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Phthora nenano (Medieval Greek: , also νενανὼ) is the name of one of the two "extra" modes in the Byzantine Octoechos—an eight mode system, which was created during reforms of the Monastery Agios Sabas, near Jerusalem, and the Stoudiou-Monastery between the seventh and the tenth century. ==The ''phthora nenano'' as part of the Hagiopolitan ''octoechos''== Today the system of eight diatonic modes and two ''phthorai'' ("destroyers") is regarded as the modal system of Byzantine chant, and during the eighth century it became also model for the Latin ''tonaries''—introductions into a proper diatonic eight mode system and its psalmody, created by Frankish cantores during the Carolinigian reform.〔Peter Jeffery (2001) compared the Greek and the Latin octoechos and found, that a modal classification of Gregorian chant according to the octoechos was analytically deduced a posteriori.〕 While φθορά νενανῶ was often called "chromatic", the second ''phthora'' was named "nana" (gr. φθορά νανὰ) and called "enharmonic", the names were simply taken from the syllables used for the intonation (enechema). The two ''phthorai'' were regarded as two proper modes, but also used as transposition or alteration signs. Within the diatonic modes of the octoechos they cause a change into another (''chromatic'' or ''enharmonic'') genus (''metavoli kata genon'').〔See Barbera's entry "Metabolē".〕 The earliest description of phthora nenano and of the eight mode system (octoechos) can be found in the ''Hagiopolites'' treatise which is known in a complete form through a fourteenth-century manuscript.〔Paris, Bibliothèque nationale, fonds grec, ms. 360.〕 The treatise itself can be dated back to the ninth century, when it introduced the book of ''tropologion,'' a collection of troparic and heirmologic hymns which was ordered according to the eight-week cycle of the octoechos.〔Peter Jeffery (2001), Christian Hannick & Gerda Wolfram (1997).〕 The first paragraph of the treatise maintains, that it was written by John of Damascus.〔John of Damascus and Cosmas entered the Lavra Agios Sabas about 700, after the reform was already established by a synodal decree in 692, and certain passages paraphrases polemics against the 16 echoi of the Constantinopolitan cathedral rite (Raasted 1983, 16—§8, Jeffery 2001, 186f).〕 The hymns of the ''tropologion'' provided the melodic models of one mode called ''echos'' (gr. ἦχος), and models for the ''phthora nenano'' appeared in some meloi of certain ''echoi'' like ''protos'' and ''plagios devteros''. .〔Hagiopolites (Raasted 1983, 10—§2).〕 For the songs in this book eight Echoi are said to be necessary. But this is not true and should be rejected. In fact the Plagios of Deuteros is mostly sung as Mesos Deuteros—e.g. «», the «» and other pieces written by Master Cosmas and Master John of Damascus "from the Mousike". (If, however, you try to sing the products of Master Joseph and others "with the Mousike", they will not fit, having not been composed "according to the Mousike"). Similarly the Plagios of Tetartos is mostly sung as Mesos Tetartos like over «» and many others. For these cases we can see that ten Echoi are used (for the repertory of this book) and not eight, only.〔Hagiopolites (Raasted 1983, 11).〕 The author of the treatise wrote obviously during or after the time of Joseph and his brother Theodore the Studite, when the use the mesos forms, phthorai nenano and nana were no longer popular. The word "mousike" () referred an autochthonous theory during the 8th century used by the generation of John of Damascus and Cosmas of Maiuma at Mar Saba, because it was independent from ancient Greek music.〔In the same way it was used by authors of Arabic treatises who referred to composers who avoided and others who liked the use of certain exotic tunes, while ancient Greek theorists did refer to older methods of composition.〕 But it seems that it was regarded as inappropriate to use these phthorai for the hymn melodies composed by Joseph and other hymns composed since the ninth century, since they must have preferred the diatonic octoechos based on the kyrios and the plagios instead of the mesoi. The concept of ''phthora'' in the Hagiopolites was less concerned that the Nenano and Nana were somehow bridges between the modes. As an introduction of the tropologion it had to integrate the meloi composed in these phthorai within the octoechos order and its weekly cycles. Since they had their own meloi and compositions like the other echoi, they were subordinated to the eight diatonic echoi according to the pitches or degrees of the mode (''phthongoi'') of their cadences. . They were called Phthorai (i.e. destroyers), because they begin from their own Echoi, but the thesis of their cadences and formulas are on notes (''phthongoi'') from other Echoi.〔Quoted according Jørgen Raasted (1983, 42f—§34) with a slightly modified translation.〕 They had to be classified according to a certain echos of the eight-week cycle by adding the intonation "nenano" to the intonation of the main diatonic echos (usually abbreviated by a modal signature). For example the intonation formula of echos plagios devteros (E) could be followed by the intonation of nenano which leads to the echos protos (a), as a kind of "mesos devteros", which lies in between the finalis of the kyrios (b natural) and the one of its plagios (E). Usually the diatonic kyrios protos (a) could end on its plagios (D) in the diatonic genus, but the chromatic phthora nenano makes it end in the plagios devteros (E). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nenano」の詳細全文を読む スポンサード リンク
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