Oliver Gerlach (2010, 130) in his discussion of the earliest sources for the practice of phthora nenano pointed out, that Jerome who had an exceptional knowledge of Greek music theory, described the use of chromaticism among Parisian singers as a kind of phthora nenano. Gerlach, Oliver (2010). "Phthora und Tongeschlecht – φθορά καί γένος". Im Labyrinth des Oktōīchos — Über die Rekonstruktion einer mittelalterlichen Improvisationspraxis in der Musik der Ost- & Westkirche (doctoral thesis). Berlin: Ison. pp. 125–134. ISBN978-3-00-032306-5. Retrieved 21 October 2011.
Citation according to Zannos (1994, 112). The folio 5 verso of the manuscript was reproduced by Eustathios Makris in his article (2005, 4—fig.1). Thus, he proved that the little addition about the descending intonation cannot be found as quoted by Ioannis Zannos (probably this was the eighteenth-century redaction in Cod. Athos, Xeropotamou 317), therefore it is written here in rectangular brackets. In fact the standard intonation given in EBE 899 is just ascending. Zannos, Ioannis (1994). Ichos und Makam - Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der türkischen Kunstmusik. Orpheus-Schriftenreihe zu Grundfragen der Musik. Bonn: Verlag für systematische Musikwissenschaft. ISBN978-3-922626-74-9. 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. ISSN0961-1371. S2CID162385479.
English translation by Eustathios Makris (2005, 3f). 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. ISSN0961-1371. S2CID162385479.
Among Phanariotes Simon Karas (1981) has another explanation as Chrysanthos' trichordal concept of echos devteros which tried to integrate psaltic tradition to base the phthora on the phthongos plagios devteros (πλ β'). These different approaches make a historical explanation very difficult (Makris 2005). Karas, Simon (1981). Μέθοδoς τῆς Ἐλληνικῆς Μουσικῆς: Θεωρητικόν. Athens: Association for the Dissemination of National Music. 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. ISSN0961-1371. S2CID162385479.
John of Damascus and Cosmas entered the Lavra Agios Sabas about 700, after the reform was already established by a synodal decree in 692, and certain passages paraphrases polemics against the 16 echoi of the Constantinopolitan cathedral rite (Raasted 1983, 16—§8, Jeffery 2001, 186f). 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. 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. ISBN0-85115-800-5.
Quoted according to Jørgen Raasted (1983, pp. 42f) with a slightly modified translation. 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.
oxfordmusiconline.com
See Barbera's entry "Metabolē". Barbera, André. "Metabolē". Grove Music Online. Oxford Music Online. Retrieved 21 October 2011.
See Barbera's entry "Metabolē" (New Grove Dictionary). Barbera, André. "Metabolē". Grove Music Online. Oxford Music Online. Retrieved 21 October 2011.
Citation according to Zannos (1994, 112). The folio 5 verso of the manuscript was reproduced by Eustathios Makris in his article (2005, 4—fig.1). Thus, he proved that the little addition about the descending intonation cannot be found as quoted by Ioannis Zannos (probably this was the eighteenth-century redaction in Cod. Athos, Xeropotamou 317), therefore it is written here in rectangular brackets. In fact the standard intonation given in EBE 899 is just ascending. Zannos, Ioannis (1994). Ichos und Makam - Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der türkischen Kunstmusik. Orpheus-Schriftenreihe zu Grundfragen der Musik. Bonn: Verlag für systematische Musikwissenschaft. ISBN978-3-922626-74-9. 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. ISSN0961-1371. S2CID162385479.
English translation by Eustathios Makris (2005, 3f). 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. ISSN0961-1371. S2CID162385479.
Among Phanariotes Simon Karas (1981) has another explanation as Chrysanthos' trichordal concept of echos devteros which tried to integrate psaltic tradition to base the phthora on the phthongos plagios devteros (πλ β'). These different approaches make a historical explanation very difficult (Makris 2005). Karas, Simon (1981). Μέθοδoς τῆς Ἐλληνικῆς Μουσικῆς: Θεωρητικόν. Athens: Association for the Dissemination of National Music. 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. ISSN0961-1371. S2CID162385479.
Citation according to Zannos (1994, 112). The folio 5 verso of the manuscript was reproduced by Eustathios Makris in his article (2005, 4—fig.1). Thus, he proved that the little addition about the descending intonation cannot be found as quoted by Ioannis Zannos (probably this was the eighteenth-century redaction in Cod. Athos, Xeropotamou 317), therefore it is written here in rectangular brackets. In fact the standard intonation given in EBE 899 is just ascending. Zannos, Ioannis (1994). Ichos und Makam - Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der türkischen Kunstmusik. Orpheus-Schriftenreihe zu Grundfragen der Musik. Bonn: Verlag für systematische Musikwissenschaft. ISBN978-3-922626-74-9. 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. ISSN0961-1371. S2CID162385479.
English translation by Eustathios Makris (2005, 3f). 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. ISSN0961-1371. S2CID162385479.
Among Phanariotes Simon Karas (1981) has another explanation as Chrysanthos' trichordal concept of echos devteros which tried to integrate psaltic tradition to base the phthora on the phthongos plagios devteros (πλ β'). These different approaches make a historical explanation very difficult (Makris 2005). Karas, Simon (1981). Μέθοδoς τῆς Ἐλληνικῆς Μουσικῆς: Θεωρητικόν. Athens: Association for the Dissemination of National Music. 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. ISSN0961-1371. S2CID162385479.
