This English translation of Chourmouzios Chartophylax's revision of Chrysanthos' Introduction to the New Method of Greek chant notation has been made with the intention of providing students, scholars and musicians access to an easily digestible and widely accessible explanation of the rudimentary signs and theory of the chant notation used in the Greek and other Orthodox Churches. Written by two of the Three Teachers of the New Method, established in 1814, the Eisagoge is authoritative. Notes identify and underline the theoretical adjustments made by the 1888 Constantinople Music Committee. Despite the lack of great detail, this short work offers a thorough grounding for reference and comparison to subsequent publications.

This revised publication of the Venice 1891 Leitourgikon collects the hymns chanted in the Divine Liturgy from the ecclesiastical library of the Book of Hours, Menaeon, Triodion, Pentecostarion and Parakletike for the Sundays, Great Feasts and Formal Saint commemorations of the Church calendar. Specifically, it contains the Psalms from the Service of the Typika, the troparia of the Beatitudes, and Kanon troparia from the 3rd and 6th Odes, the antiphons and other troparia (apolytikia, kontakia, hypakoae, megalynaria and communion hymns) necessary to those chanting the Liturgy. It is with great spiritual pleasure that this most practical edition is presented, with the humble dedication to the pious clergy and chanters in the Church. Like in the 1891 edition, it was deemed advantageous to add a few more practical texts. In the area containing hymns from the new service booklets hymns for the commemoration of the Father of Mount Athos, the Feast of the Holy Protection and the memories of St Nektarios the Wonderworker and St Kosmas Aetolos were added. Also included are the texts of the daily antiphons, the troparia of the weekday beatitudes from the Parakletike, the May my mouth be filled with thy praise and Psalms 33 and 144.

The anagrams, or more generally, the mathemata and morphologically related kalophonic forms of Byzantine melopoeia, constitute the artistic creations by which Psaltic Art is known in all its splendour and becomes an object of admiration. Kalophony as ars nova was born following the recovery of the city of Constantinople after the Latin occupation of Byzantium (AD 1204-1261) during the long reign of Andronicus II (1282-1328) and reached its final form in the first half of the fourteenth century. During the years 1300-1350, four key composers and teachers of the Psaltic Art imposed a new attitude of melic composition on the preexisting forms and designated new compositional techniques dominated by the beautifying kallopistic element. They created new compositions in the new spirit of kallopismos and musical verbosity. This new musical creation was christened with the term kalophony and this period is the golden age of Byzantine Chant. Originally published under the title Hoi anagrammatismoi kai ta mathemata tes byzantines melopoiias (1979 plus seven reprints), this publication thoroughly investigates and reveals for the first time the entire magnitude of Byzantine kalophony with its individual forms, serving as a systematic introduction to the Greek Byzantine music culture and that of the Byzantine Psaltic Art at the height of its expression.