1479:τοίνυν ψαλτικὴ ἐπιστήμη οὐ συνίσταται μόνον ἀπὸ παραλλαγῶν, ὡς τῶν νῦν τινες οἴονται, ἀλλὰ καὶ δι’ ἄλλων πολλῶν πρότων, οὕς αὐτίκα λέξω διὰ βραχέων. τὸ γὰρ τῆς παραλλαγῆς χρῆμα κατὰ τὴν ψαλτικὴν τὸ εὐτελέστερόν τε τῶν ἐν αὐτῇ πάντων καὶ εὐκολώτατον· κἂν εἴποι τις ὡς μέλος ἐποίησα καὶ κατὰ τὰς φωνάς ἐστιν ἀνενδεές, οὐδὲ μιᾶς ἀπούσης ἥνπερ ἔδει παρεῖναι καὶ τὸ ὀρθὸν εἶναι καὶ ὑγιὲς ὄντως ἀπὸ παραλλαγῶν, ἔχει ὥστε μὴ χρείαν εἶναι μηδεμίαν ἄλλην ἐν αὐτῷ ζητεῖν τελεότητα, κακῶς φρονεῖν τε καὶ λέγειν ἡγητέον τὸν τοιοῦτον καὶ ἔξω τοῦ τῆς ἐπιστήμης ὀρθοῦ λόγου· ἐπεὶ εἰ ὅπερ ὁ τοιοῦτος ὑπ’ ἀμαθίας ἴσως ἐρεῖ τὸ ὀρθὸν εἶχε μεθ’ ἑαυτοῦ, οὐδεμία ἦν ἄν χρεία οὐδ’ ἀνάγκη τοῦ τὸν μὲν Γλυκὺν Ἰωάννην πεποιηκέναι τὰς μεθόδους τῶν κατὰ τὴν ψαλτικὴν θέσεων, τὸν δὲ μαΐστορα Ἰωάννην μετ’ αὐτον τὴν ἑτέραν μέθοδον καὶ τὰ σημάδια ψαλτά, εἶτα μετ’ αὐτὸν πάλιν τὸν κορώνην τὰς ἐτέρας δύο μεθόδους τῶν κρατημάτων καὶ τὴν ἑτέραν τῶν στιχηρῶν· ἔδει γὰρ καὶ τούτου λοιπὸν καὶ τοὺς ἄλλους ἅπαντας ἀρκεῖσθαι ταῖς παραλλαγαῖς μόναις καὶ μηδέν τι περαιτέρω πολυπραγμονεῖν, μηδὲ περιεργάζεσθαι μήτε περὶ θέσεων, μήθ’ ὁδοῦ, μήτ’ ἄλλης ἡστινοσοῦν ἰδέας τεχνικῆς.
361:, but most papadikai also add a second version in the redaction of John Koukouzeles who was probably his student. These lists prefer the use of Byzantine round notation, which had developed during the late 12th century from the late diastematic Coislin type. The modal signatures were referred to the Hagiopolitan octoechos. Because the repertoire of signs was expanded under the influence of John Glykys' school, there was a scholarly discussion to make a distinction between Middle and Late Byzantine notation. The discussion decided more or less against this distinction, because the Papadic school did not invent new neume signs, it rather integrated signs known from other chant books and their local traditions, including the books of the Constantinopolitan cathedral rite as they had been used until the Western conquest of Constantinople.
3256:
1422:
a melos during performance. Concerning the tetraphonic or "trochos system" every chanter had to deal with discrepancies which existed during parallage with regard to octave equivalence. Within the practice of psaltic art, it was nothing more than the experience of how to change from one to another echos. Roughly it can be said that tetraphonia was the level of composition and of memorizing a certain model of traditional chant, while heptaphonia was the conventional level of the exposition of a certain echos and its melos—a kind of model which belonged to a certain echos. Chanters trained in psaltic art were already familiar with them, after they had reached the very basic level.
114:
6442:
2467:καὶ οὕτος ἕχει, ἀλλ οὐ συνίσταται πάντοτε εἰς τὸν πρῶτον ἦχον τὸ μέλος αὐτῆς, ἀλλὰ πολλάκις δεσμοῦσα καὶ τὸν τρίτον ποιεῖ τοῦτον νενανῶ, ὁμοίως καὶ τὸν τέταρτον· ἐνίοτε καὶ τὸν δεύτερον καὶ τὸν πλάγιον τετάρτου. πλὴν ἡ κατάληξις ταύτης γίνεται πάντοτε εἰς τὸν πλάγιον δευτέρου, κἂν εἰς ὁποῖον ἦχον καὶ τεθῇ, καθὼς διδάσκει καὶ ποιεῖ τοῦτο ὁ ἀληθὴς εὐμουσώτατος διδάσκαλος μαΐστωρ Ἰωάννης εἰς τὸ "Μήποτε ὀργισθῆ κύριος" ἐν τῷ "Δουλεύσατε"· τετάρτου γὰρ ἤχου ὄντος ἐκεῖ ἀπὸ παραλλαγῶν, δεσμεῖ τοῦτον ἡ φθορὰ αὕτη καὶ ἀντὶ τοῦ κατελθεῖν πλάγιον πρώτου, κατέρχεταιεἰς τὸν πλάγιον δευτέρου.
3123:
2812:
749:
2571:
617:
1901:
1149:
3230:. His own transposition from the varys section on did no longer allow him to leave the labyrinth of the Octoechos and its various connections based on ambiguities of modal perception. Even if it was no longer perceived by the audience, it becomes evident during the study of the manuscripts that the protopsaltes got lost in the labyrinth without finding their back to the exit of the same transposition. Even skilled experts got easily lost in the very sophisticated
6800:
9244:
3445:), did not only sing in the churches the daily services, they also joined Sufi lodges, and sometimes even the Court as invited guests but also as paid musicians, and it is known from several musicians that Sufis and Christians went to the synagogue to listen to Jewish singers and vice versa. Among Jewish singers, the brotherhoods of the "Maftirim" (of Edirne, but also of Galata) were of particular interest, because they adapted classical Ottoman
7123:
4788:
4763:
682:
640:, Ps. 119–130) and the earliest examples can be found in manuscripts since the 14th century. The practice can be regarded as part of a synthesis between Hagiopolitan Octoechos and the Constantinopolitan cathedral rite which was another result of the Studite reform. These models followed the octoechos and showed close resemblance to the melismatic compositions of the cathedral rite, at least in the transmission of
1856:
all the echoi which the kalophonic melos had to pass through. Usually the disposition was simple and did not change by the use of transposition, but some more complex stichera did as well and the tetraphonic system allowed always a new disposition between plagios and kyrios of a certain echos. And one of this complex stichera which pass through the eight echoi of
Octoechos, was chosen by Oliver Strunk (
1247:, each place of the wheel can be left in ascending as well as in descending direction. The five rings are another important innovation in comparison with the other memorial landscapes, the substitution of the kyrios by the plagios (passing from the outer to the most inner ring) and vice versa was frequently used by composers for the effect of a register change into the lower or higher pentachord.
4618:) have been published since the 18th century. Such are the theoretical works by Panagiotes Halaçoğlu (Συγκρίσις τῆς ἀραβοπερσικῆς μουσικῆς, manuscript dated 1728) and his student Kyrillos Marmarinos (manuscript dated 1747, stored as Ms. 305 in the archives of the Historical and Ethnological Society of Greece, Athens), but also printed publications by Ioannis Keïvelis and Spiridon Anastasiou (
25:
1475:(μετροφωνία), and the establishment of the musical performance by the "thesis of the melos" (θέσις τοῦ μέλου) according to its traditional "method" (μέθοδος). According to him the seduction to confuse heptaphonia with tetraphonia only existed for those, who were so ignorant concerning psaltic art that they did not even understand the difference between parallage and melos.
3548:), despite the fact that he was never directly connected with the Patriarchate. Some of his heirmologic compositions like Πασᾶν τὴν ἐλπίδα μοῦ use several makam models for extravagant changes between different echoi, at least in the later transcriptions according to the New Method and its "exoteric phthorai". This early use corresponds to the early state of a
3572:"Mega Ison". An example is the edition of Panagiotes Keltzanides' "Methodical teaching of the theory and practice for the instruction and the dissemination of the genuine external music" which was published in 1881. The seventh chapter of Keltzanides' book contains an introduction into all the "exoteric phthorai" of the New Method used for more than 40
1514:" was the very level of a certain echos, tetraphonia became rather an instrument of transition. There was either a closed form, made up by patterns and conventions of a certain melos defined by one echos and the octave over its basic degree, or the form was opened by tetraphonia and the possibility to change to another
443:
1739:, and entered the level of a melos defined by one echos and one of the peripheral wheels, and on this level the tritos was always the octave on B flat or F, while the octave of B natural is always a devteros octave which can be reached by a transposition (μεταβολή κατὰ τόνον) which turns the protos on D into a
399:. Intonation formulas and psalmody for the eight modes of the octoechos system can both be found in the book "akolouthiai" and some sticheraria, and these late manuscripts are the only sources of Byzantine simple psalmody today. The new book akolouthiai replaced several books, the psaltikon, the asmatikon, the
3580:
and the
Turkish fret name of the basis tone. The following "Makamlar kâr" memorizes each seyir with a text naming the makam of each section. This genre, called ἔντεχνον μάθημα, is very close to the "Mega Ison" and the use of modern Byzantine notation, which does not use the specific rhythmic notation
495:
who dated it back to the 15th century. Because the
Papadike as introduction of the new book akolouthiai was regarded as very representative, this manuscript with its focus on John Glykys' method seems to be a copy of an earlier version. The manuscript which Fleischer had published from the reliefs of
4232:
Please note that the modal signatures are here transcribed by the simple numerals as they are used within the Greek alphabet. The modal signature itself refer roughly to these numerals (except for the ligature abbreviating βαρύς), and add neumes on the top as they are used above the last syllable of
3453:
poetry, but also to Hebrew psalms, and these compositions had been organized as a cycle of the same makam, chosen as makam of the day. These inspiring exchanges developed other needs like the adaptation to a tone system which was common knowledge of all musicians of the
Ottoman Empire, which allowed
1855:
and the disposition of the echoi through which a certain composition had to pass, can be studied by the kalophonic method of doing the thesis of the sticheraric melos. The psaltes skilled in the psaltic art usually opened his performance by an extended enechema which recapitulated the disposition of
1730:
by the formal function of a changing disposition, which allowed always to find a kyrios in the upper pentachord, if the phthongos was plagios, or a plagios in the lower pentachord, if the phthongos was kyrios. But plagios and kyrios on the level of metrophonia were only defined by the direction from
1421:
compilation contain a short explanation within octave equivalence which is usually not given by the authors of
Papadikai. Instead the Papadike just contained systematic lists of signs and parallage diagrams, but it also offered useful exercises which aimed to teach different methods of how to create
1276:
The τροχὸς in the version of a late 18th-century manuscript of
Papadike adds the aspect of the heptaphonic tone system to the peripheral wheels, dedicated to the diatonic kyrios and plagios of the four octaves. In fact, this hybrid form corresponds to the oldest source of the Koukouzelian wheel. The
599:
The possibility of translating every style into an artistic experiment of psaltic art was based on the concept, that every step recognized by metrophonia was regarded as a degree of the mode as well as a mode (an echos) itself. The kalophonic method established a second method beside the traditional
3857:
as the centre of the upright tradition of the
Constantinopolitan cathedral rite. A similar conservative attitude can be found in Greek monasteries of Italy and Holy Mount Athos which never used the book of the reform "akolouthiai" (τάξις τῶν ἀκολουθίων "order of services"). Already during the early
1503:
so that nothing is absent nor any other element needed for perfection', we must consider that such a person thinks and speaks wrongly and has deviated from the correct principles of science For, if he were right, as in his ignorance he would probably claim to be, there would have been no need for
590:
The eighth section adds some didactic chants, among them the Mega Ison—a sung list of all the signs which was used to exercise the method of embellished (kalophonic) melos passing through all the eight modes of
Octoechos (πρῶτος, δεύτερος, τρίτος, τέταρτος, πλάγιος τοῦ πρώτου, πλάγιος τοῦ δευτέρου,
586:
which were obviously needed to transcribe the whole repertoire including the cathedral rite into
Byzantine round notation and its medial signatures which all refer to the Hagiopolitan octoechos. This section proves the integrative use of this notation, its signatures and its phthorai, which made up
490:
which were usually attached to it, the
Papadike itself was rather based on lists and exercises with short verbal explanations. The composition of the Papadike can be illustrated by the Italian manuscript of Messina (Messina, Biblioteca Regionale Universitaria, Fondo SS. Salvatore, Messan. gr. 154),
3476:
Phanariotes, Armenian musicians as well as Danubian Boyars were the first, who invented different notation systems to transcribe the orally based music traditions of the Ottoman Empire, while Greek treatises still tended to reformulate passages taken from the Hagiopolites treatise. Even before the
1841:
of each phthongos constantly by the enechema of another echos, so each parallage defined the disposition of the intervals in another way, thus represented all possible transpositions as part of the outer nature. The inner nature was represented by the four peripheral wheels for protos (on the top
1713:
octave a fifth lower C—c, so that the seventh was big and not small. Both interpretations corrupted the tetraphonic or trochos system (σύστημα κατὰ τετραφωνίαν), but they were less an ignorant confusion between metrophonia and melos, as Manuel feared it, it was motivated by a certain universalism,
1357:
The octave equivalence of heptaphonia within the melos of a certain echos can be rather explained by another use which might be called "the heptaphonia of the plagios echos". The chanter moves up and down passing the pentachord and the higher tetrachord of the octave. It is only possible to ascend
873:
Each direction within a half circle divides the wheel into an ascending (from twelve to half past four) and a descending hemisphere (from half past ten counter clockwise to six). While the ascending way of parallage is indicated by blue arrows and the descending one by black arrows, the spokes are
2472:
And this is the situation, but its melody does not always belong to the first mode for frequently, by binding the third mode also, it makes it nenano, likewise the fourth plagal mode. However, no matter in which mode it is used, its resolution takes place in the second plagal mode , just as the
2450:
Both possibilities were certainly well known in the time of the manuscript Ms. 319 of the Docheiarios Monastery, but if the ascription to Ioannis Plousiadinos is correct, it was already practice during the 15th century. There are some descriptions of the nenano phthora by Manuel Chrysaphes which
1353:
The idea of parallage here is not to create the octave species of a certain echos, but to explore a relation to its next neighbour which is echos devteros in case of the protos parallage, or echos varys in case of the devteros parallage. It is evident that the latter seems to be a rather distant
744:
of the same octave species, but the connection between a change of direction as α'↔πλδ', β'↔πλα', γ'↔πλβ', and δ'↔υαρ. The horizontal axis reads the top line from the left to the right for the ascending direction, while the bottom line has to be read from the right to the left for the descending
5345:
Menaion (interrupted by hymns of the Triodion and Pentekostarion, and by an old sticherarion fragment) of a Sticherarion kalophonikon with compositions by Ioannes Glykys, John Koukouzelis, Ioannes Kladas, Xenos Korones, Manuel Chrysaphes, Gregorios Mpounes Alyates and some later composers (17th
1938:
on the top and on the bottom between two crosses meet within each rhomb. In its very particular shape, Plousiadinos' diagram less represents the correct order of one tone system like the Koukouzelian wheel and the trochos system, but it helps the singer to explore rather hidden paths which pass
3464:
tradition or without it as so-called "exoteric music" or "external music" (ἡ μουσική ἐξωτερική). Some signs of the former Byzantine notation were too specific concerning the own tradition, so that they were abandoned. Thus, the ornamentation became part of the oral transmission, whether it was
1896:
at the same time and without the use of any transposition. It does look for odd ways as well, how to change between the echoi (similar to the corrupted heptaphonia of the Koukouzelian wheel), but here the changes were rather based on more common combinations of different tetrachords mixing the
1664:
which referred to the eight modes of the Octoechos by an heptaphonic and monosyllabic solfeggio of just seven syllables ζω, νη, πα, βου, γα, δι, and κε—not unlike the Western solfeggio (Si, Do, Re, Mi, Fa, Sol, and La). But his concern was less the integration of the Western tone system which
2729:, the tonality of the new section. The beginning of this section emphasizes the tetraphonic melos of the diatonic echos varys, its characteristic is the tritone above the finalis within the tritos pentachord F, and the word "τετράφωνος" has the cadence formula of ἦχος βαρύς. At the sign
2716:
If this phthora is used in order to bind , it functions as follows: the first mode, frequently tetraphonos, becomes the second by melody this effected by the strength of phthora of the second mode . If a phthora were not placed in the first mode, the melody would enter its mesos , the
1828:
The inner and outer nature of whatever phthongos becomes evident by the difference between parallage and melos. The great wheel in the center rather represented all phthongoi as an element of a tone system, but by the solfeggio of parallage each phthongos was defined on the level of
1444:, despite its use within the practice of discant—for the very reason, that fifth equivalence excluded somehow octave equivalence. Nevertheless, it is remarkable that its practical use within the Greek octoechos was not only recognized, but also explained by the proper Greek terms.
1504:
Ioannes Glykys to have composed methods for the theseis in chanting and after him for the maïstor Ioannes to have composed another method and the chanted signs, and after him also for Korones to have composed the other two methods of the kratemata and the other for the stichera.
1058:
On the first sight it seems that the horizontal direction is ascending from left to the right and descending from the right to the left, but the intonations have to be sung on the same pitch during a horizontal transition, because in the contemporary notation practice diatonic
5321:
Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, the complete Akathistos hymn, kontakia anastasima, stichera heothina, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th
2473:
truly most musically-accomplished teacher and maistor Ioannes teaches and writes in Μήποτε ὀργισθῆ κύριος in the Δουλεύσατε. For since the fourth mode is there by parallage , the phthora binds it, and instead of moving to the first plagal , it continues to the second plagal.
1099:
is expected three steps or phonai above, which is three lines higher, indicated by "Γ" (3) in the last column which counts the ascending steps. In the fourth column with modal signatures, the singer finds in the same line the transposition which turns the phthongos of echos
1313:
down to the lower octave starting from the same phthongos of each kyrios echos in every peripheral circle. In the center of the Dorian circle (on the left top) is written "heptaphonia of the first echos" (ἐπταφωνία τοῦ πρώτου ἤχου), and starting from the kyrios protos the
5164:
Complete Sticherarion with Byzantine Round notation of Cyprus (Menaion ff. 1r-139r; Triodion ff. 141r-179r; Ἀκολουθία τῶν παθῶν ff. 179r-196v; Pentekostarion ff. 196v-218r) and Oktoechos with stichera prosomoia (14th century with later palimpsests around the stichera
1125:, inserted sections using abstract syllables, complex structures were possible, a soloist could pass through several transpositions and was still able to find their way out—which meant back to the transposition of the first column and the echos of the main signature.
518:(πρῶτος, δεύτερος, τρίτος, τέταρτος, πλάγιος πρώτου, νενανῶ, βαρέως ἤχου) and two signs for a change of the tone system (μεταβολή κατὰ σύστημα)—ἡμίφωνον and εἰμίφθορον (obviously needed for a change into the triphonic system of phthora nana). The system of diatonic
4503:' realization which trapped him into the labyrinth, was due to another transition between the chromatic echos plagios devteros and echos varys. During the 13th and 14th century echos plagios devteros was always expected on β' (E), even if it had changed to the
4374:) studied mainly Papadikai for the Byzantine influence on Carolingian theory, despite the fact that this treatise type developed much later. Especially tetraphonia and a reflection and verdict against transposition are somehow present among Carolingian authors.
312:
system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today.
4206:) they originally belonged to the Octoechos section of the sticherarion and they became part of the written transmission since the reform Theodore Studites during the 10th century, when the earliest sticheraria were written. Nevertheless Christian Troelsgård (
507:
Protheoria beginning with Ἀρχὴ σὺν Θεῷ ἁγίῳ τῶν σημαδίων τῆς ψαλτικῆς τέχνης ("The beginning with the Holy God of the signs used in the psaltic art..."). The signs are described and listed starting with ἴσον and the other signs which sound, including tempo
4771:
3840:) argument that the often in red ink written signs marked rather stylistic differences (kalophonic compositions marked those signs in red which were taken from another book and its local tradition), but they did not change basic principles of notation.
1281:
was only written in clockwise direction (see the way marked by the arrows). The psaltes start with the enechema of echos protos, which is descending and ascending stepwise the pentachord with its beginning and end on the kyrios finalis (the pentachord
3142:
Until now the version of Ms. vat. gr. 791 was not identical, but closer to Maria Alexandru's reconstruction (see the change of the melody indicated by the phonic signs in Ms. ottob. grec. 317 at "προσχές μάθητα"). This changes within the end of the
2711:Εἰ δὲ διὰ δεσμὸν τέθειται ἡ φθορὰ αὕτη, γίνεται οὕτως. ὁ πρῶτος ἦχος πολλάκις τετραφωνῶν γίνεται δεύτερος ἀπὸ μέλους. ποιεῖ δὲ τοῦτο ἡ τῆς δευτέρου ἤχου φθορᾶς δύναμις. εἰ γὰρ μὴ ἐτίθετο φθορὰ εἰς τὸν πρῶτον, κατήρχετο εἰς τὸν μέσον αὐτοῦ τὸν βαρύν.
1382:, that it was also called the "trochos system" (σύστημα τοῦ τροχοῦ, σύστημα κατὰ τετραφωνίαν). Nevertheless, according to tetraphonia the octave of plagios protos (e.g. D—d) does not go up to the phthongos of plagios protos, but to the phthongos of
4499:) did not succeed to reconstruct the untransposed original for the transition between the first to the second section from echos protos to echos devteros, because the manuscript showed too many variants, while the very particular transposition of
2963:
Petros Peloponnesios' version, as it was transcribed into the printed books by the beginning of the 19th century, is indeed closer to the rather odd interpretation of the scribe in Ms. ottob. gr. 317. But he introduced the interpretation of F as
1988:
which can be imagined as a repeating chain of tetrachords between Do—Fa. It has its finalis between a descending and an ascending tetrachord which are connected by the finalis—the crossing point. Here the complication is similar to those between
1145:(τροχὸς), which has four simple wheels at the margin, and a big one with five rings in the center which puzzles the four simple ones together. In fact, all these wheels look at the whole tone system through a small window of just one pentachord.
578:, which is very reduced in the 17th century redaction in comparison to earlier Papadikai—a troparion ἀνεβάς νεβὰν which memorizes always another echos with each verse, concludes the section. It does not only document the simple forms as used in
1848:(at the bottom right). Within these circles each phthongos became part of a certain melos and its echos, so its function was defined as a modal degree of an echos, e.g. a cadential or final degree, or a mobile degree attracted by the others.
1354:
neighbourhood. Thus, the heptaphonia of each echos emphasizes the difference between heptaphonia and tetraphonia. Since parallage in itself always follows tetraphonia and obeys fifth equivalence, it is impossible to create octave equivalence.
3552:
which is rather a model of modulation or transition between different echoi than an exposition of a proper melos that can be perceived as an own echos. Nevertheless, it was already used for Orthodox chant and not for compositions in Ottoman
1256:
one (second ring), into the tritos pentachord (third ring), and into the devteros pentachord (fourth ring). While the rings of the big wheel in the centre are representing the tone system and all its possible transitions (including all the
1496:
is the least significant of all techniques, and the easiest. If someone were to say, 'I have composed a melody which does not lack notes—not a single one is missing which ought to be there—and it is really correct and sound in its use of
5296:
Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (13th
1649:(from the inner to the outer ring) and vice versa (from the outer to the inner ring) was the most common form of transposition (μεταβολή κατὰ τόνον) and it explains the fifth ring in the center of the composed Koukouzelian wheel.
1170:
had been completed by a fifth one whose symbols are identical with the first column. Now they are all shaped as five rings and in comparison with the kanonion the order of them had been inverted, so that the second ring turns the
767:
In the Papadike of the Codex Chrysander this circle can be found as a "crown" on the top of the Koukouzelian tree, and the four columns of tetraphonia were probably represented at the foot of the tree. For an understanding of the
3853:) Oliver Strunk based his studies of the older cathedral rite on homiletic writings by Symeon, Metropolit of Thessaloniki, who still refused about 1400 the Constantinopolitan reform of the 1260s and who regarded the Thessalonian
1349:
For the devteros circle (on the right top) the tetraphonic parallage even creates the augmented octave between echos devteros (b natural) and echos varys (B flat) as "heptaphonia of the devteros echos" (ἐπταφωνία τοῦ δευτέρου).
2265:
The left half of the same third cross means a completely different interval combination. Here the triphonia moves in ascending as well as in descending direction a middle tone and two great tones from a pitch which is a mesos
1242:
signature of the same echos with the soma ("spirit") neume for one descending step (ἀπόστροφος). This way the pentachord can be passed in ascending and descending direction clockwise as well as counterclockwise. From whatever
3489:
itself played a central role, as "destroyers" they marked a transition between the "internal" (ἐσωτερική) and "external music" (ἐξωτερική). This way Greek musicians could use the interval structure (διαστήματα) of a certain
1700:
was the only explanation and was adapted according to the Western perception of the modes as octave species. According to Chrysanthos the tritone B—F had become the tritos pentachord, while Oliver Strunk defined G—g as the
2602:. In order to understand them in practice, didactic chants or "exercises" (μαθήματα) were added as practical illustrations. Among them, there was probably no exercise which taught so many things at the same time than the
3473:, and thus, a new more universal notation was created which had been even used to notate primitive models of Western polyphony, despite it had been developed over centuries to notate very complex forms of monodic chant.
530:). It allowed notators to find each echos on every note just by changing its pitch class, so the diatonic phthorai had been used to indicate the exact place, where a transposition (μεταβολή κατὰ τόνον) would take place.
394:
treatises already followed the Studite reform and represent somehow an early form of papadike, so parts of it can later be found in the classical papadike manuscripts. The papadike itself had much in common with Latin
5636:
4336:(γ': F—B flat) and not at the one between kyrios and plagios devteros (β': b—E), it is simply caused by the tetraphonic parallage (the solfeggio within fifth equivalence). In the caption of this interpretation (
5228:
Incomplete Greek Heirmologion in ode order (OdO, starts with the eighth odes of echos devteros, the notated part finishes at f. 144v, it follows an appendix with later additions) with Middle Byzantine notation
5501:
An Analysis of Stichera in the Deuteros Modes: The Stichera idiomela for the Month of September in the Modes Deuteros, Plagal Deuteros, and Nenano; transcribed from the Manuscript Sinai 1230 <A.D. 1365>
4969:Ἐν Ἄνθος τῆς καθ' ἡμᾶς Ἐκκλησιαστικῆς Μουσικῆς περιέχον τὴν Ἀκολουθίαν τοῦ Ἐσπερίνου, τοῦ Ὅρθρου καὶ τῆς Λειτουργίας μετὰ καλλοφωνικῶν Εἴρμων μελοποιηθὲν παρὰ διάφορων ἀρχαιῶν καὶ νεωτερῶν Μουσικόδιδασκαλων
2665:
could be different within the same traditional composition. In this respect Maria Alexandru's "approaches towards a critical edition" are quite helpful, because a comparison assumes that the didactic chant
332:
In the history of the Byzantine rite the Hagiopolitan reform was described as a synthesis of the cathedral rite and the monastic rite. Nevertheless, the Hagiopolitan octoechos did not come into use at the
559:). The "methodos" is based on four columns which are also often organized in a circle. In this Papadike the circle form and the columns are illustrated by a parallage whose lines are shaped like a tree.
5531:
Maqam - Raga - Zeilenmelodik: Konzeptionen und Prinzipien der Musikproduktion. 1. Arbeitstagung der Study Group "maqām" Beim International Council for Traditional Music Vom 28. Juni Bis 2. Juli 1988 in
916:
moves up to the finales of the kyrioi echoi. Because the solfeggio does not follow the basic structure of a notated chant, but just moves up the next pitch class, the solfeggio demonstrated here is not
1745:
and looks from there for its mesos on B natural. Such a transposition will cause a transition within the central wheel, which turns the phthongos of protos (α') on the top of the outer ring into the
6768:
5284:
Kontakarion-Psaltikon with Asmatikon (kontakia and hypakoai, allelouiaria, prokeimena, koinonika) with Middle Byzantine Round notation of the Archimandritate SS. Salvatore of Messina (13th century)
3521:
In practice the integrative process was not so controlled as the Papadic theory and its Hagiopolitan reformulations suggested it. Several liturgical compositions had been made entirely in certain
357:
which passed through all the eight echoi of the octoechos, while the singers memorize the signs and studied their effect in chant composition. This chant or exercise (μάθημα) had been invented by
4890:
The Treatise of Manuel Chrysaphes, the Lampadarios: On the Theory of the Art of Chanting and on Certain Erroneous Views that some hold about it (Mount Athos, Iviron Monastery MS 1120, July 1458)
1326:) which is not heptaphonic at all, because the "octave" is now descending to the phthongos of plagios devteros according to the tetraphonia of parallage, not to the phthongos of plagios protos:
936:
corresponds to a simple reading from the left to the right, line by line, down the tree. This "method of parallage" has been already explained on page 13 of Codex Chrysander. Here, the way of
1751:(δ') in the second ring. From here the metrophonia might descend two steps clockwise to the plagios devteros (πλ β'). According to the trochos system Chrysanthos' adaptation to the Ottoman
7413:
991:
745:
direction. If these columns are organized in a circle like spokes of a wheel, the ascending direction becomes clockwise (blue arrows) and the descending counter clockwise (black arrows).
4344:' nomenclature, who called the devteros octave (E—b—e) "lydios". Indeed, also in this respect the 18th-century copy follows the Papadike of the Great Lavra Monastery (Ms. ε 173), where
3896:) about the elements of the papadike offers a description of its parts and an overview of the various manuscripts and their contents (especially the many methods of different schools).
2336:
which is ascribed to Ioannis Plousiadinos is used in combination with all the chromatic and enharmonic phthorai which can be used within all the eight diatonic modes of the octoechos.
1969:
rhomb, between the crosses at the bottom left and right, and as part of the fourth between the right part of cross at the bottom right, and the left part of the cross at the top left.
1162:) and the tetraphonic tone system and its transpositions in the center—Koukouzelian wheel in an 18th-century manuscript (manuscript of the private collection by Demetrios Kontogiorges)
2899:
happens not earlier than on its octave at "ἑπταφωναὶ δίπλασμος" (No. 64). It is a composed change of the tone system, which changes first from the tetraphonia ("πνεύματα τέσσαρα") of
2741:(ἦχος τρίτος) on F which opens the lower ambitus of the tritos octave on B flat. The critical edition of Maria Alexandru continues to the beginning of the following section on G as
776:
between them it is necessary to discover an additional protos signature which is written left to the left upper branch of the tree: echos protos as starting and final pitch class (
2997:
section starts rather in the triphonic melos of echos nana, which was not used during the varys section of the untransposed original version. At "(ἀνάπαυμα) σήμερον" (No. 56) the
724:
to move up. Wherever these four elements were repeated, they always generated a pure fifth for the pentachord between the pair of a kyrios at the top and a plagios at the bottom.
5037:Μεθοδική διδασκαλία θεωρητική τὲ καὶ πρακτική πρὸς ἐκμάθησιν καὶ διάδοσιν τοῦ γνησίου ἐξωτερικοῦ μέλους τῆς καθ᾿ ἡμᾶς Ἑλληνικῆς Μουσικῆς κατ᾿ ἀντιπαράθεσιν πρὸς τὴν Ἀραβοπερσικήν
1117:
who was well skilled in the psaltic art, could use these memorial landscapes in order to find their way through the labyrinth of tonal relation- and kinships. Even in improvised
4403:
3420:
987:, neither within the tree nor by any additional example. There is just the wheel on the top which suggests a chain of plagioi intonations following the wheel counterclockwise.
9707:
8123:
4330:
Christian Troelsgård and Maria Alexandru do not discuss the difference between tetraphonia and heptaphonia, but they offer an explanation by pointing at the pentachord of the
712:(παραλλαγή), the distinction between the authentic echoi, called "kyrioi", and the plagal echoi, called "plagioi", was simply defined as a direction. The intonation formulas (
2144:, if we come down from the right branch. Nevertheless, it has already turned to the tritos in the left or third cross, represented by the νανὰ intonation or its plagal form:
5362:
Fragment of a Mathematarion of Theotokia, but not organised in oktoechos order with five kalophonic compositions by Manuel Chrysaphes and Ioannes Lampadarios (17th century)
1916:) which connects the two branches on the left (or on the right side) of the cross. For the beginning it is enough to understand, that the four crosses are ascribed to the
3532:
After first attempts to transcribe traditional music, the earliest compositions of church music dealing partly with mele beyond the octoechos system are probably those by
2607:
1093:
as follows. If the untransposed column is the first with the parallage (here marked with arrows), the phthongos of protos or plagios protos is in the last line. The echos
358:
353:
signs which were taken from various chant books and their different notation systems. In the school of John Glykys this list had been organized as a didactic chant called
2623:
system, this mathema passed through all echoi of the octoechos, but at the same time it even demonstrated the changes to the other tone systems (μεταβολαὶ κατὰ σύστημα).
1930:
which correspond to the four peripheral circles of the Koukouzelian wheel. They can also be regarded from a different angle as four rhombs which connect two neighbouring
6836:
5482:
Tradition and Innovation in Late- and Postbyzantine Liturgical Chant II: Proceedings of the Congress held at Hernen Castle, the Netherlands, 30 October - 3 November 2008
5473:
Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts
2650:
shows that the oldest versions did not use any transpositions (μεταβολαὶ κατὰ τόνον), while the adaptation to the modern practice has to be studied by the exegesis of
1459:, there was obviously only a problem of ignorance, but not the Western one that the tetraphonic system excluded the heptaphonic and vice versa. The simple solution of
5090:Βιβλίον σὺν Θεῷ ἁγίῳ περιέχον τὴν ἄπασαν ἀκολουθίαν τῆς ἐκκλησιαστικῆς τάξεως συνταχθὲν παρὰ τοῦ μαΐστορος κυροῦ Ἰωάννου τοῦ Κουκουζέλη of Thessalonica (about 1400)
3585:, but memorizes the makamlar systematically without a cyclic form returning at the end to the tonality of the beginning. The composition starts with the diatonic
403:, and the typikon, it puzzled the soloist's, the domestikos', and the choir's part, and the rubrics of the typikon together. It contained several little books as
3494:
for a temporary change (ἡ ἐναλλαγή μερική) which was not at all a proper melos within the octoechos system, but rather a refined way of a transition between two
3437:
than the simplification of the former Byzantine notation, its Papadic tradition of teaching, essentially based on the many signs memorized by the didactic chant
1524:
471:
487:
8356:
667:), the more elaborated, kalophonic compositions were collected in separate parts of the akolouthiai, especially the poetic and musical compositions over the
6388:
6045:
Troelsgård, Christian (1997). Christian Troelsgård (ed.). "The Development of a Didactic Poem: Some Remarks on the Ἴσον, ὀλίγον, ὀξεῖα by Ioannes Glykys".
2138:
will be used which descends from the top of the branch γ῾, πλ β῾, πλ α', down to πλ δ῾, which is in the center of the right cross at the bottom—the one of
2394:(ἦχος πλάγιος τοῦ δευτέρου). If only this tetrachord is chromatic, it is connected to a second diatonic tetrachord between α' and δ', so the signature is
1071:
which passes through all the echoi of the octoechos, in the short realization of Petros Peleponnesios finds the echos tritos "on the wrong pitch". On the
324:
came into use not earlier than in the mixed rite of Constantinople, after the patriarchate and the court had returned from their exile in Nikaia in 1261.
9283:
3413:
1436:, even the practice of its transposition was reflected as "absonia" to a certain degree. By the 11th century the so-called "Dasia system" was refused by
3568:) were already collected in the manuscript by Kyrillos Marmarinos and were later organized according to the Octoechos order like the great signs in the
6393:
5121:
Complete Menaion with Middle Byzantine notation (ff. 7r-326v) of the Sticherarion with various additions at the end and at the beginning (13th century)
1109:
By this example the use of Gabriel's kanonion as illustration of the Byzantine tonal system, as it can be found in same Papadikai, becomes evident. A
567:
is illustrated on page 16: ἡ κυρία μετροφωνία while the exercise has its own text, each step of the neumes is explained by the modal signature of its
7336:
71:
6408:
2329:—a flat). It just depends which signature of the crossing point has been chosen by the psaltes and whether they took the left or the right branch.
1821:
melos had to follow after this resolution and needed a preparation by the change to another genos (μεταβολή κατὰ γένος). In a very similar way the
893:, the memorization of a pitch sequence notated in phonic neumes which is followed step by step by the intonation formula as a kind of pitch class (
2011:
of tritos (γ'), passing through the tetrachord πλ δ῾, α῾, β῾, and finally γ῾ within three steps (τρεις φωναὶ, τριφωνία). The final note is always
7303:
6829:
5241:
Heirmologion mostly in canon order (KaO without first section of Heirmoi in echos protos) written near Saint Catherine's monastery (17th century)
405:
6152:
Actas del XV Congreso de la Sociedad Internacional de Musicología: Culturas Musicales del Mediterráneo y Sus Ramificaciones, Madrid/3-10/IV/1992
430:
written in 1289. This proves again the integrating role of the Middle Byzantine Round notation, which had developed as the notation of the book
9789:
9232:
7586:
7487:
5529:
Brandl, Rudolf Maria (1989). Elsner, Jürgen (ed.). "Konstantinopolitanische Makamen des 19. Jahrhunderts in Neumen: die Musik der Fanarioten".
4949:, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 1, Vienna: Verlag der Österreichischen Akademie der Wissenschaften,
4930:, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 5, Vienna: Verlag der Österreichischen Akademie der Wissenschaften,
4892:, Monumenta Musicae Byzantinae - Corpus Scriptorum de Re Musica, vol. 2, Vienna: Verlag der Österreichischen Akademie der Wissenschaften,
3485:
was just another demonstration of the integrative function, that Byzantine Round notation had already developed before the Papadic reform. The
3406:
3208:(G=a). This is the only justification for the modification of the traditional model which can be found at the beginning of the last section of
1637:(C—c, G—g). On the other hand, the trochos system allowed always a re-disposition and register change of the octoechos, so the conversion of a
1016:
The simplest and presumably earliest form which is also the closest to Ancient Greek science treatises, is the representation of the different
2737:
the manuscripts do not agree. In the Papadike Ottoboniano greco Ms. 317 (fol. 7r) of the Vatican Library (see example) it is the signature of
2398:. In the current tradition the sticheraric melos the tetrachord between α' and δ' is chromatic, so the attraction of νενανῶ moves towards the
1359:
1358:
two steps from the kyrios and then the octave has to be fulfilled by the octave of the plagios of each echos. This method follows exactly the
1106:
into the echos tritos. As long as they have localized this transposition, singers will always find their way back to the untransposed column.
8920:
7497:
7430:
6748:
3800:
1156:": The four peripheral wheels for the Octoechos (top left: protos echoi; top right: devteros echoi; bottom left: tritos echoi; bottom right:
1762:
by the reproduction of the plagios in the octave of the eighth phthongos. This practice separated the four octaves. Hence, the Hagiopolitan
1673:
than the integration of the Ottoman reception of the same system, which had become common to all musicians of the Empire, whether they were
7445:
7440:
6530:
1731:
which singers arrived at a certain phthongos. As a degree of a certain mode or echos like kyrios and plagios the psaltes left the level of
5189:
Complete Sticherarion with Menaion, Triodion, Pentekostarion and Oktoechos with Prosomoia of the Athonite Pantokrator Monastery (ca. 1400)
4594:) already pointed at the printed anthologies, which often tried to mediate patriotism during music lessons at Greek schools of the Empire.
4527:
of πλ α', now πλ β'. This convention forced Petros Peloponnesios to transpose ἦχος βαρύς on E flat, so that it could appear on the former
1463:
was a formal distinction between the musical structure written in notation, its recapitulation by the solfeggio or the use of tetraphonic
10182:
8521:
7507:
7482:
5668:
3864:
3860:
3807:
with the missing illumination of Mount Athos, Mone Koutloumousi, Ms. 475, fol. 1v). His students use cheironomic gestures for the neumes
1055:
which are written at the top of each cell (follow the blue arrows). This way each cell can be left in ascending or descending direction.
385:, as they are in use until today. But many places of the Byzantine Empire did never accept the reform of the Palaiologan Constantinople.
241:
5673:. Cantus planus: Papers read at the 9th meeting, Esztergom & Visegrád, 1998. Budapest: Magyar Tudomanyos Akademia. pp. 449–478.
5385:
Anthologia with Byzantine composers (Anastasimatarion, Ainoi, Pasapnoaria & Prokeimena, Sticherarion and Leitourgika) (17th century)
4189:. A critical edition which offers an overview over all Papadic redactions of the Koukouzeles-version, was published by Maria Alexandru (
708:(τετραφωνία). These four elements were represented by the numerals πρῶτος, δεύτερος, τρίτος, and τέταρτος. According to the practice of
10197:
8872:
8855:
7512:
7492:
6822:
5433:
Anthology of the Papadike with methods, Kratematarion and Mathematarion written by Ioannes Trapezountios in Constantinople (about 1765)
5421:
Anthology of the Papadike with methods, Kratematarion and Mathematarion written by Ioannes Trapezountios in Constantinople (about 1765)
503:
The following schedule describes the content of the Papadike of the Codex Chrysander and explains the difference to earlier Papadikai:
4657:
2661:
and Papadikai offer different solutions which had been found by various protopsaltes as a solution of the same problems, so that even
587:
the "Holy God of signs" and allowed him to recreate the different traditions of Eastern chant within the psaltic art and its notation.
8571:
8417:
8389:
8033:
8025:
7502:
7435:
6296:
3441:. Greek musicians of the Ottoman Empire, especially those who lived in sea ports like Istanbul, in the Fener district in particular (
2721:
This is exactly what happens here and it explains, why the end of this section finishes in the diatonic genus unlike the exegesis of
2112:). This sign used three steps above the phthongos γ῾ indicates, that here there will be the same cadence which usually closes on the
1872:
of Mr Ioannis Iereos Plousiadinos" (ἡ σοφωτάτη παραλλαγὴ κυρίου Ἰωάννου Ἰερέως τοῦ Πλουσιαδηνοῦ). It uses a crossing point and three
5984:
A Musicological Offering to Otto Kinkeldey Upon the Occasion of His 80th Anniversary — Journal of the American Musicological Society
8767:
8128:
6058:
Troelsgård, Christian (2007). "A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications".
5428:
5196:
1912:
The diagram consist of 4 separated X-shaped chains or crosses, each of them have a major circle in the center for the pitch class (
1825:
always connected the echos plagios devteros on E with the echos protos on a—in both directions and bridged by the chromatic genos.
1692:
The "Occidental school" as Maria Alexandru liked to call it, went into the footsteps of Chrysanthos with their assumption that the
673:-Psalm developed as a new genre of psaltic art and the names of the protopsaltes or maistoroi were mentioned in these collections.
5133:
Incomplete Sticherarion (parts replaced later) with Menaion, Triodion with Prosomoia, Pentekostarion, and Oktoechos (13th century)
5102:
Akolouthiai with Papadike with methodoi, Anthology for Hesperinos, Orthros, and for the divine Liturgies, and Mathematarion (1453)
4673:) mentions a list of different compositions sung until today, which are less the Ottoman genres organized by some cyclic rhythms (
2793:(σταυρός) which can be only find in a few manuscripts, but it mediates between the different versions by preparing the section of
2670:
had been originally untransposed, while there are enough later versions which need several transpositions (μεταβολαὶ κατὰ τόνον).
704:
The representation of the Hagiopolitan Octoechos by a wheel with four spokes or by four columns are based on the four elements of
9276:
8616:
6181:
Ichos und Makam - Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der türkischen Kunstmusik
2657:
Until the 19th century the medium of written transmission had been chant manuscripts. This explains why several manuscripts like
2157:
singers will always find a diminished tritone on a slightly low intoned b natural, whenever they ascends three steps up from the
1793:
octave C—c and the tritos one B flat—b flat was separated by the use of b natural on the seventh phthongos in the heptaphonia of
2447:
for the descending parallage (δ'—υαρ—πλ β'—πλ α'). The chromatic alternative is tetraphonic and no longer part of this diagram.
736:
According to the Papadic "method of parallage (solfeggio)", the logic of one column did not to represent the pentachord between
9096:
8621:
3200:
octave on C. Protopsaltes of the 18th century already used the lower alteration of the seventh degree of the mode, so that the
2981:(in a certain way the elegant way was simply a thesis of the papadic melos of this version). After the cadence in the diatonic
5709:
Joubran, Romanos Rabih (2009). "The Use of Eastern Musical Modes in Byzantine Compositions during the 19th and 20th Century".
2752:(ἦχος πλάγιος τοῦ τετάρτου), while the version indicated in blue follows the version of Vaticana greca Ms. 791, here the sign
9020:
7780:
7773:
7329:
6089:
5825:
Sources of 18th-century music : Panayiotes Chalathzoglou and Kyrillos Marmarinos' comparative treatises on secular music
5740:
5648:
5519:
5489:
5260:
Nižegorodsky Kondakar' of the Blagoveščensky Monastery, introduced, described and transcribed by Tatiana Shvets (about 1200)
4954:
4935:
4897:
4606:
who tend to regard this integration as a "Hellenic method", was one of them. But treatises concerned about Ottoman (Turkish)
1822:
124:
5452:
5409:
Papadike and the Anastasimatarion of Chrysaphes the New, and an incomplete Anthology for the Divine Liturgies (17th century)
5035:
1277:
tetraphonic parallage is written outside and just shows the pentachord of protos in the circle on the left top and here its
341:
before the Papadic reform during the late 13th and the 14th century, after the patriarchate and the court had returned from
8772:
8631:
7919:
5832:
4573:, can be read and listened in the interpretation by Gregorios Stathis' Maistores Choir at the internet forum "Analogion" ("
1490:, as some of the present generation imagine, but includes other methods which I shall now mention briefly. The practice of
812:(about 4 and a half), the way which continues to move up, jumps back to the position of 12 o'clock, where the signature of
7763:
5618:
Studies of the Dark Continent in European Music History: Collected Essays on Traditions of Religious Chant in the Balkans
5480:
Alexandru, Maria; Christian Troelsgård (2013). "The Development of a Didactic Tradition – The Elements of the Papadike".
5309:
Kontakarion-Psaltikon (prokeimena, allelouiaria, hypakoai, kontakia) with Middle Byzantine Round notation (13th century)
4635:
For an overview on the manuscript sources transcribing makam music into Greek neume notation, see Kyriakos Kalaitzides (
1447:
In the later treatises about psaltic art (15th century), which offer further explanations to the Papadike like those by
10192:
9782:
9269:
9101:
8514:
6880:
5860:
4210:) assumed that simple psalmody was already part of the oral transmission in connection with the Hagiopolitan oktoechos.
382:
210:
6210:
Barys tetraphonos in John Koukouzeles' Mega Ison, sung by the Papadikis Maistores under direction of Gregorios Stathis
4967:(1896). Kyriazides, Agathangelos (ed.). "Τὸ Μέγα Ἴσον τῆς Παπαδικῆς μελισθὲν παρὰ Ἰωάννου Μαΐστορος τοῦ Κουκκουζέλη".
2598:, diagrams, and detailed explanations are hard to understand, especially for readers who were not well skilled in the
9993:
9202:
7768:
6188:
5625:
5595:
1250:
The four simplified circles at the margin have been derived from the transposition of the protos pentachord into the
5587:
Im Labyrinth des Oktōīchos – Über die Rekonstruktion mittelalterlicher Improvisationspraktiken in liturgischer Musik
1809:. Bound by the phthora nana, the melos could not change into any other echos before its resolution into the plagios
757:
694:
10207:
8265:
7322:
6183:. Orpheus-Schriftenreihe zu Grundfragen der Musik. Vol. 74. Bonn: Verlag für systematische Musikwissenschaft.
5201:
Triodion of the Old Sticherarion, partly damaged - Cod. 155 of Padre Martini's Manuscript Collection (16th century)
3883:
One of the earliest neume lists can be found in a 10th-century manuscript (Athos, Great Lavra Monastery, Ms. γ 67).
3311:
2886:
and its kyrios (ἦχος τέταρτος) on the fifth degree of the mode. In the original version, the transformation of the
1707:
octave unlike Chrysanthos and the living tradition as the point of reference of the "Greek school" who all set the
591:βαρύς, πλάγιος τοῦ τετάρτου, πρῶτος), sung by a soloist skilled in the psaltic art. Other didactic chants like the
5735:. Istanbuler Texte und Studien. Vol. 28. Kyriaki Koubaroulis, Dimitri Koubaroulis (trans.). Würzburg: Ergon.
10187:
9237:
9059:
7591:
7359:
7158:
6753:
4569:
The partition of this section according to Petros Peloponnesios who finished the plagios devteros section in the
2918:
octave on G which requires an f sharp as the seventh degree of the mode, nothing less than the alteration of the
2203:" is alternatively annotated as "echos varys" (υαρ), while the tritos in the crossing point has the signature of
369:
The so-called mixed rite which replaced the former tradition of the cathedral rite, resembled in large parts the
234:
5680:
5380:
647:
During the 13th and 14th century psalmody was used in rather elaborated form than in the simple one copied from
9207:
9197:
9069:
8990:
8808:
8676:
8248:
8192:
8113:
7980:
5404:
571:), but the exploration of the tone system by the use of the columns, circles, or its elaborated form as a tree.
150:
5177:
Complete Sticherarion with Menaion, Triodion, Pentekostarion, and Oktoechos with prosomoia (late 14th century)
4272:
9775:
9064:
9054:
8969:
8724:
8509:
6289:
6150:
Wolfram, Gerda (1993). "Erneuernde Tendenzen in der byzantinischen Kirchenmusik des 13. – 14. Jahrhunderts".
5457:
Papadike and Anthologia (Kekragarion, Doxologiai, Pasapnoarion, Cherouvikarion, Koinonikarion) (18th century)
5400:
5376:
3968:
3245:
1335: → νεαγίε (πλδ') → ἀανές (υαρ) → νεχεανές (πλβ') → ἀνέανες (πλα') → νεαγίε (πλδ') → ἀανές (υαρ) →
841:) the way following the descending direction jumps again to the position of half past 10 o'clock, the place (
686:
621:
7944:
424:
But in this combination the papadike appears from the 14th century, while the earliest version introduced a
9138:
9106:
9010:
8719:
8691:
8499:
8038:
6780:
6240:
5540:
5781:"Sin 319 and Voskr 27 and the Triodion Cycle in the Liturgical Praxis in Russia during the Studite Period"
5718:. 1st International Conference of the ASBMH, 2007: Byzantine Musical Culture. Pittsburgh. pp. 530–553
4908:
4178:
4174:
4144:
2677:(ἦχος πλάγιος τοῦ δευτέρου) is the longest and most complex one and it has some medial signatures for the
2634:, and how they can be combined by different changes, can be illustrated by a short analysis of the end of
1803:
always bound the melos of echos tritos, so that it had to resolve in the enharmonic form of echos plagios
1309:
Thus, it simply demonstrates the fifth equivalence of tetraphonia. A rather interesting experiment is the
1063:
indicate a change of the dynamis (the pitch class) whatever is the frequency of its pitch. As example the
544:
A systematic list of all ascending and descending combinations used as phonic signs (σώματα and πνεύματα).
9812:
9702:
8862:
8504:
8351:
8108:
7859:
6314:
5614:"Religious Chant in the late Ottoman Empire – Between Petros Bereketēs and Hamamîzade İsmail Dede Efendi"
5416:
4292:
4140:
4106:
4102:
4085:
4081:
4064:
4060:
4043:
4026:
4009:
4005:
3854:
3342:
3255:
1043:
which are written at the bottom of each cell (follow the red arrows), the last column shows the 8 steps (
9506:
5641:
Byzantine Chant between Constantinopole and the Danubian Principalities: Studies in Byzantine Musicology
4237:. The written out standard forms and their transcription can be studied at the medial signatures in the
3049:("γορθμός", No. 57). In Ms. ottob. gr. 317 the cadence on F which was marked by the medial signature of
2501:, are indicated in the right descending branch of the first cross. In the current practice in which the
1031:
The vertical directions are indicated by the first and last column. The first column shows the 8 steps (
957:
904:
moving through the pentachords between the finales of kyrios and plagios. Like the intonation formulas (
9182:
9128:
8867:
8739:
8729:
8429:
8309:
8187:
8118:
8006:
7975:
7818:
7758:
5678:
Husmann, Heinrich (1970). "Die oktomodalen Stichera und die Entwicklung des byzantinischen Oktoëchos".
925:. While this tree had been written on page 15 in red colour, there is another version of the ascending
227:
6047:
Byzantine Chant: Tradition and Reform — Acts of a Meeting Held at the Danish Institute at Athens, 1993
4318:
4238:
3675:
3116:
2108:(see the sign added in red ink in the picture below, beginning of the third row at the syllable ἀνάστα
976:
945:
9920:
9817:
9292:
9042:
8566:
8422:
8207:
8098:
7985:
6578:
5979:
3914:
1718:
claimed, when they used Chrysanthos' system to transcribe Western melodies and the makamlar as well.
1682:
5882:
5812:
5733:
Post-Byzantine music manuscripts as a source for Oriental secular music (15th to early 19th century)
5445:
Papadike and Anthologia (Anoixontarion, Anastasimatarion, Polyeleoi, and Leitourgika) (18th century)
5357:
5184:
2733:(ἐπέγερμα, Νο. 55) is already the end of the varys section. Concerning the medial signature at this
2525:(πλ α' on D), but is chromatic according to the description of the chromatic tetrachord division of
1378:(τετραφωνία)", the tone system which was so strongly identified with the Koukouzelian wheel and its
874:
marked by dark blue double arrows, because both directions, the ascending as well as the descending
8341:
8093:
7580:
7459:
6803:
6418:
6282:
3115:
of the 18th century it was memorized by the name "νανὰ", not by its former name "ἀνέανες" (see the
1370:
For the full octave another tone might be added, which is called ἐμμελῆς: "according to the melos".
1343: ← ἅγια (δ') ← ἀνεανές (γ') ← νεανές (β') ← ἀνανεανές (α') ← ἅγια (δ') ← ἀνεανές (γ') ←
655:) forms of elaboration were often named after their local secular tradition as Constantinopolitan (
595:
by Chrysaphes the New made evident that this manuscript was written by the end of the 17th century.
349:
can be studied by a new type of treatise called "Papadike" (ἡ παπαδικὴ). It included a list of all
342:
50:
5820:
4727:), the title does not refer precisely to music, but to μέλη (sg. μέλος) as a subcategory of echos.
4295:). The first line (p. 13) and the tree (p. 15) are not visible in the reproduction of these pages.
2339:
10161:
10133:
10112:
9930:
9862:
9247:
8671:
8397:
8217:
8103:
6845:
6368:
5780:
5440:
5340:
5236:
5016:
4997:
4258:, often represented by a tree, so that singers might move up and down like birds on its branches.
3874:
written in Italy, used Byzantine round notation and followed the synthesis of the Studite reform.
3669:
3613:). The earlier anthologies rather adapted Ottoman than Byzantine Papadic forms, for instance the
3536:(about 1665–1725), a protopsaltes who became very famous especially for his contributions to the
113:
6030:"Singing with the Angelic Choir: Anagogy, the Prototype of Orthodox Worship and the Psaltic Art"
5750:
Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice".
4515:
was already expected on γ' (F). According to the contemporary tradition of the 18th century the
2865:
once created it). And as well the following one of the fifth degree (c) which turns it into the
1581:
who was probably referring to a practice of Greek musicians. If he had done so for the diatonic
10202:
9877:
9172:
8762:
8604:
8048:
7854:
7828:
7823:
7596:
7572:
7568:
7535:
6732:
6691:
6605:
6600:
6358:
6224:
5255:
5097:
5069:
5057:
4993:
4523:(ἦχος πλάγιος τοῦ δευτέρου) had always a chromatic tetrachord based on its finalis D, once the
3642:
3638:
3577:
3434:
1868:
There is an alternative form of solfeggio which was called "the wisest or rather sophisticated
1653:
636:
The new book akolouthiai quoted simple psalmody usually in connection with the gradual psalms (
321:
305:
140:
67:
6142:
6125:
6108:
6004:
5899:
4473:) emphasized that this model rather proves the possibility of several flexible redispositions.
3301:
1775:
had an important function to bridge between the four octaves of protos, devteros, tritos, and
10048:
9423:
8890:
8744:
7934:
7844:
7808:
7693:
7423:
7418:
6921:
6763:
6712:
5799:
5140:
3062:, in Petros Peloponnesios' realization it is prepared by the formula of the cadence used for
2977:
in a more elegant way which was possible thanks to the triphonic tone system of the melos of
2586:
Cod. Ottob. gr. 317, fol. 5v-7v and—as variants written in blue—Cod. Vat. gr. 791, fol. 3v-5)
2096:
within the triphonic tone system has to be indicated by the use of the aphonic or great sign
1904:"ἡ σοφωτάτη παραλλαγὴ κυρίου Ἰωάννου Ἰερέως τοῦ Πλουσιαδηνοῦ" in an 18th-century manuscript (
1631:(B flat—b flat, F—f) had to become an f sharp or b natural within the octave of the diatonic
6084:. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press.
5058:"Athens, Εθνική Βιβλιοθήκη της Ελλάδος [Ethnike Vivliotheke tes Hellados], Ms. 2458"
3987:
created by Palaiologan composers, used for the services of every Sunday and the cycle of 11
3959:
By the end of the 16th century is a more recent datation according to the current catalogue.
10096:
10079:
9798:
9681:
9376:
9133:
9116:
8937:
8696:
8661:
8544:
8481:
8476:
8011:
7954:
7178:
6933:
6727:
6573:
6441:
6373:
6353:
6328:
4964:
4869:
4500:
3270:
3219:
3218:
in certain Papadike manuscripts had been important milestones towards the transcription of
2651:
1441:
1430:
Within the Latin treatises the practical use of tetraphonia was plausible to the author of
458:
listed in a 17th-century Papadike treatise—the intonations are followed by chant incipits (
285:
281:
195:
9511:
6029:
5145:
Complete Sticherarion with Menaion, Triodion, Pentekostarion, and Oktoechos (14th century)
8:
10088:
9909:
9358:
8043:
7959:
7949:
7813:
7576:
7564:
7451:
7151:
7127:
7006:
6999:
6951:
6508:
6487:
6348:
4648:
Even quotations from the manuscript of Kyrillos Marmarinos which still used conventional
3971:(from about 1655 to 1682) used the pseudonym Χρυσάφης ὁ Νέος, because he transcribed the
3749:
3285:
3214:
The comparison of different manuscript sources shows, that rather odd interpretations of
2876:
are not needed in the untransposed reconstruction of Alexandru's edition which finds the
170:
4702:
in this composition and the different use of phthorai in manuscripts of the New Method (
301:
10038:
9870:
9866:
9121:
9111:
8985:
8656:
8539:
8456:
8319:
7671:
7651:
7631:
7621:
7387:
6722:
6717:
6676:
6431:
6205:
6167:
5966:
5870:
5767:
5697:
5660:
Rhythm in Byzantine Chant – Acta of the Congress held at Hernen Castle in November 1986
5585:
4450:
2001:
was like as a permanent transposition of each tetrachord which always start on plagios
1432:
956:α (D)—πλδ' (C)—υαρ (B flat)—πλβ' (A)—πλα' (Γ)—β' (A)—γ' (B flat)—δ' (C)—α' (D)—β' (E) (
784:) written in four rows shaped like a tree (its direction is indicated by blue arrows).
644:
in Middle Byzantine notation, from which the expression of psaltic art had been taken.
624:
dedicated to the echos protos—a 17th-century redaction between Papadic and modern use (
200:
145:
76:
6260:
Biographies and Recordings of important Psaltes of the Constantinopolitan Patriarchate
5637:"Secular Music at the Romanian Princely Courts during the Phanariot Epoch (1711-1821)"
5503:. Cahiers de l'Institut du Moyen-Âge Grec et Latin. Vol. 22–23. Copenhague: Univ.
3791:), except that had an office as protopsaltes and that he is represented as teacher of
496:
Friedrich Chrysander, is in fact a late copy of the 17th century which introduced the
9948:
9944:
9307:
9243:
9177:
9082:
9015:
8995:
8963:
8895:
8882:
8803:
8798:
8549:
8314:
8164:
7683:
7636:
7626:
7616:
7283:
7167:
6908:
6774:
6482:
6461:
6424:
6184:
6085:
5856:
5828:
5771:
5736:
5644:
5621:
5591:
5515:
5485:
5353:
4950:
4931:
4893:
4540:
4341:
3976:
3716:
3696:
3498:. But developing its own architecture within a section sung over abstract syllables (
3275:
1460:
523:
479:
378:
215:
185:
180:
160:
155:
6814:
5928:
Strunk, William Oliver (1945). "Intonations and Signatures of the Byzantine Modes".
4543:
mentions the possibility to resolve phthora nenano by the use of the other phthora (
4396:
The reference is evident in the representation of the tone system by a Persian lute
3477:
invention of the universal New Method and its various new phthorai used for certain
3122:
2031:
In fact the ascending right branch from the x at the bottom left continues from the
1721:
10028:
9971:
9905:
9886:
9741:
9047:
8840:
8788:
8734:
8701:
8651:
8444:
8434:
8212:
7900:
7792:
7715:
7698:
7676:
7661:
7646:
7560:
7345:
7268:
6466:
6398:
6343:
6338:
6159:
6138:
6121:
6104:
5958:
5937:
5916:
5895:
5855:. Spolia Berolinensi. Vol. 7. Hildesheim, Zurich: Weidmann. pp. 261–277.
5759:
5689:
5336:
5081:
4398:
4345:
4186:
3792:
3533:
3394:
3223:
3127:
2685:(χόρευμα, Νο. 39 & 40) which usually prepares a cadence before a transition to
2611:
2575:
1885:
1153:
346:
105:
6929:
6059:
5267:
5159:
5128:
5116:
2541:
as it was still described by Manuel Chrysaphes, has become common practice today.
1625:
and their ambitus had been separated, because an f or b flat as the octave of the
900:
In the following four rows, shaped like branches of a tree, we find the ascending
10058:
10023:
10013:
10008:
9976:
9913:
9894:
9890:
9837:
9746:
9736:
9516:
9192:
9025:
9005:
9000:
8955:
8945:
8905:
8900:
8850:
8845:
8626:
8232:
8149:
8144:
7884:
7874:
7710:
7704:
7688:
7666:
7656:
7641:
7298:
7293:
7288:
7257:
7201:
7191:
6917:
6848:
6758:
6671:
6456:
6383:
6378:
6333:
6305:
5846:. Monumenta Musicae Byzantinae, Subsidia. Vol. 7. Copenhagen: E. Munksgaard.
5509:
4913:, Neumen-Studien, vol. 3, Berlin: Georg Reimer, pp. 15–50, fig. B3–B24
4856:
4284:
3647:
3593:
3384:
3363:
3332:
3135:
2583:
2080:
corresponds to a certain convention in the use of notation. Without any sign the
1942:
1900:
1437:
625:
492:
459:
374:
293:
268:
205:
175:
165:
4835:
4160:) based his study of intonations and signatures on the lists given in Papadikai.
2853:, the one of tritos at the fourth degree (b flat) which would correspond to the
2349:
Another example is the first cross on the left top with the modal signatures of
320:
nor any other cathedral of the Byzantine Empire did abandon its habits, and the
10063:
10053:
10043:
9981:
9899:
9882:
9521:
9466:
9030:
8910:
8643:
8402:
8296:
8282:
8081:
7785:
7540:
7278:
7263:
7233:
7206:
7186:
7144:
7062:
6638:
6518:
5710:
4980:, Grottaferrata: Scuola Tipografica Italo Orientale "S. Nilo", pp. 151–163
3618:
3337:
2681:
which is resolved frequently, especially when it is used before the great sign
965:πλα' (D)—πλδ' (C)—υαρ (B flat)—πλβ' (A)—γ' (B flat)—δ' (C)—α' (D)—β' (E)—γ' (F)
534:
533:
The octoechos, the modal signatures (marytyriai) of the different echoi, their
390:
370:
338:
276:
258:
130:
5920:
5763:
5279:
4679:), but compositions for liturgical use ("internal music") composed in certain
3071:(ἦχος τέταρτος), but in the very end slightly modified towards the formula of
2811:
2614:, a protopsaltes of the next generation and probably a student of the former.
563:
is not the solfeggio as memorization of an existing melody (the latter called
10176:
10156:
10138:
10116:
10108:
10104:
10033:
10018:
10003:
9998:
9935:
9833:
9471:
8950:
8827:
8793:
8531:
8466:
8439:
8324:
7939:
7879:
7136:
6925:
6686:
6681:
6655:
6403:
6225:"Medieval Byzantine Chant: Speculative Reconstructions - Story in a Nutshell"
6082:
Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation
5304:
4710:
in the 18th-century Byzantine notation, for instance by Kyrillos Marmarinos (
4681:
3988:
3796:
3706:
3663:
3659:
3456:
3446:
3389:
3358:
3316:
3280:
2960:—a—b natural—c) as it was taught by the "parallage of Ioannes Plousiadinos".
2930:, the mode of the previous section. In a second step the lower octave on the
1686:
1265:
within the melos of a certain echos and within pentachord which connects the
190:
135:
40:
9261:
5941:
5172:
4122:
in the manuscript quoted by the critical edition of the dialogue treatises (
803:. If the clockwise ascending direction arrived at the intonation formula of
10148:
10100:
9986:
9925:
9852:
9845:
9824:
9756:
9613:
8711:
8686:
8666:
8471:
8449:
8304:
7552:
7547:
7381:
7273:
7243:
7228:
7223:
7216:
7196:
7041:
6696:
6622:
6615:
5511:
The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music
5316:
5291:
5223:
4675:
4615:
4126:) and Ms. grec. 495 (15th century) of the Public Library at St. Petersburg.
3703:, ethnologist, geographer and musician of the Ottoman Empire (17th century)
3653:
3587:
3541:
3481:
and named after them, the traditional explanation for the transcription of
2780:
2687:
2211:(φθορά νανὰ) which can be found between two connected tetrachords: between
1800:
1765:
1366:, whose author probably referred to the opinion of an experienced psaltes:
1082:
748:
411:
334:
317:
309:
60:
7314:
4271:
within the wheel, which used the intonation formulas of the 19th century (
3933:
of the Bibliothèque nationale or the akolouthiai written in Thessaloniki (
2570:
970:πλβ' (E)—πλα' (D)—πλδ' (C)—υαρ (B flat)—δ' (C)—α' (D)—β' (E)—γ' (F)—δ' (G)
620:
Simple Psalmody according to the first section of the Anastasimatarion of
616:
10152:
10092:
9501:
9441:
9212:
9187:
8681:
8491:
8258:
7864:
7849:
7108:
7094:
7027:
6874:
6769:
Museum of Ancient Greek, Byzantine and Post-Byzantine Musical Instruments
6643:
6413:
5844:
Intonation Formulas and Modal Signatures in Byzantine Musical Manuscripts
5045:
4603:
3836:) decided to abandon this distinction because of Christian Troelsgård's (
3683:
3442:
1905:
1715:
442:
400:
6171:
5561:"The Early Development of the Liturgical Eight-Mode System in Jerusalem"
4254:
of page 13. The usual combination is the circle followed by the notated
3858:
13th century, when this tradition was expelled from Constantinople, the
990:
409:(a collection of additional sections composed over abstract syllables),
10084:
9955:
9940:
9857:
9767:
9671:
9395:
8486:
8346:
8336:
8169:
8159:
7869:
7101:
7073:
7022:
7017:
6964:
6957:
6898:
6860:
6513:
5970:
5949:
Strunk, William Oliver (1956). "The Byzantine Office at Hagia Sophia".
5256:"Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32"
5085:
3679:
2340:
The triphonia between phthora nenano and the echos protos or the echos
1674:
975:υαρ (F)—πλβ' (E)—πλα' (D)—πλδ' (C)—α' (D)—β' (E)—γ' (F)—δ' (G)—α' (a) (
948:
and their neumes (here only represented by the modal signatures of the
6133:
Williams, Edvard V.; Troelsgård, Christian (2001). "Glykys, Joannes".
5907:
Strunk, William Oliver (1942). "The Tonal System of Byzantine Music".
5701:
5484:. Leuven, Paris, Walpole: Bredius Foundation, Peeters. pp. 1–57.
4656:(microtonal frets) of the tanbur, while Kyrillos was paraphrasing the
2654:
and its transcription into modern neumes according to the New Method.
2560:) display other possibilities which have been already discussed here.
2088:γ῾, δ῾, α῾, and finally β῾, as written within the chain of pitches or
1024:(also used in the translation by Boethius). This table is ascribed to
885:) and an own echos or mode makes it necessary to distinct two levels:
9751:
9697:
9676:
9623:
9572:
9408:
9366:
9035:
8915:
8407:
8275:
8222:
8154:
7248:
7068:
7012:
6979:
6903:
6588:
6552:
6547:
6535:
6503:
6163:
5613:
3870:
2658:
1842:
left), devteros (on the top right), tritos (at the bottom left), and
1068:
881:
The double meaning of each modal signature as a kind of pitch class (
669:
426:
417:
97:
5962:
5203:. Bologna: Museo internazionale e Biblioteca della musica di Bologna
5074:
Akolouthiai of the Hagia Sophia of Thessalonica (early 15th century)
4861:
Studii şi Cercetări de Istoria Artei. Teatru, Muzică, Cinematografie
3032:
D-a like in the untransposed version of Vat. gr. 791, so the former
9648:
9633:
9628:
9577:
9567:
9557:
9537:
9436:
9431:
9381:
9348:
9333:
8561:
8461:
8412:
8270:
8202:
7990:
7055:
6985:
6893:
6650:
6540:
6523:
5693:
5560:
5197:"Bologna, Biblioteca del Liceo Musicale, Ms. P.147 (olim Cod. 155)"
4928:
Die Erotapokriseis des Pseudo-Johannes Damaskenos zum Kirchengesang
4410:(published in theoretical introduction in 1843, and republished by
3720:
3079:("ἔναρχις", No. 60) was integrated by Petros Peloponnesios, but as
2699:(θέμα ἁπλοῦν, No. 49) which is finally resolved into its mesos the
2691:. But here, by the end of the plagios devteros section, there is a
2255:
1578:
1148:
995:
681:
538:
6274:
6116:
Williams, Edvard V.; Troelsgård, Christian (2001). "Akolouthiai".
5018:Απάνθισμα ή Μεδζμουαϊ μακαμάτ περιέχον μεν διάφορα τουρκικά άσματα
4857:"Tipuri de gramatici în manuscrise muzicale de tradiţie bizantină"
3138:
Ms. Ottob. gr. 317, fol. 5v-7v & Cod. Vat. gr. 791, fol. 3v-5)
2646:(ἦχος πλάγιος τοῦ τετάρτου). A comparison and critical edition of
1456:
1137:
and its passage through 8 steps through the tetraphonic system of
994:
Papadike—κανώνιον καὶ ἡ παραλλαγή τοῦ Γαβρϊὴλ from the manuscript
849:(ἦχος βαρύς), and continues in counter clockwise direction to the
10128:
10123:
9829:
9643:
9638:
9552:
9446:
9413:
9371:
9343:
9315:
8927:
8813:
8754:
8253:
8227:
7905:
7211:
7122:
7087:
7048:
6913:
6867:
6568:
6099:
Troelsgård, Christian (2001). "Psalm, § III Byzantine Psalmody".
5086:"Vienna, Österreichische Nationalbibliothek, Cod. theol. gr. 185"
4304:
Athos, Great Lavra Monastery, Ms. ε 173, fol. 7v was dated 1436 (
1722:
Reconstruction of the Papadic Octoechos and its transition models
10143:
9593:
9562:
9547:
9542:
9338:
8556:
8331:
8197:
6593:
6363:
6256:"Byzantine Music: Archon Cantors of the Great Church of Christ"
4511:
which originally was expected between α' (a) and πλ β' (E), so
4508:
3710:
3450:
3368:
3306:
2364:
2065:(γ') is written aside as an alternative annotation of the same
1860:) to find evidence for a fixed disposition of the eight echoi.
1771:
1752:
1678:
396:
5851:
Raasted, Jørgen (1995). Szendrej, Janka; Hiley, David (eds.).
2173:
within the pure fourth of a tetrachord, which must be b flat.
1295: → νεαγίε (πλδ') → ἀανές (υαρ) → νεχεανές (πλβ') →
1002:
555:("pitch class") is recognized by an echos and its intonation (
511:
A list of the aphonic or "great signs" (Τὰ δὲ μεγάλα σημάδια).
9841:
9618:
9403:
7170:
6946:
6583:
6255:
4331:
3742:
3700:
3195:
3188:
3159:
3146:
3083:
in the soft chromatic genos which corrects the change to the
3065:
3052:
3043:
3019:
3008:
2992:
2982:
2971:
2939:
2913:
2906:
2889:
2877:
2844:
2803:
2796:
2788:
2772:
2769:
2745:
2742:
2618:
2592:
2554:
2546:
2535:
2527:
2519:
2511:
2503:
2495:
2487:
2479:
2442:
2436:
2430:
2421:
2418:
2411:
2405:
2399:
2388:
2380:
2372:
2362:
2353:
2350:
2341:
2300:
2294:
2288:
2281:
2267:
2257:
2243:
2237:
2226:
2216:
2213:
2205:
2196:
2193:
2186:
2178:
2167:
2145:
2139:
2128:
2121:
2114:
2098:
2067:
2060:
2054:
2047:
2040:
2033:
2021:
2018:
2012:
2002:
1983:
1977:
1964:
1958:
1944:
1925:
1874:
1843:
1816:
1810:
1804:
1794:
1788:
1782:
1776:
1746:
1740:
1708:
1702:
1644:
1638:
1632:
1626:
1620:
1614:
1603:
1595:
1588:
1582:
1571:
1563:
1555:
1547:
1535:
1528:
1515:
1509:
1498:
1491:
1485:
1465:
1401:
1395:
1389:
1383:
1251:
1237:
1231:
1225:
1218:
1210:
1200:
1194:
1188:
1183:(instead of into the devteros as in the second column of the
1178:
1172:
1157:
1101:
1094:
1076:
864:
835:
806:
350:
289:
262:
6061:
Proceedings of the 1st International Conference of the ASBMH
5853:
Koukouzeles' Revision of the Sticherarion and Sinai gr. 1230
5712:
Proceedings of the 1st International Conference of the ASBMH
3525:
and were certainly in no way "external music", and the used
1601:(b) without descending an augmented octave, but down to the
9712:
9325:
8835:
5890:
Raasted, Jørgen; Troelsgård, Christian (2001). "Papadikē".
5329:
5173:"Rome, Biblioteca apostolica vaticana, Cod. Ottob. gr. 380"
3892:
Christian Troelsgård's and Maria Alexandru's contribution (
1837:. The four inner rings of the central wheel re-defined the
4907:
Fleischer, Oskar, ed. (1904), "Die Papadike von Messina",
4870:"Koukouzeles' Mega Ison: Ansätze einer kritischen Edition"
3234:
as it had been taught by the Papadike over the centuries.
1593:, he would probably have started in the same way from the
4947:
Gabriel Hieromonachus: Abhandlung über den Kirchengesang
4791:
the Greek letters transcribe a Turkish text referring to
4308:, 21-22, microfilm: 34, discussion of heptaphony: 35-36).
3609:
is taught in a second didactic chant "Makamlar semaïsi" (
2857:
of the "phthora" (nana), if F was still the phthongos of
2617:
In order to demonstrate the transitional function of the
1542:
1141:
is constructed another form of the Koukouzelian wheel or
787:
In the wheel on the top the descending and the ascending
470:
Despite longer theoretical explanations by authors like
5141:"Copenhagen, Det kongelige Bibliotek, Ms. NkS 4960, 4°"
4836:"Hiera Mone of Timios Prodromos (Skete) Veroias, Ms. 1"
3560:
During the 18th century, models dedicated to a certain
3433:
There is another possible point of view concerning the
2787:. Petros Peloponnesios follows here another great sign
2370:(φθορά νενανῶ). According to medieval signatures, this
1652:
The 19th-century reform according to the New Method of
1484:
Thus, the science of chanting does not consist only of
1303: ← ἅγια (δ') ← ἀνεανές (γ') ← νεανές (β') ←
522:
developed during the 14th century and was described by
16:
Eight mode system used for religious chant compositions
5062:
Taxis ton akolouthion written in Constantinople (1336)
5046:
Middle Byzantine Chant manuscripts (13th–18th century)
4267:
See also Chrysanthos' way of ascending and descending
4250:
It is obviously meant to combine the diagram with the
2606:
called "Mega Ison", which was originally composed by
2574:
Section echos varys and echos plagios tou tetartou of
2441:
for the ascending direction (δ'—α'—β'—πλ δ'), and the
2280:—F). The signature at the crossing point abbreviates "
832:
takes the spoke down from 12 to 6 o'clock. From here (
547:
The following section is dedicated to the practice of
6844:
5280:"Rome, Biblioteca apostolica vaticana, Vat. gr. 1606"
4449:
See the kalophonic composition over the model of the
3946:
Paris, Bibliothèque nationale de France, fonds grec,
3913:). One akolouthiai was recently digitised in Vienna (
3849:
In his essay "The Byzantine Office at Hagia Sophia" (
3713:, and rabbi of the Ottoman Empire (late 16th century)
2849:
octave based on its plagios. This version forces two
2839:
in the triphonic tone system, it becomes as well the
1787:
octave were separated by different degrees, e.g. the
1613:
explained the octave species. Thus, being within the
1236:("body") neume for one ascending step (ὀλίγον) and a
6206:"Is Barys Tetraphonos the same as maqam Bestenigar?"
5980:"The Latin Antiphons for the Octave of the Epiphany"
5305:"Rome, Biblioteca apostolica vaticana, Vat. gr. 345"
5268:"Paris, Bibliothèque nationale, fonds grec, ms. 397"
5160:"Paris, Bibliothèque nationale, fonds grec, Ms. 261"
5129:"Paris, Bibliothèque nationale, fonds grec, Ms. 265"
5117:"Paris, Bibliothèque nationale, fonds grec, Ms. 355"
2956:
G as the connection between two tetrachords (D—E—F#—
2435:
within the tetrachord G—c today tends to choose the
2286:" (ἦχος λέγετος). If the intervall step between the
1081:, the echos tritos is introduced by the enechema of
5545:
Encyclopaedia of the Hellenic World, Constantinople
5015:Anastasiou, Spiridon; Keïvelis, Ioannis G. (1856).
2725:by Petros Peloponnesios, and it continues with the
2703:. Manuel Chrysaphes wrote about this resolution of
1261:), the four small outer rings represent the simple
689:—4 columns which illustrate the Papadic "method of
364:
5317:"Sinai, Saint Catherine's Monastery, Ms. Gr. 1314"
5292:"Sinai, Saint Catherine's Monastery, Ms. Gr. 1280"
5224:"Sinai, Saint Catherine's Monastery, Ms. Gr. 1258"
4706:) have to be studied from the use of conventional
4402:and the Ottoman fret names which was also used by
3169:(μεταβολή κατὰ σύστημα), but as a change from the
1863:
1128:
791:has to move within a half circle described by the
327:
6005:"The Evolution of the Byzantine 'Divine Liturgy'"
4945:Hannick, Christian; Wolfram, Gerda, eds. (1985),
4926:Hannick, Christian; Wolfram, Gerda, eds. (1997),
4766:with the Greek poem which describes the ethos of
4590:The musical anthropologists Rudolf Maria Brandl (
3672:—about all music traditions of the Ottoman Empire
1897:diatonic with the chromatic or enharmonic genus.
1833:(δύναμις) as an own echos according to a certain
979:transcr. on a:) α' πλδ' υαρ πλβ' πλα' β' γ' δ' α'
66:for phonetic transcriptions, with an appropriate
10174:
6049:. Monographs of the Danish Institute at Athens.
5429:"Island of Syme, Archeio Demogerontias, Ms. 335"
5417:"Island of Syme, Archeio Demogerontias, Ms. 334"
4877:Cahiers de l'Institut du Moyen-Âge Grec et Latin
4828:
3686:)—ranks of psaltes in charge of the Patriarchate
1943:The triphonia of phthora nana at the tritos and
983:But there is no demonstration of the descending
897:) by the intonation formula of a certain echos.
4575:The History of Barys Tetraphonos and Bestenigar
7705:Spain (Iberian Peninsula and Balearic Islands)
7166:
6262:. Istanbul: Ecumenical Patriarchate. 2004–2009
5514:. Oxford, New York : Oxford University Press.
5369:
5098:"Athens, National Library of Greece, Ms. 2406"
5070:"Athens, National Library of Greece, Ms. 2061"
1089:(μεταβολή κατὰ τόνον) can be localized in the
9783:
9291:
9277:
7330:
7152:
6830:
6290:
6179:Zannos, Ioannis (1994). Vogel, Martin (ed.).
3414:
3028:. Hence, C and G are indeed perceived as the
2695:cadence marked by the name of the great sign
235:
4986:
4854:
4812:Spiridon Anastasiou & Ioannis Keïvelis (
4519:was found between α' (D/a) and δ' (G/d) and
3502:etc.), it could soon develop its own proper
2819:according to the melos of the 18th century (
1388:(the authentic fourth echos), the octave of
1075:which is expected as the pitch of the echos
828:(ἦχος πλάγιος τοῦ τετάρτου), the way of the
727:
720:were always used to move down, those of the
663:), or a monastic one like those from Athos (
7344:
5453:"Bucharest, Stavropoleos Monastery, Ms. 52"
3237:
3091:("φθορά", No. 59) which was in fact as the
1425:
752:Papadike—Koukouzelian Tree and its Use for
453:
447:
9790:
9776:
9284:
9270:
7337:
7323:
7159:
7145:
6837:
6823:
6297:
6283:
5405:"London, British Library, Harley Ms. 5544"
5381:"London, British Library, Harley Ms. 1613"
5358:"London, British Library, Ms. Sloane 4087"
5352:
3815:, two of the first signs memorized in the
3650:—traditional music of the Byzantine Empire
3421:
3407:
3185:(ἦχος πλάγιος τοῦ τετάρτου) or better the
2882:octave on G, on the fourth degree (c) the
2272:on a low E which moves the middle tone (D—
1318:descends to the lower octave (for example
242:
228:
5441:"London, British Library, Ms. Add. 19456"
5341:"London, British Library, Ms. Add. 28821"
5237:"London, British Library, Ms. Add. 39611"
5185:"Cambridge, Trinity College, Ms. B.11.17"
4495:The critical edition by Maria Alexandru (
3165:was obviously no longer interpreted as a
3111:in the current tradition. Already in the
1726:Manuel Chrysaphes separated the level of
388:These local differences explain, why the
308:"voice, sound") is the name of the eight
9797:
5330:Mathemataria and Sticheraria kalophonika
3909:" in the New Grove and the description (
3121:
2810:
2569:
2256:The triphonia of echos legetos or mesos
1899:
1337:
1331:
1297:
1291:
1147:
989:
820:changes the direction and descends from
747:
680:
615:
441:
8593:
6239:Karanos, Grammenos (October 16, 2012).
6238:
6143:10.1093/gmo/9781561592630.article.11306
6126:10.1093/gmo/9781561592630.article.00384
6109:10.1093/gmo/9781561592630.article.48161
5900:10.1093/gmo/9781561592630.article.20844
5786:. Lissabon: Universidade Nova de Lisboa
5235:
3656:—the Sephardic tradition of the Levante
2827:In Ms. Ottob. grec. 317 the cadence of
676:
574:The seventh section is a collection of
10175:
5565:Saint Vladimir's Theological Quarterly
4823:
4383:See Conomos' edition and translation (
1880:into four directions. What makes this
1665:abandoned during the 11th century the
600:one and it created new books like the
415:, and embellished compositions of the
9771:
9306:
9265:
9161:
8592:
8377:
8069:
7736:
7357:
7318:
7140:
6818:
6278:
6241:"A Brief Overview of the Psaltic Art"
4975:
4723:Translation according to Merıh Erol (
3787:Nothing is known about John Glykys' (
3719:—alias Ali Ufki, Polish musician and
3529:was not always specified explicitly.
3204:could have been mistaken for that of
3014:(νεἅγιε νανὰ) which turns the former
2764:(already at the cadence marked by an
2184:of the descending branch down to the
1758:Nearly every melos is related to the
1374:"Another" could mean "outside of the
275:
8378:
5541:"'External' music in Constantinople"
5335:
5278:
4976:Tardo, Lorenzo (1938), "Papadiche",
3075:. Even the diatonic phthora for the
2815:Petros Peloponnesios realization of
1939:between the different tone systems.
1660:based on the tetraphonic use of the
1166:Here, the four columns of Gabriel's
1035:) in descending direction using the
1028:and can be read in four directions.
685:Papadike of the Anastasimatarion of
18:
8080:
6304:
5303:
5084:; Korones, Xenos; Kladas, Ioannes.
5080:
4385:1983, pp. 38-41, lines 52-62, 69-75
3748:exists as well, but means the book
3723:at the Ottoman court (17th century)
2104:(ξηρὸν κλάσμα), like it is used in
1934:at the crossing point, because the
1888:is simply, that it can be used for
1815:, so even a change to the diatonic
1799:. Manuel Chrysaphes mentioned that
1755:frets was already a transposition.
1545:and to ascend seven steps with the
1527:was to establish a priority of the
1047:) in ascending direction using the
551:—a kind of solfeggio in which each
13:
10183:Classical and art music traditions
6881:List of New Testament lectionaries
6028:Terzopoulos, Konstantinos (2008).
5315:
5290:
5254:
5222:
5216:
5171:
5109:
4408:intervals described by Chrysanthos
4169:The Papadike of Codex Chrysander (
3005:F is simply taken as the melos of
2779:cadence according to the melos of
2642:(ἦχος βαρύς) is resolved into the
2626:The use of the three tone systems
2313:), the diminished tritone (B flat—
1561:and to descend seven steps by the
960:transcr. on E:) β' πλα' πλδ' α' β'
929:on page 13, written in black ink.
611:
56:for transliterated languages, and
36:of its non-English content, using
14:
10219:
10198:Eastern Orthodox liturgical music
9203:Greek scholars in the Renaissance
6198:
5779:Poliakova, Svetlana (June 2009).
5620:. Rome: Aracne. pp. 81–110.
5559:Frøyshov, Stig Simeon R. (2007).
4660:about the "16 echoi of the Asma".
4469:On the contrary, Oliver Gerlach (
4407:
2321:—a) becomes a tetrachord (B flat—
1656:replaced the former solfeggio or
1409:
1199:, and the inner finally into the
1133:Directly on the fundament of the
491:which was edited and referred by
9242:
7121:
6799:
6798:
6440:
6254:
5658:Hannick, Christian, ed. (1991).
5266:
5040:. Istanbul: Koromela & Sons.
5034:Keltzanides, Panagiotes (1881).
3934:
3930:
3917:
3254:
1577:which was a common method since
1208:The second coincidence with the
446:Intonations (ἐνηχήματα) for the
365:The mixed rite of Constantinople
112:
23:
7592:Decline of the Byzantine Empire
7414:Constantinian–Valentinianic era
6009:Orientalia Christiana Periodica
5978:Strunk, William Oliver (1960).
5823:; Şırlı, Adriana Ababi (2000).
5399:
5375:
5021:. Istanbul: Taddaios Tividesian
4806:
4781:
4756:
4743:
4730:
4717:
4688:
4663:
4642:
4629:
4622:), and Panagiotes Keltzanidis (
4597:
4584:
4563:
4550:
4534:
4531:of πλ β' (E), now υαρ (E flat).
4489:
4476:
4463:
4443:
4430:
4417:
4390:
4377:
4364:
4351:
4324:
4311:
4298:
4278:
4261:
4244:
4226:
4213:
4196:
4163:
4150:
4129:
4112:
4091:
4070:
4049:
4032:
4015:
3994:
3962:
3953:
3940:
3923:
2783:(νεἅγιε νανὰ) at the following
2276:) very close to the small one (
2059:(β'), but another signature of
2028:at the same time (γ' = πλ δ').
1953:In this diagram the enharmonic
1864:Ioannis Plousiadinos' parallage
1541:(a) by the middle chord of the
1129:The Koukouzelian wheel (τροχὸς)
1011:
944:which mark the stations by the
861:(ἦχος πλάγιος τοῦ πρώτου), and
629:
537:, and their name sung with the
463:
328:Middle Byzantine Round notation
257:(here transcribed "Octoechos";
8677:Great Palace of Constantinople
8418:Patriarchate of Constantinople
7737:
6080:Troelsgård, Christian (2011).
5731:Kalaitzidis, Kyriakos (2012).
5158:
5127:
5115:
5096:
5068:
5056:
5050:
4910:Die spätgriechische Tonschrift
4888:Conomos, Dimitri, ed. (1985),
3947:
3899:
3886:
3877:
3843:
3826:
3781:
3768:
3755:
3734:
3662:—whirling dervishes and their
3617:("Journal")—a kind of Ottoman
3591:and finishes in the chromatic
3152:, the medial signature of the
3040:turns finally into the one of
2429:. In fact, the melos of echos
2007:(πλ δ') and ascends until the
1020:(μεταβολαὶ κατὰ τόνον) by the
780:) of the ascending solfeggio (
514:A list between seven and nine
322:Hagiopolitan eight mode system
72:multilingual support templates
1:
7069:Idiomela, Avtomela, Prosomoia
6248:
5662:. Hernen: Bredius Foundation.
5590:. Vol. 2. Berlin: Ison.
5508:Atkinson, Charles M. (2008).
5499:Amargianakis, George (1977).
5439:
5401:Panagiotes the New Chrysaphes
5377:Panagiotes the New Chrysaphes
5248:
4829:Papadikai (14th–18th century)
4404:Konstantinos the Protopsaltes
2416:, the diatonic melos follows
2045:(γ') in the center up to the
1609:(B natural). But the ancient
1394:(e.g. E—e) does go up to the
870:(ἦχος πλάγιος τοῦ τετάρτου).
857:(ἦχος πλάγιος τοῦ δευτέρου),
449:echoi plagios devteros, varys
9139:University of Constantinople
8720:Arch of Galerius and Rotunda
8070:
7870:Chartoularios tou vestiariou
7559:Byzantine successor states (
6781:School of Ecclesiastic Music
6027:
5827:. Istanbul: Pan Yayıncılık.
5752:Plainsong and Medieval Music
5730:
5681:Archiv für Musikwissenschaft
5670:The 14th-Century Akolouthiae
5635:Gheorghiţă, Nicolae (2010).
5427:
5415:
5183:
5139:
5033:
5014:
4999:Θεωρητικὸν μεγὰ τῆς Μουσικῆς
4992:
4963:
4855:Alexandrescu, Ozana (2011).
4813:
4750:
4737:
4636:
4623:
4619:
4411:
4332:
4202:According to Oliver Strunk (
4118:See as example the lists of
3979:(an octoechos collection of
3804:
3610:
3544:elaborated according to the
3196:
3189:
3160:
3147:
3126:Conclusion (ἦχος πρῶτος) of
3066:
3053:
3044:
3020:
3009:
2993:
2983:
2972:
2940:
2914:
2907:
2890:
2878:
2845:
2820:
2808:cadence on the phthongos G.
2804:
2797:
2789:
2773:
2770:
2746:
2743:
2619:
2593:
2590:The Papadikai, their signs,
2563:
2555:
2547:
2536:
2528:
2520:
2512:
2504:
2496:
2488:
2480:
2443:
2437:
2431:
2422:
2419:
2412:
2406:
2400:
2389:
2381:
2373:
2363:
2354:
2351:
2342:
2332:Nevertheless, the triphonic
2301:
2295:
2289:
2282:
2268:
2258:
2244:
2238:
2227:
2217:
2214:
2206:
2197:
2194:
2187:
2179:
2168:
2165:finds again the tritos at a
2146:
2140:
2129:
2122:
2115:
2099:
2068:
2061:
2055:
2048:
2041:
2034:
2022:
2019:
2013:
2003:
1984:
1978:
1965:
1959:
1957:can be found as part of the
1945:
1926:
1875:
1844:
1817:
1811:
1805:
1795:
1789:
1783:
1777:
1747:
1741:
1709:
1703:
1645:
1639:
1633:
1627:
1621:
1615:
1604:
1596:
1589:
1583:
1572:
1564:
1556:
1548:
1536:
1529:
1516:
1510:
1499:
1492:
1486:
1471:(παραλλαγή) which is called
1466:
1402:
1396:
1390:
1384:
1342:
1338: νεχεανές (πλβ')
1334:
1302:
1294:
1252:
1238:
1232:
1226:
1219:
1211:
1201:
1195:
1189:
1179:
1173:
1158:
1102:
1095:
1077:
1067:Θεαρχίῳ νεύματι, one of the
946:standard intonation formulas
865:
836:
807:
7:
8809:Saint Catherine's Monastery
7865:Chartoularios tou sakelliou
7860:Logothetes tou stratiotikou
7358:
5539:Erol, Merıh (25 May 2008).
5451:
5370:Anthologies of the Papadike
4978:L'antica melurgia bizantina
4863:. Serie novă. 49–50: 21–55.
4233:each intonation formula or
3969:Panagiotes the Protopsaltes
3632:
1920:at the crossing point like
1332: ἀνανεανές (α')
1298: ἀνέανες (πλα')
1292: ἀνανεανές (α')
932:The usual ascending way of
454:
448:
437:
125:Aristocracy and bureaucracy
10:
10224:
9198:Neo-Byzantine architecture
9162:
7819:Comes sacrarum largitionum
6204:
6178:
6154:. Revista de musicología.
6149:
6132:
6115:
6098:
6079:
6057:
6044:
6002:
5977:
5948:
5927:
5906:
5889:
5850:
5841:
5819:
5778:
5749:
5708:
5677:
5666:
5657:
5634:
5611:
5583:
5558:
5538:
5528:
5507:
5498:
5479:
5470:
5464:
5272:Kontakarion (13th century)
5195:
4944:
4925:
4906:
4887:
4867:
4724:
4711:
4703:
4670:
4591:
4574:
4557:
4544:
4521:echos plagios tou devterou
4496:
4483:
4470:
4457:
4437:
4424:
4384:
4371:
4358:
4337:
4305:
4288:
4220:
4207:
4203:
4190:
4170:
4157:
4136:
4124:Hannick & Wolfram 1997
4123:
4098:
4077:
4056:
4039:
4022:
4001:
3910:
3906:
3893:
3850:
3837:
3833:
3820:
3803:manuscript (see fig. 1 in
3788:
3775:
3762:
3743:
3625:and their concert cycles (
3183:echos plagios tou tetartou
3107:, unlike the melos of the
2675:echos plagios tou devterou
2644:echos plagios tou tetartou
2390:echos plagios tou devterou
1857:
1452:
1448:
1025:
908:) of the authentic modes (
826:echos plagios tou tetartou
760:
697:
527:
483:
476:Hannick & Wolfram 1985
475:
263:
95:
10193:Genres of Byzantine music
10072:
9964:
9805:
9729:
9690:
9664:
9657:
9606:
9586:
9530:
9494:
9487:
9480:
9459:
9422:
9394:
9357:
9324:
9299:
9293:Greek musical instruments
9225:
9168:
9157:
9078:
8978:
8936:
8881:
8826:
8781:
8768:Sant'Apollinare in Classe
8753:
8710:
8642:
8612:
8603:
8599:
8588:
8530:
8388:
8384:
8373:
8295:
8241:
8180:
8137:
8089:
8076:
8065:
8024:
7999:
7968:
7927:
7918:
7893:
7837:
7801:
7754:
7747:
7743:
7732:
7605:
7521:
7468:
7399:
7370:
7366:
7353:
7242:
7177:
7118:
7082:
7036:
6994:
6974:
6942:
6889:
6855:
6789:
6741:
6705:
6664:
6631:
6579:Byzantine Musical Symbols
6561:
6496:
6475:
6449:
6438:
6321:
6312:
6223:
5764:10.1017/S0961137104000075
5475:. Universität Kopenhagen.
5471:Alexandru, Maria (2000).
5459:. Stavropoleos Monastery.
4987:Theory of the Phanariotes
4868:Alexandru, Maria (1996).
4652:, were attributed to the
4610:and the cyclic rhythm of
4458:Gerlach 2009, pp. 319-380
3690:
3621:ordered according of the
3576:ordered according to the
3538:Heirmologion kalophonikon
3500:teretismata, nenanismata,
3469:or a certain melos of an
3460:within the system of the
3449:compositions not only to
3435:19th-century chant reform
2404:, and between δ' and the
2176:In the same way the last
1972:The simplest case is the
921:, but an illustration of
889:, the melody itself, and
657:agiosophitikon, politikon
606:heirmologion kalophonikon
602:sticherarion kalophonikon
8342:Droungarios of the Fleet
5842:Raasted, Jørgen (1966).
5612:Gerlach, Oliver (2011).
5584:Gerlach, Oliver (2009).
4749:Panagiotes Keltzanides (
4736:Panagiotes Keltzanides (
4712:Zannos 1994, pp. 182-183
4704:Gerlach 2011, pp. 98-108
4694:The transitional use of
3727:
3325:Languages and literature
3238:Music of the Phanariotes
3099:once separated from the
2821:Kyriazides 1896, 142-143
2628:heptaphonia, tetraphonia
2477:Both possibilities, the
2459:and transposed on γ' as
2134:of devteros. Hence, the
1922:protos, devteros, tritos
1426:History of its reception
434:since the 13th century.
10208:Ottoman classical music
8856:Early Byzantine mosaics
8218:Domestic of the Schools
7128:Christianity portal
6369:Joseph the Hymnographer
5921:10.1093/mq/XXVIII.2.190
4577:" in the discussion of
4545:Conomos 1985, pp. 64-65
4454:τῷ τριττῷ τῆς ἐρωτήσεως
4321:related to these names.
3670:Ottoman classical music
2936:heptaphonic tone system
2386:(ἦχος πρῶτος) with the
2153:Within the tetraphonic
2150:or "grave mode" (υαρ).
1997:. The simplest form of
845:) of the grave mode or
761:Codex Chrysander, p. 15
698:Codex Chrysander, p. 14
593:Nouthesia pros mathitas
528:Conomos 1985, pp. 55-65
500:of Chrysaphes the New.
316:Until 1204 neither the
10188:Byzantine music theory
9173:Byzantine commonwealth
7935:Praetorian prefectures
7855:Logothetes tou genikou
7829:Quaestor sacri palatii
7824:Comes rerum privatarum
7597:Fall of Constantinople
7536:Sack of Constantinople
7202:Ethiopian and Eritrean
6733:Thrasyvoulos Stanitsas
6606:Hagiopolitan Octoechos
6601:Neobyzantine Octoechos
6359:Theophanes the Branded
5821:Popescu-Judeţ, Eugenia
5807:Cite journal requires
5667:Harris, Simon (2001).
5002:, Triest: Michele Weis
4994:Chrysanthos of Madytos
4338:2013, p. 35, figs. 5-6
4273:Chrysanthos' Parallage
3643:Neobyzantine Octoechos
3139:
2824:
2719:
2713:
2587:
2475:
2469:
1909:
1884:wiser than the one of
1654:Chrysanthos of Madytos
1520:(μεταβολή κατὰ ἤχον).
1506:
1481:
1372:
1193:, the fourth into the
1187:), the third into the
1163:
999:
981:
972:
967:
962:
764:
701:
633:
467:
8873:Komnenian renaissance
8868:Macedonian period art
8773:Sant'Apollinare Nuovo
8745:Walls of Thessaloniki
7845:Logothetes tou dromou
7460:Twenty Years' Anarchy
7424:Valentinianic dynasty
7419:Constantinian dynasty
6764:Monastery of Stoudios
6713:Greek Byzantine Choir
6003:Taft, Robert (1977).
5951:Dumbarton Oaks Papers
5942:10.1093/mq/XXXI.3.339
5930:The Musical Quarterly
5909:The Musical Quarterly
5643:. Bucharest: Sophia.
4185:only in redaction of
3761:Stig S. R. Frøyshov (
3597:. A relation between
3222:' realization of the
3167:metabole kata systema
3125:
2814:
2714:
2709:
2573:
2470:
2465:
1903:
1781:. The tritos and the
1525:Gabriel Hieromonachos
1482:
1477:
1449:Gabriel Hieromonachos
1417:The few words of the
1368:
1151:
1065:Doxastarion oktaechon
1026:Gabriel Hieromonachos
993:
973:
968:
963:
954:
816:can be found. If the
751:
684:
630:Harley 5544, fol. 13r
619:
472:Gabriel Hieromonachos
445:
288:"sound, mode" called
9799:Middle Eastern music
9070:Units of measurement
8804:Panagia Gorgoepikoos
8697:Pammakaristos Church
8545:Corpus Juris Civilis
8496:Missionary activity
7955:Exarchate of Ravenna
7781:Imperial bureaucracy
7168:Christian liturgical
6793:*also music theorist
6728:Konstantinos Pringos
6574:72 equal temperament
6374:Joseph the Confessor
6354:Theodore the Studite
6329:Romanos the Melodist
5337:Koukouzeles, Ioannes
5082:Koukouzeles, Ioannes
4965:Petros Peloponnesios
4501:Petros Peloponnesios
3799:in a picture of the
3220:Petros Peloponnesios
2652:Petros Peloponnesios
2552:) and fourth cross (
2236:—b flat) or between
1457:Ioannis Plousiadinos
1442:Hermann of Reichenau
1259:metabolai kata tonon
1018:metabolai kata tonon
677:Octoechos as a wheel
488:Ioannis Plousiadinos
464:Harley 5544, fol. 8r
273:Greek pronunciation:
34:specify the language
32:This article should
8594:Culture and society
8457:Ecumenical councils
7960:Exarchate of Africa
7950:Quaestura exercitus
7814:Magister officiorum
7809:Praetorian prefects
7452:Byzantine Dark Ages
6349:Stephen the Sabaite
4824:Theoretical sources
4438:1942, p. 199, ex. 5
4239:first four examples
3778:" in the New Grove.
3709:—Sephardic mystic,
2952:, which places the
2934:G changes from the
2895:into the triphonic
2861:(as the great sign
2802:with an additional
2537:metabole kata tonon
2455:based on δ' as the
2136:triphonic parallage
1230:signature with the
1087:metabole kata tonon
1007:with transpositions
958:devteros intonation
383:Presanctified Gifts
277:[oxˈtóixos]
9011:Flags and insignia
8657:Baths of Zeuxippus
8540:Codex Theodosianus
8430:Oriental Orthodoxy
7388:Later Roman Empire
6723:Iakovos Nafpliotis
6718:Nikodimos Kabarnos
6677:Solon Hadjisolomos
6432:Janus Plousiadenos
6389:Nikephoros Ethikos
6135:Grove Music Online
6118:Grove Music Online
6101:Grove Music Online
6067:. pp. 668–679
5892:Grove Music Online
5447:. British Library.
5411:. British Library.
5354:Chrysaphes, Manuel
5243:. British Library.
4370:Charles Atkinson (
3581:developed for the
3140:
3134:(transcription of
3087:of the great sign
3024:G into the one of
2825:
2588:
2582:(transcription of
2493:and ending as the
2451:point to a use of
1910:
1908:Ms. 319, fol. 18v)
1433:Musica enchiriadis
1164:
1000:
940:is interrupted by
765:
702:
687:Chrysaphes the New
659:), Thessalonican (
634:
622:Chrysaphes the New
468:
269:Constantinopolitan
10170:
10169:
9931:Ottoman classical
9921:Iranian classical
9765:
9764:
9725:
9724:
9721:
9720:
9602:
9601:
9455:
9454:
9390:
9389:
9259:
9258:
9221:
9220:
9178:Byzantine studies
9153:
9152:
9149:
9148:
8964:Alexander Romance
8822:
8821:
8799:Nea Moni of Chios
8662:Blachernae Palace
8584:
8583:
8580:
8579:
8550:Code of Justinian
8398:Eastern Orthodoxy
8369:
8368:
8365:
8364:
8291:
8290:
8165:Scholae Palatinae
8061:
8060:
8057:
8056:
8026:Foreign relations
8020:
8019:
7914:
7913:
7728:
7727:
7724:
7723:
7527:(1204–1453)
7312:
7311:
7134:
7133:
6952:Canon of the Odes
6812:
6811:
6775:Only-begotten Son
6692:Miloš Velimirović
6611:Papadic Octoechos
6483:Paschal troparion
6462:George Pachymeres
6425:Manuel Chrysaphes
6315:List of composers
6091:978-87-635-3158-0
5742:978-3-89913-947-1
5650:978-973-136-227-4
5521:978-0-19-514888-6
5491:978-90-429-2748-3
5387:. British Library
4956:978-3-7001-0729-3
4937:978-3-7001-2520-4
4899:978-3-7001-0732-3
4774:with the poem of
4751:1881, pp. 166-199
4669:Romanos Joubran (
4579:Varys tetraphonos
4541:Manuel Chrysaphes
4471:2009, pp. 147-154
4423:Maria Alexandru (
4412:Keltzanides, 1881
4342:Manuel Chrysaphes
4097:Oskar Fleischer (
3977:Manuel Chrysaphes
3905:See the article "
3832:Maria Alexandru (
3774:See the article "
3717:Wojciech Bobowski
3697:Dimitrie Cantemir
3431:
3430:
3030:protos pentachord
2912:and arranges the
2768:) and prepares a
2663:medial signatures
2126:, instead of the
1669:in favour of the
1597:nete diezeugmenon
1461:Manuel Chrysaphes
1453:Manuel Chrysaphes
1360:Latin description
1347:
1346:
1307:
1306:
977:protos intonation
824:(ἦχος πρῶτος) to
584:mesos intonations
524:Manuel Chrysaphes
480:Manuel Chrysaphes
379:Basil of Caesarea
252:
251:
106:Byzantine culture
94:
93:
74:may also be used.
10215:
10120:
9990:
9952:
9917:
9903:
9874:
9849:
9821:
9792:
9785:
9778:
9769:
9768:
9742:Greek folk music
9662:
9661:
9492:
9491:
9485:
9484:
9322:
9321:
9304:
9303:
9286:
9279:
9272:
9263:
9262:
9246:
9159:
9158:
9102:Imperial Library
9048:Byzantine Greeks
8789:Daphni Monastery
8740:Panagia Chalkeon
8735:Hagios Demetrios
8702:Prison of Anemas
8652:Basilica Cistern
8610:
8609:
8601:
8600:
8590:
8589:
8445:West Syriac Rite
8435:Alexandrian Rite
8386:
8385:
8379:Religion and law
8375:
8374:
8310:Maritime themata
8266:Palaiologan army
8119:Military manuals
8087:
8086:
8078:
8077:
8067:
8066:
7925:
7924:
7901:Megas logothetes
7752:
7751:
7745:
7744:
7734:
7733:
7607:By modern region
7528:
7475:
7474:(717–1204)
7406:
7368:
7367:
7355:
7354:
7346:Byzantine Empire
7339:
7332:
7325:
7316:
7315:
7161:
7154:
7147:
7138:
7137:
7126:
7125:
6849:liturgical books
6846:Eastern Orthodox
6839:
6832:
6825:
6816:
6815:
6802:
6801:
6467:Manuel Bryennios
6444:
6428:
6399:John Koukouzelis
6394:Gregorios Glykys
6344:Cosmas of Maiuma
6339:John of Damascus
6299:
6292:
6285:
6276:
6275:
6271:
6269:
6267:
6244:
6235:
6233:
6231:
6220:
6218:
6216:
6194:
6175:
6164:10.2307/20795935
6146:
6129:
6112:
6095:
6076:
6074:
6072:
6066:
6054:
6041:
6024:
6022:
6020:
5999:
5997:
5995:
5974:
5945:
5924:
5903:
5886:
5880:
5876:
5874:
5866:
5847:
5838:
5834:978-975-843405-3
5816:
5810:
5805:
5803:
5795:
5793:
5791:
5785:
5775:
5746:
5727:
5725:
5723:
5717:
5705:
5674:
5663:
5654:
5631:
5608:
5606:
5604:
5580:
5578:
5576:
5555:
5553:
5551:
5535:
5525:
5504:
5495:
5476:
5460:
5448:
5436:
5424:
5412:
5396:
5394:
5392:
5365:
5349:
5325:
5312:
5300:
5287:
5275:
5263:
5244:
5232:
5212:
5210:
5208:
5192:
5180:
5168:
5155:
5153:
5151:
5136:
5124:
5105:
5093:
5077:
5065:
5041:
5030:
5028:
5026:
5010:
5009:
5007:
4981:
4972:
4959:
4940:
4921:
4920:
4918:
4902:
4884:
4874:
4864:
4851:
4849:
4847:
4817:
4810:
4804:
4801:usul yürek semaï
4785:
4779:
4760:
4754:
4747:
4741:
4738:1881, pp. 55-164
4734:
4728:
4721:
4715:
4692:
4686:
4667:
4661:
4646:
4640:
4633:
4627:
4601:
4595:
4588:
4582:
4567:
4561:
4554:
4548:
4538:
4532:
4493:
4487:
4480:
4474:
4467:
4461:
4447:
4441:
4434:
4428:
4421:
4415:
4394:
4388:
4381:
4375:
4368:
4362:
4355:
4349:
4346:John Koukouzeles
4340:) they point at
4335:
4328:
4322:
4315:
4309:
4302:
4296:
4282:
4276:
4265:
4259:
4248:
4242:
4241:of this article.
4230:
4224:
4217:
4211:
4200:
4194:
4187:John Koukouzeles
4167:
4161:
4154:
4148:
4133:
4127:
4116:
4110:
4095:
4089:
4074:
4068:
4053:
4047:
4036:
4030:
4019:
4013:
3998:
3992:
3973:Anastasimatarion
3966:
3960:
3957:
3951:
3944:
3938:
3927:
3921:
3903:
3897:
3890:
3884:
3881:
3875:
3847:
3841:
3830:
3824:
3805:Terzopoulos 2008
3793:John Koukouzeles
3785:
3779:
3772:
3766:
3759:
3753:
3746:
3745:
3740:The female form
3738:
3534:Petros Bereketis
3423:
3416:
3409:
3258:
3242:
3241:
3224:John Koukouzeles
3199:
3194:on G within the
3192:
3171:enharmonic genos
3163:
3150:
3128:John Koukouzeles
3101:enharmonic melos
3093:diatonic phthora
3069:
3056:
3047:
3023:
3012:
2996:
2986:
2975:
2943:
2917:
2910:
2893:
2881:
2848:
2807:
2800:
2792:
2778:
2776:
2751:
2749:
2622:
2612:John Koukouzeles
2596:
2576:John Koukouzeles
2558:
2550:
2548:legetos/devteros
2539:
2531:
2523:
2515:
2507:
2505:plagios devteros
2499:
2491:
2489:plagios devteros
2483:
2446:
2440:
2434:
2427:
2425:
2415:
2409:
2403:
2392:
2384:
2376:
2368:
2359:
2357:
2345:
2309:(like the Latin
2304:
2298:
2292:
2285:
2271:
2261:
2247:
2241:
2230:
2222:
2220:
2209:
2202:
2200:
2190:
2182:
2171:
2163:triphonic system
2149:
2143:
2132:
2125:
2118:
2102:
2071:
2064:
2058:
2051:
2044:
2037:
2027:
2025:
2016:
2006:
1987:
1981:
1979:plagios tetratos
1968:
1962:
1948:
1929:
1886:John Koukouzeles
1878:
1851:The practice of
1847:
1820:
1814:
1808:
1798:
1792:
1786:
1780:
1750:
1744:
1712:
1706:
1648:
1642:
1636:
1630:
1624:
1618:
1607:
1599:
1592:
1586:
1575:
1567:
1559:
1551:
1539:
1532:
1523:The solution of
1519:
1513:
1502:
1495:
1489:
1469:
1405:
1399:
1393:
1391:plagios devteros
1387:
1329:
1328:
1289:
1288:
1255:
1241:
1235:
1229:
1222:
1214:
1204:
1198:
1196:plagios devteros
1192:
1182:
1180:plagios tetartos
1176:
1161:
1154:John Koukouzeles
1105:
1098:
1080:
878:, are possible.
868:
855:plagios devteros
839:
810:
498:Anastasimatarion
457:
455:plagios tetartos
451:
347:John Koukouzeles
345:. The reform of
279:
274:
267:, pronounced in
266:
265:
244:
237:
230:
127:
116:
102:
101:
89:
86:
80:
65:
59:
55:
49:
45:
39:
27:
26:
19:
10223:
10222:
10218:
10217:
10216:
10214:
10213:
10212:
10173:
10172:
10171:
10166:
10082:
10068:
9984:
9960:
9938:
9897:
9880:
9860:
9827:
9815:
9801:
9796:
9766:
9761:
9747:Byzantine music
9737:Music of Greece
9717:
9686:
9653:
9598:
9582:
9526:
9517:Macedonian lyra
9476:
9451:
9418:
9386:
9353:
9320:
9295:
9290:
9260:
9255:
9252:
9217:
9193:Cyrillic script
9164:
9145:
9090:
9074:
8974:
8956:Digenes Akritas
8932:
8877:
8818:
8782:Other locations
8777:
8749:
8706:
8638:
8627:Cross-in-square
8595:
8576:
8526:
8380:
8361:
8287:
8237:
8233:Varangian Guard
8176:
8150:East Roman army
8145:Late Roman army
8133:
8072:
8053:
8016:
7995:
7964:
7910:
7889:
7885:Epi ton deeseon
7875:Epi tou eidikou
7833:
7797:
7739:
7720:
7707:
7610:
7608:
7601:
7587:Palaiologan era
7529:
7526:
7517:
7488:Nikephorian era
7476:
7473:
7464:
7407:
7405:(330–717)
7404:
7395:
7375:
7362:
7349:
7343:
7313:
7308:
7246:
7238:
7173:
7165:
7135:
7130:
7120:
7114:
7078:
7032:
6990:
6970:
6938:
6885:
6851:
6843:
6813:
6808:
6785:
6759:Cappella Romana
6737:
6701:
6672:Enrica Follieri
6660:
6627:
6557:
6492:
6471:
6457:Michael Psellos
6445:
6436:
6423:
6384:Constantine VII
6379:Leo VI the Wise
6334:Andrew of Crete
6317:
6308:
6306:Byzantine music
6303:
6265:
6263:
6251:
6229:
6227:
6214:
6212:
6201:
6191:
6092:
6070:
6068:
6064:
6018:
6016:
5993:
5991:
5963:10.2307/1291096
5878:
5877:
5868:
5867:
5863:
5835:
5808:
5806:
5797:
5796:
5789:
5787:
5783:
5743:
5721:
5719:
5715:
5651:
5628:
5602:
5600:
5598:
5574:
5572:
5549:
5547:
5522:
5492:
5467:
5390:
5388:
5372:
5332:
5251:
5219:
5217:Old Heirmologia
5206:
5204:
5149:
5147:
5112:
5110:Old Sticheraria
5053:
5048:
5024:
5022:
5005:
5003:
4989:
4957:
4938:
4916:
4914:
4900:
4872:
4845:
4843:
4840:Papadike (1796)
4834:
4831:
4826:
4821:
4820:
4811:
4807:
4786:
4782:
4776:makam suz-i dil
4761:
4757:
4748:
4744:
4735:
4731:
4722:
4718:
4693:
4689:
4668:
4664:
4647:
4643:
4634:
4630:
4602:
4598:
4589:
4585:
4571:chromatic genos
4568:
4564:
4558:1985, pp. 54-55
4555:
4551:
4539:
4535:
4505:chromatic genos
4494:
4490:
4484:1985, pp. 64-67
4481:
4477:
4468:
4464:
4448:
4444:
4436:Oliver Strunk (
4435:
4431:
4425:2000, pp. 44-55
4422:
4418:
4406:to explain the
4395:
4391:
4382:
4378:
4369:
4365:
4356:
4352:
4329:
4325:
4316:
4312:
4303:
4299:
4285:Oskar Fleischer
4283:
4279:
4266:
4262:
4249:
4245:
4231:
4227:
4218:
4214:
4201:
4197:
4181:) contains the
4168:
4164:
4156:Oliver Strunk (
4155:
4151:
4134:
4130:
4117:
4113:
4096:
4092:
4075:
4071:
4054:
4050:
4037:
4033:
4020:
4016:
3999:
3995:
3967:
3963:
3958:
3954:
3945:
3941:
3928:
3924:
3904:
3900:
3891:
3887:
3882:
3878:
3848:
3844:
3831:
3827:
3786:
3782:
3773:
3769:
3760:
3756:
3739:
3735:
3730:
3693:
3648:Byzantine Music
3635:
3594:makam suz-i dil
3427:
3333:Ottoman Turkish
3294:Performing arts
3247:
3240:
3117:tritos enechema
2867:kyrios devteros
2673:The section of
2610:and revised by
2568:
2347:
2263:
2161:on F. Only the
1951:
1866:
1724:
1694:systema teleion
1671:systema teleion
1619:also different
1611:systema teleion
1438:Guido of Arezzo
1428:
1415:
1385:kyrios tetartos
1131:
1014:
1009:
998:Ms. 53, fol. 3.
772:and the way of
734:
679:
661:thessalonikaion
651:. Traditional (
614:
612:Simple psalmody
493:Oskar Fleischer
440:
375:John Chrysostom
367:
343:exile in Nicaea
330:
272:
248:
123:
100:
90:
84:
81:
75:
63:
57:
53:
51:transliteration
47:
43:
37:
28:
24:
17:
12:
11:
5:
10221:
10211:
10210:
10205:
10200:
10195:
10190:
10185:
10168:
10167:
10165:
10164:
10159:
10146:
10141:
10136:
10131:
10126:
10121:
10076:
10074:
10073:Related topics
10070:
10069:
10067:
10066:
10061:
10056:
10051:
10046:
10041:
10036:
10031:
10026:
10021:
10016:
10011:
10006:
10001:
9996:
9991:
9979:
9974:
9968:
9966:
9962:
9961:
9959:
9958:
9953:
9933:
9928:
9923:
9918:
9875:
9855:
9850:
9822:
9809:
9807:
9803:
9802:
9795:
9794:
9787:
9780:
9772:
9763:
9762:
9760:
9759:
9754:
9749:
9744:
9739:
9733:
9731:
9727:
9726:
9723:
9722:
9719:
9718:
9716:
9715:
9710:
9705:
9700:
9694:
9692:
9688:
9687:
9685:
9684:
9679:
9674:
9668:
9666:
9665:Membranophones
9659:
9655:
9654:
9652:
9651:
9646:
9641:
9636:
9631:
9626:
9621:
9616:
9610:
9608:
9604:
9603:
9600:
9599:
9597:
9596:
9590:
9588:
9584:
9583:
9581:
9580:
9575:
9570:
9565:
9560:
9555:
9550:
9545:
9540:
9534:
9532:
9528:
9527:
9525:
9524:
9522:Calabrian lira
9519:
9514:
9509:
9504:
9498:
9496:
9489:
9482:
9478:
9477:
9475:
9474:
9469:
9467:Byzantine lyra
9463:
9461:
9457:
9456:
9453:
9452:
9450:
9449:
9444:
9439:
9434:
9428:
9426:
9420:
9419:
9417:
9416:
9411:
9406:
9400:
9398:
9392:
9391:
9388:
9387:
9385:
9384:
9379:
9374:
9369:
9363:
9361:
9355:
9354:
9352:
9351:
9346:
9341:
9336:
9330:
9328:
9319:
9318:
9312:
9310:
9301:
9297:
9296:
9289:
9288:
9281:
9274:
9266:
9257:
9256:
9254:
9253:
9251:
9250:
9240:
9235:
9229:
9226:
9223:
9222:
9219:
9218:
9216:
9215:
9210:
9205:
9200:
9195:
9190:
9185:
9180:
9175:
9169:
9166:
9165:
9155:
9154:
9151:
9150:
9147:
9146:
9144:
9143:
9142:
9141:
9131:
9126:
9125:
9124:
9114:
9109:
9104:
9099:
9093:
9091:
9089:
9088:
9085:
9079:
9076:
9075:
9073:
9072:
9067:
9062:
9057:
9052:
9051:
9050:
9040:
9039:
9038:
9033:
9023:
9018:
9013:
9008:
9003:
8998:
8993:
8988:
8982:
8980:
8976:
8975:
8973:
8972:
8967:
8960:
8959:
8958:
8948:
8942:
8940:
8934:
8933:
8931:
8930:
8925:
8924:
8923:
8918:
8913:
8903:
8898:
8893:
8887:
8885:
8879:
8878:
8876:
8875:
8870:
8865:
8860:
8859:
8858:
8848:
8843:
8838:
8832:
8830:
8824:
8823:
8820:
8819:
8817:
8816:
8811:
8806:
8801:
8796:
8791:
8785:
8783:
8779:
8778:
8776:
8775:
8770:
8765:
8759:
8757:
8751:
8750:
8748:
8747:
8742:
8737:
8732:
8727:
8725:Byzantine Bath
8722:
8716:
8714:
8708:
8707:
8705:
8704:
8699:
8694:
8689:
8684:
8679:
8674:
8669:
8664:
8659:
8654:
8648:
8646:
8644:Constantinople
8640:
8639:
8637:
8636:
8635:
8634:
8629:
8619:
8613:
8607:
8597:
8596:
8586:
8585:
8582:
8581:
8578:
8577:
8575:
8574:
8569:
8564:
8559:
8554:
8553:
8552:
8542:
8536:
8534:
8528:
8527:
8525:
8524:
8519:
8518:
8517:
8512:
8507:
8502:
8494:
8489:
8484:
8479:
8474:
8469:
8464:
8459:
8454:
8453:
8452:
8447:
8442:
8437:
8427:
8426:
8425:
8420:
8415:
8410:
8405:
8403:Byzantine Rite
8394:
8392:
8382:
8381:
8371:
8370:
8367:
8366:
8363:
8362:
8360:
8359:
8354:
8349:
8344:
8339:
8334:
8329:
8328:
8327:
8322:
8317:
8307:
8301:
8299:
8293:
8292:
8289:
8288:
8286:
8285:
8283:Grand domestic
8280:
8279:
8278:
8273:
8263:
8262:
8261:
8256:
8249:Komnenian army
8245:
8243:
8239:
8238:
8236:
8235:
8230:
8225:
8220:
8215:
8210:
8205:
8200:
8195:
8190:
8184:
8182:
8178:
8177:
8175:
8174:
8173:
8172:
8167:
8162:
8157:
8147:
8141:
8139:
8135:
8134:
8132:
8131:
8126:
8124:Military units
8121:
8116:
8111:
8106:
8101:
8096:
8094:Battle tactics
8090:
8084:
8074:
8073:
8063:
8062:
8059:
8058:
8055:
8054:
8052:
8051:
8046:
8041:
8036:
8030:
8028:
8022:
8021:
8018:
8017:
8015:
8014:
8009:
8003:
8001:
7997:
7996:
7994:
7993:
7988:
7983:
7978:
7972:
7970:
7966:
7965:
7963:
7962:
7957:
7952:
7947:
7942:
7937:
7931:
7929:
7922:
7916:
7915:
7912:
7911:
7909:
7908:
7903:
7897:
7895:
7891:
7890:
7888:
7887:
7882:
7877:
7872:
7867:
7862:
7857:
7852:
7847:
7841:
7839:
7835:
7834:
7832:
7831:
7826:
7821:
7816:
7811:
7805:
7803:
7799:
7798:
7796:
7795:
7790:
7789:
7788:
7786:Medieval Greek
7778:
7777:
7776:
7771:
7766:
7755:
7749:
7741:
7740:
7730:
7729:
7726:
7725:
7722:
7721:
7719:
7718:
7713:
7708:
7703:
7701:
7696:
7691:
7686:
7681:
7680:
7679:
7674:
7664:
7659:
7654:
7649:
7644:
7639:
7634:
7629:
7624:
7619:
7613:
7611:
7606:
7603:
7602:
7600:
7599:
7594:
7589:
7584:
7557:
7556:
7555:
7545:
7544:
7543:
7541:Fourth Crusade
7532:
7530:
7522:
7519:
7518:
7516:
7515:
7510:
7505:
7500:
7498:Macedonian era
7495:
7490:
7485:
7479:
7477:
7469:
7466:
7465:
7463:
7462:
7457:
7456:
7455:
7443:
7438:
7433:
7431:Theodosian era
7428:
7427:
7426:
7421:
7410:
7408:
7400:
7397:
7396:
7394:
7393:
7392:
7391:
7378:
7376:
7371:
7364:
7363:
7351:
7350:
7342:
7341:
7334:
7327:
7319:
7310:
7309:
7307:
7306:
7301:
7296:
7291:
7286:
7281:
7276:
7271:
7266:
7261:
7254:
7252:
7240:
7239:
7237:
7236:
7231:
7226:
7221:
7220:
7219:
7209:
7204:
7199:
7194:
7189:
7183:
7181:
7175:
7174:
7164:
7163:
7156:
7149:
7141:
7132:
7131:
7119:
7116:
7115:
7113:
7112:
7105:
7098:
7091:
7083:
7080:
7079:
7077:
7076:
7071:
7066:
7063:Pentēkostarion
7059:
7052:
7045:
7037:
7034:
7033:
7031:
7030:
7025:
7020:
7015:
7010:
7003:
7000:Oktoechos mega
6995:
6992:
6991:
6989:
6988:
6983:
6975:
6972:
6971:
6969:
6968:
6961:
6954:
6949:
6943:
6940:
6939:
6937:
6936:
6911:
6906:
6901:
6896:
6890:
6887:
6886:
6884:
6883:
6878:
6871:
6864:
6856:
6853:
6852:
6842:
6841:
6834:
6827:
6819:
6810:
6809:
6807:
6806:
6795:
6794:
6790:
6787:
6786:
6784:
6783:
6778:
6771:
6766:
6761:
6756:
6751:
6745:
6743:
6739:
6738:
6736:
6735:
6730:
6725:
6720:
6715:
6709:
6707:
6703:
6702:
6700:
6699:
6694:
6689:
6684:
6679:
6674:
6668:
6666:
6662:
6661:
6659:
6658:
6653:
6648:
6647:
6646:
6639:Byzantine lyra
6635:
6633:
6629:
6628:
6626:
6625:
6620:
6619:
6618:
6608:
6603:
6598:
6597:
6596:
6586:
6581:
6576:
6571:
6565:
6563:
6559:
6558:
6556:
6555:
6550:
6545:
6544:
6543:
6533:
6528:
6527:
6526:
6519:Byzantine Rite
6516:
6511:
6506:
6500:
6498:
6494:
6493:
6491:
6490:
6485:
6479:
6477:
6473:
6472:
6470:
6469:
6464:
6459:
6453:
6451:
6447:
6446:
6439:
6437:
6435:
6434:
6429:
6421:
6416:
6411:
6409:Joannes Glykys
6406:
6401:
6396:
6391:
6386:
6381:
6376:
6371:
6366:
6361:
6356:
6351:
6346:
6341:
6336:
6331:
6325:
6323:
6319:
6318:
6313:
6310:
6309:
6302:
6301:
6294:
6287:
6279:
6273:
6272:
6250:
6247:
6246:
6245:
6236:
6221:
6200:
6199:External links
6197:
6196:
6195:
6189:
6176:
6158:(2): 763–768.
6147:
6130:
6113:
6096:
6090:
6077:
6055:
6042:
6025:
6000:
5975:
5946:
5936:(3): 339–355.
5925:
5915:(2): 190–204.
5904:
5887:
5879:|journal=
5862:978-3615001716
5861:
5848:
5839:
5833:
5817:
5809:|journal=
5776:
5747:
5741:
5728:
5706:
5694:10.2307/930047
5688:(4): 304–325.
5675:
5664:
5655:
5649:
5632:
5626:
5609:
5596:
5581:
5556:
5536:
5526:
5520:
5505:
5496:
5490:
5477:
5466:
5463:
5462:
5461:
5449:
5437:
5425:
5413:
5397:
5371:
5368:
5367:
5366:
5350:
5331:
5328:
5327:
5326:
5313:
5301:
5288:
5276:
5264:
5250:
5247:
5246:
5245:
5233:
5218:
5215:
5214:
5213:
5193:
5181:
5169:
5156:
5137:
5125:
5111:
5108:
5107:
5106:
5094:
5078:
5066:
5052:
5049:
5047:
5044:
5043:
5042:
5031:
5012:
4988:
4985:
4984:
4983:
4973:
4961:
4955:
4942:
4936:
4923:
4904:
4898:
4885:
4865:
4852:
4830:
4827:
4825:
4822:
4819:
4818:
4805:
4780:
4755:
4742:
4729:
4716:
4687:
4662:
4641:
4628:
4596:
4583:
4562:
4549:
4533:
4517:phthora nenano
4509:phthora nenano
4507:by the use of
4488:
4475:
4462:
4442:
4429:
4416:
4389:
4376:
4363:
4357:See Atkinson (
4350:
4323:
4319:old enechemata
4310:
4306:Alexandru 2013
4297:
4277:
4260:
4243:
4225:
4212:
4195:
4171:Fleischer 1904
4162:
4149:
4128:
4111:
4090:
4069:
4048:
4031:
4014:
3993:
3961:
3952:
3939:
3922:
3918:Theol. gr. 185
3898:
3885:
3876:
3842:
3838:2011, p. 28-29
3825:
3821:Alexandru 1996
3780:
3767:
3754:
3732:
3731:
3729:
3726:
3725:
3724:
3714:
3704:
3692:
3689:
3688:
3687:
3673:
3667:
3657:
3651:
3645:
3634:
3631:
3516:phthora nenano
3454:to understand
3429:
3428:
3426:
3425:
3418:
3411:
3403:
3400:
3399:
3398:
3397:
3392:
3387:
3379:
3378:
3374:
3373:
3372:
3371:
3366:
3361:
3353:
3352:
3348:
3347:
3346:
3345:
3340:
3335:
3327:
3326:
3322:
3321:
3320:
3319:
3314:
3309:
3304:
3296:
3295:
3291:
3290:
3289:
3288:
3283:
3278:
3273:
3265:
3264:
3260:
3259:
3251:
3250:
3248:Ottoman Empire
3246:Culture of the
3239:
3236:
3202:tetartos melos
3179:diatonic genos
3081:mesos devteros
3077:echos devteros
3060:mesos devteros
3058:, points to a
3042:echos plagios
2991:, the plagios
2905:echos plagios
2705:phthora nenano
2693:plagios protos
2679:phthora nenano
2567:
2562:
2529:phthora nenano
2521:plagios protos
2497:plagios protos
2485:ending as the
2481:phthora nenano
2457:mesos devteros
2453:phthora nenano
2438:tetartos melos
2410:octave of the
2378:connected the
2365:phthora nenano
2346:
2338:
2262:
2254:
1950:
1941:
1865:
1862:
1823:phthora nenano
1723:
1720:
1634:tetartos melos
1605:hypate hypaton
1427:
1424:
1414:
1408:
1345:
1344:
1340:
1339:
1336:
1333:
1305:
1304:
1300:
1299:
1296:
1293:
1286:for example).
1202:plagios protos
1159:tetartos echoi
1152:"Parallage of
1130:
1127:
1013:
1010:
1008:
1001:
859:plagios protos
834:echos plagios
733:
726:
678:
675:
613:
610:
597:
596:
588:
572:
545:
542:
535:octave species
531:
512:
509:
439:
436:
391:erotapokriseis
371:Divine Liturgy
366:
363:
339:Constantinople
329:
326:
296:: Осмогласие,
250:
249:
247:
246:
239:
232:
224:
221:
220:
219:
218:
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208:
203:
198:
193:
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183:
178:
173:
168:
163:
158:
153:
148:
143:
138:
133:
128:
118:
117:
109:
108:
96:Main article:
92:
91:
70:. Knowledge's
31:
29:
22:
15:
9:
6:
4:
3:
2:
10220:
10209:
10206:
10204:
10203:Modes (music)
10201:
10199:
10196:
10194:
10191:
10189:
10186:
10184:
10181:
10180:
10178:
10163:
10160:
10158:
10157:Turkish makam
10154:
10150:
10147:
10145:
10142:
10140:
10137:
10135:
10132:
10130:
10127:
10125:
10122:
10118:
10114:
10110:
10106:
10102:
10098:
10094:
10090:
10089:Assyrian folk
10086:
10081:
10078:
10077:
10075:
10071:
10065:
10062:
10060:
10057:
10055:
10052:
10050:
10049:Saudi Arabian
10047:
10045:
10042:
10040:
10037:
10035:
10032:
10030:
10027:
10025:
10022:
10020:
10017:
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10005:
10002:
10000:
9997:
9995:
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9980:
9978:
9975:
9973:
9970:
9969:
9967:
9963:
9957:
9954:
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9946:
9942:
9937:
9934:
9932:
9929:
9927:
9924:
9922:
9919:
9915:
9911:
9907:
9901:
9896:
9892:
9888:
9884:
9879:
9876:
9872:
9868:
9864:
9859:
9856:
9854:
9851:
9847:
9843:
9839:
9835:
9831:
9826:
9823:
9819:
9814:
9811:
9810:
9808:
9804:
9800:
9793:
9788:
9786:
9781:
9779:
9774:
9773:
9770:
9758:
9755:
9753:
9750:
9748:
9745:
9743:
9740:
9738:
9735:
9734:
9732:
9728:
9714:
9711:
9709:
9706:
9704:
9701:
9699:
9696:
9695:
9693:
9689:
9683:
9680:
9678:
9675:
9673:
9670:
9669:
9667:
9663:
9660:
9656:
9650:
9647:
9645:
9642:
9640:
9637:
9635:
9632:
9630:
9627:
9625:
9622:
9620:
9617:
9615:
9612:
9611:
9609:
9605:
9595:
9592:
9591:
9589:
9585:
9579:
9576:
9574:
9571:
9569:
9566:
9564:
9561:
9559:
9556:
9554:
9551:
9549:
9546:
9544:
9541:
9539:
9536:
9535:
9533:
9529:
9523:
9520:
9518:
9515:
9513:
9512:Politiki lyra
9510:
9508:
9505:
9503:
9500:
9499:
9497:
9493:
9490:
9486:
9483:
9479:
9473:
9470:
9468:
9465:
9464:
9462:
9458:
9448:
9445:
9443:
9440:
9438:
9435:
9433:
9430:
9429:
9427:
9425:
9421:
9415:
9412:
9410:
9407:
9405:
9402:
9401:
9399:
9397:
9393:
9383:
9380:
9378:
9375:
9373:
9370:
9368:
9365:
9364:
9362:
9360:
9356:
9350:
9347:
9345:
9342:
9340:
9337:
9335:
9332:
9331:
9329:
9327:
9323:
9317:
9314:
9313:
9311:
9309:
9305:
9302:
9298:
9294:
9287:
9282:
9280:
9275:
9273:
9268:
9267:
9264:
9249:
9245:
9241:
9239:
9236:
9234:
9231:
9230:
9228:
9227:
9224:
9214:
9211:
9209:
9206:
9204:
9201:
9199:
9196:
9194:
9191:
9189:
9186:
9184:
9181:
9179:
9176:
9174:
9171:
9170:
9167:
9160:
9156:
9140:
9137:
9136:
9135:
9132:
9130:
9127:
9123:
9120:
9119:
9118:
9115:
9113:
9110:
9108:
9105:
9103:
9100:
9098:
9097:Encyclopedias
9095:
9094:
9092:
9086:
9084:
9081:
9080:
9077:
9071:
9068:
9066:
9063:
9061:
9058:
9056:
9053:
9049:
9046:
9045:
9044:
9041:
9037:
9034:
9032:
9029:
9028:
9027:
9024:
9022:
9021:Hellenization
9019:
9017:
9014:
9012:
9009:
9007:
9004:
9002:
8999:
8997:
8994:
8992:
8989:
8987:
8984:
8983:
8981:
8979:Everyday life
8977:
8971:
8968:
8966:
8965:
8961:
8957:
8954:
8953:
8952:
8951:Acritic songs
8949:
8947:
8944:
8943:
8941:
8939:
8935:
8929:
8926:
8922:
8919:
8917:
8914:
8912:
8909:
8908:
8907:
8904:
8902:
8899:
8897:
8894:
8892:
8889:
8888:
8886:
8884:
8880:
8874:
8871:
8869:
8866:
8864:
8861:
8857:
8854:
8853:
8852:
8849:
8847:
8844:
8842:
8839:
8837:
8834:
8833:
8831:
8829:
8825:
8815:
8812:
8810:
8807:
8805:
8802:
8800:
8797:
8795:
8794:Hosios Loukas
8792:
8790:
8787:
8786:
8784:
8780:
8774:
8771:
8769:
8766:
8764:
8761:
8760:
8758:
8756:
8752:
8746:
8743:
8741:
8738:
8736:
8733:
8731:
8728:
8726:
8723:
8721:
8718:
8717:
8715:
8713:
8709:
8703:
8700:
8698:
8695:
8693:
8690:
8688:
8685:
8683:
8680:
8678:
8675:
8673:
8670:
8668:
8665:
8663:
8660:
8658:
8655:
8653:
8650:
8649:
8647:
8645:
8641:
8633:
8630:
8628:
8625:
8624:
8623:
8620:
8618:
8615:
8614:
8611:
8608:
8606:
8602:
8598:
8591:
8587:
8573:
8570:
8568:
8565:
8563:
8560:
8558:
8555:
8551:
8548:
8547:
8546:
8543:
8541:
8538:
8537:
8535:
8533:
8529:
8523:
8520:
8516:
8513:
8511:
8508:
8506:
8503:
8501:
8498:
8497:
8495:
8493:
8490:
8488:
8485:
8483:
8480:
8478:
8475:
8473:
8470:
8468:
8467:Monophysitism
8465:
8463:
8460:
8458:
8455:
8451:
8448:
8446:
8443:
8441:
8440:Armenian Rite
8438:
8436:
8433:
8432:
8431:
8428:
8424:
8421:
8419:
8416:
8414:
8411:
8409:
8406:
8404:
8401:
8400:
8399:
8396:
8395:
8393:
8391:
8387:
8383:
8376:
8372:
8358:
8357:Naval battles
8355:
8353:
8350:
8348:
8345:
8343:
8340:
8338:
8335:
8333:
8330:
8326:
8323:
8321:
8318:
8316:
8313:
8312:
8311:
8308:
8306:
8303:
8302:
8300:
8298:
8294:
8284:
8281:
8277:
8274:
8272:
8269:
8268:
8267:
8264:
8260:
8257:
8255:
8252:
8251:
8250:
8247:
8246:
8244:
8240:
8234:
8231:
8229:
8226:
8224:
8221:
8219:
8216:
8214:
8211:
8209:
8206:
8204:
8201:
8199:
8196:
8194:
8191:
8189:
8186:
8185:
8183:
8179:
8171:
8168:
8166:
8163:
8161:
8158:
8156:
8153:
8152:
8151:
8148:
8146:
8143:
8142:
8140:
8136:
8130:
8127:
8125:
8122:
8120:
8117:
8115:
8112:
8110:
8107:
8105:
8102:
8100:
8097:
8095:
8092:
8091:
8088:
8085:
8083:
8079:
8075:
8068:
8064:
8050:
8047:
8045:
8042:
8040:
8037:
8035:
8032:
8031:
8029:
8027:
8023:
8013:
8010:
8008:
8005:
8004:
8002:
7998:
7992:
7989:
7987:
7984:
7982:
7979:
7977:
7974:
7973:
7971:
7967:
7961:
7958:
7956:
7953:
7951:
7948:
7946:
7943:
7941:
7938:
7936:
7933:
7932:
7930:
7926:
7923:
7921:
7917:
7907:
7904:
7902:
7899:
7898:
7896:
7892:
7886:
7883:
7881:
7880:Protasekretis
7878:
7876:
7873:
7871:
7868:
7866:
7863:
7861:
7858:
7856:
7853:
7851:
7848:
7846:
7843:
7842:
7840:
7836:
7830:
7827:
7825:
7822:
7820:
7817:
7815:
7812:
7810:
7807:
7806:
7804:
7800:
7794:
7791:
7787:
7784:
7783:
7782:
7779:
7775:
7772:
7770:
7767:
7765:
7762:
7761:
7760:
7757:
7756:
7753:
7750:
7746:
7742:
7735:
7731:
7717:
7714:
7712:
7709:
7706:
7702:
7700:
7697:
7695:
7692:
7690:
7687:
7685:
7682:
7678:
7675:
7673:
7670:
7669:
7668:
7665:
7663:
7660:
7658:
7655:
7653:
7650:
7648:
7645:
7643:
7640:
7638:
7635:
7633:
7630:
7628:
7625:
7623:
7620:
7618:
7615:
7614:
7612:
7604:
7598:
7595:
7593:
7590:
7588:
7585:
7582:
7578:
7574:
7570:
7566:
7562:
7558:
7554:
7551:
7550:
7549:
7546:
7542:
7539:
7538:
7537:
7534:
7533:
7531:
7525:
7520:
7514:
7511:
7509:
7508:Komnenian era
7506:
7504:
7501:
7499:
7496:
7494:
7491:
7489:
7486:
7484:
7481:
7480:
7478:
7472:
7467:
7461:
7458:
7453:
7449:
7448:
7447:
7446:Heraclian era
7444:
7442:
7441:Justinian era
7439:
7437:
7434:
7432:
7429:
7425:
7422:
7420:
7417:
7416:
7415:
7412:
7411:
7409:
7403:
7398:
7390:
7389:
7385:
7384:
7383:
7380:
7379:
7377:
7374:
7369:
7365:
7361:
7356:
7352:
7347:
7340:
7335:
7333:
7328:
7326:
7321:
7320:
7317:
7305:
7302:
7300:
7297:
7295:
7292:
7290:
7287:
7285:
7282:
7280:
7277:
7275:
7272:
7270:
7267:
7265:
7262:
7259:
7256:
7255:
7253:
7250:
7245:
7241:
7235:
7232:
7230:
7227:
7225:
7222:
7218:
7215:
7214:
7213:
7210:
7208:
7205:
7203:
7200:
7198:
7195:
7193:
7190:
7188:
7185:
7184:
7182:
7180:
7176:
7172:
7169:
7162:
7157:
7155:
7150:
7148:
7143:
7142:
7139:
7129:
7124:
7117:
7111:
7110:
7106:
7104:
7103:
7099:
7097:
7096:
7092:
7090:
7089:
7085:
7084:
7081:
7075:
7072:
7070:
7067:
7065:
7064:
7060:
7058:
7057:
7053:
7051:
7050:
7046:
7044:
7043:
7039:
7038:
7035:
7029:
7026:
7024:
7021:
7019:
7016:
7014:
7011:
7009:
7008:
7004:
7002:
7001:
6997:
6996:
6993:
6987:
6984:
6982:
6981:
6977:
6976:
6973:
6967:
6966:
6962:
6960:
6959:
6955:
6953:
6950:
6948:
6945:
6944:
6941:
6935:
6931:
6927:
6923:
6919:
6915:
6912:
6910:
6909:Biblical Odes
6907:
6905:
6902:
6900:
6897:
6895:
6892:
6891:
6888:
6882:
6879:
6877:
6876:
6872:
6870:
6869:
6865:
6863:
6862:
6858:
6857:
6854:
6850:
6847:
6840:
6835:
6833:
6828:
6826:
6821:
6820:
6817:
6805:
6797:
6796:
6792:
6791:
6788:
6782:
6779:
6777:
6776:
6772:
6770:
6767:
6765:
6762:
6760:
6757:
6755:
6752:
6750:
6747:
6746:
6744:
6740:
6734:
6731:
6729:
6726:
6724:
6721:
6719:
6716:
6714:
6711:
6710:
6708:
6704:
6698:
6695:
6693:
6690:
6688:
6687:Oliver Strunk
6685:
6683:
6682:Peter Jeffery
6680:
6678:
6675:
6673:
6670:
6669:
6667:
6663:
6657:
6654:
6652:
6649:
6645:
6642:
6641:
6640:
6637:
6636:
6634:
6630:
6624:
6621:
6617:
6614:
6613:
6612:
6609:
6607:
6604:
6602:
6599:
6595:
6592:
6591:
6590:
6587:
6585:
6582:
6580:
6577:
6575:
6572:
6570:
6567:
6566:
6564:
6560:
6554:
6551:
6549:
6546:
6542:
6539:
6538:
6537:
6534:
6532:
6529:
6525:
6522:
6521:
6520:
6517:
6515:
6512:
6510:
6507:
6505:
6502:
6501:
6499:
6495:
6489:
6486:
6484:
6481:
6480:
6478:
6474:
6468:
6465:
6463:
6460:
6458:
6455:
6454:
6452:
6448:
6443:
6433:
6430:
6426:
6422:
6420:
6419:John Laskaris
6417:
6415:
6412:
6410:
6407:
6405:
6404:Xenos Korones
6402:
6400:
6397:
6395:
6392:
6390:
6387:
6385:
6382:
6380:
6377:
6375:
6372:
6370:
6367:
6365:
6362:
6360:
6357:
6355:
6352:
6350:
6347:
6345:
6342:
6340:
6337:
6335:
6332:
6330:
6327:
6326:
6324:
6320:
6316:
6311:
6307:
6300:
6295:
6293:
6288:
6286:
6281:
6280:
6277:
6261:
6257:
6253:
6252:
6242:
6237:
6226:
6222:
6211:
6207:
6203:
6202:
6192:
6190:9783922626749
6186:
6182:
6177:
6173:
6169:
6165:
6161:
6157:
6153:
6148:
6144:
6140:
6136:
6131:
6127:
6123:
6119:
6114:
6110:
6106:
6102:
6097:
6093:
6087:
6083:
6078:
6063:
6062:
6056:
6052:
6048:
6043:
6039:
6035:
6031:
6026:
6014:
6010:
6006:
6001:
5989:
5985:
5981:
5976:
5972:
5968:
5964:
5960:
5956:
5952:
5947:
5943:
5939:
5935:
5931:
5926:
5922:
5918:
5914:
5910:
5905:
5901:
5897:
5893:
5888:
5884:
5872:
5864:
5858:
5854:
5849:
5845:
5840:
5836:
5830:
5826:
5822:
5818:
5814:
5801:
5782:
5777:
5773:
5769:
5765:
5761:
5757:
5753:
5748:
5744:
5738:
5734:
5729:
5714:
5713:
5707:
5703:
5699:
5695:
5691:
5687:
5683:
5682:
5676:
5672:
5671:
5665:
5661:
5656:
5652:
5646:
5642:
5638:
5633:
5629:
5627:9788854838406
5623:
5619:
5615:
5610:
5599:
5597:9783000323065
5593:
5589:
5588:
5582:
5570:
5566:
5562:
5557:
5546:
5542:
5537:
5533:
5527:
5523:
5517:
5513:
5512:
5506:
5502:
5497:
5493:
5487:
5483:
5478:
5474:
5469:
5468:
5458:
5454:
5450:
5446:
5442:
5438:
5434:
5430:
5426:
5422:
5418:
5414:
5410:
5406:
5402:
5398:
5386:
5382:
5378:
5374:
5373:
5363:
5359:
5355:
5351:
5347:
5342:
5338:
5334:
5333:
5323:
5318:
5314:
5310:
5306:
5302:
5298:
5293:
5289:
5285:
5281:
5277:
5273:
5269:
5265:
5261:
5257:
5253:
5252:
5242:
5238:
5234:
5230:
5225:
5221:
5220:
5202:
5198:
5194:
5190:
5186:
5182:
5178:
5174:
5170:
5166:
5161:
5157:
5146:
5142:
5138:
5134:
5130:
5126:
5122:
5118:
5114:
5113:
5103:
5099:
5095:
5091:
5087:
5083:
5079:
5075:
5071:
5067:
5063:
5059:
5055:
5054:
5039:
5038:
5032:
5020:
5019:
5013:
5001:
5000:
4995:
4991:
4990:
4979:
4974:
4970:
4966:
4962:
4958:
4952:
4948:
4943:
4939:
4933:
4929:
4924:
4912:
4911:
4905:
4901:
4895:
4891:
4886:
4882:
4878:
4871:
4866:
4862:
4858:
4853:
4841:
4837:
4833:
4832:
4815:
4809:
4802:
4798:
4795:treated as a
4794:
4790:
4784:
4777:
4773:
4769:
4765:
4759:
4752:
4746:
4739:
4733:
4726:
4720:
4713:
4709:
4705:
4701:
4697:
4691:
4684:
4683:
4678:
4677:
4672:
4666:
4659:
4655:
4651:
4645:
4638:
4632:
4625:
4621:
4617:
4613:
4609:
4605:
4600:
4593:
4587:
4580:
4576:
4572:
4566:
4559:
4553:
4546:
4542:
4537:
4530:
4526:
4522:
4518:
4514:
4510:
4506:
4502:
4498:
4492:
4485:
4479:
4472:
4466:
4459:
4456:for 29 June (
4455:
4453:
4446:
4439:
4433:
4426:
4420:
4413:
4409:
4405:
4401:
4400:
4393:
4386:
4380:
4373:
4372:2008, 114-118
4367:
4360:
4359:2008, 129-131
4354:
4348:once escaped.
4347:
4343:
4339:
4334:
4327:
4320:
4314:
4307:
4301:
4294:
4290:
4286:
4281:
4274:
4270:
4264:
4257:
4253:
4247:
4240:
4236:
4229:
4222:
4216:
4209:
4205:
4199:
4192:
4188:
4184:
4180:
4176:
4172:
4166:
4159:
4153:
4146:
4142:
4138:
4132:
4125:
4121:
4115:
4108:
4104:
4100:
4094:
4087:
4083:
4079:
4073:
4066:
4062:
4058:
4052:
4045:
4041:
4035:
4028:
4024:
4018:
4011:
4007:
4003:
3997:
3990:
3989:Matins Gospel
3986:
3982:
3978:
3974:
3970:
3965:
3956:
3949:
3943:
3936:
3932:
3926:
3919:
3916:
3912:
3908:
3902:
3895:
3889:
3880:
3873:
3872:
3867:
3866:
3862:
3856:
3852:
3846:
3839:
3835:
3834:2000, pp. 15f
3829:
3822:
3818:
3814:
3810:
3806:
3802:
3798:
3797:Xenos Korones
3794:
3790:
3784:
3777:
3771:
3764:
3758:
3751:
3747:
3737:
3733:
3722:
3718:
3715:
3712:
3708:
3707:Israel Najara
3705:
3702:
3698:
3695:
3694:
3685:
3681:
3677:
3674:
3671:
3668:
3665:
3661:
3660:Mevlevi Order
3658:
3655:
3652:
3649:
3646:
3644:
3640:
3637:
3636:
3630:
3628:
3624:
3620:
3616:
3612:
3608:
3605:in the genre
3604:
3600:
3596:
3595:
3590:
3589:
3584:
3579:
3575:
3571:
3567:
3563:
3558:
3556:
3551:
3547:
3543:
3539:
3535:
3530:
3528:
3524:
3519:
3517:
3513:
3509:
3508:echos kratema
3505:
3501:
3497:
3493:
3488:
3484:
3480:
3474:
3472:
3468:
3463:
3459:
3458:
3452:
3448:
3444:
3440:
3436:
3424:
3419:
3417:
3412:
3410:
3405:
3404:
3402:
3401:
3396:
3393:
3391:
3388:
3386:
3383:
3382:
3381:
3380:
3376:
3375:
3370:
3367:
3365:
3362:
3360:
3359:Oil wrestling
3357:
3356:
3355:
3354:
3350:
3349:
3344:
3341:
3339:
3336:
3334:
3331:
3330:
3329:
3328:
3324:
3323:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3299:
3298:
3297:
3293:
3292:
3287:
3284:
3282:
3279:
3277:
3274:
3272:
3269:
3268:
3267:
3266:
3262:
3261:
3257:
3253:
3252:
3249:
3244:
3243:
3235:
3233:
3229:
3225:
3221:
3217:
3212:
3211:
3207:
3203:
3198:
3193:
3191:
3184:
3180:
3176:
3172:
3168:
3164:
3162:
3155:
3151:
3149:
3137:
3133:
3129:
3124:
3120:
3118:
3114:
3110:
3106:
3102:
3098:
3094:
3090:
3086:
3082:
3078:
3074:
3070:
3068:
3061:
3057:
3055:
3048:
3046:
3039:
3035:
3031:
3027:
3022:
3017:
3013:
3011:
3004:
3000:
2995:
2990:
2985:
2980:
2976:
2974:
2967:
2961:
2959:
2955:
2951:
2947:
2942:
2937:
2933:
2929:
2925:
2921:
2916:
2911:
2909:
2902:
2898:
2894:
2892:
2885:
2880:
2875:
2870:
2869:(b natural).
2868:
2864:
2860:
2856:
2852:
2847:
2842:
2838:
2834:
2830:
2822:
2818:
2813:
2809:
2806:
2801:
2799:
2791:
2786:
2782:
2777:
2775:
2767:
2763:
2759:
2755:
2750:
2748:
2740:
2736:
2732:
2728:
2724:
2718:
2712:
2708:
2706:
2702:
2698:
2697:thema haploun
2694:
2690:
2689:
2684:
2680:
2676:
2671:
2669:
2664:
2660:
2655:
2653:
2649:
2645:
2641:
2637:
2633:
2629:
2624:
2621:
2615:
2613:
2609:
2605:
2601:
2597:
2595:
2585:
2581:
2577:
2572:
2566:
2561:
2559:
2557:
2551:
2549:
2542:
2540:
2538:
2532:
2530:
2524:
2522:
2516:
2514:
2508:
2506:
2500:
2498:
2492:
2490:
2484:
2482:
2474:
2468:
2464:
2462:
2458:
2454:
2448:
2445:
2439:
2433:
2428:
2426:
2424:
2414:
2408:
2402:
2397:
2393:
2391:
2385:
2383:
2377:
2375:
2369:
2367:
2366:
2358:
2356:
2344:
2337:
2335:
2330:
2328:
2324:
2320:
2316:
2312:
2308:
2303:
2297:
2293:
2291:
2284:
2283:echos legetos
2279:
2275:
2270:
2260:
2253:
2251:
2246:
2240:
2235:
2231:
2229:
2223:
2221:
2219:
2210:
2208:
2201:
2199:
2191:
2189:
2183:
2181:
2174:
2172:
2170:
2164:
2160:
2156:
2151:
2148:
2142:
2137:
2133:
2131:
2124:
2119:
2117:
2111:
2107:
2103:
2101:
2095:
2091:
2087:
2083:
2079:
2074:
2072:
2070:
2063:
2057:
2052:
2050:
2043:
2038:
2036:
2029:
2026:
2024:
2015:
2010:
2005:
2000:
1996:
1992:
1986:
1980:
1975:
1970:
1967:
1961:
1956:
1947:
1940:
1937:
1933:
1928:
1923:
1919:
1915:
1907:
1902:
1898:
1895:
1891:
1887:
1883:
1879:
1877:
1871:
1861:
1859:
1854:
1849:
1846:
1840:
1836:
1832:
1826:
1824:
1819:
1813:
1807:
1802:
1797:
1791:
1785:
1779:
1774:
1773:
1768:
1767:
1761:
1756:
1754:
1749:
1743:
1738:
1734:
1729:
1719:
1717:
1711:
1705:
1699:
1695:
1690:
1688:
1684:
1680:
1676:
1672:
1668:
1663:
1659:
1655:
1650:
1647:
1641:
1635:
1629:
1623:
1617:
1612:
1608:
1606:
1600:
1598:
1591:
1585:
1580:
1576:
1574:
1573:plagioi echoi
1568:
1566:
1560:
1558:
1552:
1550:
1544:
1540:
1538:
1531:
1526:
1521:
1518:
1512:
1505:
1501:
1494:
1488:
1480:
1476:
1474:
1470:
1468:
1462:
1458:
1454:
1450:
1445:
1443:
1439:
1435:
1434:
1423:
1420:
1412:
1407:
1404:
1403:kyrios protos
1398:
1392:
1386:
1381:
1377:
1371:
1367:
1365:
1361:
1355:
1351:
1341:
1330:
1327:
1325:
1321:
1317:
1312:
1301:
1290:
1287:
1285:
1280:
1274:
1272:
1268:
1264:
1260:
1254:
1248:
1246:
1240:
1234:
1228:
1223:
1221:
1216:is that each
1215:
1213:
1206:
1203:
1197:
1191:
1186:
1181:
1175:
1169:
1160:
1155:
1150:
1146:
1144:
1140:
1136:
1126:
1124:
1120:
1116:
1112:
1107:
1104:
1097:
1092:
1088:
1084:
1079:
1074:
1070:
1066:
1062:
1056:
1054:
1050:
1046:
1042:
1038:
1034:
1029:
1027:
1023:
1019:
1006:
1003:Diagrams for
997:
992:
988:
986:
980:
978:
971:
966:
961:
959:
953:
951:
947:
943:
939:
935:
930:
928:
924:
920:
915:
911:
907:
903:
898:
896:
892:
888:
884:
879:
877:
871:
869:
867:
860:
856:
852:
848:
844:
840:
838:
831:
827:
823:
819:
815:
811:
809:
802:
798:
794:
790:
785:
783:
779:
775:
771:
762:
759:
755:
750:
746:
743:
739:
731:
725:
723:
719:
715:
711:
707:
699:
696:
692:
688:
683:
674:
672:
671:
666:
665:hagioreitikon
662:
658:
654:
650:
645:
643:
639:
631:
627:
623:
618:
609:
607:
603:
594:
589:
585:
581:
577:
573:
570:
566:
562:
558:
554:
550:
546:
543:
540:
536:
532:
529:
525:
521:
517:
513:
510:
506:
505:
504:
501:
499:
494:
489:
485:
481:
477:
473:
465:
461:
456:
450:
444:
435:
433:
429:
428:
422:
420:
419:
414:
413:
408:
407:
402:
398:
393:
392:
386:
384:
381:, and of the
380:
376:
372:
362:
360:
356:
352:
348:
344:
340:
336:
325:
323:
319:
314:
311:
307:
303:
299:
295:
291:
287:
283:
278:
270:
260:
256:
245:
240:
238:
233:
231:
226:
225:
223:
222:
217:
214:
212:
209:
207:
204:
202:
199:
197:
194:
192:
189:
187:
184:
182:
179:
177:
174:
172:
169:
167:
164:
162:
159:
157:
154:
152:
149:
147:
144:
142:
139:
137:
134:
132:
129:
126:
122:
121:
120:
119:
115:
111:
110:
107:
104:
103:
99:
88:
78:
73:
69:
62:
52:
42:
35:
30:
21:
20:
10149:Arabic maqam
10113:Pontic Greek
10097:Israeli folk
9757:Greek dances
9614:Askomandoura
8962:
8730:Hagia Sophia
8712:Thessalonica
8687:Hagia Sophia
8667:Chora Church
8605:Architecture
8482:Great Schism
8472:Paulicianism
8450:Miaphysitism
8305:Karabisianoi
7609:or territory
7569:Thessalonica
7553:Latin Empire
7548:Frankokratia
7523:
7483:Isaurian era
7470:
7401:
7386:
7382:Roman Empire
7372:
7224:Prostopinije
7107:
7100:
7093:
7086:
7061:
7054:
7047:
7042:Sticherarion
7040:
7005:
6998:
6978:
6963:
6958:Heirmologion
6956:
6873:
6868:Epistle Book
6866:
6859:
6773:
6754:Protopsaltes
6697:Egon Wellesz
6616:Nana (echos)
6610:
6264:. Retrieved
6259:
6228:. Retrieved
6213:. Retrieved
6209:
6180:
6155:
6151:
6134:
6117:
6100:
6081:
6069:. Retrieved
6060:
6050:
6046:
6037:
6034:Psalticnotes
6033:
6017:. Retrieved
6012:
6008:
5992:. Retrieved
5987:
5983:
5954:
5950:
5933:
5929:
5912:
5908:
5891:
5852:
5843:
5824:
5800:cite journal
5788:. Retrieved
5755:
5751:
5732:
5720:. Retrieved
5711:
5685:
5679:
5669:
5659:
5640:
5617:
5601:. Retrieved
5586:
5573:. Retrieved
5568:
5564:
5548:. Retrieved
5544:
5530:
5510:
5500:
5481:
5472:
5456:
5444:
5432:
5420:
5408:
5389:. Retrieved
5384:
5361:
5344:
5320:
5308:
5295:
5283:
5271:
5259:
5240:
5227:
5205:. Retrieved
5200:
5188:
5176:
5163:
5148:. Retrieved
5144:
5132:
5120:
5101:
5089:
5073:
5061:
5036:
5023:. Retrieved
5017:
5004:, retrieved
4998:
4977:
4968:
4946:
4927:
4915:, retrieved
4909:
4889:
4880:
4876:
4860:
4844:. Retrieved
4839:
4808:
4800:
4797:beste rahavi
4796:
4792:
4783:
4775:
4767:
4758:
4745:
4732:
4719:
4707:
4699:
4695:
4690:
4680:
4674:
4665:
4658:Hagiopolites
4653:
4649:
4644:
4631:
4611:
4607:
4599:
4586:
4578:
4570:
4565:
4552:
4536:
4528:
4524:
4520:
4516:
4512:
4504:
4491:
4478:
4465:
4451:
4445:
4432:
4419:
4397:
4392:
4379:
4366:
4353:
4326:
4313:
4300:
4280:
4268:
4263:
4255:
4251:
4246:
4234:
4228:
4215:
4198:
4182:
4165:
4152:
4131:
4119:
4114:
4093:
4072:
4051:
4034:
4017:
3996:
3984:
3980:
3972:
3964:
3955:
3942:
3925:
3901:
3888:
3879:
3869:
3859:
3855:Hagia Sophia
3845:
3828:
3816:
3812:
3808:
3783:
3770:
3763:2007, p. 144
3757:
3741:
3736:
3676:Protopsaltes
3654:Jewish music
3639:Hagiopolitan
3626:
3622:
3614:
3606:
3602:
3598:
3592:
3586:
3582:
3573:
3569:
3565:
3561:
3559:
3554:
3549:
3545:
3542:heirmologion
3537:
3531:
3526:
3522:
3520:
3515:
3512:phthora nana
3511:
3507:
3503:
3499:
3495:
3491:
3486:
3482:
3478:
3475:
3470:
3466:
3461:
3455:
3438:
3432:
3271:Architecture
3231:
3227:
3215:
3213:
3210:echos protos
3209:
3205:
3201:
3186:
3182:
3178:
3175:phthora nana
3174:
3170:
3166:
3157:
3153:
3144:
3141:
3131:
3112:
3109:echos tritos
3108:
3105:phthora nana
3104:
3100:
3097:echos tritos
3096:
3092:
3088:
3084:
3080:
3076:
3073:phthora nana
3072:
3063:
3059:
3050:
3041:
3037:
3033:
3029:
3025:
3015:
3006:
3002:
2998:
2988:
2978:
2969:
2965:
2962:
2957:
2953:
2950:phthora nana
2949:
2945:
2935:
2931:
2927:
2923:
2919:
2904:
2900:
2897:phthora nana
2896:
2887:
2883:
2873:
2871:
2866:
2862:
2859:echos tritos
2858:
2854:
2850:
2840:
2837:phthora nana
2836:
2835:F and, as a
2832:
2828:
2826:
2816:
2794:
2784:
2781:phthora nana
2765:
2761:
2760:on G into a
2757:
2753:
2739:echos tritos
2738:
2734:
2730:
2726:
2722:
2720:
2715:
2710:
2704:
2700:
2696:
2692:
2688:phthora nana
2686:
2682:
2678:
2674:
2672:
2667:
2662:
2656:
2647:
2643:
2639:
2635:
2631:
2627:
2625:
2616:
2603:
2599:
2591:
2589:
2579:
2564:
2556:phthora nana
2553:
2545:
2544:The second (
2543:
2534:
2526:
2518:
2510:
2509:ends on the
2502:
2494:
2486:
2478:
2476:
2471:
2466:
2461:mesos protos
2460:
2456:
2452:
2449:
2444:protos melos
2417:
2395:
2387:
2382:echos protos
2379:
2371:
2361:
2348:
2333:
2331:
2326:
2322:
2318:
2314:
2310:
2306:
2287:
2277:
2273:
2264:
2249:
2233:
2225:
2212:
2207:phthora nana
2204:
2185:
2177:
2175:
2166:
2162:
2158:
2154:
2152:
2135:
2127:
2113:
2109:
2105:
2100:xeron klasma
2097:
2093:
2089:
2085:
2084:follows the
2081:
2077:
2075:
2066:
2046:
2032:
2030:
2008:
1998:
1994:
1990:
1973:
1971:
1954:
1952:
1935:
1931:
1921:
1917:
1913:
1911:
1893:
1889:
1881:
1873:
1869:
1867:
1852:
1850:
1838:
1834:
1830:
1827:
1801:phthora nana
1770:
1763:
1759:
1757:
1736:
1732:
1727:
1725:
1697:
1693:
1691:
1681:, Armenian,
1677:, Sephardic
1670:
1666:
1661:
1657:
1651:
1628:tritos melos
1610:
1602:
1594:
1570:
1562:
1557:kyrioi echoi
1554:
1546:
1534:
1530:echos protos
1522:
1507:
1483:
1478:
1472:
1464:
1446:
1431:
1429:
1418:
1416:
1410:
1379:
1375:
1373:
1369:
1363:
1356:
1352:
1348:
1323:
1319:
1315:
1310:
1308:
1283:
1278:
1275:
1270:
1266:
1262:
1258:
1249:
1244:
1217:
1209:
1207:
1184:
1174:echos protos
1167:
1165:
1142:
1138:
1134:
1132:
1122:
1118:
1114:
1111:protopsaltes
1110:
1108:
1090:
1086:
1083:phthora nana
1072:
1064:
1060:
1057:
1052:
1048:
1044:
1040:
1036:
1032:
1030:
1021:
1017:
1015:
1012:The kanonion
1004:
984:
982:
974:
969:
964:
955:
949:
941:
937:
933:
931:
926:
922:
918:
913:
910:kyrioi echoi
909:
905:
901:
899:
894:
890:
886:
882:
880:
875:
872:
862:
858:
854:
850:
846:
842:
833:
829:
825:
822:echos protos
821:
817:
814:echos protos
813:
804:
801:kyrioi echoi
800:
796:
792:
788:
786:
781:
777:
773:
769:
766:
753:
741:
737:
735:
729:
721:
717:
713:
709:
705:
703:
690:
668:
664:
660:
656:
652:
648:
646:
641:
637:
635:
605:
601:
598:
592:
583:
579:
575:
568:
564:
560:
556:
552:
548:
519:
515:
502:
497:
484:Conomos 1985
469:
432:sticherarion
431:
427:sticherarion
425:
423:
416:
410:
406:kratemataria
404:
389:
387:
368:
354:
335:Hagia Sophia
331:
318:Hagia Sophia
315:
304:"eight" and
297:
284:"eight" and
254:
253:
141:Architecture
82:
68:ISO 639 code
64:}}
58:{{
54:}}
48:{{
44:}}
38:{{
33:
10153:Iraqi maqam
10039:Palestinian
9910:Palestinian
9507:Pontic lyra
9502:Cretan lyra
9442:Water organ
9213:Megali Idea
9188:Byzantinism
8891:Agriculture
8682:Hagia Irene
8515:Kievan Rus'
8492:Mount Athos
8315:Cibyrrhaeot
8259:Vestiaritai
8114:Mercenaries
7991:Catepanates
7850:Sakellarios
7769:Family tree
7694:Mesopotamia
7513:Angelid era
7493:Amorian era
7109:Euchologion
7095:Anthologion
7028:Apolytikion
7007:Paraklētikē
6980:Kontakarion
6875:Gospel Book
6749:Akolouthiai
6644:Cretan lyra
6632:Instruments
6414:John Kladas
6266:9 September
6230:15 November
6215:15 November
5957:: 175–202.
5207:20 December
5051:Akolouthiai
4770:, and page
4696:makam hısar
4604:Simon Karas
4513:echos varys
4135:Fleischer (
4076:Fleischer (
4055:Fleischer (
4038:Fleischer (
4021:Fleischer (
4000:Fleischer (
3931:kontakarion
3911:Harris 2001
3907:Akolouthiai
3801:akolouthiai
3684:Lampadarios
3611:pp. 200-204
3546:psaltic art
3443:phanariotes
3286:Calligraphy
3263:Visual arts
3232:psaltic art
3181:within the
3038:echos varys
2979:echos varys
2928:echos varys
2901:echos varys
2829:epegermatos
2727:echos varys
2701:echos varys
2659:sticheraria
2640:echos varys
2608:John Glykys
2600:psaltic art
2327:E flat νανὰ
2323:E flat νανὰ
2250:b flat νανὰ
2147:echos varys
2086:tetraphonia
1995:tetraphonia
1991:heptaphonia
1890:tetraphonia
1853:psaltic art
1760:heptaphonia
1737:metrophonia
1728:metrophonia
1716:Phanariotes
1698:heptaphonia
1689:musicians.
1667:tetraphonia
1658:metrophonia
1473:metrophonia
1419:alia musica
1376:tetraphonia
1364:alia musica
1190:echos varys
1123:nenanismata
1119:teretismata
919:metrophonia
891:metrophonia
847:echos varys
706:tetraphônia
649:sticheraria
582:, but also
565:metrophonia
412:heirmologia
401:kontakarion
359:John Glykys
10177:Categories
9956:Luri music
9691:Idiophones
9672:Tambourine
9658:Percussion
9424:Percussion
9208:Third Rome
9134:University
9117:Philosophy
9107:Inventions
8970:Historians
8938:Literature
8921:Varangians
8763:San Vitale
8692:Hippodrome
8672:City Walls
8572:Mutilation
8567:Hexabiblos
8487:Bogomilism
8477:Iconoclasm
8347:Megas doux
8337:Greek fire
8320:Aegean Sea
8193:Kleisourai
8170:Excubitors
8160:Bucellarii
8012:Despotates
7981:Kleisourai
7920:Provincial
7764:Coronation
7738:Governance
7503:Doukid era
7436:Leonid era
7269:Beneventan
7260:(Milanese)
7102:Hōrologion
7074:Doxastikon
7023:Theotokion
7018:Dogmatikon
6965:Menologion
6922:Sinaiticum
6899:Anabathmoi
6861:Lectionary
6706:Performers
6531:Koinonikon
6514:Cherubikon
6249:Recordings
5534:: 156–169.
5249:Kontakaria
5150:31 October
4971:: 127–144.
4846:6 February
4793:makam rast
4768:makam rast
3871:kontakaria
3744:ἡ Ὀκτώηχος
3680:Domestikos
3588:makam rast
3302:Shadowplay
2831:is on the
2756:turns the
2311:semitonium
2252:—e flat).
2155:parallage,
1714:which the
1662:enechemata
1565:enechemata
1549:enechemata
1049:enechemata
1037:enechemata
1005:parallagai
942:enechemata
906:enechemata
793:enechemata
714:enechemata
638:anabathmoi
576:enechemata
298:Osmoglasie
264:ὁ Ὀκτώηχος
196:Literature
85:April 2020
10014:Jordanian
9965:By region
9813:Arabesque
9752:Nisiotika
9698:Koudounia
9677:Toubeleki
9624:Tsampouna
9573:Tambouras
9409:Pan flute
9367:Epigonion
9036:Octoechos
8916:Silk Road
8408:Hesychasm
8276:Paramonai
8223:Hetaireia
8155:Foederati
8044:Diplomacy
8039:Diplomats
7945:Provinces
7774:Empresses
7577:Trebizond
7373:Preceding
7299:Old Roman
7294:Mozarabic
7289:Gregorian
7258:Ambrosian
7249:Plainsong
7192:Byzantine
7013:Troparion
6904:Polyeleos
6589:Octoechos
6553:Sticheron
6548:Troparion
6536:Kontakion
6504:Aposticha
6488:Octoechos
6450:Theorists
6322:Composers
5881:ignored (
5871:cite book
5772:162385479
5571:: 139–178
5550:22 August
5165:heothina)
4762:See page
4676:usulümler
4654:nim parde
4612:usulümler
4556:Conomos (
4529:phthongos
4525:phthongos
4482:Conomos (
4452:sticheron
4269:parallage
4256:parallage
4252:parallage
4219:Wolfram (
4183:Mega Ison
3817:Mega Ison
3750:octoechos
3666:tradition
3603:usulümler
3583:usulümler
3578:Octoechos
3462:octoechos
3439:Mega Ison
3276:Miniature
3216:Mega Ison
3154:phthongos
3132:Mega Ison
3113:parallage
3085:triphonia
3034:phthongos
3016:phthongos
2999:phthongos
2966:phthongos
2946:triphonic
2932:phthongos
2855:triphonia
2841:phthongos
2833:phthongos
2817:Mega Ison
2758:phthongos
2723:Mega Ison
2668:Mega Ison
2648:Mega Ison
2638:, before
2636:Mega Ison
2632:triphonia
2580:Mega Ison
2565:Mega Ison
2513:phthongos
2334:parallage
2290:phthongoi
2188:phthongos
2180:phthongos
2169:phthongos
2130:phthongos
2116:phthongos
2106:Mega Ison
2094:parallage
2090:phthongoi
2082:parallage
2078:parallage
2069:phthongos
2049:phthongos
2035:phthongos
2009:phthongos
1999:triphonia
1974:triphonia
1955:triphonia
1936:phthongoi
1932:phthongoi
1918:phthongos
1914:phthongos
1894:triphonia
1882:parallage
1876:phthongoi
1870:parallage
1764:phthorai
1733:parallage
1500:parallage
1493:parallage
1487:parallage
1467:parallage
1455:, and by
1397:phthongos
1380:parallage
1316:parallage
1311:parallage
1279:parallage
1269:with the
1263:parallage
1245:phthongos
1220:phthongos
1177:into the
1139:parallage
1115:maistoros
1073:phthongos
985:parallage
950:phthongoi
938:parallage
934:parallage
927:parallage
923:parallage
902:parallage
895:phthongos
883:phthongos
876:parallage
851:phthongoi
843:phthongos
830:parallage
818:parallage
789:parallage
782:parallage
778:phthongos
774:parallage
770:phthongoi
754:Parallage
730:parallage
716:) of the
710:parallage
691:parallage
670:Polyeleos
642:psaltikon
580:parallage
569:phthongos
561:Parallage
553:phthongos
549:parallage
526:in 1458 (
418:polyeleos
355:Mega Ison
255:Oktōēchos
171:Diplomacy
98:Octoechos
10029:Lebanese
9982:Egyptian
9972:Bahraini
9906:Lebanese
9887:Egyptian
9863:Assyrian
9806:By style
9730:See also
9649:Souravli
9634:Karamuza
9629:Floghera
9594:Santouri
9578:Thaboura
9568:Psaltery
9558:Mandolin
9538:Bouzouki
9460:Medieval
9437:Crotalum
9432:Cochilia
9382:Trigonon
9349:Phorminx
9334:Barbiton
9129:Scholars
9122:Rhetoric
9112:Medicine
9087:Learning
8986:Calendar
8863:Painters
8562:Basilika
8500:Bulgaria
8462:Arianism
8413:Hayhurum
8390:Religion
8352:Admirals
8271:Allagion
8203:Droungos
8109:Generals
8071:Military
8034:Treaties
7940:Dioceses
7759:Emperors
7672:Sardinia
7652:Dalmatia
7632:Bulgaria
7622:Anatolia
7581:Theodoro
7575: /
7571: /
7563: /
7284:Gelineau
7279:Gallican
7264:Anglican
7234:Znamenny
7207:Galician
7187:Armenian
7056:Triōdion
6986:Akathist
6914:Psalters
6894:Kathisma
6804:Category
6665:Scholars
6651:Thaboura
6541:Akathist
6524:Kathisma
6172:20795935
6071:14 April
6053:: 69–85.
6019:11 April
5994:11 April
5790:19 April
5758:: 1–10.
5603:14 April
5575:20 April
5346:century)
5322:century)
5297:century)
5006:11 April
4996:(1832),
4917:11 April
4787:On page
4708:phthorai
4682:makamlar
4650:phthorai
4608:makamlar
4317:See the
4235:enechema
4120:echemata
3985:troparia
3981:stichera
3935:ca. 1400
3929:See the
3865:psaltika
3861:asmatika
3776:Papadikē
3721:dragoman
3633:See also
3623:makamlar
3599:makamler
3574:makamlar
3566:seyirler
3557:genres.
3523:makamlar
3518:before.
3487:phthorai
3483:makamlar
3479:makamlar
3457:makamlar
3451:Piyyutim
3395:Clothing
3197:tetartos
3190:tetartos
3161:tetartos
3158:plagios
3148:tetartos
3145:plagios
3067:tetartos
3054:tetartos
3051:plagios
3045:tetartos
3021:tetartos
3010:tetartos
3007:plagios
2994:tetartos
2987:on G at
2984:tetartos
2973:tetartos
2970:plagios
2941:tetartos
2915:tetartos
2908:tetartos
2891:tetartos
2888:plagios
2879:tetartos
2874:phthorai
2863:epegerma
2851:phthorai
2846:tetartos
2805:tetartos
2798:tetartos
2795:plagios
2774:tetartos
2771:plagios
2766:apoderma
2754:epegerma
2747:tetartos
2744:plagios
2731:epegerma
2683:chorevma
2594:phthorai
2432:tetartos
2423:tetartos
2407:tetartos
2401:tetartos
2355:tetartos
2352:protos,
2343:tetartos
2302:devteros
2269:tetartos
2259:tetartos
2218:tetartos
2215:plagios
2198:tetartos
2195:plagios
2141:tetartos
2056:devteros
2023:tetartos
2020:plagios
2004:tetartos
1976:between
1966:tetartos
1963:and the
1946:tetartos
1927:tetartos
1892:and for
1845:tetartos
1835:enechema
1818:tetartos
1812:tetartos
1806:tetartos
1796:tetartos
1790:tetartos
1784:tetartos
1778:tetartos
1748:tetartos
1742:tetartos
1710:tetartos
1704:tetartos
1590:devteros
1579:Al-Kindi
1253:tetartos
1212:kanonion
1185:kanonion
1168:kanonion
1135:kanonion
1103:tetartos
1096:tetartos
1091:kanonion
1078:tetartos
1069:stichera
1061:phthorai
1022:kanōnion
866:tetartos
863:plagios
837:tetartos
808:tetartos
732:diagrams
557:enechema
539:enechema
520:phthorai
516:phthorai
438:Papadike
421:psalms.
397:tonaries
294:Slavonic
201:Medicine
146:Calendar
10129:Fantezi
10124:Dastgah
10117:Turkish
10109:Persian
10105:Kurdish
10059:Turkish
10024:Kuwaiti
10019:Kurdish
10009:Israeli
9999:Iranian
9994:Emirati
9977:Cypriot
9949:Turkish
9945:Iranian
9914:Turkish
9895:Israeli
9891:Iranian
9878:Hip hop
9871:Turkish
9867:Iranian
9838:khaliji
9834:Bedouin
9830:al-jeel
9818:Turkish
9708:Trigono
9682:Tympano
9644:Mantura
9639:Lalitsa
9553:Mandola
9531:Plucked
9472:Organon
9447:Sistrum
9414:Salpinx
9377:Sambuca
9372:Magadis
9344:Kithara
9316:Pandura
9300:Ancient
9238:Outline
9183:Museums
9083:Science
9060:Slavery
9016:Gardens
8996:Cuisine
8928:Dynatoi
8896:Coinage
8883:Economy
8851:Mosaics
8814:Mystras
8755:Ravenna
8617:Secular
8505:Moravia
8254:Pronoia
8228:Akritai
8213:Tagmata
8188:Themata
8129:Revolts
8099:Battles
8007:Kephale
7976:Themata
7906:Mesazon
7748:Central
7684:Maghreb
7637:Corsica
7627:Armenia
7617:Albania
7360:History
7304:Ravenna
7244:Western
7212:Obikhod
7179:Eastern
7088:Typikon
7049:Mēnaion
6947:Heirmos
6918:Chludov
6742:Related
6656:Organon
6569:Petasti
6476:Liturgy
5990:: 50–67
5971:1291096
5722:29 July
5465:Studies
5025:23 July
4883:: 3–23.
4700:müstear
3948:ms. 261
3570:mathema
3550:phthora
3390:Carpets
3385:Cuisine
3364:Archery
3281:Pottery
3228:mathema
3177:to the
3136:V-CVbav
3103:of the
3089:phthora
2989:stavros
2968:of the
2954:finalis
2948:one of
2944:to the
2926:of the
2924:finalis
2843:of the
2790:stavros
2620:trochos
2604:mathema
2584:V-CVbav
2413:plagios
2374:phthora
1906:GR-AOdo
1839:dynamis
1831:dynamis
1687:Kurdish
1683:Persian
1679:Hazzans
1643:into a
1640:plagios
1587:of the
1569:of the
1533:by the
1508:While "
1411:Trochos
1406:, etc.
1271:plagios
1239:plagios
1143:trochos
1085:. This
1051:of the
1041:plagioi
1039:of the
799:or the
797:plagioi
795:of the
742:plagios
728:Simple
718:plagioi
608:, etc.
280:; from
216:Science
186:Gardens
181:Economy
161:Cuisine
156:Coinage
77:See why
10144:Khigga
10101:Jewish
10064:Yemeni
10054:Syrian
10044:Qatari
9987:Coptic
9941:Arabic
9926:Jewish
9900:Jewish
9883:Arabic
9853:Coptic
9825:Arabic
9703:Stamna
9587:Struck
9563:Oudola
9548:Laouto
9543:Guitar
9488:String
9481:Modern
9339:Chelys
9308:String
9248:Portal
9163:Impact
9043:People
8991:Cities
8841:Enamel
8622:Sacred
8557:Ecloga
8423:Saints
8332:Dromon
8208:Bandon
8198:Tourma
8181:Middle
8104:Beacon
7986:Bandon
7969:Middle
7838:Middle
7793:Senate
7716:Thrace
7699:Serbia
7677:Sicily
7662:Greece
7647:Cyprus
7565:Epirus
7561:Nicaea
7471:Middle
7348:topics
7274:Celtic
7229:Syrian
7217:Kievan
7197:Coptic
6594:Nenano
6562:Theory
6364:Kassia
6187:
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6088:
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4399:țanbūr
4333:tritos
4208:NGrove
4173:, pp.
4139:, pp.
4101:, pp.
4080:, pp.
4059:, pp.
4025:, pp.
4004:, pp.
3868:, and
3789:NGrove
3711:piyyut
3691:People
3615:Mecmua
3506:as an
3351:Sports
3338:Poetry
3307:Meddah
3206:protos
3187:echos
3064:echos
3026:protos
2884:tritos
2762:tritos
2717:Barys.
2630:, and
2533:. The
2420:echos
2396:protos
2296:protos
2245:tritos
2234:F νανὰ
2228:tritos
2159:tritos
2123:tritos
2062:tritos
2042:tritos
2014:tritos
1985:tritos
1960:tritos
1772:nenano
1753:tambur
1646:kyrios
1413:system
1267:kyrios
1227:kyrios
1224:has a
1053:kyrioi
1045:phônai
1033:phônai
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912:) the
805:echos
738:kyrios
722:kyrioi
653:palaia
626:GB-Lbl
604:, the
508:signs.
460:GB-Lbl
452:, and
211:People
151:Cities
10139:Kanto
10093:belly
10080:Dance
10034:Omani
10004:Iraqi
9842:samri
9713:Zilia
9619:Gaida
9495:Bowed
9404:Aulos
9233:Index
9065:Death
9055:Women
9026:Music
9006:Dress
9001:Dance
8946:Novel
8906:Trade
8901:Mints
8846:Glass
8836:Icons
8632:Domes
8510:Serbs
8325:Samos
8138:Early
7928:Early
7802:Early
7711:Syria
7689:Malta
7667:Italy
7657:Egypt
7642:Crete
7573:Morea
7402:Early
7171:chant
6930:Tomić
6926:Sofia
6584:Echos
6509:Canon
6497:Forms
6168:JSTOR
6065:(PDF)
5967:JSTOR
5784:(PDF)
5768:S2CID
5716:(PDF)
5698:JSTOR
5391:3 May
4873:(PDF)
4614:(see
4291:, p.
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3813:oxeia
3728:Notes
3701:Boyar
3664:Makam
3627:fasıl
3619:Divan
3607:semaï
3562:makam
3555:makam
3540:(the
3527:makam
3510:like
3504:melos
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3492:makam
3471:echos
3467:makam
3447:makam
3377:Other
3369:Cirit
3343:Prose
3317:Music
3312:Dance
3156:g as
3003:varys
2920:basis
2872:Both
2785:kolon
2735:kolon
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2315:low E
2307:diese
2305:is a
2239:varys
2076:This
1949:cross
1675:Sufis
1622:echoi
1616:melos
1584:melos
1517:echos
1511:melos
914:melos
887:melos
377:, of
351:neume
306:гласъ
302:о́смь
300:from
290:echos
259:Greek
206:Music
176:Dress
166:Dance
10162:Usul
10134:Iqa'
10085:Arab
9858:Folk
9846:sawt
9607:Wind
9396:Wind
9359:Harp
9326:Lyre
9031:Lyra
8911:silk
8522:Jews
8297:Navy
8242:Late
8082:Army
8049:Wars
8000:Late
7894:Late
7524:Late
6934:Kiev
6623:Ison
6268:2012
6232:2019
6217:2019
6185:ISBN
6086:ISBN
6073:2012
6021:2012
5996:2012
5955:9/10
5883:help
5857:ISBN
5829:ISBN
5813:help
5792:2012
5737:ISBN
5724:2012
5645:ISBN
5622:ISBN
5605:2012
5592:ISBN
5577:2012
5552:2012
5516:ISBN
5486:ISBN
5393:2012
5209:2012
5152:2012
5027:2012
5008:2012
4951:ISBN
4932:ISBN
4919:2012
4894:ISBN
4848:2013
4814:1856
4725:2008
4698:and
4671:2009
4637:2012
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4620:1856
4616:usul
4592:1989
4497:1996
4289:1904
4221:1993
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4191:1996
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4099:1904
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4057:1904
4040:1904
4023:1904
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3983:and
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3894:2013
3851:1956
3811:and
3809:ison
3795:and
3641:and
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2360:and
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2242:and
2224:and
2192:of "
2092:. A
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1993:and
1982:and
1924:and
1858:1942
1769:and
1766:nana
1735:and
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758:D-Tu
740:and
695:D-Tu
628:Ms.
462:Ms.
310:mode
286:ἦχος
282:ὀκτώ
131:Army
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10155:),
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9936:Pop
8828:Art
8532:Law
6160:doi
6139:doi
6122:doi
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