Византијска музика — разлика између измена

|volume = 12

|pages=227–267

|chapter = The Georgian Witness to the Jerusalem Liturgy: New Sources and Studies|title = Inquiries into Eastern Christian Worship: Selected Papers of the Second International Congressof the Society of Oriental Liturgy (Rome, 17–21 September 2008)

|location = Leuven, Paris, Walpole

|date=2013

|publisher=Ashgate|isbn=9781317137832

|location=Farnham

|pages=311-358

| publisher = Dumbarton Oaks Research Library and Collection

|isbn = 978-0-88402-232-9

| title = Byzantine Monastic Foundation Documents: A Complete Translation of the Surviving Founder's Typika and Testaments

| chapter = Theodore Studites: Testament of Theodore the Studite for the Monastery of St. John Stoudios in Constantinople

|volume=Round tables

|pages=648-654|isbn=978-86-80656-10-6

|booktitle=Proceedings of the 23rd International Congress of Byzantine Studies, Belgrade, 22–27 August 2016: Round Tables

}}</ref> The repertoire of these melodies (not so much their elaborated form) was obviously older and was transcribed by [[Enechema|echemata]] in Middle Byzantine notation which were partly completely different from those used in the [[Sticheron|sticherarion]]. While the [[Hagiopolitan Octoechos#Phthorai and mesoi of the Hagia Sophia|Hagiopolites]] mentioned 16 echoi of the cathedral rite (four kyrioi, four plagioi, four mesoi and four phthorai), the kontakia-idiomela alone represent at least 14 echoi (four kyrioi in devteros and tritos represented as mesos forms, four plagioi, three additional mesoi and three phthorai).

| ref = Raa1983

}}

| location = Washington, D.C.

| series = Dumbarton Oaks Studies

* {{Cite conference

| volume = 9

| last=Engberg

| first = Sysse G.

{{Commonscat|Byzantine music}}

 

 

=== Снимци ===