On the Methodology of Structural Analysis in Byzantine and Classical Western Music - A Comparison

Maria Alexandru Department of Music, Aristotle University of Thessaloniki, Greece [email protected]

Costas Tsougras Department of Music, Aristotle University of Thessaloniki, Greece [email protected], http://users.auth.gr/~tsougras

Proceedings of the Fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/

Byzantine neumes show us how to sing, not that music is this one1

Background in Byzantine Musicology. The signs of the Old Byzantine notation and before the Reform of the Three Teachers (1814) are polyvalent. The very same sign can be interpreted in many different ways depending on the context. The decoding-rendition of the pieces written in middle-Byzantine notation requires the knowledge of orally transmitted performance rules which can be inferred to a great extent from the exegetical work of the Three Teachers and their pupils. During the last century the validity and age of such performance rules have been questioned in many publications (Psachos, Tillyard, Stathis, Husmann, Raasted, Lingas etc).

Background in Western Music Theory. The reason why reductional analysis methodologies have yielded so remarkable results in the analysis of Western tonal music (from the 16th to the 20th century) is that, as proved by recent research in music history and the investigation of practical sources and manuscripts, the process of composing-out (Auskomponierung in Schenkerian terminology) has always been a major compositional practice (composing-out is the expansion of a fundamental structure through prolongations and elaborations in various ways and on differrent levels).

Aims. The paper aims to show - through a series of composition and analysis examples - the affinity of Western and Byzantine music in terms of deeper-structural melodic organization. The paper tries to prove that in both cases the core of the creative compositional process is the application of certain elaboration techniques (in the form of a repertory of rhythmic and melodic patterns and schemata) on basic structural melodies (structural backgrounds). The creating factor of different styles or - more generally different genres - is the actual content of the repertories of rhtythmic elaboration patterns and their tonal-modal background. We also aim to explore in a wider context the multiple connections between composition  notation  apprehension + rendition & interpretation  structural analysis departing: a) from the composer's experience with material belonging to Western music and b) from the paleographer's inquiry with material belonging to Byzantine chant.

Main Contribution. As mentioned above, the paper explores both directions of structural analysis (from the surface to the background and vice-versa) on both contexts (Western and Byzantine music). More specifically: a. Byzantine Music Theory and didactic manuals like the Papadike comprise various exercises assuring the prerequisites for multi-level performance skills. Similarly, in Western music theory, didactic manuals like Christoph Bernhard’s Tractatus compositionis augmentatus emphasized the uses of structural aspects in composition. b. We try to put such exercises in connection with musical pieces transmitted in middle-Byzantine notation and to show how the melody rendered by the old interval signs functions as matrix which generates the embellished melos written down in the exegesis with neo-Byzantine notation. In parallel, we show - through examples from the music literature - how abstract pitch structures can render fully articulated musical textures in Western music style. c. Furthermore, we explore different aspects of reductional analysis and composition applied to pieces in neo-Byzantine notation and pieces in Western Renaissance or Baroque style. In particular, a certain structural melodic background is applied to both genres rendering different pieces in each context, a process that reinforces our hypothesis about the existence of a common compositional core in both practices.

Implications. The proposed comparison between structural analysis methodologies in Western and Byzantine music could shed more light to the comprehension of the middle-Byzantine notation and the multiplicity of ways that it could be used by the composer-performer. Furthermore, the process of structural analysis in both contexts emerges as a profound personal interpretational tool.

1 Comment by prof. Γρηγόριος Στάθης during a discussion about transcription methods of Byzantine chant, at the Symposium "The Current State of Byzantine Musical Studies after 75 Years of MMB", Copenhagen, 17th June 2006.

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1. Introduction 1.3. Aims 1.1. Background in Western Music Theory The paper aims to show - through a series of (a composer's view) composition and analysis examples - the affinity of Western and Byzantine music in The reason why reductional analysis terms of deeper-structural melodic methodologies (e.g. Schenkerian analysis) organization, thus contributing to the have yielded so remarkable results in the investigation of the phenomenon of exegesis in analysis of Western tonal music (mainly 18th th Byzantine chant. In Western music the core of and 19 century music, but the methodology the creative compositional process is the has also been successfully applied to 16th or th application of certain elaboration techniques (in early 20 century music) is that, as proved by the form of a repertory of rhythmic and recent research in music history and the melodic patterns and schemata) on basic investigation of practical sources and structural melodies (structural backgrounds). manuscripts, the process of composing-out The creating factor of different styles or - more (Auskomponierung in Schenkerian generally different genres - is the actual terminology) has always been a major content of the repertories of rhythmic compositional practice. Composing-out elaboration patterns and their tonal-modal (Cadwallader-Gagné 1998: 73) is the background. Similarly, in Byzantine chant there expansion of a fundamental structure through exist different elaboration techniques applied in prolongations and elaborations in various ways the creative processes of musical composition and on differrent levels. This process is directly and interpretation/performance of a poetical linked with the practice of diminution, the text, which become operative at different levels empirical art of embellishment (in free of the melodic structure and at the musical composition) of one or more underlying surface. structural melodic lines in order to produce more fluent melodic material (Cadwallader- This hypothesis presupposes the musical Gagné 1998: 37). universality of concepts such as musical structure, reduction and elaboration. Analytical 1.2. Background in Byzantine Musicology research already conducted successfully on (a palaeographer's view) ethnomusicological material points to this The signs of the Old Byzantine notation used direction (see for example Agawu 1990, Stock before the Reform of the Three Teachers 1993, Blacking 1970, Cook 1987:202-5). In (1814) are polyvalent. The very same sign can particular, Agawu argues that music analysis be interpreted in many different ways can concentrate on aspects not explicitly depending on the context2. articulated by the creators of the music The so-called exegesis (ἐξήγησις), i.e. the themselves taking of course into account the special anthropological and sociological traditional decoding-rendition of pieces written performance issues (Agawu 1990: 228, Stock in middle-Byzantine notation (ca. middle of the 1993: 223) and advocates the universality of 12th - middle of the 19th cent.) requires the the above musical concepts. Stock (1993: 236) knowledge of orally transmitted performance claims that Schenkerian-inspired forms of rules which can be inferred to a great extent analysis can provide a convenient reductive from the exegetical work of the Three Teachers 3 analytical insight and shows in three different and their pupils . cases how an underlying melodic progression is During the last century the validity and the age elaborated in composition and performance. Of of such performance rules have been discussed course, some main ideas of the methodology 4 in many publications . are applied in these cases rather than individual elements that pertain to Western 2 Cf. Στάθης 1978. For the Three Teachers, cf. music only, the most important being the Χατζηγιακουµής 1999: 97-107. For the development of concepts of reduction, diminution and Byzantine musical notation, cf. a survey in Alexandru 2006 prolongation. a: 117-118. In this context, we aim to explore the multiple 3 Cf. Στάθης 2001. connections between 4 Cf. Psachos 1917/1978, Tillyard 1924 & 1925, Georgiades 1939, Καράς 1976 & 1990, Στάθης 1978, 1979, 1982 & 1983, Husmann 1980, Raasted 1996, Zannos 1994: 203- 209, Schartau/Troelsgård 1997, Amargianakis 1997, has been emphasized by Dimitri Conomos at a discussion Arvanitis 1997, 2003 & 2006, Lingas 2003, Alexandru, during the 14th International Conference on Eastern Chant, Ἐξηγήσεις. The decisive importance of an adequate Transmission of Christian Ecclesiastic Musical Culture - East rendition of transcriptions from Byzantine musical mss and West, Sibiu, 6th September 2007

2 CIM08 - Conference on Interdisciplinary Musicology - Proceedings composition  notation  apprehension + rendition & interpretation  structural analysis departing: a) from the composer's experience with material belonging to Western music and b) from the palaeographer's inquiry into material belonging to Byzantine chant (fig. 1).

Figure 3. Graphic representation of the intonation formula shown in fig. 2.

Sources and comments on figs. 2 & 3: Fig. 2 compares different Byzantine and post- Byzantine theoretical sources: Figure 1. Two-directional course from melodic structure to musical surface 1. Diagram of the "perfect voice" («τελεία φωνή»), comprising two octaves, from ,A to a’: ΕΒΕ 968, f. 176, 17th/18th cent. (Zannos) and 2. Structural aspects in Byzantine Music Zannos 1994: 160, 541. Ison7 and Main As mentioned above, the paper explores both signature (= key) of the first authentic mode in directions of structural analysis (from the its high position (τετράφωνος/ἔξω). surface to the background and vice-versa) on both contexts (Western and Byzantine music). 2. "Another useful parallage [= solmisation More specifically: exercise]" («Ἑτέρα ὠφέλιμος παραλλαγή»), in middle-Byzantine notation, according to the 2.1. Evidence in Music Theory th Papadike in ms Vat. Barberin. gr. 300 (15 Theoretical and didactic manuals like the cent.: Floros 1970: I, 113): Tardo 1938: 158. Papadike5 comprise various exercises assuring Supplied with transnotation into staff notation8. the prerequisites for multi-level performance 3. Solmisation exercise in middle-Byzantine skills: Figs. 2-3 & mus. ex. 1-2 notation, with brief intonation formulas (ἠχήματα) for each degree of the pentachord of the first authentic mode: Codex Chrysander (ed. Fleischer 1904: B 17, C 1), 17th cent. or

7 The ison is the symbol used to indicate a) the first utterance of the voice, when one begins to sing and b) the repetition of the previous pitch. It is considered to be the "beginning, middle, end and system of all the signs": cf. the facsimile-edition of the Papadike from ms Iviron 970, A.D. 1686, f. 2a, in Στάθης 1997: 37. It is also related to the practice of isokratema (ἰσοκράτημα = pedal tone) characteristic to Byzantine musical performance practice. The composer Christos Samaras pointed to the fundamental importance of this sign connected to the key note of each mode, by saying: 'give me a musical piece and I'll show you how everything can be reduced to the ison'. 8 For the notions of transnotation (= transfer from one kind of notation into another one, without reference to the oral tradition) and transcription (= transfer from one kind of notation into another one, with reference to the oral tradition), cf. Ellingson 1992 b: 111. In this paper, the Figure 2. Old Byzantine intonation formula for the first examples in middle-Byzantine notation are transnotated authentic mode6 into staff notation, by rendering only the interval signs through approximate pitches, without rhythm, and indicating the lengthening neumes diple, dyo apostrophoi syndesmoi and kratema conventionally with whole notes. Transcription into staff will be used for the examples 5 Cf. Alexandru/Troelsgård, "Σηµασία". written in neo-Byzantine notation. Cf. Makris 1996. 6 For fig. 2, cf. Alexandru (ed.) 2008: 15-16. Alexandru, Ἐξηγήσεις: § 3.1.1.-3.1.2 et passim.

3 CIM08 - Conference on Interdisciplinary Musicology - Proceedings later (Makris 1996: 33). Supplied with keys (martyriai) for the tones occuring in our transnotation into staff notation9. example are given (cf. Καράς 1982: Ι, 238, 4. The melody of the intonation formula of the 312) first mode in neo-Byzantine notation, written down "as preserved by tradition" («καθὼς ἐκ Figures 2 & 3 showed that in the acception of παραδόσεως διασῴζεται»): Χρύσανθος 1832: § Byzantine and post-Byzantine musical 308. Supplied with schematic transcription10 theoreticians, one symbol can indicate not only into staff notation. a single tone, but also a small melody, Fig. 3: according to the chosen mode of rendition (nr. 2 and 3 in fig. 2). The parallage (nr. 3) and the The graphic representation of the different slow melos (μέλος = the melody, the actual levels of rendition for the intonation formula of sound of a musical piece, as received by oral the first authentic mode shown in fig. 2, tradition) written down by Chrysanthos at the comprises: beginning of the 19th cent. (nr. 4) are quite - Ison/Isokratema on Πα/D and Κε/a, the low similar, revealing nevertheless the difference and the high key note of the first authentic between a theoretical exercise for training mode modal structures (nr. 3) and the artistic - The pentachordal descending and ascending rendition of an intonation formula in slow pace movement of the intonation formula for the (nr. 4). As suggested by the vertical lines, in first authentic mode in its high position the slow exegesis almost each thesis (θέσις = (tetraphonos/exo) melodic formula) which corresponds to a single sign of the middle-Byzantine intonation formula - The small echemata (ἠχήματα/ἀπηχήματα = shown at nr. 2, has the duration of 4 time intonation formulas) of the modes units. Such a rendition is suitable at the corresponding to each degree of the beginning of a slow melody, in order to pentachord introduce the singers and the congregation into - The melodic line according to the slow the atmosphere of the first authentic mode (nr. exegesis of Chrysanthos (traditional way of 4). decoding/singing from the old Byzantine notation, resulting in the melos). 2.2. From the written neume to the For the spacial coordination of the pitches on performed sound: On the old way of the graph, on the left side the new Byzantine apprehension of Byzantine chant Going a step further, we try to put such 9 The idea to combine sources of the type shown at nr. 2-3 theoretical exercises in connection with musical goes back to EBE 2401, f. 10r (A.D. 1452-1459, Πολίτης/Πολίτη), published by Raasted 1966: 50. For the pieces transmitted in middle-Byzantine intonation formulas of the Old Byzantine chant, cf. ibid. notation and to show how the melody rendered passim. by the old interval signs functions as a matrix 10 For the notions of a. schematic transcription (transfer of which generates the embellished melos written basic pitch and rhythm only), b. detailed transcription down in the exegesis with neo-Byzantine (minute rendering of as possible as many details of a notation11: Fig. 4 & mus. ex. 3-6. certain performance, including the ornaments, fluctuations of tempo etc.) and c. combination of schematic & detailed transcription (where the basic elements of a melody are distinguished from the variable ones belonging to a certain performance), cf. Stockmann 1979: 225-226. In the present paper, the examples in neo-Byzantine notation are supplied with schematic transcriptions, based on the written form of the pieces and serving as a tool for musicological analysis. A division into metrical units is given according to the principles explained by Καράς 1982: Ι, 142-166. A combination of schematic & detailed transcription is given in fig. 14, nr. II-IV, allowing thus to compare the basic shape of the piece with the small-scale ornaments added during the performance. Further, a special, paradigmatic use of small ornaments in staff- transcription is applied in fig. 4, nr. 7, showing to the singer a possible way of performing a transcription from 11 All the examples of Byzantine chant in the present paper the middle-Byzantine notation. See also Alexandru, are in the first mode, in order to facilitate their Ἐξηγήσειςʺ § 3.1.1.3. comparison.

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71, p. XLVII. Supplied with transnotation into staff. 5. The slow exegesis in neo-Byzantine notation by Chourmouzios, from EBE 709 (f. 104r, first quarter of the 19th cent.: Παπαδόπουλος- Κεραµεύς), followed by schematic transcription into staff notation. 6. A generative or reductional analysis16 of the slow exegesis along with the coordinates of musical time and space, which contains: a. the sum of chronoi protoi (χρόνος πρῶτος = time unit, beat17) for each syllable b. the indication of the main tones (with white Fig. 4. Beginning of the sticheron Χορὸς notes), the melodic contour (with black notes τετραδεκαπύρσευτος according to the old system of for the extremes and oblique lines for the apprehension of Byzantine chant: metrophonia - parallage stepwise movement of the melody) and - melos12 he ambitus for each performed syllable. It can be observed that through the process of Sources and comments on fig. 4: traditional rendition-exegesis, almost every sign of the old notation is developed musically This example shows the beginning of the in the temporal & diastematic frame of 8 beats sticheron Χορὸς τετραδεκαπύρσευτος (= The & an interval of a third or fourth18 choir of forty martyrs set on fire), ascribed to 7. Rhythmical interpretation or syllabic St. Theodore the Studite (759-826)13 and exegesis for the version of A 139, rendered in written in honour of the Forty St. Martyrs from neo-Byzantine notation and transcribed into Sebasteia (9th March, ca. A.D. 32014). It staff19. contains the following elements: 8. A generative or reductional analysis for the 1. Hymnographic text. rhythmical interpretation of the first kolon. 2. The neumation in fully developed middle- Compared to nr. 6, the temporal frame is Byzantine notation, according to the seven times smaller and the diastematic frame Sticherarion A 139, f. 120v (A.D. 1341, eds. is reduced as well. Perria/Raasted 1992, MMB 11), a transnotation on staff and the indication of the names of the melodic formulas (θέσεις) according to 16 The type of analysis exemplified below is based on 15 Byzantine theoretical texts . palaeographical investigation. It might be labelled 3. The same sticheron in middle-Byzantine generative, if viewed progressively, from the old notation notation, as an exercise of metrophonia towards the new one, and reductional, if viewed regressively, from the new notation back to the old one. It (μετροφωνία= counting of intervals, shown with offers a minute description of the exegesis-process in the black signs) and parallage (παραλλαγή= different forms (large, short, syllabic), and aims to search solmisation, shown with red ink), from the ms for the rules which govern the transformation of the ΕΒΕ 2401, f. 20v, A.D. 1452-1469 notated structural ground into the performed musical (Πολίτης/Πολίτη). Supplied with transnotation surface. Cf. also fig. 1 in this paper, Stock 1993: 218 of the metrophonia on staff. (about the influence of Chomskyian linguistics on the ethnomusicologist John Blacking, trying to define the 4. The short intonation formulas for each 'transformational rules' according to which deep structures signature, written down in middle-Byzantine develop in performance), and Alexandru 2000: I, 344 & notation, according to the model shown in III, 75-90. Codex Chrysander (see above, fig. 2, nr. 3) 17 Cf. Μιχαηλίδης 1999: 357, Καράς 1982: Ι, 54. 18 and following the indications about the old Cf. Στάθης 1978: 94. Arvanitis 1997: 137-139. 19 form of parallage given by Χρύσανθος 1832: § This kind of exegesis is based on Arvanitis 1997, 2003 and Jammers 1962 & 1966. At nr. 7, the transcription into staff notation contains also some small ornaments, which in this case do not reflect a concrete performance of this 12 For this figure, cf. also Alexandru (ed.) 2008: 17-19. piece, but function in a paradigmatic way, i.e. as an 13 Cf. A 139, f. 120v and Δετοράκης 2003: 421-446. indication of a suitable rendition of that formula by the 14 Cf. Σάκκος 2001: 37. singer. For the paradigmatic function of old Byzantine 15 An alphabetical catalogue of Byzantine theseis can be musical neumes, as differentiated from the descriptive or found in Alexandru: II, 28-77. prescriptive use of notations, cf. Troelsgård 1999.

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Fig. 4 exemplified the three steps, metrophonia Handleitung, Part 2 (1706)24 - to name just a - parallage - melos, i.e. counting of intervals - few of the manuals published mainly in the 17th solmisation - melody, which constituted the and 18th century - emphasized the use of traditional way of apprehension of musical structural aspects in composition, and mainly pieces written in middle-Byzantine notation20. the use of diminution through embellishment We can see how the interval signs of the old or elaboration. This paper focuses on melodic notation result into a background musical diminution, but this practice can also produce structure (nr. 2), measured by stepwise harmonic diminution if applied on multiple ascending and descending movements (nr. 3, melodic layers (or voices in voice-leading metrophonia), analysed according to its virtual terminology). Figures 5 and 6 show the modal relations (nr. 4, parallage) and rendered concept of diminution in Giovanni Batista artistically, at slow pace (nr. 5, exegesis). Each Bovicelli's Regole Passagi di musica (cited from syllable of the poetic text is prolongated in Forte&Gilbert 1982: 8) and in Christopher musical time and space21, according to Simpson's The Division Viol (also from Forte& performance rules transmitted orally and Gilbert 1982: 9). crystallized in a highly refined technique of traditional decoding of the written sources. Thus, the old notation functions as a mnemotechnic tool, both fixating the melodic skeleton with the interval signs, and showing Figure 5. Diminution of a ascending fifth interval. From to the singer the way of melodic elaboration, Giovanni Battista Bovicelli's Regole Passagi di musica by means of the combination of interval signs (transcription by Allen Forte) and megala semadia (μεγάλα σημάδια = big signs) which constitute the respective formula (in our case, at nr. 2: dyo, thematismos eso)22. On the other hand, the syllabic exegesis (nr. 7) searches to produce an alternative viable short Figure 6. Diminution (Division) of a Ground Bass. From rendition of the same piece, by suggesting the Christopher Simpson's The Division Viol (1665) rhythm and ornaments needed in order to Several writers of the past and present have transform the structural background into an 23 described the basic elements of diminution, intelligible performance . e.g. Forte (1982, ch. 1) focuses on passing notes (P), neighours notes (N), consonant 3. Structural aspects in Western Music - skips (CS), and arpeggiations Arp). Perhaps Evidence in Music Theory and the most exhaustive text on the subject was compositional craft. Christoph Bernhard's Tractatus compositionis augmentatus (c 1657)25. His basic division Similarly, in Western music theory, didactic between stylus gravis (stylus antiquus) and manuals like Giovanni Battista Bovicelli's stylus luxurians (stylus modernus) goes back Regole Passagi di musica (Rules of Musical to Monteverdi’s prima and seconda pratica. In Embellishment - 1594), Christopher Simpson's stylus gravis only four figures are used – in The Art of Playing Extempore upon a Ground modern terminology the passing note, auxiliary (1665), Christoph Bernhard’s Tractatus note, suspension and prepared appoggiatura. compositionis augmentatus (c 1657), In stylus luxurians 15 more figures are added, Heinichen's Thorough Bass in Composition including most of the dissonances associated (1728) or Friderich Erhard Niedt's Musicalische with 17th-century style (see ecxerpt in fig. 7).

20 Cf. Gabriel Hieromonachos, eds. Hannick/Wolfram 1985: lines 497-504. Chrysaphes, ed. Conomos 1985: lines 52- 79. Χρύσανθος 1832: § 70-73, p. XLVI-XLVIII. Cf. also Alexandru 2000: I, 213-221 & III, 16. 21 Chrysanthos (1832: § 170-171) speaks about the emmeles makros ton syllabon (τὸ ἐμμελὲς μάκρος τῶν 24 th συλλαβῶν = the melodic length of the syllables), a notion The most famous 18 century didactic book on which helps to understand the long exegesis as the composition, J.F. Fux's Gradus ad Parnassum (1750) does not actually teach the art of diminution per se, as Joel practice of slow and ornamented rendition of a chant. Lester explains in Compositional Theory in 18th Century (p. 22 For the megala semadia, cf. Alexandru 2000. For the 37) but emphasizes on voice-leading and texture aiming at consistent slow exegesis of the thematismos eso, cf. creating new counterpoints on given cantus firmi and not Stathis 1979: 183-184. at reworking previous examples through elaboration. 23 Cf. a somehow similar issue in Stock 1993: 235. 25 This text is included in Müller-Blatau 1963, pp. 40-132.

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level, pitch D (from bar 1) is prolonged until its resolution to C at the end of the phrase (bar 4).

Figure 7. Variation-diminution example from Bernhard's Tractatus, ch. 25 A representative example of the use of this concept as an actual compositional practice is the extraction of complete themes for choral prelude composition from abstract choral cantus firmi. In fig. 8 the pitches of the original choral theme in J.S.Bach's melodies are circled. The original material is considered abstract and Figure 9. Air and Variation 3 from Handel's Lecon in Bb with Allen Forte's reductional analysis almost ametric by the composer, as the multiplicity of meter signatures and rhythmic Similar to melodic diminution as a concept but devices reveals. expanded to full four-part harmony context was the theoretical and practical tradition of the Thorough Bass (or Figured Bass), where a structural figured bass line functioned as a basis for improvisation or composition (its value as a compositional tool was stressed by prominent composers, theorists and tutors of the 17th and 18th century like J.S. Bach, Mathesson, Heinichen, Telemann, Niedt or C.P.E. Bach). Thorough Bass practice was grounded on the embellishment and elaboration of the structural harmony that was

defined by the structural bass and its figuration Figure 8. Choral phrase and J. S. Bach choral prelude themes (from Kennan's Counterpoint, ch. 18) with the use of a repertory of consonant or dissonant rhythmic elaboration dependent on Melodic reductional analysis aims at revealing the style of the improvised or composed piece. the structural background of embellished For example (fig. 10), in ch. 12 of his melodies by identifying elements of diminution Musicalische Handleitung (Part 2, published in and arriving at an abstract structure through 1706), F.E. Niedt shows how various types of rhythmic reductions. Abstract melodic dance styles can be composed from the same structures incorporate the principle of linear General Bass through elaboration: prolongation, i.e. the notion of a tone remaining active in its context, even though other tones may intervene (Cadwallader-Gagné

1998: 22). The techniques of melodic prolongation or melodic composing out have been mentioned and explained by several authors, most of which agree upon four basic expansion techniques: the initial ascent, the arpeggiated ascent, unfolding, motion into or from an inner voice, voice exchange and shift of register (Cadwallader-Gagné 1998, ch. 6). In fig. 9 a simple reduction is carried out (Forte& Gilbert 1982: 9-10) in rhythmic and Figure 10. Composition of different Baroque dance styles analytic notation. Note that the original theme based on the same Figured Bass. From Niedt 1706, (Air) is not the structural background, but an Chapter 12 embellished variation of it (N. Cook correctly addresses the theme in the classical Theme and Variations form as "Variation 0" because of this property, Cook 1996: 89). At the deeper

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4. A comparison of structural analysis and voice counterpoint writing was preferred for composition in Byzantine and Western this compositional paradigm instead of single- music voice melodic development, since this In particular, the structural melodic corresponds better to the polyphonic style of background re-la-sol-fa-mi-re (D-A-G-F-E- the prima pratica. D or 1 5 4 3 2 1) is applied to both genres The Dorian structural line D-A-G-F-E-D is rendering different pieces in each context, a initially harmonized homophonically by the process that reinforces our hypothesis about addition of two more voices (the cantus firmus the existence of a common compositional core remains in the middle voice). This gives a in both practices. simple three-voice harmonic skeleton (1st- 4.1. Application paradigms in Western species counterpoint). At the next music compositional level, all three voices are elaborated according to the 16th century style Analysis example (in Baroque style) by elaborational techniques (mainly suspensions, J.S.Bach (Fugue in f# minor from WTC II, b. passing notes, neighbor notes and cambiatas) 55-57). In this case the structural melody is while the overall length remains unchanged not identical to the D-A-G-F-E-D (1 5 4 3 2 1), and the initial structural notes remain in the but it is similar enough to serve as a musical surface (the initial notes of the middle compositional paradigm. voice are circled in fig. 12). A second The structural melody is D-C#-B-A-G#-F# elaboration is also composed, in which all (6 5 4 3 2 1). The analysis shown in fig. 11 structural durations are doubled (again the attempts a paradigmatic re-composition of this structural notes of all three voices remain in excerpt, which contains the simultaneous the surface and the middle voices skeleton is appearance of all three subjects of the triple circled in fig. 12). fugue (shown as S1, S2 and S3 in fig. 11). The structural descent of D-C#-B-A-G#-F#, which is the skeleton of S1, is elaborated by parallel sixths in first-species counterpoint. The Structural Melody resulting structural line F#-E-D-C#-B-A is the skeleton of S3. At the next compositional stage 4th-species counterpoint is applied, yielding continuous suspensions and an inner voice is added, which contains the leading note and its 3-part harmonization (initial melody in middle voice) resolution and corresponds to the skeleton of S2. The final level, which is the musical surface, is produced by the application of various elaborational techniques (mainly neighbor and passing notes) to the structure of First elaboration of all three voices (same total duration) the previous level.

Second elaboration of all three voices (double total duration - expansion) Figure 12. Compositional example in Renaissance style

4.2. Application paradigms in Byzantine music

Figure 11. Analysis of bars 55-57 from J.S.Bach's Fugue 4.2.1. From the composition to the in f# (WTC II) from the structural skeleton to the musical structural background (regressive surface (paradigmatic re-composition of the excerpt) approach) Fig. 13 & mus. ex. 11-12 illustrate how we Composition example (in Renaissance could adapt Schenkerian format analysis for style)26 (Fig. 12 and mus. ex. 7-10). Three- Byzantine chant, in order to investigate the processes of exegesis and composition. The analytical reduction leads, through a 26 This compositional example was created by one of the authors of this paper (Costas Tsougras). hypothetical regressive process, from two

8 CIM08 - Conference on Interdisciplinary Musicology - Proceedings related melodical surfaces in the heirmologic Petros Byzantios († 1808)30: style (short and long), to the common -> Nr. 2: in middle-Byzantine exegetical structural background Re - La - Sol - Fa - Mi - notation, from the composer's autograph Re. Heirmologion ms EBE 964, A.D. 1806, f. 9v, and transnotated into staff31. -> Nr. 3: in new Byzantine notation, as short exegesis of the heirmologic genre, from Πέτρος Βυζάντιος, Εἱρμολόγιον σύντομον 1825: 16, and followed by schematic transcription into staff. -> Nr. 4: Number of time units for each syllable and Schenkerian-style analysis. 5.-7. The text rendered as katabasia, in the long/slow heirmological style, a composition by Petros Peloponnesios, the 'Beethoven' of Byzantine music (ca. 1735-1778)32: -> Nr. 5: in middle-Byzantine exegetical notation, from a Heirmologion of Petros Figure 13. The beginning of Τὸ θεῖον καὶ ἄρρητον κάλλος, Peloponnesios, ms of the Holy Synod of the supplied with reductional analysis of the Schenkerian style Church of Greece, end of the 18th cent., f. 33 2v , and transnotation into staff Sources and comments on fig. 1327: -> Nr. 6: in new Byzantine notation, as long/slow exegesis of the heirmologic genre, This example contains a fragment from the from first Kanon28 for the Dormition of the Holy Πέτρος Πελοποννήσιος, Εἱρμολόγιον τῶν Virgin Mary, celebrated on the 15th August. καταβασιῶν 1825: 4, and followed by schematic The text is written by St. Kosmas the Melodist transcription into staff. (ca. 675-ca. 752)29. The following elements are -> Nr. 7: Number of time units for each displayed: syllable and Schenkerian-style analysis. 1. The poetical text of the first two verses of 8. Common structural background. the fifth Ode: "I will describe the divine beauty of Thy virtues, O Christ, which cannot be expressed in words". For the Greek text cf. From the above example it can be inferred that Μηναῖον τοῦ Αὐγούστου 2002: 199. both compositions (see nr. 3 & 6) are grounded on the tones of the low pentachord of the first 2.-4. The text rendered as heirmos, in the authentic mode, although the correspondence short heirmological style, a composition by of the respective tones with the syllables of the text is slightly different in the two versions (compare nr. 4, 7 & 8). In the heirmos, the syllables are performed in a short 'way' (in the 27 For the musical development of the heirmos and relation 1 syllable: 1 time unit: see nr. 3 & 4), katabasia Τὸ θεῖον καὶ ἄρρητον κάλλος, according to Balases whereas the katabasia is made up by long the Priest and to the old, anonymous style, cf. Alexandru, syllables (mainly of 2 time units: see nr. 6 & Ἐξηγήσεις: ex. 12. 28 Kontakion (κοντάκιον) and kanon (κανών) represent the two genera maiora of Byzantine Hymnography. The kanon production belongs mainly to the 8th-10th cent., the period during and after iconoclasm (726-787, 815- 843). A kanon comprises several odes (initially 9, usually 8, during Lent 3, 4 or 2), each of which shows the following internal 30 Cf. Χατζηγιακουµής 1999: 80-83. structure: heirmos (εἱρμός = metrical and musical model- 31 The small grace notes are used conventionally for the strophe), 3-4 troparia (τροπάρια = stanzas following the transnotation of the small ison or apostrophos inserted at model strophe) and katabasia (καταβασία, from καταβαίνω places where the text has a double consonant. For these [about orators: come down from the tribune: Liddell/Scott 'small' or 'shewa' interval signs, cf. Troelsgård, 1990: 884] = repetition of the model-strophe, sung at "Introduction": § 30. slower pace and more ornamented by the choir which 32 Cf. Στάθης 1980 & Course on Byzantine Music by prof. came down from the pews). Cf. Wellesz 1962: 198-245. Stathis at the University of Athens during the academic Velimirović 1973. Πρ. Αντωνίου 2004: 226. Δετοράκης year 1997-1998. 2003: 389-395. Popova 2005: 48-49. 33 Thanks to prof. Lykourgos Angelopoulos for the 29 Cf. Δετοράκης 1979 & 2003: 345-367. indication of this source.

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7). This allows the use of small melisms34, Sources and comments on fig. 1435: especially on the accented syllables of the key- I. Structural background words θεῖον (thíon = divine), κάλλος (kállos = II.-IV. The first step in the creation of the beauty), Christé (o, Christ), which are examples shown above, was the choice of a prolonged to 4 time units. Furthermore, in the liturgical text, which would fit metrically and second verse one can observe the application semantically with the main melodic gesture of the diminution principle on the words ἀρετῶν suggested by the structural background and (aretón = of the virtues) & διηγήσομαι would allow a composition/rendition according (diighísome = I will describe), since the tones to different styles and 'ways'/'manners' notated with middle-Byzantine neumes (at nr. (δρόμοι/τρόποι) of the melos36. From the index of 5) are rendered in the slow exegesis (at nr. 6) first lines in the catalogue of the Sticherarion A with neighbour notes. In Western tonal 139 (eds. Perria/Raasted 1992: Pars harmony, such ornaments would be labelled as Suppletoria, p. 17), the text of the sticheron broderies, appoggiaturae, anticipations, Ἀγάλλεται σήμερον (Today rejoices), in the first échappées. authentic mode, for the Translation of the relics of St. John Chrysostom from Komana in 4.2.1. From the structural background to Cappadocia to Constantinople, 27th January 37 the composition (progressive approach) 438, was elected . It presents the metrical scheme - / - - / - -At nr. II, the short, syllabic Complementary to figs. 11 & 13, the following manner of the new sticheraric style is example (Fig. 14 & mus. ex. 13-17) explores presented38. the process of musical composition in the sticheraric style, beginning from the structural background Πα/Re - Κε/La - Δι/Sol - Γα/Fa - 35 This example was created by the other author of this Βου/Mi - Πα/Re and progressing towards three paper (Maria Alexandru), who wishes to thank Costas related musical surfaces: short, medial and Tsougras for his suggestion to try such a composition and long. for his explanations concerning Schenkerian-style analysis, and Ioannis Liakos and Pavlos Chatzipapas for inspiring discussions about the art of melopoeia in Byzantine chant. We were quite hesitant in the beginning, since the compositional craft requires deep knowledge of the different styles, coupled to a long practical experience with the liturgical chant. In the theoretical writings about Byzantine chant, indications of how to actually compose music of this kind are rare: cf. some hints in Chrysaphes, ed. Conomos 1985: lines 91-175, a first comprehensive "Kompositionslehre" in Χρύσανθος 1832: § 400-431, further developed for actual use by Παναγιωτόπουλος 2003: § 146-166. For the theological and philosophical background, cf. Wellesz 1962: 55- 63, 96- 97, 148 and Αλυγιζάκης 1985: 74-82. Cf. also Zannos 1994: 223-245, for a highly interesting presentation of "form-shaping principles" ("formbildende Prinzipien") extracted from the analysis of Greek ecclesiastic chant and Turkish art music. 36 Cf. Στάθης 1991 & 1992: 45-47. Αποστολόπουλος 2002: 226-230, 307-335. Παναγιωτίδης 2003: 161-192. Alexandru 2000: III, 18. 37 Cf. Τσολακίδης 2001: 104. This sticheron, which in A 139, f. 111v, is ascribed to Anatolios (probably Anatolios the Studite, 8th cent.: cf. Τρεµπέλας 1997: 361), is

missing from the Menaion for January actually in use in the Figure 14. The beginning of the sticheron Ἀγάλλεται Greek Church (ed. Αποστολική Διακονία). It belongs to the σήμερον, with melodic reduction in Schenkerian style so-called stichera idiomela (στιχηρὰ ἰδιόμελα), i.e. poetical strophes sung together with psalm-verses at Vespers or Mattins, having their own metrical form and melody. 38 In order to transfer the neumatic notation used at nr. II- IV into staff, a combination of schematic and detailed transcription was used, where the black notes show the pitches and the rhythm prescribed by the neo-Byzantine 34 Cf. a similar phenomenon in Chinese operatic music, interval and temporal signs, whereas the red notes whre "differing metrical presentations of the outline entail describe the small ornaments added during the diverse ranges of tempo and melisma": Stock 1993: 233. performance (mus. ex. 15-17. See also Stock 1993: 226-

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At nr. III, the medial 'way' is exemplified, post-Byzantine composers for the old and the emulating Petros Peloponnesios' new slow new embellished sticheraric repertory Κε/a, sticheraric style, where each syllable usually Δι/G, Γα/F, Πα/D43. At the same time, these has the duration of two time units (known as tones offer the possibility of modulation into argosyntomon melos). This temporal frame related modes, where they act, in their turn, as allows the composer and the performer to finales or main tones (e.g. Δι/G → could embellish the structural tones by means of support a modulation to the 4th authentic diminution, using neighbour notes and mode or to the first plagal, Γα/F→ may lead us resulting into the characteristic formulas of to the third authentic mode or its plagal barys). homalon, tsakismata and the perfect cadence In the short and medial version of Agállete 39 of the kylisma-type (on the word símeron [= símeron, the structural melody appeared today]). almost in its pristine form, with the addition of At nr. IV, a long, melismatic version is given, few ornamental tones at the melodical surface, having as source of inspiration the new in order to fit the requirements of the poetical embellished sticheraric style of Chrysaphes the text and to give an aesthetically adequate 44 New (akme ca. 1650-168540), especially his performance (nr. II & III) . In the long version doxastikon Ἀναστάσεως ἡμέρα in the first plagal (nr. IV) however, the structural melody mode41. Most of the syllables have the duration remained in the background, constituting the of 8 time units, and this very slow pace of modal attraction poles and therefore the performing the poetical text invites the driving structural force behind the fluent composer to display characteristic formulas melodical formulas by which the melody is woven. (θέσεις) of the old/classical and of the new embellished sticheraric style (e.g. the main Furthermore, the last version required more body of thematismos eso in the first kolon, on textual syllables in order to develop the whole the syllables -λλεται42 and the epegerma in structural background (i.e. for nr. II & III, kolon 3, syllables -σία). The structural Ἀγάλλεται σήμερον was sufficient, but for IV, background functions in this case as an outline one had to continue with the text …ἡ ἐκκλησία for the cadences on the main tones τοῦ Θεοῦ [Today rejoices the Church of God], also (despozontes phthongoi) of the first authentic enlarged by repetitions of syllables and the mode in its high position (tetraphonos/exo), insertion of the euphonic n [uε, 2ου etc.]). In which is commonly used by the Byzantine and its turn, the meaning and metrical structure of the text leaded to the choice of appropriate

227). Some of these ornaments are suggested by the melodic formulas, registers and modulations, neumes belonging to the category of the so-called semadia which could illustrate the key-words: Ἀγάλλεται tropika (psephiston, bareia, antikenoma, homalon, - rejoices: double ascending skip on main heteron), some others by the petaste or the klasma. Such tones of the mode (Πα/D -> Κε/a -> Νη'/c), ornaments can be subsumed to the notion of kalliepeia, i.e. which derives naturally from the prosodical the beautiful rendition of the musical text, which is accent (oxeia) carried by the second syllable of facilitated by the movements of the hand performed by the the text and thematismos eso in the high singer or by the conductor of the choir (cheironomy): cf. register, with a first culmination on Πα'/d the systematic presentation of the so-called cheironomiai | by Κ αράς (1982: Ι, 180-219) and the comments by ἐκκλησία ‑ Church: epegerma, an 'exciting' Angelopoulos 1998. For the historical dimension of the melodic gesture ending with a cadence in the issue, cf. Moran 1986. See also Alexandru 2000: I, 239- plagal of the third mode on Γα/F which is 286. For the idea of combining schematic and detail associated with prayer, consolation, transcription in a very similar form on the same staff, we thank our student Sophia Yoldasi (Γιολδάση 2006: 12-19). 39 Cf. Alexandru 2004: 285, ex. 5. 40 Cf. Χατζηγιακουµής 1999: 41-44. 43 Cf. the description of this branch of the first authentic 41 Cf. Easter Sunday 2000: 91-97, especially 92. mode with finalis on Kε/a, in Καράς 1982: Ι, 311-316. Παπαδόπουλος 2008. The theoretician Apostolos Konstas According to the same theoretician, if the melody goes into Chios (ca. 1767-1840) differentiates between the manner the upper register, imperfect cadences can also be of the older Sticheraria which he calles dromos organikos produced on the high Nη'/c. For the short and medial and that of the pieces included in the Papadike, for which versions of Agállete símeron, we used the same mode in its he reserves the term melos argon: cf. Αποστολόπουλος low position, the so-called protos eso, with finalis on Πα/D, 2002: 38-39, 227, 320-335. For the different genres, according to the habits of Petros Peloponnesios who styles and manners of composition, cf. also Στάθης 1992: represents the new sticheraric style. 45-47. Alexandru 2000: III, 18. 44 For a similar issue in Chinese music ("melodically 42 Cf. almost the same formula above in fig. 4, Nr. 5, sparse", but "still surface-level structures"), cf. Stock syllable -ρός. 1993: 235.

11 CIM08 - Conference on Interdisciplinary Musicology - Proceedings encouragement45) | Θεοῦ - of God: anabasis- relative pitches of "primary structural salience" gesture, with climax on the upper d/Πα' and (the beamed notes), the reduction indicates descending movement in the ambitus of one two levels of ornamental pitches (unbeamed octave, to the lower finalis of the first mode, an whole and black notes). At the same time, the extended katabasis-formula, as a tentative reduction functions as a "blueprint" against musical depiction of God's highness and His which the subsequent embellishments both in descending from heaven to earth in order to the composing-out process (as required by the save His creation46. Fig. 15 summarizes some poetical text and the characteristic melodic main elements of the long version of Ἀγάλλεται formulas-theseis) and in the performance 49 σήμερον. process can be compared .

5. Conclusions The present contribution comes to stress the importance of the hypothesis of universal or almost universal features in music making and music perception, expressed by some of the leading ethnomusicologists of the last decades. Similar procedures in developing musical surfaces from deeper melodic structures could be traced with the help of Western and Byzantine theoretical texts and composition samples belonging to the two traditions. Figure 15. Elements of metrical, modal & syntactical Byzantine neumes were transnotated or analysis for the long version of 47 Ἀγαλλεται σήμερον transcribed into Western staff, in order to facilitate the different types of analysis and the V. In addition to fig. 15, the Schenkerian- comparison of the two musical cultures. inspired reduction shown in the last staff of fig. However, there remains the fundamental 14, allows for a deeper understanding of the difference between the two notations, the melodic organization of the slow version of Western one belonging to the type of 'acoustic' ʹΑγάλλεται σήμερον. The hierarchy of the tones notations, which show the result, the 'product', displayed in this reduction (the beamed notes whereas the Byzantine to the 'articulatory' notations, which focuss on the action, the and the unbeamed whole notes correspond to 50 the encircled notes of the transcription given at 'process' by which music comes into life . nr. IV in the same fig.), matches the explicite, There could be observed a different stylistic general theoretical description of the first "repertory" of elaborational techniques, but not authentic mode and the other modes involved, entirely different, since the main with the particular unfolding-process of the embellishment techniques (use of neighbour slow-paced melody which comes to interpret notes and passing notes) are quite similar. The this concrete poetical text48. Along with the elaboration through skips is of course different in concept: In Western music these skips are called consonant skips and they are based on 45 Cf. Αποστολόπουλος 2002: 157. Χρύσανθος 1832: § 368. underlining tertian harmony. In Byzantine Φιλοξένης 1868: 84. Alexandru 1996: 20, Nr. 55. music, which is monophonic/heterophonic and 46 For musical rhetorics in Byzantine chant, cf. Χρύσανθος 1832: & 419-424, Φιλοξένης 1868: 72-74, Παναγιωτόπουλος 2003: § 158-165, Αναστασίου 2005: 1982: Ι, 311-312 (1st authentic), 293-295 (1st pl.), 281- 409-438, Λιάκος, "Μελέτη", and the surveys in Alexandru 281 (barys/3rd plagal). See also Stock 1993: 227. 1998 & 2000: I, 84-195, II, 28-77 (p. 29: anabasis & 49 See fig. 14, nr. IV-V and Stock 1993: 228-230, where katabasis, p. 45: epegerna, p. 48: thematismos). For the embellishment-process in Chinese traditional music is musical rhetorics in Western music, cf. Bartel 1997. For the described as resulting into "secondary and tertiary clusters ethical connotations of Byzantine modes, cf. surveys in of embellishments" formed "around each primary structural Αλυγιζάκης 1985: 47-54, Alexandru 2000: I, 225-228. note and its original decorations". 47 The symbols for the melodic contours are adapted after 50 Cf. the motto of this paper and Ellingson 1992 b: 157- Charles Adams' classification given in Cook 1994: 197. For 158 et passim. For a panoramic view over different types the other analytical elements, cf. Alexandru 2006 b. of notation used in world music and main musicological 48 The last but one structural tone (Βου/Ε) is indicated at issues connected with them, cf. Jaschinski (ed.) 2001. nr. V with a black beamed note, since it doesn't belong to Thanks also to prof. Eleni Lapidaki for a fruitful discussion the main tones of the first authentic mode, thus being also about the role of notation in the context of Western and of excluded from the cadential plan of this mode. Cf. Kαράς Byzantine music.

12 CIM08 - Conference on Interdisciplinary Musicology - Proceedings does not have vertical sonorities except from analysis in Byzantine chant and the comparison pedal notes (isokrates), skips occur more with similar approaches in Western and other seldom during the elaborational process and musics offers the opportunity to connect basic their choice is based on the gravitational notions and apprehension exercises found in attraction of structural modal pilars. The Byzantine and post-Byzantine theoretical original concept of diminution in Western treatises with the actual performance practice music, at least in the way it was taught of Greek ecclesiastical chant, exploring at the through didactic manuals, essentially means same time its historical dimension53. Exegesis keeping the original structural durations intact is not a bare reproductive process, but a and breaking them down to shorter durations creative one. It seems that in the older through the use of certain elaborational tradition, chanting and composing were more techniques. However, in Byzantine chant tightly bound together than they are in the elaboration does not only means breaking into actual practice. Exegesis in its various forms smaller durations but mainly expanding a emerges as a particular, traditional technique melodic phrase or gesture into a melodic of orally supported melodic elaboration- surface substantially longer in duration. This of rendition of old Byzantine neumated texts, course also occurs in Western music which has its distinct place in the large family composition through the concept of of melodic elaboration techniques occuring in prolongation, the virtual expansion of a many other musical cultures worldwide. structural event (a certain pitch or a complete Furthermore, such investigations can lead to polyphonic structure) in time without its actual the uncovering of hitherto hidden/not yet presence in the musical surface. Concerning theoreticized facettes of the Byzantine art of Byzantine chant, the primary importance of the melopoeia, of composing this music, which poetical text in the processes of creation, aims at representing sonor icons of the divine performance and analysis has to be beauty, at bringing "our hearts into concord emphasized, since this music is conceived as with the divine, with ourselves and with one an iteration and explanation of the sacred another"54. word51. Thus, the process of structural analysis in both The proposed comparison between structural contexts emerges as a profound personal and analysis methodologies in Western and interpersonal interpretational and cognitive Byzantine music could shed more light to the tool55, creating bridges between researchers of comprehension of the middle-Byzantine Eastern, Western and other musical cultures. notation and the multiplicity of ways that it could be used by the composer-performer. The neumatic notation used before the Reform of 7. Acknowledgements the Three Teachers in 1814 can be viewed, at We would like to thank our colleague Dr. least in the case of the long/slow melodies, as Ioannis Liakos and the members of the Study a 'middle-ground', from which, on the one Group for Byzantine Musical Palaeography from hand, the performer unfoldes through the the School of Musical Studies of the Aristotle traditional technique of exegesis the slow and University Thessaloniki, as well as Mr. Dimitris heavily embellished melos. On the other hand, Christodoulidis for their support in preparing the analyst can extract from the same middle- the Byzantine musical examples. Thanks also ground notated in middle-Byzantine notation, a to Mr. Pavlos Chatzipapas and Mr. Liakos for structural background/deep structure by elucidating discussions about the art of means of reduction, suggesting a "plausible composition in Byzantine music. cognitive skeleton" for that individual piece52.

The use of different reductional forms of

51 Cf. Jammers 1962. 52 Cf. Stock 1993: 227. Schenker 1969: 15, 24 et passim. See also Widdess 1992: 225-226, who argues that "the original notation itself involves an act of analysis on the part of members of the musical culture concerned, for notation preserves those aspects of the music which the 53 Cf. Lingas 2003. notator considers essential for its transmission or recall. In 54 From the Ecclesiastical Hierarchy by St. Dionysios the analysing an early notated repertory, therefore, we are in Areopagite (chapter 3, § 5), quoted and explained by fact carrying a stage further the analysis already Wellesz 1962: 58, with note 2. undertaken by members of the culture concerned." 55 Cf. also Stock 1993: 223, 225, 227.

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(To be published in the Proceedings of the Byzantine Music (Books, articles & Sixth International Symposion on Greek recordings. Abbreviations) Palaeography, Drama, 21st- 27th Alexandru, Maria (1996). Koukouzeles’ Mega September 2003. The part written by prof. Ison. Ansätze einer kritischen Edition. Troelsgård, in English). CIMAGL, 66, 3-23. Αλυγιζάκης, Αντώνιος (1985). Η οκταηχία στην Ead. (1998). Zur Analyse byzantinischer Musik. ελληνική λειτουργική υµνογραφία. Eine historische Sichtung des Thessaloniki: Π. Πουρναρά. Formelbegriffs. Studia Musicologica Amargianakis, George. The Interpretation of Academiae Scientiarum Hungaricae, 39, the Old Sticherarion. Byzantine Chant. 155-185.

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Tradition and Reform. Acts of a Meeting χειρόγραφα Τουρκοκρατίας (1453‑1832). Τόμος held at the Danish Institute at Athens, πρώτος. Athens. 1993. Ed. Chr. Troelsgård. Monographs Id. (1999). Η εκκλησιαστική µουσική του of the Danish Institute at Athens. Τόµος β΄. Ελληνισµού µετά την Άλωση (1453-1820). Αθήνα: 23-51. Σχεδίασµα ιστορίας. Αthens: Κέντρον Αναστασίου, Γρηρόριος (2005). Τὰ κρατήματα Ερευνών & Εκδόσεων. στὴν Ψαλτικὴ Τέχνη. ΙΒΜ, Μελέται 12. Χρύσανθος εκ Μαδύτων (1832). Θεωρητικὸν Athens: Έκδ. Γρ. Στάθης. μέγα τῆς μουσικῆς. Ed. Π. Πελοπίδης. Trieste: Angelopoulos, Lycourgos (1998). L'importance Τυπογραφία Μιχαήλ Βάϊς. Repr. Athens: de l' étude et de l'enseignement de Simon Κουλτούρα. Κaras sur l'indication et l'inventaire des Χρυσάφης, Μανουήλ ο Λαµπαδάριος: Conomos, signes de la chironomie (geste manuel) Dimitri (ed.) (1985). The Treatise of Manuel (interpretation orale de la tradition écrite). Chrysaphes the Lampadarios: On the Communication faite au colloque de Theory of the Art of Chanting and on musicologie de Delphes, 4-7 Sept. 1986. Certain Erroneous Views That Some Hold Athens: Εκδόσεις Ελληνικής Βυζαντινής About it. MMB, CSRM, vol. 2. Vienna: Verlag Χορωδίας. (Text in Greek & French). der Österreichischen Akademie der Αντωνίου, Σπυρίδων, Πρωτοπρεσβύτερος Wissenschaften. (2004). Τὸ Εἱρμολόγιον καὶ ἡ παράδοση τοῦ CIMAGL: Cahiers de l'Institut du Moyen-Âge μέλους του. ΙΒΜ, Μελέται 8. Athens: Grec et Latin. Copenhagen. Έκδ. Γρ. Στάθης. Δετοράκης, Θεοχάρης (1979). Κοσμὰς ὁ Αποστολόπουλος, Θωµάς (2002). Ὁ Ἀπόστολος Μελωδός. Βίος καὶ ἔργο. Ἀνάλεκτα Βλατάδων, Κώνστας ὁ Χῖος καὶ ἡ συμβολή του στὴν θεωρία 28. Thessaloniki: Πατριαρχικὸν Ἵδρυμα τῆς Μουσικῆς Τέχνης. Μουσικολογικὴ θεώρηση Πατερικῶν Μελετῶν. ἀπὸ ἄποψη ἱστορική, κωδικογραφική, Id. (2003). Βυζαντινὴ Φιλολογία. Τὰ πρόσωπα καὶ μελοποιητικὴ καὶ θεωρητική. ΙΒΜ, Μελέται 4. τὰ κείμενα. Vol. II. Ηράκλειο Κρήτης. Athens: Ed. Γρ. Στάθης. Easter Sunday, Sung by a Choir of Vatopaidi Arvanitis, Ioannis (1997). A Way to the Fathers. The Great and Holy Monastery of Transcription of Old Byzantine Chant by Vatopaidi: Crete University Press, 2000. CD means of Written and Oral Tradition. & booklet. (Texts in Greek & English). Byzantine Chant. Tradition and Reform. Φιλοξένης, Κυριακού (1868). Λεξικὸν τῆς Acts of a Meeting held at the Danish ἑλληνικῆς ἐκκλησιαστικῆς μουσικῆς. Institute at Athens, 1993. Ed. Chr. Constantinople: Troelsgård. Monographs of the Danish Institute at Athens. Vol. II. Athens: 123- Τύποις Εὐαγγελινοῦ Μισαηλίδου. 141. Fleischer, Oskar (1904). Die spätgriechische Tonschrift. Berlin: Verlag von Georg Αρβανίτης, Ιωάννης (2003). Ἡ ρυθμικὴ καὶ Reimer. μετρικὴ δομὴ τῶν βυζαντινῶν εἱρμῶν καὶ Floros, Constantin (1970). Universale στιχηρῶν ὡς μέσο καὶ ὡς ἀποτέλεσμα Neuemenkunde. 3 vols. Kassel: Bärenreiter- μιᾶς νέας ρυθμικῆς ἑρμηνείας τοῦ βυζαντινοῦ Antiquariat Kassel-Wilhelmshöhe. μέλους. Οι δύο όψεις της ελληνικής Γαβριήλ Ιεροµόναχος: Hannick, µουσικής κληρονοµιάς. Αφιέρωµα εις Christian/Wolfram, Gerda (eds.) (1985). µνήµην Σπυρίδωνος Περιστέρη. Πρακτικά Gabriel Hieromonachos. Abhandlung Μουσικολογικής Συνάξεως 10-11 Νοεµβρίου über den Kirchengesang. MMB, CSRM, vol. 2000. Ed. Ευστάθιος Μακρής. Athens: 1. Vienna: Verlag der Ακαδηµία Αθηνών. Δηµοσιεύµατα του Österreichischen Akademie der Κέντρου Ερεύνης της Ελληνικής Wissenschaften. Λαογραφίας, 18: 151-176. Georgiades, Thrasyboulos (1939). Id. (2006). Ἐνδείξεις καὶ ἀποδείξεις γιὰ τὴν Bemerkungen zur Erforschung der σύντομη ἑρμηνεία τοῦ Παλαιοῦ Στιχηραρίου. byzantinischen Kirchenmusik. Θεωρία καὶ πράξη τῆς Ψαλτικῆς Τέχνης. Byzantinische Zeitschrift, 39, 67-88. Πρακτικὰ Β’ Διεθνοῦς Συνεδρίου Γιαννόπουλος, Εµµανουήλ Στ. (2005). Ταμεῖον Μουσικολογικοῦ καὶ Ψαλτικοῦ. Ed. Γρ. Χειρογράφων Ψαλτικῆς Τέχνης. Ἑταιρεία Αναστασίου. ΙΒΜ. Athens: Έκδ. Γρ. Στάθης: Μακεδονικῶν Σπουδῶν, Ἐπιστημονικαὶ 233-253. Πραγματεῖαι, Σειρὰ Φιλολογικὴ καὶ Θεολογική, Χατζηγιακουµής, Μανόλης (1975). Μουσικὰ αρ. 20. Thessaloniki.

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Γιολδάση, Σοφία (2006). Εργασία στο µάθηµα Practice and the Politics of Transcribing "Υφή και κάλλος στη βυζαντινή µουσική". Byzantine Chant. Le chant byzantin: état Θεµατικός κύκλος 4: Ηχογράφηση στα des recherches. Actes du colloque tenu du πλαίσια συναυλιών - συγκριτική µελέτη. 12 au 15 décembre 1996 à l 'Abbaye de Seminar work. Aristotle University Royaumont. Centrul de Studii Bizantine Thessaloniki, School of Musical Studies. Iaşi. Acta Musicae Byzantinae, 6, 56-76. Husmann, Heinrich (1980). Interpretation und Makris, Eustathios (1996). Die musikalische Ornamentierung in der nachbyzantinischen Tradition des Anastasimatarion im 16. und Musik. Acta Musicologica, 52, 101-121. 17. Jahrhundert. Dissertation, Jammers, Ewald (1962). Musik in Byzanz, im University of Vienna. päpstlichen Rom und im Frankenreich: Der Makrantonaki-Farasa, Maria (2000). Glossary Choral als Musik der Textaussprache. of theological terms. English-Greek, Greek- Abhandlungen der Heidelberger Akademie English. 2nd ed. Thessaloniki: Pournaras der Wissenschaften, Phil.- hist. Kl. Publications. Heidelberg. Μηναῖον τοῦ Αὐγούστου (2002). 2nd ed. Athens: Id. (1966). Der Kanon des Johannes Ἀποστολικὴ Διακονία τῆς Ἐκκλησίας τῆς Damascenus für den Ostersonntag. Ed. P. Ἑλλάδος. Wirth. Polychronion. Festschrift Franz Μηναῖον τοῦ Ἰανουαρίου(2002). 2nd ed. Athens: Dölger zum 75. Geburtstag. Heidelberg: Ἀποστολικὴ Διακονία τῆς Ἐκκλησίας τῆς 266-286. Jaschinski, Andreas (ed. 2001). Notation. MGG Ἑλλάδος. Prisma. Kassel-Basel-London-New York- Μιχαηλίδης, Σώλον (1999). Ἐγκυκλοπαίδεια τῆς Prag: Bärenreiter. Stuttgart-Weimar: ἀρχαίας ἑλληνικῆς μουσικῆς. 3rd ed. Athens: Metzler. Μορφωτικό Ίδρυµα Εθνικής Τραπέζης. Καράς, Σίµων (1976). Ἡ βυζαντινὴ μουσικὴ MMB: Monumenta Musicae Byzantinae. παλαιογραφικὴ ἔρευνα ἐν Ἑλλάδι (διάλεξις Copenhagen. Moran, Neil (1986). Singers in Late Byzantine γενομένη ἐν Λονδίνῳ κατ’ Ἀπρίλιον τοῦ and Slavonic Paintings. Byzantina 1975). Athens. Neerlandica, 9. Leiden. Id. (1982). Μέθοδος τῆς Ἑλληνικῆς Μουσικῆς. Παναγιωτίδης, Παναγιώτης (2003). The Θεωρητικόν. 2 vols. Athens: Σύλλογος πρὸς Automelon-Prosomoion O marvellous Διάδοσιν τῆς Ἐθνικῆς Μουσικῆς. wonder! In the First Authentic Mode and Id. (1990). Ἡ ὀρθὴ ἑρμηνεία καὶ μεταγραφὴ τῶν ist Forms of Composition. Id. Θέματα βυζαντινῶν μουσικῶν χειρογράφων. Αθήνα: Ψαλτικῆς. Μελέτες στην Ἐκκλησιαστική Σύλλογος πρὸς Διάδοσιν τῆς Εθνικῆς Μουσική. Ψαλτικὰ Ἀνάλεκτα, 2. Κατερίνη: Μουσικῆς. (Repr. from: Πεπραγμένα τοῦ Θ’ Εκδόσεις Επέκταση: 161-192. Διεθνοῦς Βυζαντινολογικοῦ Συνεδρίου Παναγιωτόπουλος, Δ.Γ. (2003). Θεωρία καὶ Θεσσαλονίκης, vol. II, Athens 1955). πρᾶξις τῆς βυζαντινῆς ἐκκλησιαστικῆς μουσικῆς. Λιάκος, Ιωάννης. Μελέτη του παλαιού κλασικού 7th ed. Athens: Ἀδελφότης Θεολόγων ʺὉ βυζαντινού µέλους, µε βάση τη Σωτήρʺ. νεοβυζαντινή σηµειογραφία: Κώδικας Παπαδόπουλος, Χαράλαµπος (2008). Η ΜΠΤ 708. Χρυσέοις ἔπεσι, ένα στιχηρό εις Αναγέννηση της εκκλησιαστικής µουσικής τιµή του Αγίου Ιωάννου του Χρυσοστόµου του Ελληνισµού µετά την άλωση. "Η εποχή στη διαχρονική του εξέλιξη. Οµάδα του Νέου Καλλωπισµού". Διπλωµατική Παλαιογραφίας Βυζαντινής Μουσικής από εργασία. Επιβλέπουσα: Μ. Αλεξάνδρου. το Τµήµα Μουσικών Σπουδών του Αριστοτέλειο Πανεπιστήµιο Θεσσαλονίκης, Αριστοτελείου Πανεπιστηµίου Θεσσαλονίκης. Τµήµα Μουσικών Σπουδών. 2 vols. Eπιµ. M. Alexandru (prepared for Thessaloniki. publication in the Report of the the First Παπαδόπουλος-Κεραµεύς, Α. (1915). International Conference of the Ἱεροσολυμιτικὴ Βιβλιοθήκη. Vol. V. St. American Society of Byzantine Music and Petersburg. Repr. Bruxelles1963: Hymnology, "Byzantine Musical Culture", Culture et Civilisation. Athens 2007): 60-65. Perria, Lidia/Raasted, Jørgen (eds.) (1992). Liddell, H. G./Scott, R./Jones, H. St./McKenzie, Sticherarium Ambrosianum. ΜΜΒ 11. Pars R. & alii (1968). A Greek-English Lexicon. Principalis et Pars Suppletoria. With a Supplemet. Επαν. 1990. Oxford: Copenhagen: Munksgaard. Clarendon Press. Πέτρος Βυζάντιος (1825). Εἱρμολόγιον σύντομον. Ed. Lingas, Alexander (2003). Performance

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Χουρµούζιος Χαρτοφύλαξ. Constantinople: Id. (1980). Πέτρος Πελοποννήσιος (1735 περ.‑ Βρεταννικὴ Τυπογραφία Κάστρου εἰς Γαλατᾶν. 1778). Βυζαντινοὶ καὶ μεταβυζαντινοὶ Repr. Athens (1982, in the same vol. with μελουργοί, 4. Ψάλλει Χορὸς Ἱεροψαλτῶν the next collection): Κουλτούρα. μὲ Χοράρχην τὸν Ἄρχοντα Πρωτοψάλτην Πέτρος Πελοποννήσιος (1825). Εἱρμολόγιον τῶν Θρασύβουλον Στανίτσαν. ΙΒΜ. Athens. LP καταβασιῶν Ed. Χουρµούζιος Χαρτοφύλαξ. records and booklet. Constantinople: Βρεταννικὴ Τυπογραφία Id. (1991). Ἡ σύντομη καὶ ἀργὴ παράδοση τῆς Κάστρου εἰς Γαλατᾶν. Repr. Athens (1982): Βυζαντινῆς Ψαλτικῆς. Ἀξίες καὶ πολιτισμός. Κουλτούρα. Commemorative publication in honour of E. Πολίτης, Λίνος/Πολίτη, Μαρία (1991). Theodorou. Athens: Εκδόσεις "Τήνος": 385- Κατάλογος χειρογράφων τῆς Ἐθνικῆς 402. Βιβλιοθήκης τῆς Ἑλλάδος (ἀρ. 1857‑2500). Id. (1992). Οἱ ἀναγραμματισμοὶ καὶ τὰ μαθήματα Athens. τῆς βυζαντινῆς μελοποιΐας. ΙΒΜ, Μελέται 3. Popova, Olga (2005). Byzantine Icons of the 2nd ed. Athens: Έκδ. Μητροπολίτης 6th to 15th Centuries. A History of Icon Κοζάνης Διονύσιος και Γρ. Στάθης. Painting. Ed. Archim. Zacchaeus (Wood). Id. (1997). Φάκελος Μαθήµατος "Αναλυτική Transl. K. Cook. Moscow: "Grand-Holding" βυζαντινή σηµειογραφία". Εθνικό και Publishers: 41- 94. Καποδιστριακό Πανεπιστήµιο Αθηνών, Ψάχος, Κωνσταντίνος (1978). Ἡ παρασημαντικὴ Τµήµα Μουσικών Σπουδών. Athens. nd τῆς βυζαντινῆς μουσικῆς. 2 ed. Γ. Id. (2001). Τὰ πρωτόγραφα τῆς ἐξηγήσεως στὴ Νέα Χατζηθεοδώρου. Athens: «Διόνυσος». (1st Μέθοδο. Τιμὴ πρὸς τὸν διδάσκαλον. Ἔκφραση ed. Athens 1917). ἀγάπης στὸ πρόσωπο τοῦ καθηγητοῦ Γρηγορίου Raasted, Jørgen (1966). Intonation Formulas and Modal Signatures in Byzantine Musical Θ. Στάθη. Ἀφιέρωμα στὰ ἑξηντάχρονα τῆς Manuscripts. MΜΒ, Subsidia VII. ἡλικίας καὶ στὰ τριαντάχρονα τῆς Copenhagen: Ejnar Munksgaard. ἐπιστημονικῆς καὶ καλλιτεχνικῆς προσφορᾶς Id. (1996). Length and Festivity. On some του. Athens: «Ἀνατολῆς τὸ Περιήχημα»: prolongation techniques in Byzantine Chant. 696-707. Liturgy and the Arts in the Middle Ages. Tardo, Lorenzo (1938). L' antica melurgia Studies in Honour of C. Clifford Flanigan. bizantina nell' interpretazione della Scuola Eds. E.l. Lillie & N.H. Petersen. Monastica di Grottaferrata. Grottaferrrata. Copenhagen: 75-84. Tillyard, H.J.W. (1924 & 1925). The Schartau, Bjarne/Troelsgård, Christian (1997). Stenographic Theory of Byzantine Music. The Translation of Byzantine Chants into Laudate, 2, nr. 4, 216-225 & Laudate, 3, the "New Method": Joasaph nr. 9, 28-32. Pantokratorinos - Composer and Scribe of Τρεµπέλας, Παναγιώτης (1997). Ἐκλογὴ Musical Manuscripts. Acta Musicologica, ἑλληνικῆς Ὀρθοδόξου Ὑμνογραφίας. 3rd ed. 69, 134-142. Athens: Ἀδελφότης Θεολόγων «Ὁ Σωτήρ». Σάκκος, Στέργιος (2001). Οἱ Ἅγιοι Σαράντα Troelsgård, Christian. Inventory of Microfilms Μάρτυρες. 4th ed. Thessaloniki: Εκδόσεις and Photographs in the Collection of ʺΧριστιανικὴ Ἐλπίςʺ. Monumenta Musicae Byzantinae. Database Στάθης, Γρηγόριος (1978). Ἡ ἐξήγησις τῆς παλαιᾶς of the ΜΜΒ: βυζαντινῆς σημειογραφίας. Ἵδρυμα Βυζαντινῆς http://www.igl.ku.dk/MMB/catbyz.htm Μουσικολογίας. Μελέται 2. Eds. Μητροπολίτης Id. (1999). Musical notation and oral Κοζάνης Διονύσιος & Γρ. Στάθης. Athens. transmission of Byzantine chant. Classica et Id. (1979). An Analysis of the Sticheron Τὸν Mediaevalia, 50, 249-257. Id. A New Introduction to the Middle Byzantine ἥλιον κρύψαντα by Germanos, Bishop of New Musical Notation. Copenhagen (to be Patras [The 'Old 'Synoptic and the New published in the MMB-series, Subsidia IX). 'Analytical' Method of Byzantine Notation]. Studies in Eastern Chant, 4, 177-207. Τσολακίσης, Χρήστος (2001). Ἁγιολόγιο τῆς Id. (1982). ʺΔειναὶ θέσειςʺ καὶ ʺἐξήγησιςʺ. Ὀρθοδοξίας. 2nd ed. Athens: Εκδόσεις Jahrbuch der Österreichischen Byzantinistik, Τσολακίδη. 32/7, 49-61. Velimirović, Miloš (1973). The Byzantine Id. (1983). The "Abridgements" of Byzantine Heirmos and Heirmologion. Gattungen der and Postbyzantine Compositions. CIMAGL, Musik in Einzeldarstellungen. 44, 16-38. Gedenkschrift Leo Schrade. Eds. W. Arlt/E. Lichterhahn/H. Oesch/M. Haas. Erste

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Folge. Bern-München: 192-244. Wellesz, Egon (1962). A History of Byzantine Music and Hymnography. 2nd ed. Oxford: Clarendon Press. Zannos, Ioannis (1994). Ichos und Makam. Vergleichende Untersuchungen zum Tonsystem der griechisch-orthodoxen Kirchenmusik und der türkischen Kunstmusik. Orpheus-Schriftreihe zu Grundfragen der Musik. Bonn: Orpheus- Verlag GmbH, Verlag für systematische Musikwissenschaft GmbH.

Ethnomusicology Agawu (1990). "Variation Procedures in Northern Ewe Song". Ethnomusicology, Vol. 34, No. 2. Ellingson, Ter (1992 a). Notation. Ethnomusicology. An Introduction. Ed. Helen Myers. The New Grove Handbooks in Music. London:153-164. Id. (1992 b). Transcription. Ethnomusicology. An Introduction. Ibid.: 110-152. Stock, Jonathan (1993). "The application of Schenkerian Analysis to Ethnomusicology: problems and possibilities". Music Analysis, vol. 12/2, pp. 215-240. Widdess, Richard (1992). Historical Ethnomusicology. Ethnomusicology. Ed. Myers: 219-237. Stockmann, Doris (1979). Die Transkription in der Musikethnologie: Geschichte, Probleme, Methoden. Acta Musicologica, 51, fasc. 2, 204-245.

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Byzantine Musical manuscripts56 Abbreviation Name of ms – Type of ms, Scribe Chronology Description of the Library and nr. of according to its and place ms the ms content where the ms was written

A 139 Codex Ambrosianus A Old Sticherarion Λέων ἱερεύς October 1341, Eds. Perria & 139 superius – Παδιάτης (text) probably in Raasted 1992, MMB Biblioteca Ambrosiana, & Ἀθανάσιος Constantinople 11, Pars Principalis Milano (facsimile) and Pars ἱερομόναχος (ὁ Suppletoria (with τόνος καὶ ἡ τοῦ description, p. 1-2) μέλους κατάρτισις) Chrysander Codex Chrysander - Papadike (theory), - End of the 17th Fleischer 1904: Α΄, Universitätsbibliothek Anastasimatarion cent. or later p. 36, Β & C. Makris Tübingen of Chrysaphes the (Makris 1996: 1996: 32-34. Floros New, Anthology of 33) 1970: I, 112 (dated Papadike 15th cent., according to the text of the Papadike) EBE 964 National Library of Short Heirmologion Πέτρος Αugust 1806 Χατζηγιακουµής Greece, ms nr. 964 of Petros Byzantios Πρωτοψάλτης 1975: 365. τῆς Ἁγίας τοῦ Cf. also kolophon Θεοῦ Μεγάλης on f. 136v and Ἐκκλησίας ὁ notes on f. 1r, Βυζάντιος 126r, 130v, 133v EBE 968 National Library of Collection of - 17th - 18th Zannos 1994: 541 Greece, ms nr. 968 theoretika cent. (ʺAnonymus, Ἐρωταποκρίσεις, Ἰωσήφ, Πατέρες, Πλουσιαδηνόςʺ) ΕΒΕ 2401 National Library of Papadike, with Two different "probable 1452- Πολίτης/Πολίτη Greece, ms nr. 2401 theory hands 1469" 1991: 396. Μπαλαγεώργος 2001: 202-204

IS Holy Synod of the Heirmologion of - End of the 18th Church of Greece Petros cent. Peloponnesios

ΜPΤ 709 Metochion Panagiou Exegesis by Χουρμούζιος First quarter of Παπαδόπουλος- th Taphou, ms nr. 709 Chourmouzios for Χαρτοφύλαξ the 19 cent. Κεραµεύς 1915: the Old 242-243 Sticherarion, vol. III Vat. Barb. gr. Codex Vaticanus Theory - Anthologia - 15th cent. Troelsgård, 300 Barberinus graecus - Kalophonic (Tardo) Inventory. Tardo 300 - Biblioteca Sticherarion 1938: 151-163. Vaticana Floros 1970: I, 113 & III, Faksimilia 3- 12

56 For the way of presentation of the mss in the above table, cf. Γιαννόπουλος 2005: 127-128. See also Alexandru (ed.) 2008: 54-55.

19