rois, Vaticanus Graecus 333, Bibliothèque des Cahiers Archéologiques IX (Paris: Librairie G. Klincksieck, 1973), 72-73; Steppan, “Tanzdarstellungen,” 150f, fig. 14; Thomas Steppan, “The Artukid Bowl: Courtly Art in the Middle Byzantine Period and Its Relation to the Islamic East,” in Perceptions of Byzantium and Its Neighbors (843-1261, ed. Olenka Z. Pevny (New York: The Metropolitan Museum of Art, 2000), 90, fig. 9; more details about the David’s dance and other royal dances in Liveri, “Royal dances.” 31 Cutler, Aristocratic Psalters, 50, 181, no. 31, fig. 179.

32 Pelekanides et al., Θησαυροί Αγίου ΄Ορους 3, 242, fig. 76; Cutler, Aristocratic Psalters, 23, no. 12, fig. 46; See more examples in George Galavaris, “Musical Images in Byzantine Art. An Outline,“ in Λιθόστρωτον. Studien zur byzantinischen Kunst und Geschichte, Festschrift für Marcell Restle, eds., Birgitt Borkopp and Thomas Steppan (Stuttgart: A. Hiersemann, 2000), 81f, fig. 4; Maliaras, Βυζαντινά όργανα, 111-133, figs. 3, 36, 184; Currie, «Απεικονίσεις μουσικών οργάνων,» 135f, fig. X. 8; Voutsa, «Γλωσσάριο μουσικών οργάνων,» 202, fig. XIV. 9. 33 Ernest T. De Wald, The Illustrations in the Manuscripts of the Septuagint. Psalms and Odes, vol. III, Psalms and Odes, Part 2: Vaticanus Graecus 752 (Princeton: Princeton Univerity Press; London: Oxford University press; The Hague: Martinus Nijhoff, 1942), 4, pl. V; Galavaris, “Musical Images,” 81; Maliaras, Βυζαντινά όργανα, 238, fig. 184; Currie, «Απεικονίσεις μουσικών οργάνων,» 137, fig. X.11; cf. Ioli Kalavrezou et al., “Critique of the Emperor in the Vatican Psalter gr. 752,” Dumbarton Oaks Papers 47 (1993): 195-219. 34 Stylianos M. Pelekanides et al., eds., Οι θησαυροί του Αγίου ΄Ορους. Εικονογραφημένα Χειρόγραφα. Παραστάσεις - επίτιτλα - αρχικά γράμματα, vol. 2 (Athens: Ekdotike Athenon, 1975), 381, fig. 375; Galavaris, Ζωγραφική βυζαντινών χειρογράφων, 128, 240, fig. 130; Voutsa, «Γλωσσάριο μουσικών οργάνων,» 201, figs. XIV. 3, XIV3a.

34 Liveri, “Dance Music” in Byzantium…

(«ωδούς τους λεγομένους βουκολίους»). The two dancers wear a long dress with long sleeves. The left one is kneeling and the right one is standing. In the second example, the lute’s form, which is played by the first woman, is different: It is a very large, thick and pear-shaped lute. Here, the statues in Hera’s temple are dancing: a man in the middle playing the flute, framed by two women, a lute and a cymbals player. This representation is depicted in the upper zone of the miniature, while in the middle various animals are depicted and in the lower part, King Kyros and the temple-priest observing the unusual event can be seen. More than three musical instruments are depicted in various combinations in dancing scenes. So, five different musical instruments are depicted in the next two examples: a. in the dance of Myriam in the miniature of the cod. Barberini gr. 372, fol. 249:35 Here we see that only Myriam is dancing and playing small conical cymbals with both hands raised above her head, as mentioned above. She is depicted in the middle of a group of four Hebrew women. Her companions prefer only to play music forming a small “musical ensemble/orchestra”: On the left, a flutist playing the transverse flute and a drummer playing a cylindrical tympanum with two impact membranes holding it with her right hand and beating it with a stick carved at the edge in her raised left hand, are depicted. On Myriam’s right, there are a cymbalist playing large cymbals in a vertical position and a lute player playing a guitar-shaped lute with a very long bowed fiddler stick. At the edge of the soundbox, a tuft hanging from the box keys and four side keys is illustrated. The lute’s shape is very interesting. It is also seen on other miniatures of the 11th century, such as in the Psalter of Theodoros, cod. Add. 19.352, fol. 191r (1066) in the British Library:36 In this scene, three women celebrate David’s victory over Goliath, leading a dance, according to the inscription, and playing a triangular harp and a lute, the latter with a very long bowed fiddler stick, as mentioned above. A similar lute is also visible in the cod. Tafou 14, fol. 310v in Jerusalem, in the scene which represents Zeus’ birth.37 The next example with five musical instruments comes from Bulgaria, and all the depicted figures are male. A group of five musicians is depicted on the ovest wall/west chamber of the naos in the Transfiguration Chapel on the last floor of Chrelio’s tower in the Rila Monastery (ca.1334-1335).38 Besides the musicians, on the east wall there is another group of eight male dancers who dance a circular dance with their hands crossed in front. According to David’s Psalms 149.3 and 150.4, the musicians play a long trumpet, a trapezoidal psaltery, a lute-like instrument with a long neck with four double cords, and a large cylindrical drum with two impact

35 See above, footnote 16. 36 Parcharidou, «Αίνοι,» 30-31; Maliaras, Βυζαντινά όργανα, 118, 528, fig. 29; Currie, «Απεικονίσεις μουσικών οργάνων,» 134, fig. X.6. 37 See above footnote 7.

38 See above footnote 8.

35 Liveri, “Dance Music” in Byzantium… membranes. The first left musician is dancing alone, playing krotala. All figures are wearing short tunics; the first man a white one. His body is turned 3/4 to the left, while looking to the right, making a fast movement with one hand raised and the other lowered. The trumpeter, in profile, walks to the right wearing a blue tunic and blowing the long trumpet. The psaltery and the lute players are sitting on a bench, wearing a white tunic and a blue one, respectively. The tympanist is standing. Both scenes are very interesting and beautiful, painted in a new, very expressive way. We can see eight musicians and dancers in two miniatures of the cod. Vat. gr.752: The first on fol. 5r represents David enthroned playing a viol or a lute-like instrument with a long bowed fiddle stick.39 He is flanked by four prophets/musicians who play from left to right a transverse flute (πλαγίαυλος), a psaltery, cymbals and a lute-like instrument with a fiddle stick. Four other figures/prophets, three musicians and a dancer, are in the lower row: the musicians play a lute-like instrument with a long-bowed fiddle stick, a triangular harp/or psaltery and probably cymbals. The dancer beneath is David and he moves quickly to the right, while looking to the left. According to the inscription, the musicians symbolize the Prophets who praise God, by dancing, singing and playing various musical instruments. It is to note that their musical instruments appear in other miniatures of the 11th c. as well. Thus, they might also be contemporaneous with the artists who have created them and not with the texts. Eight musicians accompany with their musical instruments the circular dance of Myriam and the fourteen Hebrew women in another miniature of the same manuscript, cod. Vat. gr. 752, fol. 449v.40 They are displayed inside the dancing-circle. An inscription identifies each musician. Beginning at the left in the top row there are: the figure with a drum: οι υιοί του κορέ | the figure with a flute: ο ασάφ | the figure with a viol: ο ιδιθούμ | the figure with cymbals or rather a small tympanon: ο νεμάν | the two figures, one with an instrument of the salpinx or the zournas type, the other with a small harp/lyra: οι δύο έξαρχοι | the figure with a larger harp: ο εθάμ | the figure with a bag-pipe under his arm: ο βουκόλιο(ς). Across the top of the gold background there is another inscription which reads: οι οκτώ ήχοι οι μελωδούντες μετά του δαυίδ (the eight modes which sing with David). This refers to the eight modes used in Byzantine ecclesiastical music. The women dance in a circle around the musicians, with hands stretched horizontally. The inscription η Μαριάμ αδελφή

39 De Wald, Vaticanus Graecus 752, 5, pl. VI; Galavaris, “Musical Images,” 81, fig. 4; Maliaras, Βυζαντινά όργανα, 131-132, fig. 3; Currie, «Απεικονίσεις μουσικών οργάνων,» 137, fig. X.12. 40 De Wald, Vaticanus Graecus 752, 41-42, pl. LIV; Galavaris, “Musical Images,” 82; Džurova, Byzantinische Miniaturen, 88, fig. 62; Helen C. Evans and William D. Wixom, eds., The Glory of Byzantium. Art and Culture of the Middle Byzantine Era A.D. 843-1261, Exhibition Catalogue (New York: The Metropolitan Museum of Art, 1997), 206-207, no. 142; Liveri, “Tanz,” 294, fig. 7; Maliaras, Βυζαντινά όργανα, 51-54, 114-115, and fig. 5; Currie, «Απεικονίσεις μουσικών οργάνων,» 138, fig. X.14.

36 Liveri, “Dance Music” in Byzantium…

του Μωυσή (Mariam the sister of Moses), which is above the head of the central figure, identifies her. The text between the heads and above the shoulders of the dancers consists of selected verses from the first biblical ode of Moses (Exodus: 15 1- 19). Another inscription between the dancers’ feet comes from the prooimion of Pseudo Chrysostomus to the Psalms and associates the female dances of the Hebrew women with the male dances of Idithum, Ethan, Asaf and Moses. The text is the same as in the fol. 5r (in the previous picture). The Hebrew women of this miniature dance by moving one foot in front, while the other stays behind. Some researchers recognize in that a well-known dance called syrtos (the troll, the latch), which is still danced in Greece. The dancers are dressed like court ladies. They wear beautiful costumes in nice colors with the characteristic long and wide sleeves and with very elegant hats. Perhaps, an imperial Byzantine dance ensemble looked like this. The meaning of this miniature is also very important, because it shows that both the Psalter and the Canticles had an important position in the Christian Church. The next representation is unique. It is a symposium scene of Job’s children (Job 1:13) on a miniature of a manuscript from Sinai (Job Sinaiticus 3, 17v, end 11th c. - according to George Galavaris 13th c.: fig. 10).41 The event takes place in a palatial interior with two side doorways in light ochre and light blue walls. On the foreground, in the centre, there are two exuberant male dancers in short grey-blue, gold decorated tunics. They dance under the sounds of a small golden portable organum/organ which is carried by a female figure standing on the left. The musician wears a long, bright red and green robe with purple borders and a gold ornament. It is the only representation of Byzantine art, where the pnemautic organ accompanies dance. However, the use of organ’s music during a symposium, especially in the imperial palace, according to written sources, was known.42 The dancers are missing in other illustrations of the organ, e.g. in the cod. Vat. gr. 333, fol. 45v and in the wall painting in St. Sophia in Kiev, representing byzantine ceremonies in the Hippodrome, both dated back to the 11th century.43

41 Braun, “Musical Instruments,” 323, fig. 6b; Paul Huber, Hiob. Dulder oder Rebell? Byzantinische Miniaturen zum Buch Hiob in Patmos, Rom, Venedig, Sinai, Jerusalem und Athos (Düsseldorf: Patmos, 1986), 178, and 182, fig. 133; Kurt Weitzmann and George Galavaris, The Monastery of Saint Catherine at Mount Sinai. The Illuminated Manuscripts, volume one: From the ninth to the twelfth century (Princeton, New Jersey: University press, 1990), 102, pls. XVII, fig. b, CXI, fig. 307; Galavaris, Ζωγραφική βυζαντινών χειρογράφων, 110, 234, fig. 104; Steppan, “Tanzdarstellungen,” 158, fig. 23. 42 Maliaras, Βυζαντινά όργανα, 311-322, 438; cf. Berger, “Akustische Dimension.”

43 Irma F. Točkaja, “I musici dell’ affresco degli ‘Skomorochi’ nella cattedrale della Santa Sofia di Kiev,” in Arte profana e arte sacra a Bizanzio, eds. Antonio Iacobini and Enrico Zanini (Roma: Argos, 1995), 281-302; Maliaras, Βυζαντινά όργανα, 415-419, figs. 197-198. Currie,”Glorious Noise,” pp. 433‒438, fig. 26.2a‒b; cf. Liveri, “Royal dances.”

37 Liveri, “Dance Music” in Byzantium…

Conclusion

After having examined all the miniatures mentioned above, we can make the following remarks: - Sometimes, there is some confusion in the bibliography regarding the classification of certain musical instruments, such as castanets, krotala, cymbals, tambourines or wind instruments etc. - Religious dances accompanied with music played by the dancer appear in the Byz- antine art since the seventh century. First of all, they appear in monastic wall paintings and later, in the ninth century, in miniatures of illuminated manuscripts, especially Psalters. These pictures represent the individual dance of Salome and Myriam, who play krotala or cymbals. Later musical instruments were added, which reached the symbolic number eight, the number of dancers increased and various dance formations appeared. - The Byzantine dances are usually female dances. Women dance often alone or in groups. Male dances are seldom depicted. Generally, there is a small variety of Byz- antine dances. In our presentation, the variety is even smaller, because not all the preserved dance pictures are accompanied by musicians, and because of the limited size of this paper. - Ιn the Medieval art of the Βalkan countries similar dancing motifs accompanied by music also appear, but much later, in the 14th century in wall paintings in Serbia (Le- snovo and Nagoricino44) and in Bulgaria (Rila) and in miniatures of illuminated manuscripts, Psalters (e.g. Serbian Psalter, Bulgarian Tomič Psalter). - The above-presented musical images continue earlier traditions. The Odes of Moses and the Psalms of David 149 and 150, belonging to the so-called Psalms of the Lauds, are very popular. This is especially the case for Psalm 150, in which all instruments are called upon for the glory of God: “praise Him with the sound of the trumpet: praise Him with psaltery and harp. Praise Him with timbrel and dance: praise Him with stringed instruments and the organ. Praise Him with melodious cymbals: praise Him with loud cymbals […]” (150, 2-5). Most of the referred instruments appear in the hands of the musicians in the presented examples. Since most of these instruments are mentioned in the text, it may be assumed that the iconographical tradition of the Old Testament is continued. However, they seem also to be real and contemporaneous with the period in which the artist-creator of the depiction lived. There are also instances that show influences of the ritual of the Byzantine Church, such as the Dance of Myriam in cod. Vat. gr. 752. Here, the inscription around the dancing women has been arranged in the form of an antiphon. However, it should

44 Djurić, Byzantinische Fresken, pl. XXXIII; Maliaras, Βυζαντινά όργανα, 232, fig. 138.

38 Liveri, “Dance Music” in Byzantium… not be generalized that there were typological relations of the Dance of Myriam to festivities of the Byzantine Emperor, as it has been suggested by some scholars. - The circular dances in Byzantium are mainly female, whilst in Serbia and Bulgaria male dances are depicted in wall paintings and both genders in the miniatures of the above referred Psalters. Also, the way they dance is different: their dancing movements are different, for instance the way they hold their hands. Sometimes they have their hands crossed (Lesnovo, Rila, Serbian Psalter). Other dancers, the first and the last, hold handkerchiefs (Serbian Psalter). The movements of the dancers are more vivid in the Balkan examples; their clothes are slightly different and have bright colors. The depicted musical motifs show characteristics of various local schools in Ser- bia and in Bulgaria. Some of the depicted musical instruments have a new shape, e.g. the trapezoid psaltery and the lute. - Generally, the depicted musical instruments are the same with those depicted in scenes representing only musicians without dancers. Here, we have seen a variety of musical instruments: a. percussion (krotala/castanets or rattles, cymbals, bells and drums). These are also played by dancers. b. String instruments. A great variety of string instruments is depicted. Mainly various types of lute, but also harps and Psal- ters. c. From aerophones we saw flute, transverse flute, trumpets and bagpipe. d. Unique is the presence of a portable organ by dances. - We can also observe some reflections of daily life and contemporary customs, prac- tices or elements. For instance, in the dresses of the musicians, dancers and singers, in the material and shape of the musical instruments, or in the dance movements. Only in a few examples can we recognize a real dance, such as syrtos in the Myriam’s dance in cod. Vat. gr. 752. Another example is the old custom of having dance and music at meals, as it is depicted in the banquet scene of Job’s family in the miniature of the 11th century. This scene could reflect palace festivities, in which the portable organ always played a great role, as the Book of Ceremonies by Constantine Porphy- rogenitus testifies. - In the iconography of the 14th c., there are influences of the Divine Liturgy, the Psalms and the Hesychasm movement. The first appearance of Psalms’ iconography in monuments of medieval Serbia is obvious in Lesnovo, which is associated with Hesychasm.45 This reinforces the assumption of similar themes in Thessaloniki (the representation of the Ascension at the Church of the Virgin Mary, today Metamor- phosis of the Savior).

45 Vojislav Corać, “La lumière dans l’architecture byzantine tardive en tant qu’expression des conceptions hésychastes,” in L’art de Thessalonique et des Pays Balkaniques et les courants spirituels au XIVe siècle, ed. Radovan Samardžić, Academie Serbe des Sciences et des Arts, Institut Balkaniques 31, Recuiel des Rapports du IVe Colloque Serbo-Grec, Belgrade 1985 (Belgrad: GRO “Kultura,” 1987), 127- 131.

39 Liveri, “Dance Music” in Byzantium…

In general, the appearance of Aίνοι [Lauds] in the monumental painting of the 14th c. should be connected with the great spiritual centers of the Empire, such as Thessaloniki and Constantinople. It is an expression of the monastic ideal and is limited to Katholika of monasteries or to funerary chapels.

Figure 1a

Constantinople. Reliefs at the base of Theodosius Obelisk, end of the 4th c. Photo by the author.

Figure 1b

A detail with the musicians and the dancers. Photo by the author.

40 Liveri, “Dance Music” in Byzantium…

Figure 2

Serbian Psalter, cod. Mon. slav. 4, fol. 186v, 14th c. Munich, Bavarian State Library. Copy in Belgrade. Photo Serbian Academy of Sciences.

Figure 3

Chludov Psalter, cod. 129, fol. 148v, 9th c., detail. Photo from Wikimedia commons: https://commons.wikimedia.org/wiki/File:Chludov_Miriam.jpg (accessed 11.01.2020).

41 Liveri, “Dance Music” in Byzantium…

Figure 4

A female cymbals-player. Venice, Biblioteca Nazionale Marciana: cod. Marc. gr. Z 479, 11th c., detail, upper part. Photo from Galavaris, Ζωγραφική βυζαντινών χειρογράφων, fig. 64. © Ekdotike Athenon.

Figure 5

Cod. Pantokrator 61, fol. 85r, 9th c. Athos, Pantokrator Monastery. Photo from Pelekanides et al., Θησαυροί Αγίου Όρους 3, fig. 202. © Ekdotike Athenon.

42 Liveri, “Dance Music” in Byzantium…

Figure 6

Upper part: Men praising God with songs and music. Lower part: A male Circular dance accompanied by a tympanist. Serbian Psalter, cod. Mon. slav. 4, fol. 184v, 14th c. Munich, Bavarian State Library. Copy in Belgrade. Photo Serbian Academy of Sciences.

43 Liveri, “Dance Music” in Byzantium…

Figure 7

Male circular dance accompanied with the sounds of a Psalter and a drum. Wall painting: Lesnovo/Serbia, Katholikon of Archangel Michael, 1349. Photo Serbian Academy of Sciences.

44 Liveri, “Dance Music” in Byzantium…

Figure 8

David playing a lute-like instrument. Athos, cod. Lavra B26, fol. 209r, 12th c. Photo from Foundation of Patriarchal and Patristic Studies.

Figures 9a and b

On the left: Athos, Esfigmenou, cod. 14, fol. 400v, 11th c., Detail of the upper part. Athos, Esfigmenou Monastery. In the middle: The dancing statues: a lute-, a flute/pipe- and a cymbals player. Detail of the upper part. Photo from Galavaris, Ζωγραφική βυζαντινών χειρογράφων, fig. 130. © Ekdotike Athenon.

45 Liveri, “Dance Music” in Byzantium…

Figure 10

Cod. Sin. gr. 3, fol. 17v, end of the 11th c. Sinai, Saint Aikaterini Monastery. Photo from Galavaris, Ζωγραφική βυζαντινών χειρογράφων, fig. 104. © Ekdotike Athenon.

Reference List

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Biography: Angeliki Liveri was born on the Ionian island of Zakynthos in Greece in 1958. She studied Archaeology, Philology and History of Arts in the universities of Ioannina, Vienna and Munich. She holds a BA (diploma) from the department of Archaeology of the University of Ioannina and a PhD from the University of Vienna. She conducted post-doctoral studies at the University of Munich, as Post doc fellow of the Gerda Henkel Foundation. She worked in different posts as an Archaeologist and Philologist in Greece and in Germany (Greek Ministry of Education and Religious Affairs, Ministry of Culture). She was a Lecturer of Modern Greek language and culture in the Institute of Byzantine and Modern Greek Studies at the University of Cologne (2002-2011). From July 1, 2014, she is retired and continues her researches and other scientific activities. Her publications refer to Greek, Roman and Byzantine Art and Archaeology. She was awarded various scholarships (e.g. University of Ioannina, ÖAD, Gerda Henkel Foundation and DAI). She is member of various scientific associations (AMIG-AIA, CHAE, DAFBS, EAA, ICOMOS, IMS, ISGMA, MOISA, RIdIM).