SOME THOUGHTS ON THE SO CALLED GREAT HYPOSTASES OF THE MIDDLEBYZANTINE NOTATION

SOME THOUGHTS ON THE SO CALLED GREAT HYPOSTASES OF THE MIDDLEBYZANTINE NOTATION Professor, Ph.D. MARIA ALEXANDRU Aristotle University of Thessaloniki Maria ALEXANDRU - Born in Bucharest, 1969. She studied Music Pedagogy at the State Conservatory "Ciprian Porumbescu" in Bucharest, Musicology, Latin Philology and Byzantinology at Bonn University and Byzantine Studies at Copenhagen University, with J. Raasted and Chr. Troelsgård. In 2001 she got her Ph.D. degree at Copenhagen University, with a dissertation about the Megala Semadia of the Middle Byzantine Musical Notation. During her postgraduate studies she was a fellow of the Studienstiftung des Deutschen Volkes, and during her postdoctoral studies of the foundation Alexander von Humboldt. Since 2002 she teaches Byzantine music at the School of Music Studies of the Aristotle University of Thessaloniki (since 2009 assistant professor). She participated at many international congresses and gave master classes in Palaeography of Byzantine Music. Her scientific work contains 2 books and more than 30 articles, mainly in the field of palaeography, analysis, historiography and didactics of Byzantine Chant. ABSTRACT Some of the most discussed topics in the field of Byzantine musical palaeography are the so-called great hypostases of the Middlebyzantine notation. The present paper provides some general information on the name, historical evidence, graphic forms and musical significance of these signs, according to the recent research conducted in the field. Future research will help to reveal the concrete musical meaning of the great hypostases, by focusing on the styles, genres and forms of Chanting Art, during the different periods of its historical presence. Keywords: Μegalai hypostaseis, megala semadia, Middlebyzantine notation, theseis-formulas, energeia, exegeză, cheironomia Palaeography of Byzantine Chant is a fascinating field which attracted the attention of many scholars in East and West during the last centuries. Among the mostly discussed themes belong the so called great hypostases of the Middlebyzantine notation. In the text below, some overview-information about their names and historical evidence, graphical shapes and musical meaning is given according to recent research conducted in this area 15. 15 This paper presents the english version of the lemma on great hypostaseis published in Russian language in the Православная Энциклопедия, vol. ΧΧVI, Moscow 2011, p. 176-180. I would like to thank Mr. Sergej Nikitin and his collaborators for their interesting questions and observations, which helped to improve this text. 47

1. Terminology and evidence Μegalai hypostaseis literally means great supports/foundations/plans, whereas in rhetorics the term hypostasis designates a figure consisting in the full expression or expansion of an idea ([45, 1895]). In Byzantine Chant the concept of great hypostases (μεγάλαι ὑποστάσεις, in the following abbreviated as MY) has been developed in connection with the Middlebyzantine notation (12 th -middle of 19 th cent.) and is closely related to the cheironomia, i.e. the art of conducting the choir with specific movements of the hands [30], [34], [26]. However, many shapes of MY occur as complex signs already in Palaeobyzantine notation (middle of 10 th - end of 12 th cent.; cf. [24]), and some of the MY survive until today, in the context of Newbyzantine notation (since 1814; cf. [6], [27]). In theoretical treatises from the 14 th cent. onwards, the term MY is used as a synonym to megala semadia (μεγάλα σημάδια, big signs) or aphona semadia (ἄφωνα σημάδια, voiceless signs, which are beyond the measuring of intervals by voices, i.e. by intervals of seconds). It denotes a group of around 40 signs, opposed to the interval-signs, the so-called emphona semadia (ἔμφωνα σημάδια, voiced signs, which are measured by intervals of seconds: see below, example 2 A and D). 2. Names, shapes and functions Example 1 displays a list of MY from the Protheory found in ms St. Petersburg Public Library, gr. 494, f. 2v-3r, from the 14 th cent. The list is entered with the following rubric (on f. 2r): "About the other figures (σχήματα) of the great cheironomy, which are also called great hypostases" (cf. [5, 35-81] and facsimiles on plates Ι-ΧΙV). It comprises 40 simple and composed signs, including some of the great lengthening signs and different phthorai (modulation and/or alteration signs). In later lists, the phthorai form an independent category of signs, whereas some of the lengthening signs still remain in the list of MY (see example 2, B, C, D). In his famous treatise on Church Music, Gabriel Hieromonachos (15 th cent.) lists the following 36 megala semadia: diple, parakletike, kratema, kylisma, antikenokylisma, tromikon, strepton, tromikosynagma, psephiston, psephistosynagma, gorgon, argon, stauros, antikenoma, homalon, thematismos eso, heteros exo, epegerma, parakalesma, heteron, xeron klasma, argosyntheton, gorgosyntheton, ouranisma, apοderma, thes kai apothes, thema 48

haploun, choreuma, psephistoparakalesma, tromikoparakalesma, piasma, seisma, synagma, enarxis, lygisma, bareia [10, lines 290-297]. Generally he states that the big signs, similar to the prosodic signs in grammar, serve for the orientation in the musical text and establish rhythm, dynamics and "other ideas" of the melody (10, lines 241-250). He explains the MY one by one, on the base of their etymology. Thus, for the epegerma (from ἐπεγείρω = awaken, excite, erect: [45, 612-613]), Gabriel argues: "The epegerma comes suddenly like a fall of a mountain-stream and renders the intervals" (10, lines 363-364). Neume-lists and didactic songs of the Byzantine and Post-Byzantine period give a representative selection of the formulas (so-called theseis) connected to the MY. In example 3 different graphic shapes of the epegerma-sign are displayed, together with the epegermathesis, as well as its slow exegesis by Chourmouzios Chartophylax from the beginning of the 19 th century. This slow exegesis represents the traditional decoding-rendition of the epegerma according to the forms of interpretation and composition called dromos (which literally means 'way') organikos and argon melos (cf. Apostolos Konstas Chios beginning of 19 th cent.). 3. Colours, positions, frequency in use In the manuscripts with Middlebyzantine notation the MY can be written with black or red ink. In late tradition (Apostolos Konstas Chios, beginning of the 19 th cent.), the difference of color has been connected to the meaning of the sign, i.e. full energeia in the case of black ink, half energy for those signs written in red. Energeia is a terminus technicus for the musical effect produced by the different interval signs and the MY. "Full energy" means a complete, a long display of the musical effect of the correspondent sign, "half energy" means a shorter display. The MY are usually placed below the interval signs. While the early, developed and fully developed Middlebyzantine notations make a moderate use of MY (mostly written in black ink), the late Middlebyzantine notation, which is connected to the creation and transmission of the kalophonic chant (mainly from the beginning of the 14 th cent. onwards) increases both the number and the species of MY, many of them being written in red. The opulent use of red MY in the new embellished style of the Renaissance of Byzantine Chant (1650-1720, according to Chatzigiakoumis), can be connected to the graphic codification of the cheironomy, in a period where the skillful Byzantine art of conducting begins to fall into oblivion. During the same period (from 1670 onwards, with Balasios the Priest) and as a parallel phenomenon, the written musical exegesis makes its appearance, with the notation of 49

the sound picture, the so-called melos, in a more analytic way, i.e. with the use of more interval signs and lesser species of MY [35]. 4. Musical meaning The musical meaning of the MY has been inquired by many scholars from the end of the 18 th cent. until today (e.g. Villoteau, Thibaut, Fleischer, Psachos, Tillyard, Wellesz, Conomos, Karas, Floros, Stathis, Amargianakis, Apostolopoulos, Arvanitis, Troelsgård a.o.). The hermeneutic attempts of many Western palaeographers focused on the MY as expression marks, whereas traditional scholars in Greece emphasized the connection of the MY to different forms of exegesis, especially their role of expansion of the melos in the slow way of interpretation (see example 3 below). Αccording to the present status quaestionis, we can conclude that the MY belong to a musical tradition where the oral transmission has a decisive role. In the Middlebyzantine notation, the MY were related to the structuring of the music and to its musical shaping (Gestaltung) in the areas of a) time (rhythm, agogics), b) modal space (different levels of ornamentation, from simple embellishments to complex transformations of the melodic skeleton, and modulations/alterations) and c) expression (dynamics, articulation, colouring, phrasing, character). More precisely, we refer to the complex role of the MY as demonstrated by the traditional way of rendition, i.e. according to the different types of musical exegesis. The concept of ornamentation in Byzantine chant designates a multi-level phenomenon and cannot be reduced to simple colouring in the modern acception of Western music of the last three centuries. The ornamentation in the melismatic types of exegesis [18] can involve expansions of the melodic ambitus and of the modal area through modulations. Thus, the score in Middlebyzantine notation for a piece belonging to the papadic or the old sticheraric genre appears like a musical skeleton, i.e. it shows only the structural tones, the basic notes, what we propose to be called the metrophonic structure (i.e. the measurable basic intervals) of the melodic line, which, however, has to be rendered in a specific melismatic way, according to the oral tradition, in order to arrive at the appropriate melossound picture of that piece. For more details, the reader could look at Alexandru, [14], especially vol. I, p. 196-362 and vol. III, p. 8-112. The MY were responsible for the neume-text on the level of its performance, i.e., they designate how to perform a musical piece, how to shape it (musikalische Gestaltung) in the areas of rhythm, modal space and expression. 50

They made memorizing easier, for, in order to memorize something easier, one needs to understand the structure. The MY help exactly to this end, because they allow to identify very quickly the different theseis-formulas by which one phrase, one period, or the whole piece is constituted. They also permitted the singers and composers to have recourse to their know-how rapidly: the shape of the MY, often in red ink, as well as the cheironomic gestures function like an impulse to the brain, to recall rapidly the traditional form of rendition for each thesisformula, i.e. to remember at once the specific rhythm, ornaments, modulations, dynamics, articulation, colouring, phrasing, character which belong to the respective thesis according to the oral tradition. The reader can find more details on these issues, by studying the two important texts by Sloboda and Danuser. See also Alexandru, [14], vol. I, especially p. 196-197, 237-286, 302-362. Until at least the 17 th cent., the MY were connected to an elaborate gesticulation (cheironomia). Furthermore, it became obvious that there exists a stratification of decoding forms. That means that there are different types of exegesis, i.e. of traditional decondingchanting of the pieces written with Middlebyzantine notation (syllabic, short melismatic and long melismatic (cf. works by Karas and Arvanitis cited in the bibliographical list). This leads to different ways of interpretation of the whole notation. It is very important to understand that the exegesis refers to the entire piece, to all its signs, not only to the MY (this was a point which lead to confusions in the older bibliography). The Middlebyzantine neumes developed during the centuries into a context sensitive notation [43], where the concrete meaning of each MY can depend on several factors: a. the style (e.g. old or classic, kalophonic, new embellishment, new short style), the genre (e.g. sticheraric or papadic), form (e.g. doxastikon or cheroubikon), the way of interpretation (the so-called dromos, connected to the musical texture of the piece, e.g. fastsyllabic, slow-melismatic), the tempo, b. the formula and its position in the musical phrase, c. the mode and the melodic degree where the formula occurs, d. the conditions of performance (degree of festivity, place, choral or solistic performance) as well as the performance style (of a school, of a singer). A context insensitive transcription of the MY into staff notation could only be considered as a kind of diplomatic transcription [29]. Palaeographic studies conducted during the last decade and hopefully also future research will help to reveal the concrete 51

musical meaning of the MY, by focusing one by one the styles, genres and forms of the Chanting Art, during the different periods of its historical presence. BIBLIOGRAPHY 1. Chant collections [1] Ταμεῖον Ἀνθολογίας, Βιβλιοθήκη Ἐκκλησιαστικῆς Μουσικῆς Β. Ρηγοπούλου, vol. I,1, Ρηγόπουλος, Thessaloniki 1980 2. Theoretika [2] ALEXANDRU, Maria, Koukouzeles Mega Ison. Ansätze einer kritischen Edition, CIMAGL, 66, 1996, p. 3-23 [3] ΑΠΟΣΤΟΛΟΠΟΥΛΟΣ, Θωμάς, Ὁ Ἀπόστολος Κώνστας ὁ Χῖος καὶ ἡ συμβολή του στὴν θεωρία τῆς Μουσικῆς Τέχνης. Μουσικολογικὴ θεώρηση ἀπὸ ἄποψη ἱστορική, κωδικογραφική, μελοποιητικὴ καὶ θεωρητική, ΙΒΜ, Μελέται 4, ed. Γρ. Στάθης, Athens, 2002 [4] ΧΡΎΣΑΝΘΟΣ ἐκ Μαδύτων, Ἀρχιεπίσκοποσ ΔΙΡΡΑΧΊΟΥ, Θεωρητικὸν μέγα τῆς μουσικῆς, ed. Π. Πελοπίδης, Τυπογραφία Μιχαὴλ Βάϊς, Trieste 1832, repr. Κουλτούρα [5] GABRIEL Hieromonachos, Abhandlung über den Kirchengesang, edd. Christian Hannick/Gerda Wolfram, CSRM 1, Verlag der Österreichischen Akademie der Wissenschaften, Vienna, 1985. [6] GERTSMAN, Evgeny Vladimirovich, Petersburg Theoreticon, Odessa, 1994 [7] ΚΑΡΑΣ, Σίμων, Μέθοδος τῆς Ἑλληνικῆς Μουσικῆς. Θεωρητικόν, 2 vols., Σύλλογος πρὸς Διάδοσιν τῆς Ἐθνικῆς Μουσικῆς, Athens, 1982 [8] ΜΑΥΡΟΕΙΔΗΣ, Μάριος, Οι μουσικοί τρόποι στην Ανατολική Μεσόγειο. Ο βυζαντινός ήχος, το αραβικό μακάμ, το τούρκικο μακάμ, Fagotto, Athens, 1999 [9] DAMASKENOS Pseudo-Johannes, Die Erotapokriseis zum Kirchengesang, edd. G. Wolfram/Chr. Hannick, CSRM 5, Verlag der Österreichischen Akademie der Wissenschaften, Vienna, 1997 [10] VILLOTEAU, Guillaume-André, "De l état actuel de l art musical en Égypte", Description de l Égypte, vol. 14, État moderne, 2 nd ed., Imprimerie C.L.F. Panckoucke, Paris 1826 3. Secondary bibliography [11] *** Byzantine Chant, Tradition and Reform. Acts of a Meeting held at the Danish Institute at Athens, 1993, ed. Chr. Troelsgård, Monographs of the Danish Institute at Athens, vol. 2, Athens, 1997 [12] ALEXANDRU, Maria, Ἐξηγήσεις καὶ μεταγραφὲς τῆς βυζαντινῆς μουσικῆς. Σύντομη εἰσαγωγὴ στὸν προβληματισμό τους, University Studio Press, Thessaloniki, 2010 [13] ALEXANDRU, Maria, Zu dem Neumenkomplex Kylisma, Antikenokylisma, Lygisma in der Byzantinischen Musik, "Palaeobyzantine Notations III", Acta of the Congress held at Hernen Castle, The Netherlands, in March 2001, ed. G. Wolfram, A.A. Bredius Foundation, Peeters, Leuven Paris Dudley, MA, Eastern Christian Studies, 4 (2004), p". 243-297 [14] ALEXANDRU, Maria, Studie über die grossen Zeichen der byzantinischen musikalischen Notation, unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts, 3 vols., Dissertation, University of Copenhagen, 2000 [15] AMARGIANAKIS, George, The Interpretation of the Old Sticherarion, "Byzantine Chant", pp. 23-51 [16] ΑΡΒΑΝΙΤΗΣ, Ιωάννης, Ἡ ρυθμικὴ καὶ μετρικὴ δομὴ τῶν βυζαντινῶν εἱρμῶν καὶ στιχηρῶν ὡς μέσο καὶ ὡς ἀποτέλεσμα μιᾶς νέας ρυθμικῆς ἑρμηνείας τοῦ βυζαντινοῦ μέλους, Οἱ δύο ὄψεις τῆς ἑλληνικῆς μουσικῆς κληρονομίας. Ἀφιέρωμα εἰς μνήμην Σπυρίδωνος Περιστέρη, Πρακτικά τῆς Μουσικολογικῆς Συνάξεως 10-11 Νοεμβρίου 2000, ed. Ε. Μακρής, Ἀκαδημία Ἀθηνῶν, Δημοσιεύματα τοῦ Κέντρου Ἐρεύνης τῆς Ἑλληνικῆς Λαογραφίας ἀρ. 18, Athens, 2003, pp. 151-176 52

[17] ΑΡΒΑΝΙΤΗΣ, Ιωάννης, Ἐνδείξεις καὶ ἀποδείξεις γιὰ τὴν σύντομη ἑρμηνεία τοῦ Παλαιοῦ Στιχηραρίου, Θεωρία καὶ Πράξη τῆς Ψαλτικῆς Τέχνης. Τὰ γένη καὶ τὰ εἴδη τῆς βυζαντινῆς ψαλτικῆς μελοποιΐας. Πρακτικὰ Β' Διεθνοῦς Συνεδρίου Μουσικολογικοῦ καὶ Ψαλτικοῦ, Ἀθήνα, 15-19 Ὀκτωβρίου 2003, ed. Γρ. Ἀνασταστίου, Ἱερὰ Σύνοδος τῆς Ἐκκλησίας τῆς Ἑλλάδος, ΙΒΜ, Athens 2006, pp. 233-253 [18] ΑΡΒΑΝΙΤΗΣ, Ιωάννης, Ο ρυθμός των εκκλησιαστικών μελών μέσα από τη παλαιογραφική έρευνα και την εξήγηση της παλαιάς σημειογραφίας. Η μετρική δομή των παλαιών στιχηρών και ειρμών, 2 vols., Dissertation, University of Corfu 2010 [19] ΑΡΒΑΝΙΤΗΣ, Ιωάννης, A Way to the Transcription of Old Byzantine Chant by means of Written and Oral Tradition, Byzantine Chant, pp. 123-141 [20] ΧΑΤΖΗΓΙΑΚΟΥΜΗΣ, Μανόλης, Ἡ ἐκκλησιαστικὴ μουσικὴ τοῦ Ἑλληνισμοῦ μετὰ τὴν Ἅλωση (1453-1820). Σχεδίασμα Ἱστορίας, Κέντρον Ἐρευνῶν & Ἐκδόσεων, Αthens, 1999 [21] CONOMOS, Dimitri, Byzantine Trisagia and Cheroubika of the Fourteenth and Fifteenth Centuries. A Study of Late Byzantine Liturgical Chant, Πατριαρχικό Ίδρυμα Πατερικών Μελετών, Thessaloniki, 1974 [22] FLEISCHER, Oskar, Die spätgriechische Tonschrift, Verlag von Georg Reimer, Berlin, 1904 [23] FLOROS, Constantin, Die Entzifferung der Kondakarien-Notation, "Musik des Ostens", 3, 1965, p. 7-71 & "Musik des Ostens", 4, 1967, pp. 12-44 [24] FLOROS, Constantin, Universale Neumenkunde, 3 vols., Bärenreiter-Antiquariat Kassel, Kassel, 1970 [25] HAAS, Max, Byzantinische und slavische Notationen, Arno Volk-Verlag, Cologne, 1973, in: Paläographie der Musik, Βd. I. Die einstimmige Musik des Mittelalters, mit einer Einleitung von Wulf Arlt und Beiträgen von Solange Corbin, Μax Ηaas und Ewald Jammers, Cologne, 1979 [26] HICKMANN, Ellen, Handzeichen, MGG, vol. 4 (1996), col. 6-14 [27] ΚΑΡΆΣ, Σίμων, Ἡ βυζαντινὴ μουσικὴ παλαιογραφικὴ ἔρευνα ἐν Ἑλλάδι, Athens, 1976 [28] ΚΑΡΆΣ, Σίμων, Ἡ ὀρθὴ ἑρμηνεία καὶ μεταγραφὴ τῶν βυζαντινῶν μουσικῶν χειρογράφων, Ἀνάτυπο ἐκ τῶν Πεπραγμένων τοῦ Θ Διεθνοῦς Βυζαντινολογικοῦ Συνεδρίου Θεσσαλονίκης, τ. Β, Ἀθήνα 1955, repr. Σύλλογος πρὸς Διάδοσιν τῆς Ἐθνικῆς Μουσικῆς, Αthens 1990, pp. 140-149, plates 1-9 and additional pages α -θ [29] LINGAS, Alexander, Performance Practice and Politics of Transcribing Byzantine Chant, Le chant byzantin: état des recherches. Actes du colloque tenu du 12 au 15 décembre 1996 à l Abbaye de Royaumont, Centrul de Studii Bizantine Iaşi, "Acta Musicae Byzantinae", 6, 2003, pp. 56-76: http://www.csbi.ro/gb [30] MORAN, Neil K., Singers in Late Byzantine and Slavonic Paintings, "Byzantina Neerlandica", 9, Leiden, 1986. [31] PANAGIOTIDIS, Panagiotis, The Automelon-Prosomoion O marvellous wonder! in the First Authentic Mode and its Forms of Composition, in: "Παναγιώτης Παναγιωτίδης", Θέματα Ψαλτικής. Μελέτες στήν Εκκλησιαστική Μουσική, Ψαλτικά Ανάλεκτα 2, Εκδόσεις Επέκταση, Κατερίνη, 2003, pp. 161-192 [32] ΨΆΧΟΣ, Κωνσταντίνος, Ἡ Παρασημαντικὴ τῆς Βυζαντινῆς Μουσικῆς, α ἔκδ. Ἀθῆνα 1917, 2 nd ed Γ. Χατζηθεοδώρου, Ἐκδόσεις Διόνυσος, Athens, 1978 [33] SLOBODA, John, The musical mind. The Cognitive psychology of music, Oxford Psychology Series, 5, Oxford, 1985 [34] ΣΠΥΡΑΚΟΥ, Ευαγγελία, Οἱ χοροὶ ψαλτῶν κατὰ τὴν βυζαντινὴ παράδοση, IBM, Μελέται 14, ed. Γρ. Στάθης, Athens, 2008. [35] ΣΤΑΘΗΣ, Γρηγόριος, Οἱ ἀναγραμματισμοὶ καὶ τὰ μαθήματα τῆς βυζαντινῆς μελοποιΐας, IBM, Μελέται 3, 2 nd ed., ἐκδίδουν ὁ Μητροπολίτης Κοζάνης Διονύσιος καὶ ὁ Γρ. Στάθης, Athens, 1992 [36] ΣΤΑΘΗΣ, Γρηγόριος, Ἡ ἐξήγησις τῆς παλαιᾶς βυζαντινῆς σημειογραφίας, ΙΒΜ, Μελέται 2, ἐκδίδουν ὁ Μητροπολίτης Κοζάνης Διονύσιος καὶ ὁ Γρ. Στάθης, Athens, 1978. Ἡ παλαιὰ βυζαντινὴ σημειογραφία καὶ τὸ πρόβλημα μεταγραφῆς της εἰς τὸ πεντάγραμμον, "Βυζαντινά", 7, 1975, pp. 193-220, 427-460. 53

[37] ΣΤΑΘΗΣ, Γρηγόριος, «Δειναὶ θέσεις» και «Ἐξήγησις», "Jahrbuch der Österreichischen Byzantinistik", 32/7, 1982, p. 49-61 [38] THIBAUT, Jean-Baptiste, Έtude de Musique Byzantin. La Notation de Koukouzélès, "Izvestija Russkago Archeologičeskago Instituta v Konstantinopole", vol. 2, fasc. 2-3, Sofia 1901, pp. 361-396 [39] TILLYARD, Henry Julius Wetenhall, Handbook of the Middle Byzantine Musical Notation, MMB Subsidia I,1, Copenhague 1935, 2nd ed. 1970 [40] TROELSGÅRD, Christian, A New Introduction to the Middle Byzantine Musical Notation, MMB Subsidia IX, Museum Tusculanum Press, Copenhagen (forthcoming) [41] TROELSGÅRD, Christian, "The Rôle of Parakletike in Palaeobyzantine Notations", Palaeobyzantine Notations. A Reconsideration of the Source Material, edd. J. Raasted & Chr. Troelsgård, A.A. Bredius Foundation, Hernen, 1995, pp. 81-117 [42] WELLESZ, Egon, A History of Byzantine Music and Hymnography, 2 nd ed. revised and enlarged, Clarendon Press, Oxford, 1962 [43] YANNOU, Dimitrios: see Πρακτικά της αριθ. 225/18.12.01 κοινής συνεδρίασης του Εκλεκτορικού Σώματος και της Γενικής Συνέλευσης του Τμήματος Μουσικών Σπουδών της Σχολής Καλών Τεχνών, Αριστοτέλειο Πανεπιστήμιο Θεσσαλονίκης, p. 9 4. Dictionaries [44] * * * Collins German-English, English-German Dictionary, 3 rd ed., Collins, Glasgow 1999 [45] LIDDELL, Henry George, SCOTT, Robert, JONES, Henry Stuart, McKENZIE, Roderick, A Greek-English Lexicon, With a Supplement 1968, Clarendon Press, Oxford 1990 [46] DANUSER, Hermann, "Vortrag", Musik in Geschichte und Gegenwart, ed. L. Finscher, Kassel, Basel, London, New York, Prag, 1998 2, vol. 9, col. 1817-1836 54

Example 1. The great hypostases from the Protheory in St. Petersburg, Public Library gr. 494, f. 2v-3r, 14 th cent. (Source: Gertsman, Theoreticon, plates IV-V) 55

56 Example 2. The great hypostases in the context of the classification of Middlebyzantine neumes, according to the Protheory of the Papadike (main source: Vat. Barberinus gr. 300, f. 2r-4v, 15th cent.: cf. Floros, Universale Neumenkunde, vol. III, facsimiles 3-6). In this example all the names of the neumes are transliterated phonetically, in order to give a clear idea about the actual pronunciation of the basic terminology of Byzantine Chant.

57

Example 3. A case study: the epegerma. In the two staves, the formula from the Mega Ison poem of St. John Koukouzeles is shown: a. after EBE 2458, with a transnotation where the alto-clef is used, in order to facilitate the comparison with b. the transcription after Chourmouzios long exegesis, taken from Ταμεῖον Ἀνθολογίας, vol. I,1, Rigopoulos, Thessaloniki 1980, p. 460-461. Below the staff, some syllables of the pseudoparallage are indicated (ΨΚε = Pseudo-Ke, transposed Ke). See also Floros, Universale Neumenkunde, vol. I, p. 144-146. Alexandru, Studie, vol. I, p. 121, vol. II, p. 45, vol. III, p. 3. 58