Abstract
In this article, I discuss the emergence of modal analysis of Coptic hymns by Coptic Egyptian scholars beginning in the 1970s. I then provide a brief history of maqām theory and discuss the subtopics of intonation and tetrachordal analysis as they apply to Coptic chant. Finally, I present a modal analysis of the festal version of the Coptic laḥn "Epouro" by Coptic Egyptian scholar Nabīl Kamāl Buṭrus along with my own annotation and critique. I argue that this historical review and musical analysis demonstrate a degree of potential affinity between at least some Coptic hymnody and this regional musical tradition.
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