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This explains why Byzantine music refers to several Orthodox Christian chant traditions of the Mediterranean and of the Caucasus practiced in recent history and even today, and this article cannot be limited to the music culture of the Byzantine past.

The tradition of eastern liturgical chant, encompassing the Greek-speaking world, developed in the Byzantine Empire from the establishment of its capital, Constantinople, in 330 until its fall in 1453.

There is also an identification of "Byzantine music" with "Eastern Christian liturgical chant", which is due to certain monastic reforms, such as the Octoechos reform of the Quinisext Council (692) and the later reforms of the Stoudios Monastery under its abbots Sabas and Theodore.

The triodion created during the reform of Theodore was also soon translated into Slavonic, which required also the adaption of melodic models to the prosody of the language.

Nevertheless, both schools have in common a set of 4 octaves (protos, devteros, tritos, and tetartos), each of them had a kyrios echos (authentic mode) with the finalis on the degree V of the mode, and a plagios echos (plagal mode) with the final note on the degree I.

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The Calabrian Cassiodorus founded Vivarium where he translated Greek texts (science, theology and the Bible), and John of Damascus who learnt Greek from a Calabrian monk Kosmas, a slave in the household of his privileged father at Damascus, mentioned mathematics as part of the speculative philosophy.

It is being discussed that in the Narthex of the Hagia Sophia an organ was placed for use in processions of the Emperor’s entourage.

According to the chant manual "Hagiopolites", the earliest that has survived until today, chanters of the Hagia Sophia used a system 16 church tones (echoi), while the author of this treatise introduces to a tonal system of 10 echoi.

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