Ponomar Project Slavonic Computing Initiative

Proposal to Encode Znamenny Musical Notation in Unicode

Aleksandr Andreev1 Nikita Simmons

April 17, 2019

The authors request the addition of a new block, entitled Znamenny Musical Notation, to theUnicode Standard for the consistent computer representation of the characters used to record Znamenny Chant and related forms of liturgical music. A block of 208 codepoints in the Supplemental Multilingual Plane is requested. The remainder of this document describes the writing system, its character repertoire, and the encoding principles.

1 Description of Writing System

Znamenny Chant is a form of unison, melismatic, liturgical singing that developed in Kievan Rus some- time in the 11th century [1, p. 58]. Until the rise of Western musical influence in the late 17th century, Znamenny Chant was the predominant form of liturgical music used in Russia and Ukraine. Follow- ing the 17th century, it remained in use by Russian Old Ritualists as well as some monasteries and parishes within the mainline Russian Orthodox Church. In recent years, beginning with the work of musicologists and liturgiologists in the late 19th century, Znamenny Chant has also become the subject of academic research [2, pp. 8-46]. Traditionally Znamenny Chant is recorded using a neumatic musical notation system (in other words, a musical notation system that does not use a lined staff) called Znamenny Notation, or Stolp (“systematic”) Notation, also known, by the characteristic shape of its symbols, as Kryuki (“hooks”)2. While derived from a form of early Byzantine musical notation called Coislin notation [3, ch. 11][4, ch. 3], Znamenny Notation underwent a lengthy period of development over the course of five cen- turies, and came to form an absolutely unique writing system, graphically and theoretically distinct from the Byzantine Music Notation already encoded in Unicode.

1.1 Classification Modern Znamenny Notation can be grouped into three varieties, which, following Gardner [5], we call Types A, B and C. The earliest of these is the Type C Notation, which occurs in musical manuscripts from the 15th century onward and lacks any markings indicating pitch. We present an example of this notation in Figure 1. In the first half of the 17th century, special marks indicating pitch and dynamics

1Senior Lecturer, Department of Classical Languages, St. Petersburg Theological Academy of the Russian Orthodox Church; [email protected]. 2The term “Znamenny Notation” is a tautology, the word “znamenny” meaning “notational” in Church Slavonic; nonethe- less, this term has become widely accepted in the literature.

1 Figure 1: Example of Type C Notation. Source: Sticherarion, beginning of the 16th century; Russian State Library, coll. 304.I, ms. #411.

Figure 2: Example of Type B Notation. Source: Octoechos. Moscow, 1913–1914.

were introduced; these markings make use of combining stylized lowercase Cyrillic letters and other symbols, which are added to the base neume. The marks are made in red ink, and are thus called Cinnabar Marks or Shaidur Marks, after a certain Ivan Shaidur, who was credited with creating the system. Manuscripts from 1600 to about 1650 may make use of a variety of such Cinnabar Marks, and several potentially competing systems may have existed at one time. We propose for encoding primarily the system of marks that is explained in the 1670 treatise Izveshchenie o soglasneyshikh pometakh by Aleksandr Mezenets and has become standard since then. We also propose for encoding some characters from earlier marking systems, but, since the earlier systems have not been adequately researched, we are presently unable to propose a complete repertoire; in any case, these additional markings are of interest only to a narrow group of specialists [6, pp. 96-141][7]. We call Znamenny Notation bearing any kind of Cinnabar Marks Type B Notation. We present an example of this notation in Figure 2. In the late 17th century, the need arose for typesetting Znamenny Notation on the printing press. Since contemporary type technology did not allow for the simultaneous printing of neumes in black and

2 Figure 3: Example of Type A Notation. Source: Octoechos. Moscow, 1913.

red ink, a monochrome system of alternative pitch marks was devised. This system uses small dashes (called priznaki) located in various places on the neume for the indication of pitch. The system was also standardized by Mezenets in the Izveshchenie [6, pp. 143-164]. For a variety of reasons, Znamenny chantbooks did not make it to press until the 20th century, when the problem of color became a non- issue. The priznaki, nonetheless, became widely accepted, and came to be used in manuscripts alongside the Cinnabar Marks3. Notation bearing both the priznaki and the Cinnabar Marks we call Type A Notation. We present an example of this notation in Figure 3. Aside from the use of a system for indicating pitch, the character repertoire of Type A, B and C Notations is nearly identical. Certain visual differences in the appearance of neumes are insignificant, and best handled at the font level. Thus, all three systems form one unified writing system.

1.2 Archaic Znamenny Notation In addition, we also consider Znamenny Notation of the earliest period, which occurs in manuscripts dating from the 11th to the 14th centuries. Such sources include additional archaic neumes, which went out of use during the liturgical and musical reforms of the 15th century [8, pp. 120-125]. The determi- nation of the full character repertoire of this archaic system is more difficult, given that no systematic catalog of characters has remained from the time period (the earliest Znamenny catalogs that have come down to us date only to the 15th century [9]). Thus, to establish the repertoire of characters, we have analyzed some of the musical manuscripts characteristic of the era, both published (see [10], [11], [12], [13], [14]) and unpublished. We present an example of Archaic Znamenny Notation in Figure 4. An analysis of this character repertoire reveals that archaic characters may be grouped into families together with the characters of modern Znamenny Notation based on their main graphical features [15, esp. p. 30.]. Many of these characters should be treated as identical to their later analogs, and any graphical distinctions should be handled at the font level. A number of additional archaic characters are also encountered; these include especially the “hook-based arrows” (kryukovy‧e strely), which ceased to be used in the notation system in the 15th century, as well as a number of additional “arrows” with various bases. We propose for encoding also the main forms of these characters. Since no catalogs of neumes have come down from this period, no names for these characters exist. We use the hypothetical

3This is in fact a pleonasm, as the Cinnabar Marks and the Priznaki indicate the same thing and the latter wereinvented to replace the former.

3 Figure 4: Example of Archaic Znamenny Notation. Source: Hirmologion, 12th century; Russian State Archive of Ancient Documents, coll. 381, ms. #150.

names that have been proposed by researchers in this field, for example, in the works of Smolensky [10, p. 15]. Sometimes we are forced to introduce new names that serve to graphically describe the character. In addition to archaic Znamenny Notation, the earliest period of Slavic music is marked by the use of another notational system called Kondakarian Notation [16]. This system uses a character reper- toire that is distinct from Znamenny Notation. The authors plan to submit a separate proposal forthe encoding of Kondakarian Notation symbols.

1.3 Demestvenny / Put Notation Starting with the late 15th century and through the end of the 17th century, a number of forms of melis- matic vocal music flourished in Russia side-by-side with Znamenny Chant, but with a more limited repertoire. These forms of chant, which also included forms of polyphony quite distinct fromthe Western-style harmonized chant that emerged at the end of the 17th century, went by a variety of names, including Demestvenny Chant, Put Chant and [Multiple] Lined Polyphony (strochnoe mnogogolosie). This style of music largely went out of use at the end ofthe17th century, though Demestvenny Chant (in only its monophonic form) continued to be cultivated in the 18th and 19th centuries among the Rus- sian Old Ritualist communities. This form of music has been recorded with a special form of neumatic musical notation, which scholars have called by a variety of names, including Demestvenny Notation [18, p. 265], Put Notation [5, p. 456] and Kazan Notation [1, p. 184]. It is now generally accepted that all of these terms refer to one notational system derived from Znamenny Notation through the addition of supplementary neumes and a number of other features [17]. This notational system first appeared in manuscripts in thelate 16th century, went out of use in the mainline Russian Orthodox Church at the end of the 17th century, but continues to be used by Old Ritualists today, especially in two chantbooks, the Demestvennik and the Obednitsa [19, pp. 53-67]. An example from the Obednitsa is presented in Figure 5. We present another example of this notation from a 17th century manuscript of Put Chant in Figure 6. The typesetting of these materials on the computer is also of interest to musicologists; we present an example of Kazan Notation used in academic writing (due to a lack of an encoding scheme, the neumes were rendered graphically) in Figure 7. Since Demestvenny / Put Notation shares many neumes with Znamenny Notation, we propose to

4 Figure 5: Example of Demestvenny / Put Notation (printed). Source: Obednitsa Znamennogo i Demestvennogo rospeva, Kiev, 1909.

encode it together with Znamenny Notation as one writing system. Where a neume has a different name in catalogs of Put or Demestvenny neumes, we provide the alternative name in an annotation. We also propose for encoding additional neumes used exclusively in Demestvenny / Put Notation. In assembling the repertoire of such neumes, we have followed [20], [21], [19, pp. 378-400], as well as the catalog (Azbuka) of Kalashnikov, published by Old Ritualists in 1911 [22]. No comprehensive catalog of neumes used in Put Notation is available in the academic literature; we have based our repertoire of neumes on a number of existing publications ([23], [24], [17], [25]), as well as manuscript sources.

1.4 Current Usage Today, Type A Notation and Demestvenny Notation are used by small minorities in the mainline Rus- sian Orthodox Church as well as by the “priested” Old Ritualists and Yedinovertsy (Old Ritualists in communion with the mainline Russian Orthodox Church). Type B Notation is used by Priestless Old- Ritualists (Bezpopovsty). Type C Notation and Archaic Notation are presently not used, but are of interest to musicologists and liturgiologists studying medieval Znamenny Chant manuscripts. Adding all the usage groups together, we estimate that the number of active users of the notation is several hundred thousand worldwide.

1.5 Typesetting the Writing System The first attempts at printing Znamenny Notation were made in Moscow in 1652, when FedorIvanov Popov was ordered to make the technical arrangements for producing Znamenny chantbooks on the printing press [26, p. 194]. The requirement to print neumes in black and red simultaneously proved in- surmountable and the project was abandoned. The standardization of priznaki as an alternative method for indicating pitch made printing neumes in monochrome possible. In 1671, a project to print the Hir- mologion – a common chant book used in the Byzantine Rite – was undertaken in Moscow; the movable type for the project was cast, but, for unknown reasons, the project was never carried out [26, p. 209]. In the 18th century, the linear Kievan music notation system (see [27]) replaced Znamenny Notation as the predominant system of notating music in the Russian Orthodox Church, and the corpus of Znamenny

5 Figure 6: Example of Demestvenny / Put Notation (manuscript). Source: Russian State Library coll. 379, ms. 30 (second half of the 17th century).

Figure 7: Example of Demestvenny / Put Notation in an academic setting. Source: [17]

chantbooks was finally printed, but in Kievan notation, in 1772[2, pp. 135-138]. Znamenny Notation continued to be used in manuscripts produced by Old Ritualists. Only in the early 20th century was the corpus of chantbooks in Znamenny Notation printed by Old Ritualist publishers. The 20th century also witnessed a growth of academic interest in Znamenny Notation among schol- ars of liturgy, musicologists, and historians, both in the Soviet Union and among Russian émigrés. Sev- eral academic works were published (see, for example, [28], [29], [30], [5], [18]), in which, for a lack of adequate fonts to represent the notation system, Znamenny neumes were hand-drawn or processed graphically. In recent years, there has been a renewed interest in Znamenny Chant. This has resulted in a variety of resources in Znamenny Notation appearing on the Internet4. Since no method for representing the notation exists in any national codepage or international encoding standard, the neumes have been typeset in a variety of formats, either graphically or using ad hoc solutions. The most popular approach uses a combination of an ad hoc 8-bit codepage, a pre-processing software, and markup language5. The multiplication of digital resources for the representation, storage, and processing of Znamenny Chant online makes the encoding of Znamenny Notation in Unicode absolutely essential.

4For example: http://www.znamen.ru/, http://dyak-oko.mrezha.ru/, http://synaxis.info/. 5See http://znamen.ru/fmt-znam.htm (in Russian).

6 Figure 8: A neume and modifying marks (Type B Notation) Black Mark Red PitchX Mark XXXz © 켇  Black Mark 콐6켦켱켵 @I@ @ Red Mark

Base Neume

Figure 9: A complex neume and modifying marks (Type B Notation) Black Mark

Red PitchX Mark © XXXz 쾒6켆 켱

Base Neume 2 Proposed Encoding Model

2.1 Base Neumes The basic building block of Znamenny Notation isthe neume, a single character consisting of one or more strokes. Unlike the notes used in Common Music Notation (CMN), the neume does not represent precise pitch and duration, but rather indicates a melodic formula. Neumes are recorded from left to right with text (lyrics) recorded underneath the neume. Adjacent neumes may be grouped into larger structures called melodic kernels (Slav. popevki). The exact musical meaning of a neume is straightfor- ward for some simpler neumes; for the more complex neumes, it may depend on the position of the neume inside a melodic kernel, and on various music-theoretical properties inherited from Byzantine music. In this way, the writing system may be viewed as combining alphabetic and ideographic features. The base Znamenny neume may be modified by a number of combining symbols (characters) that are placed above, below, to the left of, to the right of, or overlaying the base neume, and areusedto indicate pitch, duration, dynamics, or other performance techniques. Some of these characters appear in black type and are called black modifying marks. In Type A and Type B Notations, additional such characters appear in red type and are called red modifying marks or cinnabar marks. The basic structure of a neume and its modifying marks is presented in Figure 8. The neume in Figure 8 is drawn with a single stroke of the pen, but other neumes may consist of multiple strokes or may even include multiple components. We propose to encode as standalone characters all neumes that are listed and named in traditional catalogs (Slav. Azbuki) of Znamenny neumes. In Figure 9, we provide an example of a neume that is drawn using three strokes. The base neume should not be decomposed into its strokes (components), since by themselves these components are not valid characters and have no meaning. The base neumes of the notation systems are proposed for encoding between U+1CF50 and U+1CFC4. The remaining unused positions are reserved for a possible future encoding of additional archaic characters.

7 Table 1: The use of Tonal Range Marks � � � � � Kryuk Mrachny Statya Mrachnaya Statya Svetlaya Strela Mrachnaya� composed as � + ◌ � composed as � and ◌ or� ◌ � composed as � and ◌ �

2.1.1 Black Modifying Marks A number of black modifying marks may attach above, below, or to the right of the main neume. These marks modify the musical meaning of the neume by affecting the duration of notes or adding additional notes to the base meaning of the neume. In addition, one class of black marks, called tonal range marks, is used to indicate pitch. Unlike the red marks discussed below, rather than providing the exact pitch information, these marks only identify a range of possible pitches along the traditional Obikhod Scale (discussed below). We give these marks the names Tonal Range Mark Mrachno (◌),� Tonal Range Mark Svetlo (◌),� and Tonal Range Mark Tresvetlo (◌);� the Tresvetlo Range is usually called Nepostoyanno in Put / Demestvenny notation. Typically, the Tonal Range Marks act like combining characters that position above the main neume, as can be seen in the left panel of Table 1. However, for some neumes, Tonal Range Marks may stack in different ways to form ligatures (see the central panel ofTable 1). For the Skameytsa, the Tonal Range Marks actually form a part of the main neume and are positioned below the diagonal element. Because the Skameytsa can also take additional Tonal Range Marks above the neume, we encode the three varieties of the Skameytsa – the Mrachnaya, the Svetlaya, and the Tresvetlaya – as standalone characters. Note that the same Tonal Range Marks are also used as modifying marks for the Strely (as can be seen in the right panel of Table 1), though they have a different function, indicating the number of sounds in the Strela, rather than the tonal range. The black marks are proposed for encoding between U+1CF30 and U+1CF40. In order toavoid reordering of the combining marks under the Unicode Normalization Algorithm, we propose to set their Combining Class property to 0. See the section on order of encoding on p. 15 for more details. Note that, despite similar appearance, U+1CF40 Combining Znamenny Mark Kryzh is distinct from U+1CF81 Znamenny Neume Kryzh: U+1CF40 is a diacritical mark, used only in Demestvenny / Put Notation, that either attaches to the base neume (see #63 Kryuk with Kryzh in Appendix 2) orstacksto the right of a base neume (see #187 Stopitsa with Kryzh in Appendix 2); U+1CF81 is a base character that functions as a standalone neume (see #59 in Appendix 1, #60 in Appendix 2), sometimes forming a ligature with the previous neume (see #14 in Appendix 1).

2.1.2 Indication of Pitch Type B and Type A notations use additional red marks (called Cinnabar Marks or Shaidur Marks) to in- dicate pitch. The red pitch mark povyshe may be observed in Figure 8 and a red pitch mark malo povyshe – in Figure 9. The Cinnabar Marks are given the traditional pitch names used in Church Slavonic [7, p. 47]. The red marks are proposed for encoding between U+1CF00 and U+1CF0B. In instances where the neumes are typeset in red (for example, when notating polyphony or notating both Znamenny and Demestvenny Notations), the pitch marks are typeset in black (see Figure 12 for an example). All of the pitch marks indicate scale degrees along the Obikhod Scale, a gamut that provides the series of possible notes used in Znamenny Chant. The system is diatonic and consists of four tetrachords,

8 Figure 10: The Obikhod Scale and Red Pitch Marks ◌ ◌ ◌ ◌ ◌ ◌ ◌ ◌ ◌ ◌
◌ ◌ prostoe mrachnoe svetloe tresvetloe 
 g a b c' d' e' f' g' a' b♭' c'' d''

Figure 11: Several red modifying marks along one neume (Type B Notation) Red Pitch Mark Red Pitch Mark X © XXXz 쾒6켆 켈

Base Neume called soglasiya (tonal ranges). A fifth tetrachord above the fourth tetrachord is mentioned inthe17th century theoretical treatise Klyuch Razumeniya, but is not encountered in practice, and so its pitch marks are not proposed for encoding [31]. By modern convention, the pitch gorazdo nizko (indicated using the mark ◌)켃 is tuned to Middle C. The Obikhod Scale and the red pitch marks are demonstrated in Figure 10. Multiple red pitch marks may be applied to a single neume, in which case the marks interact typo- graphically and are stacked. The stacking behavior may actually be quite complex and may depend on context; for purposes of simplicity, we propose that by default the marks should stack from left to right, diagonally along the base neume, as illustrated in Figure 11. In some instances, instead of stacking with respect to a previous mark, a secondary pitch mark may attach on the right side of a base neume. This behavior is optional in Znamenny Notation, and is generally used as an explanatory aid for the per- former (see the left panel of Figure 12, where the primary pitch mark is indicated with a red arrow, and a secondary pitch mark, attaching on the right, is indicated with a blue arrow). In Demestvenny Nota- tion this behavior is required, and is used to indicate the pitch structure of a complex neume (see the right panel of Figure 12, where the two left-attaching pitch marks, marked by red arrows, stack, while another pitch mark, marked by a blue arrow, attaches on the right). In order to support this function- ality, a set of right-attaching pitch marks is proposed for encoding at U+1CF0C to U+1CF17. Consult Appendix 2 for more examples of the usage of right-attaching pitch marks.

Figure 12: Left-attaching (indicated with red arrows) and right-attaching (indicated with blue arrows) pitch marks, as used in Znamenny Notation (on left, source: [32]) and Demestvenny Notation (on right, source: [22])

9 Figure 13: Example of Priznaki          
   


2.1.3 Priznaki in Znamenny and Late Demestvenny Notations The system of priznaki6 was standardized by Aleksandr Mezenets to indicate pitch without the use of cinnabar marks [7]. In this system, the priznaki – tiny markers (narrow slashes or dashes) – are added to the base neume to clarify its pitch within a Tonal Range (tetrachord). We demonstrate the usage of priznaki in Figure 13. For neumes pitched at the first scale degree of a Tonal Range (as indicated by a cinnabar mark ◌,케 ◌,켃 ◌,켆 or ◌),켉 no additional mark is added. For neumes pitched at the second scale degree (as indicated by a cinnabar mark ◌,켁 ◌,켄 ◌,켇 or ◌),켊 a mark is placed on the left or lower part of the neume. For neumes pitched at the third scale degree (as indicated by a cinnabar mark ◌,켂 ◌,켅 ◌,켈 or ◌),켋 a mark is placed on the right or upper part of the neume. For some neumes, the priznaki may attach to the tonal range markers placed above the neume rather than to the base neume itself. Priznaki are used only in Type A notation. Moreover, since the placement of both priznaki and cinnabar marks is redundant, the usage of priznaki seems to be somewhat optional in modern typeset- ting. Encoding separate priznakified versions of each neume would add an unnecessary level ofcom- plexity; on the other hand, the system is sufficiently complicated so that the priznaki cannot be invoked from context in a text-only environment. We thus propose to support the priznaki using control char- acters. We encode two control characters, U+1CF42 Znamenny Priznak Modifier Level 2 and U+1CF43 Znamenny Priznak Modifier Level 3, which are used to indicate the second and third scale degrees, re- spectively. The presence of a Priznak Modifier indicates that a priznak for the given scale degree should be turned on. The absence of a Priznak Modifier indicates either that a neume is pitched atthefirst scale degree of a tonal range (which is indicated by an absence of priznaki) or that Type B or Type C Notation is being encoded (where priznaki are not used at all). Software should interpret the Priznak Modifiers as control codes that graphically modify the neume in an appropriate manner. In fonts,this can be handled using glyph substitution via the Glyph Composition (ccmp) feature of OpenType. In Figure 14 we provide examples of how the priznaki are encoded and handled at the font level. Note that the control character must be encoded immediately after the base neume. Appendix 3 provides tables listing the possible combinations of base neumes with priznaki control characters. Demestvenny Notation in the Old Ritualist chantbooks (Demestvennik and Obednitsa) also uses the system of priznaki found in the Type A Znamenny Notation, thus the priznaki of this notational system are implemented in the same manner. A second, more advanced system of priznaki appears in a number of Old Ritualist sources such as the Krug Tserkovnago Drevnyago Znamennago Peniya published in St. Petersburg in the late 19th century under the patronage of A. Morozov (see, for example, [33, vol. 1, f. 2]). This system employs a finer gradation of the priznaki markers. For neumes that occur in the lower two tonal ranges (the prostoe and the mrachnoe), the priznaki markers face downward, just as in the system of Mezenets. However, for neumes that occur in the upper two tonal ranges (the svetloe and the tresvetloe), the direction is flipped and the priznaki markers face upwards. This behavior is demonstrated in Figure 15. Note that priznaki

6The Church Slavonic term “priznaki” (sing. “priznak”) is pronounced with the stress on the second syllable, unlikeits modern Russian paronym.

10 Figure 14: Encoding model for Priznaki 콐 + ◌ 켰 + ◌켄 → 콐켄 켰 no priznaki U+1CF50 U+1CF30 U+1CF04 콐 + 콂 + ◌ 켰 + ◌켄 → �켄 켰 with lower priznak U+1CF50 U+1CF42 U+1CF30 U+1CF04 쾆 + 콂 + ◌ 켰 + ◌켄 → � 켄 with left priznak U+1CF86 U+1CF42 U+1CF30 U+1CF04 콐 + 콃 + ◌ 켰 + ◌켅 → �켅 켰 with upper priznak U+1CF50 U+1CF43 U+1CF30 U+1CF05 쾆 + 콃 + ◌ 켰 + ◌켅 → � 켅 with right priznak U+1CF86 U+1CF43 U+1CF30 U+1CF05 쾆 + ◌ 켰 + 콃 + ◌켅 → �‌콃켅 malformed U+1CF86 U+1CF30 U+1CF43 U+1CF05

Figure 15: The Usage of Priznaki in the Krug of Arseny Morozov             
    
markers only change direction for those neumes where they are positioned along the left vertical beam (for example, the Kryuk and the Stopitsa). The direction of priznaki positioned along the diagonal element does not change, as in the system of Mezenets. In addition to changes in the direction of the priznaki, this system also uses a small underline mark to indicate the lowest tonal range. The mark is either positioned directly below the neume or attaches to the lower part of the neume. The nameof this mark is not known, so we call it U+1CF41 Combining Lower Tonal Range Indicator. Note that this mark always appears in black type. Additionally, in the system of priznaki used in the Krug, one character – the Zapyataya – accepts tonal range-specific modifications even when it occurs on the first scale degree of a tonal range(where priznaki are not used). In the svetloe tonal range, it receives a rightward-facing priznak, and in the tresvetloe tonal range, the shape of the neume itself is modified. This usage of the Zapyataya is demon- strated in Figure 16, along with the proposed encoding methodology. The usage of separate control characters for the system of priznaki as giveninthe Krug of Morozov seems to be impractical, as it would require encoding four additional control characters: two for the Level 2 and Level 3 “flipped” versions of the priznaki occuring inthe svetloe and tresvetloe tonal ranges, and two more for accessing the variant forms of the Zapyataya and its derivative neumes. Instead, we propose to encode one additional control character, U+1CF44 Znamenny Priznak Modifier Direction Flip, which acts to change the direction of a priznak. The presence of this character, entered immedi-

11 Figure 16: The Zapyataya with Different Priznaki in the Krug + ◌ +  +  +
+  +  +


           

Figure 17: Encoding model for Priznaki as used in the Krug

콐 + 콂 + ◌켄 → �켄 priznak points down U+1CF50 U+1CF42 U+1CF04 콐 + 콂 + 콄 + ◌켇 → �켇 priznak points up U+1CF50 U+1CF42 U+1CF44 U+1CF07 콐 + 콄 + ◌켄 → 콐켄 malformed U+1CF50 U+1CF44 U+1CF04 ately following one of the two priznak Level Modifiers, informs the rendering system that the direction of the priznak on the neume needs to be pointed upward. The presence of this character entered imme- diately following the Zapyataya indicates that the version of the Zapyataya without priznaki needs to be rendered in the shape used in the svetloe or tresvetloe tonal ranges (see again Figure 16). The benefit of this approach is that a one-to-one relationship is maintained between the pitch level within a tonal range and the presence of Priznak Modifier control characters. The usage of all of these control char- acters is demonstrated in Figure 17. This usage of two control characters to affect the appearance of priznaki is similar to the use of fill and rotation controls to specify the orientation and appearance of symbols in Sutton SignWriting (see34 [ , p. 3–5.]).

2.1.4 Priznaki in Kazan Notation An alternative system of indicating relative pitch was used in early manuscripts of Put Chant (Kazan Notation). This system received its earliest theoretical formulation inthe Klyuch Znamennoy, a treatise dated to 1604 [23, p. 117], and was subsequently used in various chantbooks and music theoretical treatises [25]. This system consists of two priznaki: a stylized cross (Slavonic kryzh) attached to the left lower part of a neume, which is used to indicate downward vocal movement, and a stylized horn (Slavonic rog or rozhek) attached to the upper part or diagonal part of a neume, which is used toindicate upward vocal movement. For the support of these priznaki we propose to encode two additional control characters, U+1CF45 Znamenny Priznak Modifier Kryzh and U+1CF46 Znamenny Priznak Modifier Rog, which may be used to indicate to the rendering system that a given neume needs to be drawn with the relevant priznak. One theoretical treatise on Kazan Notation makes a further distinction between a rog priznak attached to the left side of the Stopitsa anda rog priznak attached to the right side of the Stopitsa [17, p. 261]. We propose to render the right-bearing rog priznak by use of the control character Znamenny Priznak Modifier Direction Flip, as described above for the system of priznaki usedinthe Krug of A. Morozov. Note that not encoding the Direction Flip control character would require us to encode an additional character for this one exceptional case. Also note that control characters used for

12 Figure 18: Priznaki used in Kazan Notation 콐 → 콐 no priznaki U+1CF50 콐 + 콅 → � with kryzh priznak U+1CF50 U+1CF45 콐 + 콆 → � with rog priznak U+1CF50 U+1CF46 콖 + 콆 → � Stopitsa with left rog priznak U+1CF56 U+1CF45 콖 + 콆 + 콄 → � Stopitsa with right rog priznak U+1CF56 U+1CF45 U+1CF44

Figure 19: The use of peculiar marks; source: [36, p. 26]. Note the use of a peculiar flat (boxed in red), which lowers the tuning of the pitch and results in a subsequent modulation out of the Obikhod Scale

encoding the priznaki of Type A Znamenny Notation cannot be used to encode priznaki used in Kazan Notation because this would result in ambiguities. The expected behavior of these control characters is illustrated in Figure 18.

2.1.5 Further Modification Marks: ‘Peculiar’ Marks Generally speaking, Znamenny Chanted is executed within the Obikhod Scale. However, some 17th cen- tury manuscripts and theoretical treatises do allow for modulation out of the Obikhod Scale. Some mod- ulation out of the Obikhod Scale may also be observed in modern Old Ritualist performance practice. Modulation may be indicated by the use of additional red pitch marks called stranny‧e pomety (“pecu- liar marks”). These markings usually consist of a cinnabar mark with an attached or detached stylized red cross (“peculiar flats”) or a compound mark of a stylized Cyrillic Small Letter Es andaredpitch mark (“peculiar sharps”). See Figure 19 for an example. It must be recognized that the system of peculiar marks is presently not very well documented or understood. We propose to encode in the range U+1CF10 to U+1CF17 those peculiar marks that are mentioned in the 17th century theoretical treatise Klyuch Razumeniya [35]. We also encode a sepa- rate combining character U+1CF1F Znamenny Combining Red Mark Kryzh, which may be entered in combination with other red marks to create more peculiar marks.

13 Figure 20: Use of explanatory marks in Znamenny Notation 콖켵콮콖켵 쾆

Figure 21: The use of ligatures in Demestvenny Notation 코 + 콐 → 코콐 Znamenny Notation U+1CF54 U+1CF50 코 + 콐 → 코콐 Demestvenny Notation U+1CF54 U+1CF50 콐 + ◌ 켰 + ◌켶 + 콐 → 콐콐켶 켰 Demestvenny Notation U+1CF54 U+1CF30 U+1CF36 U+1CF50

2.1.6 Explanatory Marks Explanatory marks, also called “similarity marks” (podobny‧e pomety)[37, p. 41], are a neume (poten- tially with modifying marks) or series of neumes set in smaller type and placed above (or sometimes below) a main neume. These explanatory marks are almost always rendered in red. They serve toex- plain a difficult or unusual musical meaning of the base neume. Since these marks are functionally analogous to ruby, a method used in East Asian scripts to indicate phonetic transcriptions of obscure or unfamiliar ideographs, we propose to use ruby for the representation of Explanatory Marks as well. Ruby annotation may be handled through a variety of existing standards. In plain text contexts where markup in unavailable, a user may use the Interlinear Annotation Characters, U+FFF9 through U+FFFB, to set off explanatory marks (see Figure 20 for an example).

2.1.7 Ligatures in Demestvenny / Put Notation One additional characteristic feature of Demestvenny Notation is the use of ligatures. A sequence of two, three or four neumes, plus combining black and red marks, may be drawn together, effectively forming a ligature. Since the repertoire of ligated combinations is fixed and the ligatures are largely context-specific, we propose to handle ligatures at the font level using cursive attachment orkerning. Any black or red modifying marks are also attached to the relevant ligature component and positioned at the font level. Font designers may offer precomposed forms of such ligatures in the Private Use Area. The implementation of ligatures is demonstrated in Figure 21 and in numerous examples in Appendix 2.2.

2.2 Character Names and Codepoint Order All characters in our encoding model are given names according to the standard usage of Znamenny neume catalogs (Azbuki). In assembling the repertoire of characters used in modern Znamenny No- tation (since the 16th century), we have relied on the listings provided by Razumovsky [1, pp. 269ff], Metallov [38, pp. 32ff], Kalashnikov [39, pp. 10ff] and Ye. Grigorʹev [37, pp. 241ff]. In some instances, neumes may have multiple names or the name used in modern Old Ritualist practice may differ from the historical name or the name used by academics. In such cases, we have specified the alternative

14 name in the annotations. In all cases, the Church Slavonic names for the neumes and various marks are preserved, but are given in Latin characters using the BGN/PCGN Cyrillic romanization scheme for Russian. An analysis of historical Znamenny neume catalogs reveals that no two manuscripts agree on the order in which characters are sorted (the “alphabetical order” of the writing system). The only academic attempt to create an alphabetic ordering for Znamenny Notation was proposed by Brazhnikov, buthas not been widely accepted [40][41]. We propose the following ordering. First, we place the commonly used neumes following a loose system of radicals. These neumes are: the Kryuk (and same-radical characters Paraklit, Dva v Chelnu, Klyuch, and Zanozhek); the Stopitsa (and same-radical characters Perevodka and Chelyustka); the Palka; the Zapyatya (and same-radical characters Golubchik, Vrakhiya, Derbitsa, and Khamilo); the Chashka and Podchashie; the Skameytsa (all varieties); and, finally, the Slozhitie. Then we place the neumes primarily used for the formation of complex melodic formulæ (called litsa and fity). These are best placed at this point because the Slozhitie belongs toboththe common radical group and the group of neumes used to form complex formulæ. The ordering of the neumes in this grouping is: Kryzh, Rog, Fita, Kobyla, and Zmeytsa. In the third group, we place all variants of the complex neumes Statya and Strela. The ordering within the group is again based on a system of radicals. Finally, we place complex neumes that have unique functions and appearances. These neumes are almost always placed toward the end ofthe catalog in the manuscript tradition; they include the Duda, Truba, Nemka and Pauk. The codepoint order for the base neumes of the notation is thus specified inFigure 22. For the modifying marks, we propose a logical sort order. The red pitch marks are encoded in order of ascending pitch, starting with Gorazdo Nizko s Kryzhem (tuned to g on the Obikhod Scale). Following the red pitch marks, we encode the peculiar marks, also in order of ascending pitch. Next, we order the red modifying marks. We first classify these marks by function: marks indicating duration and marks indicating movement. We order the duration marks from long to short (Tikhaya, Borzaya, and Udarka); then we order the movement marks in the way that they are typically presented in traditional catalogs – by frequency of usage (Podvertka, Lomka, etc.). We encode the black modifying marks following the red modifying marks. Here we order first the Tonal Range Markers (in order of ascending pitch). Then, we again classify the marks by function, and order the marks indicating duration from long to short (Zaderzhka, Otsechka) and the marks indicating movement in the order typically presented in traditional catalogs (Podchashie, Oblachko, etc). The result is an ordering that is useful for collation because it captures the common features of the manuscript tradition, but is also intuitive for lookup since it places next to each other characters that are similar in function or appearance.

2.3 Order of Encoding In the Unicode Standard (see Section 2.11) all combining characters are to be used in sequence following the character to which they apply, regardless of how the positioning of the combining mark ultimately takes place. Combining characters that position on the left of a base neume are generally presented to the left of the dotted circle in Unicode codecharts. In Znamenny Notation, combining Cinnabar Marks will usually position to the left of the base character, while other combining marks may position above, below, to the right of, or overlaying the base character. In addition to the technical aspect, we also consider how Znamenny neumes are typically drawn by hand in manuscripts. Commonly, one first draws the base neume (in black ink), then the tonal range markers (if present), then the remaining black modification marks, from left to right. Then, one picks up a red pen, and draws first thecinnabar pitch marks and then the remaining red modification marks, from left to right. Therefore we propose the order of encoding, from left to right, given inTable 2. Note that the

15 Figure 22: Codepoint (and collation) order for Znamenny Notation kryuki stopitsi z }| { z }| { < < < < < < < < < < < < 콐 콑 콒 콓 코zapyaty‧e콕 콖 콖켼 콘 콙 콚 콛 z }| { 콝 < 콞 < 콠 < 콠 < 콡 < 콢 < 콣 < 콤 < 콥 < 콦 < 콧 < 콨 < 콩 < 콪 < 콫 < neumes used for complex formulae z }| { … < 쾁 < 쾂 < 쾃 < 쾄 < 쾅 < statʹi z }| { 쾆 < 쾇 < 쾈 < 쾉 < 쾊 < 쾋 < 쾌 < 쾍 < 쾎 < 쾏 < 쾐 < 쾑 < strely z }| { 쾒 < 쾓 < 쾚 < 쾔 < 쾕 < 쾖 < 쾗 < 쾘 < 쾙 < 쾛 < 쾜 < … < 쾮 < complex neumes z }| { 쿁 < 쿂 < 쿃 < 쿄

Priznak Modifier control characters, if present, must be encoded immediately after the baseneume (even if they modify the tonal range markers in actual graphical appearance). Multiple left-attaching red pitch marks are encoded in sequence and by default stack diagonally along the base neume from left to right. Right-attaching red pitch marks are encoded following all other combining redmarks.

Table 2: Order of encoding (from left to right)

Base Neumes Control Characters Black Pitch Marks Black Modification Marks Left-Attaching Pitch Marks Red Modification Marks Right-Attaching Pitch Marks 콐 콂 ◌ 켰 ◌켳 ◌케 ◌켢 ◌켌 콒 콃 ◌ 켱 ◌켵 ◌켁 ◌켣 ◌켍 콓 콄 ◌켲 ◌켶 ◌켂 ◌켤 ◌켎 콯 ◌켃 켥◌ ◌켏 쾆 ◌켸 ◌켄 ◌켦 ◌켐 쾒 ◌켹 ◌켅 ◌ ◌켑 쾢 ◌ 켺 ◌켆 ◌켧 켨 ◌켒 쾬 ◌켻 ◌켇 ◌켩 ◌켓 쾭 ◌켼 ◌켈 ◌ ◌켔 쾯 ◌켽 ◌켉 ◌켫 켪 ◌켕 쿁 ◌켊 ◌켬 ◌켖 켋 쿃etc. ◌ ◌켗

16 3 Unicode Character Properties

1CF00;ZNAMENNY COMBINING MARK GORAZDO NIZKO S KRYZHEM ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF01;ZNAMENNY COMBINING MARK NIZKO S KRYZHEM ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF02;ZNAMENNY COMBINING MARK TSATA ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF03;ZNAMENNY COMBINING MARK GORAZDO NIZKO ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF04;ZNAMENNY COMBINING MARK NIZKO ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF05;ZNAMENNY COMBINING MARK SREDNE ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF06;ZNAMENNY COMBINING MARK MALO POVYSHE ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF07;ZNAMENNY COMBINING MARK POVYSHE ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF08;ZNAMENNY COMBINING MARK VYSOKO ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF09;ZNAMENNY COMBINING MARK MALO POVYSHE S KHOKHLOM ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF0A;ZNAMENNY COMBINING MARK POVYSHE S KHOKHLOM ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF0B;ZNAMENNY COMBINING MARK VYSOKO S KHOKHLOM ON LEFT;Mn;0;NSM;;;;N;;;;; 1CF0C;ZNAMENNY COMBINING MARK GORAZDO NIZKO S KRYZHEM ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF0D;ZNAMENNY COMBINING MARK NIZKO S KRYZHEM ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF0E;ZNAMENNY COMBINING MARK TSATA ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF0F;ZNAMENNY COMBINING MARK GORAZDO NIZKO ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF10;ZNAMENNY COMBINING MARK NIZKO ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF11;ZNAMENNY COMBINING MARK SREDNE ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF12;ZNAMENNY COMBINING MARK MALO POVYSHE ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF13;ZNAMENNY COMBINING MARK POVYSHE ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF14;ZNAMENNY COMBINING MARK VYSOKO ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF15;ZNAMENNY COMBINING MARK MALO POVYSHE S KHOKHLOM ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF16;ZNAMENNY COMBINING MARK POVYSHE S KHOKHLOM ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF17;ZNAMENNY COMBINING MARK VYSOKO S KHOKHLOM ON RIGHT;Mn;0;NSM;;;;N;;;;; 1CF18;ZNAMENNY COMBINING MARK TSATA S KRYZHEM;Mn;0;NSM;;;;N;;;;; 1CF19;ZNAMENNY COMBINING MARK MALO POVYSHE S KRYZHEM;Mn;0;NSM;;;;N;;;;; 1CF1A;ZNAMENNY COMBINING MARK STRANNO MALO POVYSHE;Mn;0;NSM;;;;N;;;;; 1CF1B;ZNAMENNY COMBINING MARK POVYSHE S KRYZHEM;Mn;0;NSM;;;;N;;;;; 1CF1C;ZNAMENNY COMBINING MARK POVYSHE STRANNO;Mn;0;NSM;;;;N;;;;; 1CF1D;ZNAMENNY COMBINING MARK VYSOKO S KRYZHEM;Mn;0;NSM;;;;N;;;;; 1CF1E;ZNAMENNY COMBINING MARK MALO POVYSHE STRANNO;Mn;0;NSM;;;;N;;;;; 1CF1F;ZNAMENNY COMBINING MARK GORAZDO VYSOKO;Mn;0;NSM;;;;N;;;;; 1CF20;ZNAMENNY COMBINING MARK ZELO;Mn;0;NSM;;;;N;;;;; 1CF21;ZNAMENNY COMBINING MARK ON;Mn;0;NSM;;;;N;;;;; 1CF22;ZNAMENNY COMBINING MARK RAVNO;Mn;0;NSM;;;;N;;;;; 1CF23;ZNAMENNY COMBINING MARK TIKHAYA;Mn;0;NSM;;;;N;;;;; 1CF24;ZNAMENNY COMBINING MARK BORZAYA;Mn;0;NSM;;;;N;;;;; 1CF25;ZNAMENNY COMBINING MARK UDARKA;Mn;0;NSM;;;;N;;;;; 1CF26;ZNAMENNY COMBINING MARK PODVERTKA;Mn;0;NSM;;;;N;;;;; 1CF27;ZNAMENNY COMBINING MARK LOMKA;Mn;0;NSM;;;;N;;;;; 1CF28;ZNAMENNY COMBINING MARK KUPNAYA;Mn;0;NSM;;;;N;;;;; 1CF29;ZNAMENNY COMBINING MARK KACHKA;Mn;0;NSM;;;;N;;;;; 1CF2A;ZNAMENNY COMBINING MARK ZEVOK;Mn;0;NSM;;;;N;;;;; 1CF2B;ZNAMENNY COMBINING MARK SKOBA;Mn;0;NSM;;;;N;;;;; 1CF2C;ZNAMENNY COMBINING MARK RAZSEKA;Mn;0;NSM;;;;N;;;;; 1CF2D;ZNAMENNY COMBINING MARK KRYZH;Mn;0;NSM;;;;N;;;;; 1CF30;ZNAMENNY COMBINING TONAL RANGE MARK MRACHNO;Mn;0;NSM;;;;N;;;;; 1CF31;ZNAMENNY COMBINING TONAL RANGE MARK SVETLO;Mn;0;NSM;;;;N;;;;;

17 1CF32;ZNAMENNY COMBINING TONAL RANGE MARK TRESVETLO;Mn;0;NSM;;;;N;;;;; 1CF33;ZNAMENNY COMBINING MARK ZADERZHKA;Mn;0;NSM;;;;N;;;;; 1CF34;ZNAMENNY COMBINING MARK DEMESTVENNY ZADERZHKA;Mn;0;NSM;;;;N;;;;; 1CF35;ZNAMENNY COMBINING MARK OTSECHKA;Mn;0;NSM;;;;N;;;;; 1CF36;ZNAMENNY COMBINING MARK PODCHASHIE;Mn;0;NSM;;;;N;;;;; 1CF37;ZNAMENNY COMBINING MARK PODCHASHIE WITH VERTICAL STROKE;Mn;0;NSM;;;;N;;;;; 1CF38;ZNAMENNY COMBINING MARK CHASHKA;Mn;0;NSM;;;;N;;;;; 1CF39;ZNAMENNY COMBINING MARK CHASHKA POLNAYA;Mn;0;NSM;;;;N;;;;; 1CF3A;ZNAMENNY COMBINING MARK OBLACHKO;Mn;0;NSM;;;;N;;;;; 1CF3B;ZNAMENNY COMBINING MARK SOROCHYA NOZHKA;Mn;0;NSM;;;;N;;;;; 1CF3C;ZNAMENNY COMBINING MARK TOCHKA;Mn;0;NSM;;;;N;;;;; 1CF3D;ZNAMENNY COMBINING MARK DVOETOCHIE;Mn;0;NSM;;;;N;;;;; 1CF3E;ZNAMENNY COMBINING ATTACHING VERTICAL OMET;Mn;0;NSM;;;;N;;;;; 1CF3F;ZNAMENNY COMBINING MARK CURVED OMET;Mn;0;NSM;;;;N;;;;; 1CF40;ZNAMENNY COMBINING MARK KRYZH;Mn;0;NSM;;;;N;;;;; 1CF41;ZNAMENNY COMBINING LOWER TONAL RANGE INDICATOR;Mn;0;NSM;;;;N;;;;; 1CF42;ZNAMENNY PRIZNAK MODIFIER LEVEL 2;Cf;0;BN;;;;N;;;;; 1CF43;ZNAMENNY PRIZNAK MODIFIER LEVEL 3;Cf;0;BN;;;;N;;;;; 1CF44;ZNAMENNY PRIZNAK MODIFIER DIRECTION FLIP;Cf;0;BN;;;;N;;;;; 1CF45;ZNAMENNY PRIZNAK MODIFIER KRYZH;Cf;0;BN;;;;N;;;;; 1CF46;ZNAMENNY PRIZNAK MODIFIER ROG;Cf;0;BN;;;;N;;;;; 1CF50;ZNAMENNY NEUME KRYUK;So;0;L;;;;N;;;;; 1CF51;ZNAMENNY NEUME KRYUK TIKHY;So;0;L;;;;N;;;;; 1CF52;ZNAMENNY NEUME PARAKLIT;So;0;L;;;;N;;;;; 1CF53;ZNAMENNY NEUME DVA V CHELNU;So;0;L;;;;N;;;;; 1CF54;ZNAMENNY NEUME KLYUCH;So;0;L;;;;N;;;;; 1CF55;ZNAMENNY NEUME ZANOZHEK;So;0;L;;;;N;;;;; 1CF56;ZNAMENNY NEUME STOPITSA;So;0;L;;;;N;;;;; 1CF57;ZNAMENNY NEUME STOPITSA S OCHKOM;So;0;L;;;;N;;;;; 1CF58;ZNAMENNY NEUME PEREVODKA;So;0;L;;;;N;;;;; 1CF59;ZNAMENNY NEUME PEREVODKA NEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF5A;ZNAMENNY NEUME STOPITSA WITH SOROCHYA NOZHKA;So;0;L;;;;N;;;;; 1CF5B;ZNAMENNY NEUME CHELYUSTKA;So;0;L;;;;N;;;;; 1CF5C;ZNAMENNY NEUME PALKA;So;0;L;;;;N;;;;; 1CF5D;ZNAMENNY NEUME ZAPYATAYA;So;0;L;;;;N;;;;; 1CF5E;ZNAMENNY NEUME GOLUBCHIK BORZY;So;0;L;;;;N;;;;; 1CF5F;ZNAMENNY NEUME GOLUBCHIK TIKHY;So;0;L;;;;N;;;;; 1CF60;ZNAMENNY NEUME GOLUBCHIK MRACHNY;So;0;L;;;;N;;;;; 1CF61;ZNAMENNY NEUME GOLUBCHIK SVETLY;So;0;L;;;;N;;;;; 1CF62;ZNAMENNY NEUME GOLUBCHIK TRESVETLY;So;0;L;;;;N;;;;; 1CF63;ZNAMENNY NEUME VRAKHIYA PROSTAYA;So;0;L;;;;N;;;;; 1CF64;ZNAMENNY NEUME VRAKHIYA MRACHNAYA;So;0;L;;;;N;;;;; 1CF65;ZNAMENNY NEUME VRAKHIYA SVETLAYA;So;0;L;;;;N;;;;; 1CF66;ZNAMENNY NEUME VRAKHIYA TRESVETLAYA;So;0;L;;;;N;;;;; 1CF67;ZNAMENNY NEUME VRAKHIYA KLYUCHEVAYA PROSTAYA;So;0;L;;;;N;;;;; 1CF68;ZNAMENNY NEUME VRAKHIYA KLYUCHEVAYA MRACHNAYA;So;0;L;;;;N;;;;; 1CF69;ZNAMENNY NEUME VRAKHIYA KLYUCHEVAYA SVETLAYA;So;0;L;;;;N;;;;; 1CF6A;ZNAMENNY NEUME VRAKHIYA KLYUCHEVAYA TRESVETLAYA;So;0;L;;;;N;;;;; 1CF6B;ZNAMENNY NEUME DOUBLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CF6C;ZNAMENNY NEUME REVERSED CHELYUSTKA;So;0;L;;;;N;;;;;

18 1CF6D;ZNAMENNY NEUME DERBITSA;So;0;L;;;;N;;;;; 1CF6E;ZNAMENNY NEUME KHAMILO;So;0;L;;;;N;;;;; 1CF6F;ZNAMENNY NEUME CHASHKA;So;0;L;;;;N;;;;; 1CF70;ZNAMENNY NEUME PODCHASHIE;So;0;L;;;;N;;;;; 1CF71;ZNAMENNY NEUME SKAMEYTSA MRACHNAYA;So;0;L;;;;N;;;;; 1CF72;ZNAMENNY NEUME SKAMEYTSA SVETLAYA;So;0;L;;;;N;;;;; 1CF73;ZNAMENNY NEUME SKAMEYTSA TRESVETLAYA;So;0;L;;;;N;;;;; 1CF74;ZNAMENNY NEUME SKAMEYTSA TIKHAYA;So;0;L;;;;N;;;;; 1CF75;ZNAMENNY NEUME DEMESTVENNY KLYUCH;So;0;L;;;;N;;;;; 1CF76;ZNAMENNY NEUME SKAMEYTSA KLYUCHEVAYA SVETLAYA;So;0;L;;;;N;;;;; 1CF77;ZNAMENNY NEUME SKAMEYTSA KLYUCHENEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF78;ZNAMENNY NEUME SKAMEYTSA KLYUCHEVAYA TIKHAYA;So;0;L;;;;N;;;;; 1CF79;ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA PROSTAYA;So;0;L;;;;N;;;;; 1CF7A;ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA SVETLAYA;So;0;L;;;;N;;;;; 1CF7B;ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA NEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF7C;ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA KLYUCHEVAYA;So;0;L;;;;N;;;;; 1CF7D;ZNAMENNY NEUME SLOZHITIE;So;0;L;;;;N;;;;; 1CF7E;ZNAMENNY NEUME SLOZHITIE S ZAPYATOY;So;0;L;;;;N;;;;; 1CF7F;ZNAMENNY NEUME SLOZHITIE ZAKRYTOE;So;0;L;;;;N;;;;; 1CF80;ZNAMENNY NEUME SLOZHITIE S KRYZHEM;So;0;L;;;;N;;;;; 1CF81;ZNAMENNY NEUME KRYZH;So;0;L;;;;N;;;;; 1CF82;ZNAMENNY NEUME ROG;So;0;L;;;;N;;;;; 1CF83;ZNAMENNY NEUME FITA;So;0;L;;;;N;;;;; 1CF84;ZNAMENNY NEUME KOBYLA;So;0;L;;;;N;;;;; 1CF85;ZNAMENNY NEUME ZMEYTSA;So;0;L;;;;N;;;;; 1CF86;ZNAMENNY NEUME STATYA;So;0;L;;;;N;;;;; 1CF87;ZNAMENNY NEUME STATYA S ZAPYATOY;So;0;L;;;;N;;;;; 1CF88;ZNAMENNY NEUME STATYA S KRYZHEM;So;0;L;;;;N;;;;; 1CF89;ZNAMENNY NEUME STATYA S ZAPYATOY I KRYZHEM;So;0;L;;;;N;;;;; 1CF8A;ZNAMENNY NEUME STATYA S KRYZHEM I ZAPYATOY;So;0;L;;;;N;;;;; 1CF8B;ZNAMENNY NEUME STATYA ZAKRYTAYA;So;0;L;;;;N;;;;; 1CF8C;ZNAMENNY NEUME STATYA ZAKRYTAYA S ZAPYATOY;So;0;L;;;;N;;;;; 1CF8D;ZNAMENNY NEUME STATYA S ROGOM;So;0;L;;;;N;;;;; 1CF8E;ZNAMENNY NEUME STATYA S DVUMYA ZAPYATYMI;So;0;L;;;;N;;;;; 1CF8F;ZNAMENNY NEUME STATYA S ZAPYATOY I PODCHASHIEM;So;0;L;;;;N;;;;; 1CF90;ZNAMENNY NEUME POLKULIZMY;So;0;L;;;;N;;;;; 1CF91;ZNAMENNY NEUME STATYA NEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF92;ZNAMENNY NEUME STRELA PROSTAYA;So;0;L;;;;N;;;;; 1CF93;ZNAMENNY NEUME STRELA MRACHNOTIKHAYA;So;0;L;;;;N;;;;; 1CF94;ZNAMENNY NEUME STRELA KRYZHEVAYA;So;0;L;;;;N;;;;; 1CF95;ZNAMENNY NEUME STRELA POLUPOVODNAYA;So;0;L;;;;N;;;;; 1CF96;ZNAMENNY NEUME STRELA POVODNAYA;So;0;L;;;;N;;;;; 1CF97;ZNAMENNY NEUME STRELA NEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF98;ZNAMENNY NEUME STRELA KLYUCHEPOVODNAYA;So;0;L;;;;N;;;;; 1CF99;ZNAMENNY NEUME STRELA KLYUCHENEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CF9A;ZNAMENNY NEUME STRELA TIKHAYA PUTNAYA;So;0;L;;;;N;;;;; 1CF9B;ZNAMENNY NEUME STRELA DVOECHELNAYA;So;0;L;;;;N;;;;; 1CF9C;ZNAMENNY NEUME STRELA DVOECHELNOKRYZHEVAYA;So;0;L;;;;N;;;;; 1CF9D;ZNAMENNY NEUME STRELA DVOECHELNOPOVODNAYA;So;0;L;;;;N;;;;; 1CF9E;ZNAMENNY NEUME STRELA DVOECHELNAYA KLYUCHEVAYA;So;0;L;;;;N;;;;;

19 1CF9F;ZNAMENNY NEUME STRELA DVOECHELNOPOVODNAYA KLYUCHEVAYA;So;0;L;;;;N;;;;; 1CFA0;ZNAMENNY NEUME STRELA GROMNAYA WITH SINGLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFA1;ZNAMENNY NEUME STRELA GROMOPOVODNAYA WITH SINGLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFA2;ZNAMENNY NEUME STRELA GROMNAYA;So;0;L;;;;N;;;;; 1CFA3;ZNAMENNY NEUME STRELA GROMOPOVODNAYA;So;0;L;;;;N;;;;; 1CFA4;ZNAMENNY NEUME STRELA GROMOPOVODNAYA WITH DOUBLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFA5;ZNAMENNY NEUME STRELA GROMOKRYZHEVAYA;So;0;L;;;;N;;;;; 1CFA6;ZNAMENNY NEUME STRELA GROMOKRYZHEVAYA POVODNAYA;So;0;L;;;;N;;;;; 1CFA7;ZNAMENNY NEUME MECHIK;So;0;L;;;;N;;;;; 1CFA8;ZNAMENNY NEUME MECHIK POVODNY;So;0;L;;;;N;;;;; 1CFA9;ZNAMENNY NEUME MECHIK KLYUCHEVOY;So;0;L;;;;N;;;;; 1CFAA;ZNAMENNY NEUME MECHIK KLYUCHEPOVODNY;So;0;L;;;;N;;;;; 1CFAB;ZNAMENNY NEUME MECHIK KLYUCHENEPOSTOYANNY;So;0;L;;;;N;;;;; 1CFAC;ZNAMENNY NEUME STRELA TRYASOGLASNAYA;So;0;L;;;;N;;;;; 1CFAD;ZNAMENNY NEUME STRELA TRYASOPOVODNAYA;So;0;L;;;;N;;;;; 1CFAE;ZNAMENNY NEUME STRELA TRYASOSTRELNAYA;So;0;L;;;;N;;;;; 1CFAF;ZNAMENNY NEUME OSOKA;So;0;L;;;;N;;;;; 1CFB0;ZNAMENNY NEUME OSOKA SVETLAYA;So;0;L;;;;N;;;;; 1CFB1;ZNAMENNY NEUME OSOKA TRESVETLAYA;So;0;L;;;;N;;;;; 1CFB2;ZNAMENNY NEUME OSOKA KRYUKOVAYA SVETLAYA;So;0;L;;;;N;;;;; 1CFB3;ZNAMENNY NEUME OSOKA KLYUCHEVAYA SVETLAYA;So;0;L;;;;N;;;;; 1CFB4;ZNAMENNY NEUME OSOKA KLYUCHEVAYA NEPOSTOYANNAYA;So;0;L;;;;N;;;;; 1CFB5;ZNAMENNY NEUME STRELA KRYUKOVAYA;So;0;L;;;;N;;;;; 1CFB6;ZNAMENNY NEUME STRELA KRYUKOVAYA POVODNAYA;So;0;L;;;;N;;;;; 1CFB7;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMNAYA WITH SINGLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFB8;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA WITH SINGLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFB9;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMNAYA;So;0;L;;;;N;;;;; 1CFBA;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA;So;0;L;;;;N;;;;; 1CFBB;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA WITH DOUBLE ZAPYATAYA;So;0;L;;;;N;;;;; 1CFBC;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOKRYZHEVAYA;So;0;L;;;;N;;;;; 1CFBD;ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOKRYZHEVAYA POVODNAYA;So;0;L;;;;N;;;;; 1CFBE;ZNAMENNY NEUME STRELA KRYUKOVAYA TRYASKA;So;0;L;;;;N;;;;; 1CFBF;ZNAMENNY NEUME ROZHEK;So;0;L;;;;N;;;;; 1CFC0;ZNAMENNY NEUME STRELA ROZHNAYA;So;0;L;;;;N;;;;; 1CFC1;ZNAMENNY NEUME DUDA;So;0;L;;;;N;;;;; 1CFC2;ZNAMENNY NEUME NEMKA;So;0;L;;;;N;;;;; 1CFC3;ZNAMENNY NEUME PAUK;So;0;L;;;;N;;;;; 1CFC4;ZNAMENNY NEUME OBLAKO;So;0;L;;;;N;;;;;

20 References

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23 1CF00 Znamenny Musical Notation 1CFCF

1CF0 1CF1 1CF2 1CF3 1CF4 1CF5 1CF6 1CF7 1CF8 1CF9 1CFA 1CFB 1CFC

0 ◌케 ◌켐 ◌켠 ◌켰 ◌콀 콐 콠 콰 쾀 쾐 쾠 쾰 쿀 1CF00 1CF10 1CF20 1CF30 1CF40 1CF50 1CF60 1CF70 1CF80 1CF90 1CFA0 1CFB0 1CFC0

1 ◌켁 ◌켑 ◌켡 ◌켱 ◌콁 콑 콡 콱 쾁 쾑 쾡 쾱 쿁 1CF01 1CF11 1CF21 1CF31 1CF41 1CF51 1CF61 1CF71 1CF81 1CF91 1CFA1 1CFB1 1CFC1

2 ◌켂 ◌켒 ◌켢 ◌켲 콂 콒 콢 콲 쾂 쾒 쾢 쾲 쿂 1CF02 1CF12 1CF22 1CF32 1CF42 1CF52 1CF62 1CF72 1CF82 1CF92 1CFA2 1CFB2 1CFC2

3 ◌켃 ◌켓 ◌켣 ◌켳 콃 콓 콣 콳 쾃 쾓 쾣 쾳 쿃 1CF03 1CF13 1CF23 1CF33 1CF43 1CF53 1CF63 1CF73 1CF83 1CF93 1CFA3 1CFB3 1CFC3

4 ◌켄 ◌켔 ◌켤 ◌켴 콄 코 콤 콴 쾄 쾔 쾤 쾴 쿄 1CF04 1CF14 1CF24 1CF34 1CF44 1CF54 1CF64 1CF74 1CF84 1CF94 1CFA4 1CFB4 1CFC4

5 ◌켅 ◌켕 ◌켥 ◌켵 콅 콕 콥 콵 쾅 쾕 쾥 쾵 1CF05 1CF15 1CF25 1CF35 1CF45 1CF55 1CF65 1CF75 1CF85 1CF95 1CFA5 1CFB5

6 ◌켆 ◌켖 ◌켦 ◌켶 콆 콖 콦 콶 쾆 쾖 쾦 쾶 1CF06 1CF16 1CF26 1CF36 1CF46 1CF56 1CF66 1CF76 1CF86 1CF96 1CFA6 1CFB6

7 ◌켇 ◌켗 ◌켧 ◌켷 콗 콧 콷 쾇 쾗 쾧 쾷 1CF07 1CF17 1CF27 1CF37 1CF57 1CF67 1CF77 1CF87 1CF97 1CFA7 1CFB7

8 ◌켈 ◌켘 ◌켨 ◌켸 콘 콨 콸 쾈 쾘 쾨 쾸 1CF08 1CF18 1CF28 1CF38 1CF58 1CF68 1CF78 1CF88 1CF98 1CFA8 1CFB8

9 ◌켉 ◌켙 ◌켩 ◌켹 콙 콩 콹 쾉 쾙 쾩 쾹 1CF09 1CF19 1CF29 1CF39 1CF59 1CF69 1CF79 1CF89 1CF99 1CFA9 1CFB9

A ◌켊 ◌켚 ◌켪 ◌켺 콚 콪 콺 쾊 쾚 쾪 쾺 1CF0A 1CF1A 1CF2A 1CF3A 1CF5A 1CF6A 1CF7A 1CF8A 1CF9A 1CFAA 1CFBA

B ◌켋 ◌켛 ◌켫 ◌켻 콛 콫 콻 쾋 쾛 쾫 쾻 1CF0B 1CF1B 1CF2B 1CF3B 1CF5B 1CF6B 1CF7B 1CF8B 1CF9B 1CFAB 1CFBB

C ◌켌 ◌켜 ◌켬 ◌켼 콜 콬 콼 쾌 쾜 쾬 쾼 1CF0C 1CF1C 1CF2C 1CF3C 1CF5C 1CF6C 1CF7C 1CF8C 1CF9C 1CFAC 1CFBC

D ◌켍 ◌켝 ◌켭 ◌켽 콝 콭 콽 쾍 쾝 쾭 쾽 1CF0D 1CF1D 1CF2D 1CF3D 1CF5D 1CF6D 1CF7D 1CF8D 1CF9D 1CFAD 1CFBD

E ◌켎 ◌켞 ◌켾 콞 콮 콾 쾎 쾞 쾮 쾾 1CF0E 1CF1E 1CF3E 1CF5E 1CF6E 1CF7E 1CF8E 1CF9E 1CFAE 1CFBE

F ◌켏 ◌켟 ◌켿 콟 콯 콿 쾏 쾟 쾯 쾿 1CF0F 1CF1F 1CF3F 1CF5F 1CF6F 1CF7F 1CF8F 1CF9F 1CFAF 1CFBF

Printed using UniBook™ 24 (http://www.unicode.org/unibook/) 1CF00 Znamenny Musical Notation 1CF5B

Combining Red Marks 1CF27 ◌켧 ZNAMENNY COMBINING MARK LOMKA 1CF28 ◌켨 ZNAMENNY COMBINING MARK KUPNAYA 1CF00 ◌케 ZNAMENNY COMBINING MARK GORAZDO 1CF29 ZNAMENNY COMBINING MARK KACHKA NIZKO S KRYZHEM ON LEFT ◌켩 1CF2A ◌ ZNAMENNY COMBINING MARK ZEVOK 1CF01 ◌켁 ZNAMENNY COMBINING MARK NIZKO S 켪 KRYZHEM ON LEFT 1CF2B ◌켫 ZNAMENNY COMBINING MARK SKOBA 1CF02 ◌켂 ZNAMENNY COMBINING MARK TSATA ON 1CF2C ◌켬 ZNAMENNY COMBINING MARK RAZSEKA LEFT 1CF2D ◌켭 ZNAMENNY COMBINING MARK KRYZH 1CF03 ◌켃 ZNAMENNY COMBINING MARK GORAZDO NIZKO ON LEFT Combining Black Marks 1CF04 ◌켄 ZNAMENNY COMBINING MARK NIZKO ON 1CF30 ◌켰 ZNAMENNY COMBINING TONAL RANGE LEFT MARK MRACHNO 1CF05 ◌켅 ZNAMENNY COMBINING MARK SREDNE 1CF31 ◌켱 ZNAMENNY COMBINING TONAL RANGE ON LEFT MARK SVETLO 1CF06 ◌켆 ZNAMENNY COMBINING MARK MALO 1CF32 ◌켲 ZNAMENNY COMBINING TONAL RANGE POVYSHE ON LEFT MARK TRESVETLO 1CF07 ◌켇 ZNAMENNY COMBINING MARK POVYSHE 1CF33 ◌켳 ZNAMENNY COMBINING MARK ON LEFT ZADERZHKA 1CF08 ◌켈 ZNAMENNY COMBINING MARK VYSOKO • Ottyazhka ON LEFT 1CF34 ◌켴 ZNAMENNY COMBINING MARK 1CF09 ◌켉 ZNAMENNY COMBINING MARK MALO DEMESTVENNY ZADERZHKA POVYSHE S KHOKHLOM ON LEFT 1CF35 ◌켵 ZNAMENNY COMBINING MARK 1CF0A ◌켊 ZNAMENNY COMBINING MARK POVYSHE OTSECHKA S KHOKHLOM ON LEFT 1CF36 ◌켶 ZNAMENNY COMBINING MARK 1CF0B ◌켋 ZNAMENNY COMBINING MARK VYSOKO S PODCHASHIE KHOKHLOM ON LEFT 1CF37 ◌켷 ZNAMENNY COMBINING MARK 1CF0C ◌켌 ZNAMENNY COMBINING MARK GORAZDO PODCHASHIE WITH VERTICAL STROKE NIZKO S KRYZHEM ON RIGHT 1CF38 ◌ ZNAMENNY COMBINING MARK CHASHKA 1CF0D ◌켍 ZNAMENNY COMBINING MARK NIZKO S 켸 KRYZHEM ON RIGHT 1CF39 ◌켹 ZNAMENNY COMBINING MARK CHASHKA POLNAYA 1CF0E ◌켎 ZNAMENNY COMBINING MARK TSATA ON RIGHT 1CF3A ◌켺 ZNAMENNY COMBINING MARK OBLACHKO 1CF0F ◌켏 ZNAMENNY COMBINING MARK GORAZDO NIZKO ON RIGHT 1CF3B ◌켻 ZNAMENNY COMBINING MARK SOROCHYA NOZHKA 1CF10 ◌켐 ZNAMENNY COMBINING MARK NIZKO ON RIGHT • Sokolik 1CF11 ◌켑 ZNAMENNY COMBINING MARK SREDNE 1CF3C ◌켼 ZNAMENNY COMBINING MARK TOCHKA ON RIGHT 1CF3D ◌켽 ZNAMENNY COMBINING MARK 1CF12 ◌켒 ZNAMENNY COMBINING MARK MALO DVOETOCHIE POVYSHE ON RIGHT 1CF3E ◌켾 ZNAMENNY COMBINING ATTACHING 1CF13 ◌켓 ZNAMENNY COMBINING MARK POVYSHE VERTICAL OMET ON RIGHT 1CF3F ◌켿 ZNAMENNY COMBINING MARK CURVED 1CF14 ◌켔 ZNAMENNY COMBINING MARK VYSOKO OMET ON RIGHT 1CF40 ◌콀 ZNAMENNY COMBINING MARK KRYZH 1CF15 ◌켕 ZNAMENNY COMBINING MARK MALO 1CF41 ◌콁 ZNAMENNY COMBINING LOWER TONAL POVYSHE S KHOKHLOM ON RIGHT RANGE INDICATOR 1CF16 ◌켖 ZNAMENNY COMBINING MARK POVYSHE S KHOKHLOM ON RIGHT Control Characters for Priznaki 1CF17 ◌켗 ZNAMENNY COMBINING MARK VYSOKO S 1CF42 ZNAMENNY PRIZNAK MODIFIER LEVEL 2 KHOKHLOM ON RIGHT 콂 1CF43 콃 ZNAMENNY PRIZNAK MODIFIER LEVEL 3 1CF18 ◌켘 ZNAMENNY COMBINING MARK TSATA S KRYZHEM 1CF44 콄 ZNAMENNY PRIZNAK MODIFIER DIRECTION FLIP 1CF19 ◌켙 ZNAMENNY COMBINING MARK MALO POVYSHE S KRYZHEM 1CF45 콅 ZNAMENNY PRIZNAK MODIFIER KRYZH 1CF46 ZNAMENNY PRIZNAK MODIFIER ROG 1CF1A ◌켚 ZNAMENNY COMBINING MARK STRANNO 콆 MALO POVYSHE 1CF1B ◌켛 ZNAMENNY COMBINING MARK POVYSHE Znamenny Neumes S KRYZHEM 1CF50 콐 ZNAMENNY NEUME KRYUK 1CF1C ◌켜 ZNAMENNY COMBINING MARK POVYSHE 1CF51 콑 ZNAMENNY NEUME KRYUK TIKHY STRANNO 1CF52 콒 ZNAMENNY NEUME PARAKLIT 1CF1D ◌켝 ZNAMENNY COMBINING MARK VYSOKO S 1CF53 ZNAMENNY NEUME DVA V CHELNU KRYZHEM 콓 1CF54 코 ZNAMENNY NEUME KLYUCH 1CF1E ◌켞 ZNAMENNY COMBINING MARK MALO POVYSHE STRANNO • Kryuk Klyuchevoy 1CF1F ◌켟 ZNAMENNY COMBINING MARK GORAZDO 1CF55 콕 ZNAMENNY NEUME ZANOZHEK VYSOKO 1CF56 콖 ZNAMENNY NEUME STOPITSA 1CF20 ◌켠 ZNAMENNY COMBINING MARK ZELO 1CF57 콗 ZNAMENNY NEUME STOPITSA S OCHKOM 1CF21 ◌켡 ZNAMENNY COMBINING MARK ON 1CF58 콘 ZNAMENNY NEUME PEREVODKA 1CF22 ◌켢 ZNAMENNY COMBINING MARK RAVNO 1CF59 콙 ZNAMENNY NEUME PEREVODKA 1CF23 ◌켣 ZNAMENNY COMBINING MARK TIKHAYA NEPOSTOYANNAYA 1CF24 ◌ ZNAMENNY COMBINING MARK BORZAYA 1CF5A 콚 ZNAMENNY NEUME STOPITSA WITH 켤 SOROCHYA NOZHKA 1CF25 ◌ ZNAMENNY COMBINING MARK UDARKA 켥 • This is not a decomposable character 1CF26 ◌켦 ZNAMENNY COMBINING MARK PODVERTKA 1CF5B 콛 ZNAMENNY NEUME CHELYUSTKA

Printed using UniBook™ 25 (http://www.unicode.org/unibook/) 1CF5C Znamenny Musical Notation 1CFAB

1CF5C 콜 ZNAMENNY NEUME PALKA 1CF85 쾅 ZNAMENNY NEUME ZMEYTSA 1CF5D 콝 ZNAMENNY NEUME ZAPYATAYA • Litso 1CF5E 콞 ZNAMENNY NEUME GOLUBCHIK BORZY 1CF86 쾆 ZNAMENNY NEUME STATYA 1CF5F 콟 ZNAMENNY NEUME GOLUBCHIK TIKHY 1CF87 쾇 ZNAMENNY NEUME STATYA S ZAPYATOY 1CF60 콠 ZNAMENNY NEUME GOLUBCHIK 1CF88 쾈 ZNAMENNY NEUME STATYA S KRYZHEM MRACHNY 1CF89 쾉 ZNAMENNY NEUME STATYA S ZAPYATOY 1CF61 콡 ZNAMENNY NEUME GOLUBCHIK SVETLY I KRYZHEM 1CF62 콢 ZNAMENNY NEUME GOLUBCHIK 1CF8A 쾊 ZNAMENNY NEUME STATYA S KRYZHEM I TRESVETLY ZAPYATOY • Golubchik Nepostoyanny 1CF8B 쾋 ZNAMENNY NEUME STATYA ZAKRYTAYA 1CF63 콣 ZNAMENNY NEUME VRAKHIYA 1CF8C 쾌 ZNAMENNY NEUME STATYA ZAKRYTAYA PROSTAYA S ZAPYATOY 1CF64 콤 ZNAMENNY NEUME VRAKHIYA 1CF8D 쾍 ZNAMENNY NEUME STATYA S ROGOM MRACHNAYA 1CF8E 쾎 ZNAMENNY NEUME STATYA S DVUMYA 1CF65 콥 ZNAMENNY NEUME VRAKHIYA ZAPYATYMI SVETLAYA 1CF8F 쾏 ZNAMENNY NEUME STATYA S ZAPYATOY 1CF66 콦 ZNAMENNY NEUME VRAKHIYA I PODCHASHIEM TRESVETLAYA 1CF90 쾐 ZNAMENNY NEUME POLKULIZMY • Vrakhia Nepostoyannaya • This is not a decomposable character 1CF67 콧 ZNAMENNY NEUME VRAKHIYA 1CF91 쾑 ZNAMENNY NEUME STATYA KLYUCHEVAYA PROSTAYA NEPOSTOYANNAYA 1CF68 콨 ZNAMENNY NEUME VRAKHIYA 1CF92 쾒 ZNAMENNY NEUME STRELA PROSTAYA KLYUCHEVAYA MRACHNAYA 1CF93 쾓 ZNAMENNY NEUME STRELA 1CF69 콩 ZNAMENNY NEUME VRAKHIYA MRACHNOTIKHAYA KLYUCHEVAYA SVETLAYA 1CF94 쾔 ZNAMENNY NEUME STRELA 1CF6A 콪 ZNAMENNY NEUME VRAKHIYA KRYZHEVAYA KLYUCHEVAYA TRESVETLAYA • Strela Polukryzhevaya • Vrakhia Klyuchevaya Nepostoyannaya 1CF95 쾕 ZNAMENNY NEUME STRELA 1CF6B 콫 ZNAMENNY NEUME DOUBLE ZAPYATAYA POLUPOVODNAYA 1CF6C 콬 ZNAMENNY NEUME REVERSED 1CF96 쾖 ZNAMENNY NEUME STRELA POVODNAYA CHELYUSTKA 1CF97 쾗 ZNAMENNY NEUME STRELA 1CF6D 콭 ZNAMENNY NEUME DERBITSA NEPOSTOYANNAYA 1CF6E 콮 ZNAMENNY NEUME KHAMILO 1CF98 쾘 ZNAMENNY NEUME STRELA 1CF6F 콯 ZNAMENNY NEUME CHASHKA KLYUCHEPOVODNAYA 1CF70 콰 ZNAMENNY NEUME PODCHASHIE 1CF99 쾙 ZNAMENNY NEUME STRELA 1CF71 콱 ZNAMENNY NEUME SKAMEYTSA KLYUCHENEPOSTOYANNAYA MRACHNAYA 1CF9A 쾚 ZNAMENNY NEUME STRELA TIKHAYA 1CF72 콲 ZNAMENNY NEUME SKAMEYTSA PUTNAYA SVETLAYA 1CF9B 쾛 ZNAMENNY NEUME STRELA 1CF73 콳 ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA TRESVETLAYA 1CF9C 쾜 ZNAMENNY NEUME STRELA 1CF74 콴 ZNAMENNY NEUME SKAMEYTSA DVOECHELNOKRYZHEVAYA TIKHAYA 1CF9D 쾝 ZNAMENNY NEUME STRELA 1CF75 콵 ZNAMENNY NEUME DEMESTVENNY DVOECHELNOPOVODNAYA KLYUCH 1CF9E 쾞 ZNAMENNY NEUME STRELA • Skameytsa Klyuchevaya DVOECHELNAYA KLYUCHEVAYA 1CF76 콶 ZNAMENNY NEUME SKAMEYTSA 1CF9F 쾟 ZNAMENNY NEUME STRELA KLYUCHEVAYA SVETLAYA DVOECHELNOPOVODNAYA KLYUCHEVAYA 1CF77 콷 ZNAMENNY NEUME SKAMEYTSA KLYUCHENEPOSTOYANNAYA 1CFA0 쾠 ZNAMENNY NEUME STRELA GROMNAYA WITH SINGLE ZAPYATAYA 1CF78 콸 ZNAMENNY NEUME SKAMEYTSA KLYUCHEVAYA TIKHAYA 1CFA1 쾡 ZNAMENNY NEUME STRELA GROMOPOVODNAYA WITH SINGLE 1CF79 콹 ZNAMENNY NEUME SKAMEYTSA ZAPYATAYA DVOECHELNAYA PROSTAYA 1CFA2 ZNAMENNY NEUME STRELA GROMNAYA 1CF7A 콺 ZNAMENNY NEUME SKAMEYTSA 쾢 DVOECHELNAYA SVETLAYA 1CFA3 쾣 ZNAMENNY NEUME STRELA GROMOPOVODNAYA 1CF7B 콻 ZNAMENNY NEUME SKAMEYTSA DVOECHELNAYA NEPOSTOYANNAYA 1CFA4 쾤 ZNAMENNY NEUME STRELA GROMOPOVODNAYA WITH DOUBLE 1CF7C 콼 ZNAMENNY NEUME SKAMEYTSA ZAPYATAYA DVOECHELNAYA KLYUCHEVAYA 1CFA5 쾥 ZNAMENNY NEUME STRELA 1CF7D 콽 ZNAMENNY NEUME SLOZHITIE GROMOKRYZHEVAYA 1CF7E 콾 ZNAMENNY NEUME SLOZHITIE S 1CFA6 쾦 ZNAMENNY NEUME STRELA ZAPYATOY GROMOKRYZHEVAYA POVODNAYA 1CF7F 콿 ZNAMENNY NEUME SLOZHITIE ZAKRYTOE • Strela Gromomrachnaya s Kryzhem 1CF80 쾀 ZNAMENNY NEUME SLOZHITIE S 1CFA7 쾧 ZNAMENNY NEUME MECHIK KRYZHEM 1CFA8 쾨 ZNAMENNY NEUME MECHIK POVODNY 1CF81 쾁 ZNAMENNY NEUME KRYZH 1CFA9 쾩 ZNAMENNY NEUME MECHIK 1CF82 쾂 ZNAMENNY NEUME ROG KLYUCHEVOY 1CF83 ZNAMENNY NEUME FITA 1CFAA 쾪 ZNAMENNY NEUME MECHIK 쾃 KLYUCHEPOVODNY 1CF84 ZNAMENNY NEUME KOBYLA 쾄 1CFAB 쾫 ZNAMENNY NEUME MECHIK KLYUCHENEPOSTOYANNY

Printed using UniBook™ 26 (http://www.unicode.org/unibook/) 1CFAC Znamenny Musical Notation 1CFC4

1CFAC 쾬 ZNAMENNY NEUME STRELA TRYASOGLASNAYA 1CFAD 쾭 ZNAMENNY NEUME STRELA TRYASOPOVODNAYA 1CFAE 쾮 ZNAMENNY NEUME STRELA TRYASOSTRELNAYA 1CFAF 쾯 ZNAMENNY NEUME OSOKA 1CFB0 쾰 ZNAMENNY NEUME OSOKA SVETLAYA 1CFB1 쾱 ZNAMENNY NEUME OSOKA TRESVETLAYA • Osoka Nepostoyannaya 1CFB2 쾲 ZNAMENNY NEUME OSOKA KRYUKOVAYA SVETLAYA 1CFB3 쾳 ZNAMENNY NEUME OSOKA KLYUCHEVAYA SVETLAYA 1CFB4 쾴 ZNAMENNY NEUME OSOKA KLYUCHEVAYA NEPOSTOYANNAYA 1CFB5 쾵 ZNAMENNY NEUME STRELA KRYUKOVAYA 1CFB6 쾶 ZNAMENNY NEUME STRELA KRYUKOVAYA POVODNAYA 1CFB7 쾷 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMNAYA WITH SINGLE ZAPYATAYA 1CFB8 쾸 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA WITH SINGLE ZAPYATAYA 1CFB9 쾹 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMNAYA 1CFBA 쾺 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA 1CFBB 쾻 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOPOVODNAYA WITH DOUBLE ZAPYATAYA 1CFBC 쾼 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOKRYZHEVAYA 1CFBD 쾽 ZNAMENNY NEUME STRELA KRYUKOVAYA GROMOKRYZHEVAYA POVODNAYA • Strela Kryukovaya Gromomrachnaya s Kryzhem 1CFBE 쾾 ZNAMENNY NEUME STRELA KRYUKOVAYA TRYASKA 1CFBF 쾿 ZNAMENNY NEUME ROZHEK 1CFC0 쿀 ZNAMENNY NEUME STRELA ROZHNAYA 1CFC1 쿁 ZNAMENNY NEUME DUDA 1CFC2 쿂 ZNAMENNY NEUME NEMKA 1CFC3 쿃 ZNAMENNY NEUME PAUK 1CFC4 쿄 ZNAMENNY NEUME OBLAKO

Printed using UniBook™ 27 (http://www.unicode.org/unibook/) Appendix 1 Znamenny Notation Neumes and Combinations

Based on: L. F. Kalashnikov. Azbuka Tserkovnago Znamennago Peniya. 3rd rev. ed. Moscow, 1915.

No. Neume Components 콐 1 콐 1CF50 콐 ◌켵 2 콐켵 1CF50 1CF35 콐 ◌켳 3 콐켳 1CF50 1CF33 콑 ◌ 켱 ◌켇 ◌ 4 콑켇켱 1CF51 1CF31 1CF07 1CF27켧 켧 콐 ◌ 켱 ◌켶 ◌켆 5 콐켶켆켱 1CF50 1CF31 1CF36 1CF06 콐 ◌ 켱 ◌켆 ◌켦 6 콐켆켦켱 1CF50 1CF31 1CF06 1CF26 콒 ◌켆 7 콒켆 1CF52 1CF06 콒 ◌켵 ◌켆 8 콒켆켵 1CF52 1CF35 1CF06 콒 ◌켳 ◌켆 9 콒켳켆 1CF52 1CF33 1CF06 콒 ◌켶 ◌켆 10 콒켶켆 1CF52 1CF36 1CF06 콒 ◌켦 ◌켆 11 콒켆켦 1CF52 1CF26 1CF06 콝 ◌켃 12 콝 켃 1CF5D 1CF03 콝 ◌켵 ◌켃 13 콝 켃 1CF5D 1CF35 1CF03 켵 콝 ◌켃 쾁 14 � 켃 1CF5D 1CF03 1CF81 콖 ◌켆 15 콖 켆 1CF56 1CF06 콖 ◌켵 ◌켆 16 콖 켆 1CF56 1CF35 1CF06 켵 콗 ◌켆 17 콗 켆 1CF57 1CF06 코 ◌켆 18 코켆 1CF54 1CF06 콛 ◌켆 19 콛 켆 1CF5B 1CF06 콰 ◌ 켱 ◌켆 20 콰켆켱 1CF70 1CF31 1CF06 콜 ◌켆 21 콜 켆 1CF5C 1CF06 콜 ◌켵 ◌켆 22 콜 켆 1CF5C 1CF35 1CF06 켵 콜 ◌켆 ◌켦 23 콜 켆 1CF5C 1CF06 1CF26 켦 콜 ◌켽 24 � 1CF5C 1CF3D 콜 ◌켽 ◌켦 ◌켆 ◌ 25 켆 1CF5C 1CF3D 1CF26 1CF06 1CF29켩 �켩켦 28 콱 콲 ◌켆 콳 26 콱 콲켆 콳 1CF71 1CF72 1CF06 1CF73 콴 ◌켆 27 콴켆 1CF74 1CF06 콲 ◌켤 28 콲켤 1CF72 1CF24 콲 ◌켣 29 콲켣 1CF72 1CF23 콲 ◌켳 ◌켣 30 콲켣켳 1CF72 1CF33 1CF23 콭 ◌켈 ◌켤 31 콭켤켈 1CF6D 1CF08 1CF24 콘 ◌켤 32 콘켤 1CF58 1CF24 콘 ◌켅 ◌ 33 콘 켅 1CF58 1CF05 1CF27켧 켧 콘 ◌켦 ◌ 34 콘켦 1CF58 1CF26 1CF27켧 켧 콘 ◌켅 켥◌ 35 켥콘 켅 1CF58 1CF05 1CF25 콞 36 콞 1CF5E 콟 ◌켣 37 콟 켣 1CF5F 1CF23 콯 ◌켆 38 콯 켆 1CF6F 1CF06 콯 ◌켅 ◌ 39 콯 켅 1CF6F 1CF05 1CF27켧 켧 콯 ◌켫 (39a) 콯 1CF6F 1CF2B 켫 콯 ◌켼 ◌켅 40 � 켅 1CF6F 1CF3C 1CF05 쾆 ◌켃 41 쾆 켃 1CF86 1CF03 쾇 ◌켃 42 쾇 켃 1CF87 1CF03 쾇 ◌켅 ◌켣 43 쾇 켅켣 1CF87 1CF05 1CF23 쾈 ◌켄 44 쾈 켄 1CF88 1CF04 쾐 ◌켣 ◌켅 45 쾐 켅켣 1CF90 1CF23 1CF05 쾆 ◌ 켰 ◌켅 46 � 켅 1CF86 1CF30 1CF05 쾒 ◌켆 47 쾒켆 1CF92 1CF06 � 쾒 ◌ 켰 ◌켆 ◌켢 48 쾒켆 켰 1CF92 1CF30 1CF06 1CF22 � 쾒 ◌ 켰 ◌켻 ◌켅 ◌켢 ◌ 49 쾒켅켻 켰 1CF92 1CF30 1CF3B 1CF05 1CF22 1CF2A켪 켪 쾒 ◌켶 ◌켆 50 쾒켆 켶 1CF92 1CF36 1CF06 쾒 ◌켇 ◌켦 ◌켤 51 쾒켇 켦 켤 1CF92 1CF07 1CF26 1CF24 쾆 ◌ 켱 ◌켆 52 � 켆 1CF86 1CF31 1CF06 29 쾆 ◌ 켱 ◌켈 ◌켣 53 � 켈켣 1CF86 1CF31 1CF08 1CF23 쾆 ◌ 켱 ◌ 켺 ◌켊 ◌켢 54 �� 켊 1CF86 1CF31 1CF3A 1CF0A 1CF22 쾆 ◌ 켱 ◌켻 ◌켉 55 � 켉 1CF86 1CF31 1CF3B 1CF09 쾋 ◌켆 ◌켢 56 쾋� 켆 1CF8B 1CF06 1CF22 쾋 ◌ 켰 ◌켈 ◌켢 57 �� 켈 1CF8B 1CF30 1CF08 1CF22 쾋 ◌ 켰 ◌켄 ◌켣 ◌켢 58 �� 켄켣 1CF8B 1CF30 1CF04 1CF23 1CF22 쾁 59 쾁 1CF81 쾂 60 쾂 1CF82 콽 ◌켆 61 콽 켆 1CF7D 1CF06 콽 ◌켆 ◌켨 62 콽켨 켆 1CF7D 1CF06 1CF28 콽 ◌켳 ◌켆 63 � 켆 1CF7D 1CF33 1CF06 콽 ◌켆 ◌켦 64 콽켦 켆 1CF7D 1CF06 1CF26 콽 ◌켆 ◌켦 ◌켨 65 콽켨 켦 켆 1CF7D 1CF06 1CF26 1CF28 콾 ◌켆 66 콾 켆 1CF7E 1CF06 콾 ◌켇 ◌켣 67 콾 켇켣 1CF7E 1CF07 1CF23 콾 ◌켇 ◌켦 68 콾켦 켇 1CF7E 1CF07 1CF26 쾐 ◌ 켰 ◌켇 69 � 켇 1CF90 1CF30 1CF07 콓 ◌켆 ◌켩 70 콓켆 1CF53 1CF06 1CF29 켩 콓 ◌켳 ◌켆 ◌켩 71 콓켳켆 1CF53 1CF33 1CF06 1CF29 켩 콓 ◌켵 ◌켆 ◌켩 72 콓켆켵 1CF53 1CF35 1CF06 1CF29 켩 콓 ◌켆 ◌켦 ◌켩 73 콓켆켦 1CF53 1CF06 1CF26 1CF29 켩 콓 ◌켶 ◌켆 ◌켩 74 콓켶켆 1CF53 1CF36 1CF06 1CF29 켩 쿁 쾒 ◌켇 ◌켣 ◌켤 75 쿁쾒켣켇 켤 1CFC1 1CF92 1CF07 1CF23 1CF24 � 쿁 쾒 ◌ 켰 ◌ 켺 ◌켇 ◌켣 ◌켤 ◌켢 76 쿁쾒켣켇 � 켤 1CFC1 1CF92 1CF30 1CF3A 1CF07 1CF23 1CF24 1CF22 쿁 쾇 ◌켆 77 � 켆 1CFC1 1CF87 1CF06 쾯 ◌켇 78 쾯켇 1CFAF 1CF07 쿂 쾇 ◌켇 79 � 켇 1CFC2 1CF87 1CF07

30 쾧 ◌켆 80 쾧켆 1CFA7 1CF06 쾓 ◌ 켰 ◌켆 ◌켣 81 쾓켣켆 켰 1CF93 1CF30 1CF06 1CF23 쾓 ◌켳 ◌ 켰 ◌켆 ◌켣 82 쾓켣켆 켳 켰 1CF93 1CF33 1CF30 1CF06 1CF23 쾓 ◌ 켰 ◌ 켺 ◌켆 ◌켣 83 쾓켣켆 � 1CF93 1CF30 1CF3A 1CF06 1CF23 쾔 ◌ 켰 ◌켆 ◌켣 84 쾔켣켆 켰 1CF94 1CF30 1CF06 1CF23 쾔 ◌ 켰 ◌켳 ◌켆 ◌켣 85 쾔켣켆 켳 켰 1CF94 1CF30 1CF33 1CF06 1CF23 쾔 ◌ 켰 ◌켆 ◌켤 86 쾔켤켆 켰 1CF94 1CF30 1CF06 1CF24 쾔 ◌ 켰 ◌켳 ◌켆 ◌켤 87 쾔켤켆 켳 켰 1CF94 1CF30 1CF33 1CF06 1CF24 쾔 ◌ 켰 ◌켻 ◌켇 ◌켤 ◌ 88 쾔켤켇켻 켰켪 1CF94 1CF30 1CF3B 1CF07 1CF24 1CF2A켪 쾔 ◌ 켰 ◌ 켺 ◌켇 ◌켣 89 쾔켣켇 � 1CF94 1CF30 1CF3A 1CF07 1CF23 쾔 ◌ 켰 ◌ 켺 ◌켇 ◌켤 90 쾔켤켇 � 1CF94 1CF30 1CF3A 1CF07 1CF24 � 쾔 ◌ 켰 ◌ 켺 ◌켆 ◌켣 ◌켢 91 쾔켣켆 � 1CF94 1CF30 1CF3A 1CF06 1CF23 1CF22 � 쾔 ◌ 켰 ◌ 켺 ◌켆 ◌켤 ◌켢 92 쾔켤켆 � 1CF94 1CF30 1CF3A 1CF06 1CF24 1CF22 쾖 ◌켆 ◌켤 93 쾖켤켆 1CF96 1CF06 1CF24 쾖 ◌켅 켥◌ 93a 켥쾖켅 1CF96 1CF05 1CF25 쾖 ◌켆 ◌켣 94 쾖켣켆 1CF96 1CF06 1CF23 쾖 ◌켳 ◌켆 ◌켤 95 쾖켤켆 켳 1CF96 1CF33 1CF06 1CF24 쾖 ◌켆 ◌켦 ◌켤 96 쾖켤켆 켦 1CF96 1CF06 1CF26 1CF24 쾒 ◌ 켱 ◌켇 ◌켤 97 쾒켇 켱 켤 1CF92 1CF31 1CF07 1CF24 쾒 ◌켳 ◌ 켱 ◌켇 ◌켤 98 쾒켇 켳켱 켤 1CF92 1CF33 1CF31 1CF07 1CF24 쾒 ◌ 켱 ◌켻 ◌켇 ◌켤 99 쾒켇켻켱 켤 1CF92 1CF31 1CF3B 1CF07 1CF24 쾒 ◌ 켱 ◌켇 ◌켦 ◌켤 100 쾒켇 켱켦 켤 1CF92 1CF31 1CF07 1CF26 1CF24 쾒 ◌ 켱 ◌켶 ◌켇 ◌켤 101 �켤켇 1CF92 1CF31 1CF36 1CF07 1CF24 쾒 ◌ 켱 ◌켇 ◌켣 102 쾒켣켇 켱 1CF92 1CF31 1CF07 1CF23 쾒 ◌켳 ◌ 켱 ◌켇 ◌켣 103 쾒켣켇 켳켱 1CF92 1CF33 1CF31 1CF07 1CF23

31 쾒 ◌ 켱 ◌켶 ◌켇 ◌켣 104 �켣켇 1CF92 1CF31 1CF36 1CF07 1CF23 쾓 ◌ 켱 ◌켇 ◌켣 105 쾓켣켇 켱 1CF93 1CF31 1CF07 1CF23 쾓 ◌ 켱 ◌켳 ◌켇 ◌켣 106 쾓켣켇 켳켱 1CF93 1CF31 1CF33 1CF07 1CF23 쾖 ◌ 켰 ◌켇 ◌켤 107 쾖켤켇 켰 1CF96 1CF30 1CF07 1CF24 쾢 ◌켁 108 쾢켁 1CFA2 1CF01 쾢 ◌켄 ◌켤 109 쾢켤 켄 1CFA2 1CF04 1CF24 쾢 ◌켆 ◌켩 110 쾢켆 1CFA2 1CF06 1CF29 켩 쾢 ◌켳 ◌켆 ◌켩 111 쾢켆 켳 1CFA2 1CF33 1CF06 1CF29 켩 쾢 ◌켆 ◌켦 ◌켩 112 쾢켆 켦 1CFA2 1CF06 1CF26 1CF29 켩 쾢 ◌켶 ◌켆 ◌ 113 켶 1CFA2 1CF36 1CF06 1CF29켩 쾢켩 켆 쾢 ◌켻 ◌켆 ◌켩 ◌ 114 쾢켩 켆 켻 켪 1CFA2 1CF3B 1CF06 1CF29 1CF2A켪 쾢 ◌ 켱 ◌켈 ◌켤 115 쾢켤 켈 켱 1CFA2 1CF31 1CF08 1CF24 쾣 ◌켳 ◌켆 ◌켤 116 쾣켤 켆 켳 1CFA3 1CF33 1CF06 1CF24 쾢 ◌ 켱 ◌켈 ◌켦 ◌켤 117 쾢켤 켈 켱켦 1CFA2 1CF31 1CF08 1CF26 1CF24 쾢 ◌ 켱 ◌켶 ◌켈 ◌켤 118 쾢켤 켈 켶켱 1CFA2 1CF31 1CF36 1CF08 1CF24 쾢 ◌ 켱 ◌켻 ◌켇 ◌켤 119 쾢켤 켇 켻켱 1CFA2 1CF31 1CF3B 1CF07 1CF24 쾣 ◌켆 ◌켣 120 쾣켣켆 1CFA3 1CF06 1CF23 쾢 ◌ 켱 ◌켳 ◌켈 121 쾢켈 켳켱 1CFA2 1CF31 1CF33 1CF08 쾥 ◌ 켱 ◌켈 ◌켤 122 쾥켤 켈 켱 1CFA5 1CF31 1CF08 1CF24 쾥 ◌ 켰 ◌켳 ◌켅 ◌켤 123 쾥켤 켅 켳 켰 1CFA5 1CF30 1CF33 1CF05 1CF24 쾥 ◌ 켱 ◌켆 ◌켦 ◌켤 124 쾥켤 켆 켱켦 1CFA5 1CF31 1CF06 1CF26 1CF24 쾥 ◌켲 ◌켶 ◌켉 ◌켤 125 쾥켤 켉 켲켶 1CFA5 1CF32 1CF36 1CF09 1CF24 쾥 ◌ 켱 ◌켻 ◌켈 ◌켤 126 쾥켤 켈 켻켱 1CFA5 1CF31 1CF3B 1CF08 1CF24 쾥 ◌ 켱 ◌ 켺 ◌켈 ◌켤 127 쾥켤 켈 � 1CFA5 1CF31 1CF3A 1CF08 1CF24 � 쾥 ◌ 켱 ◌ 켺 ◌켆 ◌켤 ◌켢 128 쾥켤 켆 � 1CFA5 1CF31 1CF3A 1CF06 1CF24 1CF22 쾬 ◌켈 켥◌ 129 켥쾬켈 1CFAC 1CF08 1CF25

32 쾬 ◌켈 ◌켦 켥◌ 130 켥쾬켈 켦 1CFAC 1CF08 1CF26 1CF25 쾬 ◌켶 ◌켈 켥◌ 131 켥쾬켈 켶 1CFAC 1CF36 1CF08 1CF25 쾮 ◌ 켰 ◌켳 ◌켆 켥◌ 132 켥쾮켆 켳 켰 1CFAE 1CF30 1CF33 1CF06 1CF25 쾭 ◌ 켰 ◌켈 켥◌ 133 켥쾭켈 켰 1CFAD 1CF30 1CF08 1CF25 쿃 134 쿃 1CFC3 쾆 ◌켅 ◌켤 쿃 135 �켤 켅 1CF86 1CF05 1CF24 1CFC3 쾋 ◌켃 ◌켢 쾆 ◌켅 ◌켤 쿃 136 쾋� 켃�켤 켅 1CF8B 1CF03 1CF22 1CF86 1CF05 1CF24 1CFC3 콮 137 콮 1CF6E 콾 ◌켵 ◌켇 켥◌ 138 켥콾 켇 1CF7E 1CF35 1CF07 1CF25 켵 쾅 139 쾅 1CF85 쾐 140 쾐 1CF90 쾋 ◌ 켰 ◌켦 ◌켢 ◌켣 141 �� 켣 1CF8B 1CF30 1CF26 1CF22 1CF23 켦 쾆 쾅 142 � 1CF86 1CF85

33 Appendix 2 Demestvenny Notation Neumes and Sequences

(1) = G. Pozhidayeva, Leksikologiya Demestvennogo Peniya. Moscow, 2010. (2) = L. Kalashnikov, Azbuka Demestvennogo Peniya. Kiev, 1911.

2.1 Base Neumes

(1) (2) Name Disp. Encoding 콐 ◌켄 61 7 Kryuk 콐켄 1CF50 1CF04 콐 ◌켻 ◌켆 62 16 Kryuk with Sorochiya Nozhka 콐켻켆 1CF50 1CF3B 1CF06 콐 ◌켾 ◌켈 73 8,9 Kryuk Ometny �켈 1CF50 1CF3E 1CF08 콐 ◌콀 ◌켇 7 Kryuk with Kryzh �켇 1CF50 1CF40 1CF07 콐 ◌콀 ◌켇 ◌켒 63 Kryuk with Kryzh �켇켒 1CF50 1CF40 1CF07 1CF12 콐 ◌ 켰 ◌켈 66 14 Kryuk Mrachny 콐켈 켰 1CF50 1CF30 1CF08 콐 ◌ 켱 ◌켈 67 16b Kryuk Svetly 콐켈켱 1CF50 1CF31 1CF08 � 콐 ◌켾 ◌ 켱 ◌켈 ◌켢 ◌켓 74 Kryuk Svetloometny �켈켱켓 1CF50 1CF3E 1CF31 1CF08 1CF22 1CF13 콐 ◌ 켱 ◌ ◌켈 74a 23 Kryuk Svetloometny (non-attaching) 콐켿 켈켱 1CF50 1CF31 1CF3F켿 1CF08 콐 ◌콀 ◌ ◌켆 ◌켇 ◌켒 켇 1CF50 1CF40 1CF31켱 1CF06 1CF07 1CF12 68 Kryuk Svetly with Kryzh �켆켒켱 콐 ◌켲 ◌켉 71 17 Kryuk Tresvetly 콐켲켉 1CF50 1CF32 1CF09 콐 ◌켶 ◌켈 132 13 Kryuk with Podchashie 콐켶켈 1CF50 1CF36 1CF08 콐 ◌켷 ◌켊 13b Kryuk with Podchashie with Vertical 콐켷켊 1CF50 1CF37 1CF0A Stroke 콐 ◌ 켰 ◌켶 ◌켉 133 14b Podchashie Mrachnoye 콐켶켉 켰 1CF50 1CF30 1CF36 1CF09 콐 ◌ 켱 ◌켶 ◌켉 137 19 Podchashie Svetloye 콐켶켉켱 1CF50 1CF31 1CF36 1CF09 콒 ◌켉 118 37 Paraklit 콒켉 1CF52 1CF09 콒 ◌ 켰 ◌켉 121 41 Paraklit Mrachny 콒켉 켰 1CF52 1CF30 1CF09 콒 ◌켶 ◌켉 122 38 Paraklit with Podchashie 콒켶켉 1CF52 1CF36 1CF09 콒 ◌켶 ◌켉 ◌켓 122a Paraklit with Podchashie 콒켶켉켓 1CF52 1CF36 1CF09 1CF13 콒 ◌켷 ◌켊 39 Paraklit with Podchashie with Vertical 콒켷켊 1CF52 1CF37 1CF0A Stroke

34 콒 ◌콀 ◌켶 ◌켉 40 Paraklit with Podchashie and Kryzh �켶켉 1CF52 1CF40 1CF36 1CF09 코 ◌켆 75 153 Kryuk Klyuchevoy 코켆 1CF54 1CF06 코 ◌켉 ◌켤 156 Kryuk Klyuchevoy with Borzaya Mark 코켉 켤 1CF54 1CF09 1CF24 코 ◌켻 ◌켆 155 Kryuk Klyuchevoy with Sorochya 코켻켆 1CF54 1CF3B 1CF06 Nozhka 켈 코 ◌콀 ◌켆 ◌켈 ◌켤 ◌켓 77 158 Kryuk Klyuchevoy with Kryzh and �켆 켤 1CF54 1CF40 1CF06 1CF08 1CF24 1CF13 Borzaya 켓 코 ◌콀 ◌켈 76 157 Kryuk Klyuchevoy with Kryzh �켈 1CF54 1CF40 1CF08 코 ◌콀 ◌콀 ◌켉 ◌켤 78 159 Kryuk Klyuchevoy with Two Kryzhy �켉 켤 1CF54 1CF40 1CF40 1CF09 1CF24 코 ◌콀 ◌콀 ◌켉 ◌켤 160 Kryuk Klyuchevoy with Two Kryzhy �켉 켤 1CF54 1CF40 1CF40 1CF09 1CF24 코 ◌콀 ◌콀 ◌콀 ◌켇 161 Kryuk Klyuchevoy with Three Kryzhy �켇 1CF54 1CF40 1CF40 1CF40 1CF07 콕 ◌켈 Zanozhek (Old style; standard font) 콕켈 1CF55 1CF08 � ◌켈 14 27 Zanozhek (New style variant) �켈 1CF55 1CF08 켈 � ◌켾 ◌켆 ◌켇 ◌켈 16 31 Zanozhek Ometny �켆 켇 1CF55 1CF3E 1CF06 1CF07 1CF08 � ◌콀 ◌켇 ◌켈 ◌켓 켈 1CF55 1CF40 1CF07 1CF08 1CF13 15 30 Zanozhek with Kryzh �켇 켓 � ◌콀 ◌켈 29 Zanozhek with Kryzh �켈 1CF55 1CF40 1CF08 � � ◌ 켰 ◌켈 ◌켢 19 34 Zanozhek Mrachny �켈 켰 1CF55 1CF30 1CF08 1CF22 � ◌콀 ◌ 켱 ◌켇 ◌켒 33 Zanozhek Svetly with Kryzh �켇 켒켱 1CF55 1CF40 1CF31 1CF07 1CF12 콖 ◌켅 184 51 Stopitsa 콖 켅 1CF56 1CF05 콖 ◌켈 ◌켤 185 47 Stoptisa with Borzaya Mark 콖 켤 켈 1CF56 1CF08 1CF24 콖 ◌켈 켥◌ 186 47b Stopitsa with Udarka Mark 켥콖 켈 1CF56 1CF08 1CF25 콖 ◌콀 ◌켆 187 48 Stopitsa with Kryzh � 켆 1CF56 1CF40 1CF06 콖 ◌콀 ◌켆 ◌켤 188 Stopitsa with Kryzh and Borzaya Mark �켤켆 1CF56 1CF40 1CF06 1CF24 콖 ◌콀 ◌콀 ◌켈 53 Stopitsa with Two Kryzhy � 켈 1CF56 1CF40 1CF40 1CF08 콖 ◌콀 ◌콀 ◌켈 189 54 Stopitsa with Two Kryzhy � 켈 1CF56 1CF40 1CF40 1CF08 콖 ◌콀 ◌콀 ◌켈 ◌켤 52 Stopitsa with Two Kryzhy �켤켈 1CF56 1CF40 1CF40 1CF08 1CF24 콖 ◌콀 ◌콀 ◌콀 ◌켈 190 55 Stopitsa with Three Kryzhy �켈 1CF56 1CF40 1CF40 1CF40 1CF08 켈 켇 콖 ◌콀 ◌콀 ◌콀 ◌켈 ◌켇 ◌켈 ◌켇 57 Stopitsa with Three Kryzhy �켈 켇 1CF56 1CF40 1CF40 1CF40 1CF08 1CF07 1CF08 1CF07

35 콘 ◌켔 123 95 Perevodka 콘켔 1CF58 1CF14 콘 ◌켔 ◌켤 96 Perevodka with Borzaya Mark 콘켔 켤 1CF58 1CF14 1CF24 콘 ◌켻 ◌켕 124 97 Perevodka with Sorochya Nozhka 콘켕 켻 1CF58 1CF3B 1CF15 켈 콘 ◌ ◌켆 ◌켈 켥◌ 128 98 Perevodka Ometnaya �켥 켆 1CF58 1CF3F켿 1CF06 1CF08 1CF25 콘 ◌콀 ◌켅 ◌켐 100 Perevodka with Kryzh �켐켅 1CF58 1CF40 1CF05 1CF10 콘 ◌콀 ◌켔 125 99 Perevodka with Kryzh �켔 1CF58 1CF40 1CF14 콙 ◌켆 ◌켓 130 107 Perevodka Nepostoyannaya 콙켓 켆 1CF59 1CF06 1CF13 콙 ◌켻 ◌켄 ◌켒 131 108 Perevodka Nepostoyannaya with 콙켒 켻켄 1CF59 1CF3B 1CF04 1CF12 Sorochya Nozhka 콙 ◌ ◌켆 ◌켇 ◌켒 켇 1CF59 1CF3F 1CF06 1CF07 1CF12 129 109 Perevodka Nepostoyannoometnaya �켆 켒 켿 콚 ◌켄 ◌켇 Stopitsa with Sorochya Nozhka (Old 콚 켄 켇 1CF5A 1CF04 1CF07 Style; standard font) � ◌켄 ◌켇 159 Stopitsa with Sorochya Nozhka (New � 켄 켇 1CF5A 1CF04 1CF07 Style variant) 콛 ◌켅 216 49 Chelyustka 콛 켅 1CF5B 1CF05 콛 ◌켅 ◌켤 217 Chelyustka with Borzaya Mark 콛 켤 켅 1CF5B 1CF05 1CF24 콜 ◌켆 117 5 Palka 콜 켆 1CF5C 1CF06 콝 ◌켇 20 65 Zapyataya 콝 켇 1CF5D 1CF07 콝 ◌켆 ◌켤 21 Zapyataya with Borzaya Mark 콝 켤 켆 1CF5D 1CF06 1CF24 콝 ◌켻 ◌켆 156 68 Sokolitse � 켆 1CF5D 1CF3B 1CF06 콠 ◌켅 ◌켆 4 Golubchik 콠 켅 켆 1CF60 1CF05 1CF06 콠 ◌켣 66 Golubchik with Tikhaya Mark 콠 켣 1CF60 1CF23 콠 ◌켤 67 Golubchik with Borzaya Mark 콠 켤 1CF60 1CF24 콠 ◌ ◌켉 ◌켊 12 73 Golubchik Ometny with Borzaya Mark � 켉 켊 1CF60 1CF3F켿 1CF09 1CF0A 콠 ◌콀 ◌켈 75 Golubchik with Kryzh � 켈 1CF60 1CF40 1CF08 콠 ◌콀 ◌켈 ◌켤 5 76 Golubchik with Kryzh and Borzaya Mark �켤 켈 1CF60 1CF40 1CF08 1CF24 콠 ◌콀 ◌콀 ◌켇 77 Golubchik with Two Kryzhy and � 켇 1CF60 1CF40 1CF40 1CF07 Borzaya Mark 콠 ◌콀 ◌콀 ◌켇 ◌켤 6 Golubchik with Two Kryzhy and �켤 켇 1CF60 1CF40 1CF40 1CF07 1CF24 Borzaya Mark

36 콡 ◌켇 7 Golubchik Svetly 콡 켇 1CF61 1CF07 콡 ◌켇 ◌켣 82 Golubchik Svetly with Tikhaya Mark 콡켣 켇 1CF61 1CF07 1CF23 콡 ◌켇 ◌켤 83 Golubchik Svetly with Borzaya Mark 콡 켇 켤 1CF61 1CF07 1CF24 콡 ◌켻 ◌켈 84 Golubchik Svetly with Sorochya Nozhka 콡켻 켈 1CF61 1CF3B 1CF08 콡 ◌콀 ◌켆 ◌켈 ◌켓 켈 1CF61 1CF40 1CF06 1CF08 1CF13 8 Golubchik Svetlokryzhny �켓 켆 콡 ◌콀 ◌켈 ◌켉 ◌켊 ◌켓 8a Golubchik Svetlokryzhny (variant) 켉 켊 1CF61 1CF40 1CF08 1CF09 1CF0A 1CF13 �켓 켈 콡 ◌콀 ◌켈 ◌켣 85 Golubchik Svetlokryzhny with Tikhaya �켣 켈 1CF61 1CF40 1CF08 1CF23 Mark 콢 ◌켅 ◌켈 9 86 Golubchik Tresvetly 콢 켅 켈 1CF62 1CF05 1CF08 콢 ◌켻 ◌켅 ◌켈 10 87 Golubchik Tresvetly with Sorochya 콢켻 켅 켈 1CF62 1CF3B 1CF05 1CF08 Nozhka 콢 ◌ ◌켅 ◌켈 ◌켤 89 Golubchik Tresvetloometny with �켅 켤켈 1CF62 1CF3F켿 1CF05 1CF08 1CF24 Borzaya 콢 ◌ ◌켅 ◌켈 켥◌ 13 90 Golubchik Tresvetloometny with Udarka �켥 켅 켈 1CF62 1CF3F켿 1CF05 1CF08 1CF25 콢 ◌콀 ◌켅 ◌켈 ◌켓 11 88 Golubchik Tresvetly with Kryzh �켓켅 켈 1CF62 1CF40 1CF05 1CF08 1CF13 콤 ◌켇 1 Vrakhiya Mrachnaya 콤켇 1CF64 1CF07 콤 ◌켇 ◌켣 2 78 Vrakhiya Mrachnaya with Tikhaya Mark 콤켣 켇 1CF64 1CF07 1CF23 콤 ◌켇 ◌켤 79 Vrakhiya Mrachnaya with Borzaya Mark 콤켇 켤 1CF64 1CF07 1CF24 켅 콤 ◌콀 ◌켃 ◌켄 ◌켅 80 Vrakhiya Mrachnaya with Kryzh �켃 켄 1CF64 1CF40 1CF03 1CF04 1CF05 켅 콤 ◌콀 ◌켃 ◌켄 ◌켅 ◌켣 3 81 Vrakhiya Mrachnaya with Kryzh and �켣 켃 켄 1CF64 1CF40 1CF03 1CF04 1CF05 1CF23 Tikhaya Mark 콲 ◌켆 139 Skameytsa 콲켆 1CF72 1CF06 콲 ◌켈 ◌켦 140 Skameytsa with Podvertka 콲켈켦 1CF72 1CF08 1CF26 콲 ◌켈 ◌켦 ◌켩 118 Skameytsa with Podvertka 콲켩켈켦 1CF72 1CF08 1CF26 1CF29 콲 ◌ 켰 ◌켆 ◌켇 143 114 Skameytsa Mrachnaya 콲켆 켰켇 1CF72 1CF30 1CF06 1CF07 콲 ◌켻 ◌켇 141 113 Skameytsa with Sorochya Nozhka 콲켻켇 1CF72 1CF3B 1CF07 콳 ◌켇 144 116 Skameytsa Nepostoyannaya 콳켇 1CF73 1CF07 콳 ◌ 켰 ◌켆 ◌켈 146 119 Skameytsa Mrachnonepostoyannaya 콳켆 켰켈 1CF73 1CF30 1CF06 1CF08

37 콳 ◌켻 ◌켇 ◌켈 145 117 Skameytsa Nepostoyannaya with 콳켻켇 켈 1CF73 1CF3B 1CF07 1CF08 Sorochya Nozhka 콵 ◌켈 켥◌ 57 210 Klyuch with Udarka 콵켥 켈 1CF75 1CF08 1CF25 콵 ◌ 켰 ◌켈 켥◌ 58 212 Klyuch Mrachny (with Udarka) 콵켥 켈켰 1CF75 1CF30 1CF08 1CF25 콵 ◌켼 ◌켈 켥◌ 211 Klyuch Zakryty (with Udarka) 콵켥 켼 켈 1CF75 1CF3C 1CF08 1CF25 콵 ◌콀 ◌켆 ◌켏 59a Klyuch with Kryzh �켏켆 1CF75 1CF40 1CF06 1CF0F 콵 ◌콀 ◌켈 켥◌ ◌켑 59 213 Klyuch with Kryzh (with Udarka) �켥 켑켈 1CF75 1CF40 1CF08 1CF25 1CF11 콶 ◌켈 ◌켩 147 215 Skameytsa Klyuchevaya 콶켩켈 1CF76 1CF08 1CF29 콶 ◌켈 ◌켩 ◌켦 148 216 Skameytsa Klyuchevaya with Podvertka 콶켩켦켈 1CF76 1CF08 1CF29 1CF26 콺 ◌켇 149 110 Skameytsa Dvoyechelnaya 콺 켇 1CF7A 1CF07 켅 켆 켇 콺 ◌켻 ◌켆 ◌켅 ◌켆 ◌켇 150 111 Skameytsa Dvoyechelnaya with 콺켻 켆 1CF7A 1CF3B 1CF06 1CF05 1CF06 1CF07 Sorochya Nozhka 켇 켆 콺 ◌켇 ◌켆 ◌켇 ◌켆 ◌켦 151 112 Skameytsa Dvoyechelnaya with Pod- 콺켦켇 켆 1CF7A 1CF07 1CF06 1CF07 1CF06 1CF26 vertka 콿 ◌켆 ◌켑 154 6 Slozhitie Zakrytoe 콿 켆 1CF7F 1CF06 1CF11 켑 쾀 ◌켆 155 6b Slozhitie s Kryzhem 쾀 켆 1CF80 1CF06 쾁 ◌켄 60 Kryzh 쾁 켄 1CF81 1CF04 쾂 ◌켄 138 Rog 쾂 켄 1CF82 1CF04 쾆 ◌켆 160 1 Statya 쾆 켆 1CF86 1CF06 쾆 ◌ 켰 ◌켅 176 2 Statya Mrachnaya � 켅 1CF86 1CF30 1CF05 쾆 ◌ 켱 ◌켈 180 1b Statya Svetlaya � 켈 1CF86 1CF31 1CF08 쾇 ◌켄 ◌켏 183 Statya with Zapyataya 쾇켏켄 1CF87 1CF04 1CF0F 쾈 ◌ 켰 ◌켆 ◌켑 177 3 Statya Mrachnaya Polukryzhnaya �켑켆 1CF88 1CF30 1CF06 1CF11 쾈 ◌ 켰 ◌켆 ◌켑 178 Statya Mrachnaya Pristupnaya � 켆 1CF88 1CF30 1CF06 1CF11 (Polukryzhnaya) 켑 쾈 ◌ 켰 ◌켆 ◌켑 179 Statya Mrachnaya with Kryzh �켑켆 1CF88 1CF30 1CF06 1CF11 쾈 ◌ 켰 ◌켆 ◌켑 177a Statya Mrachnaya Polukryzhnaya �켑켆 1CF88 1CF30 1CF06 1CF11 쾈 ◌ 켰 ◌켆 ◌켢 4 Statya Mrachnaya Polukryzhnaya �� 켆 1CF88 1CF30 1CF06 1CF22

38 쾒 ◌켆 195 126 Strela 쾒켆 1CF92 1CF06 쾒 ◌ 켰 ◌켆 ◌켇 198 139 Strela Mrachnaya 쾒켆 켇켰 1CF92 1CF30 1CF06 1CF07 쾒 ◌켻 ◌켈 196 127 Strela with Sorochya Nozhka 쾒켈켻 1CF92 1CF3B 1CF08 쾒 ◌콀 ◌켅 ◌켐 197a 148 Strela with Kryzh �켅 켐 1CF92 1CF40 1CF05 1CF10 � 쾒 ◌콀 ◌ 켰 ◌켈 ◌켢 ◌켣 199 149 Strela Mrachnokryzhnaya with Tikhaya �켈켣 켰 1CF92 1CF40 1CF30 1CF08 1CF22 1CF23 Mark � 쾒 ◌콀 ◌ 켱 ◌켈 ◌켢 ◌켓 200 150 Strela Svetlokryzhnaya �켈 켱켓 1CF92 1CF40 1CF31 1CF08 1CF22 1CF13 쾓 ◌ 켰 ◌켇 202 Strela Mrachnotikhaya 쾓켇 켰 1CF93 1CF30 1CF07 쾓 ◌ 켰 ◌켇 ◌켣 141 Strela Mrachnotikhaya 쾓켣켇 켰 1CF93 1CF30 1CF07 1CF23 쾕 ◌켆 207 138 Strela Polupovodnaya 쾕켆 1CF95 1CF06 쾖 ◌켇 203 142 Strela Povodnaya 쾖켇 1CF96 1CF07 쾖 ◌ 켰 ◌켆 208 151 Strela Poezdnaya 쾖켆 켰 1CF96 1CF30 1CF06 쾖 ◌ 켰 ◌켆 152 Strela Poezdnaya 쾖켆 켰 1CF96 1CF30 1CF06 쾖 ◌콀 ◌켇 ◌켩 204 146 Strela Kryzhepovodnaya �켩켇 1CF96 1CF40 1CF07 1CF29 쾚 ◌켇 201 128 Strela Tikhaya 쾚켇 1CF9A 1CF07 � 켆 쾛 ◌켄 ◌켢 ◌켆 209a 129 Strela Dvoechelnaya 쾛켄 1CF9B 1CF04 1CF22 1CF06 � 켇 쾛 ◌콀 ◌켆 ◌켢 ◌켇 135 Strela Dvoechelnaya with Kryzh �켆 1CF9B 1CF40 1CF06 1CF22 1CF07 � 켇 쾛 ◌콀 ◌켻 ◌켆 ◌켢 ◌켇 ◌켒 211 136 Strela Dvoechelnaya with Kryzh and �켆켻 1CF9B 1CF40 1CF3B 1CF06 1CF22 1CF07 1CF12 Sorochya Nozhka 켒 쾧 ◌켇 Mechik; Mechik Prostoy (Old Style; stan- 쾧켇 1CFA7 1CF07 dard font) � ◌켆 82 137 Mechik; Mechik Prostoy (New Style vari- �켆 1CFA7 1CF06 ant) 쾩 ◌켇 Mechik Klyuchevoy (Old Style; standard 쾩켇 1CFA9 1CF07 font) � ◌켇 83 232 Mechik Klyuchevoy (New Style variant) �켇 1CFA9 1CF07 � ◌ 켰 ◌켈 ◌켓 233 Mechik Mrachnoklyuchevoy �켈 켓켰 1CFA9 1CF30 1CF08 1CF13 � ◌ 켰 ◌ ◌켈 ◌켇 106 Mechik Mrachnoklyuchevoy Ometny �켿 켈 켰켇 1CFA9 1CF30 1CF3F켿 1CF08 1CF07

39 � ◌ 켰 ◌켼 ◌켈 105 235 Mechik Mrachnoklyuchevoy Zakryty �켼켈 켰 1CFA9 1CF30 1CF3C 1CF08 � � ◌ 켰 ◌켴 ◌켼 ◌켇 ◌켢 109 255 Mechik Mrachnoklyuchevoy Zakryty �켼켇 1CFA9 1CF30 1CF34 1CF3C 1CF07 1CF22 with Zaderzhka � � ◌켴 ◌켼 ◌켇 ◌켢 254 Mechik Mrachnoklyuchevoy Zakryty �켼켇 1CFA9 1CF34 1CF3C 1CF07 1CF22 � ◌켼 ◌켈 84 234 Mechik Klyuchevoy Zakryty �켼켈 1CFA9 1CF3C 1CF08 � ◌ ◌켆 88 Mechik Klyuchevoy Ometny �켆 1CFA9 1CF3F켿 1CF06 � ◌콀 ◌켆 ◌켏 238 Mechik Klyuchevoy with Kryzh �켆 켏 1CFA9 1CF40 1CF06 1CF0F � ◌콀 ◌켇 85 237 Mechik Klyuchevoy with Kryzh �켇 1CFA9 1CF40 1CF07 � ◌콀 ◌켴 ◌켇 107 Mechik Mrachnoklyuchevoy with Kryzh �켇 1CFA9 1CF40 1CF34 1CF07 � ◌켇 256 Mechik Klyuchepovodny �켇 1CFAA 1CF07 � ◌켇 257 Mechik Klyuchepovodny �켇 1CFAA 1CF07 켅 켆 � ◌켈 ◌켆 ◌켅 ◌켆 111 Mechik Klyuchepovodny �켈 켆 1CFAA 1CF08 1CF06 1CF05 1CF06 켆 켅 켆 � ◌켈 ◌켇 ◌켆 ◌켅 ◌켆 258 Mechik Klyuchepovodny �켈 켇 1CFAA 1CF08 1CF07 1CF06 1CF05 1CF06 � ◌켈 ◌켩 ◌켒 261 Mechik Klyuchepovodny �켩켈켒 1CFAA 1CF08 1CF29 1CF12 � ◌켻 ◌켈 112 260 Mechik Klyuchepovodny with Sorochya �켈켻 1CFAA 1CF3B 1CF08 Nozhka1 � ◌켈 ◌켦 ◌켩 ◌켑 259 Mechik Klyuchepovodny with Podvertka �켩켈 켦켑 1CFAA 1CF08 1CF26 1CF29 1CF11 켅 켆 켇 � ◌켇 ◌켆 ◌켅 ◌켆 ◌켇 110 Mechik Klyuchenepostoyanny �켇 켆 1CFAB 1CF07 1CF06 1CF05 1CF06 1CF07 쾰 ◌켈 114 102 Osoka 쾰켈 1CFB0 1CF08 쾰 ◌켈 ◌켣 116 Osoka with Tikhaya 쾰켣켈 1CFB0 1CF08 1CF23 쾰 ◌켈 ◌켤 101 Osoka 쾰켈 켤 1CFB0 1CF08 1CF24 켈 쾰 ◌콀 ◌켆 ◌켇 ◌켈 ◌켓 115 103 Osoka with Kryzh �켆 켇 켓 1CFB0 1CF40 1CF06 1CF07 1CF08 1CF13

1This item in (1) and (2) is erroneously identified as a Mechik Klyuchepovodny with� Podvertka( ).켦 40 2.2 Sequences

(1) (2) Disp. Encoding 콐 ◌켆 콖 ◌켢 64 콐콖켆 켢 1CF50 1CF06 1CF56 1CF22 콐 ◌켈 콖 10 콐콖켈 1CF50 1CF08 1CF56 콐 ◌켈 콖 쾀 ◌켢 65 콐콖쾀켈 켢 1CF50 1CF08 1CF56 1CF80 1CF22 콐 ◌ 켱 ◌켆 콖 69 18 콐콖켆켱 1CF50 1CF31 1CF06 1CF56 � 콐 ◌ 켱 ◌켈 ◌켢 콜 ◌켇 70a 24 콐콜켈켱 켇 1CF50 1CF31 1CF08 1CF22 1CF5C 1CF07 콐 ◌ 켱 ◌켈 콜 ◌켢 ◌켓 70 콐콜켈켱 켓 켢 1CF50 1CF31 1CF08 1CF5C 1CF22 1CF13 콐 ◌켲 ◌켉 콜 72 17b 콐켲콜켉 1CF50 1CF32 1CF09 1CF5C 콐 ◌ 켰 ◌켶 ◌켉 콐 ◌ 켰 136 25 콐콐켶켉 켰 켰 1CF50 1CF30 1CF36 1CF09 1CF50 1CF30 콐 ◌ 켰 ◌켶 ◌켈 ◌켉 콖 ◌켈 쾀 ◌켢 135 26 콐콖켶켈쾀켰켉 켈 켢 1CF50 1CF30 1CF36 1CF08 1CF09 1CF56 1CF08 1CF80 1CF22 콐 ◌ 켰 ◌켶 ◌켈 ◌켉 콜 ◌켈 134 15 콐켶콜켈 켰켉 켈 1CF50 1CF30 1CF36 1CF08 1CF09 1CF5C 1CF08 콒 ◌켈 콖 ◌켇 콿 ◌켢 119a 44, 45 콒콖켈콿 켇 켢 1CF52 1CF08 1CF56 1CF07 1CF7F 1CF22 콒 ◌켈 콖 콿 ◌켢 119 43 콒콖콿켈 켢 1CF52 1CF08 1CF56 1CF7F 1CF22 콒 ◌켈 콖 ◌켇 쾀 ◌켢 ◌켒 120a 콒콖켈쾀 켇 켢 1CF52 1CF08 1CF56 1CF07 1CF80 1CF22 1CF12 켒 콒 ◌켈 콖 ◌켢 쾀 ◌켒 120 42 콒콖켈쾀 켢 1CF52 1CF08 1CF56 1CF22 1CF80 1CF12 켒 코 ◌켆 콐 ◌켈 80 164 코콐켆 켈 1CF54 1CF06 1CF50 1CF08 코 ◌켉 콐 ◌켶 165 코콐켉 켶 1CF54 1CF09 1CF50 1CF36 � 코 ◌켆 콐 ◌ 켰 ◌켈 ◌켢 ◌켓 81 166 코콐켆 켓켈 켰 1CF54 1CF06 1CF50 1CF30 1CF08 1CF22 1CF13 코 코 ◌켆 콐 ◌켶 ◌켏 168 코코콐켆 켶켏 1CF54 1CF54 1CF06 1CF50 1CF36 1CF0F 코 ◌켆 콖 79a 코콖켆 1CF54 1CF06 1CF56 코 ◌켆 콖 ◌켢 79 코콖켆 켢 1CF54 1CF06 1CF56 1CF22 코 ◌켈 콖 162 코콖켈 1CF54 1CF08 1CF56 코 ◌켉 � ◌콀 167 코�켉 1CF54 1CF09 1CFA9 1CF40 2 코 ◌켉 � ◌켾 콝 ◌켇 콵 ◌켈 켥◌ 콜 ◌켆 170 코�콝켉 콵켥 켇콜켈 켆 1CF54 1CF09 1CFA9 1CF3E 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF5C 1CF06

2This sequence contains 1 of 5 graphically contracted character forms, accessible via Stylistic Set 3. Always following another neume, they indicate that the melodic structure of these two neumes in conjunction is also contracted or elided.

41 코 ◌켉 � ◌켾 콝 ◌켇 콵 콜 ◌켆 171 코�콝켉 콵콜켇 켆 1CF54 1CF09 1CFA9 1CF3E 1CF5D 1CF07 1CF75 1CF5C 1CF06 코 ◌켤 � ◌켾 ◌켉 콝 ◌켇 콵 ◌켈 켥◌ 쾆 ◌켆 169 코�켤 콝켉 콵켥 켇 켈 쾆 켆 1CF54 1CF24 1CFA9 1CF3E 1CF09 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF86 1CF06 � ◌켈 콖 콿 ◌켢 17 35 �켈콖콿 켢 1CF55 1CF08 1CF56 1CF7F 1CF22 � ◌켇 ◌켈 콖 쾀 ◌켢 18 36 �켇콖쾀켈 켢 1CF55 1CF07 1CF08 1CF56 1CF80 1CF22 � ◌켋 콖 쾀 ◌켢 46 �켋콖쾀 켢 1CF55 1CF0B 1CF56 1CF80 1CF22 콖 ◌켇 코 ◌콀 ◌켉 ◌켔 205 콖 �켇 켔켉 1CF56 1CF07 1CF54 1CF40 1CF09 1CF14 콖 ◌켵 ◌켈 켥◌ 코 ◌켉 � ◌켼 206 켥콖켵 코켈 �켉 켼 1CF56 1CF35 1CF08 1CF25 1CF54 1CF09 1CFA9 1CF3C 콖 ◌켵 ◌켈 켥◌ 코 ◌켉 � ◌켾 콝 ◌켇 207 켥콖켵 코켈 �콝켉 켇 1CF56 1CF35 1CF08 1CF25 1CF54 1CF09 1CFA9 1CF3E 1CF5D 1CF07 콖 ◌켆 콿 192 63 콖콿 켆 1CF56 1CF06 1CF7F 콖 ◌켆 콿 ◌켢 192a 콖콿 켆 켢 1CF56 1CF06 1CF7F 1CF22 콖 ◌켇 ◌켤 콿 61 콖콿켤 켇 1CF56 1CF07 1CF24 1CF7F 콖 ◌켈 콿 ◌켇 ◌켒 192b 60 콖콿 켈 켇 1CF56 1CF08 1CF7F 1CF07 1CF12 켒 콖 ◌켈 콿 ◌켢 59 콖콿 켈 켢 1CF56 1CF08 1CF7F 1CF22 콖 ◌켈 ◌켤 콿 193 콖콿켤 켈 1CF56 1CF08 1CF24 1CF7F 콖 ◌켈 쾀 ◌켢 194 58 콖쾀 켈 켢 1CF56 1CF08 1CF80 1CF22 콖 ◌켉 쾀 ◌켒 194a 콖쾀 켉 1CF56 1CF09 1CF80 1CF12 켒 콖 ◌켈 콜 191 � 켈 1CF56 1CF08 1CF5C 콘 콖 ◌콀 ◌켈 ◌켢 126 콘�� 켈 1CF58 1CF56 1CF40 1CF08 1CF22 켉 켈 콘 ◌켉 콠 ◌콀 ◌콀 ◌켉 ◌켊 ◌켉 ◌켈 127 콘�켉 켉 켊 1CF58 1CF09 1CF60 1CF40 1CF40 1CF09 1CF0A 1CF09 1CF08 콖 ◌켉 ◌켤 콝 콿 64 콖�켤 켉 1CF56 1CF09 1CF24 1CF5D 1CF7F 콛 ◌켉 ◌켤 콜 ◌켽 153 콛�켤켉 1CF5B 1CF09 1CF24 1CF5C 1CF3D 콜 ◌켆 코 ◌콀 ◌켏 208 콜�켆 켏 1CF5C 1CF06 1CF54 1CF40 1CF0F 콝 콐 ◌켈 69 콝콐켈 1CF5D 1CF50 1CF08 콝 ◌켄 콐 ◌켆 콖 ◌켢 콜 ◌켑 37 콝콐�켄 켆 켑 켢 1CF5D 1CF04 1CF50 1CF06 1CF56 1CF22 1CF5C 1CF11 콝 ◌켈 콒 ◌켊 콐 92 콝콒콐켈 켊 1CF5D 1CF08 1CF52 1CF0A 1CF50 콝 코 ◌켈 172 콝코켈 1CF5D 1CF54 1CF08 콝 코 ◌켉 38 콝코켉 1CF5D 1CF54 1CF09

42 콝 ◌켄 코 ◌켻 ◌켆 179 콝코켄켻켆 1CF5D 1CF04 1CF54 1CF3B 1CF06 콝 ◌켆 코 ◌켻 ◌켈 콝 ◌켻 ◌켇 183 콝코켆켻켈 � 켇 1CF5D 1CF06 1CF54 1CF3B 1CF08 1CF5D 1CF3B 1CF07 콝 ◌켉 코 ◌켻 ◌켊 콝 ◌켻 ◌켉 182 콝코켉켻켊 � 켉 1CF5D 1CF09 1CF54 1CF3B 1CF0A 1CF5D 1CF3B 1CF09 콝 ◌켈 코 ◌켻 ◌켊 콝 콐 ◌켈 199 콝코켈켻켊 콝콐켈 1CF5D 1CF08 1CF54 1CF3B 1CF0A 1CF5D 1CF50 1CF08 � 콝 ◌켈 코 ◌켻 ◌켊 콝 콐 ◌ 켰 ◌켈 ◌켢 200 콝코켈켻켊 콝콐켈 켰 1CF5D 1CF08 1CF54 1CF3B 1CF0A 1CF5D 1CF50 1CF30 1CF08 1CF22 콝 ◌켇 코 ◌켼 ◌켈 ◌켉 ◌켔 켉 1CF5D 1CF07 1CF54 1CF3C 1CF08 1CF09 1CF14 39 콝코켇켼켈켔 콝 ◌켆 코 ◌ 켰 ◌켈 174 콝코켆 켈 켰 1CF5D 1CF06 1CF54 1CF30 1CF08 콝 ◌켆 코 ◌ 켰 ◌켕 54 콝코켆 켕 켰 1CF5D 1CF06 1CF54 1CF30 1CF15 콝 ◌켆 코 ◌콀 ◌ 켰 ◌켉 175 콝�켆 켉 켰 1CF5D 1CF06 1CF54 1CF40 1CF30 1CF09 콝 ◌켆 코 ◌콀 ◌ 켰 ◌켉 ◌켔 55 176 콝�켆 켔켉 켰 1CF5D 1CF06 1CF54 1CF40 1CF30 1CF09 1CF14 콝 ◌켆 코 콐 ◌켈 180 콝코콐켆 켈 1CF5D 1CF06 1CF54 1CF50 1CF08 콝 ◌켈 코 콐 ◌켊 40 콝코콐켈 켊 1CF5D 1CF08 1CF54 1CF50 1CF0A 콝 ◌켅 코 ◌켇 콐 ◌ 켰 ◌켢 42 콝코콐켅 켇 켢켰 1CF5D 1CF05 1CF54 1CF07 1CF50 1CF30 1CF22 콝 ◌켆 코 ◌켈 콐 ◌ 켰 ◌켢 181 콝코콐켆 켈 켢켰 1CF5D 1CF06 1CF54 1CF08 1CF50 1CF30 1CF22 콝 ◌켇 콵 ◌켈 켥◌ 콐 ◌ 켰 32 222 콝콵켥 콐켇 켈 켰 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF50 1CF30 콝 ◌켆 코 콐 ◌켈 콖 쾀 41 콝코콐켆 콖쾀켈 1CF5D 1CF06 1CF54 1CF50 1CF08 1CF56 1CF80 콝 ◌켆 코 콐 ◌켈 콖 쾀 53 콝코콐켆 콖쾀켈 1CF5D 1CF06 1CF54 1CF50 1CF08 1CF56 1CF80 콝 코 ◌켉 코 켥◌ 44 콝코코켉 켥 1CF5D 1CF54 1CF09 1CF54 1CF25 콝 ◌켆 코 ◌켈 코 ◌콀 ◌켑 188 콝코�켆 켈 켑 1CF5D 1CF06 1CF54 1CF08 1CF54 1CF40 1CF11 콝 ◌켆 코 ◌켈 코 ◌켢 콖 콿 ◌켑 45 196 켈 켢 1CF5D 1CF06 1CF54 1CF08 1CF54 1CF22 1CF56 1CF7F 1CF11 콝코코켆 콖콿켑 콝 ◌켅 코 ◌켇 코 ◌켾 ◌켅 콤 ◌켇 189 콝코�켅 켇 콤켅 켇 1CF5D 1CF05 1CF54 1CF07 1CF54 1CF3E 1CF05 1CF64 1CF07 콝 ◌켆 코 콖 ◌켇 ◌켑 173 켇 1CF5D 1CF06 1CF54 1CF56 1CF07 1CF11 콝코콖켆 켑 콝 코 ◌켈 콖 ◌콀 ◌켢 50 콝코�켈 켢 1CF5D 1CF54 1CF08 1CF56 1CF40 1CF22 콝 ◌켆 코 콖 ◌켈 콿 ◌켢 48 186 콝코콖켆 콿 켈 켢 1CF5D 1CF06 1CF54 1CF56 1CF08 1CF7F 1CF22 콝 ◌켅 코 ◌켇 콖 쾀 ◌켢 51 콝코콖쾀켅 켇 켢 1CF5D 1CF05 1CF54 1CF07 1CF56 1CF80 1CF22 콝 ◌켅 코 ◌켇 쾀 ◌켢 49 187 콝코켅쾀켇 켢 1CF5D 1CF05 1CF54 1CF07 1CF80 1CF22

43 콝 ◌켅 코 ◌켇 쾀 ◌켢 52 콝코켅쾀켇 켢 1CF5D 1CF05 1CF54 1CF07 1CF80 1CF22 3 콝 ◌켇 코 ◌켉 켥◌ � 켥◌ 43 201 콝코켥 켇�켉 켥 1CF5D 1CF07 1CF54 1CF09 1CF25 1CFA9 1CF25 3 콝 ◌켈 코 ◌켊 켥◌ � 202 콝코켥 켈�켊 1CF5D 1CF08 1CF54 1CF0A 1CF25 1CFA9 콝 ◌켈 코 � ◌켊 ◌켤 46 콝코�켈 켊 켤 1CF5D 1CF08 1CF54 1CFA9 1CF0A 1CF24 콝 ◌켉 코 ◌켋 � ◌켈 콝 ◌켻 ◌켊 198 콝코�켉 켋 켈 � 켊 1CF5D 1CF09 1CF54 1CF0B 1CFA9 1CF08 1CF5D 1CF3B 1CF0A 콝 ◌켅 코 ◌켇 � ◌켼 184 콝코�켅 켇 켼 1CF5D 1CF05 1CF54 1CF07 1CFA9 1CF3C 콝 ◌켅 코 ◌켇 � ◌ 켰 ◌켼 ◌켅 ◌켒 193 콝코�켅 켇 켼켅켒켰 1CF5D 1CF05 1CF54 1CF07 1CFA9 1CF30 1CF3C 1CF05 1CF12 3 콝 ◌켈 코 ◌켊 켥◌ � ◌콀 ◌켓 204 콝코켥 켈�켊 켓 1CF5D 1CF08 1CF54 1CF0A 1CF25 1CFA9 1CF40 1CF13 콝 ◌켈 코 ◌켾 ◌켊 콵 ◌콀 ◌켓 191 콝�켈�켊 켓 1CF5D 1CF08 1CF54 1CF3E 1CF0A 1CF75 1CF40 1CF13 콝 ◌켉 코 � ◌콀 ◌켊 47 콝코�켉 켊 1CF5D 1CF09 1CF54 1CFA9 1CF40 1CF0A 콝 ◌켉 코 ◌켋 � ◌콀 ◌켈 � ◌켊 203 콝코�켉 켋 켈 � 켊 1CF5D 1CF09 1CF54 1CF0B 1CFA9 1CF40 1CF08 1CF5A 1CF0A 콝 ◌켉 코 ◌켋 � ◌콀 ◌켈 쾒 ◌ 켰 ◌켊 197 콝코�켉 켋 켈 쾒켊 켰 1CF5D 1CF09 1CF54 1CF0B 1CFA9 1CF40 1CF08 1CF92 1CF30 1CF0A 콝 ◌켅 코 ◌켇 � ◌ 켰 ◌켅 콜 ◌켆 194 콝코�켅 켇 켅콜켰 켆 1CF5D 1CF05 1CF54 1CF07 1CFA9 1CF30 1CF05 1CF5C 1CF06 콝 ◌켅 코 ◌켇 � ◌켾 ◌ 켰 ◌켅 콝 ◌켆 192 콝코�켅 켇 콝켅 켰 켆 1CF5D 1CF05 1CF54 1CF07 1CFA9 1CF3E 1CF30 1CF05 1CF5D 1CF06 콝 ◌켇 코 ◌켉 � ◌켾 ◌켇 콠 ◌ ◌켈 185 콝코�켇 켉 �켇 켈 1CF5D 1CF07 1CF54 1CF09 1CFA9 1CF3E 1CF07 1CF60 1CF3F켿 1CF08 콝 ◌켅 코 ◌켇 � ◌켾 ◌켅 콤 ◌켇 190 콝코�켅 켇 콤켅 켇 1CF5D 1CF05 1CF54 1CF07 1CFA9 1CF3E 1CF05 1CF64 1CF07 콝 ◌켈 코 ◌켊 � ◌켈 � ◌켼 195 콝코�켈 켊 �켈 켼 1CF5D 1CF08 1CF54 1CF0A 1CFA9 1CF08 1CFA9 1CF3C 콝 ◌켤 콜 ◌켽 ◌켆 24 �켤켆 1CF5D 1CF24 1CF5C 1CF3D 1CF06 콝 ◌켉 콵 ◌켊 켥◌ 217 콝콵켥 켉 켊 1CF5D 1CF09 1CF75 1CF0A 1CF25 콝 ◌켇 콵 ◌켼 ◌켈 켥◌ 25 218 콝콵켥 켇켼 켈 1CF5D 1CF07 1CF75 1CF3C 1CF08 1CF25 콝 ◌켇 콵 ◌켾 ◌켈 켥◌ 콝 219 콝�켥 콝켇 켈 1CF5D 1CF07 1CF75 1CF3E 1CF08 1CF25 1CF5D 3 콝 ◌켇 콵 ◌켾 ◌켈 켥◌ 콻 ◌켻 ◌켩 ◌켓 36 229 콝콵켥 켇�켈 켩켻켓 1CF5D 1CF07 1CF75 1CF3E 1CF08 1CF25 1CF7B 1CF3B 1CF29 1CF13 3 콝 ◌켇 콵 ◌켾 ◌켈 ◌켤 콻 ◌켻 ◌켩 ◌켓 34 콝콵켇�켈 켤켩켻켓 1CF5D 1CF07 1CF75 1CF3E 1CF08 1CF24 1CF7B 1CF3B 1CF29 1CF13 3 콝 ◌켇 콵 ◌켾 ◌켈 켥◌ 콻 ◌켻 ◌켩 ◌켓 230 콝콵켥 켇�켈 켩켻켓 1CF5D 1CF07 1CF75 1CF3E 1CF08 1CF25 1CF7B 1CF3B 1CF29 1CF13 3 콝 ◌켇 콵 ◌켾 ◌켈 ◌켤 콻 ◌켻 ◌켩 ◌켓 35 콝콵켇�켈 켤켩켻켓 1CF5D 1CF07 1CF75 1CF3E 1CF08 1CF24 1CF7B 1CF3B 1CF29 1CF13

3See footnote 2.

44 콝 ◌켇 콵 ◌ ◌켈 켥◌ 26 콝�켥 켇 켈 1CF5D 1CF07 1CF75 1CF3F켿 1CF08 1CF25 콝 ◌켇 콵 ◌콀 ◌켈 켥◌ ◌켑 28 228 콝�켥 켇 켑켈 1CF5D 1CF07 1CF75 1CF40 1CF08 1CF25 1CF11 콝 ◌켇 콵 ◌켈 켥◌ 콐 31 220 콝콵켥 콐켇 켈 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF50 콝 ◌켇 콵 ◌켈 켥◌ 콐 ◌켶 ◌켑 33 221 콝콵켥 콐켇 켈 켶켑 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF50 1CF36 1CF11 콝 ◌켆 콵 ◌켇 켥◌ 콖 27 223 콝콵켥 콖켆 켇 1CF5D 1CF06 1CF75 1CF07 1CF25 1CF56 콝 ◌켇 콵 ◌켈 켥◌ 콖 콿 � ◌켇 ◌켤 231 콝콵켥 콖콿켇 켈 � 켤켇 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF56 1CF7F 1CF5A 1CF07 1CF24 콝 ◌켆 콵 ◌켇 콜 ◌켅 227 콝콵켆콜켇 켅 1CF5D 1CF06 1CF75 1CF07 1CF5C 1CF05 콝 ◌켈 콵 ◌켉 ◌켤 콜 ◌켇 226 콝콵켈콜켉 켤 켇 1CF5D 1CF08 1CF75 1CF09 1CF24 1CF5C 1CF07 콝 ◌켈 콵 ◌켉 켥◌ 콜 ◌켇 29a 콝콵켥 켈콜켉 켇 1CF5D 1CF08 1CF75 1CF09 1CF25 1CF5C 1CF07 콝 ◌켉 콵 ◌켊 ◌켤 콜 ◌켈 29 콝콵켉콜켊 켤 켈 1CF5D 1CF09 1CF75 1CF0A 1CF24 1CF5C 1CF08 콝 ◌켇 콵 ◌켈 콽 225 콝�켇 켈 1CF5D 1CF07 1CF75 1CF08 1CF7D 콝 ◌켇 콵 ◌켈 켥◌ 쾆 ◌켆 30 224 콝콵켥 켇 켈 쾆 켆 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF86 1CF06 콝 콿 ◌켆 22 91 � 켆 1CF5D 1CF7F 1CF06 콝 ◌켤 콿 ◌켆 23 �켤켆 1CF5D 1CF24 1CF7F 1CF06 콝 ◌켆 쾖 ◌켓 56 145 콝쾖켆 켓 1CF5D 1CF06 1CF96 1CF13 콝 ◌켻 ◌켈 콿 ◌켢 157 70 �콿켈 켢 1CF5D 1CF3B 1CF08 1CF7F 1CF22 콝 ◌켻 ◌켈 쾀 ◌켢 158 71 �쾀켈 켢 1CF5D 1CF3B 1CF08 1CF80 1CF22 콝 ◌켻 ◌켈 쾀 ◌켢 ◌켓 72 켢 1CF5D 1CF3B 1CF08 1CF80 1CF22 1CF13 �쾀켈켓 콠 콜 ◌켉 74 콠콜 켉 1CF60 1CF5C 1CF09 콡 ◌켈 ◌켣 콐 ◌켊 콖 콜 ◌켇 93 콡콐켣 켈 �켊 켇 1CF61 1CF08 1CF23 1CF50 1CF0A 1CF56 1CF5C 1CF07 콡 ◌켈 ◌켣 콹 ◌켊 콐 콜 ◌켇 94 콡콹켣 켈 콐콜켊 켇 1CF61 1CF08 1CF23 1CF79 1CF0A 1CF50 1CF5C 1CF07 콲 ◌켈 ◌켩 � 콐 ◌켶 ◌켑 142 122 콲�콐켩켈 켶켑 1CF72 1CF08 1CF29 1CFA9 1CF50 1CF36 1CF11 콲 ◌켆 ◌켩 � 콐 ◌켶 ◌켃 콐 123 콲�콐켩켆 콐켶켃 1CF72 1CF06 1CF29 1CFA9 1CF50 1CF36 1CF03 1CF50 콲 ◌켈 ◌켩 � 콐 ◌켶 ◌켅 콐 125 콲�콐켩켈 콐켶켅 1CF72 1CF08 1CF29 1CFA9 1CF50 1CF36 1CF05 1CF50 콵 ◌켾 ◌켈 켥◌ 콝 214 �켥 콝켈 1CF75 1CF3E 1CF08 1CF25 1CF5D 콺 ◌켆 ◌켩 � 콐 ◌켶 ◌켏 152 124 콺�콐켩켆 켶켏 1CF7A 1CF06 1CF29 1CFA9 1CF50 1CF36 1CF0F 쾆 ◌켇 코 ◌켾 ◌켢 콡 ◌켇 209 쾆�켇 콡켢 켇 1CF86 1CF07 1CF54 1CF3E 1CF22 1CF61 1CF07

45 쾆 ◌켇 콵 ◌켾 ◌켢 켥◌ 콝 ◌켅 코 ◌켻 ◌켇 303 쾆�켇켥 콝코켢 켅켻켇 1CF86 1CF07 1CF75 1CF3E 1CF22 1CF25 1CF5D 1CF05 1CF54 1CF3B 1CF07 쾆 ◌켈 콵 ◌켢 � ◌켼 ◌켑 298 쾆콵켈 �켢 켼 켑 1CF86 1CF08 1CF75 1CF22 1CFA9 1CF3C 1CF11 쾆 ◌켊 � 161 쾆�켊 1CF86 1CF0A 1CFA9 쾆 ◌켈 � ◌켼 ◌켢 162 299 쾆�켈 켼켢 1CF86 1CF08 1CFA9 1CF3C 1CF22 쾆 ◌켊 � ◌켾 ◌켢 콝 ◌켈 코 ◌켻 ◌켊 308 쾆�켊 콝켢 코켈켻켊 1CF86 1CF0A 1CFA9 1CF3E 1CF22 1CF5D 1CF08 1CF54 1CF3B 1CF0A 쾆 ◌켇 � ◌켾 콤 ◌켅 ◌켇 307 쾆�콤켇 켅 켇 1CF86 1CF07 1CFA9 1CF3E 1CF64 1CF05 1CF07 쾆 ◌켇 � ◌콀 163 쾆�켇 1CF86 1CF07 1CFA9 1CF40 쾆 ◌켈 � 콐 ◌켶 166 쾆�콐켈 켶 1CF86 1CF08 1CFA9 1CF50 1CF36 쾆 ◌켈 � ◌켢 콐 ◌켶 ◌켑 콐 ◌켇 306 쾆�켈 콐켢 켶켑 콐켇 1CF86 1CF08 1CFA9 1CF22 1CF50 1CF36 1CF11 1CF50 1CF07 쾆 ◌켊 � ◌켢 콖 ◌켈 164 302 쾆�켊 콖켢 켈 1CF86 1CF0A 1CFA9 1CF22 1CF56 1CF08 쾆 ◌켇 � ◌켢 콜 ◌켄 165 301 쾆�켇 콜켢 켄 1CF86 1CF07 1CFA9 1CF22 1CF5C 1CF04 쾆 ◌켈 � ◌켢 ◌켆 � ◌켼 ◌켅 ◌켐 켆 1CF86 1CF08 1CFA9 1CF22 1CF06 1CFA9 1CF3C 1CF05 1CF10 305 쾆�켈 �켢 켼켅 켐 쾆 ◌켊 � ◌켢 � ◌켾 ◌켈 콝 ◌켆 304 쾆�켊 �켢 콝켈 켆 1CF86 1CF0A 1CFA9 1CF22 1CFA9 1CF3E 1CF08 1CF5D 1CF06 쾆 ◌켊 � ◌ 켰 ◌켼 ◌켢 167 300 쾆�켊 켼켢 켰 1CF86 1CF0A 1CFA9 1CF30 1CF3C 1CF22 쾆 ◌켈 � ◌켴 ◌켼 167a 쾆�켈 켼 1CF86 1CF08 1CFA9 1CF34 1CF3C 켢 쾆 ◌켊 � ◌켴 ◌ ◌켢 ◌켢 ◌켔 310 쾆�켊 켢켔 1CF86 1CF0A 1CFA9 1CF34 1CF3F켿 1CF22 1CF22 1CF14 쾆 ◌켊 � ◌켴 ◌ ◌켢 ◌켢 ◌켔 켢 1CF86 1CF0A 1CFA9 1CF34 1CF3F 1CF22 1CF22 1CF14 168 쾆�켊 켢켔 켿 켢 쾆 ◌켈 � ◌켴 ◌콀 ◌켢 ◌켢 170 쾆�켈 켢 1CF86 1CF08 1CFA9 1CF34 1CF40 1CF22 1CF22 켢 쾆 ◌켈 � ◌켴 ◌켢 ◌켢 콐 171 313 쾆�켈 콐켢 1CF86 1CF08 1CFA9 1CF34 1CF22 1CF22 1CF50 켢 쾆 ◌켈 � ◌켴 ◌켢 ◌켢 콐 ◌ 켰 172 315 쾆�켈 콐켢 켰 1CF86 1CF08 1CFA9 1CF34 1CF22 1CF22 1CF50 1CF30 켢 쾆 ◌켈 � ◌켴 ◌켢 ◌켢 콐 ◌켶 ◌켑 173 314 쾆�켈 콐켢 켶켑 1CF86 1CF08 1CFA9 1CF34 1CF22 1CF22 1CF50 1CF36 1CF11 켢 쾆 ◌켇 � ◌켴 ◌켢 ◌켢 콜 ◌켅 169 쾆�켇 콜켢 켅 1CF86 1CF07 1CFA9 1CF34 1CF22 1CF22 1CF5C 1CF05 쾆 ◌켇 � ◌켴 ◌켢 콜 ◌켅 309 쾆�켇 콜켢 켅 1CF86 1CF07 1CFA9 1CF34 1CF22 1CF5C 1CF05 쾆 ◌켊 � ◌켴 ◌켢 � ◌켼 ◌켈 316 쾆�켊 �켢 켼켈 1CF86 1CF0A 1CFA9 1CF34 1CF22 1CFA9 1CF3C 1CF08 쾆 ◌켈 � ◌켴 � ◌콀 174 쾆��켈 1CF86 1CF08 1CFA9 1CF34 1CFA9 1CF40 쾆 ◌켊 � ◌ 켰 ◌켴 ◌켼 ◌켉 175 쾆�켊 켼켉 1CF86 1CF0A 1CFA9 1CF30 1CF34 1CF3C 1CF09 켢 켉 쾆 ◌켊 � ◌ 켰 ◌켴 ◌켼 ◌켢 ◌켢 ◌켉 312 쾆�켊 켼 켢 1CF86 1CF0A 1CFA9 1CF30 1CF34 1CF3C 1CF22 1CF22 1CF09

46 쾆 ◌ 켱 ◌켈 � 콐 ◌켶 181 ��콐켈 켶 1CF86 1CF31 1CF08 1CFA9 1CF50 1CF36 쾆 ◌ 켱 ◌켊 � ◌콀 ◌켴 182 ��켊 1CF86 1CF31 1CF0A 1CFA9 1CF40 1CF34 쾖 ◌켅 ◌켆 ◌켇 콐 206 쾖켅콐켆 켇 1CF96 1CF05 1CF06 1CF07 1CF50 쾖 ◌켇 콐 143 쾖켇콐 1CF96 1CF07 1CF50 쾖 ◌켄 ◌켩 콖 205 144 쾖켩켄콖 1CF96 1CF04 1CF29 1CF56 � 켆 쾛 ◌켄 ◌켢 ◌켆 콐 131 쾛콐켄 1CF9B 1CF04 1CF22 1CF06 1CF50 � 켊 쾛 ◌켉 ◌켢 ◌켊 콐 213 쾛콐켉 1CF9B 1CF09 1CF22 1CF0A 1CF50 � 켆 쾛 ◌켄 ◌켢 ◌켆 콐 ◌ 켰 215 133 쾛콐켄 켰 1CF9B 1CF04 1CF22 1CF06 1CF50 1CF30 � 켆 쾛 ◌켄 ◌켢 ◌켆 콐 ◌켶 214 132 쾛콐켄 켶 1CF9B 1CF04 1CF22 1CF06 1CF50 1CF36 � 켆 쾛 ◌켄 ◌켢 ◌켆 콖 212 130 쾛콖켄 1CF9B 1CF04 1CF22 1CF06 1CF56 � ◌켾 ◌켊 ◌켔 코 ◌켤 � ◌켉 콜 ◌켇 284 �켊켔 코�켤 켉콜 켇 1CFA9 1CF3E 1CF0A 1CF14 1CF54 1CF24 1CFA9 1CF09 1CF5C 1CF07 � ◌켾 ◌켆 콝 245 �콝켆 1CFA9 1CF3E 1CF06 1CF5D � ◌켾 ◌ 켰 ◌켈 콝 ◌켇 246 �콝켈 켰 켇 1CFA9 1CF3E 1CF30 1CF08 1CF5D 1CF07 � ◌켾 ◌켇 ◌켆 콝 ◌켅 코 ◌켻 ◌켆 ◌켇 95 �콝켇 코켆 켅켻켆 켇 1CFA9 1CF3E 1CF07 1CF06 1CF5D 1CF05 1CF54 1CF3B 1CF06 1CF07 � ◌켾 ◌켇 콝 ◌켅 코 ◌켻 ◌켇 273 �콝켇 코켅켻켇 1CFA9 1CF3E 1CF07 1CF5D 1CF05 1CF54 1CF3B 1CF07 � ◌켾 ◌켇 콝 ◌켅 코 ◌켻 ◌켇 290 �콝켇 코켅켻켇 1CFA9 1CF3E 1CF07 1CF5D 1CF05 1CF54 1CF3B 1CF07 � ◌켾 ◌켊 콝 ◌켈 코 ◌켻 ◌켊 콝 콐 ◌켈 271 �콝켊 코켈켻켊 콝콐켈 1CFA9 1CF3E 1CF0A 1CF5D 1CF08 1CF54 1CF3B 1CF0A 1CF5D 1CF50 1CF08 � ◌켾 ◌켊 콝 ◌켈 코 ◌켻 ◌켊 콝 ◌켻 ◌켈 272 �콝켊 코켈켻켊 � 켈 1CFA9 1CF3E 1CF0A 1CF5D 1CF08 1CF54 1CF3B 1CF0A 1CF5D 1CF3B 1CF08 � ◌켾 ◌켉 콝 ◌켇 콵 ◌켈 켥◌ 쾒 ◌켆 297 �콝켉 콵켥 켇 켈 쾒켆 1CFA9 1CF3E 1CF09 1CF5D 1CF07 1CF75 1CF08 1CF25 1CF92 1CF06 � ◌켾 ◌켆 콢 ◌켄 ◌켇 103 291 �콢켆 켄 켇 1CFA9 1CF3E 1CF06 1CF62 1CF04 1CF07 � ◌켾 ◌켈 콢 ◌ ◌켆 ◌켉 293 ��켈 켆 켉 1CFA9 1CF3E 1CF08 1CF62 1CF3F켿 1CF06 1CF09 � ◌켾 ◌켈 콢 ◌ ◌켆 ◌켉 ◌켔 104 ��켈 켆켔 켉 1CFA9 1CF3E 1CF08 1CF62 1CF3F켿 1CF06 1CF09 1CF14 � ◌켾 ◌켈 콢 ◌ ◌켆 ◌켉 켥◌ 292 ��켈 켥 켆 켉 1CFA9 1CF3E 1CF08 1CF62 1CF3F켿 1CF06 1CF09 1CF25 � ◌켾 ◌켈 콢 ◌ ◌켆 ◌켉 289 ��켈 켆 켉 1CFA9 1CF3E 1CF08 1CF62 1CF3F켿 1CF06 1CF09 � ◌켾 ◌켈 콤 ◌켅 ◌켇 ◌켣 288 �콤켈 켣 켅 켇 1CFA9 1CF3E 1CF08 1CF64 1CF05 1CF07 1CF23

47 4 � ◌켾 ◌켈 켥◌ 콻 ◌켻 켥◌ ◌켓 101 266 �켥 켈콻켥켻켓 1CFA9 1CF3E 1CF08 1CF25 1CF7B 1CF3B 1CF25 1CF13 � ◌켾 ◌켈 켥◌ 콻 ◌켻 켥◌ ◌켓 102 265 �켥 켈콻켥켻켓 1CFA9 1CF3E 1CF08 1CF25 1CF7B 1CF3B 1CF25 1CF13 5 � ◌켈 � ◌켓 263 �켈�켓 1CFA9 1CF08 1CFAB 1CF13 5 � ◌켈 ◌켩 � ◌켻 ◌켓 264 �켩켈�켻켓 1CFA9 1CF08 1CF29 1CFAB 1CF3B 1CF13 � ◌켾 ◌켈 콷 ◌켻 켥◌ ◌켓 113 �켈콷켥켻켓 1CFA9 1CF3E 1CF08 1CF77 1CF3B 1CF25 1CF13 6 � ◌켾 ◌켈 콺 ◌켆 ◌켇 ◌켦 100 �켈콺켦켆 켇 1CFA9 1CF3E 1CF08 1CF7A 1CF06 1CF07 1CF26 � ◌켈 콐 90 248 �콐켈 1CFA9 1CF08 1CF50 � ◌켈 콐 ◌ 켰 ◌켆 93 249 �콐켈 켆 켰 1CFA9 1CF08 1CF50 1CF30 1CF06 � ◌켆 콐 ◌켶 ◌켏 91 247 �콐켆 켶켏 1CFA9 1CF06 1CF50 1CF36 1CF0F � ◌켇 콐 ◌켶 ◌켐 콖 ◌켆 251 �콐켇 켶켐 콖 켆 1CFA9 1CF07 1CF50 1CF36 1CF10 1CF56 1CF06 � ◌켈 콐 ◌켶 콐 ◌켆 92 250 �콐켈 콐켶 켆 1CFA9 1CF08 1CF50 1CF36 1CF50 1CF06 � ◌켆 콖 244 �콖켆 1CFA9 1CF06 1CF56 � ◌켈 콖 242 �콖켈 1CFA9 1CF08 1CF56 � ◌켊 콖 86 �콖켊 1CFA9 1CF0A 1CF56 � ◌켈 콖 ◌켆 코 콐 ◌켇 274 �콖켈 코콐켆 켇 1CFA9 1CF08 1CF56 1CF06 1CF54 1CF50 1CF07 � ◌켉 콖 ◌켇 코 ◌켤 콐 ◌켊 281 �콖켉 코켇 콐켤 켊 1CFA9 1CF09 1CF56 1CF07 1CF54 1CF24 1CF50 1CF0A � ◌켉 콖 ◌켇 코 ◌켤 콐 ◌켊 282 �콖켉 코켇 콐켤 켊 1CFA9 1CF09 1CF56 1CF07 1CF54 1CF24 1CF50 1CF0A 켈 � ◌켈 콖 ◌켆 코 ◌켢 ◌켈 콐 ◌ 켰 ◌켢 276 �콖켈 코켆 콐켢 켢켰 1CFA9 1CF08 1CF56 1CF06 1CF54 1CF22 1CF08 1CF50 1CF30 1CF22 � ◌켈 콖 ◌켆 코 콐 ◌켶 ◌켇 275 �콖켈 코콐켆 켶켇 1CFA9 1CF08 1CF56 1CF06 1CF54 1CF50 1CF36 1CF07 � ◌켊 콖 ◌켈 코 ◌켤 코 ◌켾 ◌켉 콝 ◌켇 277 �콖켊 코켈 �켤콝켉 켇 1CFA9 1CF0A 1CF56 1CF08 1CF54 1CF24 1CF54 1CF3E 1CF09 1CF5D 1CF07 � ◌켊 콖 ◌켈 코 ◌켉 ◌켤 � ◌켼 ◌켓 280 �콖켊 코켈 �켉 켤 켼 켓 1CFA9 1CF0A 1CF56 1CF08 1CF54 1CF09 1CF24 1CFA9 1CF3C 1CF13 � ◌켊 콖 ◌켈 코 ◌켤 � ◌켉 콐 278 �콖켊 코켈 �켤 콐켉 1CFA9 1CF0A 1CF56 1CF08 1CF54 1CF24 1CFA9 1CF09 1CF50 � ◌켊 콖 ◌켈 코 ◌켤 � ◌켉 콐 ◌켶 ◌켓 279 �콖켊 코켈 �켤 콐켉 켶켓 1CFA9 1CF0A 1CF56 1CF08 1CF54 1CF24 1CFA9 1CF09 1CF50 1CF36 1CF13 � ◌켊 콖 ◌켈 코 ◌켤 � ◌켉 콜 ◌켇 283 �콖켊 코켈 �켤 켉콜 켇 1CFA9 1CF0A 1CF56 1CF08 1CF54 1CF24 1CFA9 1CF09 1CF5C 1CF07

4This item in (1) and (2) is erroneously recorded with a Skameytsa with Podvertka콻 ( ).켦 5See footnote 2. 6This item in (1) and (2) was recorded with a Skameytsa with Podvertka (콻),켦 and appears to be incorrect. (As documented, the Podvertka should be a Sorochya Nozhka.) However, it may possibly be correct, and the wrong pitch marks were provided.

48 � ◌켇 콖 콿 87 �콖콿켇 1CFA9 1CF07 1CF56 1CF7F � ◌켈 콖 ◌켇 콿 ◌켑 252 �콖켈 콿 켇 1CFA9 1CF08 1CF56 1CF07 1CF7F 1CF11 켑 � ◌켈 콘 ◌ 98 ��켈 1CFA9 1CF08 1CF58 1CF3F켿 � ◌켈 콙 ◌켇 97 285 �콙켈 켇 1CFA9 1CF08 1CF59 1CF07 � ◌켈 콙 ◌ ◌켆 ◌켇 99 ��켈 켆 켇 1CFA9 1CF08 1CF59 1CF3F켿 1CF06 1CF07 � ◌켈 콙 ◌ ◌켆 ◌켉 287 ��켈 켆 켉 1CFA9 1CF08 1CF59 1CF3F켿 1CF06 1CF09 � ◌켈 켥◌ 콙 ◌ ◌켆 ◌켇 286 �켥�켈 켆 켇 1CFA9 1CF08 1CF25 1CF59 1CF3F켿 1CF06 1CF07 � ◌켇 � ◌켇 267 �켇� 켇 1CFA9 1CF07 1CF5A 1CF07 � ◌켊 � ◌켊 268 �켊� 켊 1CFA9 1CF0A 1CF5A 1CF0A � ◌켊 � ◌켊 270 �켊� 켊 1CFA9 1CF0A 1CF5A 1CF0A � ◌켼 ◌켊 � ◌켊 269 �켼켊 � 켊 1CFA9 1CF3C 1CF0A 1CF5A 1CF0A � ◌켆 콜 ◌켄 89 240 �켆콜 켄 1CFA9 1CF06 1CF5C 1CF04 � ◌켇 콜 ◌켄 89a 240 �켇콜 켄 1CFA9 1CF07 1CF5C 1CF04 � � ◌켴 ◌켇 ◌켢 콜 ◌켅 253 �켇콜 켅 1CFA9 1CF34 1CF07 1CF22 1CF5C 1CF05 � � ◌켴 ◌켇 ◌켢 콜 ◌켅 108 �켇콜 켅 1CFA9 1CF34 1CF07 1CF22 1CF5C 1CF05 � ◌켈 � ◌켐 295 ��켈 켐 1CFA9 1CF08 1CFA9 1CF10 � ◌켈 � ◌켑 296 ��켈 켑 1CFA9 1CF08 1CFA9 1CF11 � ◌켈 � ◌켆 ◌켐 96 294 ��켈 켆 켐 1CFA9 1CF08 1CFA9 1CF06 1CF10 � ◌켈 ◌켆 � ◌켇 262 ��켈 켆 켇 1CFA9 1CF08 1CF06 1CFAB 1CF07

49 Appendix 3 Priznakified Forms of Neumes

3.1 Glyphs with Two Priznakified Forms The following characters have two priznakified forms, a form used at the second level of a soglasie(on the pitches nizko and povyshe), accessed via U+1CF42 Znamenny Priznak Modifier Level 2, and a form used at the third level of a soglasie (on the pitches sredne and vysoko), accessed via U+1CF43 Znamenny Priznak Modifier Level 3. In the alternative priznaki system of Morozov, the neumes may alsohavea variant (“flipped”) form: a flipped form that occurs at thepitch povyshe (accessed by invoking the control characters U+1CF42 Znamenny Priznak Modifier Level 2 U+1CF44 Znamenny Priznak Modifier Flip) and a flipped form that occurs at the pitch vysoko (accessed by invoking the control characters U+1CF43 Znamenny Priznak Modifier Level 3 U+1CF44 Znamenny Priznak Modifier Flip). All characters have only two priznaki in Kazan Notation, a lower form (accessed via U+1CF45 Znamenny Priznak Modifier Kryzh) and an upper form (accessed via U+1CF46 Znamenny Priznak Modifier Rog). The only exception is U+1CF56 Znamenny Neume Stopitsa, which has an additional “flipped” form bearing the Rog priznak, accessed via U+1CF46 Znamenny Priznak Modifier Rog U+1CF44 Znamenny Priznak Modifier Flip. Many forms are theoretically impossible, or unattested, and so are not included. 콂 콃 콂콄 콃콄 콅 콆 콆 콄 1CF42 1CF43 1CF421CF44 1CF431CF44 1CF45 1CF46 1CF46 1CF44 콐 1CF50       콑 1CF51     –– 콒 1CF52   – –  – 콓 1CF53     –– 코 1CF54       콖 1CF56        콗 1CF57       콘 1CF58 ––– –   콙 1CF59 ––– –   콛 1CF5B       콜 1CF5C      – 콠 1CF60 ––– –   콡 1CF61 ––– –   콢 1CF62 ––– –   콣 1CF63 ––– –   콤 1CF64 ––– –   콥 1CF65 ––– –   콦 1CF66 ––– –   Continued on next page 50 Continued from previous page 콂 콃 콂콄 콃콄 콅 콆 콆 콄 1CF42 1CF43 1CF42 1CF44 1CF43 1CF44 1CF45 1CF46 1CF46 1CF44 콧 1CF67 ––– –   콨 1CF68 ––– –   콩 1CF69 ––– –   콪 1CF6A ––– –   콭 1CF6D    – –– 콰 1CF70   – – –– 콱 1CF71   – –  – 콲 1CF72   – –  – 콳 1CF73   – –  – 콴 1CF74     –– 콹 1CF79 ––– –  – 콺 1CF7A ––– –  – 콻 1CF7B ––– –  – 콼 1CF7C ––– –  – 쾁 1CF81   – – –– 쾂 1CF82   – – –– 쾆 1CF86   – –   쾇 1CF87   – – –– 쾈 1CF88   – – –– 쾉 1CF89   – – –– 쾋 1CF8B   – – –– 쾐 1CF90   – – –– 쾒 1CF92    –   쾓 1CF93    – –– 쾔 1CF94    –   쾕 1CF95    –   쾖 1CF96    –   쾗 1CF97    –   Continued on next page

51 Continued from previous page 콂 콃 콂콄 콃콄 콅 콆 콆 콄 1CF42 1CF43 1CF42 1CF44 1CF43 1CF44 1CF45 1CF46 1CF46 1CF44 쾘 1CF98 ––– –   쾙 1CF99 ––– –   쾛 1CF9B ––– –   쾜 1CF9C ––– –   쾝 1CF9D ––– –   쾞 1CF9E ––– –   쾟 1CF9F ––– –   쾢 1CFA2   – – –– 쾣 1CFA3   – – –– 쾥 1CFA5   – – –– 쾦 1CFA6   – – –– 쾧 1CFA7   – –   쾨 1CFA8 ––– –  –  1CFA8 (ss02) ––– –  – 쾩 1CFA9 ––– –  – 쾪 1CFAA ––– –  – 쾫 1CFAB ––– –  –  1CFAA (ss02) ––– –  –  1CFAB (ss02) ––– –  – 쾬 1CFAC –  – – –– 쾭 1CFAD –  – – –– 쾮 1CFAE –  – – –– 쾯 1CFAF   – –  – 쾰 1CFB0 ––– –  – 쾳 1CFB3 ––– –  – 쾴 1CFB4 ––– –  – 쿃 1CFC3   – – ––

52 3.2 Glyphs with Non-standard Priznakified Forms In the system of Morozov, two characters have a priznakified form at the first level ofthe svetloe soglasie (on the pitch malo povyshe), and sometimes at the first level of the tresvetloye soglasie (on the pitch malo povyshe s khokhlom). These two forms are accessed by “flipping” the non-priznakified base character form (via U+1CF44 Znamenny Priznak Modifier Flip). The Demestvenny Mechiki used in the system of Kalashnikov (the “new style” forms) also take a priznak at these pitches, in addition to the flipped versions of the Level 2 and Level 3 priznakified forms. All of these glyphs also have only two priznakified forms in Kazan Notation, a lower form (accessed via U+1CF45 Znamenny Priznak Modifier Kryzh) and an upper form (accessed via U+1CF46 Znamenny Priznak Modifier Rog). 콂 콃 콄 콂콄 콃콄 콄콄 콅 콆 콝 1CF42 1CF43 1CF44 1CF42 1CF44 1CF43 1CF44 1CF44 1CF44 1CF45 1CF46 1CF5D    – –    콾 1CF7E    – – – ––  1CFA7 (ss02)      –    1CFA9 (ss02)      –  –

3.3 Ligatures Some ligatures exhibit complex priznakification: the priznak may be positioned on one component for one level and on the other component on another level. Font designers need to provide pre-composed glyphs for these forms. 콂 콃 콂콄 콃콄 콅 콆 1CF42 1CF43 1CF42 1CF44 1CF43 1CF44 1CF45 1CF46 쾆 ◌ 켰 1CF86 1CF30    – –– 쾆 ◌ 1CF86 1CF31켱    – –– 쾆 쾅 1CF86 1CF85     –– 쾆 쿃 1CF86 1CFC3   – – –– 쾇 ◌ 켰 1CF87 1CF30    – –– 쾋 ◌ 켰 1CF8B 1CF30    – –– 쾌 ◌ 켰 1CF8C 1CF30    – –– 쾐 ◌ 켰 1CF90 1CF30    – ––

53 ISO/IEC JTC 1/SC 2/WG 2 PROPOSAL SUMMARY FORM TO ACCOMPANY SUBMISSIONS 1 FOR ADDITIONS TO THE REPERTOIRE OF ISO/IEC 10646 TP PT Please fill all the sections A, B and C below.

Please read Principles and Procedures Document (P & P) from H TU http://std.dkuug.dk/JTC1/SC2/WG2/docs/principles.html UTH for guidelines and details before filling this form.

Please ensure you are using the latest Form from H TU http://std.dkuug.dk/JTC1/SC2/WG2/docs/summaryform.html UTH.

See also H TU http://std.dkuug.dk/JTC1/SC2/WG2/docs/roadmaps.html UTH for latest Roadmaps. A. Administrative 1. Title: Proposal to Encode Znamenny Musical Notation in Unicode 2. Requester's name: Aleksandr Andreev and Nikita Simmons 3. Requester type (Member body/Liaison/Individual contribution): Individual contribution 4. Submission date: 04/17/2019 5. Requester's reference (if applicable): 6. Choose one of the following: This is a complete proposal: YES (or) More information will be provided later: B. Technical – General 1. Choose one of the following: a. This proposal is for a new script (set of characters): YES Proposed name of script: Znamenny Musical Notation b. The proposal is for addition of character(s) to an existing block: NO Name of the existing block: 2. Number of characters in proposal: 186 3. Proposed category (select one from below - see section 2.2 of P&P document): A-Contemporary B.1-Specialized (small collection) X B.2-Specialized (large collection) C-Major extinct D-Attested extinct E-Minor extinct F-Archaic Hieroglyphic or Ideographic G-Obscure or questionable usage symbols 4. Is a repertoire including character names provided? YES a. If YES, are the names in accordance with the “character naming guidelines” in Annex L of P&P document? YES b. Are the character shapes attached in a legible form suitable for review? YES 5. Fonts related: a. Who will provide the appropriate computerized font to the Project Editor of 10646 for publishing the standard? Aleksandr Andreev b. Identify the party granting a license for use of the font by the editors (include address, e-mail, ftp-site, etc.): [email protected]; https://sci.ponomar.net/ 6. References: a. Are references (to other character sets, dictionaries, descriptive texts etc.) provided? YES b. Are published examples of use (such as samples from newspapers, magazines, or other sources) of proposed characters attached? YES 7. Special encoding issues: Does the proposal address other aspects of character data processing (if applicable) such as input, presentation, sorting, searching, indexing, transliteration etc. (if yes please enclose information)? YES See sections 2.2 and 2.3 8. Additional Information: Submitters are invited to provide any additional information about Properties of the proposed Character(s) or Script that will assist in correct understanding of and correct linguistic processing of the proposed character(s) or script. Examples of such properties are: Casing information, Numeric information, Currency information, Display behaviour information such as line breaks, widths etc., Combining behaviour, Spacing behaviour, Directional behaviour, Default Collation behaviour, relevance in Mark Up contexts, Compatibility equivalence and other Unicode normalization related

information. See the Unicode standard at H TU http://www.unicode.org UTH for such information on other scripts. Also see

Unicode Character Database ( H http://www.unicode.org/reports/tr44/ ) and associated Unicode Technical Reports for information needed for consideration by the Unicode Technical Committee for inclusion in the Unicode Standard.

1 TPPT Form number: N4502-F (Original 1994-10-14; Revised 1995-01, 1995-04, 1996-04, 1996-08, 1999-03, 2001-05, 2001-09, 2003- 11, 2005-01, 2005-09, 2005-10, 2007-03, 2008-05, 2009-11, 2011-03, 2012-01) 54 C. Technical - Justification 1. Has this proposal for addition of character(s) been submitted before? YES If YES explain This is a revised version, based on feedback from Script Ad-Hoc. 2. Has contact been made to members of the user community (for example: National Body, user groups of the script or characters, other experts, etc.)? YES If YES, with whom? Proposal was presented at conferences on medieval Russian musicology and posted for scholarly review on academia.edu If YES, available relevant documents: E-mail correspondence and web comments 3. Information on the user community for the proposed characters (for example: size, demographics, information technology use, or publishing use) is included? YES Reference: Section 1.4 and Section 1.5 4. The context of use for the proposed characters (type of use; common or rare) Rare Reference: See Sections 1.1 through 1.3 5. Are the proposed characters in current use by the user community? YES If YES, where? Reference: Russian Orthodox Church; see Section 1.4 6. After giving due considerations to the principles in the P&P document must the proposed characters be entirely in the BMP? NO If YES, is a rationale provided? If YES, reference: 7. Should the proposed characters be kept together in a contiguous range (rather than being scattered)? YES 8. Can any of the proposed characters be considered a presentation form of an existing character or character sequence? NO If YES, is a rationale for its inclusion provided? If YES, reference: 9. Can any of the proposed characters be encoded using a composed character sequence of either existing characters or other proposed characters? NO If YES, is a rationale for its inclusion provided? N/A If YES, reference: 10. Can any of the proposed character(s) be considered to be similar (in appearance or function) to, or could be confused with, an existing character? NO If YES, is a rationale for its inclusion provided? If YES, reference: 11. Does the proposal include use of combining characters and/or use of composite sequences? YES If YES, is a rationale for such use provided? YES If YES, reference: See Section 2.1 Is a list of composite sequences and their corresponding glyph images (graphic symbols) provided? YES If YES, reference: See Appendices 12. Does the proposal contain characters with any special properties such as control function or similar semantics? YES If YES, describe in detail (include attachment if necessary) See Section 2.1 describing use of Control Characters. See Appendix 3 for examples.

13. Does the proposal contain any Ideographic compatibility characters? NO If YES, are the equivalent corresponding unified ideographic characters identified? If YES, reference:

55