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XI-XV in acest perioad apar imnogrofii (compuneau texte noi pt. melodii deja existente — prosomii) Melurgii musurgi, maistores) — creau melodii noi pentru texte existente, dezvoltand mai ales melodii melismatice loannes Koukouzeles (ultimul sfert al sec. XIll— prima jum. a sec. XIV [1280-1360]) Notatia cucuzelian’: + a) 15 semne diastematice (cantitate), * B) peste 40 de semne cunoscute sub denumirea de marile semne cheironomice,(ARTA HIRONOMICA) + y) chet si formule intonationale specitfice, + 6) ftorale sau semne modulatori. Apar dou clase de manus Psaltikonul — colectie destinaté eminamente solistilor ce continea un repertoriu de virtuozitate; + Asmatikonul - colectie inchinaté corului Alaturi de acestea mai apar si alte clase de manuscrise(Kratematarion, Mathematarion, Akolouthia ete). + Apar sitratate teroretice numite: enchiridion (tratat). Stilul de céntare specific’ acestei perioade: + Silabic (traditional) + Idiomul kalophonic (papadic) prin tehnica infrumusegarit. + Caraeteristici: lungime, bogditie melismaticd, ambitus mare. Se dezvolta un nou gen de cdntare apartinand stilului kalophonic/papadic ~ kratima / tererem, + Tipicul neosavait devine ,in secolul al XIV-le, prin Athos si prin isihasm, ritul bizantin standard al intregil Ortodoxit in sec. al Vx-lea Nichifor Calist alcdtuieste Sinaxarele Triodului si al Penticostarului 3. Perioada post-bizantind sec. XV-XIX (1814) in acest perioada de dupa 1453 se continua activitarea melurgilor sia maistorilor. Manuel Chrysaphes Lampadarul (1440-1463) (compozitor prolific, interpret deosebit, copist $i teoretician) ‘Alaturi de Constantinopol se dezvolté o scolile din Cipru, Creta, Serbia si Moldova (Putna). Hrisaphes cel Nou (1665-1680) - «infrumuseteaza» un Anastasimatar de la loan Glikis, loasaf “Noul Cucuzeles” ~ reprezentant al SF. Munte Athos. Apare un nou stilul de cantare: irmoasele kalophonice ~ create de Germanos, Episcopul Noilor Patre (~1660 ~ 1685), urmat de: + Balasios Preotul (~1670- 1700) si + Petros Bereketes (~1680~ 1710/15) Petros Lampadarios Peloponnesios (~1730 - 1778) ~ opera sa vizeaz’ trei aspecte: a. Exighiseste (transcrie analitic) 0 important parte a vechiului cant (Cucuzeles, Glykys etc.) . Stilisti, el a cultivat melodiile syntomon (pe seurt) © a dezvoltat un sistem analitic preluat de fa inaintasi si continuat de ucenicil si|. Perioada hrysantica (moderna) - 1814 ~ astzi Figura supremé care a marcat definitiv evoluia ulterioara a acestel arte a fost Chrysant de Madyt, un muzician cu 0 cultura remarcabil8 si cdruia nu-i era necunoscutd nici stiinta muzicala curopeana si nici cea araba. El este teoreticianul noului sistem, prin reforma care-i poarta numele. In 1821 tiparste(Introducere...) si Marele Teoreticon af Muzicit la Trieste in 1832. Noile directii muzicale vor fi puse in practica in Scoala Patriarhald deschisa la 1814 — 1815, asigurandu-se astfel succesul in difuzarea noului sistem. Gregorie Protopsaltul si Hurmouz Hrtofilax sunt cei care au trecut in noul sistem o mare parte din repertoriul inaintaslor. Caracteristicile reformei: + Reducerea semnelor neumatice (in special hironomice) + Stabilirea ritmului cantarilor + Precizarea scarilor muricale + Fixarea denumirilor monositabice(Ni, Pa, Vu etc.) + Selectarea anumitor forme ale glasurilorfp il NUCA Cymdanto In Ber ork partues i ' i prtionl t Qudewe pe York ochvet ef Ran amar nun dil aparracs w p Mode Ane Qrtrac> wpuxwalard, av unows Phaurrpics om fost : 1 Sprache A prroiana (35620) Te ber oul, i poled Laps © Rice Goll) B95- 94) Sh Looks owe vn tall , Oabinne = toni, & wall DG ~Se -hirsarg, Beem, a-2.9 mek Tbe Yafenlow Melrapslioe Jue Baten| Gores de ae ( Ley) + lot Usd dante cals eape che 1 tented Mo we ph erfrclaren Qdorls pe o! 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