Catalog of Znamenny Chant Notation

3a) Complete Unicode Character List
3b) Catalog of Znamenny (Stolp) Notation
3c) Catalog of Paleoslavic (Paleoznamenny) Notation (see below)
3d) Catalog of Kazan (Put-Demestvenny) Notation
3e) Catalog of Support Characters in Unicode

3c. Древнеславянские (древнезнаменные) знамена
3c. Catalog of Paleoslavic (Paleoznamenny) Notation

This is a listing of 24 neumes encoded in Unicode which are used only in Paleoslavic (Paleoznamenny) neumes (i.e., unique to the early period of Paleoslavic musical notation). Neumes which are common to all eras of Znamenny notation are not included in this listing, but are included in the primary catalog. The list is not comprehensive, as many more possible neumes could potentially be added, pending further research. The "official" names of most of these neumes are unknown and have been given descriptive names by modern researchers, although a few (such as Кобыла, Рожек, Облако) have been identified in period literature.

The interprepation of roughly half of these neumes can be realized in theory, as there appear to be logical solutions based on observing their component elements. For instance, we can logically guess that the neume #28 "Двойная запятая" can interpreted as two notes descending from a previous pitch (of the preceding neume), although we are not absolutely certain. #61 "Статья закрытая с запятой" logically appears to be interpreted as a 3-note descending sequence (a 3/4 note followed by a quarter note and a half note descending). #85 "Стрела громоповодная с двумя запятыми" can be rather obviously interpreted as an ascending 4-note sequence (a 1/2 note followed by two 1/4 notes and a 4/4 note ascending). Other neumes, such as #112 (Куфисма) and #113 (Облако) are currently unknown, but a careful comparison with early and middle-Byzantine chant manuscripts where these symbols appear, and how such melodies were transmitted into the later Byzantine melodic tradition, may yet provide us with reasonably plausible interpretations. (Such work is still ongoing in the field of musicology.)

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