Missing post by Daidalos
Date: 17 June 2017 at 9:21:39 PM AEST
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It is mainly a matter of the melos, you have to understand this makam and its melodic rules very well to answer such a difficult question.
This guide published by Pan might be of help:
Aydemir, Murat. Turkish Music Makam Guide. Pan yayıncılık 151. İstanbul: Pan Yayıncılık, 2010 (with two audio CDs as supplement).
Or the seyir of makam hüzzam by Panagiotes Keltzanides:
Keltzanides, Panagiotes. Μεθοδική Διδασκαλία Θεωρητική Τὲ Καὶ Πρακτική Πρὸς Ἐκμάθησιν Καὶ Διάδοσιν Τοῦ Γνησίου Ἐξωτερικοῦ Μέλους Τῆς Καθ᾿ Ἡμᾶς Ἑλληνικῆς Μουσικῆς Κατ᾿ Ἀντιπαράθεσιν Πρὸς Τὴν Ἀραβοπερσικήν. first edition Istanbul 1881, 74.
http://www.analogion.com/forum/showthread.php?t=4418
According to Kyriakos Kalaitzidis, but his book is not concerned about church music, but about Orthodox neumes as a medium to transcribe and to compose music in makam hüzzam, Greek scribes did use the signature of echos legetos in exegetic notation (which still Middle Byzantine), only Nikephoros Kantouniares in his "Melpomene" collection (Athos, Vatopedi Ms. 1428) uses the chromatic phtora of echos devteros, but with finalis βου.
Kalaitzidis, Kyriakos. Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century). Translated by Kiriaki Koubaroulis and Dimitri Koubaroulis. Istanbuler Texte und Studien 28. Würzburg: Ergon-Verl., 2012, 332-333.
Romanos Joubran transcribes the makam "houzam", but he is really concerned with church music. He mentions it as a tune which could be classified as devteros, tetartos or plagios devteros, but he offers no concrete examples of liturgical compositions made in this makam.
Joubran, Romanos Rabih. ‘The Use of Eastern Musical Modes in Byzantine Compositions during the 19th and 20th Century.’ In Proceedings of the 1st International Conference of the ASBMH, 530–53. Pittsburgh, 2009.
http://www.asbmh.pitt.edu/page12/Joubran.pdf