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UNIVERSITÀ DEGLI STUDI DI PADOVA Dipartimento Dei Beni Culturali: Archeologia, Storia Dell’Arte, Del Cinema E Della Musica

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UNIVERSITÀ DEGLI STUDI DI PADOVA Dipartimento Dei Beni Culturali: Archeologia, Storia Dell’Arte, Del Cinema E Della Musica UNIVERSITÀ DEGLI STUDI DI PADOVA Dipartimento dei Beni Culturali: archeologia, storia dell’arte, del cinema e della musica Scuola di Dottorato in Storia e Critica dei Beni artistici, musicali e dello spettacolo - XXVII ciclo THE BYZANTINE MUSICAL TRADITION IN SOUTHERN ILLYRIA THE STICHERARION BR. 81 OF THE CSA OF TIRANA, ALBANIA REPERTORY AND NOTATION Direttore della Scuola: Ch.ma Prof. ssa Vittoria Romani Supervisore: Ch.mo Prof. Antonio Lovato Dottoranda: Argita Gjoroveni TABLE OF CONTENTS TABLE OF CONTENTS ...................................................................................................................... 3 GENERAL INTRODUCTION .............................................................................................................. 5 I ‐ THE BYZANTINE RITE IN ALBANIA AND THE COLLECTION OF BYZANTINE MANUSCRIPTS ... 9 1. Introductory remarks ............................................................................................................... 9 2. The historical basis for the foundation of the Byzantine rite .................................................. 10 2.1. The historical phases .................................................................................................... 11 2.2. The Eastern churches and monasteries ..................................................................... 14 2. 3. The Byzantine musical tradition in Albania ............................................................16 3. Books as a liturgical component .............................................................................................19 3. 1. The collection of Byzantine MSS in Tirana ..............................................................21 3. 2. MSS with musical notation ........................................................................................24 3. 3. MSS with ekphonetic notation ..................................................................................25 3.4. MSS with musical neumatic notation ........................................................................26 II ‐ THE STICHERARION BR. 81 OF THE CENTRAL ARCHIVE OF ALBANIA .................................. 31 1. Codicological description ........................................................................................................ 32 2. The contents ........................................................................................................................... 36 2.1. The Menaia ..................................................................................................................... 38 2. 2. The Triodion and Pentekostarion .................................................................................. 44 2.3. The Oktoechos ................................................................................................................. 47 2. 4. The texts added at the margins of the folios in Br. 81: The stichera anastasima and aposticha ................................................................................................................................. 50 2.5. The Kekragaria ................................................................................................................ 53 3. Paleographical characteristics ................................................................................................ 54 4. The musical notation ..............................................................................................................62 4. 1. The modal and medial signatures ............................................................................. 70 5. Observations ........................................................................................................................... 73 II ‐ TEXTUAL AND MUSICAL STRUCTURE OF THE CHANTS IN STICHERARION BR. 81 COMPARISON WITH OTHER MIDDLE BYZANTINE STICHERARIA ................................................ 75 1. The stichera from the cycle of chants dedicated to the Mother of God .................................. 75 3 1.1. List of chants ................................................................................................................. 77 2. Concordant sources ................................................................................................................ 77 2.1. List of MSS .................................................................................................................... 78 3. Compilation of the analytical forms ...................................................................................... 79 3.1. Edition of the texts ....................................................................................................... 80 3.2. Musical aspects ............................................................................................................. 81 3.3. Musical edition ............................................................................................................. 83 4. Analytical forms .................................................................................................................... 84 IV ‐ THE UNICA CHANTS IN STICHERARION BR. 81 .................................................................. 109 1. Introduction ......................................................................................................................... 109 2. The cult of St. Barbaros ........................................................................................................ 111 3. St. Barbaros in Sticherarion Br. 81 .................................................................................... 119 3.1. Edition of the chants .................................................................................................. 121 3.2. Textual aspects ........................................................................................................... 122 3.3. Musical aspects ........................................................................................................... 123 3.4. Musical edition ........................................................................................................... 125 4. Analytical forms .................................................................................................................. 126 CONCLUSIONS ............................................................................................................................. 187 ABBREVIATIONS .......................................................................................................................... 191 BIBLIOGRAPHY ............................................................................................................................ 192 APPENDIX I .................................................................................................................................. 211 Inventory I ‐ Indices of chants in Sticherarion Br. 81 ‐ The Menaia ............................. 213 Inventory II ‐ Indices of chants in Sticherarion Br. 81 ‐ The Triodion, Pentekostarion and Oktoechos ..................................................................................................................... 235 APPENDIX II ................................................................................................................................ 259 Marian chants ‐ Musical transcriptions and comparisons .......................................... 261 APPENDIX III ............................................................................................................................... 315 St. Barbaros’ chants ‐ Musical transcriptions ................................................................ 317 PLATES ......................................................................................................................................... 351 4 GENERAL INTRODUCTION This dissertation focuses on the study of the Sticherarion Br. 81 (of Berat, no 81), preserved at the Central State’s Archive (CSA) in Tirana, Albania. This manuscript is part of the Collection 488 of CSA, being the only MS of the Sticheraria type among other six Middle and Late Byzantine musical codices of the collection. Up to date, very little academic research at an international level about the Byzantine musical manuscripts of Albania has been conducted. Even less is known about this specific manuscript, since a systematic study regarding its content, paleographical/codicological, and musical characteristics has not yet been performed. The aim of my study is to provide a comprehensive and systematic description of Sticherarion Br. 81, a historical artefact which can be considered representative of a part of the Byzantine musical tradition in Albania during the 14th century. The present work is organized into four chapters and three appendixes. Besides the first chapter, all the other parts treat different particular problematics related to this manuscript. The aim of the first chapter is to offer a historical overview of the liturgical tradition in Medieval Albania in order to clarify, in historical and geographical terms, the extent to which the Byzantine tradition influenced the production and use of some of the material heritage from this region, i.e. the liturgical manuscripts. The survey starts with an attempt to locate, both historically and geographically, the Byzantine tradition in the Albanian territory. The Byzantine influence in the Balkan area in the Middle Ages can be discussed in terms of two important historical events: the establishment of the Macedonian Dynasty (862‐1056)
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