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153. Theory and Practice of Exoterikon Melos as Attested in XIXth Century Printed Theoretical Editions.

Phd - Musicology
Ionian University, Music and Audiovisual Arts, Department of Music Studies
1999 - 2014
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SUMMARY
Theory and Practice of Exoterikon Melos as Attested in XIXth Century Printed Theoretical Editions.
On early XIXth century, Chrysanthos of Madytos proposed a revised version of the religion music notation established at his time. Also, he introduced a new theory concept, alluding the ancient Greek harmonic authors, although many of his mathematical calculations are erroneous – precisely, those concerning the intervallic and rhythmical material of liturgical and non liturgical music, a kind of secular music known as exoterikon melos. Early XIXth century is, also, the dawn of religious music printed editions. Less perceptive successors followed the Chrysanthos’ theories, until 1881, when Committee remodeled the system of pitches relations, using more sound math approaches. Finally, in 1909, Kyriazides   mapped out comprehensively the rhythmic material of exoterikon melos.
Stephanos Domestichos  and Panagiotis Kiltzanides were the greatest  XIXth cent. theorists, and their works based on previous thesis of C. Marmarinos and D. Cantemir (XVIIIth cent.).
By 1922, Turk theorist Rauf Yekta Bey establish the Modern Turkish Music Theory based largely on ancient Greek authors, though passing over the work of modern Greek theorists: the upheavals, the wars and the tragic events during the first decades of XXth cent. tore down age-long cultural relations; as result, the Greek theorists abandoned completely the exoterikon melos to the Turkish culture. The exoterikon melos is known, today, as Turkish [Classical] Music, performed under the theoretical views of Rauf Yekta and his successors.
The present thesis highlights the comparative similarities and differences between the Greek theoretical authors of XIXth cent. in interrelation with oldest views and with the views of modern Turkish theorists. Also, provides a uniform system of microtonal notation, whereby all this views could be smoothly pondered.
Finally, we conclude that at least four theoretical layers  have be formed in the period between XVIIth and early XXth centuries, in order to epitomize different practical ways to perform exoterikon melos. These layers are portrayed by tables of pitches allocation on tanbur, and by detailed comparative presentation of usul (rhythmic patterns), in modern notation.