Seçil Soytok Nalçacı
Biographic Data
| ID | 9237606 |
|---|---|
| NAME | Seçil Soytok Nalçacı |
| GIVEN NAMES | Seçil Soytok |
| FAMILY NAME | Nalçacı |
| SIGNATURE | NALÇACI S S |
| AFFILIATIONS | Manisa Celal Bayar University |
| ORCID | 0000-0002-1407-3759 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2026 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
A Comparison of Byzantine and Armenian Church Music in Terms of Musical Parameters
In this study, we compare Byzantine and Armenian church music, focusing on musical parameters such as notation systems, modal structure, rhythmic concepts, and liturgical practice. Both traditions, which took shape within the shared cultural heritage of Anatolia, share fundamental common characteristics such as the eight-mode (Octoechos/oot tzayn) system, a monophonic vocal-based structure, and a text-based rhythmic approach; however, they have d…
Cantus Firmus and the Auditory Body
In the Lutheran church music tradition, the placement of pre-existing chorale melodies as cantus firmus in new compositions constitutes a stable compositional practice extending from the sixteenth through the eighteenth century. Musicological literature has generally treated this practice as a formal technique or theological reference; however, neither its authoritative function nor its embedding within the auditory body of the congregation has b…
No prominent works on this page.
A Comparison of Byzantine and Armenian Church Music in Terms of Musical Parameters
In this study, we compare Byzantine and Armenian church music, focusing on musical parameters such as notation systems, modal structure, rhythmic concepts, and liturgical practice. Both traditions, which took shape within the shared cultural heritage of Anatolia, share fundamental common characteristics such as the eight-mode (Octoechos/oot tzayn) system, a monophonic vocal-based structure, and a text-based rhythmic approach; however, they have d…
Cantus Firmus and the Auditory Body
In the Lutheran church music tradition, the placement of pre-existing chorale melodies as cantus firmus in new compositions constitutes a stable compositional practice extending from the sixteenth through the eighteenth century. Musicological literature has generally treated this practice as a formal technique or theological reference; however, neither its authoritative function nor its embedding within the auditory body of the congregation has b…
Musicology and Musical Analysis (2 works) · Armenian (1 work) · Augustinian Studies and Theology (1 work) · Bach Studies and Logistics Development (1 work) · Byzantine architecture (1 work) · Choir (1 work) · Melody (1 work) · Music and Audio Processing (1 work) · Music Education and Analysis (1 work) · Musical (1 work)