Anthology (ἀνθολογία) of Ecclesiastic Chant, including works by BENEDICT EPISCOPOPULUS and DEMETRIUS TAMIAS
";s:11:" * subTitle";s:71:"In Greek, manuscript on paper with musical notationThe last century of Venetian rule on Crete, before the island fell to the Ottomans in 1669, was a golden age of liturgical choir music. Fifty-five manuscripts containing work of Cretan church composers from the period are known; only fifteen among these belong to the same general type as the present (previously unknown) codex, an anthology of choral pieces for Vespers, Matins, and the three Eucharistic liturgies. This manuscript was produced within the lifetime of Demetrius Tamias, the author of many of these works.
";s:18:" * longDescription";s:47639:"ii+223+ii folios on paper, folded in 8°, chain-distance 30 mm., watermarks of three different types, the first, a crown, very similar to Andreev, 2007, no. 40.43 with 40.43A (attested in 1639), the second similar to Velkov, 1983, no. 69 (attested in 1644), the third, similar to Andreev, 2005, “ancre inscrite dans un cercle,” nos. 226-231 (attested in 1635-37) with a countermark similar to “lanterne,” Andreev, 2005, no. 3 (attested in 1632), missing seven leaves, two of which are cancels (collation i6 ii-iii8 iv8 [-2, central bifolium lost, text missing] v4 vi8 vii-viii8 ix8 [-2, last two leaves cut off, with text loss] x6 xi-xiii8 xiv10 xv6 [-1, first leaf cut off, with text loss] xvi-xx8 xxi12 xxii-xxiv8 xv12 xvi8 xvii6 xviii8 xix8 [-2 last two leaves cancelled, no text lost]), quires are unsigned, (justification 90 x 65 mm.), written in twenty long lines per page, alternating text and musical notation (Byzantine neumes), red rubrics, majuscules infilled with red dots, the text of each hymn starts with an ornamented initial drawn in red ink, red headbands on ff. 7, 60, 102v, and 194, tailband on f. 223, pastedowns and flyleaves replaced with newer paper, first and last leaves with worm holes, bookblock generally in good condition, text on fol. 1 is very worn, and some titles have faded. Bound in plain pasteboard, spine and endbands lost, covers bare and worm-eaten. Dimensions 140 x 95 mm.
The last century of Venetian rule on Crete, before the island fell to the Ottomans in 1669, was a golden age of liturgical choir music. Fifty-five manuscripts containing work of Cretan church composers from the period are known; only fifteen among these belong to the same general type as the present (previously unknown) codex, an anthology of choral pieces for Vespers, Matins, and the three Eucharistic liturgies. This manuscript was produced within the lifetime of Demetrius Tamias, the author of many of these works.
1. Copied in Crete c. 1640, based on the evidence of the text and the watermarks.
ff. 1-6v, [Short treatise (προθεωρία) on ecclesiastic chant], incipit, “Τ[ὸ ἴσον] ἀεὶ ἐστὶν ἀρχή, μέση, τέλος, σύστημα [καὶ ἐδραίομα] τῶν ὅλων ση[μα]δίων etc. [Ψάλ]λον(ται) οὖν εἰς τὴν αὐτὴν τέχνην … σείσμα, λυγισμα, σύναγμα, ἔναρξις, κακισμα κ(αὶ) βαθια”; [the text on f. 6v has been erased];
In the following (ff. 7-223), only the general rubrics and the first word of each piece are given. Two or more consecutive settings of a single hymn are marked with (×2), (×3), etc. I have retained the (sometimes faulty) spelling of the manuscript. The text is accompanied by musical signs (neumes), which I have not transcribed. The following abbreviations are used: plagal mode (plg. md.)
ff. 7-60, Chants for Great Vespers:
ff. 7-15v, Σύνθεσις κὺρ Δημητρίου τοῦ Ταμία καὶ πρωτοψάλτου Κρήτης, plagal mode IV (πλ. δ´), Δεῦτε (×3) − Εὐλόγει − Ἐξομολόγησιν − Ἀνοίξαντός Σου − Ἀποστρέψαντος − Ἀντανελεῖς − Ἐξαποστελεῖς − Ἤτω − Ὁ ἐπιβλέπων − Ἄσω (×2) − Ἡδυνθείη;
ff. 15v-16v, Κὺρ Μανουὴλ τοῦ Χρυσάφου, ὡς καὶ παρὰ κὺρ Δημητρίου τοῦ Ταμία καὶ (πρωτο)ψάλτου, plg. md. IV, Ἡδυνθείη;
ff. 16v-20, Τοῦ λαμπαδαρίου, ὡς καὶ παρὰ κὺρ Δημητρίου τοῦ Ταμία γράφετ(αι) καὶ ψάλλετ(αι), plg. md. IV, Ἐκλείποιεν (×2) − Εὐλόγει (×2);
ff. 20-24v, Ἡ ὀκτάηχος κὺρ Ἰω(ά)ν(νου) τοῦ λαμπαδαρίου, plg. md. IV, Ἔθου σκότος − Πάντα ἐν σοφίᾳ − Καὶ νῦν − Ἀλληλούια (×3);
ff. 24v-29v, Καὶ πλη[ρομένου] τ[οῦ προοι]μι[ακοῦ] ψ[αλμοῦ] ἄρχετ(αι) τ[ὸ Μακάριος] ἀ[νήρ, ὡς ψάλλετ(αι)] καὶ γράφετ(αι) π[αρὰ κὺρ Δημητρίου] τοῦ [Ταμία] (πρωτο)[ψάλτου] Κρήτης, plg. md. IV, Μακάριος − Καὶ ἐν − Ἀλλ' ἢ ἐν etc.;
ff. 29v-31v, Κὺρ Δημητρ(ίου) τοῦ [Ταμία] κ(αὶ) (πρωτο)ψάλ(του), mode IV, Κύριε τί ἐπλυθήνθησαν;
ff. 31v-42, Κεκραγάρια, ποίημα κὺρ Δημητρί[ου] τοῦ Ταμία κ(αὶ) (πρωτο)ψάλ(του) Κρήτης, md. I, Κύριε ἐκέκραξα etc.;
ff. 42v-43v, Τενεντησμα. Ὁ ἀνεναε, καθὼς γράφετ(αι) καὶ ψάλλε[ται πα]ρὰ κὺρ Βενεδήκτου Ἐπισκοποπούλου καὶ (πρωτο)πάπα Ῥυθύ[μνης], md. I, Ανενανε τεριρε;
ff. 43v-47r, Ἡ ἀηδών, καθὼς γράφετ(αι) καὶ ψάλλετ(αι) παρὰ κὺρ Βενεδήκτου Ἐπισκοποπούλου, md. I, Τοτορετερε;
ff. 47-48, Ἥχημα, ποίημα κὺρ Δημητρ(ίου), md. IV, Αγιε τερερε;
ff. 48-50, Κὺρ Ἰωάν(νου) τοῦ λαμπαδ(α)ρ(ίου), ὡς κ(αὶ) παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία κ(αὶ) (πρωτο)ψάλτ(ου) Κρή(της), plg. md. I, Ανε τεριρε;
ff. 50-51v, Ποίμα κὺρ Βενεδ(ί)κτου Ἐπισκοποπούλου καὶ (πρωτο)πάπα Ῥιθήμν(ης), οὗτω δὲ ἐποίησε ͵αφπβ´, plg. md. I, Νενεανε ερερετιρε;
ff. 51v-53, Ποίμα κὺρ Ἰωάν(νου) τοῦ λαμπαδ(α)ρ(ίου), ὡς κ(αὶ) παρὰ κὺρ Δημητρ(ίου), md. IV, Ανε τεριρε;
ff. 53-54v, Ἀπάνθισμ(α) ἀπὸ τοῦ κὺρ Μανουὴλ τοῦ Χρισάφ(ου), καθὼς ψάλλεται καὶ παρὰ κὺρ Δημ(η)τρ(ίου) τοῦ Ταμία καὶ (πρωτο)ψάλτ(ου) Κρήτης, plg. md. IV, Ερεριρε;
ff. 54v-55, Ποίμα κὺρ Δημητρ(ίου) καὶ (πρωτο)ψάλ(του) Κρήτ(ης), md. I, Φῶς ἱλαρόν;
ff. 55-60, Προκείμενα τῆς ὅλης ἑβδομάδ(ος). Καὶ ταύτα καὶ ψάλλοντ(αι) καὶ γράφοντ(αι) παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμ(ί)α κ(αὶ) (πρωτο)ψάλτ(ου) Κρή(της), Ἰδοὺ δή etc;
Chants for Matins:
ff. 60-62, Πασαπνοάριον ψαλλόμενον εἰς τὸν ὄρθρ(ον), καθὼς παρὰ κὺρ Δημητρ(ίου) γράφεται καὶ ψάλλετ(αι), md. IV, Πᾶσα πνοή;
ff. 62-63v, Πασαπνοάριον ψαλλόμενον εἰς τὸν ὄρθ(ρον), καθὼς ψάλλετ(αι) παρὰ κὺρ Βεν(ε)δ(ίκτου) Ἐπισκοποπ(ού)λ(ου), md. II, Πᾶσα πνοή (×2);
ff. 63v-64v, Τοῦτο ἄρχεται ψάλλεσθαι ἀπὸ τῆς Κυριακῆς τοῦ Ἀντιπάσχα ἕως τοῦ Τελών(ου) καὶ τοῦ Φα[ρισαίου], plg. md. IV, Δόξα − Καὶ νῦν − Ἐλέησόν με − Ἀναστάς;
ff. 64v-66v, Τοῦτο ἄρχετ(αι) ἀπὸ τοῦ Τελών(ου) καὶ τοῦ Φαρισέου, plg. md. IV, Δόξα − Τῆς μετανοίας − Καὶ νῦν − Τῆς σωτηρίας − Ἐλέησόν με − Τὰ πλῆθη; f. 67r-v is blank;
ff. 68-80, Πολυέλεος ἀσματικός, ποίμα κὺρ Βενεδ(ίκτου) Ἐπισκο[ποπούλου], md. IV, Στόμα ἔχουσι etc. (text in Giannopoulos, Ἄνθηση, 675-6) − Ἐξομολογεῖσθε τῷ Κυρίῳ − Τῷ παντάξαντι − Τῷ διαγαγώντι − Κληρονομίαν − Δόξα − Ἐμμανουὴλ παιδίον − Καὶ νῦν − Παντάνασσα πανύμνητε − Ἀλληλούϊα (×3) − Παράτεινον − Δόξα − Καὶ νῦν − Ἡ ναός − Ἅγιος ὁ Θεός;
ff. 80v-93, Ἀρχὴ σὺν Θ(ε)ῷ ἁγίῳ τοῦ πολυελέου, καθὼς παρὰ κὺρ Βενεδίκτου πρεσβυτέρου τοῦ Ἐπισκοποπ(ού)λ(ου) ψάλλετ(αι), μημουμ(έν)ου τοῦ μ(έ)λους τοῦ λεγομένου Κουκουμᾶ καὶ Λατρινοῦ, md. I, Δοῦλοι etc;
ff. 93-95, Ποίημα κὺρ Ξένου τ(οῦ) Κορών(η), ὡς κ(αὶ) παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία, md. I, Στόμα ἔχουσι etc;
ff. 95-101, Δοξολογία καθὼς γράφετ(αι) καὶ [ψάλλεται] παρὰ κὺρ Βενεδ(ίκτου) Ἐπισκοποπούλ(ου) καὶ (πρωτο)πάπα Ῥυθήμνις, plg. md. I, Δόξα ἐν ὑψίστοις;
ff. 101v-102, Ἕτερα δοξολογία συνοπτικὴ καθὼς παρ(ὰ) κὺρ Βενεδ(ίκτου) Ἐπισκοποπ(ού)λ(ου) ψάλλετ(αι), plg. md. IV, Νεε − Ἅγιος ὁ Θεός;
Chants for the Liturgy of St John Chrysostom:
ff. 102v-105, Ἀρχὴ σὺν Θ(ε)ῷ ἁγίῳ τῆς θεῖας λειτουργίας τοῦ ἐν ἁγίοις π(ατ)ρ(ὸ)ς ἡμ(ῶν) Ἰωάν(νου) ἀρχιεπισκόπου Κονσταντινοπόλεως τοῦ Χρυσοστόμου καὶ ταῦ[τα καθ]ὼς παρὰ κὺρ Βενεδ(ί)κτου Ἐπισκοποπούλου ψάλλετ(αι), plg. md. IV, Ἐν τῷ ναῷ − Δύναμις − Ερετερε − Ἅγιος ὁ Θεός;
ff. 105-114, Ἀ[λληλου]ϊάρια κατ' ἦχον. Ten pieces by different composers (as listed by Giannopoulos, Ἄνθηση, 585-6: 16α-19α, 22α-28α);
ff. 114-117, Χερουβικ(ὸν) εἰς ἦχον α´, καθὼς παρὰ τῶν τοῦ Χάνδακος Κρήτης διδασκάλων ψάλλετ(αι). Γράφετ(αι) (δὲ) οὗτω παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία καὶ (πρωτο)ψάλ(του) Κρήτ(ης), md. I, Οἱ τὰ χερουβίμ;
ff. 117-119v, Χερουβικ(όν). Ποίημα κὺρ Μανου(ὴ)λ λαμπαδ(α)ρ(ίου) τοῦ Χρυσάφη, ὡς καὶ παρὰ τοῦ αὐτοῦ Βενεδ(ί)κτου, plg. md. I, Οἱ τὰ χερουβίμ;
ff. 119v-133, five more settings of the Cherubic Hymn (as listed by Giannopoulos, Ἄνθηση, 681: 98β-106β);
ff. 133-142, four more settings of the Cherubic Hymn (as listed by Giannopoulos, Ἄνθηση, 477-8: 238α, 244β, 246α);
ff. 142-144v, Ἕτερον, κὺρ Βενεδίκτου Ἐπισκοποπούλου, plg. md. IV, Οἱ τὰ χερουβίμ;
ff. 144v-146, Σύνθεσις κὺρ [Δη]μητ(ρίου), md. IV, Ἄσωμεν πάντες (text in Giannopoulos, Ἄνθηση, 478-9);
ff. 146-147, Θεοτοκίον συνοπτικόν, ποίημα κὺρ Βενεδ(ίκτου) Ἐπισκοποπούλ(ου) καὶ (πρωτο)πάπ(α) Ῥηθυμν(ης), plg. md. I, Τὴν τιμιωτέραν;
ff. 147rv, Ποίμα κὺρ Λέωντ(ος) Ἐπισκοποπούλ(ου), md. IV, Ἄξιον ἐστίν;
ff. 147v-149, Κὺρ Ἀντων(ίου) Ἐπισκοποπ(ού)λ(ου). ὡς καὶ παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία γράφεται καὶ ψάλλεται, plg. md. IV, Ἄνωθεν οἱ προφῆται (×2);
ff. 149v-150v, Δημητρ(ίου) τοῦ Ταμία αὐτοσχεδίασθως ͵αχλ´, plg. md. I, Ἄξιον ἐστίν;
ff. 150v-154v, Δημητρ(ίου) (πρωτο)ψάλτ(ου) Κρήτ(ης), οὗ τὸ ἐπίκλην ἐστὶ Ξένος, ͵αχλβ´, σεπτεμβρίου γ´, md. I, Σὲ μεγαλύνομεν (×2);
ff. 154v-155v, Δημητρ(ίου) τοῦ Ταμία καὶ (πρωτο)ψάλτ(ου) α[ὐτοσχε]δίασθως, md. II, Τὴν πᾶσαν;
ff. 155v-159, Παλαιόν, ποίημα κὺρ Θεοδούλ(ου) μοναχ(οῦ), md. I, Κρυπτόμενον;
ff. 159-164, Θ(εοτο)κίον ψαλόμενον εἰς τὴν ἀρτοκλασί(αν) καὶ εἰς τὴν τράπεζαν, ποίημα κυροῦ Ἰω(ά)ν(νου) τοῦ μαΐστ(ο)ρ(ος), γράφεται καὶ ψάλετ(αι) (δὲ) οὗτω καὶ παρὰ κὺρ Βενεδίκτου Ἐπισκοποπ(ού)λ(ου), md. I, Ανενανες ὅτι σωτῆρα;
ff. 164-165, Ποίημα κὺρ Ἰω(ά)ν(νου) τοῦ Πλουσιαδ(η)ν(οῦ), γράφεται (δὲ) καὶ παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία καὶ (πρωτο)ψάλτ(ου) Κρήτ(ης), plg. md. IV, Ἄξιον καὶ δίκαιον;
ff. 165-167v, Θεοτοκίον, ποίημα κὺρ Ἀντων(ίου) Ἐπισκοποπ(ού)λ(ου) (πρωτο)ψάλτου Κυδωνί(ας), plg. md. IV, Ἄνωθεν οἱ προφῆται;
ff. 167v-170, Τοῦ αὐτοῦ κὺρ Ἀν(τωνίου), plg. md. IV, Τὴν ὄντως;
ff. 170-173, Τοῦ αὐτοῦ κὺρ Ἀντων(ίου), δύχωρ(ον), plg. md. IV, Ἄνωθεν οἱ προφῆται;
ff. 173-174, Ὡς παρὰ τοῦ αὐτοῦ πάπα κὺρ Βενεδ(ίκοτου) (πρωτο)πάπα (sic), md. I, Στάμνε, ῥάβδε, πόκε;
ff. 174-176v, Ἑτέρα, ὡς καὶ παρὰ κὺρ Δημητρί(ου) τοῦ Ταμία, plg. md. IV, Στάμνε, ῥάβδε, πόκε − Ἀκατάφλεκτε − Ἐπὶ τοῦ Θεοῦ;
ff. 177-178v, Δημητρ(ίου) τοῦ Ταμία καὶ (πρωτο)ψάλτ(ου) Κρήτ(ης), mode illegibe, Αἰνεῖτε τὸν Κύριον;
ff. 178v-180r, Κοινωνικὸν εἰς ἦχον δ´, ποίημα κὺρ Δ[ημητρίου] τοῦ Ταμία καὶ (πρωτο)ψάλτ(ου) Κρήτ(ης), md. IV, Αἰνεῖτε;
ff. 180-181v, Κὺρ Δημητρ(ίου) τοῦ Ταμία κ(αὶ) (πρωτο)ψάλτ(ου) Κρήτ(ης), no mode given, Εἰς μνημόσυνον;
ff. 182r-186, Κοινωνικ(ὸν) κὺρ Ἰω(ά)ν(νου) τοῦ λαμπαδ(α)ρ(ίου), ὡς καὶ παρὰ [κὺ]ρ Δημητρ(ίου) τοῦ Ταμία γράφετ(αι) καὶ ψάλετ(αι), Αἰνεῖτε (×2);
ff. 186v-190v, Κὺρ Ἰω(ά)ν(νου) τοῦ Λάσχαρ(η), ὡς καὶ παρὰ κὺρ Δημητρίου τοῦ Ταμία κ(αὶ) (πρωτο)ψάλτ(ου), md. IV, Αἰνεῖτε (×3);
ff. 190v-192r, Κοινωνικ(όν), ποίημα κυροῦ Ἰω(άννου) τοῦ Λάσκαρι, ὀργανικόν, plg. md. IV, Αἰνεῖτε;
ff. 192v-194r, Ἕτερον κοινωνοκ(όν), ποίημα κὺρ Μανουὴλ τοῦ Ἀργυροπούλου, md. I, Αἰνεῖτε;
Chants for the Liturgy of Presanctified Gifts:
f. 194, Ἡ [θεία] λειτουργ(ία) τῶν προηγιασμέν(ων), καθ(ὼς) γράφετ(αι) καὶ ψάλλ(ε)τ(αι) παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία κ(αὶ) (πρωτο)ψάλτ(ου), plg. md. II, Κατευθυνθήτω;
ff. 194-197, Ὅταν ὁ ἰερεὺς ἔσω τοῦ βήματος, ψάλλει καὶ ὁ ψάλτ(ης) τὸ τέλος ἀπ' ἔξω, plg. md. II, Ἔπαρσις τῶν χειρῶν μου − Νῦν αἱ δυνάμεις;
ff. 197-198, Ποίημα τοῦ ἁγίου Ἰωάννου τοῦ Δαμασκηνοῦ, plg. md. II, Νῦν αἱ δυνάμεις;
ff. 198-199, Ἕτερ(ον), συνοπτικότερ(ον), τοῦ αὐτοῦ, plg. md. II, Νῦν αἱ δυνάμεις;
ff. 199v-200v, Κὺρ Βενεδί(κτου), Νῦν αἱ δυνάμεις;
ff. 201-202, Κὺρ Μανουὴλ τοῦ Χρυσ(ά)φ(η), plg. md. II, Νῦν αἱ δυνάμεις;
ff. 202v-204, Κὺρ Ἰω(ά)ν(νου) τοῦ Κουκουζέλη, ὡς καὶ παρὰ κὺρ Δημητ(ρίου) τοῦ Ταμία κ(αὶ) (πρωτο)ψάλτ(ου) Κρήτ(ης), plg. md. II, Νῦν αἱ δυνάμεις;
ff. 204-205, Κὺρ Ἰω(ά)ν(νου) τοῦ λαμπαδ(α)ρ(ίου), ὡς καὶ παρὰ κὺρ Δημητρ(ίου) τοῦ Ταμία, Γεύσασθε;
ff. 205-206, Τοῦ κὺρ Ῥαιδεστιν(οῦ), ὡς κ(αὶ) παρὰ κὺρ Δημητρ(ίου), plg. md. IV, Γεύσασθε;
ff. 206v-207, Ὡς παρὰ τοῦ αὐτοῦ κὺρ Βεν(ε)δ(ίκτου) (πρωτο)πάπ(α) ψάλετ(αι) καὶ γράφετ(αι), md. I, Γεύσασθε;
Chants for the Liturgy of St Basil:
ff. 207v-211v, Ἡ θεία λειτουργ(ί)α τοῦ ἐν ἁγίοις π(ατ)ρ(ὸ)ς ἡμῶν Βασιλείου τοῦ Μεγάλ(ου), καθὸς ψάλετ(αι) καὶ γράφετ(αι) παρὰ κὺρ Βεν(ε)δ(ίκτου) Ἐπισκοποπούλου καὶ (πρωτο)πάπ(α) Ῥυθύμν(ης), md. II, Ἅγιος, ἅγιος − Ἀμήν (×2) − Σὲ ὑμνοῦμεν − Ἐπὶ σοί − Τὴν γάρ;
ff. 211v-218, Five setting for Communion hymns (as listed by Giannopoulos, Ἄνθηση, 482-3: 313α, 317α, 320α, 322α, 321α);
Easter hymns:
(68) ff. 218r-223r, Κὺρ Δημητρ(ίου) τοῦ Ταμία κ(αὶ) (πρωτο)ψάλ(του) Κρήτ(ης), plg. md. I, Χαῖρε Παρθένε − Ἐν τῇ ἐγέρσει − Φωτίζου − Ὁ ἄγγελος ἐβόα; [f. 223v is blank].
The last century of Venetian rule on Crete, before the island fell to the Ottomans in 1669, was a golden age of liturgical choir music (the Orthodox Church does not make use of musical instruments). This remarkable phenomenon has become well-known only lately, through the fundamental study of E. Giannopoulos (2004). Giannopoulos describes fifty-five manuscripts containing work of Cretan church composers from the period. Some fifteen among these belong to the same general type as the present (previously unknown) codex: a collection (“anthology”) of choral pieces for Vespers, Matins, and the three Eucharistic liturgies (Giannopoulos, 2004, pp. 320-30). No two such “anthologies” are of identical content, and the present one has no exact parallels. It comprises primarily works by Benedict Episcopopulus and by his student Demetrius Tamias (Giannopoulos, pp. 160-219). The former was chief priest (protopapas) of the city of Rhethymno in the second half of the sixteenth century; the latter is attested as main chanter (protopsaltes) of Chandax (modern Heraklion) from 1610 to the mid-seventeenth century. Judging from the watermarks present in the paper of our codex, it was produced within Tamias’s lifetime. It gives dates for some of the pieces: the piece on ff. 50-51v was composed by Episcopopulus in 1582; Tamias wrote those on ff. 149v-150v, and 150v-154v respectively in 1630 and on September 3, 1632.
Andreev, S. Les filigranes dans les documents ottomans: couronne, Sofia 2007.
Andreev, S. Les filigranes dans les documents ottomans: divers types d’images, Sofia 2005.
Giannopoulos, Emmanouēl St. Ἡ ἄνθηση τῆς ψαλτικῆς τέχνης στὴν Κρήτη (1566-1669) [The Flourishing of Psaltic Art in Crete (1566-1669)], Athens, 2004.
Velkov, A. Водни знаци в османо-турските документи: Три луни, Sofia 1983.
Nicholas Bell. “Byzantine music and musical manuscripts”
https://www.bl.uk/greek-manuscripts/articles/byzantine-music-and-musical-manuscripts
Summary in English of Giannopoulos, 2004 (cited above)
http://users.auth.gr/mangian/Phd%20summary.pdf
Eastern Orthodox Church: Singing and Chant, University of St. Thomas
https://libguides.stthomas.edu/c.php?g=88707&p=572165
TM 1010
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