拜占庭音樂

中世紀拜占庭音樂最優秀和最具特點的例子就是贊美詩。它的一個重要類型就是分節的康塔基昂（kantakion），即對《聖經》原文進行富有詩意的詳盡解說。康塔基昂最重要的一位倡導者是聖羅曼努斯 Romanus the Melode，他是6世紀上半葉活躍於君士坦丁堡的一位皈依的敘利亞猶太人。

其他類型的贊美詩源自《詩篇》每節之間的短小應答troparia，它們配有可能借自敘 利亞或巴勒斯坦的旋律或旋律類型。這些插入部分的重要性逐漸增加，有些最後發展成為獨立的贊美詩，其中有兩個主要類別：斯蒂凱拉stichera 和卡農kanones。斯蒂凱拉是在普通彌撒的《詩篇》詩節之間唱的。卡農則是從九首聖經短歌或頌歌發展而成的九段歌曲。每一段都相當於一首頌歌odes，而且每一段都包含唱同一旋律的若干小節。每首頌歌的頭一小節就是它的海爾莫斯heirmos，即標準小節，它的旋律收集於名為《海莫羅基亞》heirmologia的書中。到了 9世紀，第二首頌歌往往被略掉。

拜占庭的卡農的歌詞並不完全是新創的，而是老句子的拼湊。同樣，它們的旋律也是 按照被東方音樂通稱為“拼湊法”centonization的原則而建構的，它也使用於某些西方聖詠中。旋律由標 准的動機或公式motives or formulas構成，它們像建築的磚瓦那樣被使用。有些動機用於旋律的開端，有些用於中間，而有些則用於旋律末尾，其他的成為連接部分。也使用標準化的裝飾性公式（花唱）。目前，還不清楚的是歌手個人能在何種程度上選擇公式，或者說“作曲家”有多大可能來事先確定它們。但是，在旋律能夠寫在手稿上的時代，公式的選擇是相對固定的。

旋律的類型或調式在不同的音樂文化中有不同的名稱 — 印度音樂稱拉加raga，阿拉伯的稱木卡姆maqam，拜占庭的希臘稱艾科斯echos。在希伯來的音樂 中有各種名稱，都可譯為“調式”。拉加、木卡姆、艾科斯或調式，馬上就成為可用音高的詞彙表和旋律動機的貯藏所。選擇特別 的拉加或調式，視所唱歌詞的性質、特珠的場合、一年的季節，或者一天的某一時間（如在印度音樂中）而定。拜占庭音樂有一種八個艾科斯echoi組成的系統，可以用來為卡農kanones所收集的旋律分類。拜占庭的八個艾科斯可分為四對，它們的終結音分別是D、E、F和G。同樣地， 有相同終結音的四對調式，在8至9世紀中也成為西方聖詠分類的基礎。因此，西方調式系統的基礎，似乎來自東方，但是這一系統理論的詳細闡述則受到5世紀作家波伊提烏Boethius所傳播的希臘音樂理論的強烈影響。

【文本來源：Donald Jay Grout_ Claude Victor Palisca- 西方音乐史-人民音乐出版社（2010） - 6th Edition, pp.18-19】

BYZANTINE MUSIC

The finest and most characteristic examples of medieval Byzantine music were the hymns. One important type is the strophic kontakion, a poetic elaboration on a biblical text. The foremost exponent of kontakia was St. Romanus the Melode, a converted Syrian Jew active at Constantinople in the first half of the sixth century. Other types of hymns originated when troparia, the short responses between verses of the psalms, were furnished with melodies or melody types possibly borrowed from Syria or Palestine. These insertions gradually increased in importance, and some of them eventually developed into independent hymns, of which there are two principal kinds: the stichera and the kanones. The stichera were sung between the verses of the ordinary Psalms of the Office. A kanon was a nine-section elaboration on the nine biblical canticles or odes.

Each section corresponded to one of the odes, and each contained several stanzas sung to the same melody. The first stanza of each ode was its heirmos, or model stanza, whose melodies were collected in books called heirmologia. By the tenth century, the second ode was usually omitted.

The texts of the Byzantine kanones were not wholly original creations but patchworks of stereotyped phrases. Likewise, their melodies were constructed according to a principle, common in all Eastern music, called centonization, which was used in some Western chants as well. Melodies were created out of standard motives or formulas used as building blocks. Some of the motives suited the beginning, some the middle, and some the end of a melody, while others made good connecting links. Standard ornamental formulas (melismas) were also used. It is not clear to what extent the individual singer could choose the formulas, or how much a "composer" fixed them in advance. By the time the melodies came to be written down in manuscripts, however, the selection of formulas was relatively fixed.

Melody types or modes have different names in different musical cultures - raga in Hindu music, maqam in Arabic, echos in Byzantine Greek. They are known by various terms translatable as "mode" in Hebrew. A raga, maqam, echos, or mode is at once a vocabulary of available pitches and a store of melodic motives. The choice of a particular raga or mode may depend on the nature of the text to be sung, the particular occasion, the season of the year, or sometimes (as in Hindu music) the hour of the day. Byzantine music had a system of eight echoi, which served to classify the melodies in the collections for the kanones. The eight Byzantine echoi were grouped in four pairs, which had as their final tones respectively D, E, F, and G. Similarly, four pairs of modes with these same finals became the basis for classifying Western chant during the eighth or ninth century. Thus the foundation of the Western system of modes seems to have been imported from the East, but the theoretical elaboration of the system was strongly influenced by Greek musical theory as transmitted by a fifth-century writer named Boethius.

[Source: Donald Jay Grout_ Claude V. Palisca - A history of western music-6th Edition - Norton (2001),pp. 42-43]