Byzantine music (English Wikipedia)

Frøyshov, Stig Simeon R. (2007). "The Early Development of the Liturgical Eight-Mode System in Jerusalem". Saint Vladimir's Theological Quarterly. 51: 139–178. Retrieved 19 March 2018.
Frøyshov, Stig Simeon R. (2012). "The Georgian Witness to the Jerusalem Liturgy: New Sources and Studies". In Bert Groen; Steven Hawkes-Teeples; Stefanos Alexopoulos (eds.). Inquiries into Eastern Christian Worship: Selected Papers of the Second International Congressof the Society of Oriental Liturgy (Rome, 17–21 September 2008). Eastern Christian Studies. Vol. 12. Leuven, Paris, Walpole: Peeters. pp. 227–267.
Nikiforova, Alexandra (2011). "Неизвестное гимнографическое наследие константинопольского патриарха Германа [Unknown Hymnographical Heritage of St. Germanus, Patriarch of Constantinople]". Вестник ПСТГУ. Филология. 4 (26): 29–43.
See the list of incipits: Nikiforova, Alexandra (2013). "The Tropologion Sin.Gr. ΝΕ/ΜΓ 56+5 (9th c.): Complete Incipitarium". About the History of the Menaion in Byzantium: Hymnographic Monuments of the 9th–12th Centuries from the St. Catherine's Monastery on the Sinai. Moscow. pp. 195–235.{{cite book}}: CS1 maint: location missing publisher (link)

archive.org

John of Damascus (1958). Πηγή Γνώσεως. New York: Fathers Oe The Church. p. 12.
Constantine VII: Ἔκθεσις τῆς Βασιλείου τάξεως, PG 112, col. 664 (book I, ch. 73).

bazaarturkey.com

Influences of Byzantine music Archived 2011-09-30 at the Wayback Machine (The music of Turkey is also, a reference to the Byzantine music. In the period of classical music, Ottoman music was influenced by Byzantine music—specifically in:1640–1712)

bnf.fr

gallica.bnf.fr

Raasted's edition (1983) was based on a 12th-century manuscript (F-Pn fonds grec, Ms. 360, ff.216r-237v) which he dated to the 14th century, because he regarded a 15th-century fragment of the mathematarion as the continuation. Raasted, Jørgen, ed. (1983). The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. Vol. 45. Copenhagen: Paludan. "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων ["The book of the Holy Polis (Jerusalem) unifying different musical methods", originally an introduction to a 12th-century tropologion] rebound in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th–15th centuries)
See both psaltika-kontakaria of Sinai (ET-MSsc Ms. Gr. 1280 and 1314), and those of Paris and Rome (F-Pn fonds grec, Ms. 397, V-CVbav Vat. gr. 345). Sin. gr. 1314, written during the 14th century, is a precise copy of Sin. gr. 1280 with a later notation style and many mistakes, but it was completed by a long appendix with the complete Akathistos hymnus (24 alphabetic oikoi) in melismatic style, the missing set of 8 kontakia-prosomoia anastasima with 8 oikoi-prosomoia, the stichera heothina, although they did belong to the oktoechos section of the sticherarion, etc. "Sinai, Saint Catherine's Monastery, Ms. Gr. 1280". Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (about 1300). "Sinai, Saint Catherine's Monastery, Ms. Gr. 1314". Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, the complete Akathistos hymn, kontakia anastasima, stichera heothina, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th century). "Paris, Bibliothèque nationale de France, fonds grec, Ms. 397". Incomplete Kontakarion (Prokeimena, Stichologia for Christmas and Theophany, Allelouiaria, Hypakoai anastasima, kontakia) in short psaltikon style with Middle Byzantine Round notation (late 13th c.). "Rome, Biblioteca apostolica vaticana, Vat. gr. 345". Kontakarion-Psaltikon (prokeimena, allelouiaria, hypakoai, kontakia) with Middle Byzantine Round notation (about 1300).

books.google.com

Ring, Trudy (1994). International Dictionary of Historic Places: Middle East and Africa. Vol. 4. Taylor & Francis. ISBN 978-1884964039.
Kartomi 1990, p. 124. Kartomi, Margaret J. (1990). On Concepts and Classifications of Musical Instruments. Chicago, IL: University of Chicago Press. ISBN 978-0-226-42548-1.^{[permanent dead link]}
Douglas Earl Bush; Richard Kassel, eds. (2006). The Organ: An Encyclopedia. Routledge. p. 327. ISBN 9780415941747.
William Flood. The Story of the Bagpipe p. 15
Kujumdžieva, Svetlana (2018). "Was there an Old Slavic Tropologion?". The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory. London, New York: Routledge. pp. 123–133. ISBN 9781351581844.

britannica.com

"Syrian chant | vocal music". Encyclopedia Britannica. Retrieved 2021-06-10.
"Ēchos | music". Encyclopedia Britannica. Retrieved 2021-06-10.
"lira". Encyclopædia Britannica. 2009.

byzantium1200.com

See also the reconstruction of "Constantinople about 1200". Byzantium 1200. 2009. a three-dimensional model of the quarter, and the presentation of a reconstruction by Jan Kostenec. Featherstone, Jeffrey Michael (2006). "The Great Palace as Reflected in the 'De Cerimoniis'". In Franz Alto Bauer (ed.). Visualisierungen von Herrschaft. Frühmittelalterliche Residenzen - Gestalt und Zeremoniell (Internationales Kolloquium 3.–4. Juni 2004 in Istanbul). Byzas. Vol. 5. Istanbul: Yayınları. pp. 47–60. ISBN 978-9758071265.

byzinst-sasa.rs

See Floros (2015, i:137) who emphasised that the 14 models did in fact not represent independent models, but variants of the same echos-melody adapted to the text of the kontakion. According to Gerlach (171-174, table 1-2), there were 16 models for the prooimion and 13 for the oikoi: Gerlach, Oliver (2020). "The Sources of the Kontakion as Evidence of a Contradictory History of Reception". In Maria Pischlöger (ed.). Zehnte internationale wissenschaftliche Tagung Theorie und Geschichte der Monodie 12.–14. September 2018, Wien. Brno: Tribun EU. pp. 145–188. ISBN 978-80-263-1566-7. Artamonova (2013, 4–5) found 22 prooimia as models for the Slavic repertoire of kontakia given by the kondakar's. For the whole repertoire of kontakia, see Krueger, Derek; Arentzen, Thomas (2016). "Romanos in Manuscript: Some Observations on the Patmos Kontakarion" (PDF). In Bojana Krsmanović; Ljubomir Milanović (eds.). Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables. Vol. Round tables. Belgrade. pp. 648–654. ISBN 978-86-80656-10-6. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)

ceeol.com

The tropologion was discovered by the later Archimandrite Sophronius in the tower of the North wall in 1975. Géhin, Paul; Frøyshov, Stig (2000). "Nouvelles découvertes sinaïtiques. À propos de la parution de l'inventaire des manuscrits grecs". Revue des Études Byzantines. 58 (1): 167–184. doi:10.3406/rebyz.2000.1990. ISSN 0766-5598. It comprises a cycle of 73 services. Many compositions are anonymous, except of the Sabbaite school which is just mentioned by the names Andrew, John and Cosmas, the earliest layer of twelve troparia are ascribed to Cyril of Jerusalem (4th century): Nikiforova, Alexandra (2013). "Tropologion Sinait. Gr. ΝΕ/ΜΓ 56+5 (9th c.): A new source for Byzantine Hymnography". Scripta & E-Scripta. International Journal for Interdisciplinary Studies. 12: 157–185.
There was a hypothesis that the parakletike was mainly created by Joseph the Hymnographer, but it is disputed controversially. Svetlana Kujumdžieva agreed with this ascription, while others like Frøyshov argue on the basis of the early Iadgari findings, that important parts of it already existed before Joseph.Kujumdžieva, Svetlana (2012). "The Тropologion: Sources and Identifications of a Hymnographic Book". Българско музикознание. 2012 (3–4): 9–22.
After first studies by Tillyard (1937, 1952) which explored the meaning of Coislin notation by comparisons with Middle Byzantine notation, a more recent approach (Dimitrova 2006) distinguishes two branches of Old Byzantine notation (Coislin and Chartres) which developed around theta signs. Originally the letter had been used to indicate melismata. Tillyard, Henry Julius Wetenhall (1937). "Byzantine Neumes: The Coislin Notation". Byzantinische Zeitschrift. 37 (2): 345–358. doi:10.1515/byzs.1937.37.2.345. ISSN 0007-7704. S2CID 191495338. Tillyard, Henry Julius Wetenhall (1952). "The Stages of the Early Byzantine Musical Notation". Byzantinische Zeitschrift. 45 (Jahresband): 29–42. doi:10.1515/byzs.1952.45.1.29. ISSN 0007-7704. S2CID 191659576. Dimitrova, Mariana (2006). "Some Observations on the Slavic Sources for Theta Notation". Scripta & e-Scripta. 2006 (3–4): 225–237. ISSN 1312-238X.
A detailed analysis of the later vita of Saint Methodius by Svetlana Kujumdžieva is probably based on a little bit more than just on a later imagination of his liturgical innovations. Kujumdžieva, Svetlana (2002). "Viewing the Earliest Old Slavic Corpus Cantilenarum". Palaeobulgarica / Старобългаристика (2): 83–101. ISSN 0204-4021.
Artamonova, Yulia (2012). "On the Archaic Form of Znamennaya Notation (Neumes in the so-called "Iliya's Book")". Българско музикознание (3–4): 23–34. ISSN 0204-823X.
Grinchenko, Olga (2012). "Slavonic Kondakaria and Their Byzantine Counterparts: Discrepancies and Similarities". Българско музикознание. 2012 (3–4): 57–70.

doaks.org

staging.doaks.org

Unfortunately, the liturgical part has not survived in the late copies of his typikon, but it is assumed that its specific form was a synthesis of the monastic and the cathedral typikon: John Thomas; Angela Constantinides Hero, eds. (2000). "Theodore Studites: Testament of Theodore the Studite for the Monastery of St. John Stoudios in Constantinople" (PDF). Byzantine Monastic Foundation Documents: A Complete Translation of the Surviving Founder's Typika and Testaments. Dumbarton Oaks Studies. Washington, D.C.: Dumbarton Oaks Research Library and Collection. pp. 67–83. ISBN 978-0-88402-232-9.

doi.org

Howard, Albert A. (1893). "The Αὐλός or Tibia". Harvard Studies in Classical Philology. 4: 1–60. doi:10.2307/310399. JSTOR 310399.
For a discussion of the ceremonial book's composition, but also on details of certain ceremonies, see: Bury, John Bagnell (1907). "The Ceremonial Book of Constantine Porphyrogennetos" (PDF). The English Historical Review. 22: 209–227, 426–448. doi:10.1093/ehr/xxii.lxxxvi.209.
Strunk, William Oliver (1956). "The Byzantine Office at Hagia Sophia". Dumbarton Oaks Papers. 9/10: 175–202. doi:10.2307/1291096. JSTOR 1291096.
The expression "triodion" referred to the custom of the Lent season to sing just three odes as a complete kanon, the second, eighth and ninth ode in Constantinople and the second, third and fourth within the Patriarchate of Jerusalem. They were usually followed by Old Testament readings and thus, they did replace the usual prokeimenon. Theodore and Joseph also used existing idiomela to compose the texts of new stichera for the triodion cycle. Wolfram, Gerda (2003). "Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie". Jahrbuch der Österreichischen Byzantinistik. 53: 117–125. doi:10.1553/joeb53s117. ISBN 978-3-7001-3172-4.
The tropologion was discovered by the later Archimandrite Sophronius in the tower of the North wall in 1975. Géhin, Paul; Frøyshov, Stig (2000). "Nouvelles découvertes sinaïtiques. À propos de la parution de l'inventaire des manuscrits grecs". Revue des Études Byzantines. 58 (1): 167–184. doi:10.3406/rebyz.2000.1990. ISSN 0766-5598. It comprises a cycle of 73 services. Many compositions are anonymous, except of the Sabbaite school which is just mentioned by the names Andrew, John and Cosmas, the earliest layer of twelve troparia are ascribed to Cyril of Jerusalem (4th century): Nikiforova, Alexandra (2013). "Tropologion Sinait. Gr. ΝΕ/ΜΓ 56+5 (9th c.): A new source for Byzantine Hymnography". Scripta & E-Scripta. International Journal for Interdisciplinary Studies. 12: 157–185.
After first studies by Tillyard (1937, 1952) which explored the meaning of Coislin notation by comparisons with Middle Byzantine notation, a more recent approach (Dimitrova 2006) distinguishes two branches of Old Byzantine notation (Coislin and Chartres) which developed around theta signs. Originally the letter had been used to indicate melismata. Tillyard, Henry Julius Wetenhall (1937). "Byzantine Neumes: The Coislin Notation". Byzantinische Zeitschrift. 37 (2): 345–358. doi:10.1515/byzs.1937.37.2.345. ISSN 0007-7704. S2CID 191495338. Tillyard, Henry Julius Wetenhall (1952). "The Stages of the Early Byzantine Musical Notation". Byzantinische Zeitschrift. 45 (Jahresband): 29–42. doi:10.1515/byzs.1952.45.1.29. ISSN 0007-7704. S2CID 191659576. Dimitrova, Mariana (2006). "Some Observations on the Slavic Sources for Theta Notation". Scripta & e-Scripta. 2006 (3–4): 225–237. ISSN 1312-238X.
Simić, Kosta (2011). "Kassia's hymnography in the light of patristic sources and earlier hymnographical works". Zbornik Radova Vizantoloskog Instituta. 48 (48): 7–37. doi:10.2298/ZRVI1148007S. Falkenhausen, Vera von (2008). "II monachesimo femminile italo-greco". In Cosimo Damiano Fonseca (ed.). Il monachesimo femminile tra Puglia e Basilicata : Atti del Convegno di studi promosso dall'Abbazia benedettina barese di Santa Scolastica (Bari, 3–5 dicembre 2005). Per la storia della Chiesa di Bari. Vol. 25. Bari: Edipuglia. pp. 23–44. ISBN 978-88-7228-517-6.
Sandra Martani described the Byzantine Gospel lectionary ET-MSsc Ms. Gr. 213 (revised and notated in 967) within its context in church history: Martani, Sandra (2003). "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213". Plainsong and Medieval Music. 12 (1): 15–42. doi:10.1017/S0961137103003024. S2CID 161057520. "Sinai, Saint Catherine's Monastery, Ms. gr. 213". Gospel Lectionary with pericopes assigned to the Divine Liturgies and other Offices of the Byzantine Church with ekphonetic notation added by presbyteros Eustathios on 30 January 967.
An overview of the dispute how the early sources can be explained (pp. 239–244): Velimirović, Miloš (1972). "The Present Status of Research in Slavic Chant". Acta Musicologica. 44 (2): 235–265. doi:10.2307/932170. ISSN 0001-6241. JSTOR 932170.
For a catalogue of cheironomiai see Floros (2009), Myers (1998) or Vladyševskaya (2006, iii:111–201). Floros, Constantin; Moran, Neil K. (2009). The Origins of Russian Music: Introduction to the Kondakarian Notation. Frankfurt am Main etc.: Peter Lang. ISBN 9783631595534. Myers, Gregory (1998). "The medieval Russian Kondakar and the choirbook from Kastoria: a palaeographic study in Byzantine and Slavic musical relations". Plainsong and Medieval Music. 7 (1): 21–46. doi:10.1017/S0961137100001406. S2CID 163125078. Uspenskiy, Boris Aleksandrovič, ed. (2006). Типографский Устав: Устав с кондакарем конца XI — начала XII века [Tipografsky Ustav: Ustav with Kondakar' end 11th-beginning 12th c. (vol. 1: facsimile, vol. 2: edition of the texts, vol. 3: monographic essays)]. Памятники славяно-русской письменности. Новая серия. Vol. 1–3. Moscow: Языки славянских культур. ISBN 978-5-9551-0131-6.
Precisely four manuscripts of this type (I-ME Mess. gr. 120 and 129, I-GR Cod. crypt. Γ.γ.V, V-CVbav Vat. gr. 1606) have survived. Bucca, Donatella (2000). "Quattro testimoni manoscritti della tradizione musicale bizantina nell'Italia meridionale del secolo XIII". Musica e Storia. 8 (1): 145–168. doi:10.1420/12488. ISSN 1127-0063. "Rome, Biblioteca apostolica vaticana, Vat. gr. 1606". Kontakarion-Psaltikon with Asmatikon (kontakia and hypakoai, allelouiaria, prokeimena, koinonika) with Middle Byzantine Round notation of the Archimandritate SS. Salvatore of Messina (13th century).

dur.ac.uk

etheses.dur.ac.uk

The hippodrome was as important for court ceremonies as the Hagia Sophia for imperial religious ceremonies and rites of passage. It was not only used during horse races, but also for receptions and its banquets and the yearly celebration of Constantinople's inauguration on 11 May. The "Golden Hippodrome" was an own ceremony to inaugurate a new season and to fix the calendar of the ceremonial located in the hippodrome. Occasionally also votive horse races were given, for example on 22 July for the feast of Saint Elias. Woodrow, Zoe Antonia (2001). Imperial Ideology in Middle Byzantine Court Culture: The Evidence of Constantine Porphyrogenitus's 'De ceremoniis' (Doctoral). Durham University.

hurriyetdailynews.com

Ancient flute reveals interest in music

hypotheses.org

irht.hypotheses.org

Have a look at Sysse Engberg's French introduction (2005) into the subject of Greek lectionaries which focussed on the Constantinopolitan type as it was established between the 8th and 12th centuries and the different types of lectionaries which were related to this custom. Engberg, Sysse G. (2005). "Les lectionnaires grecs". In Olivier Legendre; Jean-Baptiste Lebigue (eds.). Les manuscrits liturgiques, Cycle thématique de l'IRHT 2003–2004. Ædilis, Actes. Séminaires et tables rondes (in French). Vol. 9. Paris, Orléans.

jstor.org

Howard, Albert A. (1893). "The Αὐλός or Tibia". Harvard Studies in Classical Philology. 4: 1–60. doi:10.2307/310399. JSTOR 310399.
Strunk, William Oliver (1956). "The Byzantine Office at Hagia Sophia". Dumbarton Oaks Papers. 9/10: 175–202. doi:10.2307/1291096. JSTOR 1291096.
Koder, Johannes (2008). "Imperial Propaganda in the Kontakia of Romanos the Melode". Dumbarton Oaks Papers. 62: 275–291, 281. ISSN 0070-7546. JSTOR 20788050.
An overview of the dispute how the early sources can be explained (pp. 239–244): Velimirović, Miloš (1972). "The Present Status of Research in Slavic Chant". Acta Musicologica. 44 (2): 235–265. doi:10.2307/932170. ISSN 0001-6241. JSTOR 932170.

ku.dk

cimagl.saxo.ku.dk

See table 17.1 in Lingas (2013). Engberg, Sysse Gudrun (1987). "The Greek Old Testament Lectionary as a Liturgical Book" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 54: 39–48.
Raasted's edition (1983) was based on a 12th-century manuscript (F-Pn fonds grec, Ms. 360, ff.216r-237v) which he dated to the 14th century, because he regarded a 15th-century fragment of the mathematarion as the continuation. Raasted, Jørgen, ed. (1983). The Hagiopolites: A Byzantine Treatise on Musical Theory (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. Vol. 45. Copenhagen: Paludan. "Paris, Bibliothèque nationale, fonds grec, Ms. 360, ff.216r-237v", Βιβλίον ἁγιοπολίτης συγκροτημένον ἔκ τινων μουσικῶν μεθόδων ["The book of the Holy Polis (Jerusalem) unifying different musical methods", originally an introduction to a 12th-century tropologion] rebound in a compiled collection of basic grammar treatises and fragments with mathemataria and of a menologion (12th–15th centuries)
Raasted, Jørgen (1989). "Zur Melodie des Kontakions Ἡ παρθένος σήμερον" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 59: 233–246. On the other hand, Constantin Floros observed in his habilitation of 1961 (2015, i:150–159), while he compared the same Christmas kontakion with eight notated kontakia-prosomoia, that the composers of the prosomoia did not obey always the rule to follow the model-kontakion by isosyllaby and homotonia, while notated manuscripts did reveal that certain sections changed to another echos and sometimes elaborated the music. As consequence, the long psaltikon style was also more flexible concerning the adaptation to the texts of kontakia-prosomoia. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)
Troelsgård, Christian (2003). "A handlist of the 'Standard Abridged Version' (SAV) of the Sticherarion according to Oliver Strunk" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 74: 3–20.
Raasted, Jørgen (1969). "Observations on the Manuscript Tradition of Byzantine Music, I: A List of Heirmos Call-Numbers, based on Eustratiades's Edition of the Heirmologion" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 1: 3–12.

igl.ku.dk

It was published by Arne Bugge as volume 6 of the main series of MMB (1960). Troelsgård, Christian, ed. (21 July 2021). "Monumenta Musicae Byzantinae". University of Copenhagen, Saxo Institute, Dept. of Greek and Latin.
There are different definitions of these stages. Oliver Strunk (Specimina notationum antiquiorum. In: MMB—Série principale, 7. 1966) made a difference between archaic, relatively and fully developed forms. Constantin Floros (1970, i:311-326) defined six stages for Coislin and four ones for Chartres notation according to criteria like unneumed syllables, frequency of interval signs (pnevmata), stylistic features, gradual changes of older signs. Troelsgård, Christian, ed. (21 July 2021). "Monumenta Musicae Byzantinae". University of Copenhagen, Saxo Institute, Dept. of Greek and Latin. Floros, Constantin (1970). Universale Neumenkunde (in German). Vol. 1, 3. Kassel-Wilhelmshöhe: Bärenreiter.

litopys.org.ua

English translation quoted according to the translation of the Laurentian text (passage on ff.37r-37v between no. 15 and 55) by Samuel Cross and Olgerd Sherbowitz-Wetzor (1953, 110–111): Kimball, Alan (ed.). "Excerpts from "Tales of Times Gone By" [Povest' vremennykh let]". SAC. Oregon: University of Oregon.

loc.gov

Sandra Martani described the Byzantine Gospel lectionary ET-MSsc Ms. Gr. 213 (revised and notated in 967) within its context in church history: Martani, Sandra (2003). "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213". Plainsong and Medieval Music. 12 (1): 15–42. doi:10.1017/S0961137103003024. S2CID 161057520. "Sinai, Saint Catherine's Monastery, Ms. gr. 213". Gospel Lectionary with pericopes assigned to the Divine Liturgies and other Offices of the Byzantine Church with ekphonetic notation added by presbyteros Eustathios on 30 January 967.
See both psaltika-kontakaria of Sinai (ET-MSsc Ms. Gr. 1280 and 1314), and those of Paris and Rome (F-Pn fonds grec, Ms. 397, V-CVbav Vat. gr. 345). Sin. gr. 1314, written during the 14th century, is a precise copy of Sin. gr. 1280 with a later notation style and many mistakes, but it was completed by a long appendix with the complete Akathistos hymnus (24 alphabetic oikoi) in melismatic style, the missing set of 8 kontakia-prosomoia anastasima with 8 oikoi-prosomoia, the stichera heothina, although they did belong to the oktoechos section of the sticherarion, etc. "Sinai, Saint Catherine's Monastery, Ms. Gr. 1280". Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (about 1300). "Sinai, Saint Catherine's Monastery, Ms. Gr. 1314". Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, the complete Akathistos hymn, kontakia anastasima, stichera heothina, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th century). "Paris, Bibliothèque nationale de France, fonds grec, Ms. 397". Incomplete Kontakarion (Prokeimena, Stichologia for Christmas and Theophany, Allelouiaria, Hypakoai anastasima, kontakia) in short psaltikon style with Middle Byzantine Round notation (late 13th c.). "Rome, Biblioteca apostolica vaticana, Vat. gr. 345". Kontakarion-Psaltikon (prokeimena, allelouiaria, hypakoai, kontakia) with Middle Byzantine Round notation (about 1300).

medievalchronicles.com

"Byzantine Music". Medieval Chronicles. Retrieved 2021-10-10.

metmuseum.org

Arkenberg, Rebecca (October 2002). "Renaissance Violins". Metropolitan Museum of Art. Retrieved 2006-09-22.

musicologytoday.ro

It is an observation made by Yulia Artamanova that the refrain of both models for tetartos-echos kontakia (cross elevation and Theophany) had the identical neumes in Slavic kondakar's, so that the common melodic model of the refrain (ex. 1) also allowed the combination of the two kontakia concerning the prooimion and the oikos: Artamonova, Yulia (2013). "Kondakarion Chant: Trying to Restore the Modal Patterns". Musicology Today. 16. Retrieved 2023-11-09.

musicportal.gr

"The origin of Byzantine music" Institute For Research On Music And Acoustics

myriobiblos.gr

Constantelos, Demetrios (1998). "The Formation of the Hellenic Christian Mind". Christian Hellenism. Essays and Studies in Continuity and Change. New Rochelle, New York & Athens: Caratzas. ISBN 978-0-89241-588-5.

nlr.ru

expositions.nlr.ru

Original text quoted according to the modernised transcription of the Laurentian Codex at the preserving library (RUS-SPsc Ms. F.п.IV.2, f. 37, line 4):
Наутрия посла къ патреарху, глаголя сице: «Придоша русь, пытающе веры нашея, да пристрой церковь и крилос и самъ причинися въ святительския ризы, да видять славу Бога нашего». Си слышавъ патреархъ повеле создати крилосъ, по обычаю створиша праздникъ, и кадила во жьгоша, пенья и лики съставиша. И иде с ними в церковь, и поставиша я на пространьне месте, показающе красоту церковную, пенья, и службы архиерейски, престоянье дьяконъ, сказающе имъ служенье Бога своего. Они же во изуменьи бывше, удивившеся, похвалиша службу ихъ. И призваша е царя Василий и Костянтинъ, реста имъ: «Идете в землю вашю». И отпу стиша я с дары велики и съ честью.
Они же придоша в землю свою. И созва князь боляры своя и старца, рече Володимеръ: «Се придоша послании нами мужи, да слышимъ от нихъ бывшее», и рече: «Скажите пред дружиною». Они же реша, яко: «Ходихом въ Болгары, смотрихомъ, како ся покланяють въ храме, рекше в ропати, сто яще бес пояс[а]: поклонився, сядеть и глядить семо и онамо, яко бешенъ, и несть веселья в них, но печаль и смрадъ великъ. Несть добро законъ ихъ. И придохомъ в Немци и видехомъ въ храмех многи службы творяща, а красоты не видехомъ никоеяже. И придохо[мъ] же въ Греки, и ведодша ны, идеже служать Богу своему, и не свемы, на небе ли есмы были, ли на земли: несть бо на земли такаго вида ли красоты такоя, и не доумеемъ бо сказати. Токмо то вемы, яко онъде Богъ с человеки пребываеть, и есть служба их паче всехъ [verso] странах. Не можем мы забыть красоты той, ибо каждый человек, если вкусит сладкого, не возьмет потом горького; так и мы не можем уже здесь пребывать в язычестве.
Father Laurentius. "Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. F.п.IV.2". Laurentian Codex with a collection of chronicles and the oldest version of the Primary Chronicle (1377).
The manuscript (Ms. K-5349, about 1100) is now preserved at the library and archive of the State Tretyakov Gallery in Moscow. For a classification of the different notations used in the Blagoveščensky Kondakar', see the list by Tania Shvets: Notaciya.
RUS-SPsc Ms. Q.п.I.32, f.107v. "Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32". Nižegorodsky Kondakar' of the Blagoveščensky [Annunciation] Monastery, introduced, described and transcribed by Tatiana Shvets (about 1200).
RUS-SPsc Ms. Q.п.I.32, f.109r. "Saint-Petersburg, Rossiyskaya natsional'naya biblioteka, Ms. Q.п.I.32". Nižegorodsky Kondakar' of the Blagoveščensky [Annunciation] Monastery, introduced, described and transcribed by Tatiana Shvets (about 1200).

oeaw.ac.at

hw.oeaw.ac.at

The expression "triodion" referred to the custom of the Lent season to sing just three odes as a complete kanon, the second, eighth and ninth ode in Constantinople and the second, third and fourth within the Patriarchate of Jerusalem. They were usually followed by Old Testament readings and thus, they did replace the usual prokeimenon. Theodore and Joseph also used existing idiomela to compose the texts of new stichera for the triodion cycle. Wolfram, Gerda (2003). "Der Beitrag des Theodoros Studites zur byzantinischen Hymnographie". Jahrbuch der Österreichischen Byzantinistik. 53: 117–125. doi:10.1553/joeb53s117. ISBN 978-3-7001-3172-4.

oxfordmusiconline.com

Troelsgård, Christian. "Psalm, § III Byzantine Psalmody". Grove Music Online. Retrieved 20 April 2012.

pitt.edu

asbmh.pitt.edu

Troelsgård, Christian (2007). "A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications". Proceedings of the 1st International Conference of the ASBMH (PDF). pp. 668–679. Archived from the original (PDF) on 5 October 2013. Retrieved 14 April 2012.

rbedrosian.com

Journal of Sport History, Vol. 8, No. 3 (Winter, 1981) p. 44.

scribeserver.com

Many researchers (Levy, Floros, Moran, Conomos, Myers, Alexandru, Doneda, Artamonova) did the same comparison, but all agree about an unexpected number of coincidences between Slavic and Byzantine books with musical notation. The newest approach was done by Annalisa Doneda as an expert of the Greek asmatikon and its proper notation (Kastoria 8). She developed a database for a comparison between those Slavic kondakar's with an asmatikon part and later Middle Byzantine sources: Doneda (2011). Doneda, Annalisa (2 September 2011). Computer Applications to Byzantine Chant: A Relational Database for the Koinonika of the Asmatikon (PDF).

semanticscholar.org

api.semanticscholar.org

After first studies by Tillyard (1937, 1952) which explored the meaning of Coislin notation by comparisons with Middle Byzantine notation, a more recent approach (Dimitrova 2006) distinguishes two branches of Old Byzantine notation (Coislin and Chartres) which developed around theta signs. Originally the letter had been used to indicate melismata. Tillyard, Henry Julius Wetenhall (1937). "Byzantine Neumes: The Coislin Notation". Byzantinische Zeitschrift. 37 (2): 345–358. doi:10.1515/byzs.1937.37.2.345. ISSN 0007-7704. S2CID 191495338. Tillyard, Henry Julius Wetenhall (1952). "The Stages of the Early Byzantine Musical Notation". Byzantinische Zeitschrift. 45 (Jahresband): 29–42. doi:10.1515/byzs.1952.45.1.29. ISSN 0007-7704. S2CID 191659576. Dimitrova, Mariana (2006). "Some Observations on the Slavic Sources for Theta Notation". Scripta & e-Scripta. 2006 (3–4): 225–237. ISSN 1312-238X.
Sandra Martani described the Byzantine Gospel lectionary ET-MSsc Ms. Gr. 213 (revised and notated in 967) within its context in church history: Martani, Sandra (2003). "The theory and practice of ekphonetic notation: the manuscript Sinait. gr. 213". Plainsong and Medieval Music. 12 (1): 15–42. doi:10.1017/S0961137103003024. S2CID 161057520. "Sinai, Saint Catherine's Monastery, Ms. gr. 213". Gospel Lectionary with pericopes assigned to the Divine Liturgies and other Offices of the Byzantine Church with ekphonetic notation added by presbyteros Eustathios on 30 January 967.
For a catalogue of cheironomiai see Floros (2009), Myers (1998) or Vladyševskaya (2006, iii:111–201). Floros, Constantin; Moran, Neil K. (2009). The Origins of Russian Music: Introduction to the Kondakarian Notation. Frankfurt am Main etc.: Peter Lang. ISBN 9783631595534. Myers, Gregory (1998). "The medieval Russian Kondakar and the choirbook from Kastoria: a palaeographic study in Byzantine and Slavic musical relations". Plainsong and Medieval Music. 7 (1): 21–46. doi:10.1017/S0961137100001406. S2CID 163125078. Uspenskiy, Boris Aleksandrovič, ed. (2006). Типографский Устав: Устав с кондакарем конца XI — начала XII века [Tipografsky Ustav: Ustav with Kondakar' end 11th-beginning 12th c. (vol. 1: facsimile, vol. 2: edition of the texts, vol. 3: monographic essays)]. Памятники славяно-русской письменности. Новая серия. Vol. 1–3. Moscow: Языки славянских культур. ISBN 978-5-9551-0131-6.

simonkaras.gr

"Center for Research and Promotion of National Greek Music – Archives of Simon and Aggeliki Karas". Archived from the original on 2003-11-30. Retrieved 2020-07-10.

stanthonysmonastery.org

History of Byzantine chant Archived 2023-05-19 at the Wayback Machine at the Divine Music Project of St. Anthony Monastery

stgregoryoc.org

"The use of the organ in the Orthodox Church"

uchicago.edu

penelope.uchicago.edu

"Discourses by Dio Chrysostom (Or. 71.9)". The Seventy-first Discourse: On the Philosopher (Volume V). Loeb Classical Library. p. 173. Retrieved 25 June 2016.

unesco.org

ich.unesco.org

"Byzantine chant". Retrieved 2019-12-13.

uni-hamburg.de

fbkultur.uni-hamburg.de

See the edition of the notated and usually elaborated models in the habilitation of Constantin Floros (University of Hamburg, 1961) whose publication was realised very late (2015), and Neil Moran's English translation (2009) of relevant parts of Floros' "Universale Neumenkunde" (1970). In his comparative study of kontakarion manuscripts, Christian Thodberg made a typological distinction between the short and the long kontakarion. Thodberg, Christian (1966). Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil. Monumenta musicae Byzantinae – Subsidia. Vol. 8. Holger Hamann (trans.). Kopenhagen: E. Munksgaard. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link) Floros, Constantin; Moran, Neil K. (2009). The Origins of Russian Music: Introduction to the Kondakarian Notation. Frankfurt am Main etc.: Peter Lang. ISBN 9783631595534. Floros, Constantin (1970). Universale Neumenkunde (in German). Vol. 1, 3. Kassel-Wilhelmshöhe: Bärenreiter.
See Floros (2015, i:137) who emphasised that the 14 models did in fact not represent independent models, but variants of the same echos-melody adapted to the text of the kontakion. According to Gerlach (171-174, table 1-2), there were 16 models for the prooimion and 13 for the oikoi: Gerlach, Oliver (2020). "The Sources of the Kontakion as Evidence of a Contradictory History of Reception". In Maria Pischlöger (ed.). Zehnte internationale wissenschaftliche Tagung Theorie und Geschichte der Monodie 12.–14. September 2018, Wien. Brno: Tribun EU. pp. 145–188. ISBN 978-80-263-1566-7. Artamonova (2013, 4–5) found 22 prooimia as models for the Slavic repertoire of kontakia given by the kondakar's. For the whole repertoire of kontakia, see Krueger, Derek; Arentzen, Thomas (2016). "Romanos in Manuscript: Some Observations on the Patmos Kontakarion" (PDF). In Bojana Krsmanović; Ljubomir Milanović (eds.). Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables. Vol. Round tables. Belgrade. pp. 648–654. ISBN 978-86-80656-10-6. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)
Raasted, Jørgen (1989). "Zur Melodie des Kontakions Ἡ παρθένος σήμερον" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 59: 233–246. On the other hand, Constantin Floros observed in his habilitation of 1961 (2015, i:150–159), while he compared the same Christmas kontakion with eight notated kontakia-prosomoia, that the composers of the prosomoia did not obey always the rule to follow the model-kontakion by isosyllaby and homotonia, while notated manuscripts did reveal that certain sections changed to another echos and sometimes elaborated the music. As consequence, the long psaltikon style was also more flexible concerning the adaptation to the texts of kontakia-prosomoia. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)

uni-regensburg.de

Ptolemy's harmonics are the concluding main reference in didactic writings of Georgius Pachymeres and Manuel Bryennios, except the Aristoxenian fragments, and later authors including Nichomachus, Cleonides, Theon of Smyrna, and Aristides Quintilianus (2nd–4th century). All Byzantine authors teach harmonics as a mathematic science without any concern over contemporary composition. Wolfram, Gerda (2001). "Fragen der Kontinuität zwischen antiker und byzantinischer Musiktheorie" (PDF). Cantus Planus: Papers read at the ninth meeting. Budapest: Magyar Tudomanyos Akademia. pp. 575–584. Archived from the original (PDF) on 2016-10-22. Retrieved 2015-03-09.

www-app.uni-regensburg.de

The menaion had in early sticheraria until the 12th century a larger repertoire, but until the 14th century the repertory of notated idiomela was reduced to a collection of 750. Only a part was performed within a local monastic tradition throughout the year. Troelsgård, Christian (2001). "What kind of chant books were the Byzantine Sticherária?". In László Dobszay; Janka Szendrei (eds.). Cantus Planus: Papers Read at the 9th Meeting, Esztergom & Visegrád, 1998. Budapest: Magyar Tudomanyos Akademia. pp. 563–574.

uoregon.edu

pages.uoregon.edu

English translation quoted according to the translation of the Laurentian text (passage on ff.37r-37v between no. 15 and 55) by Samuel Cross and Olgerd Sherbowitz-Wetzor (1953, 110–111): Kimball, Alan (ed.). "Excerpts from "Tales of Times Gone By" [Povest' vremennykh let]". SAC. Oregon: University of Oregon.

vatlib.it

digi.vatlib.it

See both psaltika-kontakaria of Sinai (ET-MSsc Ms. Gr. 1280 and 1314), and those of Paris and Rome (F-Pn fonds grec, Ms. 397, V-CVbav Vat. gr. 345). Sin. gr. 1314, written during the 14th century, is a precise copy of Sin. gr. 1280 with a later notation style and many mistakes, but it was completed by a long appendix with the complete Akathistos hymnus (24 alphabetic oikoi) in melismatic style, the missing set of 8 kontakia-prosomoia anastasima with 8 oikoi-prosomoia, the stichera heothina, although they did belong to the oktoechos section of the sticherarion, etc. "Sinai, Saint Catherine's Monastery, Ms. Gr. 1280". Psaltikon (Prokeimena, Allelouiaria, Hypakoai, Anti-cherouvikon for the Liturgy of Presanctified Gifts) and Kontakarion (menaion with integrated movable cycle) with Middle Byzantine round notation written in a monastic context (about 1300). "Sinai, Saint Catherine's Monastery, Ms. Gr. 1314". Psaltikon-Kontakarion (prokeimena, allelouiaria, kontakarion with integrated hypakoai, hypakoai anastasima, the complete Akathistos hymn, kontakia anastasima, stichera heothina, appendix with refrains of the allelouiaria in oktoechos order) written by monk Neophyte (mid 14th century). "Paris, Bibliothèque nationale de France, fonds grec, Ms. 397". Incomplete Kontakarion (Prokeimena, Stichologia for Christmas and Theophany, Allelouiaria, Hypakoai anastasima, kontakia) in short psaltikon style with Middle Byzantine Round notation (late 13th c.). "Rome, Biblioteca apostolica vaticana, Vat. gr. 345". Kontakarion-Psaltikon (prokeimena, allelouiaria, hypakoai, kontakia) with Middle Byzantine Round notation (about 1300).
Precisely four manuscripts of this type (I-ME Mess. gr. 120 and 129, I-GR Cod. crypt. Γ.γ.V, V-CVbav Vat. gr. 1606) have survived. Bucca, Donatella (2000). "Quattro testimoni manoscritti della tradizione musicale bizantina nell'Italia meridionale del secolo XIII". Musica e Storia. 8 (1): 145–168. doi:10.1420/12488. ISSN 1127-0063. "Rome, Biblioteca apostolica vaticana, Vat. gr. 1606". Kontakarion-Psaltikon with Asmatikon (kontakia and hypakoai, allelouiaria, prokeimena, koinonika) with Middle Byzantine Round notation of the Archimandritate SS. Salvatore of Messina (13th century).

web.archive.org

Troelsgård, Christian (2007). "A New Source for the Early Octoechos? Papyrus Vindobonensis G 19.934 and its musical implications". Proceedings of the 1st International Conference of the ASBMH (PDF). pp. 668–679. Archived from the original (PDF) on 5 October 2013. Retrieved 14 April 2012.
Ptolemy's harmonics are the concluding main reference in didactic writings of Georgius Pachymeres and Manuel Bryennios, except the Aristoxenian fragments, and later authors including Nichomachus, Cleonides, Theon of Smyrna, and Aristides Quintilianus (2nd–4th century). All Byzantine authors teach harmonics as a mathematic science without any concern over contemporary composition. Wolfram, Gerda (2001). "Fragen der Kontinuität zwischen antiker und byzantinischer Musiktheorie" (PDF). Cantus Planus: Papers read at the ninth meeting. Budapest: Magyar Tudomanyos Akademia. pp. 575–584. Archived from the original (PDF) on 2016-10-22. Retrieved 2015-03-09.
See the edition of the notated and usually elaborated models in the habilitation of Constantin Floros (University of Hamburg, 1961) whose publication was realised very late (2015), and Neil Moran's English translation (2009) of relevant parts of Floros' "Universale Neumenkunde" (1970). In his comparative study of kontakarion manuscripts, Christian Thodberg made a typological distinction between the short and the long kontakarion. Thodberg, Christian (1966). Der byzantinische Alleluiarionzyklus: Studien im kurzen Psaltikonstil. Monumenta musicae Byzantinae – Subsidia. Vol. 8. Holger Hamann (trans.). Kopenhagen: E. Munksgaard. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link) Floros, Constantin; Moran, Neil K. (2009). The Origins of Russian Music: Introduction to the Kondakarian Notation. Frankfurt am Main etc.: Peter Lang. ISBN 9783631595534. Floros, Constantin (1970). Universale Neumenkunde (in German). Vol. 1, 3. Kassel-Wilhelmshöhe: Bärenreiter.
See Floros (2015, i:137) who emphasised that the 14 models did in fact not represent independent models, but variants of the same echos-melody adapted to the text of the kontakion. According to Gerlach (171-174, table 1-2), there were 16 models for the prooimion and 13 for the oikoi: Gerlach, Oliver (2020). "The Sources of the Kontakion as Evidence of a Contradictory History of Reception". In Maria Pischlöger (ed.). Zehnte internationale wissenschaftliche Tagung Theorie und Geschichte der Monodie 12.–14. September 2018, Wien. Brno: Tribun EU. pp. 145–188. ISBN 978-80-263-1566-7. Artamonova (2013, 4–5) found 22 prooimia as models for the Slavic repertoire of kontakia given by the kondakar's. For the whole repertoire of kontakia, see Krueger, Derek; Arentzen, Thomas (2016). "Romanos in Manuscript: Some Observations on the Patmos Kontakarion" (PDF). In Bojana Krsmanović; Ljubomir Milanović (eds.). Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables. Vol. Round tables. Belgrade. pp. 648–654. ISBN 978-86-80656-10-6. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)
Raasted, Jørgen (1989). "Zur Melodie des Kontakions Ἡ παρθένος σήμερον" (PDF). Cahiers de l'Institut du Moyen-Âge grec et latin. 59: 233–246. On the other hand, Constantin Floros observed in his habilitation of 1961 (2015, i:150–159), while he compared the same Christmas kontakion with eight notated kontakia-prosomoia, that the composers of the prosomoia did not obey always the rule to follow the model-kontakion by isosyllaby and homotonia, while notated manuscripts did reveal that certain sections changed to another echos and sometimes elaborated the music. As consequence, the long psaltikon style was also more flexible concerning the adaptation to the texts of kontakia-prosomoia. Floros, Constantin (2015). Das mittelbyzantinische Kontaktienrepertoire. Untersuchungen und kritische Edition. Vol. 1–3. Hamburg. Archived from the original on 2015-02-05. Retrieved 2015-02-05.{{cite book}}: CS1 maint: location missing publisher (link)
Influences of Byzantine music Archived 2011-09-30 at the Wayback Machine (The music of Turkey is also, a reference to the Byzantine music. In the period of classical music, Ottoman music was influenced by Byzantine music—specifically in:1640–1712)
History of Byzantine chant Archived 2023-05-19 at the Wayback Machine at the Divine Music Project of St. Anthony Monastery
"Center for Research and Promotion of National Greek Music – Archives of Simon and Aggeliki Karas". Archived from the original on 2003-11-30. Retrieved 2020-07-10.

worldcat.org

Koder, Johannes (2008). "Imperial Propaganda in the Kontakia of Romanos the Melode". Dumbarton Oaks Papers. 62: 275–291, 281. ISSN 0070-7546. JSTOR 20788050.
The tropologion was discovered by the later Archimandrite Sophronius in the tower of the North wall in 1975. Géhin, Paul; Frøyshov, Stig (2000). "Nouvelles découvertes sinaïtiques. À propos de la parution de l'inventaire des manuscrits grecs". Revue des Études Byzantines. 58 (1): 167–184. doi:10.3406/rebyz.2000.1990. ISSN 0766-5598. It comprises a cycle of 73 services. Many compositions are anonymous, except of the Sabbaite school which is just mentioned by the names Andrew, John and Cosmas, the earliest layer of twelve troparia are ascribed to Cyril of Jerusalem (4th century): Nikiforova, Alexandra (2013). "Tropologion Sinait. Gr. ΝΕ/ΜΓ 56+5 (9th c.): A new source for Byzantine Hymnography". Scripta & E-Scripta. International Journal for Interdisciplinary Studies. 12: 157–185.
After first studies by Tillyard (1937, 1952) which explored the meaning of Coislin notation by comparisons with Middle Byzantine notation, a more recent approach (Dimitrova 2006) distinguishes two branches of Old Byzantine notation (Coislin and Chartres) which developed around theta signs. Originally the letter had been used to indicate melismata. Tillyard, Henry Julius Wetenhall (1937). "Byzantine Neumes: The Coislin Notation". Byzantinische Zeitschrift. 37 (2): 345–358. doi:10.1515/byzs.1937.37.2.345. ISSN 0007-7704. S2CID 191495338. Tillyard, Henry Julius Wetenhall (1952). "The Stages of the Early Byzantine Musical Notation". Byzantinische Zeitschrift. 45 (Jahresband): 29–42. doi:10.1515/byzs.1952.45.1.29. ISSN 0007-7704. S2CID 191659576. Dimitrova, Mariana (2006). "Some Observations on the Slavic Sources for Theta Notation". Scripta & e-Scripta. 2006 (3–4): 225–237. ISSN 1312-238X.
A detailed analysis of the later vita of Saint Methodius by Svetlana Kujumdžieva is probably based on a little bit more than just on a later imagination of his liturgical innovations. Kujumdžieva, Svetlana (2002). "Viewing the Earliest Old Slavic Corpus Cantilenarum". Palaeobulgarica / Старобългаристика (2): 83–101. ISSN 0204-4021.
An overview of the dispute how the early sources can be explained (pp. 239–244): Velimirović, Miloš (1972). "The Present Status of Research in Slavic Chant". Acta Musicologica. 44 (2): 235–265. doi:10.2307/932170. ISSN 0001-6241. JSTOR 932170.
Artamonova, Yulia (2012). "On the Archaic Form of Znamennaya Notation (Neumes in the so-called "Iliya's Book")". Българско музикознание (3–4): 23–34. ISSN 0204-823X.
Facsimile (1976) and edition by Antonín Dostál etc. (1976, 1977, 1979, 1980, 1990, 2004). Dostál, Antonín; Rothe, Hans; Trapp, Erich, eds. (1976–2004). Der altrussische Kondakar' auf der Grundlage des Blagoveščenskij Nižegorodskij Kondakar'. Bausteine zur Geschichte der Literatur bei den Slawen, Editionen. Vol. 3:2–7. Giessen [Köln, Weimar, Vienna]: Wilhelm Schmitz [Böhlau since 1990]. ISSN 0170-3552.
Precisely four manuscripts of this type (I-ME Mess. gr. 120 and 129, I-GR Cod. crypt. Γ.γ.V, V-CVbav Vat. gr. 1606) have survived. Bucca, Donatella (2000). "Quattro testimoni manoscritti della tradizione musicale bizantina nell'Italia meridionale del secolo XIII". Musica e Storia. 8 (1): 145–168. doi:10.1420/12488. ISSN 1127-0063. "Rome, Biblioteca apostolica vaticana, Vat. gr. 1606". Kontakarion-Psaltikon with Asmatikon (kontakia and hypakoai, allelouiaria, prokeimena, koinonika) with Middle Byzantine Round notation of the Archimandritate SS. Salvatore of Messina (13th century).

zenodo.org

For a discussion of the ceremonial book's composition, but also on details of certain ceremonies, see: Bury, John Bagnell (1907). "The Ceremonial Book of Constantine Porphyrogennetos" (PDF). The English Historical Review. 22: 209–227, 426–448. doi:10.1093/ehr/xxii.lxxxvi.209.