of how Syrian chant would have sounded. The chant usually begins with a highly ornamented and free rhythm pattern. There appear to be multiple voices singing and taking turns. Each singer sings solo for their section of the chant. Jarjour explained earlier that Hasho, Syrian chant, is a coming together of emotionality, spirituality, musicality and knowledge. Music examples on YouTube are often a monophonic texture filled with melodic ornamentation. The ornamentation notes draw emotion, while the content is no doubt prayer and is spiritually rooted. The catechesis of the prayer provides knowledge. These are inline with what we are to understand about Syrian chant. The other features of the songs is how it resonates through the building it is recorded in. The texture of the songs are usually thin but due to the acoustics in the buildings they are sung in, the sound becomes more dense with the echoes and sound-waves bouncing off the walls and ceilings. Many of the Syrian chant videos also use scales and intervals that resemble the western diminished or diminished 7th intervals. There is some harmonization but each voice tends to follow the same melodic contour. The chants will occasionally sound like rounds. The timbre is usually dark and the range of pitch is wide. It is important though to understand that these observations are made from modern chants found on YouTube. The observations may not reflect the historical chants. The Context of Christian chant The chant seems to be designed to accommodate the acoustics of the building. This reflects an interesting feature of the chant as it was likely sung to bounce of the walls and ceiling of the church. Whether this is a technological advancement of the architecture to be designed to bounce the sound or the singing was sung the way it was to accommodate the acoustics, the sounds and prayers to carry throughout the buildings of the Middle East. The chants were reached by all present. These elements are no doubt intertwined in a particular way that give Syrian chant its distinctive qualities. The earliest information that Villoteau gathered was all derived from a priest that he encountered in Syria. Although Villoteau attempted to transcribe some of the chants, they used the Arabic quartertone's making the chant near-impossible to transcribe. Difficulty in studying Syrian Christian chant Syrian chant has been misrepresented in academics as well as misunderstood culturally due to wrongful