hagiopolitan octoechos造句

• The modal signatures were referred to the Hagiopolitan octoechos.
• Since the Southern Slavic reception did not change the system the prosomoia, it corresponded to the Hagiopolitan Octoechos.
• From a Papadike, which can be traced back to the Hagiopolitan Octoechos and its exchange with Oriental music traditions since more than thousand years.
• 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.
• Unlike the Hagiopolitan octoechos, which used two additional " phthorai " with the syllables Nana and Nenano for changes into the enharmonic and chromatic genus, the enharmonic and chromatic genus was excluded from the Latin octoechos, at least according to Carolingian theorists.
• In comparison, the Hagiopolitan terminology already included the " corruption " ( ????? ) as an acceptable modal category in itself, which was neither excluded in the Hagiopolitan Octoechos nor in the modal system of a certain cathedral rite, which was made of 16 echoi.
• The reform of the Byzantine hymnody was the result of a first florescence of Greek hymnography created by singer-poets at Jerusalem like the Patriarch Hagiopolitan octoechos was only possible, because these new hymns, their poetry and music, were appreciated and imitated beyond the patriarchate.
• According to medieval theory, the plagioi ( oblique ) echoi mentioned above ( Hagiopolitan Octoechos ) employ the same scales, the final degrees of the " plagioi echoi " are a fifth below with respect to the ones of the " kyrioi echoi ".
• The former system of sixteen echoi ( 4 kyrioi, 4 plagioi, 4 mesoi, and 4 phthorai ) which was still used in the old books of the cathedral rite ( asmatikon, kontakarion, etc . ), was replaced by the Hagiopolitan octoechos and its two phthorai.
• But already the question of chant genre was connected with local traditions in medieval times and the point of reference for the psaltes who performed a certain genre : the Hagiopolitan octoechos and its genres ( the odes according to the models of the heirmologion, the troparia of the kontakarion might serve here as examples.
• Nevertheless, the Hagiopolitan octoechos did not come into use at the Hagia Sophia of Constantinople before the Papadic reform during the late 13th and the 14th century, after the patriarchate and the court had returned from John Glykys, but most papadikai also add a second version in the redaction of John Koukouzeles who was probably his student.
• Although the phthora nenano is already known as one of two additional phthorai used within the Hagiopolitan octoechos, its chromaticism was often misunderstood as a late corruption of Byzantine chant during the Ottoman Empire, but recent comparisons with medieval Arabic treatises proved that this exchange can dated back to a much earlier period, when Arab music was created as a synthesis of Persian music and Byzantine chant of Damascus.
• In the early Hagiopolitan Octoechos ( 6th-13th century ) the diatonic echoi were destroyed by two phthorai nenano and Chrysanthos'redefinition of Byzantine chant according to the New Method ( 1814 ), the scales of echos protos and of echos tetartos used intervals according to soft diatonic tetrachord divisions, while those of the tritos echoi and of the papadic echos plagios tetartos had become enharmonic ( ????? ???? ) and those of the devteros echoi chromatic ( ????? ?????? ).
• Concerning this paradigmatic use of notation the musical setting of a " sticheron ", the " sticherarion " had been mainly a collection of " idiomela " which had to be understood as individual compositions for a certain " sticheron " poem, although the melodic patterns could be rather classified according to one of the eight or ten modes ( " echos " or " glas " ) of the Hagiopolitan Octoechos.
• According to the Latin synthesis the ambitus as in the Hagiopolitan Octoechos, but authentic and plagal tones used both the " finalis " of the " plagios ", so that the " finalis " of the " kyrios ", the fifth degree of the mode, was no longer used as " finalis ", but as " repercussa " : the recitation tone used in a simple form of psalmody which was another genuine invention by the Carolingian reformers.