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and Persian music, while esoteric (????????? = "internal") pointed at the papadic tradition of using Round notation with the modal signatures of the eight modes, now interpreted as a simple pitch key without implying any cadential patterns of a certain echos. In practice there had never been such a rigid separation between exoteric and esoteric among Romaic musicians, certain exchanges--with makam traditions in particular--were rather essential for the redefinition of Byzantine Chant, at least

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