compositions of the second ode. According to Alexandra Nikiforova only two of 64 canons composed by Germanus I are present in the current print editions, but manuscripts have transmitted his hymnographic heritage. The monastic reform of the Stoudites and their notated chant books During the 9th-century reforms of the Stoudios Monastery, the reformers favoured Hagiopolitan composers and customs in their new notated chant books heirmologion and sticherarion, but they also added substantial parts to the tropologion and re-organised the cycle of movable and immovable feasts (especially Lent, the , and its scriptural lessons). The trend is testified by a 9th-century tropologion of the Saint Catherine's Monastery which is dominated by contributions of Jerusalem. Festal stichera, accompanying both the fixed psalms at the beginning and end of Hesperinos and the psalmody of the Orthros (the Ainoi) in the Morning Office, exist for all special days of the year, the Sundays and weekdays of Lent, and for the recurrent cycle of eight weeks in the order of the modes beginning with Easter. Their melodies were originally preserved in the tropologion. During the 10th century two new notated chant books were created at the Stoudios Monastery, which were supposed to replace the tropologion: the sticherarion, consisting of the idiomela in the menaion (the immoveable cycle between September and August), the triodion and the pentekostarion (the moveable cycle around the holy week), and the short version of octoechos (hymns of the Sunday cycle starting with Saturday evening) which sometimes contained a limited number of model troparia (prosomoia). A rather bulky volume called "great octoechos" or "parakletike" with the weekly cycle appeared first in the middle of the tenth century as a book of its own. the heirmologion, which was composed in eight parts for the eight echoi, and further on either according to the canons in liturgical order (KaO) or according to the nine odes of the canon as a subdivision into 9 parts (OdO). These books were not only provided with musical notation, with respect to the former tropologia they were also considerably more elaborated and varied as a collection of various local traditions. In practice it meant that only a small part of the repertory was really chosen to be sung during the divine services. Nevertheless, the form tropologion was used until the 12th century, and many later books which combined octoechos, sticherarion and heirmologion, rather derive from it (especially the usually