Uploaded October 2025 | Updated September 2026, 3 weeks ago
Aristoxenus is back to get drunk and talk about medieval greek music and what we know about it.
Sources and additional reading:
• Sound of Byzantium : Byzantine Musical Instruments, by Antonios Botonakis, Nikos Maliaras, Christian Troelsgård
• Medieval Byzantine Chant and the Sound of Orthodoxy, Alexander Lingas
• Performance Practice and the Politics of Transcribing Byzantine Chant, Alexander Lingas
• Byzantine Chant, Western Musicology and the Performer, Alexander Lingas
• Greek modes and Turkish sounds.Music as a means of intercultural exchange between Orthodox Christians and Muslims in the Ottoman Empire, Maria Pia Ester Cristaldi
• Byzantine Chant: The Received Tradition – A Lesson Book, John Michael Boyer
• Byzantine Chant, Alexander Lingas: openaccess.city.ac.uk/id/eprint/21530/10/2_LINGAS_Byzantine%20Chant.pdf
• Nikos Maliaras, Some Western European Musical Instruments and Their Byzantine Origin
• The presence of musical instruments in Byzantine and post-Byzantine iconographic sources, Gabriella Curry
https://www.academia.edu/1888280/The_presence_of_musical_instruments_in_Byzantine_and_post_Byzantine_iconographic_sources
• The Influence of Byzantine Music on the West, Constantin Floros, https://www.academia.edu/8457593/The_Influence_of_Byzantine_Music_on_the_West
• A brief study on the influence of Byzantine music on the development of eastern and Western music, Tianhua Dong, file:///C:/Users/aravi/Downloads/A_brief_study_on_the_influence_of_Byzantine_music_.pdf
• Cenk Güray & Nevin Şahin, Understanding Byzantine Music, 23.12.2020, BAA, youtube.com/watch?v=qxuDPDSfX-U
• What did Byzantine music sound like? (The answer is more political than you’d expect), with Alexander Lingas youtube.com/watch?v=XhOvv-2l5hM
• Ottoman Corruptions of Post-Byzantine Chant! Oliver Gerlach https://www.academia.edu/33024898/_Ottoman_corruptions_of_post_Byzantine_chant_English_version_
• The Generation around John Koukouzeles and the Re-Definition of the Constantinopolitan Tradition by the “Koukouzelian” Reform, Oliver Gerlach https://independent.academia.edu/OliverGerlach
• Petros Peloponnesios — About Authorship in Ottoman Music and the Heritage of Byzantine Music, Oliver Gerlach https://www.academia.edu/32364631/Petros_Peloponnesios_About_Authorship_in_Ottoman_Music_and_the_Heritage_of_Byzantine_Music
• "The Heavy Mode (ēchos varys) on the Fret Arak" — Eastern Chant in Istanbul and the Various Influences during the Ottoman Empire, Oliver Gerlach, https://www.academia.edu/916934/_The_Heavy_Mode_%C4%93chos_varys_on_the_Fret_Arak_Eastern_Chant_in_Istanbul_and_the_Various_Influences_during_the_Ottoman_Empire
• Review: K. KALAITZIDIS, Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to early 19th century) https://www.academia.edu/32350319/Review_K_KALAITZIDIS_Post_Byzantine_Music_Manuscripts_as_a_Source_for_Oriental_Secular_Music_15th_to_early_19th_century_
• The Rise of Music in the Ancient World, Curt Sachs
00:00 Intro and Disclaimers
09:00 Origins of Greek Medieval Music
20:56 Evolution of the Ancient Greek Modes
28:19 Secular Music
36:04 Secular Music : Instruments
52:00 Approximating a secular piece
1:03:30 Liturgical Byzantine Chant
1:25:56 Geographical Context
1:34:04 Modern legacies of Medieval Greek music
Aristoxenus is back to get drunk and talk about medieval greek music and what we know about it.
Sources and additional reading:
• Sound of Byzantium : Byzantine Musical Instruments, by Antonios Botonakis, Nikos Maliaras, Christian Troelsgård
• Medieval Byzantine Chant and the Sound of Orthodoxy, Alexander Lingas
• Performance Practice and the Politics of Transcribing Byzantine Chant, Alexander Lingas
• Byzantine Chant, Western Musicology and the Performer, Alexander Lingas
• Greek modes and Turkish sounds.Music as a means of intercultural exchange between Orthodox Christians and Muslims in the Ottoman Empire, Maria Pia Ester Cristaldi
• Byzantine Chant: The Received Tradition – A Lesson Book, John Michael Boyer
• Byzantine Chant, Alexander Lingas: openaccess.city.ac.uk/id/eprint/21530/10/2_LINGAS_Byzantine%20Chant.pdf
• Nikos Maliaras, Some Western European Musical Instruments and Their Byzantine Origin
• The presence of musical instruments in Byzantine and post-Byzantine iconographic sources, Gabriella Curry
https://www.academia.edu/1888280/The_presence_of_musical_instruments_in_Byzantine_and_post_Byzantine_iconographic_sources
• The Influence of Byzantine Music on the West, Constantin Floros, https://www.academia.edu/8457593/The_Influence_of_Byzantine_Music_on_the_West
• A brief study on the influence of Byzantine music on the development of eastern and Western music, Tianhua Dong, file:///C:/Users/aravi/Downloads/A_brief_study_on_the_influence_of_Byzantine_music_.pdf
• Cenk Güray & Nevin Şahin, Understanding Byzantine Music, 23.12.2020, BAA, youtube.com/watch?v=qxuDPDSfX-U
• What did Byzantine music sound like? (The answer is more political than you’d expect), with Alexander Lingas youtube.com/watch?v=XhOvv-2l5hM
• Ottoman Corruptions of Post-Byzantine Chant! Oliver Gerlach https://www.academia.edu/33024898/_Ottoman_corruptions_of_post_Byzantine_chant_English_version_
• The Generation around John Koukouzeles and the Re-Definition of the Constantinopolitan Tradition by the “Koukouzelian” Reform, Oliver Gerlach https://independent.academia.edu/OliverGerlach
• Petros Peloponnesios — About Authorship in Ottoman Music and the Heritage of Byzantine Music, Oliver Gerlach https://www.academia.edu/32364631/Petros_Peloponnesios_About_Authorship_in_Ottoman_Music_and_the_Heritage_of_Byzantine_Music
• "The Heavy Mode (ēchos varys) on the Fret Arak" — Eastern Chant in Istanbul and the Various Influences during the Ottoman Empire, Oliver Gerlach, https://www.academia.edu/916934/_The_Heavy_Mode_%C4%93chos_varys_on_the_Fret_Arak_Eastern_Chant_in_Istanbul_and_the_Various_Influences_during_the_Ottoman_Empire
• Review: K. KALAITZIDIS, Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to early 19th century) https://www.academia.edu/32350319/Review_K_KALAITZIDIS_Post_Byzantine_Music_Manuscripts_as_a_Source_for_Oriental_Secular_Music_15th_to_early_19th_century_
• The Rise of Music in the Ancient World, Curt Sachs
00:00 Intro and Disclaimers
09:00 Origins of Greek Medieval Music
20:56 Evolution of the Ancient Greek Modes
28:19 Secular Music
36:04 Secular Music : Instruments
52:00 Approximating a secular piece
1:03:30 Liturgical Byzantine Chant
1:25:56 Geographical Context
1:34:04 Modern legacies of Medieval Greek music






![Peroz of China - Epic Chinese Iranian Music
Music & vocals by Farya Faraji, guzheng by Yiang Ling, erhu by Amanda Toh, artwork by J.F Oliveras: https://jfoliveras.artstation.com/projects/NGd80J
This is me having some fun mixing together the modern Iranian and Chinese musical traditions as a thematic way to represent Peroz III, the son of the last Sasanian Emperor who went to exile in China. Promoted as a high ranking military officer of the Tang-era Chinese realm, he would, alongside his son Narsieh, try to reconquer Iran with the military aid of China from the hands of the Arab Muslims, but would ultimately fail to do so. Despite this, a Zoroastrian, Iranian diaspora would continue to exist in China for many centuries afterwards as refugees from the Islamic invasion of Iran.
The main melody at the beginning was created from first writing a typical Iranian melody in the mode of Shur, and then subtracting notes from it in order to create a pentatonic effect; the principal melodic form of Chinese music. I also added my Sasanian leitmotif, played in the manner of modern Persian Classical music using the setar, tar and oud, with the tombak as the drum accompaniment. The Iranian daf provides the main percussions throughout most of the piece, and theyre accompanied by the guzheng, erhu, yangqin, a Chinese dulcimer, the santour, a closely related Iranian dulcimer, and the Iranian ney flute.
More interestingly, the melody that starts at 02:48 is a historical melody from circa the period of Peroz III, played on modern Chinese instruments. Called Jiu Huzi, or the Wine Puppet, this melody comes to us from Tang-era China, and was transcribed in the 70s by Laurence Picken, who found it surviving in 12th century Japanese manuscripts, where it was called Shukoshi. The reason I featured this melody goes beyond its era-appropriate nature, as its a piece of music that is inherently linked to the Iranian world. The piece of music seems to be in reference to a tradition of puppetry that portrayed Sogdians, an Iranic people related to the Persians, whose wine seemed to have been prized by the local Chinese. An important Sogdian diaspora seemed to exist there, and these puppets would portray the exotically dressed, red-haired and blue eyed Sogdian character getting drunk and falling over. In The Golden Peaches of Samarkand: A Study of Tang Exotics (1963), Edward H. Schafer, paraphrasing the Japanese scholar Ishida Mikinosuke, writes: The same young poets who languished over the pretty Iranian waitresses in the metropolitan wineshops laughed at the little puppets representing drunken Sogdians, with their peaked caps, blue eyes, and high noses, with which they played in houses of prostitution when the ridiculous puppet fell over, the guest at whom it pointed had to empty his cup... These puppets were called chiu hu-tzu [i.e., jiu huzi, 酒胡子] or pu tsui hsien [i.e., bu zui xian, 捕醉仙].
The lyrics come from the Ballad of King Vahram, part of which I sang in my song of the same name from 2021. A piece of Middle-Persian Zoroastrian text from after the Islamic invasion (some scholars argue very soon after the invasion), it represent the hopes of the Zoroastrian Iranians for the return of a messianic figure from India who will drive away the Muslims and restore the native religion to the land.
Middle-Persian lyrics:
Be niger ka čand wad abgand ān druz pad ēn gēhān ka nēst wattar az ōy andar gēhān.
Mazgitīhā frōd hilēm, be nišānēm ātaxšān uzdēszārīhā be kanēm ud pāk kunēm az gēhān, tā wany šawēnd druz-wišūdagān az ēn gēhān.
Frazaft pad drōd šādīh
English translation:
Behold how much evil that demon has cast upon the world,
There is no more evil than they in the world,
We will destroy the mosques, establish fires,
We will raze the idol temples and blot them from the world,
Til evil gets destroyed, the daevic creature from the world,
Finished with salutations and happiness. Peroz of China - Epic Chinese Iranian Music](https://i.ytimg.com/vi/jeJ2YeOUO84/mqdefault.jpg)



