[et_pb_section fb_built=”1″ _builder_version=”4.21.0″ _module_preset=”default” background_enable_color=”off” background_image=”http:\/\/cs-embe.ro\/wp-content\/uploads\/2023\/03\/paper.jpg” custom_padding=”||0px||false|false” animation_style=”fade” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Ion Alexandru ARDEREANU:<\/strong> ASPECTS OF BYZANTINE MUSIC FROM \u201dBYZANTIUM AFTER BYZANTIUM\u201d<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n DOI: 10.63702\/csembe.2024.1.7.95<\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Keywords: <\/strong>History of Music; Byzantine music; Byzantium after Byzantium;<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Anstract: [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n References: [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”16px|16px|16px|16px|false|false” border_radii=”on|8px|8px|8px|8px” global_colors_info=”{}”][et_pb_button button_url=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/06\/7_08-Ardereanu.pdf” button_text=”Articol PDF” _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_button][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Published: [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”||8px||false|false” custom_padding=”||||false|false” global_colors_info=”{}”]<\/p>\n License:<\/strong><\/strong><\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/cs-embe.ro\/wp-content\/uploads\/2025\/04\/CC_logomark2.svg” title_text=”CC_logomark2″ _builder_version=”4.27.4″ _module_preset=”default” max_width=”50%” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n This work is licensed under a Creative Commons Attribution 4.0 International License.<\/span><\/a><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n This work is licensed under a CC BY Creative Commons Attribution 4.0 International License<\/a><\/span>, which permits any use, reproduction, distribution, self-archiving and citation of the work as long as the authors are credited. The complete bibliographical data of Symbolon<\/em> Journal must also be indicated, which you can find in the How to cite<\/em> section on this page. If possible, please also place a link leading to the original publication. Copyright of articles belongs to the authors.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|off” _builder_version=”4.27.4″ _module_preset=”default” background_color=”#597295″ custom_margin=”||||false|false” custom_padding=”16px||16px||true|false” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#597295″ custom_margin=”||||false|false” custom_padding=”0px||0px||true|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_font_size=”12px” custom_padding=”||0px||false|false” global_colors_info=”{}”]<\/p>\n 2025 \u00a9 Asocia\u021bia pentru Cultur\u0103 B\u0103n\u0103\u021bean\u0103<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.21.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_font_size=”12px” custom_padding=”||0px||false|false” global_colors_info=”{}”]<\/p>\n
<\/strong>The present study makes a short foray into the Byzantine religious musical realities, respectively the way in which they continued to manifest themselves after the fall of Constantinople in the Balkan and North-Danube (Romanian) orthodox space until today.<\/p>\n
<\/strong>– Bogdan, R. (2013). Edi\u021bii rom\u00e2ne\u0219ti ale Anastasimatarului. Altarul Banatului 2\/2013. Timi\u0219oara, Rom\u00e2nia: Editura Mitropoliei Banatului.
– Iorga, N. (2002). Bizan\u021b dup\u0103 bizan\u021b. Bucure\u0219ti, Rom\u00e2nia: Editura Gramar
– Muntean, V. (2004). Istoria cre\u0219tin\u0103t\u0103\u021bii de la Hristos p\u00e2n\u0103 la Reform\u0103. Bucure\u0219ti, Rom\u00e2nsia: Editura Sigma
– Roumanou, K. (1973). Great Theory of Music by Chrisanthos of Madytos, Indiana, SUA: Indiana University Press
– Strunk, O. (1962). A cypriote in Venice. Copenhaga, Danemarca: Natalicia Musicologica<\/p>\n
<\/strong>15.07.2024<\/strong><\/p>\n