school at Athens Simon Karas (1905–1999) began an effort to assemble as much material as possible in order to restore the apparently lost tradition. His work was continued by his students Lycourgos Angelopoulos and Ioannis Arvanitis who both had a quite independent and different approach to the tradition. Lycourgos Angelopoulos and the Greek-Byzantine choir Lycourgos Angelopoulos died on 18 May 2014, but during his life-time he always perceived himself more as a student than a teacher, despite of the great number of his students and followers and the great success he enjoyed as a teacher. He published some essays where he explained the role that his teacher Simon Karas had for his work. He studied the introduction of the New Method under the aspect which were the Middle Byzantine neumes that had been abandoned by Chrysanthos, when he introduced the New Method. In particular, he discussed the role of Petros Ephesios, the editor of the first print editions who still used the qualitative sign of "oxeia" which had been soon abandoned. In collaboration with Georgios Konstantinou who wrote a new manual and introduction for his school, Lycourgos Angelopoulos re-introduced certain aphonic signs and re-interpreted them as ornamental signs according to the definitive rhythmic interpretation of the New Method which had transcribed the melos into notation. Thus, he had to provide for the whole repertoire of the living tradition an own handwritten edition which had been printed for all his students. For the proper understanding, the new universal notation according to Chrysanthos could be used to transcribe any kind of Ottoman music, not only the church music composed according to the oktoechos melopœia, but also makam music and rural traditions of the Mediterranean. Thus, the whole ornamental aspect of monophonic music depended now on an oral tradition, but it was no longer represented by the aphonic or great signs which had to be understood from the traditional context rooting back to the Byzantine psaltic art. Therefore, the other fundament of Angelopoulos' school was the participating fieldwork of traditional protopsaltes, those of the archon protopsaltes of the Ecumenical Patriarchate in Constantinople (and many of them had been forced into exile since the Cyprus crisis of 1964), and Athonite singers, especially those recordings he made of Father Dionysios Firfiris. Two major styles of interpretation have evolved, the Hagioritic, which is simpler and is mainly followed in monasteries, and the Patriarchal, as exemplified by