18 A Note on the late-Byzantine Ecclesiastical Composer Angelos Gregorios sive Gregoriou, a Pupil of Manouel Gazes Maria Alexandru and Bjarne Schartau Describing twice within c. 6 years the 16th century Copenhagen “Mathematarion" Kgl. Bibl., GkS 3537,8°, I (Bjarne Schartau} have had to book a First Mode (fyoc xp@toc) setting of the Saturday night prokeimenon (uxpé doxi) ‘O xipiog &Baoikevcev by one Angelos Gregorios (or rather Gregoriou?: "AyyéAov Tpnyopiov, of course, in the MS). This composer I have, curiously enough, as yet been unable to verify by means of the standard secondary literature accessible to me. In the recently published third volume of professor Gregorios Stathis' monumental catalogue of the MSS of Byzantine Music in Mount Athos however the name of Angelos Gregorios/ou appears twice, and what is more: One of his two compositions booked by Stathis happens to be a Third Mode (fixog tpitog) setting of 'O Kipwoc éBactkevoev (MS Koutloumousiou 436, 16"). 2) Now, a few years ago leafing through our Library of Congress microfilms of MSS from the Sinaite Monastery of St. Catharine, I was able to verify that the kalophonic sticherarion Sinaiticus graecus 1566 is in its entirety an autograph of Angelos Gregorios/ou. Needless to say, I can hardly be the first person in modern times to have noticed this, but it remains a somewhat puzzling fact that no scholar, Greek or Western, seems to have bothered about publishing this quite interesting piece of information. Interesting, not least because the MS also provides us with a fairly accurate chronological framework that would of course be further enhanced by some reliable data on watermarks, alas, not at my disposal for the time being. On fol. 36* of the Sinai 1566 the copyist introduces himself in the customary inconspicuous manner, so well known from a good many other musical MSS of late- and post-Byzantine times: “Eteoov eic thy abthy éoorhw [8 Sentemher. Nativity of the19 Blessed Virgin Mary] éuetenoujOnoav dé té ypdppata amd tav eicodiov tig Oeotéxov- dnd t&v véov SidacKéAwv xédewc yoptivns: Sotepov 5% sovveéOnoav cai siopOd@noav nap’ éuod dyyélov ypnyoptov- roinna xvpod LavovhA tod xpucdn Kai Anpradapiov. o’ Ayaduacte o Saud xpovav. In the folios preceding fol. 36* he has marked several settings as his own, and even more important, one setting as “by my teacher Manouel Gazes" 3) (fol. 167: “Etepov xowavixiv- noinua xvpod pavoviA Aapxadapiov tod vali Kai huetépov SidacKddov: xd @’ Zepo: yprotov peroAafiere). There seems to be some uncertainty about the exact date of the lampadarios Manouel Gazes “), but since Sinai 1566 has a number of settings by Manouel Chrysaphes (Doukas) the lampadarios and several by Markos Hieromonachos of Corinth, and since on fol. 80% we find a clear indication that Angelos Gregorios/ou's teacher Manouel Gazes was himself a pupil of Markos (Mnviz@ait®[in marg. SexepBpig ] ¢’- tod év &ylorc natpds Twdv vixoAdov tod weydhov: nadordv- xd 8 tav avSpcyabnpatav oov oo [at thebottom of the page] éxaddaxicOn capi xvpod pépKov xopivOov iepopovazov: Kai napa 205 oxdtod portntod Kvpod pavoviA tod yotii.), we will find our Angelos Gregorios/ou writing his MS, including some 25 settings of his own (3 among these to his own decapentasyllabic verses!), not earlier than a few years before the “Aloo. In this connexion it might be significant (though far from conclusive) that we do not find the sligthest hint at the Fall of C/pl anywhere in Sinai 1566. Contrast e.g. the interesting entry found in Sinaiticus graecus 1250, fol. 136 and Athous Pantocratorinus 211, fol. 202” on Manouel Chrysaphes' double setting in the Second Plagal Mode (fxo¢ x B’) of the theotokion Tig ph naxapice ce, made respectively "before" and “after* the Fall of C/pl. 5) On the whole, however, a post 1453-date seems somewhat more likely than an ante. (Cf. also the preterite tenses (47*) td adtd [Evayyeliora Iaavwn toayyele] éypdon St xaBi¢ xaped6On xai eyddAeto [used to be chanted] nap xvpod pdpKxov iepopovexov xopivOov.). From the Sinaiticus graecus 1547 (the whole MS was written by Joannes Plousiadenos, according to the script as well as to some internal data §)), fol. 59* we learn that Angelos Gregorios/ou at one time had connexions to a monk20 from Mount Athos (or perhaps himself visited the Holy Mountain, where he met a monk?) who taught him an Athonite setting of a specific kathisma (... éveypdgn 58 api xvpod Gyyéhov yonyopiov dnd povarxod twos éxeice eiovdveoc: Ev tf ceBacnig nova Tic breparyiag Beotéxov i201 10 &yiov Spovc: Xatpe Opove upipopge tov Geov [MR II 331-32]). The occurrence of this setting in a MS written by Cretan born Plousiadenos tallies well with Angelos' reference in his own MS to "the new teachers of Gortyne* (367), and the inference ought to be clear: he was himself a native of the island, or at least a Cretan alien resident of long standing, who may well have been personally acquainted with the famous later bishop of Methone. In the next pages we offer a small catalogue of the settings by Angelos Gregorios/ou in his autograph MS Sinaiticus graecus 1566, followed by a complete transcription of his decapentasyllabic setting in the Fourth Mode (fxog tétaptoc) for the Feast of Saint Parasceue, November 9 ("and for the other virgin martyrs") (70%-72"), made by Maria Alexandru, accompanied by a small specimen of the script. We hope that this may serve as an invitation to students of MSS of Byzantine music to be more aware of settings marked “Ayyéov Tpnyopiov. NOTES 1) Bjarne Schartau, Manuscripts of Byzantine Music in Denmark. CIMAGL 48 (1984), 20-21. (Id.), Codices graeci haunienses. Ein deskriptiver Katalog des griechischen Handschriftenbestandes der Kéniglichen Bibliothek, Kopenhagen. Copenhagen 1994 (s.v. GkS 3537,8°). 2) T& xerpdypaga Bolavtviig Movorxtic “Ayiov “Opec, KardAoyoc meprypagixds tév xerpoypdgav xaSixav Bulaverviic Movowxiic tav dxoxewévay By cag BipAiobiiKag cdv iepav hovév Kai cxntév tod ‘Ayiov “Opouc ind I'p. ©. ZndOn. Toyoc I’. Athens 1993, 291.21 4) M. Adamis, An Example of Polyphony in Byzantine Music of the Late Middle ag Society Congress, II (Copenhagen 1972), 737-47. Dimitri £. Conomos, + Proceedings of the Eleventh International Musicological The Late Byzantine and Slavonic Communion Cycle: Liturgy and Music. Washington, D.C. 1985, 76, 118-24; 140. 5) todto td mpoypamév onrznpév, éxorjOn mpd tig KAdceme xavotavtivoundhemc: Kai peré ratte Cnritoas toto ody ebpov- xai pi EvOvpobpevos toro ypdpew, éxoinow Erepov td Euxpootev- Sotepov 52 ebpov 1 0°, Eypawa nai ték S40, [bottom of page] tepov rod atrod- nomnOév év oxdpry peri tiv GAaow. See also Mavédng K. Xartnyuxovptc, Movoucts xerpsypage Tovpxoxpariag (1453-1832). Athens 1975, 392 (quoting for this entry the Pantocratorinus 211, but not the Sinaiticus graccus 1566), and (id.), Xerpdypapa éxxhnootixfig povowsig 1453-1820. Athens 1980, 81 (note 10). Cf. further Athous Pantocratorinus 211, 79/80% “Brepoc atizog xaAropavixés, rorndeic napé xvpod pavovhA AapnaBapiov tod protien: 81 dpispod xvpod xawvotavrivou Bacthémg: mh 8” Eye yeyevnun oe (or in other words, if one is to trust the caption; written between 1448 and 1453!). See also Xer{rpaxovptic, Movorxc xerpéypapa Tovpxoxpatiac, 400 and (id.) Xeipéypaga éxxAnouiotuciic povouiis, 81 (note 9). 6) Bjarne Schartau, A Checklist of the Settings of George and John Plousiadenos in the Kalophonic Sticherarion Sinai gr. 1234. CIMAGL 63 (1993), 297-308. Catalogue of the settings by Angelos Gregorios/ou in his autograph MS Sinaiticus graecus 1566 1. (9*-10%) “Etepov sic tov éxutdprov Apfivov [Good Friday] tod xvpiov ARG inood xp10t03- dvaxodicpdc cxd td "Ehpepov xpeyértor éxi EGAov". xA B’ [in marg. &yyéov) ypryopion] Mpooxevovpev cov tar nan pie 2. (10%-12") “Erepov eig tov éxitdpiov Apfivov t05 Kupiov qpdv incod xprotod- xoinpa tod adtod: t& ypdupata Kai td wédoc. mA B’ (fol. 11* in marg. «yyédov ypnyopiov] Try ev capx cov vrvacw Kat tov atavpov to maQog (decapentasyllabic) 3. (127-137) “Erepov eig tov éxutdpiov Opfivov tod Kupiov qLav incod Xprorod: to4 orbtod té te ypdupora Kai td pédoc. AB’ (vevavd) [in marg. ceyyéXov ypnyopion] Npocxvovpey cov ta nan zpiote22 4. (19¥-20%) “Exepov eig thy abtiy opty: [Easter Sunday] éx tod KavGvog tig ANS dig: roinua dyyéAov ypnyopiov td péhoc. tetpdavoc a’ Avaotacems NEpa 5. (36!-37") "Etepov cic tiv odthy koptiv [8 September, Nativity of the Virgin Mary]: épetexom@noay dé té& ypdppata amd tv cicodiov tig Geotdxov- bxd tHv véwv SiSacxdAwv mdAe@s Toptivns: botepov 5 éovvtéOnoav Kai svopAd0noav nap’ éu0d dyyédov ypnyopiov- xoinno Kvpod pavoviA tod ypvaden Kai Aapradapiov. a’ AyaAdcae o Scv18 xpovav (NB! at the bottom of fol. 36" a prima manu: wéAAAeton 8 xai ic thy oddAnyw tig ayiag Koi Beopritopos évvnc) 6. (38*-39") “Erepov eig tiv adi toptiv [8 September]: xoinua GyyéAov ypnyopion véov. 8” Ar’ axyeAov xpoppnoeas 7. (427-447) “Etepov eig thy adthy goptiv [14 September, Exaltation of the Cross. Same Sticheron for Thursday in the Fourth Week of Lent]: eig tov tiptov Kai Cooxovdv otavpdv tod xpiot0d- roinno. ayyéhov ypnyopiov [in marg. véov]. mA 8’ Ov nada pavons xpotunacas 8. (49%-51%) Mnvi dxt@Bpio y'- tod &yiow iepowdptopoc Atovucion tod dpeonayitov: xoinua cyyéAov ypnyopiov. xA 5’ Ev vepevor cor popruct (NB! at the bottom of fol. 49” a prima manu: woAAetar 88 (Kal) sig mé&vtas iepopdéptopag at the top of fol. 51% a prima manu: wéAAetar dé Kat gig étépoug dxoatéAouc) 9. (51¥-53") 16 adté unvi [October] i’: 108 dyiov dxootéAov Kai edayyehotod Aoved: xoinua dyyéhov ypmyopiov. 8° To m¢ copias adevtuxe xodopo (NB! at the bottom of fol. 51% a prima manu: wdA,etor BE Kai tov Epov dndctohov uspxov- évti to "Bev tH xadA@ pabnterdetc”, Aéye "th nétpo" ei 8 eic tov Epiov dnbctohov évEpéav, Aéye "Bev cdv xéxpO") 10. (61*-62%) “Etepov eic thy adtiv éoptiv [1 November, Cosmas and Damian]: ig tod¢ ayioug Kai iaporixods avapyipouc: oinua dyyéAov yenyopiov- [in marg.véov]. nA 8’ Ti un Covpacer 11. (70%-72") “Exepov eic tiv adriv goptiv [9 November, Parasceue]: otizor xom@évtec Kai pedioOévtec map’ guod adyyédov23 yenyoptov-. 8 Tn¢ mapOeviag tov vaov Kat aomaAov apvasav (decapentasyllabic) (NB! at the bottom of fol. 70% a prima manu: waAderar 5é Kai sig tas Etépac xapBévovg udptupac) 12. (72*-73%) “Erepov eis thv abciv eoptiiv [9 November, Parasceue]: dvaypappotiopds ded td "Ev n6Aet tod Geod" (17 July Marina]: xoinua tod adtod cyyédov ypnyopiov. xd 5’ Axovompey ms napBevov erempioy 13. (108*-109¥) “Exepov eis thy avtiv goptiv [17 January, Antony the Great]: otizo. xom@évtes cai pediaOévres nap’ guod ayyédov ypnyopiov- oi(twvec) yaddovtar eig tov Sowwv Kai péyav dvidviov: yeAAeror &E xai cic Erépovg dofovg. 5 Tov povactav KaBmymVy Kol acKntov to Kheog (decapentasyllabic) 14. (109%-111") 1 adtH wnvi [January] x’: t00 dciov ebbvpiov tod peyéov- xoinue. éyyéhov ypnyopion. KA a’ One natep ovx eScoxas vmvov 15. (117*-118%) “Etepov eig tiv abtiv gopmv [2 February, Purification] : td a tic 2optiic: xoinua ayyélov ypnyopiov. a’ Aeye cvpemv ‘river gepaw 16. (136-137") “Erepov eig tiv abtiy goptv [29 June, Peter and Paul]: moinwo éyyéAov ypnyopiov- véov. xA B’ Eopm xeppocwvos opm narrcoopiog 17. (140*-141") “Exepov eis tiv adthv goptiv (20 July, Elias the Prophet] - xoinwa &yyéAov ypnyopiou- véov. xd. 8° Tav xpopntav tog axparpovas OL ROPPAELG PHOTPAS 18. (141¥-143%) T@ abt unvi Ke’ h Koiunors cig eying Kai Beouitopos Gvvnc: wédAerar 8 Kai eig chy GvAANYL adtig. dyyékov ypnyopiov. [in marg. tod attod) 8° Trw xavoentov gov xoynow (NB! at the bottom of fol. 142t a prima manu: wéAAetar 88 Kai sig thy Koipmow tig OeotéKov- aii eig thy yevvnaw aibciic) 19. (143-144) T@ adc pnvi KC’ tod Gyiov peyadoudptupos Kai lopotixod xavtedenpovos- c&yyéhov ypnyopiov. a” Ayava xakov nyovnew (NB! at the bottom of fol. 143” éxom@n 51d ixeciag: waAAetar 58 Kai eic névtag pdéptupac)24 20. (158%-160") “Erepov gic thy adthy éoptiv [15 August, Dormition of Mary]: xoinpa cyyéXov ypnyopiou: véov. 5° Aevte avopvnompey aor 21. (162%-163¥) “Etepov eig thy abthv goptiv (29 August, Decollation of the Forerunner]: dvaypoppotiopdc amd td "TipdSpoue tod catfipos”: noinua éyyéhov ypnyopiov. &’ Tappnovav exav xpos xopiov 22. (1695-170¥) Aoxai ex tod ‘Audpov- yarAsuevar eig Aaikods. [in marg. éyyéhov ypmyopion. B’ - éx tig xpdmg otécems] ExeroOnoey 1 yur HOD (v.20) - tod andtod. B’ Metoyos eyo ey (v. 63) - tod adtod. (vevave) éx tig B%S otdsems On evevnbny ac aoxog (v. 83) - tod adtod (vevave) Ano tav xpyorav (v. 102) - &k tig "5 otdcemc: 103 ardtod (vevavd) Karpos tov xoinoar (v. 126) 23. (171*-172%) pnvi centepBpio xc’: q petdotacic tod dmootéAoy Kai ebayyedictod im{dvvov) tod OeoAsyov- noinua a&yyéhov ynpnyopiov. [in marg. 108 cto] B’ Thy tav axootohav axpornta. 24, (172¥-173¥) pnvi voepBpig an- tév éyiav Kai ioparikdv évapyipov KOOKS Kai Sapravod: roinua tod adtod. 5’ AeGnte ayyehav cvvopiAor 25. (173¥-175¥) pnvi iov(A)Aim xe’- 7 Koipnors tig &yiag Kai Beopttopos Gwvng: dd td (Oi) £6 dxdprav Aaydvev", tod adtod. x2 5’To Cevyos to opopov 26. (175=-¥) wéAAetan 5é Kai eic Sragdpous ayioug: cic torcdtov tpdmov: eis udprvpac, Méye "xpecBeiars tod aOAogdpov: cic andotoAov, "xpecBeiats tod axootéAov." x 8’. [in marg.tod axrt0d] Tar xpeoBerarg mc PeotoKov Addendum In his paper read at the XV" congrés international d‘ études byzantines Athanes 1976 ("Le tournant décisif dans 1/histoire de la musique byzantine: 1071-1261"), Art et archéologie — Trapports, Athénes 1976, 284 Kenneth Levy refers to Sinai 1566 and quotes three of its captions. Levy does not, however, ex- pressis verbis identify Angelos as the scribe of the entire MS, and he leaves the information on the teacher-pupil rela- tionships offered by the MS unmentioned. Thus our “Note” still seems to be the first presentation proper of Angelos Gregorios/ou and his oeuvre.P Pape j8 a 380 2 Pq peg gpa po pp pogen +09 A -@d -0x N50 “ay a hoy wo 2 wx Fyn we eB oe, Sy gq 84 -2PG apap —-H BEER Pa apap oa P popaspopp 22 D4 PP 40 DA ADD 2 .90 aA “39 LL . < PEA. em a e Fede Be Phe 2, yo RTE Y EA es cp a> @ P papa papaya p paqeqo po. ; ~, u, @ Sou g-4 ae oe v “aoyiollid| aoyplty, gory cox , ‘Saaaggoryan pox Saraggliox 10%j210 ‘(onayseieg “AON 6) Ausdoz align Als 5)3 Aodaza_ JTL-AOL ‘O9St teUIS26 Doepe ep aege D popapap — P +32 AM ay 10-0 mo cad AB —_ ~ “5 9 yo seoa ee arg me OENR AN 7 D pepeq = g PDE 99p2 P 3 P «tort a BOB EEN ere & AB D DeOR eqDH 2qGeq eGIE D eqIPPIqIP > spep apo ono ae eq eqqe Dgeqe 209 0D nd r L 3 aoe __ ox Aon OX Dg = oN no tvs ane thay 4 + ee fn Lo SeraiPen 2 Aen oF PEN “ 2P9 yp 2q2q poaeqeqgeoeqa Heqo pp 2485 So -ay 10 og aor oro -1dX Wenn Foc Nong et 6 ratyyat © peor eqeq qepq geqe —-H eqopa po qaqa D \egpepaeoeqaraqaendd 9 saodul oy dar gn wos = oo aud 7, TA BB NES 79 May AEN2 ee CATS pe oe SS\ Dee OAT Beqqe 9 sSana pov aod oh “yg als “Sy FRR Aer & D9p9p 9p9j ap9 2pop —sqpapa ge O 34709 oon € st 90 usa po ’ Sr hern BS oo, Fe tyat os igetg a FP_ spop 29 9p ap 2qp94 5 egop 2p =0o oF < tz SON Po oopayay 8 gap pay 3 -MA lg ao nx aS = r OC = {4 NOE oe P papay 38 p ogo 4 — Bqeqa.qoq pap P sword 09g -nd wont Be AG t AN — Sieve OED 7 Swx -doo Spi D OeMeeq eDeD geq opp op son -asaw not aoy po a = Po PNG FUR ENA ” Papa p9q poqe oqap 2p. q9p9 pap fap Hyg, Pp pep sSa0y -yox = BS Fy “Ux sl “ 2 eq9 Gap op ad -k so 8 oh 8S bE TRV of % x P pogapa eqapqoq pop p oz AX apd pb 002 ma HY Ae oe 5 Poop 2pap app HG gogo opop pp Pp . noo dx aon a0 7 -rina nod Sak te EN ome 6 ECD 0 9 % se yrs P pape popay ay 38)8 Ja) 9 p 280 Xd OX athe, dX -ragno YTD 925 ENS cd J Be 3233 p ByCalasq> D peoreqe 29 aeQe D qqo ap cron et 5 oe am “ay PID Ee Oe SR pp opp 94 98424227 papapa ajay a} PP op sap 28 Seg ad, cat Dat a eon . L aN Geet CENA t = y p 2pap>_p P p japo 2 pay. 99 Ppp Peps . +00 “03 ~~ mt ee es t Ara Fe RENIN ER POS Pp 9ap 9.q BQ qop poqoq ened OEP Pe Ne 2 8 2000 eet —- et sn0g ce SYN Aes « SKeeye /et 3 © aporom 8D = =—Daeq? = ap ap eink 2 OS es SRT Re A “ein Sh > § = ” P pepo aay 8 ae ee cod ph -mp 03 Aog -Ly = -at wx = ze oe to29 P2q Bq 2 pap pope p + adadadaded adadaa 332 ac RP tt ta5 PPP Ppp «adadadadadadd F325 447 OPad® 5 p ppp yo om gla BD Tey eBlian 3 DAePDDOOD « 3dgdadadadad 3 a2 HUN ASA poopP PP PP adadsdadadadad © 3 33 Sh ys475 35 Dopp pa J +02 a2 gror ~v Ce p29 99 pj3j 9 888 jo po .sdadsdadaa adsdadaa adadadsa ada waded ew ee _ SVS oy SR = haan Xe PP PPPP Ppp PPP PPPP adadd = adadadadadadax «=. adadadadadadaa D398 eg? Deqpoppa yap oy BR a @ 2 EL Le peptaanreas Od oeq 2 HeEQ ob} 03, 02 on, Oe la mere Bice D9 roo axtadd aatadds SF choy xe PP Popp ated axradda sa S37 B32 pyZ p ox0102 on on Sy t--¢K 27 pes 233830 adadad adadad ads 5 dao Qe Was pogo adad add arp arys>* pogo 3d ad add a2 tly? poge 5 oo arrotqa P2P- a pyyZ JO p PB Soyar, D Deon ef “AMA <31l -0FMD AM. 3 A0dsa3 Soar Set Hoa 2 6O NGA yao . eq 9p G opap P Daeg 3p pape ap “AOA -arl-of 3 “D2 Am o ma ana ine rn eK bteetN GH 7 Bop etn NR HRS > © rqop2p papa p Pop gee DD Sod wk vox $og td sal oa ZI “SZ oN we SO Pe @ Dd ee eqap sp pa +02 pon 03 02 03 mene tg Me Popqope p DP pop 2 24 ae ROD adadaddadadadads1 dad 30d adadd artadd aitadd srtadds EBY «8, = FEN +5 xa =>31 Remarks: I apparatus: 1 toY to cum v mr. 2 apacKevn.7BvTCMHEV 477 vOLEN 5 to IkataKkapdyvat 10 weAiSov Diz catouevov 1 Form: A parakletike-opening and introductory melisma on the syllable t7 (in red ink) B decapentasyllabic sticheron consisting of - two m6Sec? (w. 1-6a; 6b-11) - final verse? (12) C teretism D “coda”: repetition of the final verse (with another melody) TI Lay out: since it is impossible to render a whole decapentasyllabic verse (numbered 1-12) in one line, I follow the inherent metrical divisigg into shortlines (labelled a and b). IV Metrum v -[+—|~—l v2 ~—l~ -ly Ziv 4+ Repetitions do not count as extra syllables. In 6a a meaningless € is added in order to complete the metre. Trochaic feet at the beginning of shortlines® in 2b, 10b, 11b (but notice the iambic rhythm of the melody), 12a and b. V Modal structure: a clear defined tetartos is maintained in the whole piece, except a very short inflexion to protos (transposed to the upper fifth: beginning of 2a) and two modulations to nana (3; 4b end-Sa first colon), VI Relation text-music: whereas the text is conceived in longverses, the musical phrases follow the division into shortverses or even smaller units (especially in a-lines). For the whole setting: besides the segmentation indicated by musical punctuation with or without MeSi, caesuras are requested after apoderma®, often after prolongation-neumes (but not the tzakisma) and sometimes after descending groups, mostly with psephiston’. Except the apoderma, which occurs almost on all pitches (G-d,g), the other elements are (when indicating a following caesura) connected with the final of the mode, the base of the upper and the top of the lower tetrachord. ~ The accentuated syllables of the metre are in many cases provided with prolongations or larger melismata. 'For similar cases ef. J. Rassted, Intonation formulas and modal signatures in byzantine musical manuscripts, Copenhagen 1966, MMB VIL, p. 121 with note 85. about the division of decapentasyilabic settings into né8es, -even if not mentioned expressis verbis in the manuscript - on the basis of the text (as in our example: the turn from indirect to direct speech) or of the music, cf, "p. ZnéOng, 1H bexanevenctAAafos tuvoypapia tv ri Brava pelonoug,’Adiivan 1977, p. 128-9. 30n last lines in decapentasyllabic compositions cf. ibid., p. 135-8. ‘Ibid, p. 139. ‘Sin Stathes (op. cit, p. 141) referred to as "aparonopot", Sct. J. Raasted, Thoughts on a revision of the transcription rules of the MMB, CIMAGL 54 (1986), p. 17. 7 1 owe these observations to J. Raasted“s seminars (1993/94) on the kalophonic style, as well as to Clara Adsuara’s reports on her work with kalophonie settings in deuteros modes.32 Sr poy feornp asin etopray enyermeret tyre C. “puget bem fase GX rhifou nreprey ~~ Dir rene a “2° abomuaseres peepee pee me +; ere F sq x sep Ten fin oc a . me AS Re — Se ye 55. Teepe tare eae Ra ee Ft Fae ORR. Smneee paper es ea Te eae ~ Fie Dee Sse ee Gn Cee tae SW ages a « Joon raf tint ag Sinai 1566, 70v