Proceedings of the 1st International Conference of the ASBMH page 530

Proceedings of the 1st International Conference of the ASBMH page 530 TheUseofEasternMusicalModesinByzantineCompositionsDuringth19 th and 20 th Century ByFr.Romanos(Rabih)Joubran The Byzantine Music is from this world, yet it is directed to those who are not from this world, I mean to our God and His Saints. Therefore the Byzantine music has the same characteristics that have every kind of music of thisworld, buthasalsosomethingspecial,aspecialtastethatdefersfromanyotherkindof music. In this regard, I think that Saint John of Damascus tried to pick up the modes, which were in use at that time, and could be in harmony with the Church sspirit.thechantersofthechurchafterhimtriedtodevelopthiskind of music using there God given talents. But are there any criteria, or any boundaries,thatallowustodeterminewhatkindofmusicisbyzantine? Ο δε διάδοχος του Ιωάννου Δανιήλ ο Πρωτοψάλτης τα αυτά αρυσάμενοςαπότουδιδασκάλουπαναγιώτου,τονεξηγηματικόν αυτόν τρόπον ήθελε να μιμήται, καθώς βλέπομεν εις τον πολυέλεόντουκαιειςτηνδοξολογίαντου,διατούτοευρίσκονται εις τα μέλη τούτου θέσεις καινότροπαι και τοιαύται, οίας δεν μετεχειρίσθησανούτεοιπροαυτούψαλμωδοί,ούτεοιμετ αυτόν, διάταςοποίαςκαιτολμώσιτινέςδι αμάθειαννατονκατηγορώσι. Διότι επειδή ούτος επεχείρισε να εισάγη εις τα εκκλησιαστικά μέληκαιεξωτερικά,δηλαδήμέληταοποίαεσυνειθίζοντοειςτον καιρόν του παρά τοις οργανικοίς μουσικοίς, ά τινα δεν ήτον δυνατόν να γράφωνται με τας παλαιάς της εκκλησιαστικής μουσικήςθέσεις,ηναγκάσθηνανεωτερίζη.φίλοςδεώνοδανιήλ Ζαχαρία τω Χανεντέ, εμάνθανε παρ αυτού πολλά περί της εξωτερικής μουσικής, ωσαύτως και ο Ζαχαρίας εδιδάσκετο παρά τουδανιήλαμοιβαίωςεκκλησιαστικάμέλη. 342 I started with this excerpt of Chrysanthos(1770 1843), to show that even in the ecumenical Patriarchate, where the ecclesiastical rules were strictly observed, thereweretendenciesbetweenthechantersofthegreatchurchofchristtoadd hybridmelodiestothebyzantinemusic. 342 ΧρύσανθουτουεκΜαδυτών,ΘεωτητικόνΜέγατηςΜουσικής,ενΤεργέστη1832,Μέρος Δεύτερον,σελ.XLIX

Proceedings of the 1st International Conference of the ASBMH page 531 The theorists of Byzantine music tried to make a comparison between the ByzantinemodesandtheEasternones,whicharetheGreek,ArabicandTurkish. We can realize this for instance in the theory of Apostolos Konstas 343, in Khrysanthos theory, in Simon Karas theory, where the Byzantine Music is the GreekMusic 344,andwithMavroeidiswherewehaveafullcomparisonbetween thebyzantine,thearabic,andtheturkishmusic 345.Thisisduetothesimilarity between these modes on the scales level. And as we have read in the excerpt fromkhrysanthos,thecomposerstriedtointroduceintherecompositionssome of these Oriental modes, and they used also Oriental styles, as for instance the transpositions, modulations I personally find this natural because of the interchange of cultures, especially in our region. But with the publication of ByzantineMusicbooksinthebeginningofthe19 th century,westartedtoseenew compositions which do not belong to the Byzantine Modes (I will explain it later). From this point I will speak of the use of the non Byzantine melodies in the Byzantine Modes, and I will concentrate on the introduction of non Byzantine ModesintheByzantineMusicalbody. TheuseofnonByzantinemelodies ThroughoutthecenturiesByzantinecomposers,whowerealsowellinstructedin worldly classical music (Greek, Turkish, Persian, Arabic), and some of whom were even songs composers (Petros Lampadarios, Grigorios Protopsaltis, Dimitrios Murr, ), adapted some foreign modes and melodies to the Byzantinestyle.ButtheytriedtopreservetheByzantineshape,whichsounded likewearingforeignvestments 346. This does not include the similarity between the Byzantine modes and the foreignonesdueto theuseofthelawofattraction(έλξεις).forinstance,ifwe executetheattractioninthefirstmodeonthetonedhi(dhib)itwillresemble thesabamaqam,butinthecaseofthefirst modesthereisnoconcentrationon thehijazonfa,whichisthecharacteristicofthesaba. Onthecontrary,ifweuseaflatKeinthesecondmodeplagal,whichisnotfrom itscharacteristics,soitwillbethehijazgharibmaqam,andthismelodyissaid foreign. 343 See,Θ.Κ.Αποστολοπούλου,ΟΑπόστολοςΚώνσταςοΧίοςκαιηΣυμβολή τουστηθεωρία τηςμουσικήςτέχνής,αθήνα2002. 344 Σ.Ι.Καρά,ΜέθοδοςΕλληνικήςΜουσικής:Θεορητικόν,Αθήνα1982. 345 Μ.Δ. Μαυροειδής, Οι Μουσικοί Τρόποι στην Ανατολική Μεσόγειο: Ο Βυζαντινός Ήχος, το ΑραβικόΜακάμ,τοΤουρκικόΜακάμ,Fagotto,Αθήνα,1999. 346 ΘεοδώρουΠ.Π.Φωκαέως,ΗΠανδώρα,ενΚωνσταντινουπόλει,1843.

Proceedings of the 1st International Conference of the ASBMH page 532 In our Byzantine compositions there are plenty of such melodies, and they are usedusuallyasornamentationandinordertoexpressemotionalfeelingssuchas distressandpain. (ΓρηγορίουΠρωτοψάλτου) Thisuseofsuchmelodieswasrestrictedtosomelinesintocompositions,dueto the strictness of the tradition concerning the shape of the style of chanting, especiallyinthestichiraricandhermologickind.butthiswasnotthecaseinthe Papadic kind(except the Cheroubicon and the Koinonicon), such as Magnificat anddoxologiescomposedaccordingtopapadickind,litourgika,polyeleon,and Trisagia, where the composer is free to some extend not only to use non Byzantinemelodies,butalsotocomposeaccordingtononByzantineModes. TheuseofnonByzantineModes

Proceedings of the 1st International Conference of the ASBMH page 533 What is very significant and important to discuss, in my opinion, is the compositions according to foreign Modes, as for instance this Litourgika accordingtomaqamsaba. IamtalkinghereabouttheforeignmodesthatarenotsimilartoanyByzantine mode.thereforeiwouldliketomakeabriefcomparisonbetweenthebyzantine Clasical ModesandtheArabicMaqamswhicharesimilar. This comparison is according to the major scales of each mode and maqam, so we should say: this mode is like this maqam, but not the same, because each modeormaqamhasitsowncharacteristics. ByzantineModes ArabicMaqams FirstMode OnPa BayationD OnKe HousaynionA Second Mode OnDhi OnVou OnPa HizazonG HouzamonE HizazonD

Proceedings of the 1st International Conference of the ASBMH page 534 ThirdMode Fourth Mode Firstplagal Mode OnDhi OnVou Legetos OnPa OnDhi Chromatic OnVou OnPa OnKe JiharkeonF NawaonG SigaonE BayationD HizazonRewithendingon G Houzam BayationD HousaynionA Secondplagal Mode Thirdplagal ModeorVarys OnPa HizazonD OnVou HouzamonE OnGha JiharkeonF OnZo OuraqonH Fourthplagal Mode OnNi RastonC OnGha JiharkeonF Surprisinglyamongthefirstpublishedcompositionsaccordingtoforeignmodes weresomeworksofthetwoteachersofthenewmethod,gregoriosprotopsaltis (1777 1822) and Khourmouzios khartophilax ( ; 1840). Gregorios composed a Doxology on maqam Bastana Kar (Varys with Saba on Gha), another one on AjemKourd(FirstplagalwithZoandVouflat),andathirdonSouzinak(Fourth Plagal with second). Khourmouzios composed a Doxology on Ajem Oushairan (VaryswithZoandVouflat). I will restrict my example to some Doxologies, Liturgika, and Magnificat, becauseithinkitwillbemorethanenoughtoshowmypoint.

Proceedings of the 1st International Conference of the ASBMH page 535 MaqamAjamKourd (DimitriosMurrProtopsaltis1880 1969)

Proceedings of the 1st International Conference of the ASBMH page 536 MaqamSaba (KonstantinosPringos1892 1964)

Proceedings of the 1st International Conference of the ASBMH page 537 (ΚοσμάΜαδυτινού; 1901)

Proceedings of the 1st International Conference of the ASBMH page 538 MaqamAjam MaqamAjamOushairan

Proceedings of the 1st International Conference of the ASBMH page 539 (ΧουρμουζίουΧαρτοφίλακος)

Proceedings of the 1st International Conference of the ASBMH page 540 (DimitriosMurrProtopsaltis)

Proceedings of the 1st International Conference of the ASBMH page 541 Frigios (ΜιχαήλΧατζη Αθανασίου; 1948) (ΜιχαήλΧατζη Αθανασίου)

Proceedings of the 1st International Conference of the ASBMH page 542 MaqamSouzinak

Proceedings of the 1st International Conference of the ASBMH page 543 (ΠέτρουΕφεσίου; 1840)

Proceedings of the 1st International Conference of the ASBMH page 544 MaqamHijazKar (ΤριανταφύλλουΓεωργιάδου1870 1933)

Proceedings of the 1st International Conference of the ASBMH page 545 (DimitriosMurrProtopsaltis) (ΚοσμάΜαδυτινού)

Proceedings of the 1st International Conference of the ASBMH page 546 MaqamShahnazKourdi (ΚωνσταντίνουΨάχου1869 1949)

Proceedings of the 1st International Conference of the ASBMH page 547 MaqamNawaAtharonD

Proceedings of the 1st International Conference of the ASBMH page 548 MaqamShouri (ΠέτρουΦιλανθίδου19 ος αι.)

Proceedings of the 1st International Conference of the ASBMH page 549 MaqamFarahfaza (ΕυσταθίουΤιμωνίδη20 ος αι.καιδημητρίουβασιάδη20 ος αι.)

Proceedings of the 1st International Conference of the ASBMH page 550 MaqamHijazKarKourd (DimitriosMurrProtopsaltis)

Proceedings of the 1st International Conference of the ASBMH page 551 MaqamZanjaran (DimitriosMurrProtopsaltis)

Proceedings of the 1st International Conference of the ASBMH page 552 MaqamNahawand (DimitriosMurrProtopsaltis)

Proceedings of the 1st International Conference of the ASBMH page 553 WemayaddalsothefamousTrisagionofStanitsasonMaqamFarahNak (Θρασ.Στανίτσα1910 1987)

Proceedings of the 1st International Conference of the ASBMH page 554 Thesecomposersfacedaproblemofdefinition,wheretoputthesemodesinthe body of Byzantine music, which lead them to force these modes between the eightbyzantinemodes.sothehijazkarwillbeafourthmodeplagalchromatic (whichhasnorelationwhatsoeverwiththebyzantinefourthmodeplagal),and theshahnazkourdiwillbeafourthmodeplagalchromaicandhenarmonic Theseexamplesandmuchmore,publishedandunpublishedputusinacritical situation:towhichextendcanweacceptsuchmodesasbyzantine,andwhatare thecriteriatodefinebyzantinemusic? I think the answer in not so easy to find, especially in our region, where these foreignmodesareapartofourculture,thusnotforeignforus.therefore,would theybedefinedassuchwhenitcomestothespiritofthechurch?