Talk:Papadic Octoechos

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... (see talk page of the first part of the splitted article) 2) The psaltic art is a translation of ψαλτική τέχνη, it is simply what has replaced the traditional cathedral rite while it continued its extravagant musical style, after the court and the patriarchate returned from Nikaia, and it had been taught by the treatise type papadike which I described in the very detail, because there is still no article for Papadike. Καλοφωνία for you as native speaker of Greek sounds like "Nice sound", but John Koukouzeles was the first who developed a soloistic way to perform a choral genre like sticheron, at least this is what Manuel Chrysaphes wrote in his explanation of the papadike. So there is a traditional easy way and another very creative one which requires a well skilled and experienced singer (you find a very fine example of a sticheron kalophonikon, if you follow the link in note 52 of the third part). Four articles about Papadike, Akolouthiai, Psaltic Art, and Kalophonia are missing (the two latter could be as well sections to restructure the article Byzantine music). Hence, I inserted links to the New Grove articles about the chant book Akolouthiai and its didactic introduction Papadike. For a more detailed discussion of the methods which were used for the thesis of the melos, there are different possibilities. As far as kalophonic methods are concerned, this could be treated in particular section of the article "Kalophonia". But there are also the traditional methods ascribed to certain chant books like sticherarion, heirmologion, asmatikon and kontakarion. Concerning chant genres of the akolouthiai, the methods are rather defined by the chant genres like cherouvikon, koinonikon, and polyeleos. Further on there are methods of local schools. They are either ascribed to some famous masters like John of Damascus, John Glykys, John Koukouzeles, Xenos Korones, Nikolaos Kampanes, Manuel Chrysaphes (Byzantine period), and Gregorios Bounes Alyates, Xeros the Domestikos, Ioannes Plousiadinos, Germanos of New Patras, Panagiotes the New Chrysaphes (Ottoman period) etc., or to certain places like hagioreitikon (Athonite), thessalonikaion (Thessaloniki), hagiopolite (Jerusalem) etc. But in order to refer to comparatistic analyses "method" might be better a section of an article about Papadike. The sticherarion kalophonikon is now briefly mentioned in the article Sticherarion, because I rearranged it and added something, and commented its current state, and added plenty of material. It is up to you, if you prefer to regard this encyclopedia as a hopeless case or if you have the patience to wait until it has grown up to the issue Byzantine and Orthodox Chant. As I wrote this will need time. However, I did not mention John Koukouzeles in the leading section, the main text starts with his assumed teacher John Glykys and him, for good reasons. Right at the moment, this is your only article about psaltic art.

... (see talk page of the first part of the splitted article) 3) Byzantine Notation can be regarded analogue to the splitting into three parts of the former entry Octoechos, now divided into (1) "Palaeo Byzantine" (Chartres, Coislin I-V), "Middle Byzantine", (2) "Late Byzantine", and (3) "Neobyzantine" or "Chrysanthine Notation" which is "the modern neume notation" used until today (see note 3 which discusses this and other historical classifications). Until now there is no article dedicated to it, the article neume does not mention Byzantine neumes at all (Byzantine Music does it briefly and refers just a link with an introduction into modern neumes), the article ekphonetic notation is a stub. The article Musical notation is very nice, in its conception much better than the German one (prized by wikipedians), but it has so many issues, that the ahistoric paragraph about "Byzantine Empire" should better be called "Orthodox Balkans". Thus, it reflects an ignorance which is a well-known epidemy at musicological departments of international universities. Platonykiss (talk) 13:03, 26 October 2013 (UTC)