Echos
Sign in to saveEchos (Greek: 'sound', pl. echoi ; Old Church Slavonic: 'voice, sound') is the name in Byzantine music theory for a mode within the eight-mode system (oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant ("thesis of the melos"), differentiated according to the chant genre and according to the performance style ("method of the thesis"). It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam (since 1400 "maqam"), or a Persian parde (since 18th-century dastgah).
~22 min read
Article
18 sectionsContents
- Overview and semantics
- History and reconstruction
- {{lang|grc-Latn|Echemata}} of the dialogue treatise
- Echemata of the Papadikai and their modern interpretation
- Chrysanthos' exegesis of the papadic enechemata
- Protos echos
- Deuteros echos
- Tritos echos
- Tetartos echos
- Echos vs. maqam in eponymous compositional practice
- Cultural "relations"
- See also
- Sources
- Papadikai
- Treatises of the New Method (since 19th century)
- Anthologies of Makam Music
- Studies
- External links
Echos (Greek: 'sound', pl. echoi ; Old Church Slavonic: 'voice, sound') is the name in Byzantine music theory for a mode within the eight-mode system (oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant ("thesis of the melos"), differentiated according to the chant genre and according to the performance style ("method of the thesis"). It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam (since 1400 "maqam"), or a Persian parde (since 18th-century dastgah).
==Overview and semantics== The noun echos in Greek means "sound" in general. It acquired the specialized meaning of mode early on in the development of Byzantine music theory since the Octoechos reform in 692.