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Petros Peloponnesios ("Peter the Peloponnesian") or Peter the Lampadarios (c. 1730 Tripolis–1778 Constantinople) was a great cantor, composer and teacher of Byzantine music. He was ''lampadarios'' (leader of the left choir) between 1769 and 1773 at the Great Church of Constantinople. Large parts of the monodic chant sung in several current traditions of Orthodox Chant are transcriptions of his compositions, which he had written down as a teacher of the "Second New Music School of the Patriarchate". == Life == Petros was born at Tripolis (Morea) about 1730. According to Georgios Papadopoulos he was educated in the monastic communities of Smyrna. In 1764 he came to Constantinople to study with Ioannis Trapezountios, the domestikos in the right choir of the Great Church of Constantinople and he could serve there as second domestikos. Between 1769 and 1773 he became lampadarios (leader of the left choir). He followed his master as official teacher of the New Music School of the Patriarchate which he founded as the second generation in 1776 (Second Music School of the Patriarchate). He also taught Petros Byzantios and composed many exercises (mathemata) for his students.〔Note that "mathemata" (P. Tzanakes) usually referred to the kalophonic way to embellish the old stichera (sticheron kalophonikon, anagrammatismos). Its method was usually taught by John Koukouzeles' Mega Ison (Kyriazides 1896)〕 Within other musical traditions of the Ottoman empire Petros had a very exceptional knowledge of makamlar, probably even of Armenian chant, and he invented a new analytical way to use of Middle Byzantine notation. He also had the reputation of being a rather intrigant musician. On the one hand, Hafiz invited him and were very eager to learn even makam melodies from him, on the other hand, he was called "Hirsiz" (Thief) and "Hoca Petros" (Master Petros), because he had also students coming from a different traditional background. Since he could easily memorise compositions and he liked to change them and perform them in such a convincing way, that some musicians asked for his "permission", before they published them.〔Georgios I. Papadopoulos (1904) referred in his biography to a lot of anecdotes (for an English translation see the biography at the Patriarchal web site). Some of them are hardly credible like the one that he invented Hampartsoum notation and taught it to its real inventor, because he must have learnt it during an age between 8 and 10 years, when Petros died. It is rather a "thief story" about Petros, a compilation of different Ottoman anecdotes which had been now related to Petros and his time, but the historical circumstances reveal that Ottoman musicians did not have such an attitude of creating original music and copyright regulations did not even develop in Western Europe before the 19th century. When the dervish Rauf Yekta (1871–1935) found out, that Mevlevi compositions were performed by Maftirim brotherhoods in the synagogue of Galata, he was delighted by the well-skilled performance and the ritual context within the divine service. But it is well-known since the time of Dimitrie Cantemir that Phanariotes did have a profound interest in makam music and that they invented notation systems to record them.〕 He died at an age of 48 during a plague in Constantinople which killed a third of its population. 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「Petros Peloponnesios」の詳細全文を読む スポンサード リンク
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