Тита-нотацията във византийски и славянски ръкописи (ХI-ХIII век)
Theta Notation in Byzantine and Slavonic Manuscripts (11th - 13th Centuries)

Summary/Abstract: This contribution is based on a two-fold comparative examination of the use of Theta Notation in Greek and Slavonic chanttexts. On the one hand, the texts containing the primitive Theta notation are compared with their counterparts notated with Early and Middle Byzantine Notation (an approach introduced by forgen Raasted), as well as with the Old Russian Znamennaia Notation. On the other hand, the comparison involves both the original Greek chants and their Slavonic translations. There are several observations resulting from this inquiry. 1. In the Slavonic manuscripts, Theta notation served the same purpose as in the Greek ones, namely to mark the melodic ornaments (melismata) in otherwise plain settings sung from memory. 2. The melismata, indicated by Theta notation in both Greek and Slavonic texts, usually coincide with ornamental melodic formulas in the developed notational types (Early and Middle Byzantine Notation, Znamennaia Notation) - a result pointing to the common melodic features of the corresponding hymns. 3. At the same time, Theta Notation does not designate all the melismata characteristic of a given hymn; it appears to be rather a tool used sporadically by the scribe at his own discretion.

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