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(詳細はGreek: ;〔The female form ' exists as well, but means the book octoechos.〕 from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмогласие, ''Osmoglasie'' from о́смь "eight" and гласъ "voice, sound") is the name of the eight mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic Orthodox chant today. From a Phanariot point of view, the re-formulation of the Octoechos and its melodic models according to the New Method was neither a simplification of the Byzantine tradition nor an adaption to Western tonality and its method of an heptaphonic solfeggio, just based on one tone system (σύστημα κατὰ ἑπταφωνίαν). Quite the opposite, as a universal approach to music traditions of the Mediterranean it was rather based on the integrative power of the psaltic art and the Papadike, which can be traced back to the Hagiopolitan Octoechos and its exchange with Oriental music traditions since more than thousand years. Hence, the current article is divided into three parts. The first is a discussion of the current solfeggio method based on seven syllables in combination with the invention of a universal notation system which transcribed the melos in the very detail (Chrysanthos' ''Theoretikon mega''). The second and third part are based on a theoretical separation between the ''exoteric'' and the ''esoteric'' use of modern or Neobyzantine notation. "External" (ἐξωτερική) music meant the transcription of patriotic songs, opera arias, traditional music of the Mediterrean including Ottoman makam and Persian music, while "internal" (ἐσωτερική) pointed at the papadic tradition of using Round notation with the modal signatures of the eight modes, now interpreted as a simple pitch key without implying any cadential patterns of a certain echos. In practice there had never been such a rigid separation between ''exoteric'' and ''esoteric'' among Romaic musicians, certain exchanges—with makam traditions in particular—were rather essential for the redefinition of Byzantine Chant, at least according to the traditional chant books published as "internal music" by the teachers of the New Music School of the Patriarchate. ==Transcribing the theseis of the melos and the makam music== Unlike Western tonality and music theory the universal theory of the Phanariotes does not distinguish between major and minor scales, even if they transcribed Western polyphony into Byzantine neumes, and in fact, the majority of the models of the Byzantine Octoechos, as they are performed in Mediterranean churches by traditional singers, would lose their proper intonation and expression, if they were played on a conventionally tuned piano. Exactly the familiarity with microtonal intervals was an advantage, which made the Chrysanthine or Neobyzantine notation as a medium of transmission more universal than any Western notation system. Among others even Western staff notation and Eastern neume notation had been used for transcriptions of Ottoman classical music, despite their specific traditional background. The transcription into the reform notation and its distribution by the first printed chant books were another aspect of the Phanariotes' universality. The first source to study the development of modern Byzantine notation and its translation of Papadic Notation is Chrysanthos' "Long Treatise of Music Theory". In 1821 only a small extract had been published as a manual for his reform notation, the Θεωρητικόν μέγα was printed later in 1832.〔Nevertheless, the reception of Chrysanthos' ''Mega Theoretikon'' had already started before its late publication. Vasileios Nikolaides' "Theoretical and Practical Grammar of Music" (Iaşi 1825) which paraphrased and restructured the first 4 books of part I into 3 books, might serve here as an example (Sofia, Sv. Kyrill and Method National Library, (Ms. gr. 90 )). Parts of this manuscript which had obviously been of particular interest like the ''trochos'' image of § 68 (lost between folio 16 verso and 17 recto), had been torn out. Based on manuscripts in Chrysanthos' leavings, there have been later publications in his name.〕 Like the Papadic method, Chrysanthos described first the basic elements, the phthongoi, their intervals according to the genus, and how to memorise them by a certain solfeggio called "parallage." The thesis of the melos was part of the singers' performance and it included also the use of rhythm. 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「Neobyzantine Octoechos」の詳細全文を読む スポンサード リンク
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