Oliver for Constantin Floros

Byzantinische Musiktheorie.
In: Vom Mythos zur Fachdisziplin. Antike und Byzanz (= Geschichte der Musiktheorie Bd. 2), ed. Fr. Zaminer and Th. Ertelt (Darmstadt, 2006), pp. 257-318. chapt. VIII (pp. 303-318) at Academia.edu.


Dear Constantin Floros

Welcome to the group about the Adria, Italian and Italobyzantine chant and thank you very much for this generous offer to rethink the relation between Palaeo Byzantine and early Latin notation systems. Some of your excerpts read like a comment to another discussion we had in the group dedicated to Old-Roman Chant:

CONCLUSIONS: My research published in 1970 led to the conclusion that the four Toni medii of Middle Latin music theory exactly correspond to the Byzantine Echoi mesoi and they were dependent on them. (p. 309).  My own comparative study of the neumes has provided the proof for Thibaut's thesis about the origins of the neumes  My research revealed, namely, that there are links between the Paleobyzantine signs and the Latin neumes.  The relationships go much further than has previously thought possible.  Minute studies of the neumes, as well as structural-semantic and semasiological comparisons between corresponding  signs led to the following results. (p. 314).  A careful analysis of these results leads to the conclusion that the West taken over the chant notation with certain changes directly from Byzantium and then developed it independently.  The objection that the transmission of Latin neumes already began in the 9th century, and that the Byzantine notation in contrast in the 10th century, can truly be declared invalid.  (p. 317).

I think your contribution about Byzantine music theory is worth a discussion of its own.

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