Within just a few years, Artificial Intelligence (AI) has become one of the most transformative forces in contemporary science. Its impact reaches far beyond the technological domain, extending to how we conduct research, write, validate results, communicate knowledge, and assess scientific output. The central question of this reflection is how to integrate AI into research and scientific publishing without com...
Ivan Moody was a man of many places. Ivan’s connection to Portugal started through musical performance and continued through both musicology and composition; he was welcomed as warmly as he was warm himself. This paper will give an aperçu of his professional ties with the country he chose to live in, before and after he became a member of CESEM at NOVA University Lisbon. His artistic identity was nonetheless f...
The purpose of the present investigation is to trace the development of the music of the Divine Liturgy of the Armenian Church from the earliest mediaeval neumated sources to the present day, revealing the mosaic of extant musical versions and arrangements, which is far richer than hitherto acknowledged. I have sought to embrace an unprecedentedly extensive array of extant variants recorded through various mean...
Although mainly known as a scholar of Orthodox church music, Ivan Moody (1964-2024) dedicated numerous studies to musical modernism, especially in countries outside the Central and Western European mainstream, focusing instead on Southern Europe: Iberia, the Mediterranean, and the Balkans, including Serbia. Due to his encyclopedic knowledge and the breadth of his insights, he made numerous original connections ...
Introduction to the Thematic Dossier In Honour to Ivan Moody (1964-2024); Introdução ao Dossier Temático em homenagem a Ivan Moody (1964-2024)
In the present paper, Ekaterina Antonenko recalls her ten-year-long collaboration with Ivan Moody as a musicologist, editor, and composer. In 2014, together with Peter Phillips, she invited Ivan Moody to give a lecture on Sir John Tavener at a festival held at the Moscow Conservatory in his commemoration. Furthermore, Ekaterina Antonenko had the opportunity to assess his editorial work on the score of Alfred Sc...
By composing his longest piece based on Traditional Serbian Church Chant Seven Hymns in Honour of St. Sava (2006), Ivan Moody haven’t just arranged six sticheras on ‘Lord, I have cried’ from the festal Vespers (using three Modes IV, VI, II from the Serbian Octoich melographed by Stevan St. Mokranjac /1856-1914), nor harmonised it in a modern compositional manner, but he creatively ‘deconstructed’ the deepest sy...