The question is raised in this chapter as to whether educational television of all kinds, namely mobile phone, computer, TV tap, etc., can protect the musical character of every people in the newly formed environment. Specifically, Byzantine music is studied through multimedia and interactive systems, with the main aim of ensuring the musical tradition and correctness despite the influence of music from the inside, that is, by artists who use music in whatever way they think, not taking into account the delineated lines of tradition or the general musical diversity that tends to Westernize the music of the ever-prevailing Eastern Roman empire of Constantinople. Distance learning with artificial means is the most basic method of teaching music for the coming years. Researchers who want to preserve the traditional musical style of Byzantine music must seriously consider the new data in order to fully exploit the technology to solve the problems that arise. Below is a reference to the use of such systems because of the problems that exist and how they will be solved.
TopByzantine And European Music
The following peculiarities are the basic elements that differentiate the two cultures. It is necessary to present them in order to understand the diversity that is in danger if only the teaching of European music prevails on all types of educational television.
European music forms its scales according to interval patterns. A typical example is the physical scale of the Do + or the major one in which we encounter the motif: tone, tone, hemisphere, tone, tone, tone, sine, as on all major scales. Correspondingly, the natural minor scales are constructed with the motif: tone, sine, tone, tone, sine, tone, tone. On the minor scales, the 7th note (adder) has become dominant, and this pattern changes to: tone, sine, tone, tone, semitone, trimitone, hemithone. In an attempt to digitally analyze the music, with only data recording the musician, the computer could understand all the musical text as the scales of European music have a distinct difference between their intervals and also all the notes have fixed and specific tonal height . For example, note da (c4) has a pitch at 261.63 hertz and is fixed. Byzantine music does not impose a specific frequency on every note, but only observes intervals during the course of the member. Thus, the possibility of identifying a note based on its specific frequency is rejected, since music itself does not want it to be predetermined.