[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/nana-echos-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/nana-echos-wikipedia\/","headline":"Nana (echos) – Wikipedia","name":"Nana (echos) – Wikipedia","description":"Phthora nana (Medieval Greek \u03c6\u03b8\u03bf\u03c1\u03ac \u03bd\u03b1\u03bd\u1f70) is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic","datePublished":"2015-08-21","dateModified":"2015-08-21","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/f\/f6\/PhthoraNanaEchosTetartos.jpg\/500px-PhthoraNanaEchosTetartos.jpg","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/f\/f6\/PhthoraNanaEchosTetartos.jpg\/500px-PhthoraNanaEchosTetartos.jpg","height":"103","width":"500"},"url":"https:\/\/wiki.edu.vn\/en\/wiki24\/nana-echos-wikipedia\/","wordCount":7444,"articleBody":"Phthora nana (Medieval Greek \u03c6\u03b8\u03bf\u03c1\u03ac \u03bd\u03b1\u03bd\u1f70) is one of the ten modes of the Hagiopolitan Octoechos consisting of 8 diatonic echoi and two additional phthorai. It is used in different traditions of Orthodox chant until today (\u2192 Neobyzantine Octoechos). The name “nana” is taken from the syllables (written in ligatures “\u0285\u0285”) sung during the intonation which precedes a melody composed in this mode. The name “phthora” derived from the verb \u03c6\u03b8\u03b5\u03af\u03c1\u03c9 and means “destroy” or “corrupt”. It was usually referred to the diatonic genus of the eight mode system and as a sign used in Byzantine chant notation it indicated a “change to another genus” (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03b3\u03ad\u03bd\u03bf\u03c2), in the particular case of phthora nana a change to the enharmonic genus. Today the “nana” intonation has become the standard name of the third authentic mode which is called “echos tritos” (\u1f26\u03c7\u03bf\u03c2 \u03c4\u03c1\u03af\u03c4\u03bf\u03c2) in Greek and “third glas” (\u0442\u0440\u0435\u0442\u0438\u0439 \u0413\u043b\u0430\u0441\u044a) in Old Church Slavonic.Table of ContentsThe different functions of phthora nana[edit]Hagiopolites treatise about phthora nana[edit]Phthora nana according to the theory and practice of psaltic art[edit]Its enechema[edit]Its tone system[edit]Its great sign and its dynamis as echos kratema[edit]Nana as exoteric phthora atzem[edit]The enharmonic echoi of the current Octoechos[edit]References[edit]Theoretical sources[edit]Hagiopolites[edit]Dialogue treatises[edit]Papadikai and their explanations[edit]Treatises of the New Method (since 19th century)[edit]Studies[edit]External links[edit]The different functions of phthora nana[edit]In the theory and notation of Byzantine and Orthodox chant nana is the name of a special phthora which had been used in different ways according to its historic context:[1]as a phthora which has its proper melos (intonation and cadence formulas), it may denote a special kind of echos (mode) that has been identified with the echos tritos (third mode) since the 16th century, but deviates from the later diatonic echos tritos by the division of its tonal system and its tetrachord. The name “\u03bd\u03b1\u03bd\u1f70” (\u0285\u0285) was used for its proper enechema, and within the Hagiopolitan Octoechos whole troparia can be found in the tropologion or the chant book Octoechos which are composed in the melos of phthora nana (\u03c6\u03b8\u03bf\u03c1\u03ac \u03bd\u03b1\u03bd\u1f70).within the heirmologic or sticheraric melos, it may denote a temporary change to the enharmonic genus (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03b3\u03ad\u03bd\u03bf\u03c2) and to the triphonic tone system (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03c3\u03cd\u03c3\u03c4\u03b7\u03bc\u03b1) within another mode, like echos tritos, echos plagios tetartos or echos plagios protos (plagal first mode) for instance, to an intervallic structure and tone system that is proper to phthora nana as an own echos.[2]as echos kratema, phthora nana could used as an own mode which had been used in improvised sections like kratemata or teretismoi which had been sung over abstract syllables. Byzantine composers like Manuel Chrysaphes the Lampadarios mentioned, that the phthora nana always leads to the echos plagios tetartos (fourth plagal mode), before the melos can change into another mode.as exoteric “phthora atzem”, the sign was used for the transcription of music composed in makam acem, a makam connected to a certain Persian dastgah.as a modulation sign, phthora nana played a crucial role to change between the third to the plagal fourth mode. Hence, there can be found some parallels between the b flat as used by Guido of Arezzo, and the temporary use of phthora nana in psaltic compositions which changed between the modes. As such phthora nana was used as an alteration sign within the heptaphonic solfeggio of Chrysanthos’ New Method, which transcribed its triphonic tone system by a frequent use transposition (a certain \u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03c4\u03cc\u03bd\u03bf\u03bd which turns \u03b3\u03b1 into \u03bd\u03b7 similar to the Guidonian mutation memorised as \u00abF fa ut\u00bb).Hagiopolites treatise about phthora nana[edit]It is supposed that the Hagiopolites treatise served during the 9th century as a manual preceding a chant book called tropologion. The book contained a collection of simple hymns troparia as well as heirmoi which served as melodic models (\u03bc\u03ad\u03bb\u03b7) for the 10 modes of Octoechos.Nana holds the status one of the two “special” additional echoi or “mesoi” (medial forms between authentic and plagal echoi) in the system of the Hagiopolitan Octoechos. The other one is called nenano. Already in the Hagiopolites treatise the phthorai nana and nenano have been characterized as both echoi and “not echoi, but phthorai” (\u2192 phthora). This means that they were proper modes with their own models, but they had to be integrated within the Octoechos and its eight-week cycle.[3] Thus, phthora nana was subordinated to the tetartos, and the treatise also referred to it as “Mesos tetartos“: as a third medial mode of the tetartos which was neither authentic (kyrios) nor plagal (plagios).    Phthora nana according to the theory and practice of psaltic art[edit]The concrete intervals of the enharmonic genus are less subject than the explanation of relationships between the modes. Often certain paragraphs of the Hagiopolites concerned about the phthora nana have been re-interpreted again and again according to the current tradition of psaltic art.[4]Its enechema[edit]In contemporary theoretical explanations the phthora nana had not only been regarded as a melodic model for stichera and heirmoi, but also as a transition model as well, which mainly connected tritos with tetartos echoi.  \u03a6\u03b8\u03bf\u03c1\u03ac \u03bd\u03b1\u03bd\u1f70 as echos tritos in a 17th-century kekragarion (GB-Lbl Ms. Harley 5544, f. 35v)According to theoretical explanations of the Papadike, phthora nana was not only defined by its melos like a proper echos itself, as such it had been subordinated to certain echoi already in the Hagiopolites treatise. Manuel Chrysaphes, Lampadarios at the Byzantine court, emphasised that phthora nana is only used as a phthora of the echos tritos, but within its melos it causes always a change into the echos plagios tetartos. Any other changes have to be made after the transition into the plagios tetartos:\u03b5\u1f30 \u03b4\u1f72 \u03c4\u03c1\u03af\u03c4\u03bf\u03c5 \u03bc\u03cc\u03bd\u03bf\u03bd, \u1f35\u03bd\u03b1 \u03ba\u03b1\u03c4\u03ad\u03bb\u03b8\u1fc3\u03c2 \u03ba\u03b1\u1f76 \u03c4\u1f78\u03bd \u03c0\u03bb\u03ac\u03b3\u03b9\u03bf\u03bd \u03c4\u03b5\u03c4\u03ac\u03c1\u03c4\u03bf\u03c5 \u1f00\u03bd\u03b5\u03bc\u03c0\u03bf\u03b4\u03af\u03c3\u03c4\u03c9\u03c2 \u03ba\u03b1\u1f76 \u03c0\u03bf\u03b9\u03ae\u03c3\u1fc3\u03c2 \u03ba\u03b1\u1f76 \u03c4\u1f78\u03bd \u1f26\u03c7\u03bf\u03bd, \u03ba\u03b1\u1f76 \u03bc\u03b5\u03c4\u1f70 \u03c4\u03b1\u1fe6\u03c4\u03b1 \u1f61\u03c2 \u03b2\u03bf\u03cd\u03bb\u03b5\u03b9 \u03b5\u1f30\u03c2 \u03c4\u1f70 \u1f14\u03bc\u03c0\u03bf\u03c3\u03b8\u03b5\u03bd \u03c0\u03bf\u03b9\u03ae\u03c3\u03b5\u03b9\u03c2.[5]He also mentioned that the phthora had its own solf\u00e8ge (parallage), so that it solved the diatonic echos tritos and binds it to the echos plagios tetartos (\u03b4\u03b5\u03c3\u03bc\u03bf\u1fe6\u03c3\u03b9 \u03ba\u03b1\u1f76 \u03bb\u03cd\u03bf\u03c5\u03c3\u03b9 “binding and solving”).\u03b1\u1f55\u03c4\u03b7 \u03b4\u1f72 \u1f21 \u03c4\u03bf\u1fe6 \u03bd\u03b1\u03bd\u1f70 \u03c6\u03b8\u03bf\u03c1\u03ac, \u1f25\u03c4\u03b9\u03c2 \u1f10\u03c3\u03c4\u1f76\u03bd \u1f00\u03c0\u1f78 \u03c0\u03b1\u03c1\u03b1\u03bb\u03bb\u03b1\u03b3\u1ff6\u03bd \u1f26\u03c7\u03bf\u03c2 \u03c4\u03c1\u03af\u03c4\u03bf\u03c2, \u03bf\u1f51\u03c7 \u03bf\u1f55\u03c4\u03c9\u03c2, \u2002\u1f00\u03bb\u03bb\u1f70 \u03c3\u03c7\u03b5\u03b4\u1f78\u03bd \u03b5\u1f30\u03c0\u03b5\u1fd6\u03bd \u1f14\u03c3\u03c4\u03b9\u03bd \u1f61\u03c2 \u1f26\u03c7\u03bf\u03c2 \u03ba\u03cd\u03c1\u03b9\u03bf\u03c2, \u03b4\u03b9\u03cc\u03c4\u03b9 \u03ba\u03b1\u1f76 \u03c3\u03c4\u03b9\u03c7\u03b7\u03c1\u1f70 \u1f30\u03b4\u03b9\u03cc\u03bc\u03b5\u03bb\u03b1 \u03c0\u03bf\u03bb\u03bb\u1f70 \u1f14\u03c7\u03b5\u03b9 \u03ba\u03b1\u1f76 \u03c0\u03c1\u03bf\u03c3\u03cc\u03bc\u03bf\u03b9\u03b1 \u03ba\u03b1\u1f76 \u03b5\u1f31\u03c1\u03bc\u03bf\u1f7a\u03c2 \u03ba\u03b1\u1f76 \u03ba\u03b1\u03bb\u03bf\u03c6\u03c9\u03bd\u03b9\u03ba\u1f70 \u03c3\u03c4\u03b9\u03c7\u03b7\u03c1\u03ac, \u1f61\u03c2 \u03bf\u1f31 \u03ba\u03cd\u03c1\u03b9\u03bf\u03b9 \u1f26\u03c7\u03bf\u03b9. \u1f00\u03bb\u03bb\u1f70 \u03ba\u03b1\u1f76 \u1f00\u03bb\u03bb\u03b7\u03bb\u03bf\u03c5\u03ca\u03ac\u03c1\u03b9\u03b1 \u03b5\u1f30\u03c2 \u03c4\u1f78\u03bd \u03c0\u03bf\u03bb\u03c5\u03ad\u03bb\u03b5\u03bf\u03bd \u03ba\u03b1\u1f76 \u03b5\u1f30\u03c2 \u03c4\u1f78\u03bd \u1f04\u03bc\u03c9\u03bc\u03bf\u03bd \u03c4\u1ff6\u03bd \u03bb\u03b1\u03ca\u03ba\u1ff6\u03bd. \u03ba\u03b1\u1f76 \u03b5\u1f30\u03ba\u03cc\u03c4\u03c9\u03c2 \u1f02\u03bd \u03ba\u03b1\u03bb\u03ad\u03c3\u03b5\u03b9\u03b5 \u03c4\u03b1\u03cd\u03c4\u03b7\u03bd \u1f26\u03c7\u03bf\u03bd \u03ba\u03b1\u1f76 \u03bf\u1f50 \u03c6\u03b8\u03bf\u03c1\u03ac\u03bd, \u03ba\u03b1\u03b8\u1f7c\u03c2 \u1f14\u03c7\u03b5\u03b9 \u03ba\u03b1\u1f76 \u1f21 \u03c4\u03bf\u1fe6 \u03bd\u03b5\u03bd\u03b1\u03bd\u1ff6 \u03b3\u03bb\u03c5\u03ba\u03c5\u03c4\u03ac\u03c4\u03b7 \u03ba\u03b1\u1f76 \u03bb\u03b5\u03c0\u03c4\u03bf\u03c4\u03ac\u03c4\u03b7 \u03c6\u03b8\u03bf\u03c1\u03ac.[6]The distinction, that it was by the own solf\u00e8ge (apo parallagon) “like a kyrios echos of its own” (os echos kyrios),[7] meant on the surface, that the tritos could be based on the octave on B flat (heptaphonia) with the finalis F, while it had to change into the tetartos octave which was based on C and therefore used b natural as seventh degree.[8] The triphonic solf\u00e8ge could be solved again from the enharmonic into the diatonic genus, but it was in fact not just a change of the genus (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03b3\u03ad\u03bd\u03bf\u03c2, metavole kata genos), but also a change from the triphonic into the tetraphonic tone system (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03c3\u03cd\u03c3\u03c4\u03b7\u03bc\u03b1, metavole kata systema).[9] It was not organised by separated tetrachords (tetraphonia), but by connected ones (triphonia: C\u2014F\u2014b flat). Hence, the “own triphonic parallage” intermediated between both octave species, which were otherwise very far from each other. Already in this transitional function it formed an alternative melos of the tetartos echoi.Its tone system[edit]The phthora could intermediate, because it was distinct by its triphonic tone system and its enharmonic genus (the minor tone was always on the top of a tetrachord and smaller than a Western half tone\u2014a diesis). Ioannis Plousiadinos invented an own system of parallage in shape of a square made up by four X. It was constructed to represent the triphonic combinations of conjunct tetrachords, but only the last two X on the bottom described the triphonia of the phthora nana\u2014the triphonia based on echos varys (left) and the triphonia based on the plagios tetartos (right). Both possibilities were illustrated at the end of John Koukouzeles’ didactic chant Mega Ison.[10]  “\u1f21 \u03c3\u03bf\u03c6\u03c9\u03c4\u03ac\u03c4\u03b7 \u03c0\u03b1\u03c1\u03b1\u03bb\u03bb\u03b1\u03b3\u1f74 \u03ba\u03c5\u03c1\u03af\u03bf\u03c5 \u1f38\u03c9\u03ac\u03bd\u03bd\u03bf\u03c5 \u1f38\u03b5\u03c1\u03ad\u03c9\u03c2 \u03c4\u03bf\u1fe6 \u03a0\u03bb\u03bf\u03c5\u03c3\u03b9\u03b1\u03b4\u03b7\u03bd\u03bf\u1fe6” in an 18th-century manuscript (Athos, Docheiariou monastery, Ms. 319, fol. 18v)Its great sign and its dynamis as echos kratema[edit]The Papadikai list between six and ten phthorai which represent the ten modes of the Hagiopolitan Octoechos\u2014the diatonic eight modes (which did not need eight phthorai, since the echoi just represented the four elements of a tetrachord) and the two additional phthorai as their own echoi.[11]  List of 7 phthorai used for transposition in a 17th-century Papadike (GB-Lbl Ms. Harley 5544, f. 5v).In this very particular sense, the term “phthora” did neither refer to nenano nor nana, but simply meant the use of a transposition sign in order to indicate the precise place of a temporary transposition (\u03bc\u03b5\u03c4\u03b1\u03b2\u03bf\u03bb\u1f74 \u03ba\u03b1\u03c4\u1f70 \u03c4\u03cc\u03bd\u03bf\u03bd).\u03b3\u03bd\u03c9\u03c3\u03c4\u03ce\u03bd \u03c3\u03bf\u03b9 \u03b4\u1f72 \u1f14\u03c3\u03c4\u03c9 \u03ba\u03b1\u1f76 \u03c4\u03bf\u1fe6\u03c4\u03bf, \u1f45\u03c4\u03b9 \u1f21 \u03c6\u03b8\u03bf\u03c1\u1f70 \u03b1\u1f55\u03c4\u03b7 \u03bf\u1f50\u03ba \u1f14\u03c7\u03b5\u03b9 \u03ba\u03b1\u03b8\u03ce\u03c2 \u1f10\u03c3\u03c4\u03b9\u03bd \u1f21 \u03c4\u03bf\u1fe6 \u03c0\u03c1\u03ce\u03c4\u03bf\u03c5 \u1f22 \u03c4\u03bf\u1fe6 \u03b4\u03b5\u03c5\u03c4\u03ad\u03c1\u03bf\u03c5, \u1f22 \u03c4\u03bf\u1fe6 \u03c4\u03c1\u03af\u03c4\u03bf\u03c5, \u1f22 \u03c4\u03bf\u1fe6 \u03c4\u03b5\u03c4\u03ac\u03c1\u03c4\u03bf\u03c5, \u1f24 \u03c4\u03bf\u1fe6 \u03c0\u03bb\u03b1\u03b3\u03af\u03bf\u03c5 \u03b4\u03b5\u03c5\u03c4\u03ad\u03c1\u03bf\u03c5, \u03b4\u03b9\u03cc\u03c4\u03b9 \u03b1\u1f31 \u03c4\u03bf\u03cd\u03c4\u03c9\u03bd \u03c4\u1ff6\u03bd \u1f24\u03c7\u03c9\u03bd \u03c6\u03b8\u03bf\u03c1\u03b1\u1f76 \u03b4\u03b5\u03c3\u03bc\u03bf\u1fe6\u03c3\u03b9 \u03ba\u03b1\u1f76 \u03bb\u03cd\u03bf\u03c5\u03c3\u03b9 \u03c4\u03b1\u03c7\u03af\u03bf\u03bd \u03ba\u03b1\u1f76 \u03c0\u03bf\u03b9\u03bf\u1fe6\u03c3\u03b9\u03bd \u1f10\u03bd\u03b1\u03bb\u03bb\u03b1\u03b3\u1f74\u03bd \u03bc\u03b5\u03c1\u03b9\u03ba\u1f74\u03bd \u2002\u03c0\u1f78 \u1f26\u03c7\u03bf\u03bd \u03b5\u1f30\u03c2 \u1f04\u03bb\u03bb\u03bf\u03bd \u03ba\u03b1\u1f76 \u1f14\u03c7\u03bf\u03c5\u03c3\u03b9 \u03c4\u03bf\u1fe6\u03c4\u03bf \u03ba\u03b1\u1f76 \u03bc\u03cc\u03bd\u03bf\u03bd.[12]Note also, that these phthorai [\u03bd\u03b5\u03bd\u03b1\u03bd\u1ff6 and \u03bd\u03b1\u03bd\u1f70] are different from those of \u1f26\u03c7\u03bf\u03c2 \u03c0\u03c1\u1ff6\u03c4\u03bf\u03c2, \u1f26\u03c7\u03bf\u03c2 \u03b4\u03b5\u03cd\u03c4\u03b5\u03c1\u03bf\u03c2, \u1f26\u03c7\u03bf\u03c2 \u03c4\u03c1\u03af\u03c4\u03bf\u03c2, and \u1f26\u03c7\u03bf\u03c2 \u03c4\u03ad\u03c4\u03b1\u03c1\u03c4\u03bf\u03c2 or \u1f26\u03c7\u03bf\u03c2 \u03c0\u03bb\u03ac\u03b3\u03b9\u03bf\u03c2 \u03c4\u03bf\u1fe6 \u03b4\u03b5\u03c5\u03c4\u03ad\u03c1\u03bf\u03c5, since the phthorai of the latter [diatonic] echoi bind or solve quickly and thus, they only create a temporary change from one echos to another one, this is the only purpose they have.The list of phthora did not include one to indicate a change into the melos of phthora nana. This change was instead caused by one of the great signs (\u03bc\u03b5\u03b3\u03ac\u03bb\u03b1 \u03c3\u03b7\u03bc\u03b1\u03b4\u03af\u03b1), the xeron klasma (\u03be\u03b7\u03c1\u1f78\u03bd \u03ba\u03bb\u03ac\u03c3\u03bc\u03b1), like here in the sticherarion of the Biblioteca ambrosiana, where the medial signature of phthora nana (a temporary change into its melos) is prepared by this great sign.[13]  Great sign \u03be\u03b7\u03c1\u1f78\u03bd \u03ba\u03bb\u03ac\u03c3\u03bc\u03b1\u2014sticheron \u03a4\u1ff7 \u03c4\u03c1\u03b9\u03c4\u03c4\u1ff7 \u03c4\u1fc6\u03c2 \u1f10\u03c1\u03c9\u03c4\u03ae\u03c3\u03b5\u03c9\u03c2 in a 14th-century sticherarion with Middle Byzantine notation (I-Ma Ms. gr. A139 sup., f. 141v).This sticheron could be sung as well by a protopsaltes in the soloistic kalophonic style. If the medial signature of nana was the end of the section chosen for the realisation of a sticheron kalophonikon, this sign could cause, that a whole kratema, a section in abstract syllables like \u03c4\u03bf\u2014\u03c4\u03bf\u2014\u03c4\u03bf for instance, was created in the phthora nana as an echos kratema.[14]Nana as exoteric phthora atzem[edit]The phthora nana was called in various theories “phthora atzem” which referred to perde acem (the fret on the long necked lute tambur called “acem” which was a common reference for Ottoman musicians) or even to makam acem\u2014the “Persian makam” or “phthora.” Panagiotes Keltzanides’ edition offered a seyir\u2014a melodic example to illustrate makam acem\u2014on page 81:  It is close to the melodic models of the Persian Dastg\u0101h-e \u0160ur.The enharmonic echoi of the current Octoechos[edit]The reform of the Byzantine neume notation in the early 19th century redefined the mele according to each genre (troparic, heirmologic, sticheraric, papadic), it also transcribed for the first time the rhythm which was so far part of an oral tradition or method, how to do the thesis of the melos. In these transcriptions the diatonic tritos echoi had little relevance. Chrysanthos of Madytos, together with Chourmouzios the Archivist and Gregorios the Protopsaltes one of the three “great teachers” that undertook the reform, published a treatise explaining the principles of the new system, entitled “Theoretikon Mega tes Mousikes”.[15]While there was once a diatonic form of echos tritos and echos varys, it has no longer any relevance for the current tradition of Orthodox chant, even if it based on Byzantine monodic chant. Orthodox chanters know nowadays only the intonation “nana” (\u0285\u0285), when they would like to perform melodies composed in echos tritos. Already Papadikai of the 16th century identified “nana” signature in their lists with the diatonic intonation “aneanes.”[16] But its long formula was already replaced by the short of \u03bd\u03b1\u03bd\u1f70 in Chrysanthos explanation of the former papadic practice of solf\u00e8ge using the enechemata:  Chrysanthos’ Parallage according to the trochos system (1832, p. 30)This simple form is used until today, but Chrysanthos also developed its whole melos as a kind of exegesis (“interpretation”) of the simple traditional echema of phthora nana:    Exegesis of the traditional intonation of the enharmonic \u03c6\u03b8\u03bf\u03c1\u03ac \u03bd\u03b1\u03bd\u1f70 as enechema of the echos tritos (Chrysanthos 1832, 138\u2014\u00a7311)Chrysanthos’ exegesis of the real nana intonation uses the enharmonic intervals:\u0394\u03b9\u1f70 \u03c4\u03bf\u1fe6\u03c4\u03bf \u1f45\u03c4\u03b1\u03bd \u03c4\u1f78 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03bf\u1fe6 \u1f10\u03bd\u03b1\u03c1\u03bc\u03bf\u03bd\u03af\u03bf\u03c5 \u03b3\u03ad\u03bd\u03bf\u03c5\u03c2 \u1f04\u03c1\u03c7\u03b7\u03c4\u03b1\u03b9 \u1f00\u03c0\u1f78 \u03c4\u03bf\u1fe6 \u03b3\u03b1, \u03b8\u03ad\u03bb\u03b5\u03b9 \u03bd\u1f70 \u03c3\u03c5\u03bc\u03c6\u03c9\u03bd\u1fc7 \u03bc\u1f72 \u03c4\u1f78\u03bd \u03b3\u03b1 \u1f21 \u03b6\u03c9 \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2, \u03ba\u03b1\u1f76 \u1f44\u03c7\u03b9 \u1f41 \u03bd\u03b7 \u03c6\u03b8\u03cc\u03b3\u03b3\u03bf\u03c2. \u039a\u03b1\u1f76 \u1f10\u03ba\u03b5\u1fd6\u03bd\u03bf \u1f45\u03c0\u03b5\u03c1 \u03b5\u1f30\u03c2 \u03c4\u1f74\u03bd \u03b4\u03b9\u03b1\u03c4\u03bf\u03bd\u03b9\u03ba\u1f74\u03bd \u03ba\u03b1\u1f76 \u03c7\u03c1\u03c9\u03bc\u03b1\u03c4\u03b9\u03ba\u1f74\u03bd \u03ba\u03bb\u03af\u03bc\u03b1\u03ba\u03b1 \u1f10\u03b3\u03af\u03bd\u03b5\u03c4\u03bf \u03b4\u03b9\u1f70 \u03c4\u1fc6\u03c2 \u03c4\u03b5\u03c4\u03c1\u03b1\u03c6\u03c9\u03bd\u03af\u03b1\u03c2, \u1f10\u03b4\u1ff6 \u03b3\u03af\u03bd\u03b5\u03c4\u03b1\u03b9 \u03b4\u03b9\u1f70 \u03c4\u1fc6\u03c2 \u03c4\u03c1\u03b9\u03c6\u03c9\u03bd\u03af\u03b1\u03c2:\u03bd\u03b7 \u03c0\u03b1 [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2] \u03b3\u03b1, \u03b3\u03b1 \u03b4\u03b9 \u03ba\u03b5 [\u03b6\u03c9 \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126], [\u03b6\u03c9 \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126] \u03bd\u03b7 \u03c0\u03b1 [\u03b2\u03bf\u03c5 \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126].\u1f6d\u03c3\u03c4\u03b5 \u03c3\u03c5\u03b3\u03ba\u03c1\u03bf\u03c4\u03bf\u1fe6\u03bd\u03c4\u03b1\u03b9 \u03ba\u03b1\u1f76 \u1f10\u03b4\u1ff6 \u03c4\u03b5\u03c4\u03c1\u03ac\u03c7\u03bf\u03c1\u03b4\u03b1 \u03c3\u03c5\u03bd\u03b7\u03bc\u03bc\u03ad\u03bd\u03b1 \u1f45\u03bc\u03bf\u03b9\u03b1, \u03b4\u03b9\u03cc\u03c4\u03b9 \u1f14\u03c7\u03bf\u03c5\u03c3\u03b9 \u03c4\u1f70 \u1f10\u03bd \u03bc\u03ad\u03c3\u1ff3 \u03b4\u03b9\u03b1\u03c3\u03c4\u03ae\u03bc\u03b1\u03c4\u03b1 \u1f34\u03c3\u03b1\u00b7 \u03c4\u1f78 \u03bc\u1f72\u03bd \u03bd\u03b7 \u03c0\u03b1 \u1f34\u03c3\u03bf\u03bd \u03c4\u1ff7 \u03b3\u03b1 \u03b4\u03b9\u00b7 \u03c4\u1f78 \u03b4\u1f72 \u03c0\u03b1 [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2], \u1f34\u03c3\u03bf\u03bd \u03c4\u1ff7 \u03b4\u03b9 \u03ba\u03b5\u00b7 \u03c4\u1f78 \u03b4\u1f72 [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2] \u03b3\u03b1, \u1f34\u03c3\u03bf\u03bd \u03c4\u1ff7 \u03ba\u03b5 [\u03b6\u03c9 \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126]\u00b7 \u03ba\u03b1\u1f76 \u03c4\u1f70 \u03bb\u03bf\u03b9\u03c0\u03ac.[17]Hence, if the melos of the enharmonic genus starts on F \u03b3\u03b1, F \u03b3\u03b1 and b flat [\u03b6\u03c9’ \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126] should be symphonous, and not the phthongos c \u03bd\u03b7’. And like the diatonic and chromatic scales are made of tetraphonia, here they are made of triphonia:C \u03bd\u03b7\u2014D \u03c0\u03b1\u2014E sharp [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2]\u2014F \u03b3\u03b1, F \u03b3\u03b1\u2014G \u03b4\u03b9\u2014a \u03ba\u03b5\u2014b flat [\u03b6\u03c9’ \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126], b flat [\u03b6\u03c9’ \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126]\u2014c \u03bd\u03b7’\u2014d \u03c0\u03b1’\u2014e flat [\u03b2\u03bf\u03c5’ \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126].Thus, also conjunct similar tetrachords are constructed by the same intervals in the middle [12+13+3=28]: C \u03bd\u03b7\u2014D \u03c0\u03b1 is equal to F \u03b3\u03b1\u2014G \u03b4\u03b9, D \u03c0\u03b1\u2014E sharp [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2] to G \u03b4\u03b9\u2014a \u03ba\u03b5, E sharp [\u03b2\u03bf\u03c5 \u03b4\u03af\u03b5\u03c3\u03b9\u03c2]\u2014F \u03b3\u03b1 is equal to a \u03ba\u03b5\u2014b flat [\u03b6\u03c9’ \u1f55\u03c6\u03b5\u03c3\u03b9\u03c2\u22126], etc.He applied this intonation to the traditional varys enechema:  Traditional intonation formula of \u1f26\u03c7\u03bf\u03c2 \u03b2\u03b1\u03c1\u03cd\u03c2 (Chrysanthos 1832, 140\u2014\u00a7313)  Enharmonic exegesis of the diatonic intonation of \u1f26\u03c7\u03bf\u03c2 \u03b2\u03b1\u03c1\u03cd\u03c2 (Chrysanthos 1832, 140\u2014\u00a7313)There is also a diatonic form of echos varys,[18] but according to Chrysanthos’ adaption to the Ottoman tone system it was no longer based on a pentachord between kyrios tritos and varys, but on a tritonus on a low b natural.[19]References[edit]^ For a general description of the different aspects of phthora see Ioannis Zannos (1994, 181\u2013187).^ See Andr\u00e9 Barbera’s article about “Metabole.” “Triphonia” (\u03c3\u03cd\u03c3\u03c4\u03b7\u03bc\u03b1 \u03ba\u03b1\u03c4\u1f70 \u03c4\u03c1\u03b9\u03c6\u03c9\u03bd\u03af\u03b1\u03bd) is the Greek name for a tone system which is organized in conjunct tetrachords, in case of Nana: C \u03c0\u03bb\u03b4’\u2014D \u03b1’\u2014E \u03b2’\u2014F \u03b3’\/\u03c0\u03bb\u03b4’\u2014G \u03b1’\u2014a \u03b2’\u2014b flat \u03b3’. It also corresponds to the ancient Greek “lesser perfect system.”^ See the quotation in the article of phthora nenano which concerned both phthorai.^ See the quotations collected by Ioannis Zannos (1994, 103\u2013117).^ Manuel Chrysaphes (Conomos 1985, 58f).^ Manuel Chrysaphes (Conomos 1985, 58f).^ Manuel Chrysaphes illustrates the autonomy of phthora nana, that whole heirmoi, idiomela and prosomoia, stichera kalophonika, alleluiaria and polyeleoi had been composed just in this phthora as if it was a real kyrios echos.^ Likewise it could change from tritos, F\u2014f with the finalis c, to the tetartos octave (G\u2014g with f sharp) and its plagal finalis G.^ Zum Begriff der “Metabole” siehe Barbera (2011).^ See Kyriatzides’ edition (1896, 141\u2013144) of Chourmouzios’ transcription (EBE M\u03a0\u03a4 703).^ A published collection of Byzantine music treatises is found in Lorenzo Tardo’s \u00abL’antica melurgia bizantina\u00bb (1938).^ Manuel Chrysaphes (Conomos 1985, 58).^ For a general study see the dissertation by Maria Alexandru (2000).^ See for example the sticheron kalophonikon over the first section of the sticheron idiomelon \u03a4\u1ff7 \u03c4\u03c1\u03b9\u03c4\u03c4\u1ff7 \u03c4\u1fc6\u03c2 \u1f10\u03c1\u03c9\u03c4\u03ae\u03c3\u03b5\u03c9\u03c2 in echos tetartos dedicated to Saint Peter (29 June ). John Koukouzeles’ kratima was composed in phthora nana as “echos kratema.”^ Chrysanthos (1832).^ See GB-Lbl Harley 5544, fol. 7r-v.^ Chrysanthos (1832, p. 114, \u00a7 261).^ According to Georgios Konstantinou (1997), the theory of the school of Lycourgos Angelopoulos and Simon Karas, also the phthora nana is sung in a so-called “hard diatonic” intonation which sounds like the modern equal temperament in comparison with traditional singers, who still intone the melos of the phthora with enharmonic intervals.^ Oliver Gerlach (2015). Panagiotes Keltzanides (1881, 131\u2013144) relates the makamlar d\u00fcgah, evic, acem k\u00fcrdi, sultanin arak, beste-nigar, beste-isfahan, nihavend and ferahnak, and evic buselik with the mele of echos varys based on fret “arak.”Theoretical sources[edit]Hagiopolites[edit]Raasted, J\u00f8rgen, ed. (1983), The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF), Cahiers de l’Institut du Moyen-\u00c2ge Grec et Latin, vol.\u00a045, Copenhagen: Paludan.Bellermann, Johann Friedrich; Najock, Dietmar, eds. (1972), Drei anonyme griechische Traktate \u00fcber die Musik, G\u00f6ttingen: Hubert.Dialogue treatises[edit]Hannick, Christian; Wolfram, Gerda, eds. (1997), Die Erotapokriseis des Pseudo-Johannes Damaskenos zum Kirchengesang, Monumenta Musicae Byzantinae – Corpus Scriptorum de Re Musica, vol.\u00a05, Vienna: Verlag der \u00d6sterreichischen Akademie der Wissenschaften, ISBN\u00a03-7001-2520-8.Papadikai and their explanations[edit]Alexandru, Maria (1996). “Koukouzeles’ Mega Ison: Ans\u00e4tze einer kritischen Edition”. Cahiers de l’Institut du Moyen-\u00c2ge grec et latin. 66: 3\u201323.Conomos, Dimitri, ed. (1985), The Treatise of Manuel Chrysaphes, the Lampadarios: [\u03a0\u03b5\u03c1\u1f76 \u03c4\u1ff6\u03bd \u1f10\u03bd\u03b8\u03b5\u03c9\u03c1\u03bf\u03c5\u03bc\u03ad\u03bd\u03c9\u03bd \u03c4\u1fc7 \u03c8\u03b1\u03bb\u03c4\u03b9\u03ba\u1fc7 \u03c4\u03ad\u03c7\u03bd\u1fc3 \u03ba\u03b1\u1f76 \u1f67\u03bd \u03c6\u03c1\u03bf\u03c5\u03bd\u03bf\u1fe6\u03c3\u03b9 \u03ba\u03b1\u03ba\u1ff6\u03c2 \u03c4\u03b9\u03bd\u03b5\u03c2 \u03c0\u03b5\u03c1\u1f76 \u03b1\u1f50\u03c4\u1ff6\u03bd] On the Theory of the Art of Chanting and on Certain Erroneous Views that some hold about it (Mount Athos, Iviron Monastery MS 1120, July 1458), Monumenta Musicae Byzantinae – Corpus Scriptorum de Re Musica, vol.\u00a02, Vienna: Verlag der \u00d6sterreichischen Akademie der Wissenschaften, ISBN\u00a0978-3-7001-0732-3.Fleischer, Oskar, ed. (1904), “Die Papadike von Messina”, Die sp\u00e4tgriechische Tonschrift, Neumen-Studien, vol.\u00a03, Berlin: Georg Reimer, pp.\u00a015\u201350, fig. 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Kyriazides, Agathangelos (ed.). “\u03a4\u1f78 \u039c\u03ad\u03b3\u03b1 \u1f3c\u03c3\u03bf\u03bd \u03c4\u1fc6\u03c2 \u03a0\u03b1\u03c0\u03b1\u03b4\u03b9\u03ba\u1fc6\u03c2 \u03bc\u03b5\u03bb\u03b9\u03c3\u03b8\u1f72\u03bd \u03c0\u03b1\u03c1\u1f70 \u1f38\u03c9\u03ac\u03bd\u03bd\u03bf\u03c5 \u039c\u03b1\u0390\u03c3\u03c4\u03bf\u03c1\u03bf\u03c2 \u03c4\u03bf\u1fe6 \u039a\u03bf\u03c5\u03ba\u03ba\u03bf\u03c5\u03b6\u03ad\u03bb\u03b7”. \u1f18\u03bd \u1f0c\u03bd\u03b8\u03bf\u03c2 \u03c4\u1fc6\u03c2 \u03ba\u03b1\u03b8’ \u1f21\u03bc\u1fb6\u03c2 \u1f18\u03ba\u03ba\u03bb\u03b7\u03c3\u03b9\u03b1\u03c3\u03c4\u03b9\u03ba\u1fc6\u03c2 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u1fc6\u03c2 \u03c0\u03b5\u03c1\u03b9\u03ad\u03c7\u03bf\u03bd \u03c4\u1f74\u03bd \u1f08\u03ba\u03bf\u03bb\u03bf\u03c5\u03b8\u03af\u03b1\u03bd \u03c4\u03bf\u1fe6 \u1f18\u03c3\u03c0\u03b5\u03c1\u03af\u03bd\u03bf\u03c5, \u03c4\u03bf\u1fe6 \u1f4d\u03c1\u03b8\u03c1\u03bf\u03c5 \u03ba\u03b1\u1f76 \u03c4\u1fc6\u03c2 \u039b\u03b5\u03b9\u03c4\u03bf\u03c5\u03c1\u03b3\u03af\u03b1\u03c2 \u03bc\u03b5\u03c4\u1f70 \u03ba\u03b1\u03bb\u03bb\u03bf\u03c6\u03c9\u03bd\u03b9\u03ba\u1ff6\u03bd \u0395\u1f34\u03c1\u03bc\u03c9\u03bd \u03bc\u03b5\u03bb\u03bf\u03c0\u03bf\u03b9\u03b7\u03b8\u1f72\u03bd \u03c0\u03b1\u03c1\u1f70 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03c9\u03bd \u1f00\u03c1\u03c7\u03b1\u03b9\u1ff6\u03bd \u03ba\u03b1\u1f76 \u03bd\u03b5\u03c9\u03c4\u03b5\u03c1\u1ff6\u03bd \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03cc\u03b4\u03b9\u03b4\u03b1\u03c3\u03ba\u03b1\u03bb\u03c9\u03bd. Istanbul: Alexandros Nomismatides: 127\u2013144.Tardo, Lorenzo (1938), “Papadiche”, L’antica melurgia bizantina, Grottaferrata: Scuola Tipografica Italo Orientale “S. Nilo”, pp.\u00a0151\u2013163.Wikisource has original text related to this article:Wikimedia Commons has media related to Enechemata.Treatises of the New Method (since 19th century)[edit]Studies[edit]External links[edit]"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/nana-echos-wikipedia\/#breadcrumbitem","name":"Nana (echos) – Wikipedia"}}]}]