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Medieval exchanges between musicians of the Byzantine Empire and the Kaliphates

Very good article concerning the ideas (relation to makamlar in the Fanariot tradition of the Ottoman empire), it should be elaborated and the sources should be clarified.

Why medieval? It is rather a musicological than a medievist topic. But indeed, there are also relations from medieval times:

Eckhard Neubauer, 'Die acht "Wege" der arabischen Musiklehre und der Oktoechos – Ibn Misğah, al-Kindī und der syrisch-byzantinische oktōēchos', Zeitschrift für Geschichte der arabisch-islamischen Wissenschaften, 9 (1994), 373-414.

--Platonykiss (talk) 23:29, 24 July 2010 (UTC)[reply]

Note for music/media articles

On subsequent edits, I would find media files (sound or video) to be especially helpful. This is fascinating stuff!

Parasaurolophus (talk) 18:10, 24 January 2011 (UTC)[reply]

I thank you for your suggestion, I did as you asked. --Platonykiss (talk) 08:45, 17 August 2015 (UTC)[reply]

Chrysanthos and the Western influence

I deleted the adjective "western-oriented" as an attribute of his reform. I once thought like this myself — mainly because of a solfeggio based on 7 syllables which caused indeed a corruption of the older "polysyllabic solfeggio" as Chrysanthos liked to call it. Nevertheless, it could be as well interpreted as an orientation to the Ottoman fret system and he also mentioned in his "Theoretikon mega" more western-oriented candidates like him who had been refused by the Patriarchate (by the Phanariotes) for this very reason. You find literature concerned with this issue in the article dedicated to him and please feel welcome to fill its empty spaces.

If you insist, please revert my change, but insert a note as well, that it is a controversial subject. Chrysanthos' concern with the makamlar makes his treatise very close to those others about exoteric music, although his main concern were rather technical problems of how to indicate a different intonation of echos pitch classes. Compared with Keltzanides one might regard Chrysanthos' approach as rather superficial (I do not know, if he ever tried to notate makam seyirler), but it meant nothing less that the reform notation was created as a universal notation system of Ottoman music from the very beginning of the notation reform and its introduction as print types. And the numerous Greek print publications of the century, whether patriotic or exoteric, do confirm this intention --Platonykiss (talk) 08:38, 17 August 2015 (UTC)[reply]