Saved in:
| Main Author: | |
|---|---|
| Format: | Recurso digital |
| Language: | Serbian |
| Published: |
Zenodo
2026
|
| Subjects: | |
| Online Access: | https://doi.org/10.5281/zenodo.18724101 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
Table of Contents:
- <p><span lang="EN-US">Byzantine church music started developing in the eastern part of the Roman Empire, and it is still used today in some local Orthodox churches. In 2019, it was entered on the UNESCO representative list of Intangible Cultural Heritage of Humanity. This living musical tradition of the Orthodox Church received the adjective Byzantine only at the end of the 19th and the beginning of the 20th century, in order to underline its difference and specificity in relation to polyphonic choirs that appeared in Greek liturgical practice from the 19<sup>th</sup> century. This paper was created after several years of field research in Serbia and Greece, using the method of participant observation and surveying, during which research participants wrote a series of free verbal associations to the challenging words </span><span lang="EN-US">"</span><span lang="EN-US">Byzantium",</span><span lang="EN-US">"</span><span lang="EN-US">Constantinople” and </span><span lang="EN-US">"</span><span lang="EN-US">Byzantine music”. The goal of the research is to show how people of different social profiles, ethnicities, ages and interests experience and accept this type of music, and through it, Byzantium.</span></p>