Computer Processing of Medieval Slavic Sources in the Institute of Literature at BAS Repertorium Project (1994–2004)

Mixed-content miscellanies (very frequent in the Byzantine and mediaeval Slavic written heritage) are usually defined as collections of works with non-occupational, non-liturgical application, and texts in them are selected and arranged according to no identifiable principle. It is a “readable” type of miscellanies which were compiled mainly on the basis of the cognitive interests of compilers and readers. Just like the occupational ones, they also appeared to satisfy public needs but were intended for individual usage. My textological comparison had shown that mixed- content miscellanies often showed evidence of a stable content – some of them include the same constituent works in the same order, regardless that the manuscripts had no obvious genetic relationship. These correspondences were sufficiently numerous and distinctive that they could not be merely fortuitous, and the only sensible interpretation was that even when the operative organizational principle was not based on independently identifiable criteria, such as the church calendar, liturgical function, or thematic considerations, mixed-content miscellanies (or, at least, portions of their contents) nonetheless fell into types. In this respect, the apparent free selection and arrangement of texts in mixed-content miscellanies turns out to be illusory. The problem was – as the corpus of manuscripts that I and my colleagues needed to examine grew – our ability to keep track of the structure of each one, and to identify structural correspondences among manuscripts within the corpus, diminished. So, at the end of 1993 I addressed a letter to Prof. David Birnbaum (University of Pittsburgh, PA) with a request to help me to solve the problem. He and my colleague Andrey Boyadzhiev (Sofia University) pointed out to me that computers are well suited to recording, processing, and analyzing large amounts of data, and to identifying patterns within the data, and their proposal was that we try to develop a computer system for description of manuscripts, for their analysis and of course, for searching the data. Our collaboration in this project is now ten years old, and our talk today presents an overview of that collaboration.

Личните и географските имена в българския и сръбския превод на Стишния пролог (по материал от месец март)

The paper presents a comparative study of the personal and geographic names in the two complete Slavic translations of the Byzantine Versified Synaxarion, namely the Bulgarian and Serbian Prolog Stišnoj, which appeared around the first half of the 14 th century. On the basis of the March texts in seven South Slavic manuscripts, the differences in the rendering of the personal names are analysed on the level of phonetics, orthography, morphology and word formation. The data allow the following conclusions: 1) The differences in the forms of these names in the Bulgarian and Serbian Prolog Stišnoj give further arguments supporting their independent origin; 2) Several specific tendencies are noted which more or less differentiate them. The Bulgarian translation reproduces more accurately the graphics of the original names, allows dativus possessivus, often replaces the Greek anthroponyms and toponyms with adjectives, presents many local names in the plural, and sometimes retains Greek nominative endings in masculine personal names. The Serbian translation, on the other hand, follows more often the Byzantine pronunciation of the names, complies more strictly with their grammatical characteristics (case, number), separates more often the ending -ς from the stem, and incorporates the accusative ending -ν into the stem of certain anthroponyms several times. 3) The tendency towards Slavicisation of the personal names is nearly the same in both translations and cannot be viewed as peculiar of either of them.

Opisʹ rukopisieĭ, perenesennykh iz biblioteki Iosifova monastyri︠a︡ v biblioteku Moskovskoĭ Dukhovnoĭ Akademii,

Mode of access: Internet.

Opisanīe pami︠a︡tnikov slavi︠a︡no-russkoĭ literatury : khrani︠a︡shchikhsi︠a︡ v publichnykh biblīotekakh Germanīi i Frant︠s︡īi /

Mode of access: Internet.

Sbornik paleograficheskikh snimkov s pocherkov drevni︠a︡go i novago pisʹma [microform] : raznykh perīodov vremeni, izdannyĭ dli︠a︡ vospitannikov Mezhevago vi︠e︡domstva /

Title at head of microfiches: Sbornik paleografičeskich snimkov s počerkov drevnego i novogo pisʹma, raznych periodov ...

The Role of the National Library in Preserving National Written Heritage

The first part presented at the meeting by A. Dipchikova is a brief report of the role of the National library as an institution in collecting, preserving and making accessible the national written heritage. Problems of digitization are examined from the point of view of the existing experience in cataloguing. Special attention is paid to the history and the significance of international standards, the experience in the field of development and maintenance of authority files on national and international level as well as in markup languages. Possibilities of using MARC and XML in the library are discussed. The second part presented here by E. Moussakova is giving an overview of the latest activities of the Library in the sphere of digitisation of the old Slavic manuscripts which are component of the national cultural heritage. It is pointed out that the current work is rather limited within the scope of preparation of metadata than being focused on digital products.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Catalogue of manuscripts from the Hayes Collection in the University of Queensland Library

Index to correspondence and manuscript material on literary and historical matters, mostly in Queensland and New South Wales, Australia held in the Fryer Library, University of Queensland - UQFL2. Authors and subjects include J.H.M. Abbott, Archer Family, E. Armitage, R. Bedford, H.S. Bloxome, E.J. Brady, 'Broadside', F. Broomfield, A.H. Chisholm, C.B. Christesen, R.H. Croll, Z. Cross, F.W.S. Cumbrae-Stewart, E. Dark, D. Deamer, C.J. Dennis, J. Devaney, E.M. England, P. Fitzgerald, R.D. Fitzgerald, Dame Mary Gilmore, C. Gittins, A.L. Gordon (criticism), P. Grano, M. Haley, W.A. Horn, R.G. Howarth, J. Howlett Ross, E.H. Lane, H. Lane, F.J. McAuley, D. McConnel, G. McCrae, K. (S) Mackenzie, P. Miles, J.K. Moir, C.P. Mountford, A. Muir, D.A. O'Brien, J.H. O'Dwyer, W.H. Ogilvie, M. Potter, T. Playford, H. Power, Queensland Authors' and Artists' Association, I. Southall, W. Sowden, A.G. Stephens, P.R. Stephensen, H. Tyron, A.J. Vogan, B. Vrepont, T. Welsby, H.R. White and Duke of Windsor. Also personal papers of Father Hayes, relating to his activities as parish priest.

Catalogue of the books, manuscripts, maps and drawings in the British museum (Natural history) ....

v.3:L-O (1910)

Catalogue of the books, manuscripts, maps and drawings in the British museum (Natural history) ....

v.8:suppl.P-Z (1940)

Catalogue of the books, manuscripts, maps and drawings in the British museum (Natural history) ....

v.7:suppl.J-O (1933)

Catalogue of the books, manuscripts, maps and drawings in the British museum (Natural history) ....

v.2:E-K (1904)

Catalogue of the books, manuscripts, maps and drawings in the British museum (Natural history) ....

v.5:SO-Z (1915)