Oktōēchos (here transcribed "Octoechos";

Greek Greek may refer to: Anything of, from, or related to Greece, a country in Southern Europe: *Greeks, an ethnic group *Greek language, a branch of the Indo-European language family **Proto-Greek language, the assumed last common ancestor of all kno ...

: ;The feminine form exists as well, but means the book octoechos. from ὀκτώ "eight" and ἦχος "sound, mode" called echos; Slavonic: Осмогласие, ''Osmoglasie'' from о́смь "eight" and гласъ,

Glagolitic The Glagolitic script ( , , ''glagolitsa'') is the oldest known Slavic alphabet. It is generally agreed that it was created in the 9th century for the purpose of translating liturgical texts into Old Church Slavonic by Saints Cyril and Methodi ...

: , "voice, sound") is the eight-mode system used for the composition of religious chant in Byzantine, Syriac, Armenian, Georgian, Latin and Slavic churches since the Middle Ages. In a modified form the octoechos is still regarded as the foundation of the tradition of monodic chant in the

Byzantine Rite The Byzantine Rite, also known as the Greek Rite or the Rite of Constantinople, is a liturgical rite that is identified with the wide range of cultural, devotional, and canonical practices that developed in the Eastern Christianity, Eastern Chri ...

today.

Nomenclature

The names ascribed to the eight tones differ in translations into

Church Slavonic Church Slavonic is the conservative Slavic liturgical language used by the Eastern Orthodox Church in Belarus, Bulgaria, North Macedonia, Montenegro, Poland, Russia, Ukraine, Serbia, the Czech Republic and Slovakia, Slovenia and Croatia. The ...

. The Slavonic system counted the plagioi echoi as glasa 5, 6, 7, and 8. For reference, these differences are shown here together with the Ancient Greek names of the octave species according to the Hagiopolites (see

Hagiopolitan Octoechos Oktōēchos (here transcribed ""; Greek language, Greek: pronounced in Koine Greek, koine: ; from wikt:ὀκτώ, ὀκτώ "eight" and wikt:ἦχος, ἦχος "sound, mode" called ; Church Slavonic, Slavonic: , from wikt:осмь, о́см� ...

) and to the chant treatises and tonaries of Carolingian theorists. Fifteenth-century composers like Manuel Chrysaphes, Lampadarios at the Court of Palaiologan Constantinople exchanged the Phrygian with the Lydian. The Armenian names and their temporal cycles are represented in the article about the hymn books octoechos and parakletike. Southern Slavs use the Byzantine musical system and, nonetheless, use the variant numbering that is always found in Church Slavonic texts.

History

According to three main periods, which divides the history of the eight-mode system, the former article has been split chronologically:

Analysis

Byzantine Chant performance practice has been computationally compared to the theory by Chrysanthos. The analysis of 94 Byzantine Chants performed by 4 singers showed a tendency of the singers to level theoretic particularities of the echos that stand out of the general norm in the octoechos. In practice, smaller scale degree steps (67-133 cents) appear to be increased and the highest scale step of 333 cents appears to be decreased compared to theory. In practice, the first four scale notes in decreasing order of prominence I, III, II, IV are more prominent than the V., VI., and the VII.

References

{{Middle Eastern music Ancient Greek music theory Classical and art music traditions Byzantine music theory Eastern Orthodox liturgical music Byzantine Rite Modes (music) Ottoman classical music Tonaries