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Maqām and Byzantine modes: points of intersection

Treatises on music in Persian could have been in the field of view of the theorists of Byzantine chant, who formed the experience of explaining the theory of maqam in Greek. Treatises on music in Persian could have been in the field of view of the theorists of Byzantine chant, who formed the experience of explaining the theory of maqam in Greek. Before the reform of the New method in 1814, was established at least two similar treatise Panagiotis Palazoglu (Παναγιώτης Χαλάτζογλου) (1708-1748) and Bishop Cyril of Marmara (Κύριλλος Μαρμαρινός) (early XVIII century — the 60-ies of the XVIII century). The first author presented described his music as "musical art of the Persians" (γνῶσιν τῆς μουσικῆς τέχνης τῶν περσῶν) and stressed that the creation of its theoretical text, he investigated the "book of ancient Persian and modern musicians" (τα περσικά βιβλία τῶν παλαιῶν και νέων μουσικῶν). The second author, referring to this area of knowledge, attributed it to "external music" (ἔξω μουσική). Probably, the theory of music in Arabic and Persian was in demand, since, starting from the 18th century, in the singing liturgical books of the Byzantine tradition, one could find chants indicating not a specific voice, but a specific maqam. Treatises on music in Persian could be in the field of view of the theorists of Byzantine chant.