Songbirds as an Inspiration for Byzantine Kratēmata

Abstract

Byzantine kratēmata, widely known as the terrirem, as part of other, broader musical works, date approximately back to the eleventh–twelfth century. A small group of four kratēmata are named after birds (Aēdhon – Luscinia megarhynchos, Potamis – Acrocephalus, Anyfantis and Papadopoula – Parus major). It is reasonable to assume that the singing of the respective birds inspired composers to set these kratēmata to music. Studying the related compositions, as they have been documented in the written tradition of the Byzantine and the post-Byzantine manuscripts until their transcription from the pre-1814 old stenographic method notation, we report certain observations that reinforce the initial hypothesis, as well as some parallel remarks about the phenomenon of creation, establishment, and spreading of this form.