Hagiopolitan Octoechos (English Wikipedia)

Analysis of information sources in references of the Wikipedia article "Hagiopolitan Octoechos" in English language version.

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Frøyshov (2007, pp. 144-153). Frøyshov, Stig Simeon R. (2007). "The Early Development of the Liturgical Eight-Mode System in Jerusalem". Saint Vladimir's Theological Quarterly. 51: 139–178. Retrieved 20 April 2012.

analogion.com

Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.

archive.org

Alchemy treatise ascribed to Zosimos of Alexandria (Pseudo-Zosimos), quoted according to Berthelot (1888, iii:434; see also the alternative version: ii:219). Otto Gombosi (1940, p. 40) changed the original text by replacing στόχος ("aim, target") with στοχείον ("element"). He referred that the earliest layer might be dated back to the 3rd and 4th century (obviously Carsten Høeg's datation), while the text compilation which had survived in several Alchemy collections, was presumably made during the 7th century. Lukas Richter (NGrove) dated the music treatise of this compilation later to the 8th and 9th century. Richter, Lukas. "Zosimus of Panopolis". Grove Music Online. doi:10.1093/gmo/9781561592630.article.31036.
Chrysanthos (1832, Μερ. Α', Βίβ. γ', κεφ. α', §. 217-228, pp. 94-99) mentions the Ancient Greek systema teleion which has tetrachords divided by the intervals tonos 9:8 and leimma which has the proportion 13:27, after the ratio of one tonos was taken from it (§. 220). But "our scale of the diatonic genus" (§ 225) are two tetrachords between α and δ, and the intervals are derived from the end of the first δ (1:1), α (8:9), β (22:27), γ (3:4). The proportions refer to a string tuned to the pitch of δ (see also the figure on page 28, § 65). The arithmetic method is based on the common denominator (in this case 88 and 108: 108/96/88/81), so we have a division of 12 (δ—α) + 8 (α—β) + 7 (β—γ). In order to get a symmetric division in which 4 small tones made up the fourth, not 5 times like the Western half tone, he added one part to the middle tone, so that the fourth was divided in 28 parts instead of 27. Chrysanthos of Madytos (1832), Θεωρητικὸν μεγὰ τῆς Μουσικῆς, Triest: Michele Weis, retrieved 11 April 2012.
Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.

bnf.fr

gallica.bnf.fr

The manuscript (F-Pn fonds grec, ms. 360) was edited by Jørgen Raasted (1983) who dated the manuscript back to the 14th century. In fact the compilation has parts compiled in one manuscript which can be dated back to the period between the 12th and 15th centuries, the Hagiopolites part rather seems to be an earlier one. Another fragment also dates back to the 12th century and was edited by Johann Friedrich Bellermann (1972). "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων [The book of the Holy Polis "Jerusalem" unifying different musical methods] in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th century), see the edition: Raasted, Jørgen, ed. (1983), The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF), Cahiers de l'Institut du Moyen-Âge Grec et Latin, vol. 45, Copenhagen: Paludan. Bellermann, Johann Friedrich; Najock, Dietmar, eds. (1972), Drei anonyme griechische Traktate über die Musik, Göttingen: Hubert.
Parts in rectangular brackets had to be added by comparison, because the first page (f.216) of F-Pn fonds grec. Ms. 360 is either worn out or damaged. "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων [The book of the Holy Polis "Jerusalem" unifying different musical methods] in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th century), see the edition: Raasted, Jørgen, ed. (1983), The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF), Cahiers de l'Institut du Moyen-Âge Grec et Latin, vol. 45, Copenhagen: Paludan.
Heirmos for a canon of eight odes in the section of echos plagios tetartos of the heirmologion (e.g. F-Pn fonds Coislin Ms. 220, ff.106'-108'). The Coislin notation was common at the local scriptoria of the Patriarchates of Alexandria and Jerusalem. The living tradition follows Petros Peloponnesios' realisation of the "Katavasies" who corrected the accents on the base of the heirmologion by Balasios the Priest (listen to Demosthenis Païkopoulos who embellishes the beginning of ode 7). "Paris, Bibliothèque nationale de France, fonds Coislin, ms. 220". Heirmologion in canon order (KaO) and prosomoia with developed Coislin notation (11th & 12th centuries). Petros Peloponnesios. "Katavasies (heirmologion argon) «Σταυρὸν χαράξας Μωσῆς» (odes 1, 7 and 9 of the canon) for the feast of the elevation of the cross (14 September) in echos plagios tetartos". Archon Protopsaltes Demosthenis Païkopoulos. Retrieved 17 May 2024.
Aurelian of Réôme's Musica disciplina in the version of manuscript F-VAL Ms. 148 was edited by Lawrence Gushee (1975). Aurelian of Réôme. "Valenciennes, Bibliothèque municipale, Ms. 148, fol. 57-89". "Musica disciplina" with intonations in later added Paleofrankish neumes, Abbey Saint-Amand (ca. 880-885). Gallica. Retrieved 8 October 2012. Edition: Gushee, Lawrence, ed. (1975). "Aureliani Reomensis Musica disciplina". Corpus scriptorum de musica. Vol. 21. Rome: American Institute of Musicology. pp. 35–135.
Charles Atkinson (2008, pp. 130f) and Rebecca Maloy revisited recently (2009, pp. 77f) the old discussion (Jacobsthal 1897) of "non-diatonic" intervals as absonia caused by a transposition (ἡ μεταβολὴ κατὰ τόνον), or as vitia ("vices") caused by a change to another genus (ἡ μεταβολὴ κατὰ γένος). Both pointed at the transposition diagrams used in several manuscripts of these treatises—as example the manuscript of the Abbey Saint-Amand, folio 54. The Scolica enchiriadis documents a certain understanding that passages within more complex soloistic chant might be transposed which must have caused considerable difficulties for the oral tradition of melodies by troping melismatic structures, so that its memory was supported by poetry. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID 192197222. Jacobsthal, Gustav (1897). Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin: Springer. "Valenciennes, Bibliothèque municipale (F-VAL) Ms. 337 (olim 325, 359), fol. 42v-79v". Musica and Scolica enchiriadis in the treatise collection of the Abbey Saint-Amand (10th century). Retrieved 14 April 2012. Edition: Gerbert, Martin, ed. (1784). "Musica enchiriadis & Scholia enchiriadis de arte musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 152–212.

books.google.com

Peter Jeffery (2001). Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012.
Jørgen Raasted (1983, §8, p. 16) already pointed at certain expressions. Peter Jeffery (2001, pp. 186f) believes that certain paraphrases are polemics against certain modes which had been part of the 16 echoi of the Asma, the modal system of the Constantinopolitan cathedral rite as it was mentioned briefly (see below). Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012.
See Powers (2001), also Jeffery (2001) and Werner (1948). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012. Werner, Eric (1948). "The Origin of the Eight Modes in Music: A Study in Musical Symbolism". Hebrew College Annual. 21: 211–255. JSTOR 23503693.
According to Charles Atkinson (2008, p. 177) the commentary was inserted by "author δ", the compilator of the fourth layer. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6.
Charles Atkinson (2008, pp. 149f). Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6.
See Atkinson (2008: ex.4.5, p.157) or ex. 2 in Harold Powers' article "mode" (2001), II:2:i:a "The System of Tetrachords"). The different letter systems used in the notation of theoretical and liturgical chant sources are described by Nancy Phillips (2000). Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Phillips, Nancy (2000), "Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert", in Ertelt, Thomas; Zaminer, Frieder (eds.), Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 293–324, ISBN 978-3-534-01204-6.
Peter Jeffery's important and long essay about "The Earliest Oktōēchoi" (2001) emphasized an analytic modal classification a posteriori as an essential observation concerning the Western use of the octoechos. Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012.
Charles Atkinson (2008, pp. 130f) and Rebecca Maloy revisited recently (2009, pp. 77f) the old discussion (Jacobsthal 1897) of "non-diatonic" intervals as absonia caused by a transposition (ἡ μεταβολὴ κατὰ τόνον), or as vitia ("vices") caused by a change to another genus (ἡ μεταβολὴ κατὰ γένος). Both pointed at the transposition diagrams used in several manuscripts of these treatises—as example the manuscript of the Abbey Saint-Amand, folio 54. The Scolica enchiriadis documents a certain understanding that passages within more complex soloistic chant might be transposed which must have caused considerable difficulties for the oral tradition of melodies by troping melismatic structures, so that its memory was supported by poetry. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID 192197222. Jacobsthal, Gustav (1897). Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin: Springer. "Valenciennes, Bibliothèque municipale (F-VAL) Ms. 337 (olim 325, 359), fol. 42v-79v". Musica and Scolica enchiriadis in the treatise collection of the Abbey Saint-Amand (10th century). Retrieved 14 April 2012. Edition: Gerbert, Martin, ed. (1784). "Musica enchiriadis & Scholia enchiriadis de arte musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 152–212.
Charles Atkinson (2008, pp. 114-118). Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6.

digitale-sammlungen.de

daten.digitale-sammlungen.de

See the edition of Jacques Chailley (1965, pp. 141f), which is based on the commented and earlier version of Brussels very close to another version attributed to Hartvic in a treatise collection of the Abbey St. Emmeram (folio 177 verso). In his contribution to the conference "Byzanz in Europa" Oliver Gerlach described this example as a Byzantine import (2012). According to him certain practices of Greek psaltes must have made a great impression on some French or German cantors, it is also an interesting early document of the Byzantine practice that the interval between the phthongoi α and β could have a very particular low intonation, at least within the tetartos melos. It is an early testimony of the melos which is known as echos legetos (ἦχος λέγετος) in the current tradition of Orthodox chant. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175-181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006-1028). Retrieved 2 January 2012. Edition: Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Studies in Byzantine History and Civilization. Vol. 2. Turnhout: Brepols. pp. 172–183. doi:10.1484/M.SBHC_EB.1.100945. ISBN 978-2-503-54153-2.

doi.org

See Powers (2001), also Jeffery (2001) and Werner (1948). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012. Werner, Eric (1948). "The Origin of the Eight Modes in Music: A Study in Musical Symbolism". Hebrew College Annual. 21: 211–255. JSTOR 23503693.
Translation by Oliver Gerlach (2012, 177). Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Studies in Byzantine History and Civilization. Vol. 2. Turnhout: Brepols. pp. 172–183. doi:10.1484/M.SBHC_EB.1.100945. ISBN 978-2-503-54153-2.
Alchemy treatise ascribed to Zosimos of Alexandria (Pseudo-Zosimos), quoted according to Berthelot (1888, iii:434; see also the alternative version: ii:219). Otto Gombosi (1940, p. 40) changed the original text by replacing στόχος ("aim, target") with στοχείον ("element"). He referred that the earliest layer might be dated back to the 3rd and 4th century (obviously Carsten Høeg's datation), while the text compilation which had survived in several Alchemy collections, was presumably made during the 7th century. Lukas Richter (NGrove) dated the music treatise of this compilation later to the 8th and 9th century. Richter, Lukas. "Zosimus of Panopolis". Grove Music Online. doi:10.1093/gmo/9781561592630.article.31036.
Book 4, chapter 15 of Boethius' De institutione musica, see Bower's translation in Harold Powers' article "mode" (2001), II:1:i, section "The Hellenistic model: tonus, modus, tropus"). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011.
See Atkinson (2008: ex.4.5, p.157) or ex. 2 in Harold Powers' article "mode" (2001), II:2:i:a "The System of Tetrachords"). The different letter systems used in the notation of theoretical and liturgical chant sources are described by Nancy Phillips (2000). Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Phillips, Nancy (2000), "Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert", in Ertelt, Thomas; Zaminer, Frieder (eds.), Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 293–324, ISBN 978-3-534-01204-6.
Michel Huglo (2000) refers to an episode which was described long ago by Oliver Strunk (1960) in connection with the inaugurated Palatine Chapel, but dated it earlier. According to later interpretations the later Latin compositions had been made according to the Carolingian tonary, but inspired by the Greek troparia. Huglo, Michel (2000), "Grundlagen und Ansätze der mittelalterlichen Musiktheorie", in Ertelt, Thomas; Zaminer, Frieder (eds.), Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 17–102, ISBN 978-3-534-01204-6. Strunk, William Oliver (1960). "The Antiphons of the Oktoechos". A Musicological Offering to Otto Kinkeldey Upon the Occasion of His 80th Anniversary — Journal of the American Musicological Society. 13: 50–67. doi:10.2307/830246.
Jørgen Raasted (1966, p. 7) accepted the assumption by Oliver Strunk (1942, p. 192) without any objection. But Oliver Strunk was careful enough to write not only about the whole and the half tone, when he interpreted the description of the papadikai:
The precise nature of the steps within this series remains for the present unknown; for all that we can learn from the Papadike, the step α [prôtos] to β [devteros] may be a whole tone, a half tone, or some other larger or smaller interval. ... If we may assume, however, that the interval α [prôtos] to δ [tetartos] is a perfect fourth–a reasonable assumption, to say the least, for a tetrachordal system based on any other interval is virtually inconceivable–the interval δ [tetartos] to α [prôtos], as the difference between an octave and two fourths, becomes a whole tone and the remaining intervals fall readily into line.
Raasted, Jørgen (1966). Intonation Formulas and Modal Signatures in Byzantine Musical Manuscripts. Monumenta Musicae Byzantinae, Subsidia. Vol. 7. Copenhagen: E. Munksgaard. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190.
Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.
See the edition of Jacques Chailley (1965, pp. 141f), which is based on the commented and earlier version of Brussels very close to another version attributed to Hartvic in a treatise collection of the Abbey St. Emmeram (folio 177 verso). In his contribution to the conference "Byzanz in Europa" Oliver Gerlach described this example as a Byzantine import (2012). According to him certain practices of Greek psaltes must have made a great impression on some French or German cantors, it is also an interesting early document of the Byzantine practice that the interval between the phthongoi α and β could have a very particular low intonation, at least within the tetartos melos. It is an early testimony of the melos which is known as echos legetos (ἦχος λέγετος) in the current tradition of Orthodox chant. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175-181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006-1028). Retrieved 2 January 2012. Edition: Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Studies in Byzantine History and Civilization. Vol. 2. Turnhout: Brepols. pp. 172–183. doi:10.1484/M.SBHC_EB.1.100945. ISBN 978-2-503-54153-2.
Charles Atkinson (2008, pp. 130f) and Rebecca Maloy revisited recently (2009, pp. 77f) the old discussion (Jacobsthal 1897) of "non-diatonic" intervals as absonia caused by a transposition (ἡ μεταβολὴ κατὰ τόνον), or as vitia ("vices") caused by a change to another genus (ἡ μεταβολὴ κατὰ γένος). Both pointed at the transposition diagrams used in several manuscripts of these treatises—as example the manuscript of the Abbey Saint-Amand, folio 54. The Scolica enchiriadis documents a certain understanding that passages within more complex soloistic chant might be transposed which must have caused considerable difficulties for the oral tradition of melodies by troping melismatic structures, so that its memory was supported by poetry. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID 192197222. Jacobsthal, Gustav (1897). Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin: Springer. "Valenciennes, Bibliothèque municipale (F-VAL) Ms. 337 (olim 325, 359), fol. 42v-79v". Musica and Scolica enchiriadis in the treatise collection of the Abbey Saint-Amand (10th century). Retrieved 14 April 2012. Edition: Gerbert, Martin, ed. (1784). "Musica enchiriadis & Scholia enchiriadis de arte musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 152–212.
Heinrich Husmann (1970) described them and they were already transcribed into Coislin notation in the earliest stichẽraria which can be dated back to the 12th century. Husmann, Heinrich (1970). "Die oktomodalen Stichera und die Entwicklung des byzantinischen Oktoëchos". Archiv für Musikwissenschaft. 27 (4): 304–325. doi:10.2307/930047. JSTOR 930047.

indiana.edu

chmtl.indiana.edu

Hucbald's theoretical tonary «De harmonica institutione», GS 1 (1784, p. 119), quoted according to the manuscript Prague, National Library, Ms. 273, f. 27v. Hucbald. "Prague, Národní knihovna (dríve Universitní knihovna), Ms. 273 olim XIX.C.26, fol. 19-28". Tonary "De harmonica institutione" with Lorrain neumes and Greek terminology in a treatise collection (ca. 1100). Retrieved 3 June 2019. Edition: Gerbert, Martin, ed. (1784). "Ubaldi seu Hucbaldi Monachi Elnonensis opuscula de musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 103–125.
Aurelian of Réôme's Musica disciplina in the version of manuscript F-VAL Ms. 148 was edited by Lawrence Gushee (1975). Aurelian of Réôme. "Valenciennes, Bibliothèque municipale, Ms. 148, fol. 57-89". "Musica disciplina" with intonations in later added Paleofrankish neumes, Abbey Saint-Amand (ca. 880-885). Gallica. Retrieved 8 October 2012. Edition: Gushee, Lawrence, ed. (1975). "Aureliani Reomensis Musica disciplina". Corpus scriptorum de musica. Vol. 21. Rome: American Institute of Musicology. pp. 35–135.
See the edition of Jacques Chailley (1965, pp. 141f), which is based on the commented and earlier version of Brussels very close to another version attributed to Hartvic in a treatise collection of the Abbey St. Emmeram (folio 177 verso). In his contribution to the conference "Byzanz in Europa" Oliver Gerlach described this example as a Byzantine import (2012). According to him certain practices of Greek psaltes must have made a great impression on some French or German cantors, it is also an interesting early document of the Byzantine practice that the interval between the phthongoi α and β could have a very particular low intonation, at least within the tetartos melos. It is an early testimony of the melos which is known as echos legetos (ἦχος λέγετος) in the current tradition of Orthodox chant. Hartvic (copyist). "Munich, Bayerische Staatsbibliothek, Ms. Clm 14272, fol. 175-181". Theoretical tonary compilation alia musica (manuscript M) with neumed intonations, psalmody, and additional tonary rubrics from the Abbey St. Emmeram, Regensburg (1006-1028). Retrieved 2 January 2012. Edition: Chailley, Jacques, ed. (1965), Alia musica (Traité de musique du IXe siècle): Édition critique commentée avec une introduction sur l'origine de la nomenclature modale pseudo-grecque au Moyen-Âge, Paris: Centre de documentation universitaire et Société d'édition d'enseignement supérieur réunis. Gerlach, Oliver (2012). "About the Import of the Byzantine Intonation Aianeoeane in an 11th Century Tonary". In Altripp, Michael (ed.). Byzanz in Europa. Europas östliches Erbe: Akten des Kolloquiums 'Byzanz in Europa' vom 11. bis 15. Dezember 2007 in Greifswald. Studies in Byzantine History and Civilization. Vol. 2. Turnhout: Brepols. pp. 172–183. doi:10.1484/M.SBHC_EB.1.100945. ISBN 978-2-503-54153-2.
Charles Atkinson (2008, pp. 130f) and Rebecca Maloy revisited recently (2009, pp. 77f) the old discussion (Jacobsthal 1897) of "non-diatonic" intervals as absonia caused by a transposition (ἡ μεταβολὴ κατὰ τόνον), or as vitia ("vices") caused by a change to another genus (ἡ μεταβολὴ κατὰ γένος). Both pointed at the transposition diagrams used in several manuscripts of these treatises—as example the manuscript of the Abbey Saint-Amand, folio 54. The Scolica enchiriadis documents a certain understanding that passages within more complex soloistic chant might be transposed which must have caused considerable difficulties for the oral tradition of melodies by troping melismatic structures, so that its memory was supported by poetry. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID 192197222. Jacobsthal, Gustav (1897). Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin: Springer. "Valenciennes, Bibliothèque municipale (F-VAL) Ms. 337 (olim 325, 359), fol. 42v-79v". Musica and Scolica enchiriadis in the treatise collection of the Abbey Saint-Amand (10th century). Retrieved 14 April 2012. Edition: Gerbert, Martin, ed. (1784). "Musica enchiriadis & Scholia enchiriadis de arte musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 152–212.

jstor.org

See Powers (2001), also Jeffery (2001) and Werner (1948). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012. Werner, Eric (1948). "The Origin of the Eight Modes in Music: A Study in Musical Symbolism". Hebrew College Annual. 21: 211–255. JSTOR 23503693.
Heinrich Husmann (1970) described them and they were already transcribed into Coislin notation in the earliest stichẽraria which can be dated back to the 12th century. Husmann, Heinrich (1970). "Die oktomodalen Stichera und die Entwicklung des byzantinischen Oktoëchos". Archiv für Musikwissenschaft. 27 (4): 304–325. doi:10.2307/930047. JSTOR 930047.

ku.dk

cimagl.saxo.ku.dk

The manuscript (F-Pn fonds grec, ms. 360) was edited by Jørgen Raasted (1983) who dated the manuscript back to the 14th century. In fact the compilation has parts compiled in one manuscript which can be dated back to the period between the 12th and 15th centuries, the Hagiopolites part rather seems to be an earlier one. Another fragment also dates back to the 12th century and was edited by Johann Friedrich Bellermann (1972). "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων [The book of the Holy Polis "Jerusalem" unifying different musical methods] in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th century), see the edition: Raasted, Jørgen, ed. (1983), The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF), Cahiers de l'Institut du Moyen-Âge Grec et Latin, vol. 45, Copenhagen: Paludan. Bellermann, Johann Friedrich; Najock, Dietmar, eds. (1972), Drei anonyme griechische Traktate über die Musik, Göttingen: Hubert.
Parts in rectangular brackets had to be added by comparison, because the first page (f.216) of F-Pn fonds grec. Ms. 360 is either worn out or damaged. "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων [The book of the Holy Polis "Jerusalem" unifying different musical methods] in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th century), see the edition: Raasted, Jørgen, ed. (1983), The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF), Cahiers de l'Institut du Moyen-Âge Grec et Latin, vol. 45, Copenhagen: Paludan.

igl.ku.dk

Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.

manuscriptorium.com

Hucbald's theoretical tonary «De harmonica institutione», GS 1 (1784, p. 119), quoted according to the manuscript Prague, National Library, Ms. 273, f. 27v. Hucbald. "Prague, Národní knihovna (dríve Universitní knihovna), Ms. 273 olim XIX.C.26, fol. 19-28". Tonary "De harmonica institutione" with Lorrain neumes and Greek terminology in a treatise collection (ca. 1100). Retrieved 3 June 2019. Edition: Gerbert, Martin, ed. (1784). "Ubaldi seu Hucbaldi Monachi Elnonensis opuscula de musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 103–125.
The tonary of Liège and the compilation Alia musica with its tonaries are describing the pitches of contemporary chant by using the Ancient Greek names (obviously borrowed from Hucbald's approach. "Prague, Národní knihovna (dríve Universitní knihovna), Ms. XIX.C.26, fol. 1-11". Tonary in red ink ("Primus igitur lydius...") of the "Ratio breviter super musicum cum tonario [fol. 4r]" with Lorrain neumes and Greek terminology (close to the "alia musica" compilation) in a treatise collection (ca. 1100). Retrieved 22 March 2012.

imagines.manuscriptorium.com

Hucbald's theoretical tonary «De harmonica institutione», GS 1 (1784, p. 119), quoted according to the manuscript Prague, National Library, Ms. 273, f. 27v. Hucbald. "Prague, Národní knihovna (dríve Universitní knihovna), Ms. 273 olim XIX.C.26, fol. 19-28". Tonary "De harmonica institutione" with Lorrain neumes and Greek terminology in a treatise collection (ca. 1100). Retrieved 3 June 2019. Edition: Gerbert, Martin, ed. (1784). "Ubaldi seu Hucbaldi Monachi Elnonensis opuscula de musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 103–125.

musmed.fr

Huglo (1971). Huglo, Michel (1971), Les Tonaires: Inventaire, Analyse, Comparaison, Publications de la Société française de musicologie, vol. 2, Paris: Société française de musicologie.

oxfordmusiconline.com

See Powers (2001), also Jeffery (2001) and Werner (1948). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Jeffery, Peter (2001), "The Earliest Oktōēchoi: The Role of Jerusalem and Palestine in the Beginnings of Modal Ordering", The Study of Medieval Chant: Paths and Bridges, East and West; In Honor of Kenneth Levy, Woodbridge, Suffolk: Boydell Press, pp. 147–209, ISBN 978-0-85115-800-6, retrieved 14 April 2012. Werner, Eric (1948). "The Origin of the Eight Modes in Music: A Study in Musical Symbolism". Hebrew College Annual. 21: 211–255. JSTOR 23503693.
Alchemy treatise ascribed to Zosimos of Alexandria (Pseudo-Zosimos), quoted according to Berthelot (1888, iii:434; see also the alternative version: ii:219). Otto Gombosi (1940, p. 40) changed the original text by replacing στόχος ("aim, target") with στοχείον ("element"). He referred that the earliest layer might be dated back to the 3rd and 4th century (obviously Carsten Høeg's datation), while the text compilation which had survived in several Alchemy collections, was presumably made during the 7th century. Lukas Richter (NGrove) dated the music treatise of this compilation later to the 8th and 9th century. Richter, Lukas. "Zosimus of Panopolis". Grove Music Online. doi:10.1093/gmo/9781561592630.article.31036.
Book 4, chapter 15 of Boethius' De institutione musica, see Bower's translation in Harold Powers' article "mode" (2001), II:1:i, section "The Hellenistic model: tonus, modus, tropus"). Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011.
See Atkinson (2008: ex.4.5, p.157) or ex. 2 in Harold Powers' article "mode" (2001), II:2:i:a "The System of Tetrachords"). The different letter systems used in the notation of theoretical and liturgical chant sources are described by Nancy Phillips (2000). Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Powers, Harold. "Mode, § II Medieval Modal Theory, 1. The Elements, (ii) The Byzantine Model: oktōēchos". Grove Music Online. Oxford Music Online. doi:10.1093/gmo/9781561592630.article.43718. Retrieved 26 October 2011. Phillips, Nancy (2000), "Notationen und Notationslehren von Boethius bis zum 12. Jahrhundert", in Ertelt, Thomas; Zaminer, Frieder (eds.), Die Lehre vom einstimmigen liturgischen Gesang, Geschichte der Musiktheorie, vol. 4, Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 293–324, ISBN 978-3-534-01204-6.

pitt.edu

asbmh.pitt.edu

Papyrus studies proved, that there were already tropologia or tropariologia, as the earliest books of the hymn reform were called, since the 6th century, soon after the Constantinopolitan school of Romanos the Melodist, and not only in Jerusalem, but also in Alexandria and Constantinople (Troelsgård 2007). Troelsgård, Christian (2007). "A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications". Proceedings of the 1st International Conference of the ASBMH (PDF). pp. 668–679. Retrieved 14 April 2012.

semanticscholar.org

api.semanticscholar.org

Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.
Charles Atkinson (2008, pp. 130f) and Rebecca Maloy revisited recently (2009, pp. 77f) the old discussion (Jacobsthal 1897) of "non-diatonic" intervals as absonia caused by a transposition (ἡ μεταβολὴ κατὰ τόνον), or as vitia ("vices") caused by a change to another genus (ἡ μεταβολὴ κατὰ γένος). Both pointed at the transposition diagrams used in several manuscripts of these treatises—as example the manuscript of the Abbey Saint-Amand, folio 54. The Scolica enchiriadis documents a certain understanding that passages within more complex soloistic chant might be transposed which must have caused considerable difficulties for the oral tradition of melodies by troping melismatic structures, so that its memory was supported by poetry. Atkinson, Charles M. (2008). The critical nexus: Tone-System, Mode, and Notation in Early Medieval Music. Oxford, New York [etc.]: Oxford University Press. ISBN 978-0-19-514888-6. Maloy, Rebecca (2009). "Scolica Enchiriadis and the 'non-Diatonic' Plainsong Tradition". Early Music History. 28: 61–96. doi:10.1017/S0261127909000369. S2CID 192197222. Jacobsthal, Gustav (1897). Die chromatische Alteration im liturgischen Gesang der abendländischen Kirche. Berlin: Springer. "Valenciennes, Bibliothèque municipale (F-VAL) Ms. 337 (olim 325, 359), fol. 42v-79v". Musica and Scolica enchiriadis in the treatise collection of the Abbey Saint-Amand (10th century). Retrieved 14 April 2012. Edition: Gerbert, Martin, ed. (1784). "Musica enchiriadis & Scholia enchiriadis de arte musica". Scriptores Ecclesiastici de Musica Sacra Potissimum. Vol. 1 (Hildesheim 1963 reprint ed.). St Blaise. pp. 152–212.

uoc.gr

anemi.lib.uoc.gr

Chrysanthos (1832, Μερ. Α', Βίβ. γ', κεφ. α', §. 217-228, pp. 94-99) mentions the Ancient Greek systema teleion which has tetrachords divided by the intervals tonos 9:8 and leimma which has the proportion 13:27, after the ratio of one tonos was taken from it (§. 220). But "our scale of the diatonic genus" (§ 225) are two tetrachords between α and δ, and the intervals are derived from the end of the first δ (1:1), α (8:9), β (22:27), γ (3:4). The proportions refer to a string tuned to the pitch of δ (see also the figure on page 28, § 65). The arithmetic method is based on the common denominator (in this case 88 and 108: 108/96/88/81), so we have a division of 12 (δ—α) + 8 (α—β) + 7 (β—γ). In order to get a symmetric division in which 4 small tones made up the fourth, not 5 times like the Western half tone, he added one part to the middle tone, so that the fourth was divided in 28 parts instead of 27. Chrysanthos of Madytos (1832), Θεωρητικὸν μεγὰ τῆς Μουσικῆς, Triest: Michele Weis, retrieved 11 April 2012.

wikipedia.org

fr.wikipedia.org

Aurelian of Réôme's Musica disciplina in the version of manuscript F-VAL Ms. 148 was edited by Lawrence Gushee (1975). Aurelian of Réôme. "Valenciennes, Bibliothèque municipale, Ms. 148, fol. 57-89". "Musica disciplina" with intonations in later added Paleofrankish neumes, Abbey Saint-Amand (ca. 880-885). Gallica. Retrieved 8 October 2012. Edition: Gushee, Lawrence, ed. (1975). "Aureliani Reomensis Musica disciplina". Corpus scriptorum de musica. Vol. 21. Rome: American Institute of Musicology. pp. 35–135.

worldcat.org

Eustathios Makris (2005, note 2 & 3) mentioned Oliver Strunk's essay (1942) and Egon Wellesz' book (1961). Maria Alexandru (2000, pp. 11f) mentioned that the early occidental scholars under influence of Tillyard's Handbook (1935) assumed a discontinuity in chant tradition after the fall of Constantinople connected with a strong oriental influence, whereas the "Greek school" (Stathis, Hatzigiakoumis, etc.) stressed the continuity and the importance of the living tradition. The conflict and the different positions have been described by Alexander Lingas (1999), the result was, that philologists refused Tillyard's ambitions, because he ignored the knowledge of the living tradition, and the Transcripta series of the Monumenta Musicae Byzantinae was not continued until today (Troelsgård 2011). Makris, Eustathios (2005). "The Chromatic Scales of the Deuteros Modes in Theory and Practice". Plainsong and Medieval Music. 14: 1–10. doi:10.1017/S0961137104000075. ISSN 0961-1371. S2CID 162385479. Strunk, William Oliver (1942). "The Tonal System of Byzantine Music". The Musical Quarterly. 28 (2): 190–204. doi:10.1093/mq/XXVIII.2.190. Wellesz, Egon (1961). A History of Byzantine Music and Hymnography. Oxford: Clarendon Press. ISBN 978-0-19-816111-0. Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. University Copenhagen. Tillyard, H. J. W. (1935). Handbook of the middle Byzantine musical notation (PDF). Monumenta Musicae Byzantinae, Subsidia. Vol. 1. Copenhagen: Levin & Munksgaard. Lingas, Alexander (1999). "Performance Practice and the Politics of Transcribing Byzantine Chant" (PDF). Acta Musicae Byzantinae: Revista Centrului de Studii Bizantine Iaşi. 6: 56–76. Retrieved 11 August 2013. Troelsgård, Christian (2011). Byzantine neumes: A New Introduction to the Middle Byzantine Musical Notation. Monumenta musicae byzantinae, Subsidia. Vol. 9. Copenhagen: Museum Tusculanum Press. ISBN 978-87-635-3158-0.

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Stichēron anastasimon of the book octoechos which has to be sung with the evening psalm κύριε ἐκέκραξα in echos plagios devteros. According to the living tradition of Orthodox monody this sticheron is just performed with standard psalmody in the chromatic troparic melos of this echos without being attributed to anyone (listen to the choir of Larissa). "Hesperinos psalm with the sticheron anastasimon «Νίκην ἔχον Χριστὲ» in echos plagios devteros". Music School «Ὁ ἅγιος Ἀχίλλιος» of Larissa. Retrieved 17 May 2024.
Stichēron idiomelon in echos plagios devteros of the book triodion of the stichērarion to be sung on Holy Saturday. Here sung according to the oral tradition of the Athonite skete Hagia Anna by Father Nektarios. Father Nektarios of the Skete Hagia Anna on Mount Athos. "Sticheron idiomelon «Σὲ τὸν ἐπὶ ὑδάτων» (Holy Saturday) in echos plagios devteros". Retrieved 17 May 2024.
Heirmos for a canon of eight odes in the section of echos plagios tetartos of the heirmologion (e.g. F-Pn fonds Coislin Ms. 220, ff.106'-108'). The Coislin notation was common at the local scriptoria of the Patriarchates of Alexandria and Jerusalem. The living tradition follows Petros Peloponnesios' realisation of the "Katavasies" who corrected the accents on the base of the heirmologion by Balasios the Priest (listen to Demosthenis Païkopoulos who embellishes the beginning of ode 7). "Paris, Bibliothèque nationale de France, fonds Coislin, ms. 220". Heirmologion in canon order (KaO) and prosomoia with developed Coislin notation (11th & 12th centuries). Petros Peloponnesios. "Katavasies (heirmologion argon) «Σταυρὸν χαράξας Μωσῆς» (odes 1, 7 and 9 of the canon) for the feast of the elevation of the cross (14 September) in echos plagios tetartos". Archon Protopsaltes Demosthenis Païkopoulos. Retrieved 17 May 2024.