Observations on the diastematic principles in Byzantine musical notations, with emphasis on Gregorios Mpounes Alyates’ method of metrophonia, and some links to analogous phenomena in Western Chant
Observations on the diastematic principles in Byzantine musical notations, with emphasis on Gregorios Mpounes Alyates’ method of metrophonia, and some links to analogous phenomena in Western Chant

Summary/Abstract: The starting point of our investigation is Oliver Strunk’s observation about the major importance of the adoption of diastematy in Middlebyzantine notation (Specimina notationum antiquiorum, ΜΜΒ VII, Pars Suppletoria, Copenhagen 1966, p. 1). The paper begins with a brief reference to the diastematy in the Hermoupolis-Notation, and some considerations on the gradual change from adiastematic Palaeobyzantine notation to diastematic Middlebyzantine neumes in comparison with the development of diastematic notations in Western Chant (part I with Ex. 1-8). In part II with Ex. 9-16, focus is shifted on the teaching of the Protopapadike, the later Papadikai and other theoretical texts about the intervals and the notion of metrophonia (intervallic counting, in different levels of theoretical and practical application), which represents a multi-stratified key-concept for the understanding of diastematy in Byzantine musical tradition. Part III with Ex. 17-24 concentrates on issues concerning the preparation of a critical edition of Gregorios Mpounes Alyates’ well-known didactic Method of metrophonia Ne, houtōs oun anabaine (first part of XVth cent.), which forms a precious guide both for the investigation of diastematy and musical texture, and represents a stable element of the late Papadike, transmitted up to the beginning of the XIXth century.

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