5.9 KiB
| title | chunk | source | category | tags | date_saved | instance |
|---|---|---|---|---|---|---|
| Hagiopolitan Octoechos | 2/11 | https://en.wikipedia.org/wiki/Hagiopolitan_Octoechos | reference | science, encyclopedia | 2026-05-05T03:39:20.479308+00:00 | kb-cron |
==== 8 diatonic echoi of the Hagiopolitan Octoechos ==== Despite the late copies of the Greek Hagiopolites treatise, the earliest Latin description of the Greek system of eight echoi is an eleventh-century treatise compilation called Alia musica. Echos was translated as sonus by the anonymous compilator who commented with a comparison of the Byzantine octoechos:
This Latin description about the octoechos used by Greek singers (psaltes) is very precise, when it says that each kyrios and plagios pair used the same octave, divided into a fifth (pentachord) and a fourth (tetrachord): D—a—d in protos, E—b—e in devteros, F—c—f in tritos, and C—G—c in tetartos. While the kyrioi had the finalis (final, and usually also base note) on the top, the plagioi had the finalis on the bottom of the pentachord. The intonation formulas, called enechema (gr. ἐνήχημα), for the authentic modes or kyrioi echoi, usually descend within the pentachord and turn back to the finalis at the end, while the plagal modes or plagioi echoi just move to the upper third. The later dialogue treatises (Gr. ἐρωταποκρίσεις, erotapokriseis) refer to the Hagiopolitan diatonic eight modes, when they use the kyrioi intonations to find those of the plagioi:
Περὶ πλαγίων Ἀπο τοῦ πλαγίου πρώτου ἤχου πάλιν καταβαίνεις τέσσαρας φωνάς, καὶ εὑρίσκεται πάλιν πλάγιος πρώτου· ὅυτως δὲ / ἄνανε ἄνες ἀνὲ ἄνες·
Ὁμοίως καὶ ὁ β' ἤχος καταβαίνων φωνάς δ', εὑρίσκεις τὸν πλάγιον αὐτοῦ, ἤγουν τὸν πλάγιον τοῦ δευτέρου. πλ Β οὕτως δέ.
Ὁμοίως πάλιν ὁ τρίτος καταβαίνεις φωνὰς τέσσαρας, καὶ εὑρίσκεται ὁ πλάγιος αὐτοῦ, ἤγουν ὁ βαρύς, οὕτως·
Ὁμοίως καὶ ἀπὸ τὸν τέταρτον καταβαίνων φωνὰς τέσσαρας, εὑρίσκεις τὸν πλάγιον αὐτοῦ, ὡς ἐστὶ ὁ πλ δ'οὕτως·
==== Phthorai of Hagios Sabbas and Hagia Sophia ==== The Hagiopolites as "earliest" theoretical treatise said, that two additional phthorai ("destroyers") were like proper modes which did not fit into the diatonic octoechos system, so the Hagiopolitan octoechos was in fact a system of 10 modes. But the chronology of definitions concerned about two phthorai regarded them first as modes of their own because of their proper melos and that their models had to be sung during the eight-week cycle. These mesoi ("medial echoi") of tetartos and protos, with a finalis and base between kyrios and plagios, were obviously favoured by hymnographers like John of Damascus and his step-brother Kosmas, while the concept of a transition between echoi was established later:
It seems that the concept of the eight diatonic echoi was established by the generation of Theodore the Studite and his brother Joseph, but they had two integrate other melē passing through other genera than the diatonic one as they had been favoured by protagonists of the Sabbaite school:
The later Papadikai mention that changes between the echos tritos and the echos plagios tetartos were bridged by the enharmonic phthora nana, and changes between the echos protos and the echos plagios devteros by the chromatic phthora nenano. Nevertheless, the terminology of the Hagiopolites somehow suggested that nenano and nana as phthorai "destroy" one or two diatonic degrees used within one tetrachord of a certain echos, so that the chromatic and enharmonic genera were somehow subordinated and excluded from the diatonic octoechos. This raises the question, when the music in the near eastern Middle Ages became entirely diatonic, since certain melodies were coloured by the other enharmonic and chromatic gene according to the school of Damascus. This is the question about the difference between the Hagiopolitan reform of 692 and in as much it was opposed to the Constantinopolitan tradition and its own modal system. The author of the Hagiopolites mentioned an alternative system of 16 echoi "sung in the Asma," with 4 phthorai and 4 mesoi beyond the kyrioi and plagioi of the diatonic octoechos:
These "echoi of the Asma" did probably point at the rite at the Patriarchal church or even at the cathedral rite of Constantinople which was also known as "choral" or "sung rite" (ἀκολουθία ᾀσματική). The Constantinopolitan chant books were called asmatikon ("book of the choir"), psaltikon ("book of the soloist called 'monophonares'"), and kontakarion (another name of the psaltikon, since the huge collection of kontakia, sung during the morning service, was its largest part). Unfortunately, no early Constantinopolitan chant manual survived, there is only this short paragraph of the Hagiopolites which says, that the singers of the choir followed in their chant books an own modal system, which was distinct from the Hagiopolitan octoechos. A distinction from Constantinople is not the only possible explanation, because Jerusalem had also its own local cathedral rite. Since the 14th century at latest, the monastic rite was not opposed to the cathedral rite, even monks celebrated it on festival occasions, whenever they expected guests. The earliest sources are those of the Slavic reception of Constantinople which can be dated back not earlier than to the 12th century, and they used a system of 12 church tones called glas'. The earliest treatises which mention a modal system, is not a chant manual, but a corpus of alchemic treatises, which testifies a modal system of 24 "elements" (στοιχεῖα) or "aims" (στοχοὶ):