Towards a syntactic model of Neo-Byzantine Music - Gerasimos-Sofoklis Papadopoulos (Eng & Gr subs)

A presentation of Gerasimos-Sofoklis Papadopoulos at the 10th European Music Analysis Conference, Moscow, September 20-24, 2021. Greek and English subtitles are included.
Contact:

G.-S. Papadopoulos:
sof.papadopoulos@hotmail.gr
The final article is uploaded on academia in English: https://www.academia.edu/96273576/Towards_a_syntactic_model_of_Neo_Byzantine_Music, and in Greek: https://www.academia.edu/96289402/%CE%9A%CE%B1%CF%84%CE%B1%CF%83%CF%84%CF%81%CF%8E%CE%BD%CE%BF%CE%BD%CF%84%CE%B1%CF%82_%CE%AD%CE%BD%CE%B1_%CF%83%CF%85%CE%BD%CF%84%CE%B1%CE%BA%CF%84%CE%B9%CE%BA%CF%8C_%CE%BC%CE%BF%CE%BD%CF%84%CE%AD%CE%BB%CE%BF_%CF%84%CE%B7%CF%82_%CE%9D%CE%B5%CE%BF%CE%B2%CF%85%CE%B6%CE%B1%CE%BD%CF%84%CE%B9%CE%BD%CE%AE%CF%82_%CE%9C%CE%BF%CF%85%CF%83%CE%B9%CE%BA%CE%AE%CF%82.
Abstract:

The concept of syntax is mainly connected to linguistics, since it describes a set of rules, principles and processes that govern the structure of sentences in a given language. Musicolinguists, on the other hand, developed the concept of 'music syntax', which includes the rules, the principles and the processes that determine how each of the musical elements could find its position in the hierarchical structure of a given piece belonging to a given musical idiom. Until today, many scholars attempted to develop a hierarchical theory for the Western Tonal Music, based on the harmonic sequences and the various cadences, while much less scholars musicolinguistically approached other kinds of music, ex. modal musical idioms, like Neo-Byzantine music. According to musicolinguist Martin Rohrmeier, the whole structuring process of the Western tonality is based on two core abstract principles: prolongation and preparation. The general idea behind this theory is that 'weaker' musical units prepare the 'stronger' ones, which have the tendency to be prolongated. In this paper, I attempt to examine if these two principles could comprehensively describe the structuring process of the Neo-Byzantine music. Since this music is mainly monophonic, our units would consist of single notes or groups of notes or groups of groups of notes etc., instead of chords. Current theoretical treatises associate the various modes (and their branches) with particular notes (δεσπόζοντες φθόγγοι, 'dominant notes'). For the purposes of this analysis, I suggest the concept of synchord (σύγχορδο) - a group of consecutive intervals that functions as an intermediate level between the note and the mode (ήχος). Hence, three structural level emerge: the micro-level of the note, the mid-level of the synchord (as a combination of notes), and the macro-level of the mode (as a combination of synchords).
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