Workshop Byzantine Music (2): Creation of the Constantinopolitan Hyphos (Ottoman Period) (original) (raw)

A second unit will ask who did originally create this modern distinction of oktoechos mele known as Constantinopolitan hyphos and trace it to the Archon Protopsaltes Panagiotes Halacoglu, Ioannes Trapezountios, Daniel the Protopsaltes and Petros Peloponnesios, who were also very active as transcriptors of makam music and contributors to own makam genres like Phanariot songs. This Ottoman culture was based on two different ideals: (1) the innovative composer who enriched the oktoechos mele by the exchange with Armenian musicians, Maftirim brotherhoods at the synagogues, and dervish composers, and who was honoured by anthologies explicitely dedicated to his compositions (Petros Bereketes), and (2) the traditionalist composers who kept the Byzantine heritage intact with a reference to Manuel Chrysaphes (the last lampadarios at the Palatine chapel of the Empire), also by changing and prolonging the thesis of the melos (Georgios Raidestinos, Panagiotes the New Chrysaphes, and Germanos of New Patras). The emphasis of this unit is to understand the synoptic and exegetic manuscript notation of the 17th and the 18th centuries, in order to perceive the exegeseis of the printed editions as possible realisations, but not as authoritative. Until today, Archon Protopsaltes of the Patriarchate are expected to contribute with their own realisations to revive the tradition known as Constantinopolitan hyphos.