the movable feasts mainly attributed to Romanos, included usually about 60 notated kontakia which were obviously reduced to the prooimion and the first oikos and this truncated form is commonly regarded as a reason, why the notated form presented a melismatic elaboration of the kontakion as it was commonly celebrated during the cathedral rite at the Hagia Sophia. As such within the notated kontakarion-psaltikon the cycle of kontakia was combined with a prokeimenon and alleluiarion cycle as a proper chant of the divine liturgy, at least for more important feasts of the movable and immovable cycle. Since the Greek kontakarion has only survived with Middle Byzantine notation which developed outside Constantinople after the decline of the cathedral rite, the notators of these books must have integrated the cheironomiai or great signs still present in the Slavic kondakar's within the musical notation of the new book sticherarion. The typical composition of a kontakarion-psaltikon (τὸ ψαλτικὸν, τὸ κοντακάριον) was: prokeimena alleluiaria eight hypakoai anastasimai kontakarion with the movable cycle integrated in the menaion after hypapante eight kontakia anastasima appendix: refrains of the alleluiaria in octoechos order, rarely alleluia endings in psalmody, or usually later added kontakia The choral sections had been collected in a second book for the choir which was called asmatikon (τὸ ᾀσματικὸν). It contained the refrains (dochai) of the prokeimena, troparia, sometimes the ephymnia of the kontakia and the hypakoai, but also ordinary chant of the divine liturgy like the eisodikon, the trisagion, the choir sections of the cherubikon asmatikon, the weekly and annual cycle of koinonika. There were also combined forms as a kind of asmatikon-psaltikon. In Southern Italy, there were also mixed forms of psaltikon-asmatikon which preceded the Constantinopolitan book "akolouthiai": annual cycle of proper chant in menaion order with integrated movable cycle (kontakion with first oikos, allelouiaria, prokeimenon, and koinonikon) all refrains of the asmatikon (allelouiarion, psalmodic allelouiaria for polyeleoi, dochai of prokeimena, trisagion, koinonika etc.) in oktoechos order appendix with additions The kontakia collection in the Greek kontakaria-psaltika Nevertheless, the Greek monastic as well as the Slavic reception within the Kievan Rus' show many coincidences within the repertoire, so that even kontakia created in the North for local customs could be easily recognised by a comparison of Slavonic kondakar's with Greek psaltika-kontakaria. Constantin Floros' edition of the melismatic chant proved that the total repertoire of 750 kontakia (about two thirds composed since the 10th century)