Abstract. The ‘classical’ foundation of chanting reformation. Ideological and technical approaches to the new chanting theory. The reformation of post-byzantine chanting theory by Chrysanthus at the beginning of the 19th century constitutes a landmark in the history of chanting theory; it offers at the same time a passage from the theoretical past to the modern era of ecclesiastical Greek music. Chrysanthus’ main concern, as such can be discerned in his theoretical arguments, is to demonstrate the historical continuity between the old and the new theory of Greek music. It is towards this end that he is striving hard to establish a solid theoretical ground upon which the ancient Greek, primarily Hellenistic, music theory though its diachronic loans meets with the new theory, as such is suggested by Chrysanthus himself. The principle sources of the writer of the ‘Eisagoge’ and the ‘Mega Theoretikon’ seem to fall in two big categories. His raw theoretical reserve draws on the one hand from ancient Greek writings and on the other from the writings of modern European music critics of his time, who belong to the sphere of Enlightenment. My proposed paper will address, among others, the following theoretical issues: Could there ever be a way in which the ideological and political background of Greece of the time (before the 1821 Revolution), the influences of European music and the technical characteristics of ancient Greek music theory would be combined towards the formation of a new theory of music? Which are the resulting contradictions and possible faults from such an amalgamation?
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