domesticus
Lupus non curat numerum ovium
From this reference by I. Arvanitis, I have found the specific book: Ol. Strunk, Source Readings in Music History, From Classical Antiquity Through the Romantic Era, New York 1950.
Many Thanks, Domesticus!
From this book read especially the treatise by Odo de Cluny* on the theory of the intervals and the modes (from page 103).
*In the new enlarged edition (by Leo Treitler) he is called "Pseudo-Odo"
Unless I overlook something, he basically recognises two types of an interval: a tone and a semitone. Equating a tone with 12 moria and a semitone with 9 moria, (Pseudo)-Odo gloriously vindicates Evangelos Soldatos' theory on the diphonies in all modes
P.S. Don't take the above (too) seriously
Can one find references from Syria and Jerusalem and C/ple that support (pseudo)-Odo's observations?
There are two interesting articles on the modal structure of the secular Arabic music around Damascene's times:
Owen Wright. Ibn al-Munajjim and the Early Arabian Modes. The Galpin Society Journal. Vol. 19, (Apr., 1966), pp. 27-48.
Henry George Farmer. The Old Arabian Melodic Modes. The Journal of the Royal Asiatic Society of Great Britain and Ireland. No. 3/4 (Oct., 1965), pp. 99-102.
My library has only hard copies of the second journal, so if anybody uploads the two articles here, I'd be grateful. From the little I've seen and heard about the sources which Wright and Farmer discuss, the Arab theorists talk about eight (!) diatonic modes which are described in Pythagorean terms. Now this does not necessarily mean there's a link with the ecclesiastic music, but still I find the fact very peculiar indeed.
I have the first from jei stor but I'm afraid about the copyright.
Remove the first page ...
I thought about that but I don't have the Acrobat in this computer. I can do it maybe on Friday.
I have the first from jei stor but I'm afraid about the copyright.
For the second, it is not free. But search about Farmer's book "Historical facts on the arabian influence in the archive.org. There is a chapter "on the old arabian theory" (I have the book but cannot upload it because of my slow connection".
There is also a chapter on the Arabic music by Farmer in The New Oxford History of Music, Vol. I. I read it a long time ago but I remember that he speaks about a kind of Byzantine influence (which, as far as I remember, he identifies with pythagorean intervals). He speaks about the same modes there, too. The old arabic terms used as names come from fingering ("usta" eg. is the middle finger) on the oud. It seems that a collective name for them is "dasatin", which should be an arabic plural form* of the Persian word "dast", meaning "hand", a word found also in the Persian term "dastgah", meaning literally "place of the hand".
* an "arabization" of the plural form exists eg also for the greek word "jins"=genos, arabic plural "ajnas"
There are two interesting articles on the modal structure of the secular Arabic music around Damascene's times:
Owen Wright. Ibn al-Munajjim and the Early Arabian Modes. The Galpin Society Journal. Vol. 19, (Apr., 1966), pp. 27-48.
Henry George Farmer. The Old Arabian Melodic Modes. The Journal of the Royal Asiatic Society of Great Britain and Ireland. No. 3/4 (Oct., 1965), pp. 99-102.
My library has only hard copies of the second journal, so if anybody uploads the two articles here, I'd be grateful. From the little I've seen and heard about the sources which Wright and Farmer discuss, the Arab theorists talk about eight (!) diatonic modes which are described in Pythagorean terms. Now this does not necessarily mean there's a link with the ecclesiastic music, but still I find the fact very peculiar indeed.
At the time of (pseudo)-Odo, those may have been the intervals (pseudo)-Odo (or any of his contemporaries) were experiencing, but how much of that was indigenous to the chant in Syria, Jerusalem, and C/ple? Can one find references from Syria and Jerusalem and C/ple that support (pseudo)-Odo's observations?