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FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

BYZANTINE CHANT: ORIGINS OF MICROTONAL INFLECTION

By

Jon Paul Ye!y

A "a"e #u!$%&&e' &o &(e Colle)e o* Mu#%+In Pa&%al *ul*%ll$en& o* &(e

e,u%e$en *o &(e 'e)ee o*

Do+&o o* Mu#%+

Fall Se$e#&e- .//0


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A# a 1e#&ene- u"on *%#& l%#&en%n) o* By2an&%ne +(an& one 1%ll no&%+e &(e u#e o*

$o'e# an' $elo'%+ "a&&en# 1%&( $%+o&onal %n*le+&%on# &(a& 1e#&ene# $%)(& a& *%#&

a##o+%a&e 1%&( 3a22- *ol4- o $u#%+ *o$ &(e *a ea#&5 In any +a#e- %& %# a +u%o#%&y 1o&(y

o* %n6e#&%)a&%on &(a& e,u%e# a loo4 %n&o &(e o%)%n# o* &(%# #oun' %n &(e +on&e7& o*

By2an&%ne C(an&5 Sl%)(&ly lo1ee' no&e#- o no&e# %n !e&1een a !la+4 4ey an' a 1(%&e

4ey on &(e "%ano (a6e an e7"e##%6e ,ual%&y &(a& +an !e $an%"ula&e' &o en(an+e &(e

$ean%n) o* &(e &e7&5 Pe(a"# an ealy *o$ o* 1o' "a%n&%n)- &(e#e o**8+olo no&e#

)enea&e a #en#e o* lon)%n)- 1ee"%n)- an' a 6a%e&y o&(e e$o&%onal #&a&e#5 In &(e +a#e

o* By2an&%ne +(an& &(e#e e**e+ e*le+& &(e $oo' o "u"o#e o* &(e l%&u)y5 O&(e

)ene# o* $u#%+ #u+( a# blues$u#%+ %n+o"oa&e $%+o&onal !en'# an' nuan+e# &(a&

%$%&a&e &(e (u$an 6o%+e a# %& e7"e##e# #a'ne##5 T(e "en&a&on%+ #+ale 1%&( &(e a''%&%on

o* a *la&&e' *%*&( an' *la&&e' #e6en&( %# a& &(e #4ele&on o* 1e#&en !lue# $u#%+5 T(%# %#

no& a +o%n+%'en+e- &(e %n&ona&%on an' %n*le+&%on o* #"ee+( %n lan)ua)e# *o$ all o6e &(e

)lo!e *ollo1# &(e !a#%+ "en&a&on%+ "a&&en5 T(%# $a4e# %& "lau#%!le &o #ay 1%&(ou&

(a6%n) 4no1le')e o* Aa!%+ o Syo8Pal%#&%n%an lan)ua)e#- &(a& &(e +(an& +o$%n) ou& o*

&(e By2an&%ne E$"%e 1oul' +on&a%n #%$%la %n*le+&%on# &o Sy%a+- A%$a%+- Co"&%+ o

A$en%an lan)ua)e# &(a& 1ee #"o4en %n &(e By2an&%ne e$"%e5 A# %# &(e +a#e 1%&(

$o#& $u#%+- By2an&%ne +(an& %# an a&8*o$ &(a& %# &(e e#ul& o* (un'e'# o* yea# o*

&e%&o%al e7"an#%on an' +on&a+&%on- 1(%+( a# a e#ul& &(e +(an& +on&a%n# ele$en o*

$any +ul&ue#5

T(e "(y#%+al lo+a&%on o* &(e By2an&%ne E$"%e a& 9/; AD %# a +lue &o &(e #on%+

%n*luen+e# &(a& %n*luen+e' &(e 'e6elo"$en& o* &(e +(an&5 Sy%a an' Pale#&%ne !o'ee'

on &(e #ou&(1e#&- alon) 1%&( Ia, 1(%le &(e ea#&en !oa'e# %n+lu'e' 1(a& %# no1


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4no1n a# Ea#&en Euo"e5 T(%# "a&%+ula )eo)a"(%+ "o7%$%&y %# 4ey- a# Sy%a an'

Pale#&%ne #e6e' a# a "a&(1ay &(a& +onne+&e' &(e Holy Lan' 1%&( &(e By2an&%ne E$"%e5

A++o'%n) &o I)on


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By2an&%ne +(an& 'e6elo"e' *o$ &(e aea #uoun'%n) Con#&an&%no"le *o$

&(e on#e& o* &(e By2an&%ne e$"%e %n ??/ AD un&%l % +on,ue#& !y &(e O&&o$an# %n

9;?5 An e7+lu#%6ely $ona'%+ a&8*o$- &(%# $u#%+ 1a# %n*luen+e' !y "la%n#on)

+o$%n) *o$ &(e aea# o* Ale7an'%a- An&%o+( an' E"(e#u#5 Al&(ou)( &(%# %n*o$a&%on

)%6e# u# %n#%)(& &o #o$e o* &(e e)%onal %n*luen+e# on ealy +(an&- &(ee %# #&%ll &(e

$y#&ey &(a& #uoun'# &(e u#e o* $%+o&one#5 Geo)a"(%+ally &(e By2an&%ne E$"%e

1a# a lan' !%')e !e&1een &(e Bla+4 Sea an' &(e Me'%&eanean Sea &(a& +onne+&e'

Pe#%a- Ia, an' Pale#&%ne *o$ &(e ea#&en Euo"ean +oun&%e# o* Bo#n%a an' Hun)ay5

I& %# no #u"%#e &(en &(a& &(e $u#%+ o* *o$ &(%# e)%on (a# ele$en o* !o&( &(e ea#&

an' &(e 1e#&5 S&%ll- %& #ee$# a""aen& &(a& &(ee %# a +lea '%#&%n+&%on !e&1een ealy

+(u+( $u#%+ o*


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"%n+%"le# o* e+%&a&%on ae #a%' &o !e 6ey #%$%la &o &(o#e 'u%n) Mu(a$$e'# &%$e

+e+a // AD5 T(%# *o$ o* e+%&a&%on (a# #&%+& )u%'el%ne# *o &(e %n*le+&%on# "o'u+e'

!y #lo1- $ea#ue' (y&($%+ &one#5 T(e +o$"a%#on !e&1een "o"ely %n&one' @uan%+

e+%&a&%on- o Tajwid,an' By2an&%ne +(an& %# #&%4%n)5 I* &(e '%**een+e %n lan)ua)e %#

%)noe'- &(ey +oul' ea#%ly !e $%#&a4en *o ea+(o&(e5 Un*o&una&ely &(%# #%$%la%&y 'oe#

no& #(e' l%)(& on &(e o%)%n# o* &(e u#e o* $%+o&one#- %n#&ea' %& $eely +on*%$# &(e

1%'e #"ea' u#e o* &(%# &e+(n%,ue %n &(e Ea#&5

Al&(ou)( %& 1a# #a%' &(a& no $anu#+%" o* By2an&%ne C(an& e7%#& un&%l &(e 0&(

+en&uy- &(ee %# &(e Oxyrhynchus$anu#+%"& &(a& 'a&e# !a+4 &o &(e ?

'

+en&uy5 T(%# %#

&(e eal%e#& e7a$"le o* C(%#&%an +(u+( $u#%+ %n e7%#&en+e- an' a++o'%n) &o


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Re)a'le## o* &(e +(onolo)%+al "la+e$en& o* I#la$ an' C(%#&%an%&y- an' &a4%n) %n&o

+on#%'ea&%on &(e )eo)a"(%+al %n*luen+e#- &(ee %# one la#& *a+&o &(a& +oul' #e6e a# an

e7"lana&%on *o &(e u#e o* $%+o&one# %n Ea#&en $u#%+ a# 1ell a# By2an&%ne $u#%+- an'

&(a& %# &(e "%$ay lan)ua)e a##o+%a&e' 1%&( ealy By2an&%ne C(%#&%an%&y- Gee45 All

o&(e %n*luen+e# a#%'e- &(%# %# a $a3o '%**een+e !e&1een Ea#&en an'


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modes appeared during this period in all the Eastern and #estern

chant repertories that use them, and the evidence consistently

points to an origin in the milieu of $reed%speaking &alestinian

'onasticism of the closely related liturgical tradition of (erusalem

)(efferey*"

T(e e%)(& By2an&%ne $o'e# =choi> ae ela&e' &o &(e e%)(& *o$

an' a "la)al =lo1e8an)e> *o$ !a#e' on ea+( *%nal5 Ho1e6e- &(e $o'e# %n an ea#&en

+on&e7& 1%ll (a6e al&ee' #+ale 'e)ee# =$%+o&one#> &(a& ae no& *oun' %n any o* &(e

1e#&en +(u+( $o'e#5 Cuen& By2an&%ne +(an& &(eoy '%6%'e# &(e o+&a6e %n&o #e6en&y8

&1o "a- 1(%+( "o'u+e# a 6ey '%**een& #oun' *o$ &(e 1e#&en #+ale &(a& %# '%6%'e'

%n&o only 9. "a T(e#e #+ale# ae &(en a)a%n +a&e)o%2e' %n&o 6a%ou# &e&a8+(o'#:

F%#& &(ee %# &(e+iatonic&e&a+(o' 1(%+( !e)%n# an' en'# on C 1%&( #l%)(&ly *la&&e'

&(%' an' #e6en&( #+ale 'e)ee#5 T(e e#ul& %# a #oun' #o$e1(a& #%$%la &o &(e 1e#&en

(a$on%+ $%no #+ale5 Al#o &(e#e "%&+(e# ae &o !e #un) '%**een&ly 'e"en'%n) on %* &(e

&one %# a#+en'%n) o 'e#+en'%n)5 T(%# &ea&$en& o* 6a%a!le "%&+( 'e#%)na&%on %# #%$%la

&o &(e $elo'%+ $%no #+ale %n 1e#&en $u#%+5 In &(e+iatonic#+ale &(e B %# na&ual-

1(%le 'e#+en'%n) %& 1oul' !e *la&&e'5 T(e #e+on' #+ale %# &(e enharmonic&e&a+(o'

&(a& !e)%n# an' en'# on F an' %# #%$%la &o &(e 1e#&en $a3o #+ale5 T(e ne7& &1o

&e&a+(o'# (a6e a #&on)e $%+o&onal #oun'- #%n+e #e6eal o* &(e "%&+(e# ae #l%)(&ly

a%#e' o lo1ee'5 T(eard !hromatic#+ale !e)%n# on D an' (a# a *la&&e' #e+on'

an' a%#e' &(%' #+ale 'e)ee5 T(%# +ea&e# a )ea&e '%#&an+e =%n "%&+(> !e&1een &(e

#e+on' an' &(%' #+ale 'e)ee#- e#ul&%n) %n an a#+en'%n) &en'en+y &o e#ol6e &o &(e


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*ou&( #+ale 'e)ee- an' &(e 'e#+en'%n) &en'en+y 1oul' !e &o e#ol6e !a+4 &o &(e

#&a&%n) "%&+(5 T(%# $ay #ee$ o!6%ou# #%n+e %& +an !e a)ue' &(a& a 1e#&en #+ale 1%ll

*ollo1 &(e #a$e &en'en+%e# !u& %# %$"o&an& &o "o%n& ou& a# 1e "e"ae &o '%#+u## &(e

*o$ula%+ +(an &(a& ae +on#&u+&e' aoun' $elo'%+ "a&&en# #u+( a# &(e#e5 La#&- &(ee

%# &(e -oft chromatic scale&(a& a)a%n !e)%n# an' en'# on C- !u& no1 &(e #%7&( an'

#e6en&( #+ale 'e)ee# ae al&ee' #l%)(&ly5 To'ay &(ee %# an a)ee$en& 1%&(%n &(e

By2an&%ne O&(o'o7 %&e &o *la& &(e$ e,ually- !u& %n &(e "a#& &(ey 1ee no& *la&&e'

e,ually5 T(e#e +(aa+&e%#&%+# ae !e&&e (ea' &(an 'e#+%!e' 1%&( 1o'# an' u"on

(ea%n) one +an %$$e'%a&ely $a4e a +onne+&%on 1%&( Tu4%#( an' Aa! Ma4a$ $u#%+5


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compositions tend to be prevalent in societies that transmit music via oral tradition"

#hen a melody is composed upon a formula, there is much less memori0ation

demanded of the performer, and this also allows for some consistency in transmission"

The orator or performer now only has to memori0e the tones of a handful of modes

rather than a compendium of through%composed melodies" .round 4566 some of these

formulaic chants were placed together by (oannes $lykys and (oannes 7oukou0eles

into a set of didactic chants that are used today, with the addition of modern musical

notation for ease of reading" /efore we examine one of these didactic chants, it should

be recogni0ed that /y0antine formulaic chant may use one or#e6eal $o'e#- !u& ne6e

all &(e $o'e# &o)e&(e5 T(%# '%**e# *o$ Ma4a$ $u#%+ %n &(a& &y"%+ally only one $o'e

%# u#e' *o a #on)5 T(ee ae $o'ula&%on# &o '%**een& $o'e#- !u& &(ee %# a '%#&%n+&

#e"aa&%on !e&1een &(e$5 An a&%+le !y Le6y an' Tol#)a' o**e# #o$e %n#%)(& %n&o &(e

u# o* *o$ulae %n +(an&:

Fo$ulae an' "a&&en# al#o &en' &o *un+&%on %n #"e+%*%+ "o#%&%on#

%n%&%al ="(a#e8#&a&e#>- $%''le o +a'en&%al 1%&(%n &(e na&ual

+on&ou o* $u#%+al "(a#e#- an' &(ey o*&en un'el%ne &(e #yn&a+&%+

#&u+&ue o* &e7 T(e a++en&ua&%on o* &(e &e7& al#o #ee$# &o (a6e a

#&on) %n*luen+e on &(e +(o%+e o* *o$ula- e#"e+%ally %n &(e #ylla!%+

)ene# &(u# a #"e+%*%+ nu$!e o* una++en&e' #ylla!le# !e*oe &(e

*%#& a++en& o*&en e#ul %n &(e #a$e $elo'%+ o"en%n) %n #e6eal

"%e+e# o* &(e #a$e $o'e5 T(e *o$ulae ae al#o $a'e &o #e6e

la)e *o$al 'e#%)n#: &(ey $ay e$!ell%#( a "#al$o'%+ *a$e1o4

o +o$!%ne %n&o #o$e a!#&a+& +o$"o#%&%onal *%)ua&%on 1%&(


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#y$$e&%e# o* % o1n &(ey $ay !e a&&a+(e' &o a #"e+%*%+ +a&e)oy

o* l%&u)%+al +(an&- o &o a #"e+%*%+ "e*o$%n) $e'%u$- (el"%n) &o

'e*%ne a "a&%+ula #&yle !y &(e% e3e+&%on o* o&(e +a&e)o%e#5

=Le6y>

Belo1 %# a #(o& e7a$"le o* a '%'a+&%+ +(an& !y ou4ou2ele#:

QuickTime and aTIFF (Uncompressed) decompressor

are needed to see this picture.

T(e neu$e# #een a!o6e #o$e o* &(e no&e# %n &(e +(an& ae %n'%+a&o# o* $%+o&onal

%n*le+&%on5 T(e ol' #y#&e$ o* neu$e# %# 6ey +o$"le7 an' 1oul' no& !e ea#y *o a

+(%l' o non8$u#%+%an o )ee4 #"ea4%n) "e#on *o &(a& $a&&e- &o 'e+%"(e5 E6en a& a

)lan+e one +an no&%+e &(e e"e&%6e o* $elo'%+ %'ea# %n &(%# e7+e"& o* +(an& an' no&%+e

&(ee u#e*ulne## a# a lean%n) &ool5

Al&(ou)( &(e 'e6elo"$en& o* By2an&%ne +(an& %# #o$e&(%n) &(a& #"anne' $any


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+en&u%e# an' (a' $any +ul&ual %n*luen+e# a# '%**een& "eo"le# $%)a&e' %n an' ou& o*

&(e aea #uoun'%n) Con#&an&%no"le- &(ee %# a )ea& 'eal o* $y#&ey a# &o &(e o%)%n# o*

&(e u#e o* $%+o&one#5 A# a #&a"le o* Tu4%#( an' Aa! $u#%+- one $%)(& #u""o#e &(a&

&(e#e "eo"le# (a' an %n*luen+e o6e &(e By2an&%ne $u#%+- (o1e6e +(onolo)%+al

"la+e$en& $%)(& #u))e#& o&(e1%#e5


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any o* &(e !lue no&e# o e6en $%+o&one# &(a& ae +o$$on &o &(%# )ene5 T(%# %# an

%n&ee#&%n) %n6e#&%)a&%on &(a& e#ul %n "e(a"# $oe ,ue#&%on# !e%n) "o#e' &(an

an#1ee'5 I& $ay al#o #(e' #o$e l%)(& on &(e na&ue o* &(e an+%en& Gee4 $u#%+al

#y#&e$- #u))e#&%n) &(a& "e(a"# %& 1a# no& +o$"o#e' en&%ely o* '%a&on%+ $o&%on- !u&

al#o %n+o"oa&e' +(o$a&%+%#$ an' $%+o&one#5


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Bibliography

Pe&e Je**ey5 O4&K+(o#5 In $rove 'usic Online5 Oxford 'usic Online-

(&&":1115o7*o'$u#%+onl%ne5+o$5"o7y5l%!5*#u5e'u#u!#+%!ea&%+le)o6e$

u#%+;//05

enne&( Le6y an' C(%#&%an Toel#)'5 By2an&%ne +(an&5 In $rove 'usic Online5

Oxford 'usic Online-

(&&":1115o7*o'$u#%+onl%ne5+o$5"o7y5l%!5*#u5e'u#u!#+%!ea&%+le)o6e$

u#%+/05

- 9095


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