Wolfram Gerda, The Byzantine Modal System in Relation to Ancient Greek Music Theory

Wolfram Gerda, 

«The Byzantine Modal System in Relation to Ancient Greek Music Theory», Series Musicologica Balcanica 1.2 (2021), p. 201-208. 

Thessaloniki 2021

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Summary

Theoretical treatises on church-music appear for the first time in the 14th/ 15th centuries. This seems rather late in comparison with the notated music-manuscripts which were already handed down since at least the 10th century. Only the so-called Hagiopolites goes back at least to the 12th century. Common intent of the theoretical treatises was above all to give practical orders to singers and composers. But on the other side the authors try to show, that Byzantine music has a connection with the ancient modal system. There are many hints in the Byzantine treatises, that the modal system of the eight echoi is based on the ancient διὰ πασῶν, expressed by the term διπλασμός or διπλοφωνία. It shows the idea of the eight-chorded instrument, which forms the Byzantine tonal system. In the ancient theory the systema teleion, as essence of all systems, comprises two octaves – δὶς διὰ πασῶν. In the Byzantine treatises the ancient tonoi dorios, lydios, phrygios, mixolydios and their hypotonoi are set in comparison with the Byzantine echoi. Gabriel Hieromonachos states that 15 notational signs can express dýo diplasmoí.

First hints to the Byzantine modal system are found in papyri from the 6th and 7th century, shown by martyriai. If there was already an intonation formula is uncertain. But in the middle of the 9th century, the latin theorist Aurelian of Réome speaks about the Byzantine intonation formulas as laetantis adverbia. In few Sticheraria of the 11th/12th c. in Coislin notation we find an extensive system of intonation formulas, which was reduced to one or two formulas in diastematic middle-byzantine notation. In palaeobyzantine notation, phthorai, hemiphthorai and mesos-signs are found, which disappear completely in the first stages of middle-byzantine notation.

The question is: Are there any relations to the ancient Greek tonal system? How was the formation of martyriai and intonation formulas? How were the phthorai and hemiphthorai used in paleobyzantine notation and why did they disappear at the beginning of the diastematic middle-byzantine notation?