unnotated Slavonic osmoglasnik which was often divided in two parts called "pettoglasnik", one for the kyrioi, another for the plagioi echoi). The old custom can be studied on the basis of the 9th-century tropologion ΜΓ 56+5 from Sinai which was still organised according to the old tropologion beginning with the Christmas and Epiphany cycle (not with 1 September) and without any separation of the movable cycle. The new Studite or post-Studite custom established by the reformers was that each ode consists of an initial troparion, the heirmos, followed by three, four or more troparia from the menaion, which are the exact metrical reproductions of the heirmos (akrostics), thereby allowing the same music to fit all troparia equally well. The combination of Constantinopolitan and Palestine customs must be also understood on the base of the political history. Especially the first generation around Theodore Studites and Joseph the Confessor, and the second around Joseph the Hymnographer suffered from the first and the second crisis of iconoclasm. The community around Theodore could revive monastic life at the abandoned Stoudios Monastery, but he had to leave Constantinople frequently in order to escape political persecution. During this period, the Patriarchates of Jerusalem and Alexandria (especially Sinai) remained centres of the hymnographic reform. Concerning the Old Byzantine notation, Constantinople and the area between Jerusalem and Sinai can be clearly distinguished. The earliest notation used for the books sticherarion and was theta notation, but it was soon replaced by palimpsests with more detailed forms between Coislin (Palestine) and Chartres notation (Constantinople). Although it was correct that the Studites in Constantinople established a new mixed rite, its customs remained different from those of the other Patriarchates which were located outside the Empire. On the other hand, Constantinople as well as other parts of the Empire like Italy encouraged also privileged women to found female monastic communities and certain hegumeniai also contributed to the hymnographic reform. The basic repertoire of the newly created cycles the immovable menaion, the movable triodion and pentekostarion and the week cycle of parakletike and Orthros cycle of the eleven stichera heothina and their lessons are the result of a redaction of the tropologion which started with the generation of Theodore the Studite and ended during the Macedonian Renaissance under the emperors Leo VI (the stichera heothina are traditionally ascribed to him) and Constantine VII (the exaposteilaria anastasima are ascribed to him). The cyclic organization