EPISTẼMẼS METRON LOGOS 2021; 5: 1-47 DOI: 10.12681/eml.27256 Print ΙSSN 2653-8822 | Online ISSN 2585-2973 Uses of the New Method of the Byzantine Notation Historico-Musicological Testimonies from K. A. Psachos’s Archive* ★ ACHILLEAS G. CHALDÆAKES - SOCRATES LOUPAS - EVANGELIA A. CHALDÆAKI ★National and Kapodistrian University of Athens, Greece –
[email protected] A Notational Exegeseis [Achilleas G. Chaldæakes] At the conclusion of his well-known book about the Byzantine Notation (published in 1917,1 and re-published in 19782) K. A. Psachos discusses with the “retrospective parallelism of the New Method of the analytical Byzantine Notation to the Ancient Method of the stenographical Byzantine Notation through the occasional exegeseis” [«ἀναδρομικὸς παραλληλισμὸς τῆς σημερινῆς μουσικῆς γραφῆς πρὸς τὴν ἀρχαίαν στενογραφίαν διὰ μέσου τῶν κατὰ καιροὺς ἐξηγήσεων»],3 a chapter also documented through numerous relevant papers of his, published until that time.4 According to his writings, his research on Byzantine Notation, in both its versions the stenographical and the analytical one, especially his effort as far as the so-called exegesis of the same Notation is concerned, is based on musicological pieces of evidence found specifically in the manuscripts of Gregory Protopsaltes, as well as on the relevant musical work of a series of Byzantine Music Masters, like the following ones: Chourmouzios Chartophylax, Chrysanthos of Madytos, George the Cretan, Jacob Protopsaltes, Antony Lampadarios, Peter the Byzantios, Peter the Peloponnesian, John Protopsaltes, Athanasios V the Patriarch of Constantinople, Balases the Priest;5 at the same time, he criticizes any * The present paper includes the results from the research program “Digitalization, Documentation, and Promotion of the Archive of K.