Quite the opposite, as a universal approach to music traditions of the Mediterranean it was rather based on the integrative power of the psaltic art and the Papadike, which can be traced back to the Hagiopolitan Octoechos and its exchange with Oriental music traditions since more than thousand years.
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The third and most important step was a reform of the notation as the medium of written transmission, in order to adapt it to the scales and the tone system which was the common reference for all musicians of the Ottoman Empire.
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In the early Hagiopolitan Octoechos (6th-13th century) the diatonic echoi were destroyed by two phthorai nenano and nana, which were like two additional modes with their own melos, but subordinated to certain diatonic echoi.
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On the other hand, it shared an equal part with other music traditions in a rich and inspiring exchange among musicians of the Ottoman Empire.
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According to medieval theory, the plagioi (oblique) echoi mentioned above (Hagiopolitan Octoechos) employ the same scales, the final degrees of the plagioi echoi are a fifth below with respect to the ones of the kyrioi echoi.