Abstract
In the Byzantine musical art orality was the common denominator of the entire mechanism of passing on of the kliros chant and the maestro-apprentice relation was the unique and exemplary model by which this was fulfilled.
Starting from the study of some Byzantine and Post-Byzantine codices as well as from some theoretical and practical sources of this art, the present research tries to reconstruct the complex phenomenon of the formation of the phonic mental archives and of the mechanisms by which the medieval Byzantine musician succeeded in assimilating and afterwards transmitting the monodic repertoires of the Eastern Church.
Keywords
byzantine music, manuscripts, memory, motivic formula (thesis), neume, solfeggio
