of the Ottoman Court. Examples such as that of the composer and theorist Prince Cantemir of Romania learning music from the Greek musician Angelos, indicate the continuing participation of Greek speaking people in court culture. The influences of ancient Greek basin and the Greek Christian chants in the Byzantine music as origin, are confirmed. Music of Turkey was influenced by Byzantine music, too (mainly in the years 1640–1712). Ottoman music is a synthesis, carrying the culture of Greek and Armenian Christian chant. It emerged as the result of a sharing process between the many civilizations that met together in the Orient, considering the breadth and length of duration of these empires and the great number of ethnicities and major or minor cultures that they encompassed or came in touch with at each stage of their development. The Putna school of the Bukovina Phanariotes at the new music school of the patriarchate The Orthodox reformulation according to the New Method Chrysanthos of Madytos (c. 1770–1846), Gregory the Protopsaltes (c. 1778 – c. 1821), and Chourmouzios the Archivist were responsible for a reform of the notation of Greek ecclesiastical music. Essentially, this work consisted of a simplification of the Byzantine Musical Symbols that, by the early 19th century, had become so complex and technical that only highly skilled chanters were able to interpret them correctly. The work of the three reformers is a landmark in the history of Greek Church music, since it introduced the system of neo-Byzantine music upon which are based the present-day chants of the Greek Orthodox Church. Unfortunately, their work has since been misinterpreted often, and much of the oral tradition has been lost. Konstantinos Byzantios' renunciation of the New Method The old school of the patriarchate The modern school of the patriarchate Ison The Ison (music) is a drone note, or a slow-moving lower vocal part, used in Byzantine chant and some related musical traditions to accompany the melody. It is assumed that the ison was first introduced in Byzantine practice in the 16th century. Teretismata and nenanismata The practice of Terirem is vocal improvisation with nonsense syllables. It can contain syllables like "te ri rem" or "te ne na", sometimes enriched with some theological words. It is a custom for a choir, or an orthodox psalmist to start the chanting by finding the musical tone by singing at the very beginning a "ne-ne". The Simon Karas