Фторы и звукорядные модуляции в средневизантийском распеве (на материале классической редакции Стихираря XIII – XIV вв.)

Abstract

The Middle Byzantine diastematic notation knows a number of particular signs – the phthorai – indicating modal changes. Being added to the interval neumes, they convey information that could not be seen from the neumes themselves, namely, about scale structure of Middle Byzantine hymns.Phthorai of archaic type are placed on the intonation of ascending forth g-c in a melodic element of the mode “nana”. Latest phthorai, which had been added to Middle Byzantine singing manuscripts in post-Byzantine period, are of different types. The paper deals with one of them, the phthora of the tritos mode (c). It is found in chants of all eight modes, in different melodic context, placed on c and one fifth downwards, on f. It indicates small interval, i.e. one half-step below the neume on which the phthora occurs. However, in few other cases phthorai “c” are found on another pitch. From these transposed phthorai we can learn about interval structure of melodic formulae and, more specifically, about scale modulations.The paper presents an analysis of two stichera: “To tritto tes eroteseos” to Saint Peter, in tetartos mode, and “Deute makarisomen apantes Iosef” for Holy Saturday, in plagios deuteros mode. The author draws conclusion that their modal structure contains a scale modulation. Some melodic configurations or more large melodic formulae should be transcribed to the modern notation system with accidentals, in these cases, f-sharp. Modulations may serve as an artistic mean to stress the structure of the hymn and to convey its author’s line of thought.