in the first row of Kondakarian notation, while the monophonaris parts had them only at the end, so that they were probably indicated by the domestikos or lampadarios in order to get the attention of the choir singers, before singing the medial intonations. We do not know, whether the whole psalm was sung or each section at another day (during the Easter week, for instance, when the glas changed daily), but the following section do not have a written out refrain as a conclusion, so that the first refrain of each section was likely repeated as conclusion, often with more than one medial intonation which indicated, that there was an alternation between the two choirs. For instance within the section of glas 3 (the modal signature was obviously forgotten by the notator), where the text of the refrain is almost treated like a "nenanismaton": "але-нь-н-на-нъ-ъ-на-а-нъ-ı-ъ-лɤ-гı-а". The following medial intonations "ипе" (εἴπε "Say!") and "пал" (παλὶν "Again!") obviously did imitate medial intonations of the asmatikon without a true understanding of their meaning, because a παλὶν did usually indicate that something will be repeated from the very beginning. Here one choir did obviously continue another one, often interrupting it within a word. The end of the cathedral rite in Constantinople 1207, when the Uspensky kondakar' was written, the traditional cathedral rite had no longer survived in Constantinople, because the court and the patriarchate had gone into exile to Nikaia in 1204, after Western crusaders had made it impossible to continue the local tradition. The Greek books of the asmatikon (choir book) and the other one for the monophonaris (the psaltikon which often included the kontakarion) were written outside Constantinople, on the island of Patmos, at Saint Catherine's monastery, on the Holy Mount Athos and in Italy, in a new notation which developed some decades later within the books sticherarion and heirmologion: Middle Byzantine round notation. Thus, also the book kontakarion-psaltikon dedicated to the Constantinopolitan cathedral rite must be regarded as part of its reception history outside Constantinople like the Slavic kondakar'. The kontakaria and asmatika written in Middle Byzantine round notation The reason, why the psaltikon was called "kontakarion", was that most parts of a kontakion (except of the refrain) were sung by a soloist from the ambo, and that the collection of the kontakarion had a prominent and dominant place within the book. The classical repertoire, especially the kontakion cycle of